Still Water

The Roaming Center for Magnetic Alternatives from brydie o'connor on Vimeo.

A short documentary that follows a mobile archiving center in a cargo trailer as it crosses the Midwest to digitize the VHS tapes of LGBTQ+ folks living in Middle America. In real time digitizing sessions, contributors watch their own histories as they are being preserved, and reveal a look into queer life in the Bible Belt since the 1980s. This film takes a road trip through the past into the present, and gives us a glimpse of what an ever-expanding queer archive looks like in the future.

Director & Producer - Brydie O'Connor Editors - Sean Weiner & Brydie O'Connor Cinematographer - Sarah Simka Jaffe

Colorist - CJ Julian Sound Mix and Design - Jon Flores

Films To Break Projectors from cinema iloobia on Vimeo.

‘Films to Break Projectors’ glues, scrapes and splices 35mm, 16mm and 8mm film to create unprojectable celluloid collages. Reanimating the material reveals traces of ambiguous narratives that emerge from the complex loops.

image - iloobia sound - iloobia / dissolving path cinema iloobia 2016

awards: Encounters 2017 BEST OF BRITISH ANIMATION AWARD BUSHO Award 2017 BEST EXPERIMENTAL BUSHO Student Jury Prize BEST EXPERIMENTAL Euroshorts 2017 BEST EXPERIMENTAL SHORT

screenings: Flatpack Festival - Birmingham, UK - April 2017 BUSHO Festival - Budapest, Hungary - Sept 2017 Encounters Film Festival - Bristol, UK - Sept 2017 BFI London Film Festival - UK - Oct 2017 Edinburgh Short Film Festival - UK - Nov 2017 Cinecity - Brighton, UK - Nov 2017 Euroshorts Festival - Poland - Nov 2017 Analogica 7 - Bolzano / Merano, Italy - Nov 2017 FIVA 07 - Buenos Aires, Argentina - Dec 2017 London Experimental Film Festival - UK - Dec 2017 Manipulate Visual Theatre Festival - Edinburgh - Jan 2018 London Short Film Festival - UK - Jan 2018 11th British Shorts Film Festival - Berlin - Jan 2018 Analogica Selection 7 Tour - San Francisco - Jan - 2018 Vancouver Island Short Film Fest - Canada - Feb 2018 Analogica Selection 7 Tour - Milano - Feb 2018 Short Waves Festival - Poland - March 2018 Analogica Selection 7 Tour - Rome / Fanfulla / Bologna - March 2018 Cinema Jam - London - March 2018 Experiments in Cinema v13.6 - Albuquerque - April 2018 FMX 2018 - Stuttgart, Germany - April 2018 L'hybride, Lille, France - April 2018 (week run) Qubit Peripheral Visions - New York, USA - April 2018 Loco Local Lo-fi - London - May 2018 Slice AV Festival - London - May 2018 Pest Fest - Red Gallery, London - May 2018 Cardiff Animation Nights - Wales - June 2018 Hidden Door Festival - Edinburgh - June 2018 34th Hamburg Int. Shortfilm Festival - Germany, June 2018 Ready Freddy Film Festival - Chicago, USA, June 2018 Scalarama - Edinburgh, UK - Sept 2018 Engauge Experimental Film Festival - Seattle, USA - Nov 2018 Brighton Fringe Festival - UK - May 2019 Labocine, Science of Cinema - June 2019 Weekend On The Moon, Bologna - Nov 2019 Zumzeig Cinema, Barcelona - July 2021 ESFF 10 Years Best Animation - Feb 2022 Exploratorium, Art of Tinkering Exhibition, San Francisco - June to Sept 2022 Late Night, Nottingham - February 2023 Darkroom, Brooklyn - March 2023 Vintage Mobile Cinema, Brighton Fringe Festival - May 2023 Exploratorium, ExtraOrdinary! exhibition, San Francisco - June to Sept 2024

Approaching the process of making films in a literal sense, ‘Films to Break Projectors’ glues, scrapes and splices 35mm, 16mm, standard and super 8 film to create defective and unprojectable celluloid collages. These are hand edited and constructed from a combination of self shot footage, orphaned material and frames from a 35mm trailer of Get Shorty retrieved from an abandoned projection room.

After hand editing the film collages, each strip is scanned at very hi-resolution, frame by frame, and reassembled digitally, so that even though in a conventional sense they are defective and unprojectable as films, this process allows the celluloid to reanimate and reveal its potential motion through digital stop motion.

As there are multiple gauges combined in each strip, a single loop can be calibrated for 35mm, 16mm/8mm or super 8mm - each configuration giving a distinctly different dynamic to the moving images.

Considering each strip as visual or colour music is of primary consideration during the films hand editing and construction. Shifts in motion, contrast, colour, rhythm and the juxtaposition of action within the filmstrips alongside one another are all taken into account, akin to creating a musical score.

