Re: [Frameworks] Exemplary Sound Design in AG Film

Mike Leggett’s VISTASOUND (1981) – superb. Peter (Perth) From: FrameWorks > on behalf of lindsay mcintyre > Reply-To: Experimental Film Discussion List

Re: [Frameworks] Exemplary Sound Design in AG Film

How about Very Nice, Very Nice (1961) by Arthur Lipsett? Lindsay McIntyre On Mon, May 16, 2016 at 10:02 PM, Ruth Hayes wrote: > Real West by Kevin T. Allen. He uses contact mics, among other strategies. > He has an excerpt on vimeo: https://vimeo.com/130916538 > >

Re: [Frameworks] Exemplary Sound Design in AG Film

Real West by Kevin T. Allen. He uses contact mics, among other strategies. He has an excerpt on vimeo: https://vimeo.com/130916538 Ruth Hayes http://www.randommotion.com blogs.evergreen.edu/hayesr On May 15, 2016, at 12:36 PM, lagonaboba wrote: > For a class I’m preparing, I’m interested in

Re: [Frameworks] Exemplary Sound Design in AG Film

Robert, you teach at Fitchberg state? Have you heard of AgX? Were a new film collaborative situated in Waltham. All of us compose work on 8, 16 and 35mm. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com

Re: [Frameworks] 16 mm reel

hi Sherman - this was the link I originally sent: http://mediastudy.buffalo.edu/10090-2/ this is another set from Todd Eacrett: https://www.dropbox.com/sh/uxtk8fn768753yr/kO5KwtzU6NkKQkw2YwM3a?dl=0 carl (Sent from my phone.) > On May 16, 2016, at 4:49 PM, George, Sherman

Re: [Frameworks] Exemplary Sound Design in AG Film

Albert, Thanks for all the references. I’ll definitely look for Melissa Ragona’s book. I saw the Sharits film many many times, and would always have delirious acoustic hallucinations 2/3 of the way through. Probably why I kept going back, no? On May 16, 2016, at 4:10 PM, Albert Alcoz

Re: [Frameworks] Exemplary Sound Design in AG Film

Yes! The Accursed Mazurka. Thanks! On May 16, 2016, at 4:24 PM, peter snowdon wrote: > What I know of Nina Fonoroff's work has always struck me as a kind of model > for a complexity in the sound track in which formal experimentation and > meaningful polyphonies of language

Re: [Frameworks] Exemplary Sound Design in AG Film

Yes I would agree the sonic can be deeply intellectual but sometimes the intellectual (Frampton, Peter Rose’s linguistic pieces, and everyone’s text and voice) I don’t think of as being creatively sonic, unless one finds quotidian human voice to be so. On May 16, 2016, at 4:12 PM, Francisco

[Frameworks] 16 mm reel

Can someone resend me the photos of the 10o ft 16 mm processing reel. Thanks Sherman George sgeo...@ucsd.edu 858-229-4368 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Exemplary Sound Design in AG Film

By excellent I mean, complex, layered, inventive, of rich and nuanced timbre….excellent for it’s sonic qualities (*as opposed to strictly intellectual qualities*). In experimental cinema It seems impossible to separate those things. Just consider- One of the best uses of sound in cinema is

Re: [Frameworks] Exemplary Sound Design in AG Film

Hi Robert, Have you seen (and/or heard?) any of Jesse McLean's video work (she's also made a few films once upon a time)? There used to be full-length pieces on her vimeo page . But, I'm assuming those have moved to Fandor or are available at

Re: [Frameworks] Exemplary Sound Design in AG Film

How about a lot of the work by the folks over at the Sensory Ethnography Lab, especially those involving Ernst Karel? (Leviathan, Sweetgrass..) https://sel.fas.harvard.edu/index.html Carl From: robert harris [mailto:lagonab...@gmail.com] Sent: Monday, May 16, 2016 1:43 PM To:

Re: [Frameworks] Exemplary Sound Design in AG Film

Thanks for the response Fred. Somewhere in in the recesses of my mind I thought of you when posting the question, a. because for decades I’ve respected your insights, and b., because one of your most memorable posts contained your statement (at least this is how I remember it…) that Beethoven’s

[Frameworks] Exemplary Sound Design in AG Film

You'll find extremely complex layered sound editing in many of the works of Abigail Child, eg, Is This What You Were Born For? (1981–89) 7 parts Mercy (1989) Is This What You Were Born For? Part 7 Mayhem (1987) Is This What You Were Born For? Part 6 Covert Action (1984) Is This What You Were

[Frameworks] Community (WAS: Exemplary Sound Design in AG Film)

On May 16, 2016, at 2:00 PM, frameworks-requ...@jonasmekasfilms.com wrote: > From: Fred Camper Hi Fred, Glad to learn you're still with us. I was beginning to wonder... > Why not tell us your name, location, and the name of the school? I quite agree that a presentation

Re: [Frameworks] Exemplary Sound Design in AG Film

Here are some I've screened in the past and they have been very well received. Ed Emshwiller's thanatopsis is a perfect film for this class, thrilling. I would add Scott Bartlett's films. He used sound in very powerful ways in all his work. moon1969 and Offon and Serpent and Metanomen. Also,