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DTSTART;TZID=America/Denver:20200219T190000
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DTSTAMP:20260419T093947
CREATED:20200202T213022Z
LAST-MODIFIED:20200207T183145Z
UID:2984-1582138800-1582149600@www.processreversal.org
SUMMARY:Our Lab\, Our Labour
DESCRIPTION:A selection of recent films from the artist run film lab in Melbourne\, Australia. Featuring 16mm films by Zi-Yun Lam\, Hanna Chetwin\, Lucas Haynes\, Callum Ross-Thomson\, Richard Tuohy\, Madeleine Martiniello\, Sabina Maselli\, Dianna Barrie\, Paddy Hay and Louis Marlo. \n  \nPresented by visiting lab-member Giles Fielke with additional historical program “Golden Eighties: Experimentalism in Australia” \n  \nArtist Film Workshop (AFW) is an artist collective and not-for-profit organisation located in Melbourne\, Australia\, which provides access to knowledge and resources for filmmakers and artists. AFW holds regular screenings and workshops for people interested in film or working with sound and vision. \n  \nScreens on 16mm. $5 suggested donation. \n  \nProgram 1: Our Lab\, Our Labour \n  \nTiangong-1 (2018) Paddy Hay and Louis Marlo. 16mm (from Super 8)\, colour\, optical sound\, 8 min \nPaddy Hay is a filmmaker working between narrative and experimental modes of cinema. He is a member of the Artist Film Workshop (AFW) lab in Melbourne\, as well as the Melbourne based film collective\, Dogmilk. Paddy’s films have been presented at major domestic and international film institutions\, including the Austrian Film Museum in Vienna\, and the Australian Centre for the Moving Image (ACMI). In 2018\, Paddy completed his Honours in Fine Art at RMIT University\, where he was awarded a Travelling Scholarship prize for his graduate film installation. His debut narrative short ‘Cuckoo Roller’ had its World Premiere at the 2019 Melbourne International Film Festival. He is an alumnus of the MIFF Accelerator Lab. Louis Marlo is a musician\, composer and experimental sound practitioner from Melbourne. He completed his degree in Fine Art (Sound) at RMIT University in 2016. Louis runs an independent label\, Felt Sense Recordings\, which focuses on locally produced electronic music and sound. Additionally\, Louis works as a member of the sound department at the Melbourne Theatre Compay (MTC). \n  \nVyv and Beat (2018) Audrey Lam. 16mm\, black and white and colour\, separate sound\, 3 mins \nBy her feeding twins\, autumn outside sings. Audrey Lam studied screen production and photography at Queensland College of Art. Her work has screened at film festivals including BFI London Film Festival\, International Film Festival Rotterdam\, Internationale Kurzfilmtage Oberhausen and Visions du Réel\, and arts festivals including Otherfilm and Yebisu Festival of Alternative Art and Visions. In 2015\, she undertook anAsialink arts residency at Green Papaya Art Projects in Manila. She is a member of Artist Film Workshop in Melbourne and a Meat Market Studio Program resident. \n  \nSoda (2017) Hanna Chetwin. 16mm\, black and white\, optical sound\, 7 mins \nSoda explores the forms and rhythms of bubbles. the film uses camera-less techniques (including scratching and rayogramming) intercut with footage of water in progressive stages of boiling. Accompanied by a soundtrack by Rohan Drape. Hanna Chetwin is an Australian filmmaker working primarily in experimental film. Her practice draws on photographic\, camera-less imaging techniques alongside filmed footage of everyday and environmental minutiae to create rhythmic structural film works\, often developed in collaboration with Australian exploratory musicians (recently including Rohan Drape\, Francis Plagne\, and James Rushford). \n  \nShoplifting (2017) Lucas Haynes. 16mm\, colour\, silent\, 4 mins \nTake what you want. ‘Interact’ with this film and transform the negative image into positive by viewing through your phone: settings: accessibility: invert colours. Lucas Haynes is an artist filmmaker. \n  \nPharmacy (2019) Giles Fielke. 16mm\, colour\, 10 mins (spoken word score) \nSupplied text to be read by the director of the institution or cinema where the screening is taking place\, or by the person presenting a screening of this film. Giles is a writer and filmmaker\, he will be present to screen the program. \n  \nInternal and External Objects (2017) Giles Fielke. 16mm\, black and white\, separate sound\, 7 mins \nLeo’s hand rayogrammed on my laptop\, perusing Kracauer. Maddy reads Transparencies on Film and listens to Michael Jackson while I hovered threateningly somewhere in the background. Giles again. \n  \nFade (2018) Callum Ross-Thomson. 16mm (from Super 8)\, colour\, optical sound\, 6 mins \nFound footage taken from a long forgotten\, badly scratched and faded 16mm educational film print on volcanoes\, superimposed atop recently shot 16mm macro footage of a human skull. The skull is a similarly neglected teaching aid\, once used for anatomy classes many decades ago before the use of real human remains in schools became less common in favour of more durable\, socially sustainable plastic models. Callum runs Memory Lab\, a full-service telecine in Melbourne\, Australia. \n  \nLanding (2018) Sabina Maselli. 16mm\, colour\, optical sound\, 8 mins \nHand-processed\, colour-reversed 16mm film spun around a soundtrack built from a re-modulated\, repeating fragment of a woman’s voice creates a ritualistic merging of woman\, space and time. Sabina is an artist and filmmaker who makes multilayered works that are presented as films\, installations and live performances. She uses both analogue and digital processing\, through a very physical engagement with her materials. She sees her works as sites for transformation between body\, memory and technology\, and how they manifest in the physical\, material\, mystical\, and mythological realms. \n  \nTomato Day (2017) Madeleine Martiniello\, 16mm\, colour\, separate sound\, 6 mins \na short study of the tension between nostalgia and the filmic image\, using the home movie as a means of exploring family\, history and cultural knowledge. the images of many hands at work are accompanied by a soundtrack assembled from the hand-developing process of the film\, and a instructional conversation between granddaughter and grandmother. Tomato Day is a translation from one generation to the next\, in an attempt to learn\, to record and to remember. Madeleine is a filmmaker based in Melbourne\, Australia. She is a graduate from the Master of Film & Television (Documentary)\, Victorian College of the Arts. \n  \nChina Not China (2018) Richard Tuohy and Dianna Barrie\, 16mm\, colour\, separate sound\, 14mins \nHong Kong marked 20 years since its hand over to China; half way through the planned 40 year “one country\, two systems” transition. Taiwan\, once imperial China\, once Formosa\, now ROC (Republic of China) on the edge of the PRC (People’s Republic of China). Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition\, of two states somewhere between China and not China. Richard Tuohy and Dianna Barrie are the most active experimental film artists currently working on celluloid in Australia. \n  \n  \nProgram 2: Golden Eighties: Experimentalism in Australia \n  \nOne View (1985) Chris Knowles and Maggie Fooke. 16mm\, colour\, sound\, 13mins \nOne view explores the common assumption that the Australian landscape is featureless and unchanging\, and looks at the deeper question of what might be meant by an unchanging landscape. – Maggie Fooke \n  \nMyself at Fourteen (1989) Ivor Cantrill. 16mm\, colour\, sound\, 19mins \nAn intensely colourful\, rotoscoped animation based on black and white footag of Ivor Cantrill made when he was 14-years-old. \n  \n4 Tone (1985) Dirk de Bruyn. 16mm\, colour\, silent\, 9mins \nAn diaristic animation of drawn\, rotoscoped and ‘letraset’ images printed on 7390 print stock film. Made in Rotterdam\, de Bruyn also used a time-lapse mechanism that incorporated a motor from the windscreen wipers of a car. The film shares some of its parts with de Bruyn’s feature-length film Homecomings (1987). \n  \nThis Woman Is Not a Car (1982) Margaret Dodd. VHS (from 16mm)\, colour\, sound\, 22mins \nA response to the bleak suburban life for women Dodd found\, living in Holden Hill\, Adelaide on her return from the US to Australia. The Experimental Art Foundation\, Jam Factory and Women’s Art Movement of 1970s Adelaide were all influential in supporting and shaping her art practice. Dodd continues to explore the symbol of the Holden car to look at national identity\, masculinity and female identity\, and the politics of the survival of the planet.