With the physical length of the strips allowing an inherent duration and rhythm to exist within them, (an aspect emphasised when they are looping), and with each one being a different length to one another, the tempo and nuance of the visual music is constantly shifting.

Song Club Commercial № 0001 from Song Club Records on Vimeo.

Song Club is here to provide oranges and capri suns while artists climb the 28% incline big hill of music business.

Learn more at songclubrecords.com.

Giant God Warrior Busts Some Sick Moves in Tokyo from Charlie Rose on Vimeo.

The Art of Observation: Artist Talk by Alex Warnick from Roger Tory Peterson Institute on Vimeo.

TREASURES OF SOVIET ANIMATION - VOLUME ONE from Deaf Crocodile on Vimeo.

Deaf Crocodile presents the first volume in a series of new restorations of classic and rare Soviet animated gems from the vaults of the legendary Soyuzmultfilm studios.  

THE MYSTERY OF THE THIRD PLANET (TAYNA TRETEY PLANETY), 1981, Soyuzmultfilm, 48 min.  Dir. Roman Kachanov.  A trio of intrepid space explorers, Professor Seleznyov, his 9-year old daughter Alisa and the hilariously doom-and-gloom Captain Zelyonyy set off on a rocket ship in the year 2181 to collect rare alien creatures for the Moscow Zoo.  They’re immediately drawn into an amazingly convoluted mystery involving a sinister doctor named Verkhovtsev, a nearly-extinct Chatter-bird, and two legendary missing cosmonauts, while galaxy hopping from one wildly colorful planet to the next.  A delirious cosmic treat for fans of FANTASTIC PLANET and DELTA SPACE MISSION, MYSTERY… features a gallery of psychedelic space creatures straight out of YELLOW SUBMARINE.  Based on “Alisa’s Voyage” by famed sci-fi author Kir Bulychev, Kachanov’s long sought-after gem packs enough plot, surreal imagery, and otherworldly worlds into its 48 minutes for an entire mini-series.  In Russian with English subtitles. THE RETURN (VOZVRASHCHENIE), 1980, Soyuzmultfilm, 10 min. – In Vladimir Tarasov's mind bending psychedelic masterpiece, a sleeping cosmonaut hurtles unaware towards his home planet -- but will he awake in time?  Newly restored by Deaf Crocodile. THE PASS (PEREVAL), 1988, Soyuzmultfilm, 30 min.  “On this night, Oleg was on duty near the fence … He sensed the emptiness and the routine.  Three times people went to the Pass.  It was all in vain.”  So begins Russian director Vladimir Tarasov’s sublime masterpiece of animated sci-fi in which a group of terrified human survivors on an alien world try to reach their derelict spacecraft 16 years after it crashed.  On par with Tarkovsky’s SOLARIS and STALKER as one of the most hypnotic and visually stunning science-fiction stories ever filmed, THE PASS is filled with cascading, pulsating images:  night creatures that bleed in from the darkness to attack, a cat’s eyes flickering in the candlelight, frightened children reciting stories of another planet, another time.  THE PASS is the longest of Tarasov’s works and arguably his finest achievement, adapted from the first chapter in sci-fi author Kir Bulychev’s novel “The Settlement.”  Both films were newly restored by Deaf Crocodile for their first-ever U.S. Blu-ray release.  Co-presented with Seagull Films. In Russian with English subtitles.

Special Features:

Two new video essays on Roman Kachanov and Vladimir Tarasov by film historian Evan Chester New commentary track by Adam Rackoff, James Hancock and Martin Kessler New artwork by Beth Morris. Blu-ray authoring by David Mackenzie of Fidelity In Motion

Deluxe Edition Bonus Content:

Houshi (english) from Fritz Schumann on Vimeo.

Houshi Ryokan was founded around 1,300 years ago and it has always been managed by the same family since then. 
It is the oldest still running family business in the world.

This ryokan (a traditional japanese style hotel) was built over a natural hot spring in Awazu in central Japan in the year 718. Until 2011, it held the record for being the oldest hotel in the world. 
 Houshi Ryokan has been visited by the Japanese Imperial Family and countless great artists over the centuries. Its buildings were destroyed by natural disasters many times, but the family has always rebuilt. The garden as well as some parts of the hotel are over 400 years old.

Houshi (法師) means buddhist priest. It is the name of the family as well as of the hotel.

(It's great if you want to share the video, but DON'T publish any still images or screenshots from it without my permission!)

(c) Fritz Schumann 2014 fotografritz.de twitter.com/fotografritz

music by Mario Kaoru Mevy mevy.co.uk/ vimeo.com/kmevy

Solidarity Not Charity (Art.coop) commissioned by GIA from Caroline Woolard on Vimeo.

A video about the relationship between arts and culture and the Solidarity Economy.

