artist: JOHN GRZINICH
title: Two Films
catalog number: and/40
release year: 2012
format: DVD (All Region / NTSC)
status: available
title: Two Films
catalog number: and/40
release year: 2012
format: DVD (All Region / NTSC)
status: available
and/OAR, Maaheli Editions and Paleosol Edition are extremely pleased to present
two films by sound artist John Grzinich: Sound Aspects Of Material Elements &
Mimema which features cameo appearances by Patrick McGinley (aka Murmer),
HItoshi Kojo (aka Spiracle), Eamon Sprod (aka Tarab), Jim Haynes, Toomas
Thetloff, Maksims Shentelevs, Kaspars Kalninsh, Evelyn Muursepp, Mari Jõgiste,
Vivian Bohl and Pärt Ojamaa.
Technical note: Some hardware and software playback systems may need to be
adjusted to properly display the 16:9 (widescreen) aspect ratio of this DVD. To do
this, go to the options menu for your TV monitor and DVD player.
Sound Aspects Of Material Elements
Black & White, 57 minutes HD, 16:9 Aspect Ratio
Concept, sound, camera, editing: John Grzinich
Equipment and support: MoKS - Center for Art and Social Practice, Mooste, Estonia.
Collaborative recordings made with: Patrick McGinley, Jim Haynes, Toomas
Thetlof, Maksims Shentelevs, Kaspars Kalninsh, Eamon Sprod, Hitoshi Kojo, and
Evelyn Müürsepp.
Sound Aspects of Material Elements is a the film that shows a specific approach to
the artistic use of sound, covering a 3 year period (2006-2009) of the author's
personal research and collaborations with a number of close colleagues. What we
hear and see reveals how much our ability to listen with a creative ear, helps us re-
interpret and build new relations to what surrounds us. Using sound as the primary
signifier. The film documents in-situ processes of exploration and sonification of the
landscape along with various material, objects and structures found there. All the
sounds captured formed the basis for each shot emphasizing how the combinations
of certain materials (metal, wood, glass) along with natural elements (water, wind
fire), transforms our perception of even the most common everyday places or
situations.
Mimema
Color, 24:38 minutes, HD 16:9 Aspect Ratio
Concept, sound, camera, editing: John Grzinich
Equipment and support: MoKS - Center for Art and Social Practice, Mooste Estonia.
Mimema is a meditation on states of liminality, of being in stasis, drifting in-between
above and below, night and day, inside and out. Mimema started out as a sound
composition and grew into a series of images that reflected my desire to invert the
world around me by capturing the 'real' and making it 'imaginary', Much like a mirror
that reflects the shifting states of human cognition we encounter moment to
moment. Mimema is the blur between what we sense and what we construct as
understanding, appearing as much a body as a fluid or boundary as a state of
dissolution.
"Sound Aspects of Material Elements by John Grzinich is a highly unique film, an
elegant collection of location sound explorations captured over a three-year
period. Empty landscapes of blowing grass and drifting clouds, slight manipulations
of abandoned and natural objects, solo engagements with architectural structures,
duos and occasionally larger groups of participants “playing” found materials. In
each case, all sounds are sourced within a location, augmented and activated
through simple acoustic techniques – tubes, wires, mallets and contact mics. Each
'situation' becomes a kind of instrument, each 'place' is approached as a rich source
of sonic matter. This film finds itself between ‘sound art’ and cinema. Unlike most
movies, the film follows strict limitations in using only location-based, real-time
sound capture. On the other hand, there is strongly disjunctive relationship between
what we see and what we hear because of the predominant use of unusual miking
techniques. The shots themselves are often medium to long, and place the objects
or figures within the landscape – desolate Estonian fields, ramshackle barns,
windswept telephone wires, nighttime fires, abandoned and corroded metal tanks or
girders. The sounds, however, are not only of, but inside the location being shown.
