Category: Direct Object/Direct Action

  • “Public Hearing in Progress” James N. Kienitz Wilkins

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    PUBLIC HEARING IN PROGRESS
    A REPLAY BY JAMES N. KIENITZ WILKINS

    Public Hearing in Progress is the exclusive web broadcast of original videotapes documenting the entire on-set production of Public Hearing, a feature film reenactment of a transcript from a real small town public hearing.

    The feature film, Public Hearing (110 min), is an experimental documentary directed and produced by James N. Kienitz Wilkins, using as its screenplay a publicly-available transcript downloaded from the website of the town of Allegany, New York. Filmed entirely in close-up on black-and-white 16mm film, an ensemble cast of actors and non-actors read between the lines in an ironic debate over the replacement of an existing Wal-Mart with a super Wal-Mart.

    Public Hearing in Progress is a parallel project to the film, presenting a behind-the-scenes glimpse into its production, and suggesting a perpetual remaking of an otherwise completed work, one based on public material yet privatized through the filmmaking process. During the film’s 2009 re-production of a 2006 public hearing, an aging security camera was installed on set, serving as a functional prop documenting the film’s low-budget proceedings in a silent, murky, decayed, black-and-white image—a sort of bastard cousin to the feature’s cinematic 16mm film image, and notably, the only wide-angle or establishing view afforded by the production. The security feed was recorded on VHS operating in eight hour EP (extended play) mode, mirroring the length of the shooting days imposed by the downtown Manhattan office location, and preserving the discontinuous fourteen shooting days in a practically sculptural mass with one tape per day.

    The tapes have remained largely unwatched since their original recording, existing now as one-of-a-kind objects due to the extreme hassle of preservation (over 100 hours accounting for schedule variations and equipment malfunctions), and the generational loss of analog formats (a duplicate would be an inferior copy). As a result, the streaming broadcast is at once a pre-recorded, fourteen episode documentary of a word-based documentary without its words, and a “live” event of certain tapes being played in a certain location at a certain time. The image itself is a security feed (considered at the time a pathetic backup should the 16mm film come out ruined), and the illusion of a security feed: that familiar and always potentially real real-time image which saturates our age.

    MORE ABOUT PUBLIC HEARING

    The feature film, Public Hearing, premiered in competition at the 2012 Copenhagen Documentary Film Festival (CPH:DOX), and has since screened in festivals and venues worldwide, including MoMA PS1 (EXPO 1:NEW YORK), IndieLisboa, Camden International, Punto de Vista, Festival do Rio, and Lima Independiente (Winner: Activism Award) and beyond.

    “… A play about itself … shows how much people are willing to endure to pretend that a democratic process exists in opposition to corporate manifest destiny.”

    – Brooklyn Rail

    “… a case study in neither-fish-nor-fowl filmmaking.”

    – ARTFORUM

    “Public Hearing is a thought provoking x-ray of community democracy as ritualist incantation.”

    – Politeken.dk

    “… one of the most remarkable not-quite-documentaries of recent years.”

    – Toronto Star

    Watch the full film for free (Feb 1 – Mar 21): public.automaticmoving.com

    Airing Saturdays and Sundays (Feb 1 – Mar 21, 2015) 12-8pm* CST

    *The February 1st program will run from 12-3pm CST

  • “One Half Hour of Wiggling” Blair Bogin and Mothergirl (Katy Albert and Sophia Hamilton)

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    One Half Hour of Wiggling is a reality entertainment program. Three characters wiggle their bodies at various locations. An omniscient voice narrates the ensuing conflict between the three wigglers. Like a half hour long reality television show streaming from the internet, the action cuts away from time to time to go to commercial break, but there are no commercials. Teasers and recaps orient the audience in these moments of transition.

    mothergirlperformance.com
    talentswimsuitgown.com

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 3

  • “Dress Pattern” Eli Burke

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    The work Dress Pattern questions existing systems within the gender binary. Is it possible to fail at gender? Who owns gender? As a transgender artist I often ask myself these questions and am always looking for new ways to answer. Dress Pattern is one of those moments.

    eliburke.com

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 3

  • “Mirror Tapping ((Empathy Labourers))” Adam Knight

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    Mirror Tapping ((Empathy Labourers))

    ASMR videos (Autonomous sensory meridian response) seek to elicit feelings of physical ‘tingly’ sensations usually in the head, scalp or neck region of the body. They have become a recent online phenomena attracting as many producers as there are viewers, contributing to a community of ASMR lovers. Often videos centre around particular sounds, movements, speech patterns or tactile stimuli. These videos are usually produced using modest recording technologies, by a solitary performer. Due to the amateur imperfections of the recording set up, outside noises and interruptions are often common characteristics of the ASMR video. Embedded in the videos are complex relationships between technology, moving bodies, economy and action. It has become increasingly popular for performers to create tutorials based upon subscribers request. These requests are often made through payment via platforms such as PayPal.

