an improvisational music, sound and theatrical film accompaniment, performed to a collection of excerpts from Dziga Vertov's 1929 silent documentary film "The Man with the Movie Camera". This forward looking Russian film is considered the first truly experimental cinematic piece in history, and who’s patterned subjects and fast cut pacing reflects the technocratic machine-lust of the early Soviet Union. The piece speaks in the poetry of a newly blossoming affair, one between humans and the motion picture, who’s courtship breeds a supernatural dimension.
The thematic intention of Asher’s performance is to sonically parallel and subvert the vision of optimistic socialism. The result is a future dream world formed from Vertov’s hopeful emotions, despite his best efforts to remain objective.
Vertov’s manifesto, stated in text at the beginning of the film, is as follows:
"this new experimentation..... is directed towards the creation of an authentically international absolute language of cinema..... on the basis of complete separation from the language of theatre and literature"
Similarly, Asher’s accompaniment is directed towards the creation of an authentically international absolute language of sound, on the basis of separation from the standard notation of acoustic instruments, the concert idiom, and the conventions of diegetic and non-diegetic sounds. Joining Asher is musician and performer Maryclare Brzytwa.
The performers follow a timeline score with thematic and technical descriptions for each sound action and it’s relation to the images. They will use a widely spaced collection of recorded media and electronically modulated instruments to produce the accompaniment. The devices include laptop sample triggers, iPods, cassette decks, CD players, turntables, microphone mallets, gongs, empty fluid containers, no-input mixer, and modulated flute.