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Two expanded cinema performances for multiple 16mm projectors.

Greg Pope Scoreline

Scoreline uses a 16mm projector, a loop of scored black film, three contact mics, two guitar pick-ups, engraving tools, a hobby grinder, a scratch board, a mixer and sound amplification. Regarding the film projector as an instrument with the potential for visual and sonic broadcasting, this performance is an exploration of the cinematic apparatus, ignoring all traditional definitions to create a live dynamic event. The performance proceeds in three overlapping parts. Firstly, using the guitar pick-ups various electrical frequencies around and inside the projector are divined, modulated and broadcast. The second phase is an exploration with the scored film loop – pulled at various speeds by hand over the optical sound pick up and then projected in increasingly frantic fashion. The final part of the event concerns the brutal removal of all the emulsion on the film surface (by means of the mechanical grinder) to end with pure texture imagery and cacophonous noise via the optical outputs.

After dabbling in punk rock bands and absurdist performance, Greg Pope founded Brighton-based Super 8 film collective Situation Cinema in 1986 and afterwards Loophole Cinema (London, 1989). Using 16mm, Super 8 and video, Loophole Cinema were self-styled shadow engineers performing numerous events around Europe. They produced The International Symposium of Shadows in London in 1996.Working collaboratively and individually, Pope has made video installations, live art pieces and single screen film works since 1996. Recent works include live cinema performance pieces Light Trap and Cipher Screen as well as 35mm film productions Shadow Trap and Shot Film.  He currently lives in Norway and is active teaching, projecting, programming and making film. Video / film and documentation here.

Stephen Cornford Solipsism Cinema

This expanded cinema performance, using four 16mm projectors, deals with the mechanics and optics of the projector itself. Filmed while in residence at labs, the work searches for an optical form of feedback, closing the distance between camera and projector by pointing their lenses at one another. Through this self-reflexive relationship the opto-mechanical apparatus of cinema becomes visible: the bulb, framed in the gate, is caused to flicker by the interaction of the two shutters. In performance the projector (re)produces its own image on the screen in front of us, the gaze of the audience is met only by the gaze of the machine looking back at them. The audio for this performance is a double mono optical soundtrack on separate film stock and live amplification of projector mechanics.

Stephen Cornford’s work stems from an abiding fascination with consumer audio electronics: how these devices that we are sold to consume music and images increasingly frame our engagement with the audio-visual world at large. Reconfiguring these media from the inside, re-imagining their functionality, defying their obsolescence and searching for their intrinsic poetry are strategies with which to challenge normative use, social conformity and the myth of technological progress. Cornford is currently a Research Fellow at the Sonic Art Research Unit of Oxford Brookes University, where he co-directs the annual Audiograft Festival with Paul Whitty. Recent solo exhibitions include Lydgalleriet (Bergen), Campbell Works (London) and Permanent Gallery (Brighton). His work has been included in Sound Art at ZKM Centre for Media & Art and the Mediations Biennale in Poznan. His audio works have been released by Senufo Editions (IT), Accidie Records (US), Another Timbre (UK) & Cathnor (UK). His Consumer Waste record label presents an evening at Arnolfini on 11 September.

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