Animating space through the projection of cinematic temporalities.  Measuring, extending, confusing time; watching the times pass by.


“Off the Sync,” Yo Ota, 2002, 16mm, color, sound, 9 min
“In [Off the Sync], Yo OTA filmed the same actions simultaneously with three 8mm cameras running at 3 different speeds (12 fps, 24 fps, 48 fps). Then he synchronized these three shots for projection (by adding a black image between each frame shot for the film running at 12 fps, and removing one image every 2 frames for the film running at 48 fps). Through this method, he reveals the illusory character of cinematographic ‘time.’” – Light Cone

“Relative Time-Table,” Yo Ota, 2001, 16mm, color and b&w, sound, 6 min
For Relative Time-Table, Ota employed a mirror to shoot a single action from the same perspective with two super 8mm cameras: one loaded with color film, the other with black and white. After developing the film himself and blowing it up to 16mm, he cut together footage from each camera, alternating between different images of the same action. The color footage is shown at 24fps, while the black and white footage is shown at 1 frame every 2 seconds. The intent was to render ambiguous film’s claim to “record and reconstruct reality in time and space.” – YO

“Seven Days,” Chris Welsby, 1974, 16mm, color, sound, 20 min
“One frame was taken every ten seconds throughout the hours of daylight. The camera was mounted on an equatorial stand, which is a piece of equipment used by astronomers to track the stars. In order to remain stationary in relation to the star field, the mounting is aligned with the Earth’s axis and rotates about its own axis once every 24 hours. Rotating at the same speed as the Earth, the camera is always pointing at the either its own shadow or the sun… A directional microphone was used to sample sound every two hours. These samples were later cut to correspond, both in space and time, with the image on the screen.” – CW

“Temps Topologique,” Yo Ota, 1981-82, 16mm, b&w, silent, 11 min
“The work uses multiple exposure to create composited images of the moon, a motif I was preoccupied with at the time… I used a 500 mm reflector telescopic lens… to make the moon appear gigantic, capturing it in its entirety, so it fills up the whole screen. But because of the constant rotation of the earth – and along with it the moon – the target would disappear from view almost immediately. This is the moment that I fully experienced the speed of the earth’s rotation. I even thought of buying an equatorial telescope, to make a film that rigorously monitors the moon. But in the end, I did not buy one and I gradually stopped observing the moon.” – YO

“Redshift,” Emily Richardson, 2001, 16mm, color, sound, 4 min
In astronomical terminology redshift is a term used in calculating the distance of stars from the earth, hence determining their age. Redshift attempts to show the huge geometry of the night sky and give an altered perspective of the landscape, using long exposures, fixed camera positions, long shots and time-lapse animation techniques to reveal aspects of the night that are invisible to the naked eye.” – ER

“Light Years,” Gunvor Nelson, 1987, 16mm, color, sound, 28 min
“LIGHT YEARS is a collage film and a journey through the Swedish landscape, traversing stellar distances in units of 5878 trillion miles. It is a film acutely in the present reflecting our temporal existence … continuous and imperfect.” – GN

“Ma (Intervals),” Takahiko Iimura, 1977, 16mm, b&w and color, sound, 22 min
“‘Ma,’ a Japanese concept of time/space as one, is interpreted in the sense of intervals in film in which only the segments of light and darkness, and a white line and black line all measured by 1, 2, 3 seconds, are seen and perceived.” – Film-Makers’ Coop