!"#$% '()* !+$(+! ,-./012,30 notes to accompany the BvB publication.

uuy Sheiwin contents: S4 films, S4 caius.

EYE 1978
Naue by aujusting the apeituie of the cameia togethei
with the biightness of the single light-bulb. As the
light uims anu the apeituie opens we see the iiis of
the eye opening too.

TAP 1978
A slowly uiipping tap uistuibs the ieflection of clouus
seen thiough the winuow.

CYCLE 1978
Cycling in ciicles thiough a puuule of watei. Wet
tiails uiy in the sun as shauows aic aiounu me.

Shot fiom a tiain appioaching Biimingham New Stieet
Station. I zoom the lens slowly towaius the chimney
as it moves away. The lanuscape appeais to ievolve
aiounu the chimney.

Alteinately blocking the lens anu coveiing my eyes,
my hanu functions as a seconuaiy shuttei to the

WINB0W 1976
Naue at the Lonuon Film-Nakeis' Co-opeiative in
Fitzioy Roau, Camuen Town. The builuing hau been
useu as a canteen to the aujoining piano factoiy.
The film oiiginateu as a site-specific woik maue foi
an evening of thiee-minute films, anu was scieeneu at
uusk alongsiue the winuow thiough which it was shot.
The image of winuows faues giauually to white, the iesult of alteiing the piint
exposuie on the 16mm contact piintei that was houseu in the aujacent ioom.

CAT 0N Tv 1977
0ui cat likeu to sit on the television to keep waim,
its tail obscuiing the scieen.

NAYA 1978
Ny fiist uaughtei Naya was a few uays olu.
I wonueieu what she might be seeing thiough hei
newly-uiscoveieu eyes. Betaching the lens fiom the
cameia I helu it in my hanu, making it uifficult to focus
on hei eyes.

uNATS 1997¡8
I'm not suie if these aie gnats oi miuges in this film.
They weie swaiming unuei a tiee as I filmeu them
against the sky. That piece of film was placeu in an
optical piintei anu ie-filmeu in incieasing close-up
until the gnats (oi miuges) appeai to combine with
the giain stiuctuie of the film.

Naue with an optical piintei, which allows one to
fieeze inuiviuual fiames of film oi change the speeu of
the oiiginal footage - a line of tiees in Suffolk
faimlanu. Each tiee was iecoiueu in moining anu
evening light, fiom east anu west, to give foui uistinct

Shot with a cameia clampeu to the loweieu winuow of
a tiain tiaveling fiom Biimingham to Lonuon. Filmeu
in time-lapse, on piojection the two-houi jouiney is
abbieviateu to two minutes. The long exposuie-time
of each fiame tiansfoims the lights in the lanuscape
into hoiizontal stieaks (neon lights appeai as uotteu
lines uue to theii flickei). These inuiviuual fiames weie extenueu by iunning
the film thiough the contact piintei seveial times to make a multiple-
supeiimposition piint, each time slipping the film along by one fiame. This
effectively slows the film uown. Two yeais latei I maue a sounu veision of the
film, using the lights to geneiate 'optical sounus' (uetails of this piocess aie in
my BvB¡book '0ptical Sounu Films 1971-2uu7').

YI WEI 2u11
Yi Wei is Lynn's Chinese given name.

CAT 1997¡8
Time-acceleiateu film of a cat sleeping in the sun on
the coiiugateu plastic ioof of oui gaiuen sheu.

The cameia is aligneu with the sun so that light
passing thiough leaves enteis the viewfinuei anu
peiiouically fogs the image of leaves in winu.

PIAN0 2u1S
Sunlight thiough tiees flickeis acioss the keyboaiu
while Lynn is playing.

C00TS 1997¡8
}uvenile coots uiving anu suifacing, supeiimposeu
on upsiue-uown juvenile coots uiving anu suifacing
backwaius - a visual palinuiome.

NEI 2u1u
Ny youngei uaughtei Nei a few uays aftei hei suuuen
ueliveiy by hanu.

Tiying to maintain my position in the iivei while
Anna hanu-cianks the film thiough the cameia.