We hear into spaces and materials through the careful use of contact mics or the
placement of microphones inside containers, tubes and vessels. These decisions
amplify, magnify and distort the sonic landscape in relation to what is seen. It can
feel like existing on two levels at once. Sound Aspects of Material Elements
doesn’t illustrate, interpret or elaborate upon sound with image, it just shows -
demonstrating the elements at play in a particular arrangement or situation. At the
same time, the links between sound and image are more than just causal. They are
the result of careful exploration, fine-tuned framing, and a delicate balance of the
haphazard and the instigated." (Seth Nehil)
"One way to describe John Grzinich's film Mimema would be 'hypnogogic drone
poem cinema'. Watching sleeping floaters dream in the eye of the camera. The
sound and visual elements work together in such a way, that it's difficult to keep from
falling under its hypnotic spell. Very rich and deep. Meanwhile, Sound Aspects Of
Material Elements is a unique cinematic documentary experience that says much
without uttering a word. For the less initiated, it not only teaches sound appreciation
in an inspiring way, but also demonstrates where sound sources found in much of
today's field recording-based sound art compositions initially come from. Certainly a
landmark moment for and/OAR and one of the most prized releases in the label
catalog." (Dale Lloyd)
John Grzinich has been conducting his own forms of sound research for
over 15 years, including field recording, kinetic sculptures,
electro-acoustic composition, performance, videography, group workshops
and exercises in listening. Currently he lives in Estonia and works as a
program and technical coordinator for MoKS, a non-profit artist-run
center. He has published CDs of his sound works on international labels
such as: SIRR, Mystery Sea, Staalplaat, Erewhon, Intransitive, Cut,
Elevator Bath, Invisible Birds, Semper Florens and others. Documentation
and examples of his work can be found at: http://maaheli.ee/
two films by sound artist John Grzinich: Sound Aspects Of Material Elements &
Mimema which features cameo appearances by Patrick McGinley (aka Murmer),
HItoshi Kojo (aka Spiracle), Eamon Sprod (aka Tarab), Jim Haynes, Toomas
Thetloff, Maksims Shentelevs, Kaspars Kalninsh, Evelyn Muursepp, Mari Jõgiste,
Vivian Bohl and Pärt Ojamaa.
Technical note: Some hardware and software playback systems may need to be
adjusted to properly display the 16:9 (widescreen) aspect ratio of this DVD. To do
this, go to the options menu for your TV monitor and DVD player.
Sound Aspects Of Material Elements
Black & White, 57 minutes HD, 16:9 Aspect Ratio
Concept, sound, camera, editing: John Grzinich
Equipment and support: MoKS - Center for Art and Social Practice, Mooste, Estonia.
Collaborative recordings made with: Patrick McGinley, Jim Haynes, Toomas
Thetlof, Maksims Shentelevs, Kaspars Kalninsh, Eamon Sprod, Hitoshi Kojo, and
Evelyn Müürsepp.
Sound Aspects of Material Elements is a the film that shows a specific approach to
the artistic use of sound, covering a 3 year period (2006-2009) of the author's
personal research and collaborations with a number of close colleagues. What we
hear and see reveals how much our ability to listen with a creative ear, helps us re-
interpret and build new relations to what surrounds us. Using sound as the primary
signifier. The film documents in-situ processes of exploration and sonification of the
landscape along with various material, objects and structures found there. All the
sounds captured formed the basis for each shot emphasizing how the combinations
of certain materials (metal, wood, glass) along with natural elements (water, wind
fire), transforms our perception of even the most common everyday places or
situations.
Mimema
Color, 24:38 minutes, HD 16:9 Aspect Ratio
Concept, sound, camera, editing: John Grzinich
Equipment and support: MoKS - Center for Art and Social Practice, Mooste Estonia.
Mimema is a meditation on states of liminality, of being in stasis, drifting in-between
above and below, night and day, inside and out. Mimema started out as a sound
composition and grew into a series of images that reflected my desire to invert the
world around me by capturing the 'real' and making it 'imaginary', Much like a mirror
that reflects the shifting states of human cognition we encounter moment to
moment. Mimema is the blur between what we sense and what we construct as
understanding, appearing as much a body as a fluid or boundary as a state of
dissolution.
"Sound Aspects of Material Elements by John Grzinich is a highly unique film, an
elegant collection of location sound explorations captured over a three-year
period. Empty landscapes of blowing grass and drifting clouds, slight manipulations
of abandoned and natural objects, solo engagements with architectural structures,
duos and occasionally larger groups of participants “playing” found materials. In
each case, all sounds are sourced within a location, augmented and activated
through simple acoustic techniques – tubes, wires, mallets and contact mics. Each
'situation' becomes a kind of instrument, each 'place' is approached as a rich source
of sonic matter. This film finds itself between ‘sound art’ and cinema. Unlike most
movies, the film follows strict limitations in using only location-based, real-time
sound capture. On the other hand, there is strongly disjunctive relationship between
what we see and what we hear because of the predominant use of unusual miking
techniques. The shots themselves are often medium to long, and place the objects
or figures within the landscape – desolate Estonian fields, ramshackle barns,
windswept telephone wires, nighttime fires, abandoned and corroded metal tanks or
girders. The sounds, however, are not only of, but inside the location being shown.
