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DTSTART;TZID=America/Denver:20200219T190000
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DTSTAMP:20260422T045413
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:20260422T045413
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:20170910T190000
DTEND;TZID=America/Denver:20170910T210000
DTSTAMP:20260422T045413
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:20170819T200000
DTEND;TZID=America/Denver:20170819T213000
DTSTAMP:20260422T045413
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:20170319T190000
DTEND;TZID=America/Denver:20170319T210000
DTSTAMP:20260422T045413
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:20141210T200000
DTEND;TZID=America/Denver:20141210T220000
DTSTAMP:20260422T045413
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:20260422T045413
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:20260422T045413
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:20260422T045413
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:20260422T045413
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:20260422T045413
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:20260422T045413
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:20260422T045413
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:20260422T045413
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:20260422T045413
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:20260422T045413
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:20140414T190000
DTEND;TZID=America/Denver:20140414T210000
DTSTAMP:20260422T045413
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:20131103T210000
DTEND;TZID=America/Denver:20131103T230000
DTSTAMP:20260422T045413
CREATED:20150129T212448Z
LAST-MODIFIED:20170207T002801Z
UID:1575-1383512400-1383519600@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \n Presented by Cineworks \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA 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. \nI Swim Now –  Sarah Biagini (Process Reversal)\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. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, 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. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, 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. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/11032013/
LOCATION:Cineworks Annex\, 235 Alexander Street\, Vancouver\, British Columbia\, V6A 1C1\, Canada
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:20131026T210000
DTEND;TZID=America/Denver:20131026T230000
DTSTAMP:20260422T045413
CREATED:20150129T213202Z
LAST-MODIFIED:20170207T002819Z
UID:1576-1382821200-1382828400@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \n Presented by Artists’ Television Access \n \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA 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. \nI Swim Now –  Sarah Biagini (Process Reversal)\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. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, 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. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, 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. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/10262013/
LOCATION:Artists’ Television Access (ATA)\, 992 Valencia Street\, San Francisco\, CA\, 94110\, United States
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:20131021T200000
DTEND;TZID=America/Denver:20131021T220000
DTSTAMP:20260422T045413
CREATED:20150130T232137Z
LAST-MODIFIED:20170207T002819Z
UID:1584-1382385600-1382392800@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \n Presented by Black Hole Cinematheque\n \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA 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. \nI Swim Now –  Sarah Biagini (Process Reversal)\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. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, 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. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, 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. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/10212013/
LOCATION:Black Hole Cinematheque\, 1038 24th St.\, Oakland\, CA\, 94607\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
ORGANIZER;CN="Black Hole Cinematheque":MAILTO:blackholecinema@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20131010T200000
DTEND;TZID=America/Denver:20131010T220000
DTSTAMP:20260422T045413
CREATED:20150131T201828Z
LAST-MODIFIED:20170207T002819Z
UID:1591-1381435200-1381442400@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \n Presented by Echo Park Film Center\n \n \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA 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. \nI Swim Now –  Sarah Biagini (Process Reversal)\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. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, 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. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, 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. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/10102013/
LOCATION:Echo Park Film Center\, 1200 North Alvarado Street\, Los Angeles\, CA\, 90026\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
ORGANIZER;CN="Echo Park Film Center":MAILTO:info@echoparkfilmcenter.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20130920T200000
DTEND;TZID=America/Denver:20130920T220000
DTSTAMP:20260422T045413
CREATED:20150131T204806Z
LAST-MODIFIED:20170207T002819Z
UID:1597-1379707200-1379714400@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \n Presented by MONO NO AWARE\n \n \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA 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. \nI Swim Now –  Sarah Biagini (Process Reversal)\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. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, 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. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, 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. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/09202013/
LOCATION:Microscope Gallery\, 4 Charles Place\, Brooklyn\, NY\, 11221\, United States
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
ORGANIZER;CN="MONO NO AWARE":MAILTO:info@mononoawarefilm.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20130918T200000
DTEND;TZID=America/Denver:20130918T220000
DTSTAMP:20260422T045413
CREATED:20150131T205822Z
