August 14, 2017Brighton is Our Playground, Choi Sai Ho, 2016 (footage from Screen Archive South East)
An interview with Choi Sai Ho following his residency in Brighton in August 2016, and the making of his work Brighton is Our Playground, commissioned by videoclub and Royal Pavilion & Museums, for the exhibition Experimental Motion. Brighton is Our Playground was created using found footage from Screen Archive South East.
To start off with, can you tell us a little about the work you make, and what inspires you to make it?
In regard to found footage, it really depends on what found footage you’ve got. The structure I was editing, in fact, involved a very primitive “story” or “narrative” structure – a man goes to the car, then car journey, Brighton, introducing people at the beach, and so on. I started thinking about what musical style would fit the work while watching the footage.
Your work often involves a combination of visuals and sound – is either more important to you? How do you decide what kind of visuals go with what sounds?
In making this work, I treated it as making a film. Both visuals and sound are important to me. While I was watching the found footage (most of it is silent film), I had some ideas about music genres such as Triphop, Downtempo, Ambient, etc. within Electronica style, and that it should not be too complicated, and should not have too many instruments for the soundtrack.
After building a very rough piece of music, I edited the footage following the beats and rhythms of the music piece. The music always decides the tempo and rhythm of the film. So it makes easier for editing. The good thing about being a composer and filmmaker is I can make changes immediately during the creative process if the footage does not match with the music or vice versa. I can change either one of these in order to fit with the other. When I watched the old footage, I found that the beach footage was so beautiful, basically this old footage was so beautiful, and they were real and existed – the people at the beach [Father Neptune Ceremony on Brighton Beach, 1951, Roger Dunford], the young couple, the cameraman and the director inside the film [Local News in Brighton & Hove, 1951]… I knew I had to include this footage to show these beautiful images. And I needed the beautiful melodies to match with this footage so I composed it and put it to this film artwork.
In August, you took part in a residency in Brighton with videoclub, and worked with Screen Archive South East to produce a new work for Brighton Museum and Art Gallery, Brighton is Our Playground. Can you tell us a little about the film, and how you decided on which archive films to include in your final film?
I saw that so much footage was from car driver seats, train windows, trams or other transportation in UK. I’ve always liked the point-of-view shot from driver’s seats. I wanted the audience to also experience what it was like a few decades ago journeying in a car or train. A bit like music structure, the beginning and the ending is the same or similar, so you would see the POV shots were used at the beginning and the ending of my film artwork here. Furthermore, I tried to include different eras of Brighton and UK while deciding upon the archive films.
What was it like working with the Screen Archive?
They were so helpful and they manage the archive and access to footage very well. Normally the general public may not be interested in watching these films unless you are film scholars, film lovers, researchers or artists, etc. It is a very good way for the public to watch the footage through my work. I guess it is also a kind of cultural preservation, preserving the old films and cultural activity as well. I hope my work can bring this old footage to life again, showing the beautiful things that exist in history.
The soundtrack to Brighton is Our Playground is quite fast-paced, quite in contrast to what people think of a soundtrack to archival films, why did you decide to compose this type of music?
To me, making music is similar to editing films. Practically, electronic music is more convenient for me to work on. The spectrum of electronic music is so wide. I hope people have a different perception about electronic music after watching my work. It can be fast-paced and soft downtempo too. For the beginning of my work, you would hear my own field recordings of Brighton beach. The contemporary electronic music mixing or colliding with old film footages may be a good mixture here. Making artworks always involves experiments. Creators are always trying different combinations to see if it works or not.
A new collection of artists’ film and video curated from OSMOSIS, Taiwan’s leading film, video and music festival. A varied collection of film and video by some of Taiwan’s cutting edge artists working with moving image and creative technology.
All the artists grew up in the digital era, and their works respond to an age obsessed with digital culture and imagery, creating dialogues between technology, film and video art.
The programme will contain the premiere of a new commission by Taiwanese artist, Wu Chi-Yu, entitled Reading List. The film has been made in three Malaysian cities – George Town, Tanah Merah and Kota Bharu. During his journey, the artist interviewed local communities, documenting their reactions/interactions with books, articles and literature forbidden in northern Malaysia. Interviews were taken with booksellers about the trading and trafficking of such books, underground reading networks, and investigations into books banned for relating to “problematic” racial and religious ideologies.
