“We've needed our artists this year  more than ever, to fall into other ways of seeing reality" - Nigel Borell 

What was 2021? Host Robbie Handcock discusses the year that was with guests Abby Cunnane, Sophie Davis and Nigel Borell. The panel discuss memorable exhibitions, the power of a publication, bodily vibrations, discovering the South Island, best moving image works and new discoveries. 

With shout outs, mentions and commendations for; Bridget Reweti, Brett Graham, Sonya Lacey, Ana Iti, Ralph Hotere, Turumeke Harrington, Govett Brewster Art Gallery, Māori Moving Image, Te Uru, City Gallery Wellington, Hanihiva Rose.

Abby Cunnane is Director of The Physics Room, in Ōtautahi Christchurch, Sophie Davis is a Curator at Dunedin Public Art Gallery in Ōtepoti Dunedin, Nigel Borell is an independent curator based in Tāmaki Makaurau Auckland.

Episode 102

Sione Faletau discusses his practice of translating the traditional Tongan practice of kupesi (patterns) into digital video, using site-specific audio recordings and traditional Tongan music as the basis for generating images. He discusses his upcoming shows at Gus Fisher Gallery and Masons Screen. Interviewer: Robbie Handcock.

Episode 104: Sione Faletau

Sandy Gibbs speaks to Thomasin Sleigh about a new body of work made over six years in response to the 1968 Olympics, a project made between Aotearoa, Mexico and Germany which used failure as a generative process. She discusses older women taking the space, critiquing the idea of competition in sport and art, and using restaging as a video art methodology.

Episode 105: Sandy Gibbs

Curator Tendai Mutambu talks to Sorawit Songsataya and Ary Jansen about their works in Otherwise-image-worlds, a group exhibition presented by CIRCUIT in partnership with Te Uru. 

Otherwise-image-worlds brings together five newly commissioned artworks from artists working in animation. Working against the commercial demand for spectacle and efficiency, Danielle Brathwaite-Shirley, Juliet Carpenter, Tanu Gago, Ary Jansen and Sorawit Songsataya, all expand and reconfigure the conventions of image-making, asking what modes of interaction, imagination, attention, and refusal animation can cultivate.

This conversation was recorded at Te Uru.

Episode 106: Otherwise-image-worlds

It's the first CIRCUIT Cast for 2014! In this months pod we talk to Australian artist Nathan Gray about his decision to withdraw from this years Sydney Biennale, just hours before the Biennale ended it's association with controversial sponsor Transfield Holdings. Panellists Martin Patrick and Abby Cunnane join host Mark Amery to dissect the Adam Art Gallery exhibition Cinema and Painting. From New York (at 27:14) we are joined by the one of the show's artists, Mr Ken Jacobs, who with his wife Florence discuss the relationship between the aforementioned two mediums, Jacobs' 3D cinema and also share an anecdote about Len Lye in New York during the 1960s. 

Image: Ken Jacobs, film still from The Guests, 2013. 3D Archival footage transferred to digital video, DCP, b/w, surround-sound, 74mins. Courtesy of the artist.

Episode 9 - Sydney Biennale controversy, Cinema and Painting, Ken Jacobs

In this conversation host Mark Williams meets three artists who discuss the intersection of filmic technologies with living world of mauri, whakapapa and spiritual practice. 

Nova Paul's Rākau (2022) is a 16mm  film of Pūriri trees. Paul created a film developer solution from foliage discarded by the trees themselves, bringing the image from negative to postive, creating a cyclical portrait of the Pūriri. 

Jamie Berry’s Whakapapa Algorhythms (2021) is a montage of archival home movies, recent digital animation and a constant pulsing score which was written by sequencing the artists own DNA. 

Jae Hoon Lee's  Dark Matter (2022) continues his preoccupation with new technology as a vehicle to transform organic matter, presenting a series of pulsing coals, crystal and other mineral deposits. 

This conversation was recorded for the 2022 Screen Studies Association of New Zealand conference The Materiality of Screen Media.

Episode 109: The DNA Of Film - Nova Paul, Jamie Berry, Jae Hoon Lee

Sampling, reuse and copying have long been strategies and approaches in artistic practice and is a thread you can follow through art history. But who owns art? Should culture be under copyright? What are the limits of fair use? 

