Joost Rekveld

A generative audiovisual composition for radar display tube and analog chaotic circuit inspired by the history of electron optics More info: http://www.joostrekveld.net/?p=2179

#67 is a tribute to Reminiscence and Telc, two video works that Steina and Woody Vasulka made in 1974.

A categorical accumulation of abstract patterns. Lines, colours and sounds obey an impenetrable logic. A quiet film that dares to be resolutely experimental. Chaotic equations by the Chinese mathematician Wang Lin are tackled by an analogue computer, a small battery of surplus high-frequency oscillators and Joost Rekveld.

In his film #43, Joost Rekveld observes what happens to a system that is destabilised by ‘creative' pixels, drawing inspiration from the set of ideas in biology and mathematics that arose during the development of cybernetics in the 1950s.

In his film #43, Joost Rekveld observes what happens to a system that is destabilised by ‘creative' pixels, drawing inspiration from the set of ideas in biology and mathematics that arose during the development of cybernetics in the 1950s.

Short piece commissioned for the ‘Modern Times’ project by Stichting Cinema Zuid in collaboration with the One Minutes. Part of a long-running exploration of algorithms that are based on a combination of propagation and local interactions. Originally triggered by an encounter with simulations of how nerve impulses organise themselves into oscillations in tissues like heart muscle, the project has since expanded to include an interest in the more general emergence of patterns in time and space out of homogeneous starting conditions.

Film #37 is part of an ongoing exploration of the propagation and diffraction of light through holes and grids.

#23.2 Book of Mirrors deals with the multiplication of light beams through mirrors and kaleidoscopes.

#11 (Marey Moiré) is a film in which all images were generated by intermittently recording the movement of a line. It is a film about the discontinuity that lies at the heart of the film medium.

#11 (Marey Moiré) is a film in which all images were generated by intermittently recording the movement of a line. It is a film about the discontinuity that lies at the heart of the film medium.

Essentially a slow evolution from black to white, this film is an articulation of the old idea of Aristotle's that colours arise from the clash between light and dark. The colours of #7 are based on the opposition of pigment and light, and are all produced by stamping paint directly onto the negative.

IFS-Film is a film made on an Atari Mega 2 ST computer using Forth and Assembler computer-animation software.

A short study for the optical printer, based on found footage of fire, on coloured light from the printer and chemical manipulations of the film emulsion. The film, consisting of 11 sections, changes from a traditionally centered image towards images that cover lengths of the filmstrip and originate from the material itself.

The first film Rekveld composed according to methods he still uses to structure films. Featuring images created by recording the movements of a tiny light source with extremely long exposure times, so it draws traces on the photographic emulsion. The light is part of a simple mechanical system that exhibits chaotic behaviour.

Continuously modulating between animations with long exposures and snapshots enlarged across many film frames, #5 explores the relationship between image and time on the film strip. The images were made using very non-virtual, simple reflecting materials and can be regarded as action painting with light.

Abstract lightplay that slowly reveals it's secrets. The film consists of three layers: animation of streetlights, filmstrip treated with bleach and a performance shot with long shutter speeds. The electronic music by Joost Rekveld is based on radio-signals.

Joost Rekveld's first film is an hommage to the way daylight changes colour during the course of the day and links this to how film is a medium that captures and radiates light. Until 2013, this was the only film for which Rekveld also composed the soundtrack.