Film of Simon Fisher Turner's new album, Instability of The Signal, directed by Japanese filmmaker Isao Yamada.

Filmed with a Bolex camera, Unstable Rocks offers a meditative exploration of the Portuguese landscape, where geology, animals, and human presence seamlessly merge. Shifting between black and white and colour, the film lingers on rocks, animals, religious imagery, and quiet, everyday moments. The rhythmic pace invites contemplation of time, the landscape, and the subtle traces left behind by both human presence and the natural world.

Filmed with a Bolex camera, Unstable Rocks offers a meditative exploration of the Portuguese landscape, where geology, animals, and human presence seamlessly merge. Shifting between black and white and colour, the film lingers on rocks, animals, religious imagery, and quiet, everyday moments. The rhythmic pace invites contemplation of time, the landscape, and the subtle traces left behind by both human presence and the natural world.

地球有释放极端灾害的能力，火山、地震、飓风和洪水都有着极大的破坏力。我们也许认为已经见过大自然母亲最无情的一面了，但随着科学家的进一步探索，我们发现过去有着更极端的灾害事件。火山的威力足以杀死数百万人，使建筑土崩瓦解。飓风在温暖的海面上积聚力量，能够跨越数百公里，成为了“死亡”和“毁灭”的代名词。水是生命之源，但水也拥有毁灭的力量，那种力量叫——洪水。这些强大的急流每年可夺走大约两万五千人的生命。但这还不是最可怕的，据说在久远的年代，大自然显示过更大的威力。

Picture three places. 1. A workshop in Germany where we follow the making of a prosthetic hand. 2. A traditional glove-making workshop in Millau, in the south of France. 3. A jeans factory in Istanbul, illustrating large-scale industrial production. A succession of three workplaces, but with a common viewpoint and subject: the relationship between the hand and the machine, the work and the material, all of them patiently and rigorously observed. Daniel Eisenberg scrutinises these interactions and gestures meticulously, and he pays close attention to each action involved and to the time required for each operation, from the starting point to the finished forms. With this film, Eisenberg continues the work he started with his previous one, The Unstable Object (FID 2011), in which he also used a triangular structure to compare the work in a high-tech car factory in Dresden, then in an antiquated clock repair shop in Chicago, and finally in a cymbal factory in Istanbul. From one production site to the next, the film focuses on hands, bodies, images: reconstructed bodies, modelled bodies, dressed bodies. And on the social body as well – either collective bodies at work, or their images, shaped by the very objects which are being produced. The patience of an attentive camera and the fascinating rhythm of this choreography let the gestures fully unfold. The geography of production modes also shapes the story it underlies, like the globalisation of exchanges. And what is also paramount here is that the time it takes to make the objects seems to mirror the experience of the viewer watching the film, like an echo between absorbed gazes, theirs like ours. A nice piece of actual work from the gaze and the mind about the ever so unstable object that is work. 　　源自：https://fidmarseille.org/en/film/the-unstable-object-ii/

莫卧儿帝国是印度最后一个大一统政权，皇帝的宝座被称为“孔雀宝座”，价值连城。钦定的皇位继承人是太子达拉·舒科，但是他久居深宫，生活安逸，而奥朗则布王子长期征战在外，立下赫赫功勋，双方积怨甚久，帝国勋贵也以两人为中心形成两派集团，互相争斗。皇帝沙贾汗忽然病倒，朝中 人心惶惶，帝国境内流言四起，一场大战即将爆发……

莫卧儿帝国是印度最后一个大一统政权，皇帝的宝座被称为“孔雀宝座”，价值连城。钦定的皇位继承人是太子达拉·舒科，但是他久居深宫，生活安逸，而奥朗则布王子长期征战在外，立下赫赫功勋，双方积怨甚久，帝国勋贵也以两人为中心形成两派集团，互相争斗。皇帝沙贾汗忽然病倒，朝中 人心惶惶，帝国境内流言四起，一场大战即将爆发……

439年，北魏皇帝拓跋焘统一北方。在宦官宗爱挑唆下，他冤杀大臣崔浩。宗爱为篡位又进谗言逼死太子。在太后冯昭仪提醒下拓跋焘警觉，却被宗爱先发动叛乱杀死。拓跋焘临终派侍卫李奕护送爱妃冯桂儿出宫报信，众大臣兴兵铲除宗爱乱党。

439年，北魏皇帝拓跋焘统一北方。在宦官宗爱挑唆下，他冤杀大臣崔浩。宗爱为篡位又进谗言逼死太子。在太后冯昭仪提醒下拓跋焘警觉，却被宗爱先发动叛乱杀死。拓跋焘临终派侍卫李奕护送爱妃冯桂儿出宫报信，众大臣兴兵铲除宗爱乱党。

鲜卑氏第一个皇帝拓跋圭，立拓跋嗣为太子，并赐死生母刘氏，引来了杀身之祸。拓跋嗣即位不久又避居西宫，兴安二年，文成帝拓跋濬，在魏国实行“复法”。同时 命昙耀大师督工在武周山开凿石窟。公元465年文成帝拓跋濬驾崩，大将军乙浑横行朝堂。冯皇后联合东阳王拓跋丕除掉了乙浑，登上了北魏皇太后的尊位。77mi.cc并逼 迫献文帝拓跋弘禅位于孝文帝拓跋宏。在冯太后的支持下，太和九年，孝文帝拓跋宏颁布了均田制、三长制，随后以征讨为名定都洛阳，断然禁止朝中官员于朝 堂之上讲鲜卑语，穿鲜卑服。其后，诏令三十岁以下者禁说鲜卑语。他又将自己的姓氏“拓跋”易为“元。太和二十三年，孝文皇帝元宏驾崩于谷塘行宫。