These questions are explored in the recent artworks exhibited at City Gallery Wellington in Josh Azzarella: Triple Feature. Picking up and expanding on these conversations, Josh and artists Bronwyn Holloway-Smith and Eugene Hansen discuss this and more. Moderated by Caitlin Lynch.

Episode 108: Art, Authorship & Reuse

In this pod Horowhenua-based artist Leala Faelseuga speaks to Mark Williams about her new work Vessel: Dissolution | It's in the milk.

Commissioned for Masons Screen, It’s in the milk reflects on "visceral motherhood", photography and memory. Leala discusses her iterative processes, what it means to exhibit personal work in public space, and inspiration gathered from the films of MD Brown and her collective 7558.

Episode 111: Leala Faleseuga - Visceral Motherhood

A conversation with writers Tina Makereti, Gregory Kan, and Gwynneth Porter, on the dynamic possibilities for writing to respond to art beyond the essay, chaired by Thomasin Sleigh. Recorded at Te Pātaka Toi Adam Art Gallery.

Episode 113: What sparks the words?

A conversation between artists James Tapsell-Kururangi and Dani McIntosh on the metaphoric and poetic potential of the moving image.

Episode 114: Sites of Connection with James Tapsell Kururangi

This months CIRCUIT CAST is an export quality edition; Mark Amery joins Martin Patrick and Thomasin Sleigh at the Tongan contemporary survey Tonga ‘i Onopooni at Pataka, Kim Pieters journeys up from the Dunedin underground to to present her survey What is a life? at the Adam Art Gallery, and mid-install of her group show with the Mata Aho collective Kaokao, Terri Te Tau discusses sending her installation work Unregistered and Unwarranted to Eyebeam in New York. All that and a few calamitous mis-pronunciations on this months CIRCUIT CAST.

Image: Kim Pieters, Halo (2010), digital video, audio by Edie Stevens, in the exhibition What is a life? Kim Pieters at the Adam Art Gallery (Photo: Shaun Waugh)


Episode 12 - Kim Pieters, Terri Te Tau, Tonga ‘i Onopooni: Tonga Contemporary

"Dwelling in the void space" — a conversation between Selina Ershadi and Dani McIntosh, the second part of the CIRCUIT Cast series Sites of Connection.

In this podcast, artist Selina Ershadi discusses three films: Hollywood Ave (2017), Amator (2019) and The hands also look (2020), alongside a new work in progress, The Blue Dome (forthcoming). In conversation with artist Dani McIntosh, Selina reflects on navigating personal and family histories as guided by Chantal Akerman, Maya Deren and Derek Jarman; ideas of dwelling, homemaking and displacement; oral storytelling traditions and the poetic potential of decentering the visual.

Episode 115: Sites of Connection with Selina Ershadi

This months CIRCUIT CAST talks to keynote George Clark about Camille Henrot and all the exciting screenings, talks and events at the upcoming CIRCUIT symposium Locating the Practice. In part 2 Simon Rees merrily spills the beans on the next 3 years of Govett-Brewster programming and offers a few international perspectives on the contemporary NZ art scene.

Episode 13 - Symposium interviews: George Clark, Simon Rees

In part 3 of the series Sites of Connection Dani McIntosh speaks to artist Hana Pera Aoake (Ngāti Hinerangi, Ngāti Mahuta, Ngāti Haua, Tainui/Waikato, Ngāti Waewae, Waitaha, Kai Tahu). Often juxtaposing poetic text with handheld moving images, Hana’s video work addresses the tension between industry and sacred whenua; the presence of deep time and new parenthood.

0:00 Introduction 

1:00 Hana discusses her video 'I saw the mountain erupt' (2023); working with an essay by her partner Morgan Godfery; the town of Kawerau as formerly one of NZ’s wealthiest towns and now one of the poorest, and also the town as the site of Māori pūrākau.

5:54
Dani asks; Why entwine the writing with the moving image? 

8:09 
Dani introduces the video work A eulogy to love (2019); Dani asks why juxtapose shots of Italian actress Monica Vitti with the landscape in Aotearoa? Hana explains the video was shot in many sites including Aotearoa, Portugal and other European locations. She discusses Vitti as an image of an “hysterical woman”, and the ongoing theme in her practice of "the tension of industry versus caring for the whenua (landscape)”.

