Light Music— un film de Lis Rhodes /

"La motivation initiale du projet est le manque d'attention accordée aux femmes compositrices dans le monde musical européen. Ça commence comme une composition de dessins. Elle même développée en une orchestration, par refilmage de ces dessins. Le Cinéma tend à exiger que chaque projection soit une itération de celle qui précède, ou, plus précisément, de la première. Light Music ne répond pas à cette prescription. c'est plus ou moins différent à chaque projection, et je pense que cela reste le cas, puisque le public existe et qu’il occupe lui-même l'espace de la projection. " -. L R. Réservoirs de Notes, Tate Modern, 2012 (Tr PK)
Et c'est de l'expanded cinema, le pendant sonore du célèbre cône de lumière anglais.

Double-screen for expanded screening or installation.

"The motivation for Light Music was the lack of attention paid to women composers in European music. It began as a composition in drawings. It developed into an orchestration, in the filming of the drawings. Cinema tends to demand that each performance be an iteration of the last, or, more precisely, the first. Light Music does not meet this prescription. It is more or less different every time it is screened, and I think this remains the case while the audience occupies the space of projection." --L.R. from Tanks Notes, Tate Modern, 2012

'Lis Rhodes has conducted a thorough investigation into the relationship between shapes and rhythms of lines and their tonality when printed as sound. Light Music is in a series of movable sections. The film does not have a rigid pattern of sequences and the final length is variable. There is variety in the spacing (frequency) of the lines, their thickness (amplitude), and their colour and density (tone)'. -- William Raban, extract from programme notes for Perspectives on British Avant-Garde at Hayward Gallery, 1977.

Selected screenings: at Tate Modern, in the Tanks, 2012 ; 'In person', Film Museum, Vienna, 2009 ; with Tamara Krikorian's Time Revealing Truth and Steve Farrer's 'The Machine', screened in Oil Tanks, Tate Modern, London, 2009 ; ‘Expanded Cinema - Space/Time/Structure’ Stuttgart, 2006 ; 'The Video Show', Serpentine Gallery, London 1975