Tesseract ！ 2005, 20 minutes, 35mm with sound
Tesseractfilm.com
funded by The Princess Grace Foundation, USA
screenings: Albright Knox Art Gallery, Buffalo, NY; Lancaster Film Festival, NY (awarded Best Film); Rochester Int'l Film Festival; Jutro Filmu, Warsaw, Poland (awarded Best Photography); Top Kino, Vienna
Tesseract was inspired by Hollis Frampton's essay, Fragments of a Tesseract. The story of Eadweard Muybridge's obsession with capturing motion in sequential photography is told using a fragmented screen. The film itself resonates with Muybridge's early experiments in portraying motion: here a story is presented as spreads of intersecting, resonant time.
Tesseractfilm.com
funded by The Princess Grace Foundation, USA
screenings: Albright Knox Art Gallery, Buffalo, NY; Lancaster Film Festival, NY (awarded Best Film); Rochester Int'l Film Festival; Jutro Filmu, Warsaw, Poland (awarded Best Photography); Top Kino, Vienna
Tesseract was inspired by Hollis Frampton's essay, Fragments of a Tesseract. The story of Eadweard Muybridge's obsession with capturing motion in sequential photography is told using a fragmented screen. The film itself resonates with Muybridge's early experiments in portraying motion: here a story is presented as spreads of intersecting, resonant time.
The Gates of Time ！ 2005, digital photograph
This photograph was computed from the process of algorhythmic panoramic stitching of the over 2000 still photographs from Eadweard Muybridge's Motion Studies captured as part of the post production process of Tesseract. The computer has attempted to find spatial correlations in the sequential temporal images, and in the process constructed crystalline amalgamations of images that evoke complex enfoldings of time; it is literally a view into four dimensional tesseract space.
This photograph was computed from the process of algorhythmic panoramic stitching of the over 2000 still photographs from Eadweard Muybridge's Motion Studies captured as part of the post production process of Tesseract. The computer has attempted to find spatial correlations in the sequential temporal images, and in the process constructed crystalline amalgamations of images that evoke complex enfoldings of time; it is literally a view into four dimensional tesseract space.
Metonymy & Multichannel ！ 2006; video essay produced for the Filmic
Interval conference at the Slade Research Center, London, UK
Metonymy & Multichannel critically analyzes multi-channel video in its own form. A narrated video, using imagery from Rhodes' many multi-channel films, critically analyzes the signifying structure and possibilities of multi-channel in terms of Henri Bergson, Gilles Deleuze, and Roland Barthes.
Metonymy & Multichannel critically analyzes multi-channel video in its own form. A narrated video, using imagery from Rhodes' many multi-channel films, critically analyzes the signifying structure and possibilities of multi-channel in terms of Henri Bergson, Gilles Deleuze, and Roland Barthes.
Leaving ！ 2005, multi-channel video for screening, 4min; commissioned
by Niagara Council for the Arts for the Sound Needs Image series @ The
Carnegie Art Center, Tonawanda, NY
Leaving, takes the virtual situation of multi-channel and refers it back to the actual. Here the multi-channel screen is created both through multiple cameras, and through the portals of a house. The house is made into a screen for the projection of memory, and the virtual, un-touchable nature of memory is expressed through the flat projected screen which can be moved, but not entered, leaving us homeless in the present.
Leaving, takes the virtual situation of multi-channel and refers it back to the actual. Here the multi-channel screen is created both through multiple cameras, and through the portals of a house. The house is made into a screen for the projection of memory, and the virtual, un-touchable nature of memory is expressed through the flat projected screen which can be moved, but not entered, leaving us homeless in the present.
Double 8 ！ 2005, video with sound, 5 minutes; collaboration with
composer, Otto Mueller
Double-8 takes as its point of departure a particular situation of temporal documentation in the antique medium of double-8 film. One side of the screen is moving forwards in time in dual-frame, and the other side is moving backwards. Simple narrative actions are explored in these temporal loops and given an original orchestral score.
Double-8 takes as its point of departure a particular situation of temporal documentation in the antique medium of double-8 film. One side of the screen is moving forwards in time in dual-frame, and the other side is moving backwards. Simple narrative actions are explored in these temporal loops and given an original orchestral score.
Emergent Cinema 2005, film, indeterminate length, a collaboration with
Prof. Steven Eastwood, Univ. London,
Emergent-C.org
The goal of Emergent Cinema is to make a film without adhering to a singular agenda, i.e. the vision of a Director. Instead, the film is assembled through a process of combinatory creativity. This experiment was tried in collaboration with the film community of Buffalo, New York in 2005.
Emergent-C.org
The goal of Emergent Cinema is to make a film without adhering to a singular agenda, i.e. the vision of a Director. Instead, the film is assembled through a process of combinatory creativity. This experiment was tried in collaboration with the film community of Buffalo, New York in 2005.