Search your favorite song for free

1. Genus classification by altitude of occurrence. Vertical 5: STL2016 | Melos 3

Genus classification by altitude of occurrence. Vertical 5: STL2016 | Melos 3

Trailer.Filmed Performance. Concept: Alexandra Baybutt, Moi Tran and Huw Morgan Choreography and performance: Alexandra Baybutt Composition: Huw Morgan Performance: Huw Morgan and ... ?? ... Design: Moi Tran Creation: Noelle Claude Cinematography and editing: Pascal Ancel Bartholdi Genus classification by altitude of occurrence. Vertical 5: STL2016 | Melos3 Original concept for Vertical Series: Alexandra Baybutt and Moi Tran Genus classification by altitude of occurrence. Vertical 5: STL2016 | Melos 3 : Alexandra Baybutt, Moi Tran and Huw Morgan Choreography and performance: Alexandra Baybutt Composition: Huw Morgan Performance: Huw Morgan with Michael Bonaventure Visual concept and Design: Moi Tran Cinematography and editing: Pascal Ancel Bartholdi Shot on location at St Laurence Church, SE6, London, UK, during the 5-hour live performance improvisation, 23 April 2016


2. Twitterview

Twitterview

Twitterview 2011 The obscure theoretical foundation of the artist talk needs to be challenged. Transposing the art talk into a natural comedy on air became thus a feasible alternative. Pascal Ancel Bartholdi imagined the idea of a trivial interview within a gallery setting and Michele Durante came up with the idea of “Twitterview” live and filmed. 50% of it is planned, the other 50% runs its course organically, ‘en direct’. Therefore half the questions, unrehearsed, are thrown at the interviewee in situ generating a sudden intuitive response. The banality of the output contradicts the original expectation. The protagonists sit in front of each other, and he who answers has his back to the camera. He who asks carries a lap top logged into the net, receiving and relaying messages from curious random twitters. Nothing is quite as it seems. Copyright © Pascal Ancel Bartholdi & Michele Durante Twitterview Project All Rights Reserved 2011


3. Anthropofungus Conception

Anthropofungus Conception

Anthropofungus Conception Short Cinematic Animation, Duration: 12.58 minutes, 2012 by Pascal Ancel Bartholdi Foreword It all began in the most mundane of places, some deem lit bathroom, a damp murky floor, a dark corner. No one seemed to notice something growing there. I found it amazing that once again, a form of life found the insane will to emerge in a particularly hostile environment where frankly even humans were in hygienic peril. The absurdity of it and the vulnerability of this object inspired me to record it. I did this every day for several weeks. The object struck me for its resemblance to an ear and later to a foetus. I thought of David Lynch’s Blue Velvet opening scene, and as the editing work progressed, it found echoes of Stanley Kubrick’s 2001 Odyssey‘s cosmic inferno and the last scene. Animations by Jan Švankmajer and the Brothers Quay also inspired the abstract visceral undertone of this project. The mushroom took a life of its own and dictated a new identity. It spoke of primordial formations in the depth of the Earth, then, turned into an embryonic utterance in the eye of a storm in the aftermath of the Big Bang. It congealed and exploded day by day, a figment of life intertwined with a figment of imagination. It reflects a view of the world from the perspective of the unborn or the departed; of the outsider as the observed but equally of the witness who cannot grasp the essential substance of their condition and for this reason continually seeks to possess the flux of life, an impossible solution, the cinematic product being here a closer approximation to a form of immortality since time is recaptured endlessly within the experience of the medium as it unravels a fictional truth before us via montage interlinked with footage. From a technical perspective, the aspect ratio is inconstant and was kept this way as an asymmetrical rhythmical beat and points to the unpredictable irregularity of our vision of one particular scene or object. Although there is no linear narrative, the composition parallels our empirical knowledge and our instinctive comprehension of the cosmology we belong to. It refers certainly to the first moments of universal creation but also paradoxically to a more mythological story of human evolution. More over, the sequence develops as a sensation, evoking the internal perception of a world we cannot yet see or touch as it would be in a womb in a state of perpetual transformation. It is a glance into the primeval cave of shadows and lights, prior to our entry into the world of physis. For this reason, it resonates with chaos and the feeling of a sublime solitude. A world latent within us as much as it is inaccessible outside of us. The images are constructed, deconstructed, reconstructed, out of a vast archive of previous analogue records and various video sessions. Copyright © Pascal Ancel Bartholdi 2012 www.pascalchiaroscuro.co.uk


