{"id":11567,"date":"2013-07-30T18:05:47","date_gmt":"2013-07-30T22:05:47","guid":{"rendered":"http:\/\/www.microscopegallery.com\/?page_id=11567"},"modified":"2013-07-31T00:54:33","modified_gmt":"2013-07-31T04:54:33","slug":"11567-2","status":"publish","type":"page","link":"https:\/\/www.microscopegallery.com\/archive\/?page_id=11567","title":{"rendered":""},"content":{"rendered":"

Go to:<\/span>
\n PART I<\/span><\/a><\/span> \/\/ PART II <\/span><\/a><\/span>\/\/ PART III<\/span><\/a><\/span><\/span><\/p>\n

PART III<\/span><\/strong>
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\n PERFORMANCE<\/span><\/h1>\n

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Infinite Regress<\/span><\/h2>\n

Jeff Donaldson, video\/sound performance, 2013, 10min<\/span><\/strong>
\nA real-time audio\/visual improvisation generated with a Panasonic WJ-MX12 video mixer. For\u00a0Infinite\u00a0Regress, the video output signal is split into two signals: one signal is sent to an audio processing device and the other is sent back into the video input of the Panasonic creating a feedback loop. Audio and video are therefore perceived as an abstract continuum which is guided live. What one sees is what one hears and what one hears is what one sees. <\/span><\/p>\n

– –<\/span>
\nJeff Donaldson is an audio\/visual artist who has been working with feedback systems since the late 1980s. At the beginning of the new millennium, Donaldson began applying the concept of feedback to video game systems, transforming them into generative audio\/visual instruments. Since publishing his video work online, Donaldson has exhibited internationally as well as helped to pioneer the fields of video bending and glitch aesthetics. He is currently based in New York.<\/span><\/p>\n

SCREENING<\/span><\/h1>\n

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\n\u00a9 All images are copyright and courtesy of the artists
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Pittsburgh 8\/16\/68<\/span><\/h2>\n

Ted Kennedy, 16mm to HD video, b\/w, sound, 2013, 1min 30sec<\/span><\/strong>
\nPittsburgh 8\/16\/68 is part of a series of films based on the original 16mm camera rolls from a Pittsbugh TV news station during 1968\/69.<\/span><\/p>\n

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\nTed Kennedy has a BA in Economics and is based in Brooklyn, NY.<\/span><\/p>\n

Walk in the Flesh<\/span><\/h2>\n

Filipe Afonso, video, col, sound, 2013, 6min 40sec<\/span><\/strong>
\nWalk in the Flesh is a video that appropriates the original images of “Scanners” by David Cronenberg. These images were compressed and were underwent, along with the sound, a robotic and repetitive treatment, giving them a new reading. The characters that\u00a0 creep\u00a0 and\u00a0 vaguely let themselves be seen in the \ufb01lm wander in a struggle to gain life, life in the \ufb02esh, rather than a digital and mental existence, that fails.<\/span><\/p>\n

– –<\/span>
\nFilipe Afonso (b. 1985, Portugal) studied Science Information at Porto University, Cinema at ESTC (Lisbon) and FAMU (Prague) and he\u2019s enrolled in a New Media Studies master at FCSH-UNL (Lisbon). He has directed four \ufb01lms in 2012.<\/span><\/p>\n

a recipe for making a camera-less computational video – American Style<\/span><\/h2>\n

Jolene Mok, HD video, col, sound, 2012, 3min 55sec<\/span><\/strong>
\nAs a video maker, I find it hard to accept that this creative form has become so easy to engage in due to the availability of various hybrid technologies. As a result, I challenged myself to make video without the \u02bbcrutch\u02bc of an actual camera.<\/span><\/p>\n

– –<\/span>
\nJolene Mok (b. 1984) was born and raised in Hong Kong. An itinerant experimental artist, she takes video, film & new media arts as her major creative platforms. Mok earned her M.F.A. in Experimental & Documentary Arts at Duke University. She persistently exposes herself in different geographies, as she believes only through introducing herself to unfamiliar locations, she could truly understand and connect to the world.Since 2006, Mok’s films have been shown worldwide. Her other digital creations have traveled to academic conferences in Finland, Japan, Indonesia, Vietnam, China, Brazil & US.<\/span><\/p>\n

Paradise Lost<\/span><\/h2>\n

Laura Trager, Super 8mm to digital, col, sound, 2013, 4min 12sec<\/span><\/strong>
\nParadise Lost is a sensory exploration of the tropical environment of Guanacaste, Costa Rica. The footage for this film was shot on Super 8mm film in December 2012, and finalized digitally (picture and sound edit). Music by Las Robertas.<\/span><\/p>\n