13.08
Dani asks about the line “I will not be afraid despite the fear tumbling through my body”.

15:50
Hana on how parenthood has affected their work. Se discusses 'deep time', the relationship between the human and non-human and the whakataukī  'Ka Mua, Ka Muri' (walking backwards into the future).

20:00
Hana on David Lynch’s movie Eraserhead (1977).

23:00
Hana discusses and the writing of New Zealand author Keri Hulme (Kāi Tahu, Kāti Māmoe), which was part of her work with Ke te Pai Press (with Morgan Godfery), shown in the group exhibition Matarau 

24:41
Working with musician Ruby Solly (Kai Tahu)

27:24 
End

Episode 116: Sites of Connection with Hana Pera Aoake

How is Tāmaki Makaurau Auckland City described outside of official city maps? Is it possible to navigate off-road, off-grid? What discrete spaces exist in the plain sight of everyday work, life and commerce? How are these activated by people, flora and fauna? 

In front of a live audience, artists Layne Waerea, Leala Faleseuga, Gavin Hipkins, Jae Hoon Lee, Gabriel White, and Tia Barrett discuss their video works for Wild Wild Life, a public art project commissioned by Auckland Council, curated by Mark Williams for CIRCUIT, and presented as part of the 2024 Te Ahurei Toi o Tāmaki Auckland Arts Festival.

Installed at a series of site-specific locations across the inner city, the artists’ works were presented in proximity to the construction of the City Rail Network, a massive engineering project that has temporarily remapped downtown Tāmaki Makaurau Auckland as a construction site, and, when completed, will fundamentally alter its psycho-geography.

Episode 117: Wild Wild Life

Hihi Aho is a three-part podcast series hosted by Emma Hislop (Kāi Tahu). Hihi Aho (ray of light) unfolds from Rematriation, a new screening programme of five moving image works which explore the legacy of wāhine Māori knowledge and its resonance in the present day.

In this conversation, Emma talks to Rematriation's curator Tanya Te Miringa Te Rorarangi Ruka (Ngā Puhi, Ngati Pakau and Waitaha). Tanya is CIRCUIT's inaugural Kaitiaki Kiriata, a new role that supports a Māori curator to develop moving image projects which speak through the lens of Te Ao Māori. Emma and Tanya  discuss the works in Rematriation, concepts of time, the impact of growing up outside of their ancestral whenua, and Tanya's own video practice.

For details on Rematriation's screening venues, see www.circuit.org.nz/rematriation
For distribution/hire enquiries, please write to: info@circuit.org.nz

Episode 118: Hihi Aho with Tanya Ruka

"Whanaungatanga is this gift we have as Māori to connect and to relate" 

Hihi Aho is a three-part podcast series hosted by Emma Hislop (Kāi Tahu). Hihi Aho (ray of light) unfolds from Rematriation, a screening programme of six moving image works which explore the legacy of wāhine Māori knowledge and its resonance in the present day.

In this kōrero, Emma talks to artist Sandy Wakefield (Ngapuhi, Ngāi Tahu). Emma and Sandy discuss the making of Sandy's film 'Nakunaku' (2020), a "wairua journey" to Rakiura supported by local iwi wāhine, which is included in Rematriation. Sandy also discusses her earlier works, which appropriated Disney and b-movie footage to tell Māori stories.

Episode 119: Hihi Aho with Sandy Wakefield

"I see the environment as a creative partner." — Tia Barrett

Hihi Aho is a three-part podcast series hosted by Emma Hislop (Kāi Tahu). Hihi Aho (ray of light) unfolds from Rematriation, a screening programme of six moving image works which explore the legacy of wāhine Māori knowledge and its resonance in the present day.

In this kōrero, Emma talks to artist Tia Barrett (Waitaha, Ngāti Māmoe, Ngāi Tahu, Ngāti Tamainupō, Ngāti Maniapoto). Emma and Tia discuss Tia's film 'He Pounamu Ko Aū' (2022). Tia explains how her practice has journeyed from a process of "healing myself … to (giving) back to the whenua."

Episode 120: Hihi Aho with Tia Barrett

"There is a vitality that is held in the earth." Artist Nat Tozer and CIRCUIT director Mark Williams talk archaeology, deep time and kaitiakitanga on the occasion of the Aotearoa premiere of Erotic Geologies, Tozer's most complex work to date.

