
Author: catsynth
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Other Cinema: Re-Tracked Animation, Artists’ Television Access
A couple of weeks ago I attended an evening of silent films and live music at Artists’ Television Access called “Re-Tracked Animation.” The program was part of the regular Other Cinema series that occurs at ATA most Saturdays.
As we arrived, there were old film clips (from the 1940s or earlier) playing with various soundtracks. The initial film featured a keyboard player wearing a turban (to look stereotypically “exotic”) set against something that sounded like the Chipmunks. The next short featured a more abstract grainy cartoon with figures made from simple geometry against a more electronic noise-based soundtrack – this one was quite interesting in itself. The final video, a very old Porky Pig cartoon, was played straight.
It was then time for the main features to begin. Jeremy Rourke presented several of his animated video pieces with live accompaniment on guitar, voice and percussion – specifically, singing bowls. His visuals combined found material, often with a “turn-of-the-20th-century” feel to it, with more contemporary video backgrounds and illustrations. You can see one of the videos, eyes hearing stars, in this clip below:
This one in particular featured some moments I referred to as “Monty Python meets Central Park” in that it reminded me a bit of Terry Gilliam’s animations, but the highly processed background of modern-day urban park video and abstract graphical elements give it a unique feel. Musically, the texture was sparse and worked in concert with the video rather than vying for attention away from the imagery, so the overall experience was quite captivating.
For his final piece, Rourke came on stage wearing all white and carrying an all-white guitar. It was clear that he and his instrument were going to be part of the screen for the next video, and that is indeed what happened.

The final video featured more live footage than his earlier animations, and the music was purely guitar-based.
After an intermission, the program resumed with a screening of the Brothers’ Quay In Absentia with music by Karlheinz Stockhausen. Regular readers know that Stockhausen is one of my musical heroes, so I was quite interested to see and hear this piece. The film, although done in 2000, feels like it is much older. The grainy images paint dark and dystopian visuals of ruined machinery against the main scenes of a woman in an asylum and her repetitive existence, writing notes on paper, placing them in envelopes and into a grandfather clock. The music, which is from Stockhausen’s piece “Zwei Paare”, predates the creation of the film, but they nonetheless work together well to create the overall haunting and eerie landscape.
The final set featured members of the ensemble Thomas Carnacki with Greg Scharpen, Jim Kaiser, Jesse Burson, and Gregory Hagan performing live audio tracks to two films. The first was Jan Svankmajer’s The Fall of the House of Usher, based on the Edgar Allan Poe story of the same name. The Poe story was read live by Dean Santomieri along with the music. The visuals featured an empty and abandoned looking manner home, perhaps how the House of Usher would look after the fall. It was forlorn and sad, but rich with texture. And Santomieri’s voice is always captivating in live readings.
The final piece of the evening featured the ensemble performing live to Ladislas Starewicz’ strange but delightful stop-animation film The Mascot. The film, which was created in 1933, features a cast of puppet dogs, cats, dolls, skeletons and any number of other creatures.

It is amazing to think what Starewicz was able to do in the 1920s and 1930s with his creations, without the aid of 3D computer animation or even more modern model-making done at special-effects houses. Below is a still from the original film:

The film is available on the Internet Archive (http://www.archive.org) in its entirety, so I will be tempted to try my own hand at an audio accompaniment for it one of these days…
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CatSynth pic: Mister Kitty returns

Mister Kitty returns to CatSynth, with a MiniMoog model D!
If you would like to submit your own cat-and-gear picture, you can do so via our Facebook page, tweet us @catsynth, or contact us.
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Weekend Cat Blogging and Photo Hunt: Sturdy
We return to a combined Weekend Cat Blogging and Photo Hunt this Saturday on the theme Sturdy. Here we see Luna passing by some of the sturdy support columns that hold up CatSynth HQ.

The wooden beams are quite thick, and fastened with multiple bolts and metal junctions both on the top and bottom.

The diagonal beam adds addition sturdiness, especially in the event of a seismic event. But the strength also has a modernist aesthetic quality that fits the overall style of our space.
Weekend Cat Blogging #356 will be hosted by Kashim, Othello and Salome at PaulChens FoodBlog?!.
The Saturday Photohunt theme is Sturdy.
The Carnival of the Cats will be up this Sunday at When Cats Attack!
And the Friday Ark is at the modulator.
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Untitled Analog Modular Exploration
This morning we at CatSynth have a sound track for your enjoyment.
Last week I was finally able to start putting together my first analog modular system, inspired by my NAMM trip in January. So far I have installed two modules, a Wiard Anti-Oscillator by Malekko Heavy Industry and an E350 Morphing Terrarium by Synthesis Technlogy/MOTM. In this sample, they are modulating one another, with the “X-Y” output of the E350 as the main audio out.
I just let Pro Tools run as I was exploring. I expected to stop after a couple of minutes, but found myself quite enrapt. After ten minutes, I decided it was enough for this track and brought it to a close. I was quite happy with the result, and consider it to be a genuine work of improvised music.
I hope to start uploading more to Soundcloud and Bandcamp in the coming weeks.
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CatSynth pic: Video in Korg Mono/Poly case

