“Dog Star Man,” directed by Stan Brakhage (USA, 1961–1964), is a film cycle consisting of a prelude and four parts. The screening is accompanied by the audiovisual performance “consequences of seeing.” Performers:
The film's starting point is a figure of a person crossing a winter landscape. Through intensive editing, layering of images and abrupt changes of scale, Brakhage transforms it into a visual poem about the body, nature, birth, effort and cosmic order. The film has no soundtrack or linear narrative. The image is treated as a direct perceptual experience.
During the performance, Mariusz Knysak watches the film in VR, isolated from the event space and the sound being created live. His recorded brain activity and other biological signals influence the sound generated by Maciej Ożóg's modular synthesizer. Meanwhile, Marcin Polak develops an autonomous sound layer.
The music does not illustrate the film or follow its structure. It is the result of an encounter between Brakhage's image, the viewer's physiology, technology and two independent improvisational practices. Each performance begins with the same film but leads to a different audiovisual event.
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