We hear into spaces and materials through the careful use of contact mics or the
placement of microphones inside containers, tubes and vessels. These decisions
amplify, magnify and distort the sonic landscape in relation to what is seen. It can
feel like existing on two levels at once. Sound Aspects of Material Elements
doesn’t illustrate, interpret or elaborate upon sound with image, it just shows -
demonstrating the elements at play in a particular arrangement or situation. At the
same time, the links between sound and image are more than just causal. They are
the result of careful exploration, fine-tuned framing, and a delicate balance of the
haphazard and the instigated." (Seth Nehil)
"One way to describe John Grzinich's film Mimema would be 'hypnogogic drone
poem cinema'. Watching sleeping floaters dream in the eye of the camera. The
sound and visual elements work together in such a way, that it's difficult to keep from
falling under its hypnotic spell. Very rich and deep. Meanwhile, Sound Aspects Of
Material Elements is a unique cinematic documentary experience that says much
without uttering a word. For the less initiated, it not only teaches sound appreciation
in an inspiring way, but also demonstrates where sound sources found in much of
today's field recording-based sound art compositions initially come from. Certainly a
landmark moment for and/OAR and one of the most prized releases in the label
catalog." (Dale Lloyd)
John Grzinich has been conducting his own forms of sound research for
over 15 years, including field recording, kinetic sculptures,
electro-acoustic composition, performance, videography, group workshops
and exercises in listening. Currently he lives in Estonia and works as a
program and technical coordinator for MoKS, a non-profit artist-run
center. He has published CDs of his sound works on international labels
such as: SIRR, Mystery Sea, Staalplaat, Erewhon, Intransitive, Cut,
Elevator Bath, Invisible Birds, Semper Florens and others. Documentation
and examples of his work can be found at: http://maaheli.ee/
THE WIRE (OCTOBER 2012)
John Grzinich is known for his work with music and sound, but Sound Aspects Of
Material Elements and Mimema, for which he's credited with camera and editing,
prove that his eye is as keen as his ear. While sound is the subject matter of the
first film, and something like the driving force of , or inspiration for the second,
both present elegantly composed images of landscapes both remote (stark
rural/industrial vistas from the American artist's current home of Estonia) and
macrocosmic (insects, flowers, water and skin), within which it's tempting to get
pleasurably lost.
The prosaic title of Sound Aspects Of Material Elements suggests that this kind of
sensual wallow isn't quite what Grzinich had in mind. The film is made up of a
series of field recordings and site-specific performances presented in short
sequences, like tracks on an album, shot mostly with a static camera. The sound is
as satisfyingly clear as the high contrast black and white visuals. We hear each
recording for a few seconds before we see its provenance, which invites some kind
of analysis on the part of the viewer, if only in the realm of guessing which
combination of wires, wind, water and microphone technique might result in that
cavernous, bowed bass sound.
But the larger question Grzinich sets up in the film concerns what constitutes
composition and creation when dealing with field recordings - what is played and
what's found, and how does an artist navigate around those two poles? In Sound
Aspects Of Material Elements he shows himself clearly doing the former, rubbing
miked-up stones over a metal water tank, and illustrates the latter in a
Tarkovsky-like sequence in which rain drips through the roof of a corrugated iron
barn. But the instances in between - such as a recording of waves coursing back
and forth through metal pipes placed carefully on the shoreline of a lake - are the
most striking, with the tension between the natural movement of the water and the
presence of the artist made clear in a way that isn't always apparent in the
sometimes anodyne field of purely visual Land Art. It helps that this one also
sounds remarkable, unplaceable, a sort of undulating, alien drone with a
percussion track of shingle-suck and clattering glassy pebbles.
The succession of deserted spaces, which can get a little soporific, is neatly
interrupted by footage of a contact-miked ants' nest, which sounds like a frantic
kitchen full of scraped plates and dropped knives. This is a welcome moment of
action as is a performance for tuning forks and amplified surfaces that Grzinich
shoots as a kind of ballet for disembodied arms.