    A script was compiled from transcribing various ASMR videos that dealt with a generic and ambiguous dialogue. The dialogue assembled draws attention to the agency and construction of the ASMR tutorial. A notable ASMR performer DianaDew Asmr was commissioned to narrate the script and create the soundtrack for the video. The binaural recording technique makes use of stereo splitting to enhance the bodily perceptible element in the videos. The film was played and filmed from an iPad as a gesture towards completion of technology and screen as body. The pausing, swiping and pinching motion acts as a way of trying to maintain a connection with the original tutorial and to extend the mirror device further.

    The video is designed to be downloaded and used on mobile/tablet devices.

    adamknight.co.uk

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 2

  • “A Rousing View of Nature’s Magnificence” and “From the Rim” David Politzer

    “A Rousing View of Nature’s Magnificence” and “From the Rim” David Politzer

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    A Rousing View of Nature’s Magnificence

    A video performance made at Grand Canyon National Park.  It is a study in superlative visual and textual representations of natural wonders.  With this piece I consider the value we place on “being there” versus experiencing a location via those superlatives.

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 2

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    From the Rim

    A combined narrative of 100+ family vacations to the Grand Canyon.  Every visitor arrives with preconceived notions about the natural “wonder” gleaned from images of the canyon.  In turn, visitors reconcile those preconceptions with the reality of the view from the rim.  We see these moments on video with varied response; from life-changing revelations to total indifference.

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 4

    davideology.com
    politzervideovacations.squarespace.com

  • “Contact A” and “EC One, Two, Three, and Four” Mike Newton

    “Contact A” and “EC One, Two, Three, and Four” Mike Newton

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    EC, Contact: Conceptualized as a model for an eye contact training video, EC draws off the strange and unknowable logic of established social conventions and the manifest difficulties (maybe even impossibilities) of teaching social skills. Much as repeating the same word over and over leaches it of meaning, focusing on out-of-context eye contact turns an extremely normal action into something bizarre. Contact expands upon this idea, placing the sculptural props of EC alongside objects and imagery drawn from studies of autism, language and anxiety. By contrasting (ostensibly objective) scientific studies with digressive, emotive writing and handmade forms, these works try and negotiate the difficult relationships between clinical practice and lived realities.

    minusobjects.com

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 1:

    Contact A

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 3:

    EC ONE
    EC TWO

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 4:

    EC THREE
    EC FOUR

  • “Lesson in Harmony” Willy Smart

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    Lesson in Harmony is broadcast video work that is just that: a lesson in vocal harmonization as well as a lesson in a more transcendent sort of harmony. An onscreen subject receives instruction in technique, posture, and exercises for vocal performance and harmonization while an overdubbed voice indexes in minute detail the comportment of the subject. The voice is descriptive and didactic, while drawing from the extra-personal vocabulary of new age thought: channeling, vibration, resonance. This language implies multiple bodies, some present and some not, but all affected by and attuned to one another (provided the proper channels are open). As viewers, we are implicated in the lesson; we are asked to open ourselves to unseen channels, to consider the aural and figurative language that constitutes and calls public and political bodies.

    willysmart.com

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 4

  • “Love and Capitalism 1 and 2” Bret Hamilton and Harrison Martin

    Love and Capitalism examines the connection between ideology and class by interviewing subjects on the streets of Chicago neighborhoods that vary in economic status. The film explores a structural critique of modern society through the real emotional struggles that working individuals experience. By connecting these everyday struggles to a structural critique, the filmmakers hope to shed light on the politics of personal hardships.

    harrisonhenrymartin.com

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 2:

    Love and Capitalism 1

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 4:

    Love and Capitalism 2

  • “Moderato” and “Synopsis” Annetta Kapon

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    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 1:

    Moderato
    1 minute 38 seconds, 2014

    A video about video, time, movement, sound, metronome, still photography, Man Ray.

    Airing daily Feb 1 – Mar 31, as part of Direct Object/Direct Action Shorts 2:

    Synopsis
    00:00:35 seconds, 2014

    A video about the structure of video, and computer screens.

    annettakapon.com

  • “Tender Comrades” Sunita Prasad

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    Tender Comrades plays on the conventions of documentary filmmaking to tell a fictional story of a radical intellectual celebrity named Sophie Vix Maurer and her biggest fan: a fictionalized version of the artist herself. Shot partially at Occupy Wall Street, the film uses real-life events, fake interviews, and lo-fi re-enactments to illuminate a seldom examined history of anarchism and subversive movements. The stories Sophie re-tells are drawn from the memoirs of 20th century anarchists Alexander Berkman and Emma Goldman, the legendary shooting of their contemporary, Voltairine de Cleyre, and a heart-wrenching anecdote about two women imprisoned during the Dirty War in Argentina. The film is foremost about the relationship between writers and their readers, particularly women writers and readers, and posits this bond as a romance kindled with well-chosen words and a shared history of exuberant resistance.

    sunitaprasad.net

    Airing Thursdays and Fridays Mar 19 – 27th, 7:20 pm CST