URL:http://www.processreversal.org/pr/process-reversal-presents-our-lab-our-labour/
LOCATION:Sie FilmCenter\, 2510 East Colfax Ave.\, Denver\, CO\, 80206\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2020/02/china-not-china-e1580615226485.jpg
ORGANIZER;CN="Artist Film Workshop":MAILTO:artistfilmworkshop@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20191118T190000
DTEND;TZID=America/Denver:20191118T203000
DTSTAMP:20260419T093947
CREATED:20191114T204924Z
LAST-MODIFIED:20191118T214056Z
UID:2968-1574103600-1574109000@www.processreversal.org
SUMMARY:OJOBOCA Screening - The Skin Is Good/The Masked Monkeys/Heliopolis Heliopolis
DESCRIPTION:Screening at the University of Colorado at Boulder\, basement of Macky Auditorium\, Room 1B20. \nAnja Dornieden and Juan David González Monroy are filmmakers based in Berlin. Since 2010 they have been working together under the moniker OJOBOCA. Together they practice Horrorism\, a simulated method of inner and outer transformation. They have presented their work internationally in a wide variety of venues. They are currently members of the artist-run film lab LaborBerlin. \nTHE SKIN IS GOOD\n16mm\, 12 min\, color\, silent\, 2018 \nThe skin fiend is a stranger. He sent us strange messages (and a package). In the last message the skin fiend said\, \n“Try to be skin fiends for a moment. How\, you ask? Well\, to be a skin fiend one has to summon the skin demon. To summon the skin demon\, one has to say the skin prayer (see attached). Before one says the skin prayer\, one has to take command of the skin receptacles (see package). But the skin receptacles must never be touched. They are objects of the mind. One may only interact with the skin receptacles through sense memory. How can one remember what has never been physically experienced? \nThe skin fiend remembers the future. In the future\, he remembers that the skin fiend has already seen the skin demon. In the future\, he remembers that the skin fiend has already touched the skin demon. In the future\, he remembers that the skin fiend and the skin demon are the same because in the future\, the skin fiend has no eyes and the skin demon has no hands and yet the skin demon can touch what the skin fiend sees\, and the skin fiend can see what the skin demon touches. But what the skin demon touches and what the skin fiend sees evaporate from memory once seen and touched. In the future\, he remembers that the skin fiend remembers the sense of having forgotten. This sense is marked by a trace. The trace is a scent. In the future you remember\, perhaps you will remember this scent and with any luck you will also forget it.” \nWe made this film for you\, skin fiend. What do you think? \nTHE MASKED MONKEYS\n2015\, 16mm\, 30 min\, black & white\, sound. \nThe masked arts of Indonesia are thousands of years old. They are commonly referred to as wayang topeng (wayang: shadow or puppet; topeng: mask). It is believed that wayang topeng originated from tribal death rites\, where masked dancers were considered the interpreters of the gods. \nIn the lowest rungs of Javanese society a unique manifestation of these masked traditions can be found. Its practitioners are performers\, but they are not merely entertainers. Their aim is not simply to amuse. Their ambition is to be respected\, to be honored\, to be successful. They have embarked on a path they know will lead to a higher state\, to an honorable and noble position. \nHELIOPOLIS HELIOPOLIS\n16mm\, 26 min\, color\, 2017 \nAccording to amateur Egyptologist I. I. Pearson\, Heliopolis Heliopolis was the name of a metropolitan simulacrum devised as a training tool for urban planning at the NoUn School of Architecture in Egypt in the 3rd century BC. On her blog\, “Secret Cities of Ancient Egypt” Pearson writes\, \nHeliopolis Heliopolis was created by an insurgent priest (whose name has been lost) as a tool to train students in the design of a revolutionary city meant to surpass the ancient city of Heliopolis. This in spite of the fact that the priest and his students appear to have never visited Heliopolis and based their model exclusively on texts and secondhand knowledge. Eventually this became a source of pride within the school and descriptions of Heliopolis gained a fantastical nature\, becoming both meticulously elaborate and wildly implausible. \nHow it was used of as an educational model is heavily disputed among experts. The researcher\, J. J. Dummings proposes that Heliopolis Heliopolis was in effect a very large maze. According to him\, students were sent into the maze\, blindfolded and naked with their bodies covered in duck grease. Their goal was to find the models of the city’s main temples and destroy them. To do this they would have used their bodies as torches. To substantiate his claim\, he relies on two details. First\, on the fact that Heliopolis was given its name (which in Greek means “city of the sun”) in recognition of the fact that the sun god Ra presided there\, and second\, on a passage from the written record that states (according to his own translation)\, that the purpose of the simulation was to “obliterate the light”. \nMy own research leads me to believe that Heliopolis Heliopolis was not a maze but in fact a very high tower. It was circled by ever-steeper steps\, at the top of which stood the main temple\, representing the sun. Along the way the students had to pick up primitive instruments\, which\, once at the top\, they would use to build a large mechanical moon. The moon would create a permanent eclipse\, shroud the temple completely in its shadow and thus\, (following my own translation of the passage) “bring darkness to the light”. \nNow\, because of their personal history\, opinions about the veracity of these interpretations are starkly divided within the amateur Egyptology scene. Apparently Pearson and Dummings were once married but he left her for their mutual friend and fellow amateur Egyptologist K.K. Apfelbaum. After looking closely at the online record their argument boils down to this: he accuses her of stealing his ideas and she accuses him of resenting her for not taking him back once she found out about his betrayal and forced him to confess. Needless to say\, to this day both parties\, and their respective factions\, continue to argue over the true meaning of Heliopolis Heliopolis. \nAlthough we considered creating versions of Heliopolis Heliopolis that would correspond with each interpretation\, building an actual facsimile of the maze or of the tower would have been way beyond our means. Therefore we went with our own interpretation of the evidence to assemble this audiovisual simulation. It goes like this: the model was never meant to be built but was used during the ritual to induce a trancelike state of mind. In a hallucinatory haze\, the student wanders through the imaginary city\, which does not resemble a maze or a tower\, but an endless body of water in which the temples\, like islands\, are floating. Each island is made of pure light and the student must transform himself into the island’s shadow\, engulf it in darkness and from his inner abyss (following our own translation) “reveal the bright darkness”.