4. Il Sogno di Petrarca

Il Sogno di Petrarca

Who was Laura? Like Beatrice, the lost idealised love of Dante Alighieri, she had captured the imagination of a poet. From the moment of the first vision, where words had not yet formed a phrase to evoke this apparition, Laura became the central aster of his imaginative constellation. Laura begins with the anima, the guiding light Percival followed despite his untimely slumber. The faces passing in this animated film were exhumed from a lifetime of images. This was a story emerging before the end of a journey. Each of these individual faces contains, for me, the liberating principle lying at the core of human nature. Each gaze, gesture or posture leads to a moment of communication or introspection. It is in this moment the deer embodies the meaning of a deeply personal and paradoxically mercurial quintessence. The deer symbolises this ephemeral passage into a different state of being. Like the image of the tunnel, it is recurrent, but more often, acting as a tempo reflecting the rhythm of the poem, whose voice is male and anonymous and recites with slow melancholy. We do not necessarily understand the words, but the emotion they generate is absorbed into the flux of the fragmented memories. He is mankind traveling through lands high and low, across mountains, forests, cities, seeking solace and redemption in the idealisation of form, a disembodied entity that may find a way back to a latent source. A process of solva et coagula resides in the ephemeral leaps and final dissolution of the deer. The anima transmutes into Regina Mundi, the fluid light of Aqua Sapienta. The non-linear narrative tells us no truth can be experienced until the conflict of opposites has become extenuated in a universe of harmony. Voice over for Il Sogno di Petrarca Petrarca From the Poems 184 to 244 of ‘The Canzoniere’ Una Candida Cerva ________________________________________ Petrarch, "Rime 190" Trans. Anna Maria Armi Una candida cerva sopra l'erba A pure-white doe in an emerald glade Verde m'apparve, con duo corna d'oro, Appeared to me, with two antlers of gold, Fra due riviere, all'ombra d'un alloro, Between two streams, under a laurel's shade, Levando 'l sole, a la stagione ascerba. At sunrise, in the season's bitter cold. Era sua vista sí dolce superba, Her sight was so suavely merciless Chi'i lasciai per seguirla ogni lavoro; That I left work to follow her at leisure, Com l'avaro, che 'n cercar tesoro Like the miser who looking for his treasure Com diletto l'affanno disascerba. Sweetens with that delight his bitterness. "Nessun mi tócchi--al bel collo d'intorno Around her lovely neck, "Do not touch me" Scritto avea di diamanti e di topazi-- Was written with topaz and diamond stone, Libera farmi al mio Cesare parve". "My Caesar's will has been to make me free." Et era 'l sol giá vòlto al mezzo giorno; Already toward noon had climbed the sun, Gli occhi miei stanchi di mirar non sazî, My weary eyes were not sated to see, Quand'io caddi ne l'acqua, et ella sparve. When I fell in the stream and she was gone. Part of a cine animation by Pascal Ancel Bartholdi 2014


