Industrial Vesper #11
Barry Brown and Irene Proebsting
This is an excerpt from an
article that was originally published in Cantrills Filmnotes, Issue No.79-80, November 1995.
THE push for privatisation throughout the power industry in
the Latrobe Valley, initiated in the late eighties by the former Labor
Government and continued with accelerated abandon by the present Liberal Party,
spawned numerous catch phrases — restructuring, industrial democracy,
multi-skilling, redeployment, voluntary departure package (VDP) — terms apparently
meant to signify a redistribution of renewed fortunes, to usher in a more
equitable phase of late capitalism for employer, worker and consumer. Although,
as shrinking personnel data bases attest, downsizing echoed the loudest, as a
strategy of redundancy was increasingly promoted as the dominant yardstick of
efficiency. Attrition rates soared and within six years job shedding has
decimated a workforce of 22,000 to well under half, culminating in the present
full scale sell-off of assets and threats of further retrenchments.
PRIOR to the turn of events, such a scenario appeared
unimaginable. Vast coal deposits stretching for miles in almost every direction
throughout the region and forecasts of unparalleled expansion. Plans for a
network of twenty-one power stations had been mapped out and touted as the
future direction, immense ecological disturbances aside, such proposals
reinforced the perception of an ever-continuing arena of expansion, a program
of exaggerated development reinforcing inter-generational job security.
THE establishing stages of restructuring were infused with a
sense of blurred optimism. Suggestions that increased productivity, via the
adoption of competitive market strategies, would lead to improved job
opportunities, extended career paths, flexible working hours, and expanded
leisure times, filtered throughout the workplace. A voluntary departure package
was also announced if you weren’t suited to such gains, a retrenchment plan
calculated on years of service as an incentive to depart. Although labeled
voluntary, many tacit pressures evolved as the package had certain
conditions—assessment for suitability, a fixed closure date like a never to be
repeated sale concurrent with an unofficial policy of boredom as work was
mysteriously withheld from various work spaces.
AN escalating barrage of conflicting rumours circulated
daily, undermining purported benefits and intentions, claims of immanent
closures, mass sackings, forced redeployment, a bankrupt State, alarming claims
triggering many to sign up in uncertain agitation. (A brief respite would
ensure, figures tallied, and a new last-chance VDP closing date announced, like
an unrelenting series of false endings.) Memos full of disclaimers were
distributed frequently to allay fears and dispel rumours; but for many such an
air of uncertainty created mistrust, anger, apathy and fear. Gradually various
positions were declared unnecessary and numerous locations targeted as
obsolete, openly destined for closure or put onto the market.
INDUSTRIAL VESPER #11 (computer + tapestock, 18 mins, 1995)
a comic assault, presented in the form of an electronic desktop memo.
Comprising a series of actual and imaginary text snippets drawn from the
language of memoranda, workshop slang, obsolete engineering manuals,
conversational fragments etc. The accumulative displacement of modes of address
generating various absurd juxtapositions as mounting directives, productivity
claims and counter claims collide, destabilising a unified reading akin to the
multiple mis/dis/in/formations reverberating throughout restructuring; blurring
who is actually addressing whom. As the piece progresses the problematic of
allegiances is increasingly amplified, as fragments oscillate in ambiguity as
to whether the piece is anti-government, anti-union or anti-worker.
INTERSPERSED throughout are a number of recomposed digitised
archival photographs, predominantly technical inspections monitoring structural
damage to mechanical components, training exercises, locations and farewells;
rhythmically paced in an undulating meditative fashion of exaggerated
neutrality. The images were processed and modified employing techniques such as
transparent overlays, distortion and resizing, abstracting and highlighting
inherent contrasts and tonal qualities to manufacture constructivist designs,
minimalist collage and trash alien mutations. The image and text components
were assembled in a basic presentation package which allows durations and
transitions to be designated and also enables the piece to run as a continuous
loop direct from the hard drive.
THE accompanying soundfield is a re-working of an earlier
sketch, four pitches from a violin performed by Peter Schneider, (1min,
tapestock, 1993) from a diary of brief improvisations and events that utilise
limited pitch configurations and are concerned with exploring accidental sonic
occurrences. Many of the pieces are derived from fairly amusical approaches,
for trained and/or untrained players via non-traditional notations, ranging
from suggestions of simple activities or deliberate attempts to frustrate
normalised playing techniques. Selected fragments are then fed through various
gradualist processes of transformation, pitch inversions, subtle equalisations,
deploying numerous recording and transmission devices to recombine slightly
different versions. For Industrial Vesper #11 the four pitches were continually
layered and relayered onto a 4 track recorder. At random, a brief portion was
digitised and transferred back to tapestock for further layering and temporal
transpositions. The resultant mix an ambivalent, deskilled, uneasy listening.
INDUSTRIAL VESPER #11 was recently screened as part of
Virtualities an exhibit of computer and video art held at Science Works Museum,
presented by MIMA as part of the Centenary of Cinema.
See also (silent cinema) or the lazy fitter
Barry Brown and Irene Proebsting, November 1995.
to Barry Brown profile