July 18th, Block 5, 4:00 -5:30
Virtual Memory, Julie Goldstein, Michigan
Once there was a time when images were made from head to hand.Devices came into being which allowed the chemical capture of light. Persistence of vision, motion.Electrical capture of light. Distribution and broadcast, reception with the set.Computers - the pixel - a fraction of light - more like pointillism, a comic.
The speed, multiplicity of transmission - active viewership. The generation of synthetic images to replicate the real, not necessarily in terms of realism of representation, but in terms of realism in interaction.
Interaction, an extension of active viewing. Randomness increases. Screen being replaced by an immersive experience. Projection of a holographic image. Virtual becomes a replacement space.
Sight Unseen, Diane Nerwen Brooklyn
"Sight Unseen" is a multi-layered reverie that merges shot and found images of iconic New York City into a dislocated screenscape. City walkers stroll dreamily through hazy streets and glowing lights where images are more real than the city itself.
Cog, Colette Copeland, Dallas
The work is inspired by a Victorian female couple who were collaborative authors and lovers. Contemporaries of Robert Browning and Oscar Wilde, the two were known and published under the same name Michael Field. Our video pays homage to their life and their spirit of oneness.
Filmed in the sand dunes of West Texas, the location is symbolic of the ever shifting landscape of relationships. In part 1, the couple collectively known as COG struggle to become one. In part two, the elderly COG return to the dunes as they prepare to die.
The title/name COG references the words cognito, incognito, cognitive, cog in the machine, as well as the acronym of our names Copeland or George.
Field of Infinity, Guli Silberstein, London
Inspired by both Italian renaissance paintings and contemporary news broadcasts from Gaza protests at the border with Israel - the work processes human gestures and figures in landscape into a dark and colourful scramble. Following Deleuze and Guattari's concept of 'Plane of immanence', the work aims to open up an array of reflections, including concerns about the political image, image of the political, the politics of the image, and the image of image.
The Cage of Sand, Edward Rankus, Chapel Hill
If asked to say what this work is about in one word, the answer—which is woven into the soundtrack—would be a Joycean one: it’s a “collideorscape.
Bards Inn, Liz Rodda, Austin
KISS, Tinder, and Shakespeare are placed within loose constellation of one another in a video featuring the filmmaker and her mother.
Graffiti, Rick Niebe, Italy
Cinematic hommage to urban graffiti [An abstract exploration of urban graffiti based on a musical improvvistaion on txalaparta an ancient basque instrument]
Ain’t Nothing Wrong with Being Beautiful, Naama Attias Israel
“Ain’t Nothing Wrong with being Beautiful” is a video diptych, the subject of which is child beauty pageants. The video concentrates on the ‘pageant moms’ involvement during the shows. The right side features videos from pageants in Texas in which girls dance in front of judges to instructions given by moms and coaches behind the judges’ backs. The left side is a staged video of an adult dancer which acts as a contrast to the video on the right. In it, the dancer sheds off objects which the girls wear.