A House On Jungmannova
4+4+4 Days in Motion
A documentary by Dan Senn
Director's Statement

"A House On Jungmannova" was a spontaneous effort. I was in Europe for installations
 of my art in Poland and the Czech Republic and had with me my video camera and
 lapel mic. The "4+4+4 Days in Motion" festival, for which I had constructed "The
Odradek Complex," a kinetic sound sculpture installation, would be in place for 12
 days, and except for maintaining my own work and socializing, I had little more to do.
 But I was also rapt by the 4plus festival concept, one supported by the mayor and city
 council of Prague. A concept which consciously and smartly used an abandoned
 structure in the center of an very old city as a kind of anthropomorphic artifact. A
 concept which, for all sorts of legal reasons, could no longer be realized in western
 Europe or the United States. So, just like that, I decided to document the building, the
 festival, its artists and to make a piece. And from this simple impulse was born
"A House On Jungmannova" with a crew of one.

As an interdisciplinary artist, I have interdisciplinary expertize, and this has both its
 advantages and its disadvantages. As a composer, a sound technician and editor,
I know where to put the mic and how to engineer the best sound. As a videographer
 and photographer, my films are as much about what is seen as the subject at hand.
As a video editor with access to my own editing studio, I am able to work long hours,
 to start and restart the piece until I get it right. Best of all, there is little stress in the
 process of making a "film," except for the pressure I put on myself. I need not
worry about whether I can meet production costs.

These are just some of the advantages of working alone and that so few people work
 this way is the crux of the disadvantages. It is rare that one sees in the credits a
 single name for a piece, as in "A House On Jungmannova," a piece which normally
 would take many others to realize, and it has often crossed my mind to fake all sorts
 of assistants just to get over the hump of being labeled "unprofessional." The
 connection between working alone and the weekend hobbyist is insurmountable
 in some.

Before I started to make experimental and documentary film, I was, and continue to
 be, a composer of classical experimental music and a sculptor of kinetic-sound
 sculpture. Today, my moving picture pieces are often integrated with this work, and
 sometimes a piece comes out that stands alone, like "A House On Jungmannova."
 Because I have worked with photography for many years, the step from music
 composition and kinetic sculpture, to experimental and documentary film is a short
 and easy one, especially given that my Mac computer doesn't seem to mind which
 software I run. Working alone is only natural for me.

TOC | Introduction | Brochure (pdf) | Chapter Clips | Supplemental | Artists | Dan Senn