Tuesday, January 6, 2009

4TH ANNUAL FOCUS ON FEMALE DIRECTORS @ The Egyptian Theater

Wednesday, January 7 – 7:30 PM

This shorts program celebrates cinema pioneers, actresses-turned-directors, cutting-edge animators, music video helmers, documentary filmmakers, festival darlings and the brightest stars emerging from film school. View a Trailer for the Showcase.

Kirsten Dunst’s "Welcome" (USA, 2007, 13 min). Winona Ryder stars in this haunted house story for Glamour Magazine's Reel Moments short film series.

Isabella Rossellini’s "Green Porno" (USA, 2008, 3 min). A unique look at the sex life of bugs.

Patricia Riggen’s "Family Portrait" (USA, 2004, 28 min). A Sundance Grand Jury Prize winner, this documentary from the director of "Under the Same Moon" revisits two people who were photographed by Gordon Parks in 1968 for Life magazine.

Amy Axelson and Kimberly M. Wetherell’s "Why We Wax" (USA, 2007, 20 min). A funny, yet incisive documentary about getting rid of the hair down there.

Nicole Mitchell’s "Zoologic" (USA, 2007, 4 min). A 2008 Student Academy Award winner about a very fussy zookeeper.

Lana Kim and Andy Bruntel’s "C’mon Baby" (USA, 2008, 3 mins). A stop-action animated video for former Pavement frontman Stephen Malkmus.

Ioana Uricaru’s "The Sun and the Moon" (USA, 2007, 13 min). A meditative, atmospheric portrait of a distant culture, shot in gorgeous black and white.

Myna Joseph’s "Man" (USA, 2007, 15 min). Two sisters explore their sexuality in this student film by one of Filmmaker Magazine's 25 New Faces of Independent Films 2008.

Program compiled by Andrew P. Crane, Kim Adelman and Andrea Richards.

Discussion with filmmakers Amy Axelson, Kimberly M. Wetherell, Ioana Uricaru and Nicole Mitchell to follow screening. There will also be a drawing for a deluxe director-empowerment kit and a reception for all in the lobby.

http://www.americancinematheque.com/indexegyptian.html

Egyptian Theatre (6712 Hollywood Blvd)
323.466.3456 $10

Please Be Seated: A Video Installation by Nicole Cohen @ The Getty





Please Be Seated is a video installation by contemporary artist Nicole Cohen that allows you to interact with the Getty Museum's 18th-century French chairs.

The installation blends footage from decorative arts galleries in the Getty Museum and three French museums with live video captured by a surveillance camera. As you sit in reproductions of the original chairs, you become part of the installation, virtually entering historic recreations of 18th-century French spaces. With this installation Cohen compresses time and space to create a metaphorical game of musical chairs.

The Getty Museum commissioned this installation to bring new perspectives to its collection of French decorative arts. Galleries designed to display historical architecture, decorative arts, and furniture evoke the original interiors and lifestyles of a particular era. Within these museum installations, visitors are invited to travel through space and time to imagine the daily rituals, social interactions, and personal narratives that might have taken place in such domestic settings.

Through her installation at the Getty, Nicole Cohen pushes the boundaries of this experience into the realm of active participation and fantasy. The intersection of contemporary popular culture with historical and social environments has been a theme in Nicole Cohen's work, which often juxtaposes real and ideal people and settings to provocative and dreamlike effect.

Cohen selected six 18th-century French chairs from the Getty Museum's collection as the subject of her installation. Then, editing together footage shot on location in France and at the Getty Center, she created six 10-minute videos. Cohen placed the Getty's chairs into the video of these settings using digital technology. In some cases she virtually transported the chairs back into their original settings in France. For example, Cohen digitally placed one of Marie Antoinette's chairs in the Getty collection into its original context in a room at Versailles.

Cohen collaborated with local furniture maker, Mike Fair, to create white versions of the Getty's chairs that mimic the shape and function of the originals. In the installation, video monitors above each chair display the footage shot in France and at the Getty. The videos are activated and completed when the visitor takes a seat in the chairs, stepping into both the installation and the footage itself.

The rooms of museums, historic houses, and palaces themselves represent fantasies of sorts, either through the whimsy of the original owner or reinterpretation by a curator. In Please Be Seated, Cohen adds a level of manipulation and artistic vision by filming, fragmenting, and recombining these interiors. The viewer, seated in Cohen's abstraction of an 18th-century chair and projected into footage of historical and museum settings, interjects personal, individual responses to complete the work of art.

