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ESPECTRO SIETE (Spectrum Seven)

Production: Actual Films, Spain, 1970. Idea: Javier Aguirre. Chromatic Screenplay: Ramón Barce. Text: excerpts from Jean Charon. Narrator: Adolfo Marsillach. Music: Ramón Barce. Colour, 281 metres.

 

Comments about the film

 

JOSÉ GUERRERO

It’s marvellous. It’s close to me. It has things in common with some others I have experienced. Everyday life experiences such as going to the beach, lying down – though I am a very unsettled man who cannot be lying too long – I’m looking to the sun, I close my eyes and I see the whole range of colours moving like the distance is changing: I first see red, next violet and then pale yellow. I have also experienced this in the flights from New York to Spain when I watch at the daybreak and I absorb the same range of spectrum colours. This all seems to me a magnificent vision which is also in this short film…/… When you make a painting, the colours must have a certain vibration. This is necessary for the colour to show life and I can also see this in the movie. And this is what gives the film its own thrilling character/aspect. Although the surfaces are flat they are thrilling surfaces too. And this is my struggle in front of a canvas.

1981

 

EUSEBIO SEMPERE

We have all pursued this theoretic principle: a scientific relationship between sound and colour – Luis de Pablo and I have tried to transfer from drawing to sound but the results didn’t seem convincing to us- It has been achieved in the movie in a very simple way.

1972

 

GERARDO DIEGO

The film is a mental and spectral test of rigour and beauty that drive us and gets its purpose, like the other ones made by Javier Aguirre that I have seen before.

1972

 

CRISTOBAL HALFFTER

The use of the “Doppler Effect” in the film “Espectro Siete”, in both image and sound, is an idea I intended to carry out long ago. The “Doppler Effect” is one of those things which are present, and depend on imaginative artists with a technical capacity like Javier Aguirre who is able to translate it into Art.

1972

 

RAMON BARCE

The rhythm is exclusively due to the length of the sequences, and each sequence is a colour that saturates the screen. The alternation of lengths produces a rhythmic system. The alternation of colours produces another system. Both combined result in pure rhythm.

1972

 

MANFRED MOHR

The tests made until the present time – some Canadian films by Norman Mac Laren, one of those with Oscar Peterson’s music – in which the rays of light produce their own sound, are so conventional and false.

1972

 

JUAN MIGUEL GONZALEZ

The scientific element has an essential leading role in Espectro Siete (1967-1970) and also in Impulsos Opticos En Progresion Geometrica (Optical Impulses in Geometrical Progression) (1967 – 1970). The first one is based on the so-called Doppler Effect consisting in changing frequency experienced by a light wave or a sound wave, depending on the distance between the wave and the receiver …/… the movie maker is merely the film ideologist while the musician has all the responsibility as far as the structure is concerned. The musical score builds the visual frame of the film.

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