5. ZONE X Phantom Promise

ZONE X  Phantom Promise

ZoneX, Ebb and Flow-The Phantom Promise Winds, voices, gazes move in a strange vortex where memory colludes and collides with its nemesis. Is nature as accidental and strategic as we are? The blackness of the grass after the yellow and the blue heat has engulfed its abode. It smells of burnt flesh, as if Earth had grown a skin below the threshold. In this place of banal desolation, ruins resemble one another, borne of the mother of progress, aborted by futility. Abandoned structures have a life of their own, and rather than compete with nature seem to become part of it. They have almost been assimilated by it. This circumstantial area is also resonant of a certain unknown nomadic emptiness, a reflection of an internal state of incertitude, a quiet torment lingering as the eye stretches all around its axis without finding rest. Here or there, one knows not which, we remember this sense of loneliness, a place which cannot be home. Those semi ruins are like a forgotten language, because the words are broken, taken apart, reassembled hurriedly, then left mute and sour, begging for a history of their own. The solitary builder will attempt to gather the pieces and construct a new meaning. A phrase that rings differently, perhaps like the distant sound of a deep slow bell under water. The builder of sense will also instill an order made out of chaos, adding motion to the apparent stasis of these dysfunctional structures taking care not to remove or separate them from their altered environment. Therein, the dysfunctional immobility of these edifices transforms them into a vestige, in a sense, accidental art. They are the smoldering ends of a langue morte, a dead language. Les mots immobiles d’une conquête incomplète, the coagulated words of a conquest cold in its bed. Revolution of a stasis, a sideway glance into an uncertain past. The curved rhythm of a frozen semiosis. L’espace où l’esprit perd le sens du temps. Solidified ghosts, their medium of existence exudes from finite materials of metal, glass, bricks and mortar incorporated in the organism of an undefined context, or rather a field of human endeavor that has lost the definition by which we had recognized and measured our future. We observe the disintegrating signs of a questionable purpose. We cannot enter those moments; within lies an inaccessible past, like a petrified womb, the illusion of a glorious achievement contains it. A land awaiting its fate. La ronde des mots cadavres, the dance of the cadaver words. This is a raft of the Medusa, carrying the forlorn. It will not sink or reach a port. Zone X, where X stands for the bygone and the unnameable, speaks of an impossible connection, the marriage of the quick and the dead, the neutered margin where the ebb and flow drag the passengers who marvel at the scene or remain unaware of the para-cultural signs…forbidden entry, keep out, danger…epitaphs, derelict, condemned, deserted towns; the phantom promise. The land is where we bury the dead, but here the land has been buried beneath the weight of the human past, a past that hardly reached actuality, or only briefly, sporadically, halfheartedly. These objects seem lost in space and lost in time; like tombs where the name has been scratched out. And even if a name appears, it will be meaningless to us; it is void of personal memory. At dusk, occasional mists rise. In the penumbra vast cages appear, the bones of olden beasts, gigantic and useless, fallen on an arid plain, starved and alienated. Their carcass stuns us with a frozen power. It is rare to find a window into their flank, let alone a door. They are condemned, uprooted yet ensconced in the plundered soil, the concrete block, the steel armature of urban mortality. We migrate in an endless dance, searching for a point of reference, a way home. Our gaze loses itself as phantoms appear and dissolve before us. For MAGMA COLLECTIVE MNEMONIC CITY INTER-SPACE PROJECT Copyright © Pascal Ancel Bartholdi 2013


