Archive for the ‘Timecode’ category


March 1, 2013

The history of film is now haunted. As the films of the first century disappear, we are left with celluloid ghosts.


Wednesday 17 April, 10am – 5pm, National Media Museum

The spectres of Marx. Why this plural? Would there be more than one of them?” (Jacques Derrida)

‘Hauntology: 20 Years On’ is a one-day symposium organised to mark 20 years since the publication of Jacques Derrida’s ‘Spectres of Marx’. Hauntology defies easy description but embodies the idea of the ‘past inside the present’ and the border between nostalgia and the enigmatic remoteness of real or constructed pasts.

This event is part of the  19th Bradford International Film Festival

The keynote speaker will be cultural theorist Mark Fisher, editor of the ‘Capitalist Realism’, the K-Punk blog and author of ‘Ghosts of My Life’ a forthcoming book on hauntology.

Papers include:

The Haunted Remake: Film of the Same Name

The Hallucinatory real of the photograph after the post-continental turn

“‘Maintaining the Spectres’: the Radical Possibilities of Electronic Voice Phenomena Recordings”

Hauntology and the Archive

The symposium will be accompanied by screenings of ‘hauntological’ films including:

Dir. Bill Morrison, USA 2003

Dir. Chris Marker, France 1983

(Le songe des chevaux sauvages)
Dir. Denys Colomb Daunant, France 1960

Dir. Peter Sasdy, UK 1972

This is a FREE EVENT but with limited places so please reserve a space by contacting Mark Goodall (

TIMECODE is a seminar series in media. Run by the Communication Culture and Media research group in the Bradford Media School, School of Computing Informatics and Media (SCIM), this regular seminar series explores the increasingly important relationship between media, technology, culture and society.


January 7, 2013


Trevor Wishart


Wednesday 23 January 2013, 6pm, On Location, National Media Museum

‘The Music of Human Speech’


What are the musical properties of spoken language and how can we use the computer to tease out these musical features and use them to create musical works? Trevor Wishart will talk about “Globalalia” (using syllables from the worlds’ languages), “The Division of Labour” (using a text from Adam Smith) and, especially, the recently completed “Encounters in the Republic of Heaven” (capturing the melody, rhythm and sonority of spoken phrases across an entire speech community in the North East of England, in a sound-surround environment) from both a musical and technical point of view.


TREVOR WISHART is a composer and performer specialising in sound metamorphosis and constructing the software tools to make it possible. He has lived and worked in Australia, Canada, Germany, Holland, Sweden, and the USA but spends most of his time in Yorkshire, where he was born. His aesthetic and technical ideas are described in the books On Sonic Art, Audible Design and Sound Composition (2012). He is also involved in community, environmental and educational projects. His Sounds Fun books of musical games having been republished in Japanese. He was recently awarded the Giga-Herz Grand prize for his life’s work.


For further information consult:


a seminar series in media

Run by the Communication Culture and Media research group in the Bradford Media School, School of Computing Informatics and Media (SCIM), this regular seminar series explores the increasingly
important relationship between media, technology, culture and society.  SCIM has a long tradition of operating across artistic and scientific academic disciplines and is expanding its creative portfolio. Hosted by the National Media Museum, and supported by their superb facilities, the series recognises the importance of the National Media Museum as a forum for these critical debates.

All seminars are FREE and begin at 6pm, On Location, National Media Museum, Bradford, West Yorkshire, BD1 1NQ. Tel: 0870 70 10 200

For more information on the series contact: Mark Goodall
( Tel +44 (0)1274 236071

TIMECODE David Vorhaus/White Noise

November 20, 2012

White Noise

White Noise.Date: 13-December-2012
Time: 15:00
Location: Leeds College of Music
Speaker: David Vorhaus


David Vorhaus is a pioneer of electronic music. Born in America, he originally studied physics and electronics and worked as a classical bass player with symphony orchestras. In the late 1960s he met Brian Hodgson and Delia Derbyshire from the legendary BBC Radiophonic Workshop, forming the highly regarded electronic rock group White Noise.

As a major experimental musician of this time, Vorhaus built his own instruments including early synthesizers, sequencers and the Kaleidophon, a double-bass-like instrument using four home-made ribbon controllers instead of strings. David Vorhaus has written music for many high-profile TV commercials and themes and film scores (including the sci-fi classic Phase IV). He still performs live under the White Noise mantle. A true musical innovator, David Vorhaus’ thoughts on music, technology and sound design are both pertinent and inspiring.