Nat Tozer’s Erotic Geologies (2024) is an ambitious new video project described as "a sci-fi parable that seeks knowledge from the underground." Shifting through an otherworldly landscape where rocky outcrops meet tumultuous skies, the setting of the film makes reference to post-earthquake Ōtautahi in Te Waipounamu and the Tongariro Crossing in Te Ika-a-Māui. The narrative follows protagonists Rangi and Liberté, characters inspired by both Māori mythologies surrounding the figures of Ranginui and Papatūānuku’s children, and Greek figures Deucalion and Pyrrha. Archaeology, time and kaitiakitanga are central to the work, which merges a local, contemporary narrative with deep time and mythology.

While several of Tozer's earlier video works were one-person productions shot on her iPhone, Erotic Geologies marks a profound shift in production methodologies, and incorporates actors, technical collaborators, and apocalyptic animated landscapes.

In this kōrero, Tozer discusses her expansive practice, reflecting on "the slippery mess of our built environment."

Episode 121: Nat Tozer

“I wanted to be very ambitious at a time when it looked like the economy was collapsing”. 

In this pod Lisa Reihana discusses her installation in Pursuit of Venus (infected) at Auckland Art Gallery Toi o Tāmaki. Based on 19th century wallpaper, Reihana’s scrolling video installation addresses a moment of early colonial contact between European and South Pacific peoples. 

Part 1 (0-8.22) The genesis of the project, links between the historical figures depicted and contemporary culture, and the critical nuances in the work. The making of another video Tai Whetuki/House of Death as a means to work through historical events. 

Part 2 (8.30-15.00) Technical challenges and ethical conundrums. Lisa concludes by talking about her digital stills of Captain Cook, Joseph Banks, Omai and Tupaia at the National Portrait Gallery, the revisiting of historical figures and play with gender. “It’s all about representation and ways of looking”. 

Episode 23: An interview with Lisa Reihana

"If I didn't laugh, I'd cry."

Comic Release is a three-part podcast series hosted by artist Joe Jowitt which explores the use of humour in artists' moving image.

In this conversation, Joe meets Tāmaki Makaurau Auckland-born, Los Angeles-based artist and filmmaker Sean Grattan, whose debut feature film, Policy Wonks, explores the clash of liberal ideologies through an absurd intersection of "money, guns and yoga." Joe and Sean discuss using slogans as dialogue, working with clichés, and deprogramming problematic humour from one's own cultural upbringing.

Episode 122: Comic Release with Sean Grattan

Brett Graham's exhibition Wastelands opened at Auckland Art Gallery Toi o Tāmaki in June 2025. Featuring a monumental sculpture of the same name that was commissioned for the 60th Venice Biennale in 2024, the haunting installation is expanded to include a new multi-channel video work, titled Whangamārino (2025). Re-working footage shot by news company Aukaha of a 2024 fire in the Whangamārino wetlands, Graham's new work adds layers of animation, personal history, and an ominous soundtrack.

The resulting installation addresses both the history of colonial exploitation and our contemporary ecological crisis. Over 1.2 million acres of Waikato-Tainui land were confiscated by the colonial government following the Waste Lands Act (1858), the Waikato War (1863–64), and the New Zealand Settlements Act (1863), with devastating consequences for tangata whenua and te taio. In this exhibition, Graham powerfully addresses the resulting degradation of the Waikato River and its surrounding wetlands, a precious resource and taonga for his iwi.

In this kōrero with Kathryn Graham, Brett discusses Wastelands, his earlier work Tai Moana Tai Tangata (2020), and presenting Wastelands at the Venice Biennale in 2024.

Episode 123: on Wastelands with Brett Graham

How do moving image artists work with visual effects? In this follow up podcast to CIRCUIT Cast 123: Brett Graham, interviewer Kathryn Graham speaks to Sam Tozer from LOT23. They discuss Sam's work on Whangamārino, a six channel video by Brett  included as part of his installation The Wastelands at Auckland Art Gallery Toi o Tāmaki. Sam discusses the process of working with Brett, the digital challenges of adding visual effects to documentary footage and working through ‘impossible lenses’. 

List of topics:

0:20 How did you first get to know Brett? Sam discusses making one of Nat Tozer’s works (Erotic Geologies (2024)) and forging a mutual connection with Brett via Gow Langsford gallery, and the inclusion of a Fred Graham sculpture in the video. 