– –<\/span>
\nLaura Trager is a current graduate student in Media Studies at The New School, NYC. With a background in media and cultural theory Laura’s artistic and\u00a0academic interest is film philosophy. Since moving to NYC\u00a0in Fall 2011, she works\u00a0in 16mm and Super 8mm film, as well as in digital video,\u00a0still photography and sound.<\/span><\/p>\n

How To Walk To Manhattan<\/span><\/h2>\n

John Wilson, video, 2013, col, sound, 9min 38sec<\/span><\/strong>
\nA distracted walking tour of an exhausting commute.<\/span><\/p>\n

– –<\/span>
\nJohn Wilson is a Brooklyn-based hobbyist with access to editing equipment. <\/span><\/p>\n

Monotonize Series: Snow<\/span><\/h2>\n

Ellen Mueller, video, col, sound, 2013, 1min 9sec<\/span><\/strong>
\nThis series investigates concepts of corporate management systems, prison establishments, sisyphean tasks, and surveillance systems by decontextualizing familiar tasks and placing them natural settings. These actions expose an inherent absurdity and a dry humor.<\/span><\/p>\n

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\nEllen Mueller has exhibited nationally and internationally as an interdisciplinary artist exploring the everyday challenge of resisting change and maintaining control. She received her MFA in Studio Art from University of South Florida. Recent exhibitions span a variety of venues including CNN.com, the Cardiff Story Museum, and the Taubman Museum of Art. Recently, she has been selected for residencies at Vermont Studio Center, Ucross Foundation, Santa Fe Art Institute, and Nes Artist Residency in Iceland.<\/span><\/p>\n

Lithuanian Family<\/span><\/h2>\n

Jonas Lozoraitis, Super8mm to digital, color, silent, 2013, 3min<\/span><\/strong>
\nThe work, filmed in super 8 mm, depicts a Lithuanian family gathering\u00a0to celebrate Easter.<\/span>
\nThe global expulsion of the film medium by digital technology\u00a0is met by substantial changes in demographics, the\u00a0economy and societal values in Lithuania. The significance of these transformations gives rise to\u00a0uncertainty concerning the survival of tradition and the meaning of progress.<\/span><\/p>\n

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\nJonas Lozoraitis (b. Vilnius, Lithuania, 1987) lives and works in\u00a0London and\u00a0New York City and studies at\u00a0Goldsmiths, University of London.<\/span>
\nHe previously studied Business Management and Analytics at ISM University of Management and Economics and Applied Mathematics at Vilnius University.\u00a0Jonas worked as chief archivist of Fluxus Collection of Vilnius and was curator at Jonas Mekas Visual Arts Center. <\/span>
\nHe works primarily in film, video and photography. <\/span><\/p>\n

Happy Home<\/span><\/h2>\n

Tim Geraghty, video, col, sound, 2013, 8min<\/span><\/strong>
\nA found-footage piece sourced from an early 90’s promotional video for a Christian Ministry that would try to “change” LGBT people to heterosexual.\u00a0 The re-closeting company folded in June 2013 after 40 years.\u00a0 I was interested in the video’s excessive use of dissolves and other transitional effects (it looks like George Kuchar’s late student films).\u00a0 My work was reduce the video to its aesthetics only.\u00a0 I’m wondering what, on a subtle level, the intention was behind the excessive use of these hypnotic fades, effects, and transitions – where a surface change can pass for an inner one.\u00a0 Where change appears to be possible.<\/span><\/p>\n

– –<\/span>
\nTim Geraghty works as a professional TV\/Film editor and is an experimental film\/video maker.<\/span><\/p>\n

Village of the Damned<\/span><\/h2>\n

Melissa Frielding, 16mm to HD video, b\/w, sound, 2013, 3min 20sec<\/span><\/strong>
\nNo demands? What do they want? Why are they here? This is a hand-processed camera roll shot around occupied Zuccotti Park last September, 2011. An observation of direct democracy and DIY tactics activating a link to history and spectacles of mass demonstration from earlier eras.<\/span><\/p>\n

– –<\/span>
\nMelissa Friedling is a filmmaker interested in merging original and found\u00a0media that is repurposed to tell alternative or parallel narratives. \u00a0She lives in Brooklyn, NY.<\/span><\/p>\n

Unstoppable Death Machines “TRIAL & ERROR” <\/span><\/h2>\n

Scott Cramer, video, col, sound, 2013, 3min 37sec<\/span><\/strong>
\nOfficial music video for band Unstoppable Death Machines’ song Trial & Error.<\/span><\/p>\n