Script: Nati Linares & Caroline Woolard

Voiceover: Reg Flowers

Sound Design: Joshua Quarles

Motion: Sean Dong

Type: Rubik & Caudex

Made Possible by: Grantmakers in the Arts

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Community ownership and democratic governance that builds political, cultural, and economic power is adapted from Nwamaka Agbo’s Restorative Economics Theory of Liberation and is used with permission.

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The phrase “Imagining a Financial System that Loves Black and Brown People” comes from Jessica Norwood, founder of the Runway Project, as is adapted here with permission.

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Art.coop

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Transcript:

No one knows what arts and culture will look like after the pandemic

63 percent of creatives have become fully unemployed.

⅓ of museums say they are likely to close forever.

The COVID-19 death rate of Black and Indigenous people is more than twice the COVID-19 death rate of White people in the US.

And yet, foundation giving in 2020 documented that only 5 percent of pandemic-response dollars were intended for communities of color.

Around ½ of 1 percent of annual foundation giving directly supports women and girls of color.

And less than ½ of 1 percent goes to Native Americans.

What would the cultural economy be like if it loved Black and Indigenous people?

All around the country, the people who have been most harmed by our current systems are practicing self-determination and community wealth

The movement for permanently affordable space in Oakland places culture at the center of the work.

The first democratically managed investment fund in the country — making non-extractive loans to community members — says: “cultural workers are economy builders.”

Culture bearers lead the oldest native co-op in the country.

Artists started the oldest non-extractive Venture Capital firm in the US.

A co-op giving 35,000 freelancers the benefit of full-time employment was founded by artists. It includes employment insurance and pension.

The nationally recognized legal organization that supports Solidarity Economy groups was co-founded by a cartoonist.

Black Lives Matter was co-founded by an artist.

This work is not new. Creatives are “going back to the future,” to practices of shared livelihoods rooted in cultural traditions.

Why should culture and economic innovation go together?

Because…

Right now, we have a superstar system where the winners take all and the rest are left with crumbs.

Just like art, housing and dignified work are human rights.

Artists are the original gig workers.

Culture-making and political organizing go hand-in-hand.

We want a world where everyone’s needs are met so everyone can participate in the remaking of culture and society.

An artist living in a community land trust in New York City will have 27 hours a week to make art, compared to an artist in market-priced housing who will have 4 hours a week for artmaking.

We must repair centuries of injustice.

What do mutual aid networks, worker co-ops, community land trusts, participatory budgeting, and time banks have in common?

Community ownership and democratic governance that builds political, cultural, and economic power.

When these hyper-local initiatives get together, they have enormous power.

This emergent movement goes by many names — economic democracy, new economy, regenerative economics, degrowth, the commons, local community economic development, democratic socialism, just transition, dual power, liberation economy — but internationally, it is known as the Social and Solidarity Economy, or Solidarity Economy for short. It provides resilience against crisis and has lasting impact when supported as a holistic system.

To support this work, you can: educate yourself, join existing organizing work, and advocate for economic justice.

Organize a book club in your community. Read the book “Collective Courage”. Study toward action.

Find your local credit union, worker co-op, or time bank, and join it.

Make media about this work: songs, posters, memes, and stories.

Make gifts and loans of time, art, and money to seed these groups.

Follow the lead of grassroots organizers and commit to long term support.

Advocate for legal and fiscal policies that enable the Solidarity Economy to thrive.

The people who have been most harmed are creating community-controlled, hyper-local economies that are resilient amidst crisis.

The systems that artists want are not only possible—they already exist, and can be strengthened and cultivated with intention.

ASR - The Maturation of DAM and Digital Preservation from AMIA on Vimeo.

A look back at DAS 2016 - The Smithsonian’s Enterprise Digital Asset Management System (DAMS) has been a work in progress since 2008 that has now matured into a mission critical component of the Smithsonian’s digitization initiatives and strategy. Currently serving over 40 Smithsonian units across museums, archives, libraries, and the zoo the DAMS is entrusted to store, manage, preserve and deliver over 8 million assets as it continues to grow and evolve. The presentation covers the building phases of the DAMS to include integration with Collection Information Systems (CIS), and asset delivery as demonstrated by representative use cases.  Next project phases to strengthen digital asset preservation standards, policies, tools and practice will also be discussed.

Barbed Wire Fence Telephone II Scholar Talk - Samuel Duwe: Colonization at the Speed of Light from Lori Emerson on Vimeo.

Colonization at the Speed of Light: An Archaeological Study of Communication Technology and the Settlement of the American West.

It Has Become Beauty Again. from Frame of Mind Media on Vimeo.

Jon Yazzie was born on the Navajo reservation. He struggled to connect to his cultural identity for much of his life, leading him to make the wrong life choices and lack a sense of belonging. It wasn't until he discovered bikepacking and made his way back to the Navajo reservation that he could regain that connection and feel at peace with himself.

Color the Wasatch from Frame of Mind Media on Vimeo.

Color the Wasatch is focused on building a community for climbers of color in Salt Lake City and along the Wasatch Front.