The films

The images in the film #43 are generated by systems in which the pixels are agents that are, in some respects, comparable to organic cells. These systems are bumped into motion by disruptions that cause a difference between some pixels and their neighbours. These miniscule differences become seeds for processes of decay and growth, an imbalance that embodies a store of energy for the system as a whole, similar to electrical potential. Under some circumstances the cells in the system feed each other so that oscillatio...
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In a rural landscape approximately an hour due south of Amsterdam, an open-air laboratory is tuning to the atmospheric frequencies of nature, separating the signal of climate change from the noise of cyclical variability. Since 1970 the Cabauw Experimental Site for Atmospheric Research has been measuring and monitoring the changes taking place in the feedback loops between land surface processes and the airborne dynamics of our planet, studying the ways in which the complex behaviour of cl...
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There’s no sentiment as bold as the one in a duel shot in cinemascope. There’s no emotional drop height as big as in abstract vertical movies.

Billy Roisz and Dieter Kovačič explore the world of cinematic formats based on the genre that experimented with the width of the screen to display spectacular landscapes: Western movies and their wide span of (male) heroism between life and death. The music and imagery of Bring Me The Head Of Henri Chrétien! are thus based on Westerns and their soundtracks. Spagh...
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Chrome is inspired by the autochrome process, a colouring technique for black-and-white photographs invented by the Lumière brothers in 1903. In the autochrome process, microscopic grains of potato starch dyed red-orange, green and blue-violet act as colour filters. At normal viewing distances, the light coming through the individual grains blends together in the eye, reconstructing the colour of the light photographed through the filter grains. In Chrome the images created by this process are ‘amplified’, as if...
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my tv has no picture, just vertical colour lines… sound is fine…

Colterrain, the title of this film, refers to a colourful landscape, a terrain described by lines similar to geographic mapping – in this case a mapping of sound. What you hear is what you see, literally. The audio was transmitted through a Synchronator device that translates audio frequencies into RGB video frequencies.

With this method, the image is actually the music turned into colour and filmed live using analo...
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The myth of Icarus whose waxed feather wings melted away because he flew too close to the sun is an early record of an object falling back to Earth. A more recent atmospheric entry is that of the modular Russian space station Mir on 23 March 2001. The debris scattered over an area of more than 1500 kilometres in the Pacific Ocean.

Deorbit is an observation mission with a mind of its own. It too is a rebellious entity – with a mission to reconstruct knowledge retrieved from space-objects orbiting planets in f...
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‘What are we watching?’ is the first thing viewers of Louver might ask themselves. Connoisseurs of Kämmerer’s work are aware that we are possibly witnessing a perceptual illusion caused by the mysterious hypnotic ‘two-dimensional’ movements of a light-object. Our distracted senses are unable to determine if we are observing the ‘real thing’ or abstract patterns of ‘digital light’. Here, we might also try and seek structure, some mathematical point where the movements are conducted, so they can reve...
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The surface of the Moon seems static. Though it orbits the Earth every 27.3 days, with areas of it becoming invisible during this rotation, it is always (visibly or invisibly) above us, reassuringly familiar. The Moon is the best known celestial body in the sky and the only one besides the Earth that humans have ever set foot on.

The Seas of the Moon (Lunar Maria), consisting not of water but of volcanic dust and impact craters, appear motionless to the naked eye. Here, volcanic dust forms a thick blanket of l...
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Among the most mysterious man-made structures ever built, the pyramids still challenge scholars and provoke pseudo-scientific theories. Most architects have abandoned the idea of recreating a pyramid in modern times: first of all, it isn’t efficient as a building, and secondly, any content that might be assigned to it could hardly ever counteract its grandeur and ambition. So one could rightfully ask: Why build one today?

Pyramid Flare is the second in a series of experimental films about modern pyramids all...
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The vertical plan of V~ demonstrates – in the sense of presenting evidence as well as in the sense of a projection – the process of creation from forces of numerical matter. Geometric objects constantly create and destroy themselves. Our perceptions are challenged by an immense diversity of forms that arise without following the evolutionary logic of a genesis, but continuously recreate themselves in a sublime flow of force through extinction; lines and surfaces appear and expand according to invisible rules, th...
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Light and sound engraving on weathered concrete created by scanning the architectural elements of a bunker wall. Verticality as a concept of resistance. The freezing of time to its absolute limit, made visible as a monolith. This resilient anti-tank wall from the Second World War was used as metaphorical time block in which it served as a projection screen for the imagination and musical expression of resistance. Thus the Walzkörpersperre, itself an object of conflict zone and delay tactics, became exposed to a bar...
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