September 18 2007 - January 11 2009
Free
Tuesdays–Fridays (10am–5:30pm)
Saturdays (10am–9pm)
Sundays (10am–5:30pm)

Ry Russo - Young

You Won't Miss Me:

Synopsis: A kaleidoscopic film portrait of Shelly Brown, a twenty-three-year-old alienated urban misfit recently released from a psychiatric hospital. Starring Stella Schnabel, featuring Rene Ricard and introducing other notable New York personalities, the film gives pathos to the frenzy of the youthful desire for acceptance. Shot in a variety of styles and formats, YOU WONT MISS ME mixes non-actors with professionals, verité with staging, order with abstraction, to paint an evocative picture of a contemporary rebel.


Born in 1981, Ry Russo-Young grew up in downtown Manhattan and made her first film while attending Saint Ann’s High School in collaboration with her childhood best friend. WIDE BERTH is a 16mm hand painted odyssey of friendship and landscape. When Russo-Young was twenty-two, she was profiled on the cover of The New York Times Magazine in the article “Growing Up With Mom and Mom.”


After graduating from Oberlin College in 2003, Russo-Young made the Super 8 short film, MARION. A three-screen deconstruction of Alfred Hitchcock’s PSYCHO, MARION screened at the 2006 Tribeca Film Festival and garnered several awards, including the Jury Award for Best Experimental Film at the 2006 SXSW Film Festival. MARION also screened at galleries and performance spaces and is now available through indiepix.net.


Ry Russo-Young’s feature film debut, ORPHANS, received a Special Jury Prize at the 2007 SXSW Film Festival and screened at the Thessaloniki Film Festival, among others. ORPHANS was released on DVD by Carnivalesque Films and is now available through Netflix and Amazon.
In 2007, Russo-Young appeared as Rocco in HANNAH TAKES THE STAIRS, released by IFC Films. In addition, she worked on artist Doug Aitken’s large-scale film installation SLEEPWALKERS, which appeared on the exterior of the Museum of Modern Art in January, 2007.

http://www.ryrussoyoung.com/about/

Media Control: The Spectacular Achievements of Propaganda by Noam Chomsky


Early History of Propaganda

Let's begin with the first modern government propaganda operation. That was under the Woodrow Wison Administration. Woodrow Wilson was elected President in 1916 on the platform "Peace Without Victory." That was right in the middle of the World War I. The population was extremely pacifistic and saw no reason to become involved in a European war. The Wilson Administration was actually committed to war and had to do something about it. They established a government propaganda commission, called the Creel Commission, which succeeded, within six months, in turning a pacifist population into a hysterical, war-mongering population which wanted to destroy everything German, tear the Germans limb from limb, go to war and save the world. That was a major achievement, and it led to a further achievement. Right at that time and after the war the same techniques were used to whip up a hysterical Red Scare, as it was called, which succeeded pretty much in destroying unions and eliminating such dangerous problems as freedom of the press and freedom of political thought. There was very strong support from the media, from the business establishment, which in fact organized, pushed much of this work, and it was, in general, a great success...

Spectator Democracy

...Walter Lippmann, who was the dean of American journalists, a major foreign and domestic policy critic and also a major theorist of liberal democracy. If you take a look at his collected essays, you'll see that they're subtitled something like "A Progressive Theory of Liberal Democratic Thought." Lippmann was involved in these propaganda commissions and recognized their achievements. He argued that what he called a "revolution in the art of democracy," could be used to "manufacture consent," that is, to bring about agreement on the part of the public for things that they didn't want by the new techniques of propaganda. He also thought that this was a good idea, in fact, necessary. It was necessary because, as he put it, "the common interests elude public opinion entirely" and can only be understood and managed by a "specialized class" of responsible men" who are smart enough to figure things out. This theory asserts that only a small elite, the intellectual community that the Deweyites were talking about, can undertsand the common interests, what all of us care about, and that these things "elude the general public." This is a view that goes back hundreds of years. It's also a typical Leninist view...

...He [Lippmann] argued that in a properly functioning democracy there are classes of citizens. There is first of all the class of citizens who have to take some active role in running general affairs. That's the specialized class. Thay are the people who analyze, execute, make decisions, and run things in the political, economic, and ideological systems. That's a small percentage of the population. Naturally, anyone who puts these ideas forth is a part of the small group, the big majority of the population, they are what Lippmann called "the bewildered herd." We have to protect ourselves from "the trampling of the bewildered herd"...

http://www.amazon.com/Media-Control-Second-Spectacular-Achievements/dp/1583225366

Sunday, January 4, 2009

Arlington West Santa Monica

http://www.arlingtonwestsantamonica.org/index.html

Justice Center Leoben, Austria







I love this...