URL:http://www.processreversal.org/pr/ojoboca-screening-the-skin-is-good-the-masked-monkeys-heliopolis-heliopolis/
LOCATION:CO
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2019/11/OJOBOCA.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20171105T103000
DTEND;TZID=America/Denver:20171105T113000
DTSTAMP:20260419T093947
CREATED:20180718T193133Z
LAST-MODIFIED:20180718T194025Z
UID:2954-1509877800-1509881400@www.processreversal.org
SUMMARY:Denver Film Festival: Seven Films Screening
DESCRIPTION:Seven Films\nThis collection of experimental shorts showcases work made by members of the local film collective and nonprofit\, Process Reversal. This program will offer a glimpse into the creative backgrounds of the organization’s seven members who have long histories as multimedia artists\, educators\, archivists\, and researchers. As filmmakers\, their artistic practices are deeply rooted in experimental film and they share upbringings from institutions including the School of the Art Institute of Chicago\, The New School\, and the University of Colorado at Boulder\, where they all met and co-founded Process Reversal. They have a shared passion for handmade aesthetics\, working with analog processes\, and creating work in a variety of facets from installation\, performance\, and much more. \nAT HAND – Andrew Busti\n16mm\, 9.5min\, b&w\, sound\, 2005 \nAn exorcism\, an exploration\, and an unveiling.\nThe subconscious landscape of a withered relationship. \nI SWIM NOW – Sarah Biagini\n16mm\, 8.5min\, b&w\, sound\, 2011 \nChallenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a steward on-board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I SWIM NOW evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical printing techniques and manipulations. \nQUAKER CITY HOME MOVIES: PRESSING CIDER – Taylor Dunne\nSuper 8 blow-up to 16mm\, 3min\, b&w\, sound\, 2015 \nPressing cider on the Quaker City Land Trust in late fall 2009. Film processed on location\, in a root cellar\, with hand carried water and sunlight. Print and optical track made by hand. Soundtrack from The Ethnic Folkways Library\, Music of the Ukraine. \nLIMITED SIGHT DISTANCE – Curt Heiner\n16mm\, 4.5min\, b&w\, silent\, 2016 \nOn a path; an exploration of latitude through exposure and location. \nWAKE – Eric Stewart\n16mm\, 8min\, b&w\, silent\, 2015 \n“Wake” is a dirge in celluloid. It is a celebration of my fathers life\, a meditation on his body and a visual record of mourning. When my father died\, there was never a chance to see his body after life had left it. This film was made by placing his ashes directly on 35mm film in a dark room and moving the film a frame at a time. What we see in this process of photograming is not the object in the photographic sense\, but instead a representation of the space surrounding an object. The photogram is a shadow charting the distance between things. \nPLAY FOR GLORY – Eric Coombs Esmail\n16mm transferred to video\, 10min\, color\, 2013 \nThe persistence of ritual and the spiritual connection of a family constitute a volatile realm for disparate traditions\, faiths\, and lifestyles. A Christmas blues on Ektachrome. \nSANCTUARY – Kevin Rice\n16mm\, 3min\, color\, silent\, 2008
URL:http://www.processreversal.org/pr/denver-film-festival-seven-films-screening/
LOCATION:McNichols Civic Center Building\, 144 W Colfax Ave\, Denver\, CO\, 80202\, United States
CATEGORIES:Process Reversal Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20171103T200000
DTEND;TZID=America/Denver:20171103T210000
DTSTAMP:20260419T093947
CREATED:20180718T192703Z
LAST-MODIFIED:20180718T192820Z
UID:2950-1509739200-1509742800@www.processreversal.org
SUMMARY:Denver Film Festival: Panel Discussion
DESCRIPTION:Persistence of Medium: A New Century for Photochemical Arts\nFollowing the shift towards digital technologies in the movie industry over the last several decades\, new opportunities have presented themselves for moving-image artists and filmmakers working with analog film. As the massive commercial scale of the medium has decreased\, new creative freedoms and possibilities have become available on a different scale\, reinventing the way people work with and think about film.\n\nJoin the members of Process Reversal\, a local non-profit organization\, in a discussion about analog film’s continued popularity\, accessibility\, and necessity both as a creative and archival medium. Discussions will include Process Reversal’s own involvement with a relatively unknown international network of artists\, filmmakers\, and technicians dedicated to keeping photochemical processes relevant and affordable by sharing knowledge\, resources\, and technologies. This network\, loosely known as the “artist-run film lab community”\, has grown considerably over the last decade and has led to the establishment of new labs and workspaces across the globe\, including an ongoing effort to open an artist-run motion picture workspace right here in Denver.
URL:http://www.processreversal.org/pr/denver-film-festival-panel-discussion/
LOCATION:McNichols Civic Center Building\, 144 W Colfax Ave\, Denver\, CO\, 80202\, United States
CATEGORIES:Process Reversal Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20170910T190000
DTEND;TZID=America/Denver:20170910T210000
DTSTAMP:20260419T093947
CREATED:20170804T215424Z
LAST-MODIFIED:20170814T192845Z
UID:2904-1505070000-1505077200@www.processreversal.org
SUMMARY:Process Reversal Presents: Robert Schaller
DESCRIPTION:Film as / for Music as / for Film\nAn evening of works by Robert Schaller featuring live cello \nInVerge Invocation (Live Music for Cello\, 2 min)\nMusic by Robert Schaller \nBased on the opening of a collaborative performance piece from many years ago involving film and string quartet\, it is here presented to introduce tonight’s show. \nSnow (2017\, 16mm B+W Silent\, 5 min) \nWhat is the future\, or even the present\, of snow? 2016 was officially the Earth’s warmest since record-keeping began in the 1880s — and was the third year in a row to earn that dubious honor. The beginning of 2017 saw abundant snow in the Colorado mountains\, but spring has come suddenly\, several weeks early\, and the snow has melted at an astonishing speed. This film starts calmly\, intending to dwell on the austere forms of a cold and silent winterscape\, but instead is forced to follow the retreating snow up to higher altitudes\, almost frenetically following as it melts and then is gone. \nWalk (2003/2010/2017\, 16mm x 2\, Color with Live Cello\, 5 min)\nMusic by Robert Schaller \nA journey through a never-ending forest\, from nothing and into nothing. Without beginning and without end\, despite its brevity.\nWhere are we going\, anyway? \nOriginally for two interlocked 16mm projectors\, it is here presented as a digital transfer. \nMy Life As A Bee (2002\, 16mm Pinhole\, Color\, Silent) \nAn imagining of a bee’s eye view of a spring day in Golden Gate Park. A primitive\, home-made camera reveals a world of vibrant\, frenetic color\, racing between flowers and losing itself in the revelry of survival and sunshine. \nThrough (2016\, 16mm B+W with Live Cello\, 6 min)\nMusic by Robert Schaller \nFences are borders\, edges\, gateways: liminal space\, demarcations between This and That. But they are inscribed on a landscape which knows nothing of the logic of division. Here\, their arbitrariness is doubly swallowed up by not just agnostic fields and forests\, but by a primitive homemade emulsion that almost does not “see” them. The boundaries that meant so much to those who built them dissolve into a meditative abstraction of light and sound. \nIn the Shadow of Marcus Mountain (2011\, 16mm B+W Silent\, 6 min) \nThe structures of our thought filter what we see\, and in fact there is no seeing apart from those structures. This film is part of an ongoing project to show where I am in a (here\, natural) landscape in a way that reflects those structures of thought. It is “hypnogogic\,” not so much perceptually (although to some extent that too) as conceptually. Our eyes see constantly\, but what do we actually notice? That vision is excessive\, wasteful\, even; in paring down\, it becomes both more spare and more concentrated. It is also a meditation in process of how my marvelous son Marcus has changed my life and my way of being in the world\, recoloring a place where I was already. \nTo The Beach (1999\, 16mm Color Sound\, 10 min)\nMusic by John Drumheller \nOne hears in the call of the sea the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below. \nFour Delicate Concerns (2015\, 16mm B+W Silent\, 5 min) \nMade as a filmic contribution to a show based on a short story at the Chocolate Factory in New York\, Four Delicate Concerns synthesizes two distinctly different envisionments of the same ritualized and abstractly sexual actions. With Michelle Ellsworth as Wonder Woman. \nIf Not One And One (2000\, 16mm x 3\, Color Sound\, 15 min)\nMusic by Michael Theodore \nIf Not One and One is the creation of collaborators Robert Schaller\, composer Michael Theodore\, and performance artist Michelle Ellsworth. Images of Ellsworth create a visual tapestry on a non-silver film\, with an evocative score for violin and computer-processed acoustic sounds. Loosely based on Homer’s Odyssey and Gertrude Stein’s Stanzas in Meditation\, If not One and One offers a kinetic and visual exploration of identity in a postmodern world. \nOriginally the performer Michelle Ellsworth interacted with three synchronized 16mm rear-projected images\, while a live violinist interacted with the electronic accompaniment. It is here presented as a single channel digital transfer with a wholly recorded score. \nMail (2013\, 16mm B+W with Live Cello\, 10 min)\nMusic by Simon Christiansen \nA letter from the ephemeral pinhole world\, sent\, written\, and received. Performance by Michelle Ellsworth and Lauren Beale.
