What comes together through sound is emergent and passing time — a sense of duration, the field of memory, a fullness of space that lies beyond touch and out of sight, hidden from vision (…) Through that strange anomaly of the senses, the way we perceive the world and the ways in which we represent those perceptions, we strain to hear what can never be there. ­­
-David Toop, Sinister Resonance: The Mediumship of the Listener.

Images and sounds of whimsical exploration. Small urban vignettes in Portugal rise to the surface and fade into memory. A short film born of detachment, remove, alienation. Walking, looking, shooting, recording sound. One day with camera, the next with sound recorder; a tag team of geographical tracings. Quotidian theater beckons; a sheet waving in the wind, the sound of a streetcar; why do these unadorned moments seem so necessary ? The sketches accumulate and then dissipate.

Jacqueline Goss and Jenny Perlin retrace the journey of the two astronomers tasked with determining the true length of the meter. From the Mediterranean Sea to the English Channel, The Measures explores the metric system’s origins during the violence and upheaval of the French Revolution. Along the way, Goss and Perlin consider the intertwining of political and personal turmoil, the failures of standardization, and the subtleties of collaboration.

In a home filled with rare art objects from around the world, a disjunctured set of tales unravel about the travels of collector Don Boros. Dislocating fact from fiction and time from place, the tales are intermixed with the notable text “Sensations of Tone” by Helmholtz, the 19th century physicist. This work exists as a single channel and interactive version. This work utilizes the audience’s iPhones to provide for a sonic and visual experience that physically engages the viewer and incorporates the space of the theater.

A film centred on the production of landscape and concrete in the Arrábida Natural Park, Portugal. Covering a vast area of coast, caves, mountains and forest, the park is inhabited by a massive concrete factory that branches through the landscape. Documenting the various layers of the sourced material, the factory body and the constructed landscape, the film looks at how time is physically embedded in the matter and how the molecular particles act in a circular re-shaping of the whole. The film merges 16mm footage shot in the area of Arrábida with 3D animation of the topographic landscape as an equal analogue layer.
Screenings include: CPH:DOX, Courtisane Festival, Images Festival

Live soundtrack and soundscape from Maile Colbert.

Mark Street has been making films, videos and installations for 30 years. His work has moved from tactile, abstract explorations of 16mm film to essays on the urban experience to improvised feature length narratives. He has shown at places like the Museum of Modern Art in New York as well as venues such as a former strip club in New Orleans called the Pussycat Cavern.

Maile Colbert is an intermedia artist with a focus on sound and video. She is currently a PhD Research Fellow in Artistic Studies with a concentration on sound studies, sound design in time-based media, and soundscape ecology at the Universidade Nova de Lisboa, Faculdade de Ciências Sociais e Humanas, through the Fundação para a Ciência e a Tecnologia, and a visiting lecturer at the Faculdade de Belas Artes da Universidade do Porto. Her current practice and research project is titled, Wayback Sound Machine: Sound through time, space, and place, and asks what we might gather from sounding the past.

Jacqueline Goss makes movies about scientific systems and how they change the ways we think about ourselves. Recent works include “The Observers” – a feature-ish length portrait of a weather observatory on the windiest mountain in the world and “Hart’s Location” about the 2016 New Hampshire presidential primary.  Goss is a 2008 Tribeca Film Institute Media Arts Fellow and the 2007 recipient of the Herb Alpert Award in Film and Video. She teaches in the Film and Electronic Arts program at Bard College in the Hudson Valley of New York.

Jenny Perlin makes films, videos & drawings. She lives and works in Brooklyn. Perlin received her BA from Brown University in Literature and Society, her MFA from the School of the Art Institute of Chicago in Film, and postgraduate studies at the Whitney Independent Study Program, New York. Her films have been shown at numerous venues including the Whitney Museum of American Art, New York; the Guggenheim Museum, New York; MoMA, New York; New York Film Festival, New York; the Drawing Center, New York; The Kitchen, New York; Mass MoCA, Massachusetts; Guangzhou Triennial, Canton: IFC Center, New York, Berlin and Rotterdam film festivals; Scottsdale Museum of Contemporary Art, Arizona, among others.

Monteith McCollum is an inter-media artist working in film, sound, and sculpture. His films have screened at Festivals and Museums including MoMa, The Hirshhorn, Wexner Center for the Arts and Festivals including SXSW, Slamdance, San Francisco, Amsterdam IDFA, & Osnabruck European Media Arts Festival. His films have garnered dozens of festival awards including an IFP Truer than Fiction Spirit Award. In addition to making films Monteith has consistently been creating unique compositions for films and performances. Compositions are included on the NYFA Fellow CD compilation by Innova. His film and sound work have received support from organizations including New York Foundation for the Arts, Rockefeller Foundation, NEA, Jerome Foundation and Kodak. Recent Audio Visual performances of “Hidden Frequencies” include HallWalls, Fylkingen, Bric Arts Media House NY, and Alchemy Film Festival.

Tinne Zenner (b. 1986, Denmark) is a visual artist and filmmaker based in Copenhagen. She received her MFA from The Danish Royal Academy of Fine Arts in 2016. Working with analogue film and 3D-animation, her work explores the physical structures, in which layers of history, politics and collective memory are embedded.