World Pinhole Day 2012

My Emma gave me a Zero2000 for my birthday in early April. A Zero2000 is a beautiful crafted wooden box, entirely over-engineered and unnecessary (the perfect present for the artist with only cameras he can fix himself). Anyroad, all this was just in time for the happy coincidence of a day with the model and World Pinhole Day. I've been shooting this model for 6 months or so now, on and off, mostly with the Rollei SL66 using 120 film (FP4+ and Rollei Retro 400S, a beautiful film). So I took the opportunity on World Pinhole Day (April 29th) to take a single film of the model (Fomapan 200), never having used the Zero2000 before. This is the first frame.


I must apologise for the watermark, I feel strongly that it's important to share my work with the world but these nudes are a longterm project, one that I think will appear only in a book and on a wall, including commissioned texts. So please forgive me in this instance, I hope it doesn't detract too much. I do share most everything else :-) The best exponent of the Zero2000 camera I've come across is Nancy Breslin. This film is a great dedication to the art of pinhole:



As you may know, you can make a pinhole camera from almost anything, any box or tube which can be made light-tight. My good friend Katie Cooke, a great pinhole artist, loaned me her favourite pinhole camera...a Boggle Box!


The McArthur Residency

Well, it's been a while! I do hope some of you are still here. Rose is budding, at 10 months the most gorgeous wee girl is beginning to bloom. You can see her on my Facebook page. Other than this, I've been screening Filmpoem, though quietly and restricting it; I seem content to keep the films in their dotcom box. StAnza was a great success, sold out and humbled by a warm crowd and the poets all reading so well infront of the films. There's was a great review of the festival in The Spectator by Andrew Giles. I've been commissioned to make a new Filmpoem for the Felix Poetry Festival in Antwerp in June, and invited over to promote Filmpoem there too. My most recent film is The God of Sugar, with Vicki Feaver and Luca Nasciuti, for the Absent Voices project, something I'll talk more about later, something exciting for 2013!



Anyroad, the future. I talked briefly before about collodion. Collodion is an emulsion which provides a basis on which to make wet plate photographic plates. It was concocted by an Englishman in 1851, Fred Scott Archer, though later patented by an American. I made a film about my first experience, 2 years ago, in Kensal Rise:



So, you get the gist. Magical, mercurial and a real process embodying hard work, smelly chemicals and a certain mania. It's taken two years to fully get under my skin, though taught by Katie Cooke and Carl Radford and greatly encouraged by both, I've waited for a suitable opportunity and North Light is just that: I'll be spending June researching and then July in residence in the recently refurbished McArthur's Stores on the quay in Dunbar, working on a wet plate series of the fishermen, their families and their lives. There will be an exhibition in the local museum and gallery later in the year before it travels and then winds up in the form of a book, hopefully mid-2013. I've recently been influenced by the work of French wet plate photographer Jacques Cousin and his uncanny ability to pull together the triptych, a form which has long fascinated me:
I've decided to write a visual diary, which will begin on June 2nd as I'll be there for the Regatta. I do hope to see some of you there. I've cut enough glass to make portraits of you all!

The Year of the Dragon

It's been a while since I've been here...my new daughter Rosebud has been growing and is now 6 months. My plans for the next year are in place, the 16mm Bolex and the Rollei SL66 firmly in my heart (30 120 films of nude model work hand developed since we last spoke) and the plans for a Collodion spring are coming along nicely.

But first, I have How the Land Lies, a show comprising the Five Seascapes commission, choice cuts of the Analogue Decay work and finally, my Kilned Collodion work. The Kilned Collodion is a difficult, slow and protracted process I developed while on residency at Northlands Creative Glass in Lybster, completing the work in May 2011. It's fully explained in the show, which is from the 10th February until the 28th February 2012 at the Out of the Blue Drill Hall in Edinburgh and is free. More soon, lots to tell about both Filmpoem and Absent Voices!

1787

I was right pleased to be commissioned by Kevin Williamson to provide 12 short films for his Edinburgh Fringe Festival show about the radical poetry of Robert Burns. 1787 is the third in a series of the twelve films with a soundtrack by composer Luca Nasciuti. The second Edinburgh Fringe run of Not In My Name is from 24th-28th August, starting 7pm, at the National Library of Scotland. It's picked up a couple of 4* reviews and a nice shiny 5*; Joyce McMillan of the Scotsman described my wee films as beautiful, so I get to go home feeling all warm.



