Line Describing A Cone – some reflections from events at the Drill Hall Gallery and the University of Wollongong

What follows is a report back on the event on Sat 20 Sep at the Drill Hall Gallery, Canberra and today in the theatre in room G04 in building 29 at University of Wollongong.

To my mind, both of these events have been a success but in different ways. The black room at UOW was very kind to the work. Using a standard 50mm lens made the line as sharp as possible, there was a slight shine to the black wall which also made the projection stand out. The throw was long (c. 20 m) which felt spacious and gave plenty of room for the audience of students and academics to get into and around the beam.

The order of events at the Drill Hall seems to have helped build a sense of community in the group. Lucas and I introduced the work and that included Lucas talking about building community as part of the point of expanded cinema and our work with re-enactment. There was lots of hubub as the projector rolled. I recall it quietened as the line emerged and started up again as the cone started to become visible.

The students at UOW benefited from the group of about 8 academics who came to see the work. They led the way in moving around the room and interacting with the light beam. I think all of us prodded students to get up and have a look around (I certainly did). So there was still participation in the room but certainly things were silent at the start.

Here’s a bit of a compare and contrast.

projection conditions – the Drill Hall space was a white-walled gallery, 10 metres long. The xenon Eiki had a zoom lens on it. The white room meant incidental light spilling from the top and side of the projector needed to be shrouded. We blocked the top spill with a white paper, next time that would be better in black as the white paper actually created the side spill (I used my blue jacket to block that).

The active air conditioning created swirl across the gallery, clustering the haze near the projector. Some fanning of haze down the path of the projector beam helped with that.

While both of these seem pretty obvious, it’s worth noting these as some new things to think about:

  • a white walled room will pick up any spill from the projector
  • air conditioning will influence the behaviour of the haze.
Line drawing diagram of installation of Line Describing a Cone at the Drill Hall Gallery, Canberra

I’ve mentioned the sense of community was different. The dot points I’d note there:

  1. Showing something to ‘warm up’ the audience and create some space before Line Describing for them to talk to each other seemed to work very well at the Drill Hall. In the early SMIC/TLC screenings, that idea of a ‘warm up’ was something we did often, I recall we have used the language ‘sensitising the audience’ to describe it ie doing something to get them in the receptive zone. My super 8s quite often played that role.
  2. Before the UOW screening, we gave the students the job of folding our new zine about Line Describing. That got them sitting in a circle and interacting with each other but it didn’t get them chatting together in the same way that happened at the Drill Hall.
Students kneeling in a circle folder zines for Line Describing a Cone

While that concludes this compare and contrast section, a new idea came out of thinking about creating community in the group before the projectors roll. Lucas and I did discuss that if we do make another performance outdoors, it would be great to plant some things beforehand or maintain some existing plantings to do something towards paying the rent on the carbon footprint.

I also want to note a technical aspect to screening the film by outlining what’s on the print from Lux. It starts with green leader, then goes into a clock leader and two titles, one with Anthony’s name (I think this also has the year 1973), another with the title Line Describing a Cone. Both the clock leader and the titles are sharp, you can confidently use them to check focus.

 

 

 

CONE & BULB – event info

When: Saturday 20 September, 6.30-8pm
Venue: Drill Hall Gallery, ANU Canberra
Attendance is free, bookings required: Register here

line describing a cone 2015 kandos[Anthony McCall’s Line Describing a Cone (1973) presented at CEMENTA Festival in Kandos, 2015. Photo by Alex Wisser]

CONE + BULB – an evening of landmark Expanded Cinema is a presentation by Australian artist group Teaching and Learning Cinema (Lucas Ihlein and Louise Curham). Closely aligned with the Drill Hall Light Source exhibition’s focus on the technologies of cinema projection, we offer two groundbreaking works from the early days of the London Film-makers Co-op.
Continue reading “CONE & BULB – event info”

Collecting and Preserving New Media and Performance Art (with Pip and Libby)

Pip Laurenson with film scanner
Pip Laurenson at UCL with the high-tech celluloid film scanner

While in England, I (Lucas) was lucky enough to visit Pip Laurenson and Libby Ireland at University College London. They have a whole program which tackles the philosophical and practical challenges of conserving media art and performative art. In the photo above, you can see Pip showing me a very fancy celluloid film scanning device, used for transferring 35mm or 16mm films to high-resolution digital video files.

In the same room (I wish I had taken a photo!) there was a pile of sample video formats – ranging from U-Matic, Beta, VHS, mini-DV, DVD etc. One of the big questions for the conservation of moving image work is when and how to transfer from one format to another – and the aesthetic considerations of such transfers.

With conservation decisions about media artworks, there aren’t really any right or wrong answers – much of this is done on a case-by-case basis. A lot depends on the artists’ stated intentions, alongside experienced judgements about the most important things to prioritise about a particular artwork (Louise and I refer to these as the work’s “DNA”).

Libby Ireland with artwork undergoing conservation
Conservator Libby Ireland with artwork undergoing conservation

In the conservation lab at UCL, Libby showed me this artwork by pioneering kinetic artist Liliane Lijn. It’s called Cosmic Flares III (1966).

cosmic flares iii
Liliane Lijn, Cosmic Flares III, 1966.
Courtesy Liliane Lijn, Rodeo London, Piraeus. © Liliane Lijn. All Rights Reserved, DACS 2021. Photo: Stephen Weiss/ Liliane Lijn

The work consists of a painted timber frame, a perspex panel with a pattern of dots made of small polymer lenses (a bit like contact lenses for your eyes), and a set of incandescent light bulbs set into the frame edge. The light bulbs turn on and off in different combinations to create an ever changing kinetic light sculpture.

