"The Institution of Reclamation and Restoration are examining and reappraising the papers of Tulse Luper." "It is hoped to make a complete and definitive reconstruction of his research." "The papers discovered so far run into hundreds of thousands, and almost daily more papers are being added." "Whilst working on Visual Concepts of Time and Space for Session Three," "Tulse Luper spent some time in the Black Mountains." "As a contributor to the Session Three Landscape Programme," "Tulse Luper was invited to stay at Buryglaze, formerly Glasbury-on-Wye, where he was given research facilities at the session study centre for a winter and a summer." "In the second or third week of his stay at Buryglaze, in the margin of a set of papers devoted to windmills," "Tulse Luper drew up some plans for a project to which he later gave the working title Vertical Lists, or, alternately, Vertical Features." "Basically, like many other projects of this time," "Vertical Lists was a project of structure and organisation." "In this case, the organisation of images of vertical features that Tulse Luper found interesting enough to record, in the beginning, at any rate, with pen on paper." "There is good reason to suppose that Tulse Luper filmed these images and images like them, and put them together in a short film." "He restricted his area of search to the square kilometre bounded by the grid lines 170 to 180 and 390 to 400 on sheet 161 on the first series of the 1:50,000 issue of the Ordnance Survey of Great Britain." "About a week after the completion of the film, it was shown to Gang Lion and Cissie Colpitts, both of whom later participated in Tulse Luper's Project for a New Physical World." "After Gang Lion had seen the film, it disappeared." "Most of the papers, drawings and photographs referring to Vertical Features were found some years ago in a farmhouse at Bridzor." "But it was only recently that short, damaged black-and-white sections of a film, supposedly duped from the original negative, were found in a house at Hammersmith where Tulse Luper was known to have lived until the completion of his work on Visual Concepts for Session Three." "The IRR also have in their possession a short section of 16mm colour film consisting of 11 shots, regarded by some as being a section of Luper's lost Vertical Lists." "It was found wound into a grading copy of Tulse Luper's film Dear Phone that had been stored in a converted water tower film vault at Goole on North Humberside." "Before he filmed the images for Vertical Features," "Tulse Luper drew up several schemes for arranging the material." "Many of the schemes were organised on grids of varying dimension." "He wanted an overall shape, a square, that could be divided up symmetrically." "That would have a single central image and self-contained rows running both down and across." "A multiple of any odd number would give these characteristics, but Tulse Luper appears to have decided on a format of 121 images divided into 11 rows of 11." "Tulse Luper gave four reasons for having chosen 11 instead of any other number." "First, the number 11, two verticals, echoes the subject matter of the film." "Second, if the format 11 X 11 is rearranged, it can be made to form a square complete with diagonals, thus echoing the total shape of the project and marking, by the intersection of the diagonals," "the central image of the project." "The third reason was that if the square of 11, 121, is written in this way, the strokes could be arranged to make a square." "And the fourth reason was that 121 is the same backwards as well as forwards, suggesting that the total project was reversible." "With the information from the notes, and with the drawings and film as a guide, the Institute of Reclamation and Restoration have decided to make Tulse Luper's film again, called this time Vertical Features Remake." "There is a note on drawing and instruction 3,007D which appears to organise the 121 basic images in a scheme of progressive image-length." "The institute has adapted this device into a structure where each successive image of the 121 images is one frame longer than its predecessor." "It seemed that Tulse Luper has also made elaborate plans to underline and contrast with natural sound the organisation of the images in his original film." "But having no clear idea of the total sound conception, we have conceived our own, trying to follow the spirit of his experiment." "We make no claim that this film reproduces the film Tulse Luper made or would make now if given the opportunity again, though we believe it is made in the direction of his enquiry." "As a further contact with Tulse Luper, we went to Buryglaze and the Black Mountains to find in the same area as Luper did the vertical images for the film." "One, two, three, four, five, six, seven, eight, nine, ten, eleven." " (rook caws)" " One, two, three, four, five, six, seven, eight, nine, ten, eleven." " (birdsong)" " One, two, three, four, five, six, seven, eight, nine, ten, eleven." "One, two, three, four, five, six, seven, eight, nine," "ten, eleven." " (sheep bleat)" " One, two, three, four," "five, six," "seven, eight," "nine, ten," "eleven." "One, two," "three, four," "five, six," "seven, eight," "nine, ten," "eleven." " (birdsong)" " One, two, three," "four, five," "six, seven," "eight, nine," "ten, eleven." " (low wind)" " One, two, three," "four, five," "six, seven," "eight, nine," "ten," "eleven." " (distant hammering)" " One, two," "three, four," "five," "six," "seven," "eight," "nine, ten," "eleven." " (rooks caw)" " One, two," "three," "four," "five," "six," "seven," "eight," "nine," "ten," "eleven." " (skylark sings, sheep bleat)" " One," "two," "three," "four," "five," "six," "seven," "eight," "nine," "ten," "eleven." "(approaching vehicle)" "Since the making of Vertical Features Remake, 270 pages of Tulse Luper's papers written in Provendor for Session Three have been rediscovered." "The papers were found in a book depository at Nevers." "They were pinned in batches of 11 to every 11th page of a copy of Tulse Luper's publication on bird migration." "Lephrenic claims to have found amongst these drawings new evidence, which was substantiated by film fragments discovered in the vaults of the Secession building in Vienna, that the IRR film, Vertical Features Remake, has some important inaccuracies." "It seems that not all the material for Tulse Luper's original film was shot in Buryglaze." "Gang Lion, after seeing the original rough cut in London, apparently suggested to Tulse Luper that contrasting