The signal is the essence of sound and digital image: from the invisible material information to the naked eye, codified and flowing through the filmic technologies of the age of the Web. Its access, of paramount importance, is in protected mode (Friedrich Kittler). On one side digital tools are built as black boxes in the middle of which the signal processing is carefully rendered opaque and inaccessible. On the other, private companies and governments of the intelligence services have unlimited technological power of interception and investigation of signals to conduct their surveillance and profiling globally. Rejecting this paradox, some artists like Pierre-Yves Cruaud, HC Gilje, Paolo Gioli, Benjamin Muzzin, Jacques Perconte, Leighton Pierce, Joost Rekveld, Sadia Sadia, Jerome Schlomoff, develop signal intelligence: they thus pass its regulated treatment according to the standards of audiovisual experimentation to release the untapped plastic resources and express all the strata of the artist's sensibility.

Australian-British artist Sally Golding presents two new audiovisual installations which conclude her year-long Embedded residency, delivered in partnership with Sound and Music and the South London Gallery (SLG).

The installations explore Golding’s interest in perception and phenomenology, and consider audiovisual art as a participatory experience. Golding’s work questions states of reality, challenging notions of narrative and the act of perceiving through the deployment of sonic and visual fragments, and the reworking of the bare components of audiovisual media such as light, substrate, and amplification.

"Barbara Hammer paints a colorful portrait of the American poet Elizabeth Bishop, from her childhood to her death in 1979. Bishop described herself as “timorously kicking around the coastlines of the world,” and the film is loosely organized around her stays in Nova Scotia, Key West, Brazil, and Cambridge—the homes she made for herself and the lovers she took. Never “out” as a lesbian—the concept would have been foreign to the writer who graduated from Vassar in the thirties—Bishop nonetheless actively pursued women, from her first summer-camp crush to her last affair. Hammer examines Bishop from all angles, interviewing everyone from literary luminaries like Marie-Claire Blais and Edmund White to Lota’s aged former maid. Hammer pulls the viewer into Bishop’s world, blending present day footage of each location with archival photos, and recreating moments in the writer’s life." Adapted from text by Monica Nolan (Frameline)

Fylkingen and Turbidus Film present a film programme focused on gardens, structural landscapes and field studies. In micro narrative of almost non-action, re-structuring cinematic forms, archetypal routines, off-screen presence, image in the images, this program provides the violence of the Atlantic Ocean hitting the coast, Brancusi's scuplture garden at Tirgu Jiu, the beach of Palud, the fields in Bourgogne and a garden in blossom from a dead mother's house.