Obscure Transmissions: soundtracks and super 8 films by Irene Proebsting / Barry Brown

AFW @ ARENA 2 Kerr St, Fitzroy, Thursday 10 May, 8pm 


An elliptical program of duo + solo in-camera improvisations and experimental animations comprising evocative post-verity dramaturgies and anti-fictions exploring hyper montage, documentary reverie and abstraction.

Features immersive mise-en-phónics for bewitched brass, sombre machines and surreal guitars recorded and mixed in ambi-phonal monoscopic audio.

A selection of films made by two artist-filmmakers from the LaTrobe Valley.

Both Proebsting and Brown were also active members of the Melbourne Super 8 Filmgroup and will be present at the screening.




Harmonic Ghosts (2009, 3 mins)
'…where faintly Gothic images brush against each other like dry, blown leaves…' Jake Wilson, RealTime Issue 104, 2011
A random montage of otherworldly ruptures and everyday illusions.

Eleven chords for two guitars (1995, 5 mins)
Kinetic, imploding, disfigured adagio deploying chance permutations to generate phono-optic anti-patterns.        

10.X.1990 (1990, 3 mins)
A paralogical inquiry                                          

Water Music (1997, 3 mins)
Discreet hydroponics

Sibelius loops (1996, 5 mins)
Found footage intercut with abstraction.

Six Sequences for Jordan (1995, 3 mins)
Disoptic dispersions                                           

Luna Berlin (2013, 9:45 mins)
Documents the spaces between an uneasy reunion …   A suspended gaze of erased traces.

Field 1997 (6:30 mins)
An impressionistic terrain study investigating aesthetic chance.       

Poss (s) bathtub (1995, 6 mins)
Freefall minimalist systems muzak for 16 saxophones    

Postlude (2013, 3 mins)
Scored for 128 magnetic-tape guitars, an ultra-minimalist exploration of hyper-velocity and abstract consonance.

Four Pitches for Saxophone (1994, 4 mins)
“Film movement Op Arts into electric shadows as just out of focus pixi-ladies are not re-lated.” Jim Bridges, Super Eight Newsletter Issue 94, 1994.
Blurred, aleatoric memories and oblique hallucinations mutate and dissolve to a sustained psycho-acoustic chord.       

Mayana (1995-96, 9:45 mins)
“The images in this film are wonderfully pungent, iconic indices to the features of their everyday life and surroundings.” Heinz Boeck, Cinema Papers No. 114, 1997
Ambient realism examining documentary illusion, authenticity and figurative fiction.       

Abandoned Empire (2012, 9:45 mins)
Ambivalent post-industrial reportage … features a futurist muzak sound score of metallic anti-rhythms, dysphonic strings and hyper mechanical auras.

Jelly #3 (1989, 4 mins)
Animatic dissonance … a political meditation.       

Total = 75mins


Soundtrack Contributors

Max M. Richter, Peter Schneider, Chuan Lim, George Contaxis, Philip Whitney.


Water Music, Mayana, and Jelly #3 are stereo recordings.