URL:http://www.processreversal.org/pr/process-reversal-presents-robert-schaller/
LOCATION:Sie FilmCenter\, 2510 East Colfax Ave.\, Denver\, CO\, 80206\, United States
CATEGORIES:Process Reversal Events,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20170909T090000
DTEND;TZID=America/Denver:20170909T130000
DTSTAMP:20260419T093947
CREATED:20170804T214823Z
LAST-MODIFIED:20170814T194021Z
UID:2901-1504947600-1504962000@www.processreversal.org
SUMMARY:Process Reversal Presents: Pinhole Workshop with Robert Schaller
DESCRIPTION:In this workshop\, Robert Schaller of the Handmade Film Institute will present one of the simplest and earliest photographic devices\, the pinhole. Participants will learn the basics of pinhole photography and will achieve a better understanding of various photographic principles such as light\, aperture\, focal length\, film plane\, and the camera obscura effect. Through in depth instruction and hands on experience\, participants will then be able to practically apply these concepts to motion picture cinematography using 16mm film. Participants will learn to construct their own motion picture pinhole cameras from scratch\, utilize pinholes in 16mm Bolex cameras\, and will shoot a variety of 16mm film strips that will then be processed on-site to be viewed at the end of the workshop. \n\n***All materials for the workshop will be provided***\nwww.handmadefilm.org
URL:http://www.processreversal.org/pr/process-reversal-presents-pinhole-workshop-robert-schaller/
LOCATION:Sie FilmCenter\, 2510 East Colfax Ave.\, Denver\, CO\, 80206\, United States
CATEGORIES:Process Reversal Events,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20170819T200000
DTEND;TZID=America/Denver:20170819T213000
DTSTAMP:20260419T093947
CREATED:20170804T231253Z
LAST-MODIFIED:20170815T000134Z
UID:2908-1503172800-1503178200@www.processreversal.org
SUMMARY:Film at the Deck: 16th Street Mall Prototyping Series
DESCRIPTION:Part of the “My 16th Street” 2017 Prototyping Series organized by the Downtown Denver Partnership\, we will present a program of films created by members of Process Reversal. This screening will take place at The Deck\, an open-air event space and micro-cinema designed by Sort Studio located between Welton and California Streets on the 16th Street Mall. \nFilms in Program…. \nHARBOUR   Eric Stewart\nQUAKER CITY HOME MOVIE: PRESSING CIDER   Taylor Dunne\nBINARY STARS   Andrew Busti\nAS THE SQUIRREL TURNS   Sarah Biagini\nLIMITED SIGHT DISTANCE   Curt Heiner\nSANCTUARY   Kevin Rice\nESMERILLION: Y GWYLLT   Eric Coombs
URL:http://www.processreversal.org/pr/prototyping-series-16th-street-mall-film-screening-deck/
LOCATION:The Deck (between Welton and California on 16th St. Mall
CATEGORIES:Process Reversal Events,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20170429T110000
DTEND;TZID=America/Denver:20170430T170000
DTSTAMP:20260419T093947
CREATED:20170429T134848Z
LAST-MODIFIED:20170429T135011Z
UID:2722-1493463600-1493571600@www.processreversal.org
SUMMARY:World Pinhole Day at Redline with the Handmade Film Institute
DESCRIPTION:“Doors Open Denver”\nProcess Reversal and Handmade Film Institute \nRedline Contemporary Art Center\n2350 Araphoe Street\nDenver\, Colorado\, United States\nDATES: Saturday\, April 29\, 2017 – Sunday\, April 30\, 2017 \nContact: Sarah Biagini\nEmail: click to email\nWeb Site: http://processreversal.org \nIn collaboration with Doors Open Denver\, Redline Contemporary Art Center hosts members of Process Reversal and The Handmade Film Institute for a free two-day pinhole filmmaking celebration. \nSaturday\, April 29 & Sunday April 30\, 11AM-5PM\nDrop in any time for a hands-on demonstration/workshop: various pinhole devices and imagery will be on view and visitors will be invited to shoot\, develop\, and watch their own 16mm pinhole movies. \nSunday\, April 29\, 1:30PM and 3:30PM\nFilmmaker and director of The Handmade Film Institute Robert Schaller will present his home-made 16mm pinhole cameras\, explaining the technology and showing his films. \nAll are welcome\, no filmmaking or photography experience necessary!
URL:http://www.processreversal.org/pr/world-pinhole-day-redline-handmade-film-institute/
LOCATION:Redline Contemporary Art Center\, 2350 Araphoe Street\, Denver\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/png:http://www.processreversal.org/wp-content/uploads/2017/04/Dittmer-2015.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20170408T190000
DTEND;TZID=America/Denver:20170408T233000
DTSTAMP:20260419T093947
CREATED:20170212T011151Z
LAST-MODIFIED:20170329T162056Z
UID:2426-1491678000-1491694200@www.processreversal.org
SUMMARY:TIME + SPACE FUNDRAISER
DESCRIPTION:Saturday\, April 8\, 7PM\nPlatteForum\n2400 Curtis Street\, Suite 100\nDenver\, CO 80205\nProcess Reversal kicks off our first major fundraising campaign with a live music and film event at local Denver art space PlatteForum. \nLive Music by \nThe Kevin Costner Suicide Pact\nEntrancer\nBeatscream\nThe Carbon Dioxide Ensemble\nErzi \nFilm Projections by the members of Process Reversal! \nPre-order tickets here \nFundraising Objectives \n 
URL:http://www.processreversal.org/pr/time-space-fundraiser/
LOCATION:PlatteForum\, 2400 Curtis Street\, Denver\, CO\, 80205\, United States
CATEGORIES:Process Reversal Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20170319T190000
DTEND;TZID=America/Denver:20170319T210000
DTSTAMP:20260419T093947
CREATED:20170207T004201Z
LAST-MODIFIED:20170216T083830Z
UID:2143-1489950000-1489957200@www.processreversal.org
SUMMARY:Process Reversal Presents: "Apparitions"\, by Alex Mackenzie
DESCRIPTION:Live 16mm expanded cinema performance by Alex MacKenzie. \nInspired by early stereo imaging and the clash and collusion of socioeconomic forces\, this work seeks to dismantle cinematic codes while foregrounding projector and light as sculpture: a conscious corruption of and interference with the apparatus to evoke the unexpected\, reshaping representation into the realm of material and space. Using colour gels\, masking\, lens interference and projector movement in tandem with an exploration of binocular disparity\, perspective\, patterning and the film surface itself\, Apparitions explores the transitional space between image and abstraction\, nature and culture. \nMackenzie is a key player in the revival of expanded cinema forms…his projects stretch the possibilities of the analogue form\, manipulating images to beyond our received expectations.\n– Chris Kennedy\, Early Monthly Film Segments \nhttps://www.alexmackenzie.ca/ \nFor tickets\, click here
URL:http://www.processreversal.org/pr/alex-mackenzie-apparitions-performance/
LOCATION:Sie FilmCenter\, 2510 East Colfax Ave.\, Denver\, CO\, 80206\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2017/02/Alex-Mackenzie-e1487011020989.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20170318T090000
DTEND;TZID=America/Denver:20170318T130000
DTSTAMP:20260419T093947
CREATED:20170210T194759Z
LAST-MODIFIED:20170215T235113Z
UID:2238-1489827600-1489842000@www.processreversal.org
SUMMARY:Process Reversal Presents: Expanded Cinema Workshop with Alex Mackenzie
DESCRIPTION:In this workshop\, media artist Alex MacKenzie will present a closer look at the original engine of expanded cinema: the projector. Specifically\, participants will explore how to work with 16mm projection devices to allow an extension of their potential and a re-purposing of their function. Discussion and examination of the various elements of projection: light\, lens\, focal plane\, film gate\, speed\, shutter\, motor\, bulb\, and screen will all be explored with live examples and an up-close and hands-on approach. The work of contemporary media artists as well as historically significant artists will be discussed. Participants will be given the opportunity to try out various techniques\, and will leave with a better understanding of how these elements work both separately and in tandem\, as well as with a demystification of the primary instrument of the motion picture. \nhttps://www.alexmackenzie.ca/ \nTo participate\, click here \nIncluded in the Workshop is one (1) ticket to the Apparitions screening on Sunday March 19th\, 7:00pm.\n*All materials for workshop will be provided*