Some of the artists from Taiwan and OSMOSIS’ curator will be at screenings to introduce the programme and talk to the audience.
Screening programme
CHEN Yin-Ju & James T. HONG End Transmission, 2010, 15 min 40 sec
FAN Chih-Ming, In the Fog – Abandoned City, 2016, 7 min 34 sec
LIN Shih-Chieh, A Short History of Decay, 2014, 5 min 45 sec NIU Jun-Qiang, When I’m Getting Older With You, 2009, 5 min 10 sec
HSU Che-Yu, Microphone Test: A Letter to Huang Guo-Jun, 2015, 25 min 18 sec WU Tzu-An, Stargazing, 2017, 2 min 48 sec WU Chi-Yu, Reading List, 2017, approx. 20 min (in post-production) – in exhibition at Phoenix in Leicester, screened at all other venues
WU Chi-Yu, A Private Collection, 2016, 13 min 33 sec – screening only at Phoenix, Leicester
Event dates and venues
Phoenix Cinema and Arts Centre
Date and time: Thursday, 5 October 2017 at 7:30pm (proceeding exhibition opening at 6pm)
Price: FREE
Address: 4 Midland Street, Leicester LE1 1TG
Web / contact / tickets: www.phoenix.org.uk / 0116 242 2800 / No booking needed
Exeter Phoenix
Date and time: 10 October 2017 at 5:30pm
Price: FREE
Address: Bradninch Place, Gandy Street, Exeter, EX4 3LS
Web / contact / tickets: www.exeterphoenix.org.uk / 01392 667080 / FREE – PLEASE BOOK HERE
Fabrica
Date and time: Wednesday, 11 October 2017 – doors and bar 7pm, event starts 7:15pm
Price: £3
Address: Fabrica, Duke Street, Brighton BN1 1AG
Web / contact / tickets: www.fabrica.org.uk / 01273 778646
Backlit Gallery
Date and time: Thursday, 12 October 2017 – doors and bar 6:30pm, event starts 7pm
Price: £2
Address: Backlit Gallery, Alfred House, Ashley Street, Nottingham , NG3 1JG
Web / contact / tickets: http://backlit.org.uk / 0115 8372426 / BOOK TICKETS
CCA Glasgow
Date and time: Monday, 16 October 2017, 7pm
Price: £2
Address: CCA, 350 Sauchiehall Street, Glasgow G2 3JD
To book tickets (tickets also on door): www.cca-glasgow.com / 0141 352 4900 / BOOK TICKETS
videoclub invited Feng Mengbo to come to Brighton in August to present his work Bruce Lee VJ Project, alongside work by Semiconductor and Larry Achiampong & David Blandy.
Feng Mengbo – Bruce Lee VJ Project, live at Fabrica, Brighton on Aug 16
(Full venue dates and details below the programme)
20 June, The Reading Room, Bangkok
23 June, Hanoi DocLab & Six Space
05 July, Lost Frames, Quezon City
06 July, 1335MABINI, Manila
Selected is a new collection of diverse artists’ film and video touring the Southeast Asia in June-July 2017, taking place at some of the leading venues for showcasing artists’ film and video in the region.
Nominated by the artists shortlisted for the Film London Jarman Award 2016, Selected brings together some of the best work from early career film and video artists from the UK in a vibrant programme of recent artists’ moving image.
Shortlisted artists for the 2016 Film London Jarman Award – Cécile B. Evans, Heather Phillipson, Mikhail Karikis, Rachel Maclean, Shona Illingworth and Sophia Al Maria – have nominated work by up-and-coming filmmaking talent, to develop an invigorating new programme of work.
The Fall and the British Museum, Rosie Carr, 2017, 3:36 mins
Runaway, Ginte Regina, 2017, 15 mins
Prologue, Phoebe Boswell, 2015, 6 mins
Janus Collapse, Adham Faramawy, 2016, 9:51 mins
The Turbulence of Sea and Blood, Sarah Abu Abdallah, 2015, 4:50 mins
Ship, Sea, Woman, What else, Sofia Albina Novikoff Unger, 2017, 9 mins
Produced by videoclub and Film London Artists’ Moving Image Network. Supported by Film London.
Film London Artists’ Moving Image Network
Film London Artists’ Moving Image Network (FLAMIN) supports London-based artists working in moving image, working in partnership to deliver a comprehensive programme including production award schemes, regular screenings, talks and events, as well as the prestigious annual Film London Jarman Award.
