12 DEAD HENS AT IPATIEV HOUSE

 
Adrian Beentjes & David Cunliffe
no concept - a flickering apperception. "tell me, what do you see when you look at this?". at all moments backdrafting tween, rendered and combined. a short experimental film by adrian beentjes and david cunliffe (zoologic and igors roomy lab coat)
Anthony Donovan & Jaan Patterson
we are b lurid et al, stargazers. fink you viz gaderene, and love you, meanwhile. we are here to spiral down into the dead wood of some bark utensil 911. so, feed these newshounds, urlocator. we deserve only you. decimal manet's in pripyat; a feat-gagged priest, blending. we are his as we are yours. everything else is symmetry. (Title JP / imagery AD / sounds JP & AD / text AD / actors kitten & AD / camera kitten & AD / editing kitten & AD. AD works as murmurists. JP works in many guises, amongst them is undress beton)
Autotistic
Stuff yr boohoo-ray and hi-deficiency …I’m lo-fi and this is my liquid sketchbook
Fonik
An excerpt  from TanDogs edit of the F.W. Murnau film Faust with soundtrack by FONIK to be performed in full autumn 2009. For further information see: http://www.youtube.com/user/ditheringtandog http://www.myspace.co/fonikfonik
Inferno Speedgown
YEARBOOK: This was to be a film based on a book of the same name. But since films based on books rarely work out well, I thought it would be best to just film the book. I was searching through the pages for someone's image. It was impossible to pick out her childhood face, because she has changed so much since then. The images were compelling but the onionskin dividers between pages took over. It's a very short film. So often, skin takes over
Lezet (featuring Protecious & Vojkan Nedeljkovic)
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Murmurists
A photo is a must. Please don't message without one. I have nothing more than a household. Some of you must enjoy my interest in developing that still further. Or am I in the wrong place? You should contact me asap if so. R J
Pixyblink
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Post Abortion Stress
The further you go in the bigger things become. The little things can change the world without a blink of an eye. Natures wrath sits with the touch of a pin, until the touch of the pin is yours
Ruela Pinho
DREAM FOR A DRUID. A short animation about a druid and his mysterious explorations. To put some strange story in a short 0.46 seconds sequence isn’t easy. It constantly changes, as it comes full circle. The druid movement or choreography illustrate a dialogue between him and the natural forces, in an attempt to find a mutual meaning and affinity between them, whilst at the same time emphasizing a spiritual visit into a dream, leaving the body behind. These druids are capable of abnormal movements in and out of the dream (at a very accelerated pace through solid objects), beyond the realm of possibility. The dream is an unfaltering guide. It regulates the flux and reflux of nature and the evolutionary path of the world. He must once again sleep in the earth before being reborn again and again...
Sean Reynard
Film title - HUMANMAN. Synopsis - A short film by Sean Reynard. A man tormented by his inner thoughts sits alone in his dimly lit squalid kitchen. Hungry, desperate and sweating like a rapist he stares into the dark void of his own futile existence. Sean Reynard considers himself neither Artist nor Filmmaker, he hovers menacingly somewhere in between. He moved from his home in Great Britain to Berlin in 1998, then to Sydney in 2007 and returning back home in 2009. During his time abroad he made the transition from making sound installation/sculpture and improvised music, to concentrating solely on making short films. However, his sound-related background plays an important role in his filmmaking. In fact, sometimes it is the sole inspiration, as some videos are realised with the sound or music as the starting point, and the whole idea and visualisation emerges from it. He also has a keen interest in many filmic styles and techniques, spanning music videos, TV commercials, to feature films and documentaries. His intuitive approach gives the films a raw and spontaneous feel, allowing room to explore the dynamic tension between a variety of different characters. Dark undercurrents develop out of seemingly normal situations, bringing out the absurd in everyday life. “My films tend to have a tinge of absurdity and surrealism about them, combined with the tedious normality of the everyday, and for me this fusion of the two gels beautifully together ’social surrealism’, if you like". Links to my films :- http://www.seanreynard.com
http://www.funnyordie.com/run_run_reynard http://www.youtube.com/user/raghard 
Seesar
The Seesar – Film Dialectic. 1. Seesar on Film (King Seesar and His Inspirational Personality). When I was about ten years old, I remember my father calling me into his bedroom. He wanted me to see what was on television; something that would change my personality permanently for the good. “You might get a kick out of this,” he told me and pointed to the screen. Sparkly lights and two circles with Japanese characters appeared and rumbly, orchestral music sounded as I sat down on the end of his bed to watch. I had never heard of Toho Pictures, the ethnomusicologist and composer Akira Ifukube, or even Gojiro, the atomic bomb mutated hermaphroditic lizard that spawned 39 movies, 3 cartoon series, several novels, comic books,  toys, and untold other paraphernalia, but I was about to be initiated. The crowning glory, though, would come towards the end of Godzilla vs Mechagodzilla (the American title) with appearance of the half lion, half dragon guardian of Okinawa, who emerges from his magically protected mountain hideaway to use his laser beam shooting jewelled eyes and massive strength to assist the hero of the film save the Earth (yet again) from evil and