1787 (film by Alastair Cook, sound by Luca Nasciuti)

"Linked by a sequence of video narratives – especially created for this show by filmmaker Alastair Cook – Not In My Name is the live performance of the radical subversive poetry of Robert Burns, the dangerous stuff he couldn’t put his name to during his lifetime. Without changing Burns text, Kevin Williamson (poet, iconoclast and founder of the legendary Rebel Inc publishing house) will attempt to perform the poetry as he believes Burns may have done if he was around today. Alastair’s short films provide both context and chronological narrative to the performed verse. From the vicious political satire Address of Beelzebub through little-known underground, republican, anti-war, patriotic and revolutionary classics to the famed anthem of humanity, A Man’s A Man, this is Scotland’s Bard as never heard before."




Tipsy Tapsy

I was honoured to have Tipsy Tapsy screened at the Edinburgh International Film Festival 2011.



Tipsy Tapsy (film by Alastair Cook, music by R M Hubbert)

This film is the winning entry for the Edinburgh International Film Festival and Ten Tracks Music Pictures Project, culminating in ten bands playing infront of ten new films. Music Pictures was screened at the Festival House @Teviot, Edinburgh, on the 24th June 2011. This film was shot on black and white Russian Super8 stock which went out of date in 1992. It has not been colour treated, there are no after effects.

Collodion



Carl Radford, Deborah Parkin and I spent Saturday making wet plate Collodion tintypes in support of my new collection of fine art photogarphy, Analogue Decay, at the Howden. We had a superb day, a great UV index (Collodion speak for the sun being out) and met some wonderful people. This is a portrait of my good friend, poet Andy Philip.

There's review of Analogue Decay here, in Aesethetica Magazine.

Ground

I am honoured to have Las Vegas filmmaker Ginnetta Correli make a film from my poem, Ground.



Ground by Ginnetta Correli

Ground is a series of five haiku, written as part of the Twitter Renku Experiment aka #twenkuxp. I don't write terribly much (as you may have noted) and am perhaps unnecessarily precious about what I do write (see Abachan, for instance) and am pleased to see what such a wonderful, dark filmmaker can make of my words. Filmpoem is filmpoemed!


Naming

The combination of film and poetry is an attractive one. For the poet, perhaps a hope that the filmmaker will bring something to the poem: a new audience, a visual attraction, the laying of way markers; for the filmmaker, a fixed parameter to respond to, the power of a text sparking the imagination with visual connections and metaphor.



Filmpoem 9: Naming by Alastair Cook

Naming is a film by Alastair Cook of a poem by US poet Scott Edward Anderson.  Scott’s poetry received the Nebraska Review Award and the Aldrich Emerging Poets Award and appeared in the recent issue of Anon. You can read more of his poetry at his Seapoetry blog and his website. Naming was premiered at the Out of the Blue Drill Hall in Edinburgh, January 2011. It was shot entirely on Kodachrome Super 8 in 2010 and contains no post production, after effects or digital trickery. Photograph by Charlie Cook, shot on 35mm Kodachrome Ektachrome.


Broken Conversation

Broken Conversation: A Photographic Essay.

This post is part of Mairi Sharratt's Simultaneous Blogging Project. Please see the links at the tail-end of this essay for links to the other participants. All blogs have been published at noon, BST on 27th November 2010.

Broken Conversation.

“A little less conversation, a little more action please”

Mac Davis and Billy Strange; written for Elvis Presley, 1968.

Beyond the polite but immediately suggestive nature of this reference to frustration, this quip expounds that conversation is by its nature curtailed by physical intervention. All conversation is broken, stopped, interrupted by all manner of things: the chime and clatter of modern life, the needs of children, the need to stop a conversation growing into an argument.

This photographic essay considers the current nature of our society from the point of view of our generally perceived loss of conversational skills to the 160 character text, the 140 character tweet and of course to the naturally taciturn amongst us. This is dedicated to those who text in longhand by principle. I salute U.

Broken Conversation.



















Broken Conversation: A Photographic Essay is ©Alastair Cook 2010, all rights reserved.