Venue and screening details:
The Reading Room, Bangkok
Date and time: Tuesday, 20 June at 8pm.
Price: FREE
Address: 19 Si Lom, Khwaeng Silom, Khet Bang Rak, Krung Thep Maha Nakhon 10500, Thailand
Web / contact: www.readingroombkk.org /+66 2 635 3674
วันอังคารที่ 20 มิถุนายน เวลา 20:00-21:00น.
ที่ The Reading Room สีลม 19
Hanoi DocLab & Six Space
Date and time: Friday, 23 June at 7:30pm.
Donation: ₫50,000 /₫30,000 (students and DocLab members)
Address: Six Space. 94B Tran Hung Dao, Hoan Kiem, Ha Noi
Web / contact / contact: www.hanoidoclab.org /(+84) 04 3734 2252 / ext. 39
Thời gian: 7 giờ tối, thứ Sáu ngày 23/ 06/ 2017
Địa điểm: Six Space, 94B Trần Hưng Đạo, Hoàn Kiếm (tầng 6)
Đóng góp (tại cửa): 50,000 / 30,000 (học sinh, sinh viên và thành viên DocLab)
Lost Frames, Quezon City
Date and time: Wednesday, 05 July at 6pm.
Price: FREE
Address: 70 18th Ave, Cubao, Quezon City, Metro Manila, Philippines
Web / contact / contact: Lost-Frames
1335MABINI, Manila
Date and time: Thursday, 06 July at 3pm.
Price: FREE
Address: Casa Tesoro, 1335 A. Mabini Street, Ermita, Manila 1000, Philippines
Web / contact: www.1335mabini.com /+63 2 254 8498
Feat. musician JBXDR (Jörn Bielfeldt)
DATE: 18 May 2017
START PLACE: Palace Pier east side on the beach (left side as you face the pier)
TIMES: 9pm: JBXDR live // 9:30pm: A Wall is a Screen tour begins)
We are extremely happy and excited to welcome back the Hamburg-based group A Wall is a Screen to Brighton. For the third time they have scouted Brighton for those special walls to project short films onto. Both a guided city tour and outdoor short film screening, A Wall is a Screen creates a new context for film and takes over neglected spaces, familiar buildings and commercial facades for ten minutes of lovingly curated short film before moving on to the next location – the ultimate pop-up cinema!
This temporary symbiosis between film, music and architecture will create new perspectives and compose a transient soundtrack for the city. Let’s shed a different light onto the city’s architecture and transform night-time Brighton into a special one time venue.
Just show up at the east side of Brighton Pier (left side as you face the pier), get into the flow and come along!
Special guest will be the Berlin drum-artist JBXDR who will start the tour with a special set.
The tour lasts about 90 minutes and will take place in any weather (bring an umbrella if it’s raining). No tickets are required to take part. It’s all free.
Produced in cooperation with videoclub.
A Wall is a Screen: Brighton is part of the Übermut Project #ubermut presented by visit Berlin and Hamburg Marketing GmbH.
(Full venue dates and details below the programme)
04 May, Fabrica, Brighton
16 May, CCA Glasgow
18 May, Whitechapel Gallery, London
25 May, Nottingham Contemporary
01 June, Plymouth Arts Centre
14 June, Exeter Phoenix
Selected is a new collection of diverse artists’ film and video touring the UK in May-June 2017, taking place at some of the UK’s leading venues for showcasing artists’ film and video.
Nominated by the artists shortlisted for the Film London Jarman Award 2016, Selected brings together some of the best work from early career film and video artists from the UK in a vibrant programme of recent artists’ moving image.
Shortlisted artists for the 2016 Film London Jarman Award – Cécile B. Evans, Heather Phillipson, Mikhail Karikis, Rachel Maclean, Shona Illingworth and Sophia Al Maria – have nominated work by up-and-coming filmmaking talent, to develop an invigorating new programme of work.
The Fall and the British Museum, Rosie Carr, 2017, 3:36 mins
Runaway, Ginte Regina, 2017, 15 mins
Prologue, Phoebe Boswell, 2015, 6 mins
Janus Collapse, Adham Faramawy, 2016, 9:51 mins
The Turbulence of Sea and Blood, Sarah Abu Abdallah, 2015, 4:50 mins
Ship, Sea, Woman, What else, Sofia Albina Novikoff Unger, 2017, 9 mins
Produced by videoclub and Film London Artists’ Moving Image Network. Supported by Film London.
