|Electromediascope Visiting Artists and Scholars:
Michael Snow presents and discusses his film *Corpus Callosum (2002) on September 29, 2006 as part of the Fall 2006 program Future Past.
Ernie Gehr presents and discusses his films, Shift (1972 – 74) and Rear Window (1986), along with his digital video, Cotton Candy (2001), on September 19, 2003 as part of the Fall 2003 program Material & Illusion.
Sara Diamond presents her interactive web-based artwork, CodeZebra – Only the Strong Survive (2000 – 2003), a visionary 3D chat environment incorporating performance and visual elements that help participants create and moderate on-line interaction. She is a visiting artist on April 4, 2003 as part of the Spring 2003 program, Welcome to the InerZone.
Aboubakar Sidiki Sanogo presents a lecture with video clips on Experimental African Cinema on September 20, 2002 as part of the Fall 2002 program, Contemporary African Film & Video. Short video excerpts from the following films and videos are shown:
Afrique, Je Te Plumerai (Africa, I Will Fleece You), by Jean Marie Teno (Cameroon), 1992, 16mm film
Blood is not Fresh Water, by Theo Eshetu (Ethiopia), 1997, video
African Violet, by Koto Bolofo (South Africa), 1998, 16mm film
Asientos, by Francois Woukouache (Cameroon), 1996, 16mm film
Acinema, by Aboubakar Sidiki Sanogo (Burkina Faso), 2000, video
Touki Bouki (The Voyage of the Hyena), by Djibril Diop Mambety (Senegal), 1973, 16mm film
Last Angel of History, by John Akomfrah (Ghana/UK), 1995, video
Unglobalizable, by Yousri Nasrallah (Egypt), 2001, video
Toni Dove discusses and demonstrates her interactive movie Artificial Changelings (1993 – 1998)and interactive media performance Spectropia (1999 – 2002) on April 12, 2002 as part of the Spring 2002 program, Conjurers in the Machine.
Irit Batsry screens her first feature length work These Are Not My Images (neither there nor here) (1994 – 2000) as part of the Winter 2001 program, The Lives of Images Reverberate in Time. The Electromediascope screening on January 26, 2001 is the North American premiere for this film / video that was created through both analog and digital processing. The work later goes on to win the prestigious Bucksbaum Award at The Whitney Museum of American Art’s 2002 Biennial Exhibition.
Sound artist Stephen Vitiello presents a live sound mix of guitar and digital audio sampler in collaboration with real-time video editing by video artist Seoungho Cho on October 8, 1999. Vitiello performs his composition Twister in Slow Motion (1999) as part of the Fall 1999 program, Live Wire: Sound in the Image.
Video artist Seoungho Cho performs real-time video editing in collaboration with sound artist Stephen Vitiello on guitar and digital audio sampler in a live sound and video event on October 8, 1999. Cho presents his video work Salt Creek (1998) as well as live video editing for Vitiello’s Twister in Slow Motion (1999) as part of the Fall 1999 program, Live Wire: Sound in the Image.
Neil Sieling presents a lecture with video clips titled Digital TV and Interactive Media, a collaborative event with Kansas City Filmmakers Jubilee held at the Nelson-Atkins Museum of Art on February 26, 1999. Sieling discusses his work with Alive TV and the Independent Television Service and shows excerpts from the following videos:
Words in your Face, by Mark Pellington (USA), 1991
Still / Here, by Bill T. Jones (USA), 1995
Roadhead, by Flat Black Films (USA), 1998
Color Test, by Flat Black Films (USA), 1998
The Way Things Go, by Peter Fischli (Switzerland) and David Weiss (Switzerland), 1987
Composer Laetitia Sonami presents a concert of electronic sound-stories utilizing The Lady’s Glove, an elbow-length apparatus embedded with 16 pressure and motion sensors. A sonic narrative field of electronic storytelling is brought to life with her slightest hand and body movements. Sonami performs Motor Farm (1998), a composition that utilizes servomotors, contact microphones and resonant surfaces, and two works with texts by Melody Sumner Carnahan titled Has / Had (1997) and She Came Back Again (1997). The performance occurs on October 9, 1998 as part of the Fall 1998 program, Eros of Time.
Leslie Thornton screens five of her 16mm films, Adynata (1983), Oh, China, Oh (1983), Old Worldy (1998), excerpts from The Great Invisible, a feature work in progress (1998) and …or lost (1998). This presentation on April 3, 1998 is part of the Spring 1998 series, Women’s Journeys: Travels and Stories.
Eric Saks screens three of his videos, Touch Tone (1995), Straight Talk About Deserts (1993) and Creosote (1997) on October 10, 1997 as part of the Fall 1997 program, Memory and Irony.
Ken Jacobs screens five short 16mm films utilizing found footage and performs 3 works from The Nervous System in a weekend extravaganza Friday, Saturday and Sunday afternoons, February 16 - 18, 1996 as part of the Winter 1996 program, Celebrating 100 Years of Cinema. The films The Georgetown Loop (1996), The Doctor’s Dream (1978), Perfect Film (1986), Disorient Express(1996) and Keaton’s Cops (1991) are screened off-site at Kansas City Art Institute. Three works, Bitemporal Vision: The Sea (1994-95), Loco Motion (1996) and The Marriage of Heaven and Hell (A Flicker of Life) (1995) are performed at the Nelson-Atkins Museum of Art on The Nervous System. This apparatus of Jacobs’ own invention utilizes two 16mm projectors and a propeller blade to create a remarkable 3D experience for the audience.
Beth B presents and discusses her feature length 35mm film, Two Small Bodies (1993) at Tivoli Theater in Westport on February 2, 1995 as part of the Winter 1995 program, Alternative Histories and Other Stories.
Composer Paul DeMarinis presents sound performances and installational works utilizing computers, synthetic voices, chaotic jump rope and neural networks as part of the Spring 1994 series, New Experimental Works. The March 18, 1994 program titled Songs Without Throats includes the following works: The Power of Suggestion, Odd Evening, Fonetica Francese and excerpts from Mechanization Takes Command.
Wheeler Winston Dixon screens his feature length 16mm film, What Can I Do? (1993) on January 21, 1994 as part of the Winter 1994 program, Discourse and Meaning in Postmodern Culture.
Scott MacDonald presents selected excerpts and discusses issues related to the 14:30 hour 16mm film The Journey (1987) by British filmmaker Peter Watkins. Reels 1, 2, 3, 8, 9, 17, 18 and 19 are screened in this 6-hour Saturday event held on March 27, 1993 as part of the Spring 1993 Inaugural Electromediascope Program.