LAST-MODIFIED:20170207T002819Z
UID:1599-1379534400-1379541600@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \nOrganized by the Available Light Screening Collective \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA 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. \nI Swim Now –  Sarah Biagini (Process Reversal)\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. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, 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. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, 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. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/09182013/
LOCATION:Daïmõn’s Studio\, 82 Rue Hanson\, Gatineau\, Quebec\, J8Y 3M5\, Canada
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:20130914T200000
DTEND;TZID=America/Denver:20130914T220000
DTSTAMP:20260422T045413
CREATED:20150131T211337Z
LAST-MODIFIED:20170207T002819Z
UID:1602-1379188800-1379196000@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including L’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, Cherry Kino (Leeds\, UK) and The Handmade Film Institute (Boulder\, CO). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Martha Jurksaitis & Philippe Leonard. \nOrganized by LOMAA & McIntosh Gallery\n \nProgram Details:\n\nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \nSalt – Martha Jurksaitis\n \n[16mm\, 8 minutes\, 1.33:1\, Tungsten]\nA 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. \nI Swim Now –  Sarah Biagini (Process Reversal)\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. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal)\n \n[6 minutes\, 1.33:1\, silent\, 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. \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, 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. \nPeach – Martha Jurksaitis\n\n[16mm\, 11.5 minutes\, 1.33:1\, silent\, Tungsten]\nSynaesthesia is an experience of cross-modal sensuality – ‘hearing pink’\, ‘seeing green’\, tasting shapes or feeling sounds. I think we are all latently synaesthetic\, and that a cinematic work has the capacity to bring about a synaesthetic experience if it is made in a personal\, artisanal and ethical way\, when the filmmaker and the filmed material sensually respond to one another. ‘Peach’ is an attempt at making a piece of ‘Synaesthetic Cinema’. \n\n\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/09142013/
LOCATION:The Playground\, 207 King Street\, London\, Ontario\, N6A 1C9\, Canada
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:20130903T200000
DTEND;TZID=America/Denver:20130903T220000
DTSTAMP:20260422T045413
CREATED:20150131T212510Z
LAST-MODIFIED:20170207T002819Z
UID:1605-1378238400-1378245600@www.processreversal.org
SUMMARY:Frenkel Defects\, Edition I
DESCRIPTION:Abstract:\nFrenkel Defects\, Edition I is a short program of 16mm film works from the Process Reversal Collective and other artist-run film groups including l’Abominable (Paris\, France)\, The Double Negative Collective (Montreal\, PQ)\, The Handmade Film Institute (Boulder\, CO) and LIFT (Toronto\, ON). Filmmakers including Sarah Biagini\, Andrew Busti\, Taylor Dunne\, Nicolas Rey\, Kevin Rice\, Robert Schaller\, Philipe Leonard & Chris Gehman. \nProgram Details:\nPanorama Point – Taylor Dunne (Process Reversal)\n[2.5 minutes\, 1.33:1\, silent\, Tungsten]\n“Using a variety of means-scale\, a use of seriality or theatrical modes of presentation-American landscape painters in the nineteenth century absorbed the challenges to framing and spectatorship exemplified by the various forms of panorama entertainments.  We see in these landscapes the mastery of framing contending with an energy striving to burst them asunder in pursuit of a new relation to the spectator. ” \nTom Gunning from Landscape and the Fantasy of Moving Pictures: Early Cinema’s Phantom Rides \nSucia – Robert Schaller (The Handmade Film Institute)\n \n[5 minutes\, 1.33:1\, silent\, B&W]\n“(mostly) shot with my handmade pinhole camera\, hand-processed 7363\, and part of it (the part shot in a Bolex) manipulated using a homemade self-programmed machine…” \n\nI Swim Now –  Sarah Biagini (Process Reversal)\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. \nTerminus for You – Nicolas Rey (l’Abominable)\n \n[16mm\, 10 minutes\, 1.33:1\, optical sound\, B&W]\n“Terminus for you\, by Nicolas Rey\, takes us on a strange journey. That of passengers in the Paris metro\, moving from one platform to another\, from one line to another and from one destination to the next. What do we actually see? Geometric shapes come and go. The faces of people come into view and then flit away. Glimpses of words\, titles torn from posters\, are interspersed between these fleeting encounters; love\, solitude\, couples\, etc… In this short visual essay on the borderline between the documentary and the avant-garde film\, Nicolas Rey freely combines painting\, photography and cinema and reveals a passion for reality and a love of humanity.” \nBertrand Bacqué – Visions du Réel (Nyon) Catalog 1997 \nAt Hand – Andrew Busti (Process Reversal)\n \n[16mm\, 9 minutes\, 1.33:1\, optical sound\, B&W]\nAn exorcism\, an exploration\, and an unveiling. \nA subconscious landscape of a withering relationship. \nCornmother – Taylor Dunne (Process Reversal) \n \n[6 minutes\, 1.33:1\, silent\, 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. \nRostrum Press: Materials Testing – Chris Gehman\n[3 minutes\, 1.33:1\, silent\, Xenon]\n“In Rostrum Press: Materials Testing\, I used the Oxberry 16mm animation stand as a mechanism to test the response of a variety of objects and materials to the downward pressure of the camera…each shot in “Rostrum Press” is essentially a self-contained little film in which the camera moves inexorably closer to its object\, one-eighth of an inch closer between each frame and the next\, until contact is made and the object is pressed down towards the rostrum table as nearly flat as possible.” \nPerceptual Subjectivity – Philippe Leonard (Double Negative Collective)\n \n[6 minutes\, 1.33:1\, optical sound\, 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\nSanctuary – Kevin Rice (Process Reversal)\n \n[3 minutes\, 1.33:1\, silent\, Tungsten]\n(no description)
URL:http://www.processreversal.org/pr/09032013/
LOCATION:CineCycle\, 129 Spadina Avenue\, Toronto\, Ontario\, M5V 2L3\, Canada
CATEGORIES:Process Reversal Events,Screening
ATTACH;FMTTYPE=image/jpeg:http://www.processreversal.org/wp-content/uploads/2013/07/frenkel_defects_new.jpeg
END:VEVENT
END:VCALENDAR