If you believe the conventional widsom that prison sentences are for designed solely for rehabilitation (as opposted to retribution), Austria’s Leoben Justice Centre may very well be the leader in turning lives around. If you believe that those responsible for heinous crimes deserve to suffer in squalor, wretched conditions, however, you might want to stop reading this and go rent a Linda Blair prison movie.

Those of us who’ve toured Alcatraz in San Francisco can imagine the cold, harsh, unfeeling reality facing years of hard time. You committed a crime and now you must pay for it by enduring isolation, bad food, prison fights and being somebody’s bitch for twenty-five to life. If you exhibit good behavior, you might one day see the sun again. But is the system doing you any favors? Is the daily misery of life in the slammer inspiring you to make better, more law abiding choices in the future?

This glass penitentiary in Steiermark, Austria takes a radically different approach to rehabilitation. Instead of making criminals harder, angrier and more likely to commit future crimes, this Josef Hohensinn-designed structure provides a shiny, happy place to rethink the errors of one’s ways.

Or does it? Why focus on the negative aspects of your past when you can marvel at the sleek design of your cell, which comes with a bed, a desk, a bulletin board, custom ply built-ins and its own TV? What could you possibly have to brawl about with your fellow inmates? Who gets to sit in the green Verner Panton chairs? The cynic in me wonders if this five-star prison would have the opposite effect and actually invite crime. What’s to stop a homeless person from clocking old ladies on the street in order to be “forced” to utilize LJC’s cafeteria, gym, and indoor court with ping-pong?

Not sure if Austria’s got its head on straight. First they give us the Von Trapp family and now this. What’s next? For more images, click here

Article taken from: http://gliving.tv/architecture-design/postmodern-prison-architecture-austria/

Saturday, January 3, 2009

Technology: In(tuitive) & Out(ward)

Today, after sharing a joint with my boyfriend and eating some really delicious tempeh tacos, I finished up the book Inner Revolution by Robert Thurman. The following is a fat excerpt from one of the best books I have come across:

The existence of the great adepts is the proof of the positive development of ancient Indian society and of creative individualism as the fruit of enlightenment practice. Unconcerned with any institutional identity, they were regarded as outstanding exemplars by all traditions of the day, numbered as "The Eighty Four" by the Buddhists and as "The eighty" by the Hindus. These iconoclasts were the indian forerunners of the Zen masters of East Asia, of the nineteenth-century Romantic poets, and of American individualists such as Walt Whitman and Allen Ginsberg. They embodied the full potential of life. They were the psychonauts, the leading experimenters of the inner technologies of enlightenment civilization, just as modern astronauts are the leading explorers of our outer technologies. The female and male great adepts found in their inner universes the resources to triumph over sorrow and inadequacy in order to bring joy and hope to people everywhere.

When we encounter these psychonaut adepts, we recoil from the scent of magic, from the joke of the supernatural, from the fantasy of the mystical, from the concept of a high technology of the mind. Yet when we come to materialistic high technology, no fantasy is too extravagant. We proudly extol the wonders of modern science and technology. We chuckle over how our own ancestors would have seen a picture on a television set as a product of witchcraft. How they would have thought the view of the microcellular world through an electron microscope was an alien glimpse of hell. How a rocket to the moon would have been condemned as violating the realm of the angels. How gene splicing would be a Frankensteinian tinkering with God's creation. And how the obliteration of all life on earth by hundreds of thousands of atomic and hydrogen bombs was a diabolical and ridiculous proposition. We have learned to accept all these wonders as normal, everyday realities. And yet we seize our present sense of how things are just as rigidly as did the medievals their sense of the flatness of the earth.

The enlightenment tradition discovered the micro and macro dimensions more than two thousand years ago by using sophisticated contemplative practices to augment the sixth mental sense of inner vision. They dicovered the infinite divisibility of the atom. They discovered microbes. And, most important to the pursuit of enlightenment, they discovered their own neurons and even the subatomic level of their own awareness. This realm is supernatural only in relation to a constricted definition of natural. It is mystical only when its analytic investigation is not completed. It is magic only when the technique involved is not understood.

