2007> 10
• All screenings in Hallwalls Cinema unless otherwise noted.
• $7 general, $5 students/seniors, $4 members, unless otherwise noted.
ARTGREASE, cable channel 20
Installation in Hallwalls' Cinema open Sept. 14—Oct. 20,
Tues.-Fri. 11-6, Sat. 1-4
Tues.-Fri. 11-6, Sat. 1-4
Oct. 4, 5:00-7:00 p.m.
Beyond/In Western New York
Stephanie Rothenberg and Pan-O-Matic present:
Usernomics 1.0 Workshop
in The Lounge at Asbury Hall
School of Perpetual Training presents Usernomics 1.0 - a hacktivist workshop employing models of waste reclamation, recycling and reuse.In this user-friendly workshop, participants learn how to creatively repurpose old keyboards to create unique external computer interfaces. We begin with an overview of ewaste (electronic waste) and it's affect on the environment and outsourced, unskilled labor. You will then learn how to disassemble and "hack" USB keyboards to extend the circuitry and use various discarded goods, found objects and materials to create external controllers. We conclude with a competition using our new devices to control an onscreen "worker".
If interested, workshop participants will be able to demonstrate their controllers during the 8:00 pm performance that evening!
Participants are encouraged to bring their own laptops for testing keyboards and any discarded/broken products, found objects and materials that can be used to create external controllers.
Contact Stephanie at info@pan-o-matic.com for further information.
Download information about the Usernomics 1.0 Workshop (PDF, 232 kb)
Keyboards donated by Electronic Recycling Technologies www.ertrecycling.com
"School of Perpetual Training" is supported by the Eyebeam 2007 Artist-in-Residence Program and a University at Buffalo 2020 Scholars Fund
Oct. 4, 8:00 p.m.
Beyond/In Western New York
$8 general, $6 students/seniors, $5 members
Stephanie Rothenberg and Pan-O-Matic present:
the school of perpetual training
Merging performance and intervention within the context of gaming, new media artist Stephanie Rothenberg demonstrates Pan-O-Matic's latest project that uses audience participation to teach valuable lessons about the far-reaching environmental devastation and exploitive labor practices caused by the global computer video game industry. By applying this fastest growing sector of the entertainment industry as a model, Rothenberg examines our larger relationship to technology as consumers, and how it is intrinsically linked to capitalist models of technological obsolescence. As we enter the game world of play, our role as participant soon becomes evident: we are the workers creating the interfaces upon which we have become so dependent. Through role-play and rapidly repeated movements, we discover the economics of bodies in motion are alive and well in the gaming word regardless of our post-industrial age.
A workshop, to be held at 5pm in The Lounge at Asbury Hall, will precede Rothenberg's presentation. Usernomics 1.0 is a collaborative workshop that allows participants to deconstruct found materials, such as keyboards and other electronic waste, and then recombine their parts and program them to create custom gaming interfaces. This workshop took place during the Bent Festival NYC at Eyebeam, an arts and technology research space where Rothenberg has been an artist in residence. Key words: hacking, circuit bending, open source, DIY.
Oct. 9, 7:00 p.m.
Animal Advocates of Western New York presents:
The Witness
FREE
How does a construction contractor from a tough Brooklyn neighborhood become an impassioned animal advocate? In the award-winning documentary The Witness, Eddie Lama explains how he feared and avoided animals for most of his life, until the love of a kitten opened his heart, inspiring him to rescue abandoned animals and bring his message of compassion to the streets of New York. With humor and sincerity, Eddie tells the story of his remarkable change in consciousness. With pre-screening music provided by Joni Russ, of the Animal Advocates of Western New York. This screening is part of the first annual Buffalo animal rights film festival, Anima Mundi — Oct. 8-10th, 2007. For more information please visit
www.animalswny.org
Oct. 12, 8:00 p.m.
Just Buffalo & Hallwalls present:
Fully Awake: Black Mountain College
A new documentary about the revolutionary North Carolina college of the mid-20th century, & the poets & other artists who taught, studied, & worked there. Presented in person by the filmmaker
Cathryn Davis
$7 general/$5 students & seniors/$4 members of HW & JB
Tucked in the mountains of western North Carolina, Black Mountain College (1933Ð1957), is remembered as one of the most influencial experiments in American education. Though short lived, Black Mountain CollegeÕs unique model inspired and helped shape 20th-century American art, poetry, music, dance, and other fields of creative and intellectual pursuit.
Fully Awake: Black Mountain College is a documentary film exploring "education in a democracy," and highlights the CollegeÕs philosophy that the creative arts and practical responsibilities are equally important to intellectual development. Life skills are developed through democratic governance, art exploration, manual labor, and community living. Fully Awake reflects on the unique educational style and long-term significance of the school using archival photography, interviews with students, teachers, historians, and current artists, and voice-over narration. While Black Mountain College is popularly known as the site of such events as Buckminster FullerÕs geodesic dome, John Cage's first "happening," and the publishing of the Black Mountain Review (edited by BuffaloÕs own Robert Creeley), this film focuses on the unique educational approach of Black Mountain College to balance academics, art, manual labor, and communal living to educate the whole person—head, hand, and heart—as put into action and overseen by the CollegeÕs celebrated "rectors," including artist Josef Albers, novelist Edward Dahlberg, and another poet later associated with Buffalo, Charles Olson.
