Atom Town

Atom Town: life after technology – a film by Gair Dunlop

“Dounreay Atomic Research Establishment is a sprawling monument to solidity, optimism and analogue engineering. The intangible alchemies and sense of romantic science at its heart are trapped like amber in archive film and in its colossal structures. Over the last two years, unprecedented access to the facility and to the UKAEA Archive at Harwell have allowed Gair Dunlop to explore the dream and the consequences of high science in a remote community”.

Sound design and original music by Mark Vernon.
Sound post production by Zoe Irvine.

Duration: 22min

http://www.atomtown.org.uk/

Yellowcake

Yellowcake: atomic modern – a film by Gair Dunlop (UK, 2017)

A 66-minute film which traces the rise and fall of the UK nuclear fission research programme, seen through its sites, archives, memories and consequences. It explores the psychic realms of the nuclear- whether as postwar dream of a post-empire future, apocalyptic terror as entertainment, or zone beyond our understandings of time.

The film can be seen as a three screen full-HD installation with quad sound (preferred format) or as a single screen video with stereo sound.
UK Preview of full 3 screen installation took place at VRC, Dundee Contemporary Arts, Dundee on 8th and 9th April.
Single screen version was premiered at Royal Scottish Academy, Edinburgh from April 1st – May 7th.
Its international premiere was at Rome Media Art Festival on 27th April- 1st May 2017 at MAXXI.

Sound design and original music by Mark Vernon.
Sound post production by Zoe Irvine.

The Dividing Line

The Dividing Line – a film by Mark Vernon (UK, 2014)

The Dividing Line is a film about the people of Plymouth and their relationship to the Tamar; the river that divides Devon and Cornwall. More importantly, it is a portrait of one specific riverside community and their complex historical ties with the Navy. Barne Barton is a housing estate on the outskirts of Plymouth overlooking the naval base. It was built originally as married quarters for naval families. The film documents the difficult transition from MOD to civilian housing and the many changes that have taken place in the area over the years. The story is told through the voices of the people who live and work there using present day oral histories and archival film to create an audio- visual snapshot of a community that will hopefully enable a better understanding of how this area’s history has directly influenced its present. It is also a celebration of the green spaces, community spirit and naval heritage of a remarkably situated housing estate.

Barne Barton is often referred to as an island because of its isolation from the rest of Plymouth. Essentially it is a peninsula with one main road in and out of the area. As former MOD housing, the estate lacked much of the infrastructure that would normally be considered essential for such social housing. It is an area suffering from social deprivation with wide spread poverty, unemployment and many of the other problems inherent with these conditions. In addition to this, the proximity of the naval base and the fact that the vast majority of the shoreline is owned by the MOD means that whilst many residents have a view of the river there are very few points of actual access to it. Given that the Navy is steadily reducing in size and its need for land is reducing, many local people are frustrated and angry at how heavily restricted their access to this precious resource is.

The Dividing Line attempts to examine some of these issues through first-hand accounts from the people who live in the area, whose work relates to the river or who make use of it for leisure. The film looks at both sides of the line – between Devon and Cornwall, the MOD and the civilian population and the economic divide between rich and poor.


The Dividing Line was made from archive footage sourced from the South West Film and Television Archive with editing and additional footage shot by James Ellwood of Fotonow. It was a joint commission by ‘Take A Part’ and the ‘The River Tamar Project’. The film was screened at a special event in the Barne Barton community and as part of ‘It’s All About the River’ an international film festival on the banks of the Tamar in 2014.

Concept, sound recording and sound design by Mark Vernon.

Additional filming and archive film edit by James Ellwood.

 


Achterhaven Splinters

Achterhaven Splinters – a film by Fowler, Vernon & Burns (UK, 2007)

Achterhaven Splinters is a fragmented portrait of Achterhaven, a working class suburb of Rotterdam. Shot over the course of 24 hours, a series of fleeting moments of everyday life are scrutinised and exploded in the process of hand printing. The documentary sequences begin to take on new meanings when subjected to the physical manipulation of light, chemistry and material. Strategies that allowed chance elements and fortuitous accidents were brought into play and combined with a distinct approach to filmmaking which eschews both documentary and materialist film histories. The soundtrack was recorded whilst on location and then composed to the images. The dynamic texture of the soundtrack mirrors the images in its fluctuation between reality and abstraction.