2.30: Sam describes the original documentary footage which Whangamārino is based on.  

3.25: The unusual size of the six screen video installation -  “11 times wider than it is high…immediately really exciting”.

4.00: What was the process of choosing not to use the original footage? 

4:30: Sam discusses ‘impossible lenses’, and the difference between showing The Wastelands in Venice in 2024 versus the 2025 Auckland Art Gallery installation which features the video work Whangamārino.

6:00: How LOT23 work with artists - technologically and learning about the artists' kaupapa, looking at previous works, examining narrative and aesthetic threads in existing works - “so we’re part of a continuum”

7 :00: The technical challenges of making a work “12 times wider than it’s high” at a resolution of 11,500 pixels wide

8:25: Brief discussion of unusual screen sizes in projects with Lisa Reihana and Nat Tozer 

10:00: More discussion of working at large scale, Kathryn makes anology of working on a mural and the impact of scale on the viewer

12:30 Sam discusses beginning with grass, rock and trees as "touchpoints for a scale reference” Different lens sizes with a virtual camera. The process of creating natural environments. Using NASA Lidar data, using images of the actual sites in Brett’s video.

15:00 Working with Brett - suggesting inclusion of other details, thinking about depth of field “you get to play God with it…to create something larger than life…that is hyper real”. 

18:00 “There’s all sorts of Easter eggs of meaning…” Discussion of Brett’s personal references to whenua in the work.

19:30 Ends

Episode 124: Sam Tozer on Impossible Lenses

Ahead of the upcoming CIRCUIT symposium A Genealogy of Moving Image Practice we talk to presenter Shannon Te Ao about his film Untitled (epilogue) made in response to a collection of poems by Joanna Margaret Paul. 

Still from Untitled (epilogue) Shannon Te Ao 2015

Episode 28: Symposium preview #1 - a conversation with Shannon Te Ao

“The smile goes away the longer they experience the work” - John Vea

Comic Release is a three-part podcast series hosted by artist Joe Jowitt which explores the use of humour in artists' moving image.

In this conversation, Joe meets Tāmaki Makaurau Auckland-born, Ōtautahi-based artist John Vea, whose work uses humour as a device to draw viewers into deeper dialogues around Pasifika identity.

Image: John Vea, Is your name Siliga? No? Oh, you’re Pati? (2025) (detail)

List of Topics:

00:00: Introduction

01:34: What is Talanoa? John - “a holistic way of experiencing information... a learning mechansim”.

03.20: On the video work Is your name Siliga? No? Oh, you’re Pati? (2025)' included in the exhibition Ini Mini Mani Mou (2025) at the Christchurch Art Gallery. John describes the genesis of the work; coming from the real life experience of being mistaken for someone else. In the video, friends “narrate their experiences of these stereotypical events. “It’s funny… it’s not sort of funny”.

05.50: Was the humour in the video intentional? John - “We’re used to laughing at our trauma, which is sad cos we glaze over it... especially when we're kids”.

07:30: John on the nature of Pacific humour generally; and then on integrating it into his work. He discusses the 2019 installation If I pick your fruit, will you put mine back? shown in Sydney. Humour as a 'Trojan horse'.

10:00: On adjusting a work for different social and class contexts "If it has to be subtle... because of the community, then I'll change it up". The difficulty of reinstalling works in a new space, a new context.

12:30: The line between poetic and humorous. How does John "walk that line?" John - “It starts off quite heavy”.

14:30: Joe on the effect on him as an audience member of watching Is your name Siliga? No? Oh, you’re Pati? (2025). John discusses the common Pasifika experience of changing one's name to “fit in”.

16:30: On site specificity; and showing the video Is your name Siliga? No? Oh, you’re Pati? to Christchurch audiences.

17:00: Is the current political climate influencing new work? John - “It's sad that my practice is almost relying on trauma“.

18:00: On John's recent move to Otautahi from Tāmaki Makaurau, being Pasifika in Otautahi.

20:30: John on making Tribute to American Samoa and Tonga (2009); combining sculpture and video, objects as projection surface. The story of the making of the work, and the first installation releasing salt water from the sea into the gallery.

24:00: On conceptualising the work and discarding various sculptural options during this process.