URL:http://www.processreversal.org/pr/alex-mackenzie-expanded-cinema-workshop/
LOCATION:Sie FilmCenter\, 2510 East Colfax Ave.\, Denver\, CO\, 80206\, United States
CATEGORIES:Process Reversal Events,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20141210T200000
DTEND;TZID=America/Denver:20141210T220000
DTSTAMP:20260419T093947
CREATED:20150801T225714Z
LAST-MODIFIED:20170207T002800Z
UID:1865-1418241600-1418248800@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/12102014/
LOCATION:Atelier MTK\, 8 av. du Gal Leclerc\, Saint-Martin-le-Vinoux\, Rhône-Alpes\, 38950\, France
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20141208T200000
DTEND;TZID=America/Denver:20141208T220000
DTSTAMP:20260419T093947
CREATED:20150801T224904Z
LAST-MODIFIED:20170207T002800Z
UID:1862-1418068800-1418076000@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/12082014/
LOCATION:Unza!\, Milano\, Lombardy\, Italy
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20141127T200000
DTEND;TZID=America/Denver:20141127T220000
DTSTAMP:20260419T093947
CREATED:20150801T224051Z
LAST-MODIFIED:20170207T002800Z
UID:1861-1417118400-1417125600@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/11272014/
LOCATION:Klubvizija SC\, Savska cesta 25\, Zagreb\,  10000\, Croatia (Local Name: Hrvatska)
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20141119T200000
DTEND;TZID=America/Denver:20141119T220000
DTSTAMP:20260419T093947
CREATED:20150801T223809Z
LAST-MODIFIED:20170207T002800Z
UID:1860-1416427200-1416434400@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/10192014/
LOCATION:no.w.here\, 316 Bethnal Green Road\, London\, E2 0AG\, United Kingdom
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20141112T200000
DTEND;TZID=America/Denver:20141112T220000
DTSTAMP:20260419T093947
CREATED:20150801T210427Z
LAST-MODIFIED:20170207T002800Z
UID:1857-1415822400-1415829600@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/10122014/
LOCATION:L’Etna\, 71\, rue Robespierre\, Montreuil-sous-Bois\, Île-de-France\, 93100\, France
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20141106T203000
DTEND;TZID=America/Denver:20141106T223000
DTSTAMP:20260419T093947
CREATED:20150801T205935Z
LAST-MODIFIED:20170207T002800Z
UID:1854-1415305800-1415313000@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/11062014/
LOCATION:La Cinématographe\, 12bis Rue des Carmélites\, Nantes\, Pays de la Loire\, 44000\, France
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20141022T200000
DTEND;TZID=America/Denver:20141022T220000
DTSTAMP:20260419T093947
CREATED:20150806T220015Z
LAST-MODIFIED:20170207T002800Z
UID:1873-1414008000-1414015200@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nPerceptual Subjectivity – Philippe Leonard\n \n[60 meters\, optical sound\, 1.33:1\, B&W]\nIdeas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts. \n\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/10222014/
LOCATION:NDSM Treehouse / Studio Misty Lavender\, Between De Scheepsbouwloods and Theo Fransmanbrug\, Amsterdam\, Netherlands
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20141017T200000
DTEND;TZID=America/Denver:20141017T220000
DTSTAMP:20260419T093947
CREATED:20150806T215110Z
LAST-MODIFIED:20170207T002800Z
UID:1834-1413576000-1413583200@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nPerceptual Subjectivity – Philippe Leonard\n \n[60 meters\, optical sound\, 1.33:1\, B&W]\nIdeas take shape in a kind of cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. Perceptual Subjectivity is an essay on the structural formation of thoughts. \n\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/10172014/
LOCATION:WORM\, Boomgaardsstraat 71\, Rotterdam\, 3012 XA\, Netherlands
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20141004T200000
DTEND;TZID=America/Denver:20141004T220000
DTSTAMP:20260419T093947
CREATED:20150801T205358Z
LAST-MODIFIED:20170207T002800Z
UID:1851-1412452800-1412460000@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/10042014/
LOCATION:West Germany\, Skalitzer Str. 133\, Berlin\, 10999\, Germany
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20141001T200000
DTEND;TZID=America/Denver:20141001T220000
DTSTAMP:20260419T093947
CREATED:20150801T204932Z
LAST-MODIFIED:20170207T002800Z
UID:1848-1412193600-1412200800@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/10012014/
LOCATION:Filmkoop Wien\, Wickenburggasse 15\, Vienna\, 1080\, Austria
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140927T190000
DTEND;TZID=America/Denver:20140927T210000
DTSTAMP:20260419T093947
CREATED:20150801T204200Z
LAST-MODIFIED:20170207T002801Z
UID:1842-1411844400-1411851600@www.processreversal.org
SUMMARY:Frenkel Defects II
DESCRIPTION:Abstract:\nFrenkel Defects is a recurring\, interstitial film series aimed at supporting contemporary filmmakers working in\, and presenting on\, motion picture film. In this second edition\, works from North American artist and film labs will be primarily be featured… \nProgram Details:\n26 Pulse Wrought (Film for Rewinds) Vol. I: Windows for Recursive Triangulation – Andrew Busti\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“The first film in a series of coded letters. A film for illumination and inspection; exploring travel from east to west and from west to east. Reflecting on the setting Sun of the Winter Solstice\, the crux of increasing light… seen setting over the Pacific.”\nYes it is here…it is here\, where we are…\n\n\n\nSalt – Martha Jurksaitis\n \n[80 Meters\, MOS\, 1.33:1\, Tungsten]\n“A vision of women playing in the sea at Saltburn in North Yorkshire becomes a celebration of the material nature of film. The silver salts in film that react to light also react to the metallic salts in film toners\, and a multi-coloured seascape emerges from the salt of the sea. Filmed on a part of the beach that was once notorious for shipwrecks\, Salt is a love letter to film and to the churning\, crashing\, passionate sea. The opening symbol is the alchemical symbol for salt.” \n\n\n\nI Swim Now –  Sarah Biagini\n\n[16mm\, 8.5 minutes\, 1.33:1\, optical sound\, B&W]\nI Swim Now challenges the visual intelligibility of landscape aesthetics by imagining the experiences of one Violet Jessop\, a stewardess on board all three sister ships of the White Star Line – the Olympic\, the Titanic\, and the Britannic – while each suffered varying degrees of collision and wreckage at sea. I Swim Now evokes the intense brutality and repetition of Violet’s unique physical interactions with nature through an expansive accumulation of optical techniques and manipulations. \n\nBeneath your skin of deep hollow (Bajo tu lámina de agujero profundo) – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n“Originally shot and edited in a Super-8 camera\, Beneath Your Skin of Deep Hollow translates nights into arrhythmic movements of light and a fugue of color. Shimmering impressions emerge into the surface of agitated stillness while darkness illuminates reflections and sight.”\n\n\nLunar Almanac – Malena Szlam\n \n\n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n\n\n“Moving through landscapes and inhabiting landscapes\, the moon is on a journey through magnetic spheres\, influencing the subtle energies on Earth. The moon becomes “moons” as it oscillates within its own margins of size and shape. As the act of introspection and recollection\, I take what I see and remove it from the ordinary\, translating it out of the physical and into the psyche\, then back again into the physical. Through single-frame and long-exposure superimpositions\, the film assembles in series of short sequences shot in 16mm Ektachrome and hand-processed. The unaltered\, in-camera edit segments shot at various nights gather over 4000 stills of multi-layered field views of the moon.”\n\nRewards – Mariya Nikiforova\n \n[60 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“A destructive physical and chemical process reveals hidden energies in a forgotten Boston green space. The resulting debris alternately evoke graffiti\, stained glass\, natural decomposition\, and the effects of heatstroke on a tired brain. The minimally sourced soundtrack\, composed in collaboration with Stefan Grabowski\, explores the way in which we sometimes “hear” what we see and vice versa.”