De Imagerie

NL / Frances Scott gaat in haar werk met bewegend beeld en tekst aan de slag. De presentatie ervan kan verschillende vormen aannemen, gaande van filmvertoningen, performances, installaties tot publicaties. Ze gebruikt het (beeld)materiaal dat zich in marge van de totstandkoming van een film bevindt: een script, fragmenten van de making of, technische apparaten,… Aan de hand van deze fragmenten en al dan niet indirecte verwijzingen, tracht ze ons de film te tonen.

Tijdens Ten Slotte toont Frances Scott een nieuw werk ‘Incantation, Wendy’, waarin ze kijkt naar Stanley Kubricks film ‘A Clockwork Orange’. Haar onderzoek richt zich op de vooruitstrevende soundtrack van muzikant en componist Wendy Carlos. Wendy Carlos ontwikkelde samen met Robert Moog de Moog Synthesizer. Frances Scott gebruikt deze geschiedenis in haar nieuw werk als startpunt om naar een van de opnamelocaties van ‘A Clockwork Orange’ te kijken. Ze legt verbanden tussen architectuur en muziek, het synthetische en het natuurlijke, het urbane landschap en de wilde natuur.

EN / "Oh, it was gorgeousness and gorgeosity made flesh. The trombones crunched redgold under my bed, and behind my gulliver the trumpets three-wise silverflamed, and there by the door the timps rolling through my guts and out again crunched like candy thunder." [1]

‘Incantation, Wendy’ is a recorded broadcast for radio by Frances Scott and Chu-Li Shewring. The piece looks to the work of pioneering composer and musician Wendy Carlos. Carlos famously arranged the distinctive soundtracks for Stanley Kubrick’s ‘A Clockwork Orange’ (1971) and ‘The Shining’ (1981), and spearheaded developments on the Moog Synthesiser and use of the Vocoder. ‘Incantation, Wendy’ includes excerpts and full recordings from Carlos' extraordinary practice, including unused material intended for ‘A Clockwork Orange’ and ‘The Shining’. Tracks by Carlos are played across recordings by the artists, that include wild horses, rain, wind and footsteps on gravel, as music from the recording session bleeds into sounds beyond the studio, and scripted readings using a Vocoder invoke the spirit of 'Danny' - “A shine knows a shine.” [2]

The broadcast includes the following excerpts and tracks from Wendy Carlos’s oeuvre: ‘Switched on Bach’ (1968); ‘The Well Tempered Synthesiser’ (1969); ‘Sonic Seasonings’ (1972); ‘Walter Carlos' A Clockwork Orange’ (1972); ‘Digital Moonscapes’ (1984); ‘Beauty in the Beast’ (1986); ‘Wendy Carlos: Secrets of Synthesis’ (1987); ‘By Request’ (2003); and ‘Quintessential Archeomusicology - Film Music by Wendy Carlos: Rediscovering Lost Scores Vol.1’ (1972 - 2005)

‘Incantation, Wendy’ was first commissioned by TACO! for RTM.FM. The piece forms part of Frances Scott’s research residency at TACO! which will culminate in a new, artist film. 'Incantation, Wendy' was recorded at Totland Bay on the Isle of Wight, October 2018. Special thanks to Wendy Carlos and Larry Gutch. 

[1] Anthony Burgess, A Clockwork Orange (1962)

[2] Stephen King, The Shining (1977)

Frances Scott works with moving image, presented through screenings, installations, events and publications. Her work often considers material that exists around the periphery of the cinematic production and its apparatus, proposing a film composed of its metonymic fragments. Recent exhibitions and screenings including Tate St Ives (2018); Yorkshire Sculpture Park (2017); Whitechapel Gallery (2017); and Focal Point Gallery (2016). www.abyme.org.uk

Chu-Li Shewring is a filmmaker and sound designer collaborating mainly with artists and independent filmmakers. She is also a visiting sound tutor at UCL, Goldsmiths and the National Film and Television School. ‘Hunger’ (2008), by Steve McQueen, was one of her first experiences working with an artist. Her most recent collaborations are with the artist Frances Scott on her film installation ‘CANWEYE {  }’ (2016), and her archival film ‘Diviner’ (2017). Shewring has also worked with the artists Siobhan Davies and David Hinton, Ben Rivers, Phil Coy and Beatrice Gibson. www.chulishewring.co.uk