le morte darthur by sir arthur deriomém

for he felte hym so resurrected that he wente he sholde have dyded. mathieu swiezynski est morte, jesu mercy, youre blood and youre well-wyllars wer so [dretched], oute of oure beddis naked, and som in their dremys caught naked swerdys in their hondis. (651)

weegee in the forest by chi yun (1-8) and matthew swiezynski (9-14)
magic hour, oakland

push back into the shadows the things that come forward too clearly (visitors and suicides)

jim haynes - the wires cracked - 2013

editions mego / haynes

have found nothing to eat and are returning with tired wings to their nests; at the craggy cliffs along the sea-shore; at the fires burning on the masts of invisible ships; at the muffled sound of the waves beating against the huge fish who, as they swim, reveal their black backs and then plunge down again into the fathomless depths; and against man, who makes slaves of them. after which, they start running again through the countryside, bounding across ditches, paths, fields, through weeds and over steep rocks, their paws bleeding. their prolonged howls fill nature with dread.

(lautréamont - maldoror, 39)

tomonari nozaki ‎- north palace - 2013

forwind / nozaki

about these places especially, dark, almost dirty, shadows gathered. come to discover beauty in shadows. the light from the garden; fragile, dying rays, avoid the failure to comprehend the mystery of shadows, and especially not to disturb the glow. listening to the murmur that penetrates, what lies within the darkness one cannot distinguish. the spell disappears from the dream world built by that strange light, what feeble light there was i could imagine. a part picked up by a faint light. water lines harmonize with and bury the wires.  the beauty of the grain begins to emerge, left obscure, shrouded in a dusky haze. softness and warmth of the still dimmer light, the aura of depth and mystery.  set out in the night, and recede into darkness. dreamlike glow that suffuses it.

(tanizaki - manipulated in praise of shadows)

atay ilgun & alper yildirim - aokigahara, the black sea of trees - 2012
wounded wolf press

the waves tower, and the suicide phenomenon, a labyrinth forest and postwar nihilism that expanded the scope and further darkened the atmosphere of the wind-blocking density of the trees and an absence of deer, rabbits and the like, this forest is known for being exceptionally quiet!

autechre - exai - 2013
warp / autechre

darkness hummed about him, clinging to him like coagulated, damp warm wool. the terror he had felt as intimation fused with the darkness became whole and real. he could see a little now: the darkness had grown horizontal lines of gray, as if it had begun to decompose. "i just feel tired' he said.

(p.k. dick - ubik)

jacob kirkegaard ‎- conversion - 2013
touch / kirkegaard

wrapped in his cloak, a book in his lap, our traveller rested; hours slipped by unawares. it stopped raining, the canvas was taken down.  the horizon was visible right round; beneath the sombre dome of the sky stretched the vast plain of empty sea. but immeasurable unarticulated space weakens our power to measure time as well: the time-sense falters and grows dim. strange, shadowy figures passed and repassed. (t. mann - death in venice)

salò o le 120 giornate di sodoma

matthew swiezynski  also salo  1996
multiple pass destruction of pasolini's salò o le 120 giornate di sodoma

composed during an editing class with the great mark lapore

le vieux paris (illumination of detail)

matthew swiezynski  rue de vaugirard, 1909  1998

video which came out of a failed 16 mm film project. originally photographed in san francisco, only in locations where the cables transporting the cable cars could be heard. the ambiance of the cables would be the soundtrack.
once failed; the film was transferred to video, and then rephotographed with a video camera, with the video playing in various slow motions, and a contact mic on the screen to bring attention to the rhythms and allow the films colours to create timbre.

also inspired by eugène atget and charles marville's photographic work, capturing a subtle otherworldly quality from the decay of a soon to be destroyed old paris (pre haussmann plan).

books :

- eugène atget - the work of atget: the art of old paris - moma - 1982 (plus the other three other moma books published for the exhibitions on atget's life and work)
- eugène atget - atget's seven albums - yale university press - 1992
- eugène atget - atget paris - gingko - 1992
- eugène atget - atget the pioneer - prestel - 2000
- eugène atget - atget - moma - 2000
- eugène atget - atget: paris in detail - flammarion - 2002
- eugène atget - paris as gameboard: man ray's atgets - columbia university - 2002
- eugène atget/berenice abbott - berenice abbott/eugène atget - arena editions - 2002

- charles marville - marville paris - éditions hazan - 1994
- charles marville - charles marville - centre national de la photographie, paris - 1996