A list of my fellow simultaneous bloggers is below. All links are live. Also, my blog is part of the Guardian's Literary Edinburgh project, which can be seen here: Literary Edinburgh

JoAnne McKay Titus the Dog

Rachel Fox More About the Song

Russell Jones Russell Jones

Peggy Hughes Scottish Poetry Library

Marta Romeros de las poesia y otras disciplinas en palabras

Mairi Sharratt A Lump in the Throat

Roger Santiváñez Junin 381

Cisco Bellavista Bella Bestias

Jesús Ge El Grito Capicua

Ana Pérez Cañamares El Alma Disponible

Felipe Zapico Felipe Zapico

Martaerre Marta R. Sobrecueva

All Bless.

Abachan



I am in Lybster. This was taken in Achastle early this morning, as I drank coffee from a flask. Caithness is stunning. I wrote a poem, a rare occurrence. The poem uses Caithness language, a beautiful thing. Meanwhile, enjoy the view...

Father



Father

The razor slid back,
wet black with the cleaving.

Those five days I tried,
to see a sense of myself,
to look beyond my faeries,
to breathe the Arab’s smoke,
deep enough to touch my God.

He is the devil,
he is my devil,
he is my father.

Inspired by Richard Dadd’s portrait of Sir Alexander Morison, his physician whilst at Newhaven. Richard was plagued by visions of faeries, murdered his father and ran off to France and Egypt before being caught and incarcerated. And boy, could he paint.

The Collector


I have just completed an installation as part of Rocio Jungenfeld and Esra Oskay's project, Weaving Threads, at Lauriston Glasshouse at Davidson's Mains in Edinburgh. My installation, The Collector, deals with the building itself: it is still used, but as a conservation architect, I feel that the rot has set in. This poem is the interpretation for the work.

The Collector

Tired of piercing the bodies of benign butterflies, I laid my gloves aside
and struck out for a new entomology.

To understand this place, this great glazed growing space, its fringes
now green, its edges now mould.

And so I have collected this glasshouse, held its broken body in my
hands, choked on the dust of its wings and pushed the pin through.

Look in here, wear my gloves and leaf through these if you will, study
them and feel the temporal beauty, the past now present.

All bless, Alastair.

Swear: A Photographic Essay

This post is part of Mairi Sharratt's Simultaneous Blogging Project. Please see the links at the base of this post for the other particpants. All blogs have been published at 10am BST on 17th July.

Swear.

"Seeing comes before words. The child looks and recognises before it can speak."

John Berger, Ways of Seeing (Penguin, London, 1972)

The basic tenet of this is true, though of course, seeing without words is a desperate place to be and a child will absorb language at an astonishing rate from an impossibly early age, proffering epithets to a parent's delight. I speak from experience. This photographic essay is based upon the ideas Berger put forward in Ways of Seeing, an early BBC series about insight into the visual arts.

Swear.














Swear: A Photographic Essay is ©Alastair Cook 2010, all rights reserved.

A list of my fellow bloggers in the project.

Mairi Sharratt A Lump in the Throat

Caroline Mary Crew Flotsam

Colin Will Sunny Dunny

Andrew Philip Tonguefire

Sally Evans desktopsallye

Kevin Cadwallender Cadwallender

Claire Askew One Nights Stanzas

Russell Jones Russell Jones

Martaerre Sobrecueva de la poesia y otras disciplinas en palabras

Tony Williams Tony Williams's Poetry Blog

New poem -'Ash'


I read in one of the three minute slots at 'Poetry at the...GRV' last night, in-between poetry giants, and included a new poem called 'Ash' reflecting on current empty skies. The photo is from my garden in Leith, this morning. This is feeling more like a portent with each passing day...enjoy and all bless.

'Ash'

Listen.

Today each one of all of us
is rooted, grounded, held;
our feet firm on our earth,
flightless animals
under a blank blue sky.

Of course it starts here
where it's nothing new
the wee frees devoutly
curtailing the vapour trails
of every Lewis Sunday.

This is apocalyptic, I say.
You bite into your Solero,
savouring before you smile:
"Well if it is" you say, "it's a cheery
ice cream based apocalypse."

[With thanks to GR and HP]

Borderland


My acting debut, James Norton's film Borderland, is being premiered in Whitechapel at the East London Film Festival on the 27th April. Borderland was shot in January this year, in the depths of this ridiculous winter; it was shot in the Lee Valley Park. Facebook page is here



Sutherland | Caithness


Well, Timespan have been wonderful and I took down my exhibition on Sunday. Not before completing a great workshop with the local kids, who made me laugh for two hours. Very messy and lots of fun...