The light bulbs were very specifically chosen for the work, which was made in the 1960s. Of course, these bulbs are no longer commercially available, so the challenge for the conservator is to work with the artist (who is still alive), the collector who owns the work, and various lightbulb manufacturers to come up with a solution. Possible solutions could include:

  • to commission the fabrication of bespoke incandescent lightbulbs to match the originals;
  • to reverse engineer the bulbs so that they have the same outer shell but with an LED insert;
  • to start from scratch and remake the whole artwork with new bulbs;
  • to try out some other solution.

In the end, what decision is made will depend on a range of overlapping factors:

  • how flexible the artist is in allowing the work to evolve into new technological formats;
  • how expensive the new lightbulbs are (and how much the artwork’s owner is prepared to stump up);
  • the quality of light that any replacement bulbs have, relative to the originals;
  • and what “meaning” those specific bulbs had in the original work.

There are a lot of factors and the solution is always going to be an experiment, and an opportunity for learning.

While we (Pip, Libby, and I) were talking, we reflected on the fact that the practice-based research processes underpinning conservation are dialogical – they involve a lot of conversations, and these conversations can generate fascinating stories which, if shared with an audience, can enrich our experience of the work. That’s why it’s great that Pip and Libby are so diligent in publishing the stories of their work in collecting and conserving new media and performance art. You can see some of their articles here and here.

Proposition for the museum acquisition of Horror Film 1

Museums find it difficult to collect works of media and performance art, compared with traditional art objects like paintings, drawings, and sculpture. This makes sense. A media artwork might consist of a combination of software and hardware, as well as data-storage components (digital files, audio tapes, celluloid films, etc) all of which can be volatile – they decay, software goes out of date, etc.

And performative works are often made to be experienced “live” – they don’t exist as durable objects. So collecting media and live art is tricky. But it should be done! If not, museums are not honouring their responsibility to store and transmit significant cultural works into the future.

I (Lucas) have always struggled with the poor historicisation of conceptual and performance art. It’s difficult for younger generations of artists to access and build upon the work of our predecessors if we never get to experience those works for ourselves. So I believe it behooves museums to put in the effort, and skill up their staff on the best ways to collect and care for ephemeral / experience-based art.
Continue reading “Proposition for the museum acquisition of Horror Film 1”

Making connections in France and England

I (Lucas) am on a trip to Europe, mainly for family reasons. While I’m here, I decided to take the opportunity to visit some folks TLC has been working with for a while.

This is Raja Appuswamy, a data scientist who’s been leading the “synthetic DNA” component of our collaboration. Raja lives in the south of France, and it so happened that my family was passing close to his town, so we met up for a gelato in Nice.

Raja and Lucas meet in Nice

In this photo, Raja hands over a plastic vial containing four tiny stainless steel capsules of synthetic DNA. The DNA in these capsules houses a prototype version of our Horror Film 1 Users Manual.

four tiny stainless steel capsules

The proposition is this: synthetic DNA can store vast amounts of data, without loss or degradation, at room temperature, for 1000 years. For this reason, Raja argues, synthetic DNA may be a good candidate for archiving items of cultural significance. It’s early days for this technology – using synthetic DNA is still too expensive to be properly useful – so really, our collaboration thus far stands as a ‘proof of concept’ and a provocation.

Continue reading “Making connections in France and England”

Vale Malcolm Le Grice (1940-2024)

We, Lucas and I, are so saddened by the passing of Malcolm Le Grice. Lucas and Malcolm first met in 2003. Reconnecting in Sydney in 2010, Malcolm told Lucas he felt it was time ‘hang up his boots’ on performing Horror Film 1. Since then, we’ve been in intermittent contact with Malcolm, lots in the past couple of years. 

Continue reading “Vale Malcolm Le Grice (1940-2024)”

What’s in the DNA capsule for ‘Horror Film 1’?

Raja and I (Louise) met back in 2021 when I chaired a panel he was in at iPRES. Our session was online and we had time to chat beforehand. I’d read up about his paper on DNA storage. I knew something about this because I saw a great presentation about it from former National Film and Sound Archive director Jan Muller. Muller loved DNA storage and he organised for Cathy Freeman’s Olympic win to be stored on DNA and then decoded from that source for display on the Opera House sails in Sydney. I don’t have specific dates for this work but it was in the period around 2016.

Somehow I discovered Raja was looking for a “use case” from cultural heritage to show the potential of DNA storage and that’s how we began a dialogue about the work Lucas and I have been doing with Malcolm Le Grice to make a user’s manual for Horror Film 1 (building on our project Wo(Man) with Mirror with Guy Sherwin, and lessons from work with Lynn Loo on Autumn Fog). 

Fast forward to Feb 2023 and Raja was ready to actually encode some content on DNA. What went in there? Here’s a screenshot from the Dropbox that Raja used to store all the final content:
Continue reading “What’s in the DNA capsule for ‘Horror Film 1’?”

The Provocation of Synthetic DNA

raja with synthetic dna capsule
Raja Appuswamy shows capsule of synthetic DNA

I (Lucas) am thinking about the provocation of sending info 1000 years into the future in the synthetic DNA capsule.

This provocation emerges from our collaboration with Raja Appuswamy, a data scientist at Eurecom in France, who is storing our Horror Film 1 Users Manual and associated documentation materials on synthetic DNA.

Raja is working with our project as a demonstration of a ‘use case’ for synthetic DNA storage – the idea is that items of intangible cultural heritage (like Horror Film 1) can be sent into the future as an act of preservation, or archiving.
Continue reading “The Provocation of Synthetic DNA”