6. WORMHOLE PERIPATETIC BALLAD OF A LONDON NOMAD

WORMHOLE PERIPATETIC BALLAD OF A LONDON NOMAD

Synopsis Poetic and philosophical vision in real, remembered and imaginary spaces of a nomad in London through an indeterminate length of time . The title refers to the ontological question of presence in a world now based on a kind of absenteeism, i.e., where the mind becomes divided from the personal, absorbed by virtual collectivism intrinsic to the mega-urban context, in this case London. Description Although there is no obvious cinematic narrative, a progression exists in the unravelling of the visuals emphasised by the music score and superimposed contextual sounds. it is based on two main perspectives. One, the personal journey in time and space of the maker, concentrating the focus therefore mainly on areas of London encountered in his life and containing the remnants of abstracted memories directly linked to the idea of the Mnemonic City insofar as it is translating signs into a deep emotion attached to each of these places. Two, a perspective relating to archetypal complexes residing in those memories and containing universal mythology, the elements of which are played out throughout the animation by way of various alterations and transformations but also through specific symbols such as ‘the tower’, ‘the moon’, the shadow’, ‘the hand’,'the throne’, or the elements such as water and fire. The vision presented is a flowing composition and a symbiotic composite that could have been extracted from a dream. “Wormhole” points to the possibility of entering a parallel dimension while remaining lucid of what the maker considers his own' land'.“Labri” is the root of labyrinth, a reference to the underlying esoteric structure of the city. “Peripatetic” refers to the act of wandering by foot, linked to the idea of the flâneur who, by exploring the context directly travels inwards, analysing and re-evaluating his own internal constructs. “Ballad” refers to the nature of loss and poetry constituting the two foundational aspects of the piece. “London” is the name of the location in question, known to the maker since his childhood and as equally important to him as his native city. He is the “Nomad” , for despite having lived in this metropolis for over twenty years, no feeling of belonging has ever truly developed. Instead, the maker has gained a kind of philosophical detached discernment out of an impersonal environment he had once half believed, long ago, to be his home. The work is divided into interlocking scenes suggesting a psychological in-evolution, perhaps equivalent to the passing images in the mind of a sleep walker as they migrate from one room to another inside a large mansion. One could dare affirm there is beauty in the destruction of beauty since the emotions stirred are summoned from the expanse ‘de profundis’, of the psyche. One could also dare affirm the increasing level of hideousness of London is so extreme it has become ‘awesome’. a monstrous edifice challenging the borders of paradise with ever higher peaks, each more violent than the one preceding it, but more so, it is down below at street level, in the shadow of these blank feats of engineering that real ugliness lingers, banal and monotonous, enveloping the crowd within a suffocating smog of relentless repetition. This cine-animation brings these facets of the city into view while retaining a poetic filter, not to embellish but to do justice to the complexity and depth of the situation in which humanity finds itself at this juncture of post history. In response to an amicable comment regarding Wormhole Labriperipatetic Ballad of a London Nomad I thought of introducing a narrator who would leak out a long poem while losing himself in the entrails of the city. But on reflection, I let the voice of this character emerge only towards the end. It is a voice issued from a very imperfect moment within a very imperfect life. A physical intrusion inside a dream state. It spurts and shakes. It is almost as if breath attempts to spell words and fails. It is not necessarily to be understood but to be guessed at. It arrives and disappears unexpectedly. It is filled with melancholy and anger, but also with a sense of astonishment, and these emotions are reflected in the inconsistency of the pitch, the roughness of the consonants, the irregularity of the amplitude. There is no question of embellishing smoothing or softening this intervention. A human being speaks suddenly. It mumbles to itself or seems to direct his exclamations to a mute interlocutor. It comes from afar and returns to the void as if we in fact apprehend it as we approach it enough to overhear a private conversation, sometimes dangerously near, we become the victims of a brief uncomfortable feedback. We get accidentally close, passing by this entity that stands there alone, talking to no one, alone, remembering things we are given a glimpse of through the unravelling scenes that precede and accompany it. The conditions of the recording of the voice, and its subsequent modulations are an integral part of the meaning of the work. It also relates to the last song in the piece, the opera, a slow litany reverberated in the image of the solitary eye that is also a mouth singing the last crepuscule of the world before vanishing from it, a wormhole in itself. It is a reference perhaps to the voice in the wilderness. But rather an internal wilderness, that of the unconscious coming into consciousness. It cannot be reproduced or used in any other context or works because it is of now, a now that will never happen again in the sense that no replica can even artificially revive it. Its significance is only relevant in relation to the realm that in a way gave birth to it. Further more, it is a continuation of the two impromptu melodies after the opening of the animation. These were extracted from the ruins of a piano left to breathe its last in an East London courtyard. The cabaret clavier warped by wind, rain and solar blasts had long gone out of tune, some of the pegs remaining dumb, insensitive to touch, others, exhaling a muted gasp. One night, as all had fallen in deep slumber, before leaving, I walked to the piano to bid farewell but it implored me, a musical ignorant, to cease a final phrase from a life that somehow reflected our own in this instant of utter solitude. For even among the ebullient multitudes whirling around it , the piano seemed suspended in some quiet vortex awaiting a hazardous departure, object of misery and misericord all at once. The general theme has grown out of a feeling, a leitmotiv emulated in earlier works such as Il Sogno di Petrarca. It is a sense of dissolution in the restless waters of nostalgia in its original meaning, the surface of which always gives an impression of calm resignation. There is a temperance and a febrility to the underlying character whose journey is hinted at, yet never fully revealed.The epilogue suggests a passage rather than an immutable condition. Yet a core exists, only capable of expression through the 'thinking hand', a meta-philosophical metaphor physically present in this film, of the anonymous traveler. Video Cine-Animation Copyright © Pascal Ancel Bartholdi 2015