\n\n\nAt Hand – Andrew Busti\n \n[90 Meters\, Optical Sound\, 1.33:1\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\nA single cartridge of Super 8 captures my mothers last visit to her garden. Her body is seen slowly dissolving towards illumination\, while her image is forever immortalized in light and silver. Poem borrowed from the Wabanaki creation myth of the first woman\, The Corn and Tobacco Mother. \nSEE/SAW – Charlie Egleston\n \n[50 Meters\, MOS\, 1.33:1\, B&W]\n“A film about seeing and having seen. Completely hand-processed and painstakingly edited\, ‘SEE/SAW’ is comprised of a series of iris fades – commonly found in silent films to signal the beginning or end of a scene – re-appropriated as a formal approach that frames the desire to see and to remember. Dichotomies surface in the high contrast images – opening/closing\, beginning/ending\, light/dark – it is also a deeply personal film that faces the imminence of not being.”\n\n\n\nDER SPAZIERGANG – Margaret Rorison\n \n[30 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“This film documents long walks throughout Berlin\, Germany during the cold days of April\, 2013.\nThe film is edited in camera and composed of single frame snapshots along with longer moments of glance\, captured on one 100’ roll of film.\nThe title comes from a story by Robert Walser.”\n\n\nTo The Beach – Robert Schaller\n \n[100 Meters\, Optical Sound\, 1.33:1\, Tungsten]\n“One hears in the sea’s call the feeling of a promise made to us before birth\, that we can know the world not merely as an atlas of things seen\, but rather as a continuum of felt experience in which it is impossible to distinguish between our selves and the world around us: self and other are melded into one. To the Beach explores this feeling from three vantage points\, filmed (respectively) near\, in\, and under the sea using a variety of techniques\, and registers the resulting images onto hand-made film emulsion.\n\nI. Approaching the Shore: in which the ocean first offers its irresistible salty scent.\nII. Swimming: in which we become again what we are.\nIII. Seeing Stars: as above\, so below.\n\nMusic by John Drumheller.”\n\n\n\n\nSanctuary – Kevin Rice\n \n[30 Meters\, MOS\, 1.33:1\, Tungsten]\n(no description) \n\nAdditional Documents & Links:\n\nE-Program\nSite Specific Program (Double Sided\, A4)
URL:http://www.processreversal.org/pr/09272014/
LOCATION:ANALOGICA\, Ora/Auer\, South Tyrol\, Italy
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140712T120000
DTEND;TZID=America/Denver:20140713T230000
DTSTAMP:20260419T093947
CREATED:20150201T000655Z
LAST-MODIFIED:20170207T002801Z
UID:1612-1405166400-1405292400@www.processreversal.org
SUMMARY:Handmade Emulsion
DESCRIPTION:Abstract:\nIn this two day workshop\, participants will study the craft of producing black and white\, silver gelatin emulsion by formulating\, mixing and coating emulsion onto cellulose acetate and various other materials. Theories concerning emulsion chemistry and emulsion production will also be explored in this workshop\, providing participants with a foundation to develop their own processes and methodologies. \nAttending the Workshop:\nThis workshop is being produced in conjunction with Sight Unseen (Baltimore\, Maryland) and will be occurring on July 12th & 13th between the hours of 12:00 PM – 8:00 PM\, EST. Sight Unseen policies concerning workshop fees\, refunds\, liability\, etc. apply to this workshop. \nPrevious experience working with film is not required for attending the workshop\, though some film processing experience is recommended — In any event\, we will do everything possible to clarify questions that you may have before\, during or after the workshop. \nAdditionally\, participants are encouraged to bring in film negatives or positives for contact printing\, or objects for photogramming. \nFrequently Asked Questions:\nQ:​ I’ve never worked with motion picture film before. Will that limit my experience?\nA:​ While previous experience with working with motion picture film is not required for attending this workshop\, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless\, we will do everything possible to clarify any questions that you may have before\, during or after the workshop. \nQ:​ I have some film I would like to bring into the workshop to work with. Is this okay?\nA:​ Yes\, in fact we encourage participants to bring some processed film for printing in the workshop and/or objects for photograming with. \nQ:​ I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA:​ Unfortunately\, we do not offer scholarship and because this workshop is taking place abroad\, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to look into ​couch surfing​. \nQ:​ I missed the opportunity to attend this workshop. Will you be running it again?\nA:​ If the demand exist\, absolutely. Send us an email or ​message​ requesting it. \nWorkshop Resources:\n\nWorkshop Proposal\nWorkshop Resources\nWorkshop Report\n\n 
URL:http://www.processreversal.org/pr/07122014/
LOCATION:Current Space\, 421 North Howard Street\, Baltimore\, MD\, 21201\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/Image-6.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140417T150000
DTEND;TZID=America/Denver:20140417T210000
DTSTAMP:20260419T093947
CREATED:20150129T040216Z
LAST-MODIFIED:20170207T002801Z
UID:1552-1397746800-1397768400@www.processreversal.org
SUMMARY:Photochemical Initiatives: The Artist Run Film Lab
DESCRIPTION:Abstract\nIn this six hour workshop\, participants will be introduced to the theory & execution of the artist-run film lab\, including their history\, political climate and the logistics of their operations from the subjective standpoint of the facilitator. Additionally\, participants will have the opportunity to gain hands on experience with several basic film lab procedures\, such as printing and processing\, as well as two advance techniques originating from the artist run film lab community\, namely Ricardo Leite’s eco-friendly photo formulary and Richard Touhy’s “monoflex” process. Finally\, films from a variety of artist will be screened\, illustrating some of the key concepts of an artist run film lab. \nAttending the Workshop\nThis workshop is being hosted by the Rhode Island School of Design. Anyone not a student of RISD who wishes to attend should contact host Bryan Papciak (bryan|a|handcrankedproductions.com). \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: Nope. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: Sure. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA: Unfortunately\, we do not offer scholarship and because this workshop is taking place abroad\, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nAdditional Documents\n\nWorkshop Proposal (concerning the workshops budget and equipment demands)\nWorkshop Agenda (concerning the structure and content of the workshop)
URL:http://www.processreversal.org/pr/test-event-2/
LOCATION:Rhode Island School of Design (RISD)\, 2 College Street\, Providence\, RI\, 02903\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2014/03/Featured_scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140414T190000
DTEND;TZID=America/Denver:20140414T210000
DTSTAMP:20260419T093947
CREATED:20150129T202448Z
LAST-MODIFIED:20170207T002801Z
UID:1560-1397502000-1397509200@www.processreversal.org
SUMMARY:KATAH-DIN
DESCRIPTION:Process Reversal is pleased to announce that fellow member Taylor Dunne will be premiering her new film\, KATAH-DIN\, at 7:00 PM on April 14th\, 2014 at the University of Colorado at Boulder (Visual Arts Center\, Room 1B20.) Following her film\, she will also be presenting a rare 16mm archival print of H.P. Carver’s 1930 feature The Silent Enemy\, written by Douglas Burden and featuring performances by Buffalo-Child Lance and Molly Spotted Elk. \nKATAH-DIN\nTaylor Dunne\, 2014\, USA\n16mm\, 33 minutes \nThe Silent Enemy\nH.P. Carver\, 1930\, USA\n16mm\, 77 minutes \nThe event is free for all to attend. View the flyer here.