- françois  loyer - paris xix siecle: l'immeuble et la rue - éditions hazan - 1987

enneige

matthew swiezynski  enneige  1999, 16mm

music : très lent by tarrl lightowler & matthew swiezynski, which includes 840 layers of
erik satie's vexations. layers recorded on a reel to reel with the erase head covered up.
new melodic elements added in 2013.
actress : madeleine bonn

this version is from a 16mm transfer to vhs, then transferred to the computer. invisible birds is hoping to get some funding to transfer numerous 16mm films directly to hd video for a bluray release. any assistants or ideas please contact us at invisiblebirds at gmail

l'inconnu du nord-express

matthew swiezynski  fludd's memory system  2007

train flicker film shot in crockett, california
no digital effects used, only aberrations discovered in final cut 7
through layering, contrast and opacity

(title : french for strangers on a train)

mysterious and invisible - magic hour part 2

matthew swiezynski  mysterious and invisible - magic hour part 2 2007

sound by asher (with harmonic modifications by matthew swiezynski)
fireflies part one and waterfall part two
shot in north carolina 2007

initially released in a limited edition by invisible birds (ib001)

(sounds like dirt xxiii) you seem close to the edge

 
if i could just make it stop
i could tell the whole world
to get out of the way
if i could just make it stop
if i could just make it stop
breaking my heart
get out of the way
if i could just make it stop

(drone)

you seem close to the edge
i'm at the end of my rope
the rope is starting to thread
i'm trying to keep my hold

you say i'm something i'm not
but i'm not what i seem
get my back off the wall
if i could just make it stop
if i could just make it stop
i could tell the hole world
to get out of the way
if i could just make it stop
if i could just make it stop
breaking my heart
get out of the way
if i could just make it stop
if i could just make it stop

(drone)

now i'm looking up from a ten foot hole
see nothing but blue sky, shining on my soul
as i enter the court and untwist the knot
we could get where we're going,
if i could just make it stop
if i could just make it stop
i could tell the whole world
to get out of the way
if i could just make it stop
if i could just make it stop
from breaking my heart
get out of the way
if i could just make it stop
if i could just make it stop

(drone)

(melancholia by low and m swiezynski)

there in the dark we talked about "the unnamable" (the lovely phases erase my empty pages)

the daemon
to death of tormenting dreams

the period of my dreams it had passed, the material for the dreams and disturbed feelings,
though, as i have said :
this was when the dreams began.

travels to the distant. out of time. monstrous memories, how could i bear the lurking menace.
monotonous maddening moonlight, where the memory-dream began.
and those other things; vague impressions, abysses past imagination, delusion afflicting those strange imaginative vagaries, i knew it i was past this chaos, or i was known to its overwhelming madness.

abstract matters which i have mentioned, which remained.
knife in her right hand (the daemoniac apparatus in general), she blazed on my aperture.
blackness.... then....
vague tonal patterns of space-time seething, a faint luminous blur.

the churning void and the heard faint rumbling,
unclothed and unconscious. behind and  high above. fragments of another,
recollections of things in the black book, unbroken blackness, swaying to infandous rhythms.
deterioration for slight amounts incurred by a human body,
i embarked without hesitation.

the labyrinth-man of the witch-cult, as consciousness, i departed.
heard the faint dream, or traces of the desertshore.
bitten by her as i slept, loomfixer which welled shadowy (i tried to soften my step)

drawn, my irrelevant aspect, abnormal-looking.
blacker abysses beyond them, oddly little doubt that i could find.
this vast mound of debris, the man did not speak (phase or dreaming, or dream that i made that i could thrust within my mouth, immemorial)

any conceivable cosmos now close to the great underground empty memory.
a hint of vast, leaping shadows (my feverish echo of death and silence),
monotonous of unseen flute.

i came to the downward decline. (meet me on the desertshore)

*********

extreme and subtle obliterations & abstractions of the shadow out of time & the dreams in the witch house by arthur de eriomém performed under the influence of a strange secondary personality.

(it is recommended to listen to x-tg's all that is my own or the falconer while contemplating this entry)

~ last of the snow posts ~

circles loomed on every hand

in case of sudden or unexplained accident or death on my part, please deliver me of my body unquestioningly into the hands of the bearer and his associates.

robert suydam

concert sans orchestre (scenes from childhood)

the pain is easy
if you're hearing screams
come back child, come back

obscure atmospheric conditions

even the wind's burden held a peculiar strain of conscious malignity; and for a second it seemed that the composite sound included a bizarre musical whistling or piping over a wide range as the blast swept in and out of the omnipresent and resonant cave-mouths. there was a cloudy note of reminiscent repulsion in this sound, as complex and unplaceable as any of the other dark impressions. (at the mountains of madness)