Video the cat found a comfortable spot for a snooze in the Korg Mono/Poly case. Submitted by The Wiggly Tendrils via our Facebook page.
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#OccupySF march on April 1
It’s been a little while since I participated in an OccupySF event, a combination of my activities, their activities and the weather. But as we enter spring, many groups around the country are stepping up again. In San Francisco, OccupySF staged a march on April 1 with the goal of establishing a stable home in an empty building, an idea that many referred to as the “SF Commune.” Taking over an empty or abandoned building is not new for Occupy movements. Indeed, Occupy Oakland had staged a large demonstration earlier this year in which they were “planning to take over an abandoned building” whose location was being kept secret until the time of the event. It turned out to be the Kaiser Convention Center, the most well-known abandoned building in the city, and of course the attempt to “occupy” it was unsuccessful. I assumed that the building that would be the destination of the April 1 march would be a bit more obscure.
The event began in Union Square, a major commercial center in San Francisco with upscale retail and hotels. I found members of OccupySF sparsely gathered around the square, with a small concentration up near the stage having a party of sorts. I was particularly happy to see the Brass Liberation Orchestra present.

[This is my one and only Hipstamatic picture from the event.]By coincidence, there was another demonstration happening on Union Square at the same time in support of the opposition in Syria. A sizable group of people were gathered in one corner of the square underneath multiple Syrian opposition flags. Unlike the current Syrian flag, which has two stars, the opposition flags have three stars, and a different color scheme, and are modeled after the flag of the Syrian Republic of the 1930s.

The march itself was quite delayed, as we were waiting were a bus of people from Occupy Oakland to join us and they were stuck in traffic. Why they chose to drive over the Bay Bridge in a bus on a Sunday afternoon instead of taking BART escapes me – everyone here knows the bridge is quite congested at this time. But they did eventually make it, and announcements went out informing us that we were going to be marching to “Occupy SF’s new home.” There were calls to be respectful of the building while making it our own. I was of course quite curious where this building would be and what it would be like. Would it be a modern but vacant office building, or would it be one of the dilapidated apartment buildings in the central Tenderloin district, where the march was initially headed?
And then the march finally began. We streamed out of Union Square, with the Brass Liberation Orchestra launching into that same funky bass rhythm I remembered from the big events last October. It was reminiscent of classic disco bass lines. You can hear a bit of it in this video of our exodus from Union Square, though it is a bit of a challenge to separate from the general din.
We continued the march westward along Geary Street, with the older buildings of the central downtown district to either side of us. (Reports referred to this as Geary Boulevard, which is a common mistake. Geary Boulevard is west of Van Ness Avenue. Here it is still Geary Street.)

This is the major theater district of San Francisco, between Geary and Market. It is also on the upper edge of The Tenderloin, a neighborhood rich in history and culture with bars and clubs, but also a notoriously blighted area with dilapidated apartment buildings and SRO hotels. The city keeps trying to bring businesses here, particularly along “Mid-Market”, with the most recent effort involving Twitter. But there are still lots of abandoned or vacant buildings here, and I had assumed this is where we would end up. But the march continued onward, passing Leavenworth Street and a block where I did some of my most artistic photographs, including one that used a bright red MUNI shelter that we passed.
We came the large intersection of Geary and Van Ness Avenue and then headed south down Van Ness. I was a little unsure at this point where we were going to end up. I thought maybe we would be turning back into the “TL”, but instead we turned westward onto Turk Street. We came to a stop at the corner of Turk and Gough. This is at the edge of the historic Western Addition neighborhood, but also abutting the spreading upscale areas of Nob Hill to the north and Hayes Valley to the south. I wasn’t expecting this location, but here we were, in front of an unassuming low-rise building that looked like a school or public office built in the 1960s.

In the sense that it was a nondescript commercial building, it did fit the profile of an ideal location. The only distinguishing element was the number “888”. This was #888Turk, the new home of OccupySF. Protesters quickly entered into the building, with loud music blaring from the Occupy Oakland bus parked in front on Turk Street.

Soon protesters reached the roof and unfurled banners to cheers on the street and from within the building.

I It turns out that the building, although vacant, is owned by the Archdiocese of San Francisco (i.e., owned by the Catholic church), which explained the rather Christian-sounding banner that some protesters unfurled after taking over the building. It is claimed that this building has been vacant for five years, though the Archdiocese claims it was only vacant for 18 months after housing a school.
I departed sometime in the early evening. But the occupation of 888 Turk continued overnight and into the next morning, but during the day on Monday the building was raided by the police, with about 75 people arrested and then later released. You can read an account (with illustrations) in this article by Susie Cagle at Truthouth. It is hard to say whether this is a success or not But it is one of the more dramatic events to occur so far this spring, and it has been picked up in the press and by other groups around the country. So perhaps it will come to something.