Physical presences are more to the fore in Mimema, a shorter film which dreams
its way through an Estonian 'white night' in which the sun never really sets with a
soundtrack of organ drones reminiscent of Time Hecker. The strange liminal zone
of Spring is reflected in the slow development of the music, which ebbs and flows
around a man and a woman, shot in intimate close-up, floating in a dark lake. But
while they drift tranquilly, eyes closed, suspending themselves gravitationally and
temporally, other life continues at its allotted pace: boatmen skate on the water's
surface, plants bud out new life, mist rises and snow melts. Grzinich observes all
these processes with a dispassionate equality that doesn't quite mask a deep,
tactile affection for his adopted home. (Frances Morgan)
John Grzinich is known for his work with music and sound, but Sound Aspects Of
Material Elements and Mimema, for which he's credited with camera and editing,
prove that his eye is as keen as his ear. While sound is the subject matter of the
first film, and something like the driving force of , or inspiration for the second,
both present elegantly composed images of landscapes both remote (stark
rural/industrial vistas from the American artist's current home of Estonia) and
macrocosmic (insects, flowers, water and skin), within which it's tempting to get
pleasurably lost.
The prosaic title of Sound Aspects Of Material Elements suggests that this kind of
sensual wallow isn't quite what Grzinich had in mind. The film is made up of a
series of field recordings and site-specific performances presented in short
sequences, like tracks on an album, shot mostly with a static camera. The sound is
as satisfyingly clear as the high contrast black and white visuals. We hear each
recording for a few seconds before we see its provenance, which invites some kind
of analysis on the part of the viewer, if only in the realm of guessing which
combination of wires, wind, water and microphone technique might result in that
cavernous, bowed bass sound.
But the larger question Grzinich sets up in the film concerns what constitutes
composition and creation when dealing with field recordings - what is played and
what's found, and how does an artist navigate around those two poles? In Sound
Aspects Of Material Elements he shows himself clearly doing the former, rubbing
miked-up stones over a metal water tank, and illustrates the latter in a
Tarkovsky-like sequence in which rain drips through the roof of a corrugated iron
barn. But the instances in between - such as a recording of waves coursing back
and forth through metal pipes placed carefully on the shoreline of a lake - are the
most striking, with the tension between the natural movement of the water and the
presence of the artist made clear in a way that isn't always apparent in the
sometimes anodyne field of purely visual Land Art. It helps that this one also
sounds remarkable, unplaceable, a sort of undulating, alien drone with a
percussion track of shingle-suck and clattering glassy pebbles.
The succession of deserted spaces, which can get a little soporific, is neatly
interrupted by footage of a contact-miked ants' nest, which sounds like a frantic
kitchen full of scraped plates and dropped knives. This is a welcome moment of
action as is a performance for tuning forks and amplified surfaces that Grzinich
shoots as a kind of ballet for disembodied arms.
Physical presences are more to the fore in Mimema, a shorter film which dreams
its way through an Estonian 'white night' in which the sun never really sets with a
soundtrack of organ drones reminiscent of Time Hecker. The strange liminal zone
of Spring is reflected in the slow development of the music, which ebbs and flows
around a man and a woman, shot in intimate close-up, floating in a dark lake. But
while they drift tranquilly, eyes closed, suspending themselves gravitationally and
temporally, other life continues at its allotted pace: boatmen skate on the water's
surface, plants bud out new life, mist rises and snow melts. Grzinich observes all
these processes with a dispassionate equality that doesn't quite mask a deep,
tactile affection for his adopted home. (Frances Morgan)
VITAL WEEKLY (AUGUST 2012)
The label Alluvial Recordings is apparently no more - I am not sure why - but now
there is Paleosol Edition, and this first release is done in collaboration with
and/OAR, and is a DVD of two films of composer John Grzinich, which I think is an
interesting thing. Just what would it be? Animation stuff, a documentary, a concert
or, as it in fact turns out to be, a film that displays the field recordings being
recorded. We see someone (perhaps Grzinich himself?) beating a pole, a
campfire, electrical wire in a field, someone scraping large empty metal
containers, and sometimes no human interference at all, like a stream and what
seems to be a wire inside. All of this is short movements in 'Sound Aspects Of
Material Elements', which lasts some fifty-six minutes. Sometimes I think I am
being fooled and I see something but believe that I hear something else. That's
always a great thing I should think, but perhaps I like this sort of illusion very much.