25:30: “Is it a problem if someone comes out of a work and just goes, oh, that was so funny, and then that's it?" John discusses how viewers absorb the work the more time they spend with it.

26:30: Using the body in John’s videos. On the work Finish this week off and that’s it! (2009). John - "I wanted (the audience) to just experience working for two hours... not working in terms of the physical, but... to make them sit there and engage with the work for that amount of time".

28:00: John discusses how the audiences limited attention span for the two hour work is analogous to the lack of interest in acknowledging the cost of labour on Pasifika bodies, and the poor wages for this work.

29:00 On eating below the poverty line for six weeks whilst making Finish this week off and that’s it!

30:00 Comedy as a vehicle for hard conversations. Joe - “...what's interesting is the uncomfortable laughter... is that something you purposefully go for?"

31:00 Joe - "Is it okay for people to laugh at your work?" John - "Humour is welcomed in my practice. But expect the humour to be wiped off your face once you experience the works longer."

Episode 123: Comic Release with John Vea

How does a gallery best serve it’s public? How does a gallery best serve an artist? In this podcast Ema Tavola, Judy Darragh and host Mark Amery find many resonances in the work of Angela Tiatia, but lament the missed opportunities in a survey at Māngere Arts Centre.

Image credit: Angela Tiatia, Walking the Wall, 2014, Digital Video, Duration 13:04 minutes. Courtesy of the Artist & Alcaston Gallery, Melbourne.

Episode 39: Angela Tiatia survey at Māngere Arts Centre

Yuki Kihara leads Mark Amery on a walkthrough of her exhibition ‘A Study of a Samoan Savage’ at Te Uru Waitakere Contemporary Gallery. Examining historical and contemporary depictions of the Samoan body, Kihara discusses the show’s links between Samoan spirituality, Eadweard Muybridge and Sonny Bill Williams. Curator Ioana Gordon-Smith joins us briefly to discuss the shows resonance in West Auckland. 

Image: Subscapular with Skinfold Caliper' (2015) From 'A Study of a Samoan Savage' (2015) series Yuki Kihara Courtesy of Yuki Kihara and Milford Galleries Dunedin

Episode 41: An interview with Yuki Kihara

Traces and Transmissions; In this podcast Thomasin Sleigh and Tim Corballis join host Mark Amery to discuss Sonya Lacey's installation Infinitesimals, which taks it's cues from homeopathy, linguistics and material shift.. Recently installed at Massey University's Engine Room and The Physics Room in Christchurch the pod find parallels with modernism, abstraction and much more.

Episode 44: Sonya Lacey's Infinitesimals

Could New Zealand’s geographical distance be seen as a strength? Is the rumour more potent than the work? How would reframing conceptualist Julian Dashper as a video artist remap New Zealand’s art history? Ahead of the CIRCUIT symposium Phantom Topologies our curator-at-large George Clark talks with Mark Amery about This is not film-making. Artists work for cinema, a programme curated by George and commissioned by CIRCUIT. Plus he discusses symposium guests Merv Espina, Martha and Jake Atienza, and new models for artist run space in South East Asia. 

Jake Atienza and Merv Espina's visit to New Zealand is supported by the Asia New Zealand Foundation.

Episode 50: George Clark on Phantom Topologies

“How does your native soul inform your work?” This week on the podcast, host Mark Amery sits down with broadcasting legend Tainui Stephens at the launch of the 2017 Māoriland Film Festival, to discuss indigenous modes of exchange and distribution.

Episode 58: Māoriland Film Festival - interview with Tainui Stephens

Is time out the most productive time of all? 

Darcell Apelu talks to Mark Williams about a recent residency in Yorkshire spent contemplating her practice. She also discusses a trip to her father's homeland of Niue, two resulting videos, and previous performance works which drew on the body, ideas of 'otherness' and her career as an international wood chopper. 

Still from Saw (2011) detail, Darcell Apelu

Watch Darcell's video on CIRCUIT here: http://www.circuit.org.nz/artist/darcell-apelu

Episode 84: an interview with Darcell Apelu

CIRCUIT CAST is a podcast produced by CIRCUIT Artist Moving Image, interviewing contemporary artists about recent exhibitions and how they approach their practice. CIRCUIT is Aotearoa/New Zealand's leading distributor of artists' moving image works. 

www.circuit.org.nz.

CIRCUIT CAST

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