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Today's Topics:
1. Re: Travelogues (ev petrol)
2. CFP/Films ASIAN CINEMA STUDIES SOCIETY CONFERENCE (Gina Marchetti)
3. Re: Value systems (Jonathan Thomas)
4. Artprojx Cinema: Art Video, Art Basel Miami Beach, Nov 30 -
Dec 4 2011 - invite (David Gryn)
5. Re: Value systems (Gawthrop, Rob)
----------------------------------------------------------------------
Message: 1
Date: Sun, 20 Nov 2011 17:31:47 -0800 (PST)
From: ev petrol <epetrol2_at_yahoo.com>
Subject: Re: [Frameworks] Travelogues
To: Experimental Film Discussion List <frameworks_at_jonasmekasfilms.com>
Message-ID:
<1321839107.7669.YahooMailNeo_at_web160306.mail.bf1.yahoo.com>
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Hello Adam
this one was shot from the balcony & roof of the hotel i was staying in (i was in nouakchott for a week); edit approved by the local film-makers though (wanted to make sure i wasn't misrepresenting ...)
http://www.moiratierney.net/nouakchott.htm (very basic info)
what are you compiling the films for?
cheers Moira
www.moiratierney.net
www.soluscollective.org
________________________________
From: Adam R. Levine <adamrl_at_gmail.com>
To: Experimental Film Discussion List <FrameWorks_at_jonasmekasfilms.com>
Sent: Thursday, November 10, 2011 12:41 PM
Subject: [Frameworks] Travelogues
Hello you,
I am trying to pull together a list of experimental films that either fall directly under the category of "travelogue" or bear witness to travel and distance from a point of origin on the part of the filmmaker. These would not be so much ethnographic works which are part of a sustained cultural exchange, but films made as a result of the filmmaker "passing through" and acknowledging the looming spectre/problem/pleasure of "the tourist film". Warren Sonbert, perhaps John Smith's "The Hotel Diaries"? I'm sure there are others...but can you name them?
Thanks/Grazie/Kiitos!
ARL
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Message: 2
Date: Mon, 21 Nov 2011 18:30:55 +0800
From: Gina Marchetti <gina.marchetti_at_gmail.com>
Subject: [Frameworks] CFP/Films ASIAN CINEMA STUDIES SOCIETY
CONFERENCE
To: Experimental Film Discussion List <frameworks_at_jonasmekasfilms.com>
Message-ID:
<CAE1Gd0VPHV=AheFv-L4GuRF8LZW6+KiZmPsHQ8DxB_0h3Crx1w_at_mail.gmail.com>
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*ASIAN CINEMA STUDIES SOCIETY CONFERENCE *
*MARCH 18-20, 2012*
*THE UNIVERSITY OF HONG KONG*
This meeting of the Asian Cinema Studies Society welcomes paper, poster,
workshop and panel proposals covering all aspects of Asian film and media.
Please send proposals of 200-300 words as RTF or WORD attachments to Dr.
Natalie Wong at nslw_at_hku.hk. For all proposals, be certain to include the
title, author(s) name(s), institutional affiliation, mailing address, and
email contacts, as well as a brief biography of each contributor. For
panel, workshop, and group submissions, be certain to provide a brief
description (100 words) of the contribution of each participant. Sessions
will be 1 ½ hours in duration, and time limits will be strictly enforced.
*CALL FOR PAPERS DEADLINE: December 31, 2011*
Notifications of acceptance will be sent out by the end of January 2012.
We regret that we cannot offer any funds for travel or accommodation. However,
there will be NO registration fee for those presenting papers, serving as
panel chairs, or participating in workshops, poster sessions, or in any
other official capacity. Registered guests are welcome to attend as well;
however, some conference events/meals may only be available for those
presenting papers or serving in other official capacities.
Program committee members: John A. Lent (Chair of ACSS), Tan See-Kam
(Macau), Natalie Wong (HKU), Staci Ford (HKU), Mirana Szeto (HKU), Winnie
Yee (HKU), Ang Sze-wei (HKU), Gina Marchetti (HKU).
