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DTSTART;TZID=America/Denver:20131010T200000
DTEND;TZID=America/Denver:20131010T220000
DTSTAMP:20260422T075801
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:20260422T075801
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:20260422T075801
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:20260422T075801
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:20260422T075801
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