A collaboration between moving image (Alexis Grey Hildreth) and sound (Bradley Kurushima), _The Heavens Rained Stones_ is an audiovisual conversation between early German Expressionist film and early experiments in analog video. The macrotemporal forces (human histories, traditions, and narratives) at play in Wegener’s _Der Golem_ (1920), are spliced into the microtemporal events (machine processes, flows, and signals) at work in Steina & Woody Vasulka’s _Noisefields_ (1974). This conversation is ruptured by a bit-based communion with interior light (sought through a keyhole) beneath the tympanum at St. John of Jerusalem Church, Hackney, United Kingdom (2016).
In the _Der Golem_ story, matter is animated without spirit; brought to life by invoking the hidden name of god (Shem HaMephorash), the auspicious alignment of celestial bodies, and the electrostatic discharge those bodies bring forth. In _Noisefields_, an image is conjured without the use of a camera; birthed solely from the electronic signal. _The Heavens Rained Stones_ follows these electrical forces, these lines of televisual communication, these luminance patterns, as they transfer back-and-forth, from one image to another: from _Der Golem_ to _Noisefields_, from _Noisefields_ to _Der Golem_, and eventually to their release through/entrapment within the keyhole in the main doorway at St. John of Jerusalem Church.
Through _Noisefields_, the Vasulkas expose the viewer to patterns, pulsations, and processes operating behind what is typically perceived as stable sights and sounds; to (what media phenomenologist Mark B.N. Hansen describes as) “minute shifts in affective tonality well beyond what is visible to natural perception”. The hyper-montage and sound-image reciprocity of _The Heavens Rained Stones_ is designed to sharpen the analytical attention of the viewer; to prime the eye to receive echos of the non-human temporalities (the microtemporal events) contained within _Noisefields_ chaotic video signal.
_The Heavens Rained Stones_ holds a curiosity with media archaeology, signal migration, data immersion, occult(ed) knowledge, (anti)social memory, the (de)generation of the archive, and the (re)mediation of temporality.
_The Heavens Rained Stones_ is a product of art’s transformation and empowerment through televisual speed; a vestige of art’s liberation from the monument.
-Paul Wegener’s _Der Golem_ (1920)
-footage of Steina & Woody Vasulka’s _Noisefields_ (1974); captured during the _Machine Vision_ exhibition at Raven Row, London, United Kingdom (2016)
-footage from the main doorway at St. John of Jerusalem Church; captured in Hackney, United Kingdom (2016)
Sound/music design by Bradley Kurushima