Film London Artists’ Moving Image Network
Film London Artists’ Moving Image Network (FLAMIN) supports London-based artists working in moving image, working in partnership to deliver a comprehensive programme including production award schemes, regular screenings, talks and events, as well as the prestigious annual Film London Jarman Award.
Venue and screening details:
Fabrica
Date and time: Thursday, 4 May – doors and bar 7pm, event starts 7:30pm.
Price: £3
Address: Fabrica, Duke Street, Brighton BN1 1AG
Web / contact: www.fabrica.org.uk / 01273 778646 / BOOK TICKETS
CCA Glasgow
Date and time: Tuesday, 16 May, 7pm.
Price: FREE
Address: CCA, 350 Sauchiehall Street, Glasgow G2 3JD
To book tickets (tickets also on door): www.cca-glasgow.com / 0141 352 4900 / BOOK TICKETS
Whitechapel Gallery
Date and time: Thursday, 18 May, 7pm.
Price: £9.50 full / £7.50 concessions
Address: Whitechapel Gallery, 77-82 Whitechapel High Street, London E1 7QX
Web / tickets / contact: www.whitechapelgallery.org / 020 7522 78889 / BOOK TICKETS
Nottingham Contemporary
Date and time: Thursday, 25 May, 6:30pm.
Price: FREE
Address: Nottingham Contemporary, Weekday Cross, Nottingham NG1 2GB
Web / contact: www.nottinghamcontemporary.org / 0115 948 9750 / NO BOOKING NEEDED
Plymouth Arts Centre
Date and time: Thursday, 1 June, 6pm.
Price: £3 / free for PAC Home members.
Address: Plymouth Arts Centre, 38 Looe Street, Plymouth PL4 0EB
Web / contact: www.plymouthartscentre.org / 01752 206114 / BOOK TICKETS
Exeter Phoenix
Date and time: Wednesday, 14 June at 7:30pm.
Price: £3
Address: Bradninch Place, Gandy Street, Exeter, EX4 3LS
Web / contact / tickets: www.exeterphoenix.org.uk / 01392 667080 / BOOK TICKETS
A celebration of artists’ film, video and sound featuring:
Anthony McCall / Heather Phillipson / Rachel Maclean / Semiconductor / Larry Achiampong / David Blandy / Megan Broadmeadow / Sebastian Buerkner / Jennifer Chan / Anita Delaney / Robert Fox / Thomas Lock / Michael Robinson / Ben Russell / Richard Sides / Daniel Swan / Bristol Experimental and Expanded Film (BEEF) / Storm Bugs / Sculpture plus more
UK Premieres by: Choi Sai Ho / Wong Ping / Lu Yang / Shi Zheng
FREE ENTRY – RESERVE YOUR TICKET St John’s Church, Waterloo
Drawing on film workshop: 4:30 – 6:30pm
Programme: 7- 9pm – including live performances, installation and screenings
DJ: 9 -10pm
Pay bar
Celebrating a decade of videoclub and Light Club’s 5th anniversay.
Spotlight Gallery, Brighton Museum & Art Gallery
Saturday 22 October 2016 to Sunday 4 June 2017
A new display at Brighton Museum & Art Gallery will tell the story of experimental filmmaking in Brighton & Hove, from 1896 to the present day. The exhibition has been curated by Suzie Plumb, Royal Pavilion & Museum’s (RPM) Curator of Film, Media and Toys, and Jamie Wyld, Director of videoclub.
Unknown to many, both Brighton and Hove have played a rich and important part in international film history. Early filmmaking pioneers including George Albert Smith and James Williamson, who became known as the Brighton School and worked in Brighton at the turn of the 20th century, while Modern and contemporary filmmakers and moving image artists – like Jeff Keen, Ben Wheatley and Ben Rivers – have cemented the city’s status as a hotbed of experimental film.
Experimental Motion: the art of film innovation will explore Brighton & Hove’s success as a place for experimental film-making, and its significance nationally and internationally.
The display is part of RPM’s John Ellerman Foundation-funded project ‘Film Pioneers’, which aims to develop curatorial skills by enabling staff at the museum to research, display and document the city’s Film & Media collections.
Highlights of Experimental Motion will include:
– Rare objects from the history of filmmaking in Brighton & Hove, such as ground-breaking cameras made in the city.