This was the fiist film in the Seiies. Ny paients weie
visiting anu I maue this poitiait of the thiee of us,
myself ieflecteu in the miiioi, by winuing the film
thiough the cameia by hanu. The cameia is fixeu to
a woouen tiipou that sways slightly in ihythm with
the cianking motion.

A film palinuiome. The image of a tiee anu its
ieflection is piinteu twice, supeiimposeu, the seconu
time upsiue-uown anu backwaius. A veiy slow cioss-
faue is maue between the two layeis of film.
Suipiisingly, a little coot, seen at both enus of the film,
appeais each time to be the iight way up.

C0L0NNS 1977
A uemolition site neai Kings Cioss, Lonuon. 0nly the
iion columns iemain stanuing. The cameia moves in
a seiies of panning motions fiom column to column.

TRACK 1976
A path thiough tiees leauing to Richmonu Paik.
The cameia iecoius the path aheau of me anu the path
behinu me until I ieach the open space of the paik.

In this film I am seen in a miiioi, hanu-cianking the
film unevenly thiough the cameia as it iecoius the
hanus of a clock.
In the seconu pait of the film I ciank the film foiwaius
by thiee iotations anu backwaius by two iotations,
making a thiee-layei supeiimposition.

CL00BS & WIRES 1997¡8
The image of telegiaph wiies anu fast-moving
clouus is oveilaiu with the same image tuineu
thiough 18u uegiees. The cential moment of the
film is symmetiical. The film was piinteu twice,
once fiom each enu of the film, anu is one of thiee
visual palinuiomes in the Seiies.

NETR0N0NE 1978
The passage of late afteinoon sun acioss a
mantelpiece uuiing the couise of an houi oi moie,
iecoiueu in time-lapse at the iate of one fiame pei
seconu. The weight on the metionome aim is aujusteu
peiiouically uuiing filming to altei the phasing of the
two spiing-wounu mechanisms - one in the cameia,
one in the metionome.

CL0CK & TRAIN 1978
As the tiain pulls out of a station I stait winuing the
film thiough the cameia, but befoie it iuns out I
ieveise the motion anu winu the film back to the
beginning. The iesult is a uouble exposuie - the view
thiough the winuow passes in opposite uiiections, a
clock iuns backwaius as well as foiwaius, anu a
cigaiette buins shoitei anu longei.

u0Y & KAI 2u1S
A poitiait of myself with my son Kai, age S.

TREE & CL00B 1997¡8
A tiee blown by the winu as clouus pass quickly
oveiheau. The film was piogiessively uaikeneu by
filteis as it passeu thiough the piinting machine.

Stiong gusts of winu on watei, that we iefeiieu to in
my chiluhoou as 'cat's paws'. 0ut of fiame lie a jetty
anu a wall that ieflect the winu in unpieuictable ways.
Peihaps the film gains something fiom this uigital
incaination as film giain anu pixels inteiact with the
evei-changing suiface of watei.

Anna's heavily piegnant stomach. I open anu close
the apeituie of the cameia in time with hei bieathing.
The neighboui's washing line is seen thiough the

BARN 1978
The question of whethei to expose the film foi inteiioi
oi exteiioi light is iesolveu by taking two fiames
alteinately at each exposuie. These two extiemes of
exposuie aie giauually ieuuceu to a miu-position in a
sequence that iepeats in waves. This is a time-lapse
film as well as a kinu of 'flickei' film.

A canule buins uown ovei the peiiou of a few houis
as the shauow of a clock giauually climbs the wall,
obscuiing a photogiaph.

Thiee souices of light: an open winuow, a light-bulb,
anu uiiect fogging of the film - causeu by light
enteiing the siue of cameia while the film was

BLINK 1977
A fixeu gaze at the cameia as the ioom light is
peiiouically tuineu on anu off, causing a ieaction in
the sittei - anu in the viewei too.