material, filmed in Bridzor and Hammersmith, might be incorporated into the film." "Lephrenic also states that current research points to a far freer structural handling of the material." "But Fallast writes that the material in the Institute's film was not structured rigorously enough and that the decision to start with a section length of 11 frames instead of the strict section length of one frame was an unnecessary compromise." "Fallast has also called the attention of the Institute to drawing and instruction 4,890F where the growing progression is in section lengths and not in individual image lengths." "In such a structure, the 11 images of the first section would be 11 frames long." "The 11 images of the second section would be 22 frames long." "The 11 images of the third section would be 33 frames long, and so on." "Whilst the Institute of Reclamation and Restoration acknowledge that there is no conclusively demonstrative evidence to suggest our organisation of the material is above argument, we feel it was in the spirit of Tulse Luper's research." "Nonetheless, we have re-examined many of the available papers, and have considered the suggestions of both Lephrenic and Fallast." "The Institute has also listened to advice from Galibeau, that some form of musical punctuation was used." "Taking all these opinions into consideration, we have made the film for a second time." "(piano chord)" "Seven, eight, nine, ten, eleven." "(piano chord) 14, 15, 16, 17," "18, 19, 20, 21, 22." "(piano chord, skylark sings) 25, 26," "27, 28, 29, 30," "31, 32, 33." "(piano chord)" "37, 38," "39, 40," "41, 42," "43, 44," "(piano chord)" "48," "49," "50," "51," "52, 53," "54, 55." "(piano chord, jackdaws caw)" "58," "59," "60," "61," "62," "63," "64," "65," "66." "(piano chord, loud songbird)" "70," "71," "72," "73," "74," "75," "76," "77." "(piano chord, bird chirps)" "80," "81," "82," "83," "84," "85," "86," "87," "88." "(piano chord, songbird)" "91," "92," "93," "94," "95," "96," "97," "98," "(cockerel crows) 99." "(piano chord)" "102," "103," "104," "105," "106," "(dog barks) 107," "108," "109," "110." "(piano chord)" "(birdsong)" "114," "115," "116," "117," "118," "119," "120," "121." "Some six days after the completion of Vertical Features Remake Two, the IRR were accused of fraud." "The Society for the Restitution of Film questioned the source of our funds and Appenhost demanded to see a list of all the researchers and technicians employed at the Institute." "Castaneye declared that the photographs that were supposed to be of Tulse Luper were in fact photographs of the film editor's father-in-law." "Rastelin doubted the very existence of Tulse Luper, and made a film called The Ubiquitous Wolf which suggested that Tulse Luper was a figment of the Institute's imagination, invented so that the IRR could undertake a project which was no more than an academic film-editing exercise." "The most useful and germane criticisms came as usual from those who have closely researched Session Three and its pernicious effects on the European Landscape." "Oisinger, editing a catalogue of the newly discovered Luper papers, suggests that the organisation of material for Vertical Features was much more complex than the IRR have up to now appreciated." "He suggests that the sense of development from shorter to longer shots gives a false impression of Luper's intention." "Luper, he argues, was after a more homogeneous scheme where, if there was to be any especial emphasis, it was to come in the centre of the project." "Akinadoer argues that Lephrenic was wrong in his assumption that the verticals that Tulse Luper filmed outside the Buryglaze area were intended for Vertical Features." "According to Tulse Luper's other projects of the period, there is a strict and deliberate insistence in keeping the geographical unity." "Akinadoer suggests that the extra material was in fact filmed by Gang Lion himself to intercut into Tulse Luper's original film to make it less elegiac and dangerous, and to make it more satisfactory to the aims of Session Three." "There is good evidence to support the fact that Gang Lion made a completely substituted film of his own material to show in Vienna and later destroyed the original of Tulse Luper's Vertical Features." "The black-and-white sections found at Hammersmith, according to Akinadoer, are probably the remains not of the film made by Tulse Luper, but of the film substituted by Gang Lion." "In reparation therefore for the apparent destruction of Tulse Luper's original film, and with regard to the new sources of information, the Institute of Reclamation and Restoration have reconstructed for the third time Tulse Luper's Vertical Features." "(piano chords, no natural sounds)" "Akinadoer's first criticism of Vertical Features Remake Three was that its complicated structure was too ingenious, and the effect of intercutting short lengths of 11 frames with long lengths of 121 frames was unsympathetic to the elegiac intentions of Tulse Luper." "A month after the first production copy of Vertical Features Remake Two had been seen," "Castinager published an account of the events leading up to the Session Three programme and the subsequent collapse of the Policy for a Dynamic Landscape, the policy that Tulse Luper called the Skipping Landscape Programme." "Two weeks after a show-copy of Vertical Features Remake Three was first seen publicly," "Castinager rewrote his account and sent a copy to the Institute." "First, he urged us to look again and again at the colour film clip that had been found at the Goole water tower." "Castinager suggests that Tulse Luper's film Vertical Features was far more important than an incidental examination of structure, and suggests that Tulse Luper foresaw to some extent the unsuitability of the Session Three plans for the future." "Three letters written by Cissie Colpitts to Gang Lion support Castinager's contention that Tulse Luper returned to Buryglaze at various times of the year to film the landscape, to demonstrate, among other things, that it changed and would continue to change without assistance from synthetic sources." "According to the new evidence, Tulse Luper was making the film as a record of domestic landscape to serve as a reminder of what had been achieved." "Castinager suggests that the 11 X 11 structure was intended as a warning." "He suggests that it was a simile for the 11th hour of the 11th month." "(rhythmic piano score and birdsong)" "(church bells)" "(church bells)" "(hammering)" "(hammering)" "(whirring motor)" "Subtitles:" "IMS"