Additional information wil be available over the forthcoming weeks at

The technology-image

November 13, 2012


Felicity Colman

(Manchester Metropolitan University)

Wednesday 14 November 2012, 6pm, On Location, National Media Museum

The activation of technology is contingent upon the human body. But that contingency rests upon not just any body, but upon the specificities of participatory bodies. Connecting Bergson with Foucault we can articulate the matter of the bio-political body whose fate is inevitably linked to its contemporaneous technology. Situation provides the analytic data of this body’s historical issue and nature of participation (what, how, when), but does not answer the god-question of why? With Bergson, I call this body a technology-image among other images. As Foucault identified, technologies of security control the territorial movement and produce of technology-images. These images are locked down into performing their determined fate within collective locations, with and through the actions of other images. This body is no ‘privileged’ body, rather it is just a platform augmenting technology. In action, the technology-image facilitates what individuals call ‘human experience’, but it contributes to the formation of distinct groups of bio-politicized human bodies. This state of the mediatization of life is recorded and narrativized by other images. The questions concerning technology-images, as feminists have activated, involve the predication of social differentiation categories (‘sex’, ‘porn’, ‘DNA’, ‘gender’, ‘race’, ‘nation’), the measurement of change, the implementation of new languages and new laws. Analysis of the situation of technology-images is freely available for participants, yet the image controllers continue to insist on spatialized hierarchies to differentiate and enslave. In this paper, I will examine components of this technology-image through examples of where the perception of social difference is acted out.

Felicity Colman is Reader in Screen Media and Centre Leader of the MIRIAD Media Research unit at Manchester Metropolitan University.  She is the author of Deleuze and Cinema (2011 Berg), editor of Film, Theory and Philosophy: The Key Thinkers (Acumen Publishing 2009) and co-editor of Sensorium: Aesthetics, Art, Life (Cambridge Scholars Press 2007).

TIMECODE- ‘Architecture, Media and Politics’

April 16, 2012

Owen Hatherley (Writer and Critic)

‘Architecture, Media and Politics’

Wednesday 25 April 2012, 6pm, On Location, National Media Museum

In Lindsay Anderson’s The White Bus, a vehicle carries middle class passengers around to see the parts of the city they usually ignore – factories, council estates, slums. In post-war cinema, the urban landscape of the North of England was intensely explored, as a place undergoing rapid modernisation and change, from the new housing estates of The White Bus to the technocratic new coffins in Billy Liar. By the 1970s, these had become unpleasant if often thrilling dystopias, in films like Get Carter or The Offence; but by the 1980s, in the likes of A Very British Coup, that same landscape could represent a space of resistance. Today, that space is evoked as ambiguous nostalgia, in the likes of This is England ’86 or Red Riding; but there are few attempts to get to grips with the present urban landscape, and the perhaps equally drastic redevelopments of the last decade. This talk will consider a few examples and pose the question of why the contemporary architecture of the UK seems so unappealing for filmmakers.

Owen Hatherley is a regular contributor to Building Design, New Statesman and New Humanist and has also written for The Guardian, Icon, Socialist Worker and Socialist Review. His book A Guide to the New Ruins of Great Britain was published by Verso in 2010.

TIMECODE- Dialectics of Liberation

February 28, 2012

Martin Levy
(Independent Researcher)

‘Out of Sight: Anatomy of Violence and the Congress on the Dialectics of Liberation’

Wednesday 14 March 2012, 6pm, On Location, National Media Museum

The Congress on the Dialectics of Liberation took place in London during the summer of 1967 against a background of rising student agitation. Organised by the American Joe Berke and his colleagues in the Institute of Phenomenological Studies, it was a bold attempt to ‘demystify violence in all its forms, the social systems from which it emanates, and to explore new forms of action.’

The congress emerged out of Berke’s involvement with the free universities movement in the United States and his engagement with R.D. Laing’s anti-psychiatry.

In this seminar, Martin Levy will introduce a rare screening of Peter Davis’ documentary about the congress, Anatomy of Violence, and discuss the congress’s significance. What did it achieve? What relevance does it have for young people today?

Martin Levy has authored three books, including Love and Madness, a study of an eighteenth-century crime of passion. Presently he is completing a book about the congress, provisionally titled Out of Sight: Joe Berke and the Congress on the Dialectics of Liberation.

TIMECODE: Subversion and Transgression in Polish Exilic Cinema: The Cases of Borowczyk and Zulawski

January 24, 2012

Date: 25-January-2012
Time: 18:00
Location: On Location, National Media Museum
Speaker: Michael Goddard

Pre-1989 Polish cinema, when it is remembered at all, is usually still seen in terms of a national cinema strongly engaged with historical and social themes, and is associated with the key names of Andrzej Wajda, Krzysztof Kièslowski and the 1970s ‘Cinema of Moral Concern’. This talk will, in contrast argue that the real ‘dissidence’ was elsewhere, in the work of a range of exile Polish directors for whom aesthetics were not subordinated to anything, and whose films are not only more aesthetically radical than their ‘national’ contemporaries but also may have more to say politically, even if they do so in proximity to ‘low’ genres like pornography or horror. This talk will focus on the films of Walerian Borowczyk and Andrzej Zulawski. In the case of both these directors, it will be shown how their uncompromising and subversive cinematic aesthetics and their transgressions of the limits and norms of European art cinema have resulted in their work being under-appreciated if not invisible.

Michael Goddard is a lecturer in media studies at the University of Salford. His current research centres on Polish and European cinema and visual culture and he is reviews editor of Studies in Eastern European Cinema (SEEC).