– A new commission by Hong Kong-based artist Choi Sai Ho, Brighton is Our Playground, made by Choi while in residence at Phoenix Brighton during August 2016. The film was produced using archival footage from Screen Archive South East, blended with a contemporary soundtrack, composed by Choi. The residency and commission are part of Both Sides Now 3: Final Frontiers, a collaboration between videoclub and Videotage (Hong Kong).
– Work made in Brighton by amateur filmmakers and held within the collections of Screen Archive South East, which highlight the city as an inspiration for filmmaking.
– A selection of films, drawn from a call out for filmmakers in the city to contribute, will be screened during Cinecity in November 2016 (date TBC), and shown online.
– RPM’s Museum Collective, a group of young people working with filmmaker Lindsey Smith, are developing new creative contributions inspired by Jeff Keen’s work that respond to the theme of experimental filmmaking.
November 19, 2016Under the Lion Crotch – Wong Ping
Música y videoarte noche: Afterparty no oficial de Caos en el Museo
Domingo/Sunday 20/11/16: 19:30 – 23:00 (Hora feliz hasta las 23:00/Happy hour till 11pm. Bar abierto hasta las 02:00/Bar till 2am)
Lugar de encuentro / Venue: ATOM, Bolivar 933, C1066AAS CABA, Buenos Aires.
Buenos Caos is a celebration of some superb artists’ film and video, collected together from across the globe, including artists’ work from Argentina, USA, China, Hong Kong and the UK. Combined with some expert DJ-ing provided by ATOM bar, Buenos Caos provides a unique moment to enjoy culture and have a drink or two following Chaos at the Museum in Buenos Aires.
Artists’ film programme & DJ between 7:30pm and 11pm, plus happy hour till 11pm. ATOM open until 2am. Entry is free.
Curated by Karen Antorveza, Moritz Cheung, Adriel Luis and Jamie Wyld.
Programme of works:
Under the Lion Crotch – Wong Ping 4’45” (2011)
“Under the Lion Crotch”
Here comes the end
Our land is brutally torn apart by conglomerates
Redevelopment swept across the city
Their thriving business had left us homeless
Rotten city, rotten crowd
Luxury clothing won’t conceal the stench
Top yourself and throw a curse
Fill the streets with our merry hearses
Is the world going to end
as we’ve been longing for?
Destroy us all together with the chaos
Set us free like
the ashes in the wind
For ‘200 Nanowebbers’, Semiconductor have created a molecular web that is generated by Double Adaptor’s live soundtrack. Using custom-made scripting, the melodies and rhythms spawn a nano scale environment that shifts and contorts to the audio resonance. Layers of energetic hand drawn animations, play over the simplest of vector shapes that form atomic scale associations. As the landscape flickers into existence by the light of trapped electron particles, substructures begin to take shape and resemble crystalline substances.
Memory Theatre takes as its starting point a personal reflection on my memory of cartoons, films, online videos and music. The material used in the work ranges from reflections on my childhood in the 80’s through to the present day. Collage and cut up techniques run throughout the editing creating confusing and psychedelic relationships within the visual and sonic content. Video is broken down through pixelation whilst layers of imagery, sound and live action are merged together.
It can kill too, having now replaced lead in bullet manufacture.
More curiously, it has uniquely strong diamagnetic properties, and is a valued shamanic tool offering insight into other realms.
It was also discovered at Roswell, and might possibly provide the answer to unlocking the mystery of alien space travel.
In A Corruption of Mass, Broadmeadow has choreographed movements for a female dancer in response to Bismuth’s uniquely complex fractalesque characteristics. The core of the film alludes to the other worldliness this element evokes, whilst simultaneously tracing its chemical journey from ingot to crystal.
The Locoemotive Lounge is the waiting room occupied prior to one’s destiny, that sets the precedent. The Lobby of limbo in our high-rise hotel of aspiration. A self-sufficient service that must be welcomed and mastered, in order to make the graceful transition, into one’s prospective saloon.
Connecting with the production of a well-known chewing gum in Plymouth, Chew Chew presents a selection of chewing gum adverts, reclassified and arranged within Roger Manvell’s abbreviated version of the Hollywood’s Hay’s Code, creating a short film with a sexually charged perspective, hinting to our obsession with restriction and biased gender views on promiscuity
Exploring female stereotypes through character and humour, this short performative film features three personas: The Feminazi, The Tampon Tiara Princess & The Little Girl Dom. Together these characters play with the concepts of infantilisation objectification and ‘man-hating’, with hints of traditional fairytales and biblical references. The film combines gender performativity, hand drawn animation and fetishised objects to create a humorous poem of femininity.