URL:http://www.processreversal.org/pr/1560/
LOCATION:University of Colorado at Boulder\, Visual Arts Center\, Room 1B20\, 1125 18th Street #223\, Boulder\, CO\, 80309\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2014/03/hair.jpg
ORGANIZER;CN="Process Reversal | Taylor Dunne":MAILTO:taylor@processreversal.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140408T160000
DTEND;TZID=America/Denver:20140408T220000
DTSTAMP:20260419T093947
CREATED:20150129T200957Z
LAST-MODIFIED:20170207T002801Z
UID:1556-1396972800-1396994400@www.processreversal.org
SUMMARY:Photochemical Initiatives: The Artist Run Film Lab
DESCRIPTION:Abstract\nIn this six hour workshop\, participants will be introduced to the theory & execution of the artist-run film lab\, including their history\, political climate and the logistics of their operations from the subjective standpoint of the facilitator. Additionally\, participants will have the opportunity to gain hands on experience with several basic film lab procedures\, such as printing and processing\, as well as two advance techniques originating from the artist run film lab community\, namely Ricardo Leite’s eco-friendly photo formulary and Richard Touhy’s “monoflex” process. Finally\, films from a variety of artist will be screened\, illustrating some of the key concepts of an artist run film lab. \nAttending the Workshop\nThis workshop is being hosted by the Maryland Institute College of Art. Anyone not a student of MICA who wishes to attend should contact host Allen Moore (amoore|a|mica.edu). \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: Nope. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: Sure. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA: Unfortunately\, we do not offer scholarship and because this workshop is taking place abroad\, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nAdditional Documents\n\nWorkshop Proposal (concerning the workshops budget and equipment demands)\nWorkshop Agenda (concerning the structure and content of the workshop)
URL:http://www.processreversal.org/pr/04082014/
LOCATION:Maryland Institute College of Art (MICA)\, 1300 West Mount Royal Avenue\, Baltimore\, MD\, 21217\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2014/03/Featured_scaled.jpg
ORGANIZER;CN="MICA | Allen Moore":MAILTO:amoore@mica.edu
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BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140315T120000
DTEND;TZID=America/Denver:20140317T170000
DTSTAMP:20260419T093947
CREATED:20150128T221639Z
LAST-MODIFIED:20170207T002801Z
UID:1546-1394884800-1395075600@www.processreversal.org
SUMMARY:Investigations I: Basic Silver Gelatin Emulsion Making
DESCRIPTION:Abstract\nWorking with motion picture film today is both an intimidating prospect as well as an exciting one —  prior to this point in history\, film was the product of a highly competitive industrial science which rapidly developed from the primal photographic processes of the late 18th century to the multi-layered\, monopack films of meticulously engineered silver halide grains produced today. Despite this maturity\, however\, film was never anything more than a means-to-an-end for an industry which never really cared to understand what film was or what film could be. Given the comparative convenience of digital photography\, therefore\, both the technological and theoretical development of film has undergone a widespread abandonment among industry figures. However\, in the wake of this abandonment\, we’ve also been left with perhaps the most intriguing of opportunities: to take this industrial science and build within it a new medium with new ways of speaking\, new ways of thinking and new ways of seeing… \nIn this first part of a series of investigations into photochemical engineering\, we will be focusing on preliminary theories concerning emulsion chemistry and it’s practical application in the contemporary darkroom. Topics that will be explored include the history of silver gelatin photographic materials\, the theory of emulsification and latent image formation\, and the practical experimentation of various techniques for hand making motion picture film. The seminar will culminate in a simple silver gelatin emulsion which we will coat on to pre-existing 35mm cellulose triacetate and then photograph and develop as a negative. \nAttending the Workshop\nAll prospective participants should register via email at contact@processreversal.org. Additionally\, we will be seeking a 10 dollar registration fee from each participant to help cover the cost of producing the workshop. There are no other requirements for attendance. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: While previous experience with working with motion picture film is not required for attending this workshop\, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless\, we will do everything possible to clarify any questions that you may have before\, during or after the workshop. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: Yes\, participants are encouraged to bring in previously processed film for use in contact printing. Additionally\, participants should consider bringing in objects for photogramming as well. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA: We unfortunately do not have any funds to provide scholarships\, but we may be able to find volunteers to help you with accommodations. Please send us an inquiry at contact@processreversal.org \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: Since this is a one-off series of seminars\, we technically won’t be able to offer this specific workshop again. However\, we’re open to trying to organize a similar themed workshop\, if the demand exist. \nWorkshop Resources\n\nWorkshop Proposal (concerning the workshops budget and equipment demands)\nWorkshop Agenda (concerning the structure and content of the workshop)\nLegal Sized Flyer (for advertisement of the workshop)
URL:http://www.processreversal.org/pr/03152014/
LOCATION:University of Colorado at Boulder\, Macky Auditorium\, Room 1B03C\, 285 University Avenue\, Boulder\, CO\, 80302\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2014/03/Investigations_1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140222T120000
DTEND;TZID=America/Denver:20140223T210000
DTSTAMP:20260419T093947
CREATED:20150129T204551Z
LAST-MODIFIED:20170207T002801Z
UID:1563-1393070400-1393189200@www.processreversal.org
SUMMARY:The Mirror: Reshaping & Lighting Film Emulsion
DESCRIPTION:Abstract\nIn this two day workshop\, we will be exploring the anatomy of a film strip through a variety of physical and chemical phenomenons that will reshape\, destroy and sculpt the films emulsion. Techniques such as reticulation\, bleach etching and mirror toning will all be covered and applied to previously processed strips of film\, followed by their analysis and interpretation on an optical printer. Additionally\, issues concerning both the aesthetic and practical application of these techniques will be addressed through discussions and film screenings\, providing participants with a grounds for establishing a sound working method for each process. \nFilm stock\, chemistry and found footage will all be provided for the workshop\, but participants may also considering bringing in their own footage keeping in mind that this is essentially a course on destroying film… \nAttending the Workshop\nWorkshop Listing & Registration via balaganfilms.com \nThis workshop is being produced in conjunction with Balagan Films (Boston\, MA) and will be occurring on February 22nd & 23rd between the hours of 12:00 PM – 8:00 PM\, EST. Registration is limited to 8 participants. Balagan Films policies concerning workshop fees\, refunds\, liability\, etc. apply to this workshop. \n \nThere are no additional requirements for workshop attendance\, but participants are encouraged to bring their own footage for experimenting with during the workshop. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: No\, experience with motion picture film is not necessary when participating in the workshop and we will try and accommodate as many questions you have possible before\, during or after the workshop. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: Yes\, but there are a few things you should keep in mind when bringing in film for this workshop. First off\, because we will be limited on time\, your film should already be processed. This will not affect your ability to work with any of the techniques presented in the workshop per say. Second\, it is recommended that you avoid bringing in a film of particular value or significance as we cannot guarantee that it will not be damaged or ruined beyond a usable extent. This is\, after all\, a workshop on essentially destroying film — so the choice is entirely yours. \nIf you do decide to bring film\, there are a few things you should keep in mind: first\, while it is possible to exercise some of the techniques reviewed in this workshop on all varieties of film\, the majority of the techniques work best specifically with an image formed of silver. What this means is that black and white film (which is typically formed solely of silver) will be the most versatile stock to bring\, where as color stocks will be more limited (as they typically have the silver removed in processing). The only exception to this is in regards to color film that has been bleach-bypassed\, a specific lab technique which retains the silver in the dense regions of the color emulsion; if the utilization of color film in this workshop is of particular interest to you\, than email us to discuss the topic further — additionally\, we will be discussing it in the workshop itself. \nAs for film guage (i.e. super-8mm\, 16mm\, 35mm\, 70mm\, etc)\, we will have equipment to deal with all shapes and sizes of celluloid\, so this should not be of a concern… \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA: Unfortunately\, we do not offer scholarship and because this workshop is taking place abroad\, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nWorkshop Resources\n\nWorkshop Agenda (concerning the structure and content of the workshop)\nWorkshop Proposal (concerning the workshops budget and equipment demands)