destruction. That mythical creature was King Seesar. There is much more to King Seesar than can be told here, so I will not attempt to broach the entire subject, but I will say that Seesar’s roots are proposed to be a mixture of Okinawan and Tibetan folk lore traded by Buddhist monks in the 11th century. Seesar is his name in the film, but the Okinawan’s (and other groups that adopt the character into their mythology) refer to him as Shisa (“she-sa”). He is the husband of a couple of lion-dragons who protect the land and the good folk whom  live there with their magical powers (loosely told). The Tibetan version is as filled with magic, but is less creature related as Seesar is actually Ling Gesar, or rather an avatar of him, who was the king reported to have united the Tibetan kingdoms in the 6th Century. The film version of Seesar is constructed from these tales and added to for Godzilla mythos purposes. He becomes even more powerful and steeped in magic within this cinematic setting, and watching him on film as a young child impressed me to no end. Seesar’s image, sound, and personality has influenced me for the past 35+ years. Understandably I was excited to hear about the DaiKaiJu Composition Competition taking place last year in the Florida, USA. DaiKaiJu means “giant monster” in Japanese (in this case giant rubber monster). The competition was to present a musical piece with visuals that dealt with monster movies. I thought hard for weeks and came up with what I felt was the most Japanese and monster oriented work I could conjure. I contacted my friend Abel Cohen, a very accomplished Butoh style dancer with whom I had worked while living in Honolulu, whom had studied dance in Japan for some time. Butoh is a form of movement intended to express the deepest emotions of humans, in part through reversing the commonly perceived reactions to life. For instance, ugly becomes beautiful and beauty ugly or contorted becomes the norm while natural stances seem out of place, et cetera. My idea was to have Abel express the horror and glory of returning from battle that King Seesar may have felt after teaming up with Godzilla to defeat the giant Godzilla robot doppelganger. The music was intended to be semi improvised featuring koto (in this case, a 17 stringed Japanese zither), a shakuhachi (low A and high D end blown bamboo flutes), electronics, and percussion (to be played by myself.) I had a decent chance to win, but as it turned out I did not.  No one did as they decided to cancel the competition. I am still working on the piece and I still have designs to realise the performance with Abel and two Japanese musicians, hopefully bringing them to the UK for the opening presentations. Stay tuned for that one... 2. Seesar and Film (Personal Inspirations Drawn from Film). Godzilla movies are a big influence on me musically and otherwise, but they are not the only influence. Many a low budget film and the occasional high quality art film and documentary helped shape my musical life and social activities. It started earlier than the summer of 1984, but that was definitely a summer of great film importance for me. I had gotten a job with a local video rental store near my university. The owner wanted to expand his list of titles that students may rent, so he handed me a huge box of promo tapes and said, “Watch these, then tell me which ones you think students would rent. When you get through with these, I’ll give you another box.” I was paid by the movie and there was a free pizza thrown in per week. It could not have been better! The first two movies I pulled out of the box were Raiders of Shaolin Kung Fu (starring Gordon Liu now of Kill Bill fame, then of 36th Chamber and many other Shaw Brothers films) which was rather poor given the all-star cast, and a Mexican gem about a mutant cephalopod preoccupied with a lovely lady scientist that was roaming the forests south of the Rio Grande entitled Octaman. I was so overtaken with entertainment of the low brow variety, that I immediately called three of my friends and told them to bring ice cream and soda because we were having a bad movie night! That was the beginning of me showing two bad movies every other week for nineteen years. It started off with munching on muffins and taking in a few rotten films and turned into decking out my living room with six couches in a stadium seating arrangement and a full spread of pot luck foods brought by my 20-35 guests. Some of the favourites were Troll 2, Can’t Stop the Music, Zombie ’90, Nine Demons, Black Gestapo, and El Santo versus the Witches. Of course we watched Black Devil Doll from Hell, Blackula, and Plan 9 from Outer Space, too. The list is practically endless and there is always more. Someone out there understands the joys of screening a movie that is made to be a serious, good flick, but fails miserably. Even now as I am writing this article, I’m “enjoying” the ridiculousness of YETI!, a newly made horror film with surprisingly decent acting and equally surprisingly terrible creatures and special effects. 