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DTSTART;TZID=America/Denver:20141106T203000
DTEND;TZID=America/Denver:20141106T223000
DTSTAMP:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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:20260422T062919
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