7. ESCHATOCENE, First Scene of the Last Act

ESCHATOCENE, First Scene of the Last Act

Eschatocene  First scene of the last act Pliocene is an added element to what is already new. Eschatos describes an end beyond which point no return is possible. Eschatocene is therefore the age of the new ending, yet the composition of the word Eschatocene suggests the beginning comes after the end where the world is ending one last time. This ambiguity reflects thus the paradox of the infinity loop:The meaning of time disintegrates in this loop. The aspect of drama and the persona are inherent to time and therefore fall apart at this point where thought no longer finds an objectifier, i.e. the reflector that will mirror the subject. This moment of oscillation into non-directional being is comparable to the singularity where matter loses its equilibrium and changes state irreversibly, a change that is not recordable, therefore leaving no memory. This also means any notion of territoriality vanishes, in fact becomes a vanishing point, elusive…eschatological, immaterial, in a way, pointless. This pointless intervention is pivotal. In response to the theme of the city and the approach to its centre, the market place, the initial idea of the dissolution of temporal traces in the revolving cycle of exchange between metaphysical spaces has grown into a more physically orientated interpretation, where hands and textures take form in the ritual of nomadic communication; because the market is not really constant but a discontinuous flux. I attempt to enter into the flux that contains, in a condensed almost meaningless shape, the journey of all living beings intertwined in a dance macabre. Have we as a species been lured into the great attractor of mercantile dominion, an arena governed by signs devoid of personal meaning but full of universal promise?… The market, perhaps is a black hole of illusory fulfilment, and more importantly, the cradle of false self-hood where what is favoured and in a sense worshipped as it was in ancient times through central sacrificial rituals, is status, corporeal fulfilment, and adoration of appearance . I began in this work to explore this question. During this research, the contradiction and unhappy association between play and work also arose. This is symbolised by the interlacing of traders and buyers with artists experimenting with the same concept, exchange of values perpetuating on one hand a cycle of artificial survival based on the notion of a social contract and on the other, a receptive interplay of thoughts and action beyond the morale imposition of usefulness. Hands became the central actors of this dichotomy. This became the theatrical play ground and the journey of human hands from trivial exchange to the act of creation. Copyright © Pascal Ancel Bartholdi 2013 MAGMA Mnemonic City, Moving Streets


8. Genus classification by altitude of occurrence. Vertical 5: STL2016 | Melos 3

Genus classification by altitude of occurrence. Vertical 5: STL2016 | Melos 3

Original concept for Vertical Series: Alexandra Baybutt and Moi Tran (2013) Genus classification by altitude of occurrence. Vertical 5: STL2016 | Melos 3 : Alexandra Baybutt, Moi Tran and Huw Morgan Choreography and performance: Alexandra Baybutt Composition: Huw Morgan Performance: Huw Morgan with Michael Bonaventure Visual concept and Design: Moi Tran Cinematography and editing: Pascal Ancel Bartholdi Shot on location at St Laurence Church, SE6, London, UK, during the 5-hour live performance improvisation, 23 April 2016