Peter Rose
1947 (77 лет)As he has written: Some of us work in a proximate relation with our intended audiences, speaking familiar languages so that the archetypes of our culture may be recognized; and some work out a self-creating interiority from which, if we are lucky, we bring back the shape of a newly imagined alphabet of feeling. I find myself oscillating between these two agendas and find the dialectic a productive one, a reflection of the complex, contradictory nature of our times.
The Geosophist's Tears
Peter Rose
The Geosophist’s Tears (2002, video) was shot during a seven week cross country road trip in the aftermath of Sept. 11th. The work is symphonic in ambition and offers a complex meditation on the iconography of the American landscape. Drawing on the strategems of the early geosophists, who believed that through the operation of a mysterious instrument landscapes might be placed in an emotionally meaningful correspondance with one another, the work uses a variety of visual algorithms to propose and discover surprising structural features of the uninhabited American landscape. Sounds for the work were produced by a remarkable antique slide rule, dating from 1895, that was untouched for over forty years and whose peculiar threnody is both mournful and rhapsodic. In its fractured and phantasmagoric reworkings of the horizon, the work offers us unstable metaphors for the state of the union and a respectful homage to the traditions of painting.
The Geosophist's Tears
The man who could not see far enough
Peter Rose
A film that uses literary, structural, autobiographical, and performance metaphors to construct a series of tableaux that evoke the act of vision, the limits of perception, and the rapture of space.
The Man Who Could Not See Far Enough
Secondary Currents
Peter Rose
Secondary Currents is a film about the relationships between the mind and language. Delivered by an improbable narrator who speaks an extended assortment of nonsense, it is an 'imageless' film in which the shifting relationships between voice-over commentary and subtitled narration constitute a peculiar duet for voice, thought, speech, and sound. A kind of comic opera, the film is a dark metaphor for the order and entropy of language and has been the subject of a number of articles on the use of language in the arts.
Secondary Currents
The Pressures of the Text
Peter Rose
Peter Rose
1983 Peter Rose short film. A parody of art/critspeak, educational instruction, gothic narrative and pornographic diction, it has been performed as a live work at major media centers and new music festivals in the US and Europe.
The Pressures of the Text
Studies in Transfalumination
Peter Rose
Modified flashlights and stripped down video projectors explore the visual complexities of the ordinary world: a tunnel, a clump of grass, a discarded table, the underside of a bridge, fog, a piece of rock and a tree. All the images were shot in real time, there is no animation, but through the power of a peculiar form of illumination they become mysterious and evocative.
Studies in Transfalumination
Analogies: Studies in the Movement of Time
Peter Rose
Analogies: Studies in the Movement of Time uses a variety of multiple screen formats to create an intriguing series of visual riddles. The film consists of a series of simple camera movements that are rendered "diachronically"- several different aspects of the action are presented on the screen at once. By playing with time delays between these images, new kinds of space, action, gesture, and temporality have been found. Generated from structural principles, the film is both lyrical and sensual and provokes a new understanding of time and cinema.
Analogies: Studies in the Movement of Time
Incantation
Peter Rose
Using rapidly edited, superimposed images of plants, trees, water, the sun and the moon, Incantation weaves a dynamic tapestry of organic forms and textures, combining its images with a fierce rhythmic intensity so as to suggest a kind of natural force. The film was shot entirely in the camera, in 8mm, according to a pre-arranged, music-like score, and then blown up to 16mm using a home-made optical printer. The accompanying sound track, a chant taken from Islamic liturgy, is breath-based and brings the film into the form of a prayer. Written by re:voir
Incantation
A Roll for Peter
Eve Heller, Peter Rose
Twenty-plus former students, colleagues, and admirers of Peter Hutton answered an invitation to shoot A Roll For Peter. The parameters were simple: shoot a single 100 feet roll of black and white 16mm film. They were then strung together with black film separating the rolls, as Peter often separated the single shots in his films.It is a series of pieces that speak to Peter’s strong contemplative aesthetic ethos. Each filmmaker has 2 and half minutes of screen time to commune with Peter’s memory, and the collected rolls will become more than the sum of their parts.
A Roll for Peter