Proposal submissions & inquiries: Dr. Natalie Wong at nslw_at_hku.hk
Visit our website at
http://www.hku.hk/complit/acssc/
*About the Asian Cinema Studies Society (ACSS):*
Inaugurated in 1984, ACSS has been dedicated to fostering research in Asian
film and related media. It publishes *Asian Cinema* twice yearly, and
features all types of Asian film, including full-length movies,
documentaries, animation, and experimental. Nine ACSS conferences have
been held since 1988, including five in the United States and one each in
Australia, Canada, South Korea and China. Many of the papers presented at
ACSS conferences have been published in Asian Cinema and other journals and
books.
For more information on ACSS and for membership details, visit its website
at
http://astro.temple.edu/~jlent/asiancinema/acss.html
*About the Centre for the Study of Globalization and Culture:*
The Center for the Study of Globalization and Cultures (CSGC), set up in
1999, is an interdisciplinary center based in the Department of Comparative
Literature. The focus of its work is on issues of culture and globalization
with special reference to Asia, China and Hong Kong. Major research themes
include: the cultures of capitalism; global flows of culture, media and
technology; cities and globalization; new communities, publics, and
identities; and post-colonialism and neo-liberalism.
For more information on CSGC, visit its website at
http://www0.hku.hk/complit/csgc/
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Message: 3
Date: Mon, 21 Nov 2011 15:14:15 +0000 (GMT)
From: Jonathan Thomas <cinemametafisica_at_yahoo.co.uk>
Subject: Re: [Frameworks] Value systems
To: Experimental Film Discussion List <frameworks_at_jonasmekasfilms.com>
Message-ID:
<1321888455.58527.YahooMailClassic_at_web29207.mail.ird.yahoo.com>
Content-Type: text/plain; charset="iso-8859-1"
I don't see value as a dated concept, although commodity value is irrelevant. For me, a work has value when it provokes thought, when it creates a space to contemplate / meditate on (in the Heideggerian sense) the world (as experienced, mediated, related, etc.). Although personally I find formalist, materialist work very appealing, this is contained within an idea of art as thinking tool over art as object.I do agree, like most people probably, that large galleries and museums do play safe, but haven't they always? I always aim for artist-run spaces that engender a much more widely critical and contextual discourse. 20th century theories of art are not yet dated and irrelevant, to me at least. There was a lot of it, and we are still wading through it all, trying to untangle it and assess its relevance. There has to remain a strand of early 21st century art and theory that constitutes a critical pause for breath.
--- On Sun, 20/11/11, Bernard Roddy <roddybp_at_yahoo.com> wrote:
From: Bernard Roddy <roddybp_at_yahoo.com>
Subject: [Frameworks] Value systems
To: "frameworks_at_jonasmekasfilms.com" <frameworks_at_jonasmekasfilms.com>
Date: Sunday, 20 November, 2011, 14:06
Value as a reference today strikes me as dated. It draws on a period when art as commodity was an interesting question.
Restrictions on freedom of expression are back. It's time to examine the renewal of conservativism in media art.
To propose a term for critical study: professional responsibility. Not the debate between modernist and post-modernist experimental film. Not the relevance of "avant-garde."
Performance art's history is really to the point. We see a transformation of performance art's provocations into not only gallery-safe work but a kind of artistic administrator's ideal.
Apologies for the obscurity.