3. Seesar in Film (Secret Acting Appearances and Anecdotes). I have not always been on the viewing only side of movies, however. A few times I have had the pleasure of being in some of these “fine” low budget goodies. My first stint was with my friends back in my early college days. I will not go into too many details there, let me just say that these short cinematic delights, written in part and starring a young, black man (so we felt we could get away with a lot of bad things), were some of the more offensive and politically incorrect things to get to video. They are safely lost in the closet of the aforementioned man, never to be revealed to the public at large, luckily for me. A few years later I was approached by my great friend and performance artist John Dawkins to be in a film he was making to show during a tour by the band Imp, an art rock group with whom my art punk band one3four traded gigs. The plot was seemingly inoffensive enough (not that offensiveness bothered me too much) and it was silly enough to hold my interest: I was to play one half of a couple obsessed with cucumbers. Do not get the wrong idea. There was no explicit sexual content in the film, although the first three-fourths of the movie does strongly suggest such. Instead, the characters prefer to eat them, rub them over each other’s faces, and build things out of them after a sensuous selecting of fruit from the grocers followed by a lustful inspection of them prior to our feasting upon them in bed. It was a great film as far as I was concerned. I got to hang out with my gorgeous friend Erica (the singer/clarinettist for Imp) and I would be projected on a big sheet behind the band for their next few shows. What I did not count on was being recognized by random people on the streets and even getting a mention in a zine for my risqué role. That wasn’t the end of it, either. When I got to Hawai..i I met another group of film makers, this time they were a little bit more like the real thing. They had professional equipment, a published writer, a special effects designer, a cinematographer, and a semi seasoned director and actors. I got a bit role as a ghost with no lines, but it was still great! I got to be scary and spooky and look extremely evil! Nice! The film made it to a German film festival and won a prize or two. When the director was interviewed (by the judges) after receiving the awards, he was asked if he was planning a sequel. He said yes (it is actually a prequel), and they asked if the scary ghost guy was going to be in it. He said he did not know and they told him, “You should make him the star! He was one of the reasons you won these awards!” I do not believe that for a second, but I did enjoy the compliment and he believed it. The director had my character written in as a major part of the prequel and I had to take a month off work for filming. I was charged to keep my beard a certain length and I was taken shopping for props and costumes that (save the fact that they were rather ruined by the end of the filming) I wanted to keep. I never did get to see the final edit of the movie, but it made it back to Germany, then Australia and a few other places, winning another award. There is a really poor trailer for it on youtube.com. It is called Limited Sight and it combines body part thieves with supernatural repercussions of dabbling in the dark arts. Guess who gets to do the dabbling? You can enjoy the preview here: http://www.youtube.com/watch?v=OIQ76Qpq7zk 4. Seesar with Film (Making Sounds for Films). My other involvement with film was in the noise making vein (as you might guess.) I remember watching a film about Ornette Coleman recording a sound track for a French film with Charnett Moffett and David Izenson. There was no time coding or electronic assistance with computers. They simply watched the film and reacted to it, improvising to the visuals. I wanted to do the same thing and I soon got my chance. The performance art group Wusspig, with whom I was playing at the time, got asked to make a soundtrack for a short film. We set up televisions in the studio in front of each musician and rolled the video. We played together like one brain thinking for all of us, reacting to the images, creating sonic responses like a school of musical fish. It was fabulous! I was hooked! Since then I have had the pleasure of repeating that exciting sound track generation experience in the studio and live more times than I can count. The most entertaining of which to date was meeting and working with film maker Robert Pepper and (his band) ‘Post Abortion Stress’ percussionist Amber Brien. After discussing it online, we booked a series of gigs presenting short films by Robert with improvised music featuring the three of us. We decided to make each one different and to do that, we invited several musicians to sit in with us. We worked with electronics artist Steve Beresford, improv rock band The Atomic Crashdown, members of Visitor Q and Render Plant, Eaten By Children, and composer Lin Zhang. Each show had a unique set of artists, each approaching the visuals with drastically different reactions. The entire tour was a fabulous series of acoustical explorations and more importantly, the forging of great friendships and musical partnerships. This summer I will be part of a similar tour with Robert and Amber, this time with the improv band Vultures, my current regular project. Vultures features two of the people I met on the previous P.A.S. tour, Matt Chilton and Anthony Donovan, as well as Dan Beattie, all of whom have become great inspirations and great friends. Vultures has undoubtedly become my favourite project to date. We have been able to explore many musical settings, including working with Indian classical musicians, contact improv dancers, and, of course, film makers. Through film and their sound tracks, my playing has evolved and improved, my compositional ideas have grown, and I not only see the sounds that I make, I hear the images I see on the screen. I have bonded with a few of the other musicians whom have experienced the exciting dialectic of music and film in a similar way. Cheers to the moving picture and the sounds that accompany it! May you all have equally as exciting and entertaining encounters with film as I have had. Will Connor aka Seesar (London, 2009)

Adrian Beentjes & David Cunliffe 'No Concept' Anthony Donovan & Jaan Patterson 'Ashes to Books' Autotistic 'F-Mix 1-1' Fonik 'Faust Excerpt' Inferno Speedgown 'Yearbook' Lezet 'Composition for Ten Hands' Murmurists 'Goya Moog For Ray Johnson' Pixyblink '-1' Post Abortion Stress 'Bitten By a Spider' Ruela Pinho 'Dream For a Druid' Sean Reynard 'Humanman' Seesar 'Limited Sound Trailers'