Our minds perform magic all the time. When you see an item in your visual field, your brain has shuffled through the data bank stored in its neurons and has sent up a percept, a particular pattern stored in a set of these neurons. It has filtered through its rod and cone neurons the incoming photons reflected off all the objects in the visual field. It has organized a patch according to color and distance in relation to a foreground and a background. It has selected a group to distinguish; it has matched them with the synaptic percept pattern; and, lo and behold, we see a "tree," or a "house," or a "lake". This process is very like a software program directing a computer to produce a picture of a tree in response to our typing the word "tree" on the keyboard. Such a program is a very complex patterning structure, operating within a complex system. Now, if the software developed a virus, if it produced a car picture when we typed "tree," we would use another sort of software, a diagnostic utility program, which would enter into the software structure itself and look for a gap or a glitch. This program would have no idea of "tree" or "car" but would be looking through the binary switches within the system for a problem. It would be looking for a deficient microentity with a microentity subjectivity. Having reduced the car image to a blizzard of digital dots, it would look for the controller of the misperception that caused the car dots to be triggered by the "tree" command.

This diagnostic utility program functions like our sixth sense, the mental sense. It works within the structuring patterns that control the computer's attention to its input and output channels, which are comparable to the five senses of the ordinary person. It is a kind of subtle awareness that operates from the binary ground level of the machine. Enlightenment scientists have developed such an awareness through contemplation, systematic analysis, and penetration of course structures. They can perceive photons directly from the neuron level; they can detach subjectivity from structured coarse perception and exercise it from the more subtle levels. With this specially developed mental sense, they can grasp and transform reality in unprecedented ways.

During the European Enlightenment, Voltaire ridiculed the notion that this world is the best of all possible worlds, a notion that the Jewish or Christian monotheist is forced to wrestle with because of his or belief in the existence of an omnipotent, all-compassionate Creator. Voltaire sent poor Candide through misery after misery, having him stubbornly repeat, " It's the best of all possible worlds!" after every disaster.

The Enlightenment thinkers of that time were tired of the Church rationalizing everything bad that happened in the world as being for the best...So he ridiculed Candide to help Europeans have the courage to rely on their own reason. And Europeans responded by developing science and technology: They developed industry and intervened radically in the process of nature; they challenged taboos, secularized everything, and gained enormous new knowledge of the physical sciences; they set out to transform nature, and they succeeded to a very great degree. When traditional social structures got in their way, they overthrew them in the great series of revolutions that is still sweeping the world. When lack of wealth got in their way, they invented better weapons and travel technology and proceeded to subjugate all nations and races who did not share their science, power of travel, or warfare. They conquered the world.

From the seventeenth century until the twentieth century, Westerners thought this was working out. We came into the twentieth century thinking capitalism or Communism or bureaucracy, armed with science and technology, was about to create utopia, a heaven on earth, with freedom from disease, freedom from want and poverty, freedom from suffering. We were on the brink of making the best of all possible worlds out of stainless steel, plastics, chemicals, social systems, universities, and corporations.

But it hasn't worked. Some of us have sunk into confirmed nihilism and are waiting for pollution, population, war, and impoverishment to obliterate all life on earth. Others have reverted to old Candide-like attitudes and are sitting back, waiting for a savior.

The world is neither best nor worst - in an objective sense, the world is what the individual makes it. A world of individuals is the intersubjective, collective mind field of all those individuals....

We have imagined our world to be tamed, or civilized, since we live in cities and seem to have nature under control. It is hard for us to think of ourselves as wild and untamed. But "civilized" should mean something more than just living in cities. It should mean that we are wise, gentle, just, and even artistic in our dealings with the world and with other animals and humans. Our civilization is what I call an "outer civilization"; its modernity is an outer modernity. It is based on turning the full force of human reason on the enterprise of conquering and taming the outer universe - the universe of matter and energy, lands and continents, materials and products - and on viewing people as resources to be managed and developed for production. In the sense of being able to destroy things on a planetary scale, we have some power over nature - short of controlling major planetary phenomena, such as tectonic-plate movement, volcanoes, hurricanes, and so forth. Our creative power falls short, too, and we have found the pure land of materialism, the utopia of the capitalists and Communists, where people as bodies with interchangeable parts can be kept alive forever; where everyone can have a car; where population, resources, food, and wealth all are kept in perfect balance with no serious want; where all natural discomfort is controlled and moderated.

And what have we not controlled? We have not tamed our own minds very much at all. Our religions did do something of a taming job until the modern period...But they did not provide anyone, except a small monastic and mystical elite, with the methodology to overcome the negative instincts once and for all. And so, when the suppressive power of ideology, church, and state could no longer keep our inner balance in check, out it burst in all its violent glory, in fascism, in destructive orgies of technological warfare, and in the planetary terrorism of mutually assured nuclear destruction...

http://www.amazon.com/Inner-Revolution-Robert-Thurman/dp/1573227196/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1231041619&sr=8-1