– –<\/span>
\nScott Cramer is a Brooklyn based cinematographer and music video director. Abandoning his West Coast upbringing, Scott Cramer moved to New York City in 2007 to solidify himself as a staple in the video arts and multi-media community of Brooklyn.<\/span><\/p>\n

The 10 Most Popular Ways The World Will End<\/span><\/h2>\n

Richard Sylvarnes, film transferred to digital, 2013, 4min 5sec<\/span><\/strong>
\nScientists gather at a conference and vote on how they believe the world will end. These are their final top ten choices. Paintings of the universe are animated as the list is read by Mabou Mines founder Frederick Neumann.<\/span><\/p>\n

– –<\/span>
\nRichard Sylvarnes is a filmmaker, photographer, and musician. In September he will screen his works at The Emerson Gallery in Berlin. He recently premiered his latest feature experimental film in February at The Microscope Gallery in Brooklyn with a live musical accompaniment by Zero Times Everything. His work screens nationally and internationally including at The Tribeca Film Festival, Anthology Film Archives, The Kitchen, Chelsea Art Museum, Thessalonica Film Festival, Jeonju International Film Festival, Dances Camera West, Museek International Music Video Festival in St. Petersburg, Russia, Galerie Du Jour , Paris, Galerie Tristesse, Berlin, among many others. He has been a guest Lecturer at Harvard University and currently serves on the Board of Directors for The Filmmakers Cooperative.<\/span><\/p>\n

PERFORMANCE<\/span><\/h1>\n

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Eva, can I stab bats in a cavE?<\/span><\/h2>\n

Bradley Eros, double 16mm film performance, live sound, 2013, 12min 21sec<\/span><\/strong>
\nA double palindrome projection.<\/span><\/p>\n

A \u201cspelunking excursion of gravity in reverse\u201d, <\/span>
\nor,\u00a0 an\u00a0 extravehicular activity {EVA}.<\/span><\/p>\n

It\u2019s forward – backward \/ sound & silent \/ inverted – subverted \/ black & white and color \/\u00a0 found, altered & optically-printed.<\/span><\/p>\n

A\u00a0 –\u00a0 B\u00a0 –\u00a0 C\u00a0 –\u00a0 B\u00a0 –\u00a0 A\u00a0\u00a0 or\u00a0\u00a0 A \/ B \/ C \/\/ C \/ B \/ A\u00a0\u00a0\u00a0 or\u00a0\u00a0 123454321<\/span><\/p>\n

spelunking\u00a0<\/strong> = n.,\u00a0 the sport, hobby, or practice of exploring caves.<\/span><\/p>\n

excursion\u00a0<\/strong> = n., 1. a short journey or ramble (returning afterward to the\u00a0 starting point)\u00a0 2. a pleasure trip made by a number of people. 3. digression, expedition, deviation.\u00a0 4. expansion and contraction. <\/span><\/p>\n

gravity<\/strong> = n.,\u00a0 the force that attracts bodies toward the center of the\u00a0 <\/span>Earth. a quality of having weight. adj.important or serious. sobriety.<\/span><\/p>\n

reverse<\/strong> = adj.,\u00a0 moving in the opposite direction, upside down.<\/span>
\nto turn the other way around or up or inside out.\u00a0 to travel backward; reverse gears. n., the reverse side or effect. the opposite of the usual manner. contrary.<\/span><\/p>\n

EVA<\/strong> = abbr., extravehicular activity.\u00a0 experimental visual analog.<\/span><\/p>\n

palindrome<\/strong> = n., a word or phrase (or temporal or visual work) that reads the same backward as forward, as rotator; nurses run; Eva,…<\/span>
\nrunning back again. Also a number {12:21, 3210123}, song or film.<\/span><\/p>\n

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\nGo to:<\/span>
\n PART I<\/span><\/a><\/span> \/\/ PART II <\/span><\/a><\/span>\/\/ PART III<\/span><\/a><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Go to: PART I \/\/ PART II \/\/ PART III PART III PERFORMANCE Infinite Regress Jeff Donaldson, video\/sound performance, 2013, 10min A real-time audio\/visual improvisation generated with a Panasonic WJ-MX12 video mixer. For\u00a0Infinite\u00a0Regress, the video output signal is split into two signals: one signal is sent to an audio processing device and the other is […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"_mc_calendar":[],"footnotes":""},"class_list":["post-11567","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/11567","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11567"}],"version-history":[{"count":15,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/11567\/revisions"}],"predecessor-version":[{"id":11609,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/11567\/revisions\/11609"}],"wp:attachment":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11567"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}