In addition to these towering figures, those who taught there in the 1940s and 1950s also included Anni Albers, Cage, Merce Cunningham, Willem & Elaine de Kooning, Fuller, Walter Gropius, Franz Kline, Jacob Lawrence, Ben Shahn, Jack Tworkov, and Robert Motherwell. Guest lecturers included Albert Einstein, Clement Greenberg, and William Carlos Williams.
Among the notable alumni of Black Mountain College are Fielding Dawson, Ed Dorn, Robert Rauschenberg, John Chamberlain, Kenneth Noland, Joel Oppenheimer, Jonathan Williams, Robert De Niro, Sr., Cy Twombly, and Kenneth Snelson.
A company of poets sometimes indentified as "Black Mountain Poets" were drawn to the school over the years, most notably Olson, Creeley, Dorn, Oppenheimer, Robert Duncan, and Denise Levertov. Creeley was hired both to teach and to edit the Black Mountain Review in 1955, and when he left two years later for San Francisco, he became the link between the Black Mountain poets and the poets of the San Francisco Renaissance and, through Allen Ginsberg, the Beats.
Oct. 13, 7:00 p.m.
Beyond/In Western New York
$8 general, $6 students/seniors, $5 membersMichael Snow
Film and Video
We are proud to welcome the first filmmaker to ever visit Hallwalls, pioneering media artist Michael Snow. For over fifty years, this prolific artist has continued to challenge the boundaries of those art forms within which he works, and his experiments in painting, sculpture, photography, film, video, and New Music have earned him accolades and awards too numerous to mention. While film theorists consider Snow's 1967 film Wavelength (which features experimental filmmaker and former UB professor, the late Hollis Frampton) to be archetypical of the subset of experimental film known as structural film, musicologists and jazz aficionados consider his 1964 film New York Eye and Ear Control and his collaboration on its soundtrack with Albert Ayler's group (Roswell Rudd, Don Cherry, John Tchicai, Geary Peacock and Sunny Murray) a landmark in early free jazz recordings. This screening (note the 7:00 p.m. start time!) features three recent films and videos, The Living Room, Triage, and REVERBERLIN, which uniquely exemplify Snow's exploration of sound and image. The digital short The Living Room (2000), which was the impetus for the feature length Corpus Callosum (2002), "dramatizes and multiplies chosen manifestations and implications of 'On/Off' and/or 'Absence/Presence'' (Canyon Cinema). Triage (2004) is double projection film made in collaboration with Canadian filmmaker Carl Brown. Like a surrealist Exquisite Corpse, neither Brown nor Snow knew what each other had filmed, and musician John Kamevaar composed a two-channel soundtrack in a similarly "blind' method. Snow's experiments in sound and image are also evidenced in the feature length REVERBERLIN (2006). Using concert footage of CCMC, the free improvisational ensemble Snow co-founded in 1974, Snow digitally weaves together images and sounds from performances that have taken place across the globe. "I desired an equivalence of seeing and hearing so that one could actually listen, pay attention to the music, as well as follow the picture development,' Snow writes. "That was the goal of New York Eye and Ear Control, too, but it used a completely different aesthetic from REVERBERLIN, which contains more of the freedom that video shooting, editing and animation have given 'film' artists."
Nearly 32 years after his initial appearance at Hallwalls original location, we are pleased to present Michael Snow in our newest home at The Church, and welcome him back to our cinema. Michael Snow will also have concurrent installations on view at the Albright Knox Art Gallery.
Oct. 20, 8:00 p.m.
Beyond/In Western New York
$8 general, $6 students/seniors, $5 members
Jeremy Bailey
The multifaceted practice of Canadian artist Jeremy Bailey not only utilizes a variety of media, but also takes inspiration from seemingly disparate influences. One perceives in both Bailey's single channel works and installations (on view at the Albright Knox Art Gallery), an understanding of the complex histories of video art. From the inclusion of humorous characters to body-based endurance performances, his videos incorporate a variety of strategies, no doubt inspired by his studies with the late Canadian performance video artist Colin Campbell. Perhaps a lesser-known tradition in video art that Bailey explores in his practice is the role of video artist as toolmaker. Early artists and engineers were forced, because of a lack of access to commercial image making tools, to create their own devices. By hacking and modifying preexisting tools, and eventually customizing and inventing their own machines, video artists were able to experiment with real-time image making long before the availability of personal computers. Three decades later, Bailey is among a new generation of generative artists who have continued building tools, and who insist that the process of researching and developing these systems is as crucial to their practice as any final product. By customizing computer-based video tools, by performing their capabilities in a variety of humorous "demos," and by sharing them with other artists, Bailey follows in the footsteps of such makers as Dan Sandin, the Vasulkas, and many others. During his screening and performance at Hallwalls, Bailey will show a series of videos as well as deliver a demonstration of his invention VideoPaint, a tool which allows users to paint anywhere at anytime by translating movements into virtual brushstrokes. Although Bailey is adept at cheekily performing the role of the dry inventor, audiences can expect this action packed demonstration to be both humorous and engaging, and to incorporate pop culture, music and an expressive range of movements.
Nov. 3, 8:00 p.m.
Beyond/In Western New York
$8 general, $6 students/seniors, $5 members
Dorothea Braemer
upcoming • visual
arts • media arts • music
• performance & literature
home • news • info • archives • membership • store • donate • links
home • news • info • archives • membership • store • donate • links