A Rat Biting Another Rat – Anita Delaney 4’16” (2015)
A Rat Biting Another Rat is an affective collage. Comprised of rapidly edited actors, objects, text and sound, the work swings between the violent and dripping, the sweet and risible. The work is exemplary of the interest in aesthetics and affect at the core of Delaney’s practice which looks at fictions and strategies for how to live as a weakling. A Rat Biting Another Rat seeks a personal relationship with the viewer through text and speech. The work wants to be intimate with its audience and insinuate a partnership.
Offset – Shi Zheng 7’52” (2014)
Virtual Terrain has been in composition since 2012. It is created successively after “Flâneur in a Virtual Landscape” which is a series of digital prints. Like Flâneur, Offset is also an audio-visual work generated by digital images generating program.
When I use computer as my environment for artistic creation, the software and the operating system constitute an interesting world full of symbols to me.
It consists of actual and virtual realities in the meantime. Being a creator and a loner in this parallel planet, I take position as a photographer and a rover, keeping filming these virtual scenes, making and adding granularized noises to this space I created. Through the process I would like to share with the viewers feelings of illusions in the nonphysical space as well as the unspeakable phenomenon filtered out in a medium alternating.
Splashy Phasings – Heather Phillipson 2’39 (2013)
Referencing the 3-min gap between programmes as the space of advertising, the length of a pop song, and the moment both before and after ‘information’, the video plunges into a post-news environment, built on tears, song and other voice and body outpourings.
Brighton is Our Playground – Choi Sai Ho 6’30” (2016)
Brighton Is Our Playground is a new art film work sampling 16 archive films from Screen Archive South East’s collection of SE England, re-editing and layering multiple images and newly composed music creating a new work. The historical films document the English life and culture of the early 20th century, as well as the gliding cityscapes on the highway, which are a reflection of the British lifestyle at that time, capturing past trends and historic memories.
The Dark, Krystle – Michael Robinson 9’30” (2013)
The cabin is on fire! Krystle can’t stop crying, Alexis won’t stop drinking, and the fabric of existence hangs in the balance, again and again and again.
Airy Me is inspired by Cuushe’s 2009 song of the same name. The animation also features her 2013 song “Steamy Mirror.”
Yoko Kuno created Airy Me from 3,000 still images drawn over almost two years. Images were drawn with colored pencils and crayon and edited with Adobe Photoshop and After Effects. It received the Animation Division New Face Award at the 17th Japan Media Arts Festival.
Cualidad de animales y pájaros – Violeta Gonzales 5’32” (2015)
CUALIDAD DE ANIMALES Y PÁJAROS es una instalación que mezcla video con otros dispositivos manipulables ubicados en el espacio llamados “Latencias”*. La instalación pretende generar una memoria de viaje a partir de las texturas, los sonidos, los momentos que pueden pasar desapercibidos. Los recuerdos que tenemos no son del todo confiables están siempre editándose en nuestro cerebro, y sobre esta poca fiabilidiad nace la libertad creativa y constructiva de la memoria.
QUALITY OF ANIMALS AND BIRDS is an installation that combines video with other manipulable devices located in space called “Latencies”. The facility aims to generate a memory trip from textures, sounds, and moments that go unnoticed. The memories we have are not entirely reliable are always being edited in our brain, and from this unreliability the freedom of memory is born.
The piece is a construction of a new past.
With Hanuman as her spiritual guide, a young woman must battle zombies in the jungle, monsters that materialize from Buddhist texts, and her own personal demons in a post apocalyptic Laos. Kung Fu Zombies vs Shaman Warrior examines the perception of mental illness as demonic possession within the Lao community.
No sé alcanzar las estrellas.
Velocidad de Escape es una danza de unidades astronómicas.
Una bala de cañón salta sobre los resortes del espacio y del tiempo.
Dimensión que se dilata y corroe. El fuego y el aire.
How to reach the stars?
Escape Velocity is a dance of astronomical units.
A cannonball jumps over the levers of space and time.
Dimension that expands and corrodes. The fire and air.