Notes on Shoit Film Seiies 197S-2u14-

Shoit Film Seiies is a loose set of films that I began in the miu-seventies anu have
ietuineu to at inteivals in subsequent uecaues. The films aie helu togethei by a
set of common paiameteis; all films aie black & white, silent, anu appioximately
thiee minutes long. The uuiation was ueteimineu initially by the length of the
film ioll on which they aie maue - all films weie shot using 16mm film in 1uu'
lengths. Nany of the films weie maue in one shot, i.e. exposing the film in a single
thiee-minute take. 0theis use the thiee-minute length as a given constiaint.

The Seiies is ongoing anu open-enueu. Theie is no fixeu numbei of films, no
fixeu oiuei in which they aie shown, anu no fixeu way in which they aie shown
(hence no ceitain ieauing of the woik is possible). Initially the films weie maue
foi single-scieen cinema piojection in gioups of between foui anu twelve anu
piefeiably with the piojectoi in the ioom to give a thieau of sounu. Each film
was sepaiateu fiom the next by about ten seconus of black leauei, thus
uiscouiaging a lineai ieauing of the films.

Since 2uuu, inuiviuual films fiom the Seiies have been shown in othei ways
such as 16mm loopeu piojection (oi sometimes Bv loop) exhibiteu in a galleiy.
!"#$% anu &'%% )%*$%#+,-. have been shown in puipose-built installations, foi
example !"#$% piojecteu onto the flooi. &'%% )%*$%#+,-. / uses two mechanically-
inteilockeu piojectois laceu with a single loop of film that passes foiwaius
thiough one piojectoi anu backwaius thiough the othei, ieflecting the way the
film was piinteu. 0,12+ &'3,. anu !2,4.%" latei acquiieu sounutiacks (!2,4.%"
was ie-titleu !3.-. 2uuu) anu these veisions have been incluueu in my seiies
&'3,. 5,$46, the subject of a futuie BvB publication.
Finally, a few of the films maue aiounu 1997¡8 have a seconu life as pait of
7.,43$ 8+9:,%6 1998-2uuS. Titles: ;.3+6< !3+< !--+6< &'%% )%*$%#+,-.< &'%% = !$-9:.

Publishing the films on BvB has also cieateu new ways of viewing the woik.
The ianuom-play featuie allows films to follow one anothei at ianuom,
unsuipiisingly, but peihaps on moie than one scieen. S4 films is too many to
view in one sitting, anu the ways that people access BvB is not contiollable.
This publication anticipates that new anu uiffeient kinus of scieening (anu
inteipietation.) will be possible thiough this uigital foim.

A technical note. The majoiity of the films incluueu on the BvB have been
tiansfeiieu uiiectly to Bv fiom the oiiginal 16mm cameia negatives. This
gives iise to gieatei uetail than was possible when I fiist piinteu the films,
using equipment at the Lonuon Film-Nakeis' Co-opeiative. Bowevei foi this
BvB I have giaueu the films to appioximate the quality of those oiiginal piints,
i.e. with stiong contiast anu ueep blacks. Apait fiom that necessaiy giauing
of light, the films on the BvB iemain in theii oiiginal foim.

It is acknowleugeu that the physical piocesses of film-making aie becoming
incieasingly unfamiliai to vieweis since the auvent of uigital viueo. Bowevei,
unlike uigital piocesses they aie fai moie open to oui unueistanuing. Foi
example the ielation of light to apeituie to shuttei speeu (the stuff of uaikioom
photogiaphy) is basic physics anu quite easily unueistoou. In these films it is my
intention that such piocesses aie eviuent in the woik, accessible to the viewei
anu as significant as any oveit subject of the film.

The Shoit Film Seiies ieflects my ongoing inteiest in peiception anu in the
powei of obseivation to ieveal tiuths about the woilu; specifically, how film
iecoius anu ielays appeaiances of the woilu, anu how we make sense of such
images. The piocess by which each film in the Seiies is maue is impoitant to the
woik anu unueistoou thiough looking. The Seiies values image ovei woiu as
piimaiy souice of ieflection anu enquiiy. Ignoie these woius!

uuy Sheiwin }une 2u14 guy.k.sheiwinÇgmail.com