Bernie
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Message: 4
Date: Mon, 21 Nov 2011 15:50:58 -0000
From: "David Gryn" <david_at_artprojx.com>
Subject: [Frameworks] Artprojx Cinema: Art Video, Art Basel Miami
Beach, Nov 30 - Dec 4 2011 - invite
To: "Experimental Film Discussion List"
<frameworks_at_jonasmekasfilms.com>
Message-ID: <98FBC8DE21854418A275F8375C83CBBE_at_userPC>
Content-Type: text/plain; charset="iso-8859-1"
Dear Frameworkers - if anyone is in Miami - you are welcome to join us - these Art Video screenings are Free to all. Best wishes David
Artprojx Cinema: Art Video, Art Basel Miami Beach, Nov 30 - Dec 4 2011. David Gryn director of London's Artprojx has organised and curated Art Video, featuring film and video works by today's most exciting international artists, submitted by the galleries of Art Basel Miami Beach. Specially organized and commissioned, for the 10th Edition of the Fair, Art Video will be screened for the first time in the SoundScape Park, on the 7,000-square-foot outdoor projection wall of the Frank Gehry designed New World Center, as well as within five viewing pods inside the Miami Beach Convention Center. Artists selected include: Cory Arcangel, Yael Bartana, Pierre Bismuth, Slater Bradley, Brice Dellsperger, Tracey Emin, Kota Ezawa, Dara Friedman, Theaster Gates, Katy Grannan, Neil Hamon, Alex Hubbard, Christian Jankowski, Cristina Lucas, Ryan McGinley, Marilyn Minter, Laurel Nakadate, Rashaad Newsome, Hans Op de Beeck, Martha Rosler, Matt Saunders, Lorna Simpson, Penny Siopis, Clemens von Wedemeyer. See the full programme at
http://www.artbaselmiamibeach.com
--
David Gryn / Artprojx
artprojx_at_gmail.com
http://www.artprojx.com
http://davidgryn.wordpress.com
+447711127848
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Message: 5
Date: Mon, 21 Nov 2011 17:28:22 +0000
From: "Gawthrop, Rob" <Rob.Gawthrop_at_falmouth.ac.uk>
Subject: Re: [Frameworks] Value systems
To: Bernard Roddy <roddybp_at_yahoo.com>, Experimental Film Discussion
List <frameworks_at_jonasmekasfilms.com>
Message-ID: <CAF03AB5.E3ED%rob.gawthrop_at_falmouth.ac.uk>
Content-Type: text/plain; charset="windows-1252"
The point I was making in my question followed on from Fred’s posting that included:
It seems to be entirely acceptable and unquestioned on this list to post that some or all forms of video projection look like crap ... As a format for presenting film, it is, of course, imperfect, as I myself argued almost three decades ago, though that was in the days of VHS, a lot worse than more recent formats.
Assumptions about ‘quality’ need to be challenged. Issues around ‘quality’ are based upon value systems which in themselves operate ideologically. Can the politics be seperated from the aesthetics? This seems entirely relevent as we watch evictions of the Occupations - and that doesn’t mean I’m advocating literalism - just putting my original question into context.
Rob
On 20/11/2011 16:47, "Bernard Roddy" <roddybp_at_yahoo.com> wrote:
Oh and . . this encounter with a provocative work tends to draw ALL attention to it AS provocation, to the detriment of the work. That's the real price of a restrictive environment. It' s not just a price paid in terms of the interest new work generates. It's certainly not just a question of having some kind of political "impact." The greatest price is that of interpretation. You get really dumb fixations on work if there isn't a serious investigation of what gets passed off as "provocation."
Bernie
________________________________
From: Bernard Roddy <roddybp_at_yahoo.com>
To: "frameworks_at_jonasmekasfilms.com" <frameworks_at_jonasmekasfilms.com>
Sent: Sunday, November 20, 2011 8:06 AM
Subject: [Frameworks] Value systems
Value as a reference today strikes me as dated. It draws on a period when art as commodity was an interesting question.
Restrictions on freedom of expression are back. It's time to examine the renewal of conservativism in media art.
To propose a term for critical study: professional responsibility. Not the debate between modernist and post-modernist experimental film. Not the relevance of "avant-garde."
Performance art's history is really to the point. We see a transformation of performance art's provocations into not only gallery-safe work but a kind of artistic administrator's ideal.
Apologies for the obscurity.
Bernie
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End of FrameWorks Digest, Vol 18, Issue 28
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Received on Tue Nov 22 2011 - 12:30:40 CST