URL:http://www.processreversal.org/pr/02222014/
LOCATION:Handcranked Productions\, 144 Moody Street\, Waltham\, MA\, 02453\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2014/02/the_mirror-e1391403318597-rotated.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20140215T120000
DTEND;TZID=America/Denver:20140216T210000
DTSTAMP:20260419T093947
CREATED:20150129T205211Z
LAST-MODIFIED:20170207T002801Z
UID:1566-1392465600-1392584400@www.processreversal.org
SUMMARY:Handmade Emulsion
DESCRIPTION:Handmade Emulsion – An Abstract\nThe process of handcrafting film emulsion is one that offers to the filmmaker an unprecedented degree of creative intervention and expressiveness that simply cannot be accomplished with commercial film stocks — by making emulsion\, the filmmaker is given the ability to manipulate its shape\, alter its chemical properties\, apply it to non-traditional bases and adjust it in countless additional ways to create a unique\, photosensitive material. As such\, the process manifests new forms of dialogue within the film’s production\, many of which are still waiting to be explored. \nIn this two day workshop\, participants will study the craft of producing black and white\, silver gelatin emulsion by formulating\, mixing and coating emulsion onto cellulose acetate and various other materials. Theories concerning emulsion chemistry and emulsion production will also be explored in this workshop\, providing participants with a foundation to develop their own processes and methodologies. \nhttp://vimeo.com/77449068 \nAttending the Workshop\nWorkshop Listing & Registration via balaganfilms.com \nThis workshop is being produced in conjunction with Balagan Films (Boston\, MA) and will be occurring on February 15th & 16th between the hours of 12:00 PM – 8:00 PM\, EST. Registration is limited to 8 participants. Balagan Films policies concerning workshop fees\, refunds\, liability\, etc. apply to this workshop. \n \nThere are no additional requirements for workshop attendance\, but participants are encouraged to bring their own footage for contact printing\, or objects for photogramming. \nFrequently Asked Questions\nQ: I’ve never worked with motion picture film before. Will that limit my experience?\nA: While previous experience with working with motion picture film is not required for attending this workshop\, it is highly encouraged that one at least study basic black & white negative processing prior to the workshop. Regardless\, we will do everything possible to clarify any questions that you may have before\, during or after the workshop. \nQ: I have some film I would like to bring into the workshop to work with. Is this okay?\nA: Yes\, in fact we encourage participants to bring some processed film for printing in the workshop and/or objects for photograming with. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you offer scholarship?\nA: Unfortunately\, we do not offer scholarship and because this workshop is taking place abroad\, we do not have a pool of volunteers to draw from to help with accommodations. Our best suggestion would be to look into couch surfing. \nQ: I missed the opportunity to attend this workshop. Will you be running it again?\nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nFor all other questions\, email us at contact|a|processreversal.org\, or use the contact form here. \nAdditional Documents\n\nWorkshop Agenda (concerning the structure and content of the workshop)\nWorkshop Proposal (concerning the workshops budget and equipment demands)
URL:http://www.processreversal.org/pr/02152014/
LOCATION:LaPete Labs\, 369 Congress Street\, Boston\, MA\, 02210\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/10/IMGP5195.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20131120T080000
DTEND;TZID=America/Denver:20131120T170000
DTSTAMP:20260419T093947
CREATED:20150129T210130Z
LAST-MODIFIED:20170207T002801Z
UID:1568-1384934400-1384966800@www.processreversal.org
SUMMARY:Cinematographe: Hand Cranked Cinema
DESCRIPTION:Abstract:\n“Le cinéma est une invention sans avenir” \n-Louis Lumière\n \nAt the time of the introduction of the Lumière brothers’ Cinématographe camera\, film had yet to become an industrialized medium — there were no film labs for processing film\, no theaters for professionally projecting one’s work\, no skilled operators of cameras…and also\, there were no rules. Instead it was the responsibility of the film maker to explore the vastly uncharted territory of the cinematic invention and to develop\, by experimentation\, methods for each aspect of a films production\, including photography\, processing\, printing and projection. The Cinématographe was an embodiment of this mode of production being a device that not only recorded the image\, but also acted as a contact printer and projector. Even the development of the negative and the print was accomplished by the camera operator\, as per the original instructions for the device: \n“The diverse operations of developing\, fixing and washing films can be carried out conveniently with the help of simple buckets with a capacity of about ten litres. The film is unwound very quickly and plunged in such a way that it unwinds in the developer. When all the film is unwound you move it\, always very quickly\, into the second bucket\, taking care to let it pass between your fingers to make sure that the entire surface is well coated with a layer of developing fluid and to avoid any bubbles or incomplete development which might arise. It is imperative that the immersion in the bucket\, and the movement from the first to the second bucket\, be carried out as quickly as possible.” \nNot only that\, but the Cinématographe was the first device of it’s kind which was easily deployable in the field rather than being tightly constrained to a studio. This was possible not only because of it’s relatively light weight (16 lb. / 7.3 kg)\, but also because of it’s use of a hand-cranked drive shaft as opposed to an electrically powered one such as with Edison’s Kinetograph.  \nAs a result of each of these elements\, the Cinématographe allowed for the film makers to explore both the science of light\, motion and chemistry as well as the science of everyday life; more conductors of research than storytellers… \n\nIn this workshop\, we will be exploring this form of film making whereby the camera\, film strip\, chemistry and projector are seemingly integrated with the body and mind of the film maker themselves. Participants will collaborate with one another to photograph\, print and project 100 feet (approx. 2 minutes) of 35mm motion picture film using nothing more than gears\, buckets and apertures. \nThis workshop will be occurring in association with TIE\, The International Experimental Cinema Exposition \n \nAttending the Workshop [Dates\, Fees & Requirements]:\nThis workshop will be occurring on November 20th\, 2013 between the hours of 12:30 PM and 9:00 PM. To reserve space for the workshop\, contact us here.  \nThe fees for attendance have not yet been determined and there are no other requirements for attending this workshop. \nAgenda:\nThe following concepts will be discussed and explored in the course of this workshop \n\nPre-industrial / post-industrial cinema\nBasic photography\nOperation of the 35mm hand cranked camera\nFilming of 100′ x 35mm black & white print stock\nProcessing of the film\n\nToning of the film (if time permits)\n\n\nProjection of the film\n\nSelected Screenings:\n(Note: not all works will be shown in their entirety\, or perhaps even at all. Additionally\, we will not be able to secure prints for this workshop\, unless otherwise noted) \n\nLa Sortie des usines Lumière à Lyon (a.k.a. Workers Leaving The Lumière Factory in Lyon) [Louis Lumière\, 1895]\nThe Sounding Lines are Obsolete [John Price\, 2009]\nVarious Technical Documentations\n\nFrequently Asked Questions:\nQ: I’ve never worked with motion picture film before. Will that limit my experience? \nA: No\, experience with motion picture film is not necessary when participating in the workshop and we will try and accommodate as many questions you have possible before\, during or after the workshop. \nQ: I would like to travel to attend the workshop\, but I’m not certain if I can afford housing accommodations. Do you provide scholarship? \nA: No\, but we do have a pool of volunteers that are willing to help people with free accommodations; however\, it’s advised that you contact us at least two weeks before the workshop in order to secure permissions. \nQ: I missed the opportunity to attend this workshop. Will you be running it again? \nA: If the demand exist\, absolutely. Send us an email or message requesting it. \nWorkshop Resources:\nCopies of these books & articles will be provided during the workshop and can also be secured at various local libraries and on the web: \n\nThe Lumière Cinematograph [Louis Lumière\, 1936]\nKinetica: Lieux d’experimentations cinematographiques en Europe [Various Authors]\nThe Master Photographers Toning Book [Tim Rudman]\nDeveloping [C.I. Jacobson]\nRecipes for Disaster: A Handcrafted Film Cookbook [ed. Helen Hill]
URL:http://www.processreversal.org/pr/11202013/
LOCATION:Edith Kinney Gaylord Cornerstone Arts Center\, 825 North Cascade Avenue\, Colorado Springs\, CO\, 80903\, United States
CATEGORIES:Process Reversal Events,Workshop
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/DeVry-2.jpg
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END:VCALENDAR