Achterhaven Splinters is a collaboration between Barry Burns, Luke Fowler and Mark Vernon shot on 16mm film. It was produced at WORM’s Filmwerkplaats in September 2007 during a short residency. The film was first screened at the Gilmorehill Cinema, Glasgow, 2008 in a programme curated by Magic Lantern.
 

Sound Test 5.1

Sound Test 5.1 – a film by Mark Vernon (UK, 2104)

Sound Test 5.1 is a short sound film produced in collaboration with visual effects artist, Loday Gonpo. A site-specific cinematic artwork designed especially for Tyneside Cinema’s auditoria. For several months the film was surreptitiously inserted into the cinema programme, playing, unannounced, before all main features.

The film is a playful riff on more functional speaker tests used by cinema projectionists to check that the sound system is operating correctly. Typical tests check the volume, frequency range and position of each speaker plus any synchronisation or phasing issues between them. Under the guise of a sound test the work explores the mechanics of the 5.1 surround sound system, temporarily breaking the spell of the surround-sound illusion to draw the audience’s attention to the location of the speakers within the cinema environment.

The distinctly retro sounding electronic noises used in the sound test are matched perfectly by the backward looking motion graphics that were designed to mirror the way the audio moves through the space in three dimensions.


Sound Test 5.1 was commissioned by Pixel Palace for Tyneside Cinema. It was produced in 5.1 surround sound with both stereoscopic 3-D and 2-D versions. The film featured in Tyneside Cinema’s film programme from February to April, 2014.

 


Gallery

Temporary Dwellings

A series of constructions made on areas of disused wasteland in Derby in 1995. Generic house plans were mapped out and then filled with as many household items as could be found within the area. Once constructed and documented these ‘temporary dwellings’ were simply left for whoever happened to come across them.

 


The Object Library

A metaphorical library dealing in found objects. For a month-long period the empty shelves of a closed-down public library were filled with found items, each with its own label and classification under the Dewey decimal system. Some of the objects were labelled literally – for example a broken food mixer in the Cookery section or a tennis racket in the Sport section – others were more abstract or metaphorical – the Romances section consisted of lots of odd pairs of shoes tied together and the Biographies section was made up of things found in other peoples rubbish bins. The Object Library was run as a working library for a full month. Members were issued with a library card and could borrow objects from the collection for a set period.

Installation, Littleover Library, Derby, 1995.
 


In-Between Addresses

The residue of everyday life. A pile of black bags found in the street sparked an investigation into the whereabouts of a family that had seemingly disappeared. Amongst their possessions were family photographs, a marriage certificate, utility bills, food, clothes, toys, books, records, school reports and other personal documents. It soon became apparent that something happened that had caused this family to leave in a hurry. Were they intending to return at some point?

This found material became the basis for an installation – a wall text with items presented on shelves to illustrate conclusions reached from extensive analysis of their belongings. The rest of the material was presented as it was originally found – in a pile of black bags in the middle of the space.

Amongst the items examined were a few unmarked cassette tapes. On one of the tapes was a recording of the whole family taking it in turns to sing on a home karaoke machine including fights over the microphone between songs. It was an unsettling experience – to hear the actual voices of these people whose possessions I had been sifting through for the past few months. It made them real in a way that none of the other stuff, including the photographs could have – and it had a profound effect on me.

Interim Show Installation, Mackintosh Building, GSA, 1997.

Sonology of a Mute Spectacle

Produced in association with Dundee University’s museum services. An array of found objects, musical instruments and exhibits from the Museum’s collection were selected with particular attention to their sonic properties. Through a collage of sound and narration these static objects presented in museum display cases were reanimated in the imagination of the listener as they were guided through the exhibits by a specially recorded soundtrack on headphones accompanying each cabinet.

Lamb Gallery, DJCAD, University of Dundee, April – May 2003.

Fairfield Shipyard

As part of the Glasgow International Festival of Visual Art 2010 five artists took over the Fairfield shipyard offices in Govan for an exhibition of video, performance and site-specific installation works. Working together they created artworks that responded to the history and fabric of the building including large scale paintings, projections, sound installations, amplified drawings, an avant-garde brass band and cucumber sandwiches and tea in the boardroom to finish.

The exhibiting artists were: Colin Begg, Sarah Kenchington, Emma Bowen, Belinda Gilbert Scott and Mark Vernon.

The audio clip is an excerpt from ‘The Engine Room’ by Mark Vernon, a four-channel sound installation created from original field recordings presented in a blacked out space.


Fairfield Shipyard, Govan, Glasgow, 24th April – 2nd May, 2010.

Top