The nice thing about this film is that following every segment, the screen blacks
out and we hear what's coming next, but yet not see it, so your mind starts
guessing - I was wrong in almost of all these cases. Shot in austere black and
white, this one is great. The other film is much shorter and called 'Mimema'. Here
I don't think its about the action to generate material, but a more poetic film with
people floating in water set against a great piece of drone music. Maybe this is all
about hearing 'below the surface'? I am not sure, but it looks and sounds great.
More poetic, less documentary like than the other one. Two quite different
approaches to film, but both work quite nice. (Frans de Waard)
The label Alluvial Recordings is apparently no more - I am not sure why - but now
there is Paleosol Edition, and this first release is done in collaboration with
and/OAR, and is a DVD of two films of composer John Grzinich, which I think is an
interesting thing. Just what would it be? Animation stuff, a documentary, a concert
or, as it in fact turns out to be, a film that displays the field recordings being
recorded. We see someone (perhaps Grzinich himself?) beating a pole, a
campfire, electrical wire in a field, someone scraping large empty metal
containers, and sometimes no human interference at all, like a stream and what
seems to be a wire inside. All of this is short movements in 'Sound Aspects Of
Material Elements', which lasts some fifty-six minutes. Sometimes I think I am
being fooled and I see something but believe that I hear something else. That's
always a great thing I should think, but perhaps I like this sort of illusion very much.
The nice thing about this film is that following every segment, the screen blacks
out and we hear what's coming next, but yet not see it, so your mind starts
guessing - I was wrong in almost of all these cases. Shot in austere black and
white, this one is great. The other film is much shorter and called 'Mimema'. Here
I don't think its about the action to generate material, but a more poetic film with
people floating in water set against a great piece of drone music. Maybe this is all
about hearing 'below the surface'? I am not sure, but it looks and sounds great.
More poetic, less documentary like than the other one. Two quite different
approaches to film, but both work quite nice. (Frans de Waard)
THE FIELD REPORTER (SEPTEMBER 2012)
Electrical power-lines humming above open farmlands, lifeless branches hitting
ice-coated wires, waves echoing as they lap inside pipes; these are only a few of
the sounds captured by John Grzinich in “Two Films”. This mesmerising DVD,
released by the and/OARlabel, unveils the sonic life that envelops us, unheard
without the aid of microphones or the inclination to listen. Born in New York, and
currently living in Estonia, Grzinich has been working with sound composition
since the early 1990s. Only more recently has he seriously focused on film as a
creative medium.
It is the bleak landscape of Estonia that features in “Sound Aspects of Material
Elements”, the first of the two films. In grainy black and white footage the
audience is privy to long static shots of abandoned spaces and beautiful
wastelands. As we observe the frozen Estonian countryside’s lop-sided power-lines
and decaying farm structures it is easy to imagine a localized apocalypse
occurred here decades before. All visual cues in the film suggest a blanket of
silence pervades the area, however it is through Grzinich’s well-trained ear and
microphone work that this assumption is shown to be false. Electricity continues to
flow through the power-lines, its lethal charge being heard in low oscillating
drones; water drips from the ceiling of an abandoned cement building, falling into
pools whose varying depths create a polyphonic melody; a dormant tree branch
sways in the breeze, delicately striking a wire at irregular intervals.
The sounds that Grzinich captures are mesmerising, each are featured for less
than four minutes at a time. The recordings seamlessly fade in and out to create a
single composition. “Sound Aspects of Material Elements” also shows that Grzinich
is not content to compose solely through the use of found sound. In several shots
we see Grzinich interacting with objects in the environment. Pieces of detritus
become objects to strike, scratch and record. A huge metal tank echoes as three
men scrape its side; an old tower creaks and groans as Grzinich climbs its
damaged rungs; in a beautiful scene a metal surface amplifies the sound of
tuning forks as they are slowly placed upon it.
In other recordings Grzinich uses creative techniques to present new ways of
listening to familiar objects. Microphones are inserted into bottles and then
placed next to open fires, the pop and crackle of burning wood echoes inside their
fragile glass chambers; waves and dried grass are heard through the distorting
effect of long tubes; a wire is stretched across a stream, its reverberating tone
shifting under the bubbling flow of water. Explaining his approach Grzinich says
“All the sounds captured formed the basis for each shot emphasizing how the
combinations of certain materials (metal, wood, glass) along with natural elements
(water, wind, fire), transforms our perception of even the most common everyday
places or situations”. After watching this we listen again to these primeval
elements with a renewed vigour.
“Mimema”, the second of the two films, is described by Grzinich as “the soundtrack
for the half submerged floaters drifting at dusk on the still lakes”. An organ softly
holds long wavering notes alongside recurring images of foliage, cobwebs, foggy
countryside, and a face calmly immersed in water. Visually “Mimema’s” pace of
editing sometimes runs ahead of the composition, nonetheless an emotional
impression resonates long after the film reaches its end.
“Two Films” is a profound work of art, throughout its duration we are spellbound. As
the films unfold we sit mesmerized by the sounds and images emanating from the
screen. It is a pleasure to watch Grzinich in the field, the visual connection with
the sounding objects providing a greater appreciation for his work. After viewing
“Two Films” it is hard not to imagine the sonic potentials that lie around us,
untapped, waiting for a microphone to be directed towards them.(Jay-Dea Lopez)
Electrical power-lines humming above open farmlands, lifeless branches hitting
ice-coated wires, waves echoing as they lap inside pipes; these are only a few of
the sounds captured by John Grzinich in “Two Films”. This mesmerising DVD,
released by the and/OARlabel, unveils the sonic life that envelops us, unheard
without the aid of microphones or the inclination to listen. Born in New York, and
currently living in Estonia, Grzinich has been working with sound composition
since the early 1990s. Only more recently has he seriously focused on film as a
creative medium.
It is the bleak landscape of Estonia that features in “Sound Aspects of Material
Elements”, the first of the two films. In grainy black and white footage the
audience is privy to long static shots of abandoned spaces and beautiful
wastelands. As we observe the frozen Estonian countryside’s lop-sided power-lines
and decaying farm structures it is easy to imagine a localized apocalypse
occurred here decades before. All visual cues in the film suggest a blanket of
silence pervades the area, however it is through Grzinich’s well-trained ear and
microphone work that this assumption is shown to be false. Electricity continues to
flow through the power-lines, its lethal charge being heard in low oscillating
drones; water drips from the ceiling of an abandoned cement building, falling into
pools whose varying depths create a polyphonic melody; a dormant tree branch
sways in the breeze, delicately striking a wire at irregular intervals.
The sounds that Grzinich captures are mesmerising, each are featured for less
than four minutes at a time. The recordings seamlessly fade in and out to create a
single composition. “Sound Aspects of Material Elements” also shows that Grzinich
is not content to compose solely through the use of found sound. In several shots
we see Grzinich interacting with objects in the environment. Pieces of detritus
become objects to strike, scratch and record. A huge metal tank echoes as three
men scrape its side; an old tower creaks and groans as Grzinich climbs its
damaged rungs; in a beautiful scene a metal surface amplifies the sound of
tuning forks as they are slowly placed upon it.
In other recordings Grzinich uses creative techniques to present new ways of
listening to familiar objects. Microphones are inserted into bottles and then
placed next to open fires, the pop and crackle of burning wood echoes inside their
fragile glass chambers; waves and dried grass are heard through the distorting
effect of long tubes; a wire is stretched across a stream, its reverberating tone
shifting under the bubbling flow of water. Explaining his approach Grzinich says
“All the sounds captured formed the basis for each shot emphasizing how the
combinations of certain materials (metal, wood, glass) along with natural elements
(water, wind, fire), transforms our perception of even the most common everyday
places or situations”. After watching this we listen again to these primeval
elements with a renewed vigour.
“Mimema”, the second of the two films, is described by Grzinich as “the soundtrack
for the half submerged floaters drifting at dusk on the still lakes”. An organ softly
holds long wavering notes alongside recurring images of foliage, cobwebs, foggy
countryside, and a face calmly immersed in water. Visually “Mimema’s” pace of
editing sometimes runs ahead of the composition, nonetheless an emotional
impression resonates long after the film reaches its end.
“Two Films” is a profound work of art, throughout its duration we are spellbound. As
the films unfold we sit mesmerized by the sounds and images emanating from the
screen. It is a pleasure to watch Grzinich in the field, the visual connection with
the sounding objects providing a greater appreciation for his work. After viewing
“Two Films” it is hard not to imagine the sonic potentials that lie around us,
untapped, waiting for a microphone to be directed towards them.(Jay-Dea Lopez)