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Souleymane Cissé<p>A young man with magical powers journeys to his uncle to request help in fighting his sorcerer father.</p>
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<p>A young man with magical powers journeys to his uncle to request help in fighting his sorcerer father.</p>
<p>The 1977 film Close Encounters of the Third Kind was one of Steven Spielberg’s most successful films. Its place in the contemporary imagination may have waned, but its influence on science fiction lore and aesthetics endures.</p>
<p>Writes director Ulysses Jenkins: "This video takes the 'Planet X' myth and interfaces it with the Katrina tragedy in New Orleans, LA, based upon their similar natural disaster principles. With a proclamation of prophecy spoken by avant garde jazz musician, Sun Ra, predicting a coming disaster to African-Americans."</p>
<p>Framed by the fictional story of the "data thief," this hybrid documentary takes a look at the origins, impact and significance of Afrofuturism and techno music for the black diaspora.</p>
<p>In an effort to bring unity and equality to African-Americans, an interstellar traveler and musician lands on earth and duels with an evil overlord for the souls of people.</p>
<p>Director Lena Herzog, in collaboration with VR pioneer Nonny de la Peña and Emblematic Group, has created an immersive VR oratorio in three parts. Each part will be comprised of its own standalone VR experience and embody three distinct expressions that viscerally answer the question of how to tell an extinction whose form is silence. It is the first VR of it’s kind that transports audiences into a virtual landscape composed of the fabric of vanishing voices accompanied by original animation that poetically links image and sound. Last Whispers is co-presented by UNESCO, who, along with the UN General assembly, have declared 2019 The Year of Indigenous Languages.</p>
<p dir="ltr"><span style="font-size:16px"><span style="font-family:Arial,Helvetica,sans-serif"><span style="background-color:transparent; color:#000000">A group of astronomers go on an expedition to the Moon. </span></span></span></p>
<p>16th July 1969: America prepares to launch Apollo 11. Thousands of kilometers away, a ragtag group of Zambian exiles is trying to beat America to the Moon.</p>
<p><span style="font-size:16px"><span style="font-family:Arial,Helvetica,sans-serif"><span style="background-color:transparent; color:#000000">Set in 1960s Indonesia, Siman is a quiet man who accidentally discovers a moonlanding shooting by a foreign crew, in a haunted and unpopulated area. Siman is caught by guards and his tongue cut off. Siman goes through life in slow-motion imitating an astronaut in outer space, labeled as crazy.</span></span></span></p>
<p>"With the Scientist’s Brain, the Poet’s Heart, and the Painter’s Eye" explores György Kepes, a pivotal yet overlooked figure in media art. Directed by Márton Orosz, the documentary examines Kepes's contributions to "visual culture" and his roles at the New Bauhaus in Chicago and MIT's Center for Advanced Visual Studies. It raises critical questions about technology's role in enhancing creativity and sustainability. Through Kepes's life, the film highlights his vision of "optical democracy," solidifying his legacy in the Art and Technology Movement and his lasting influence on contemporary thought.</p>
<p>Examines the historical plight of Black farmers in the United States and the rising generation reclaiming their rightful ownership to land and reconnecting with their ancestral roots.<br /> <br /> As the co-founder of Soul Fire Farm in upstate New York, Leah Penniman finds strength in the deep historical knowledge of African agrarianism – agricultural practices that can heal people and the planet. Influenced and inspired by Karen Washington, a pioneer in urban community gardens in New York City, and fellow farmer and organizer Blain Snipstal, Leah galvanizes around farming as the basis of revolutionary justice.<br /> <br /> In 1910, Black farmers owned 14 percent of all American farmland. Over the intervening decades, that number fell below two percent, the result of racism, discrimination, and dispossession. The film chronicles Penniman and two other Black farmers’ efforts to reclaim their agricultural heritage. Collectively, their work has a major impact, as each is a leader in sustainable agriculture and food justice movements.</p>
<p>A man (Harry Belafonte), a woman (Inger Stevens) and a bigot (Mel Ferrer) roam the city of New York, deserted after a nuclear war</p>
<p>A scientist awakens to find himself alone in the world. In a desperate attempt to search for others, he finds only two who have their own agenda.</p>
<p><em>Microcosmos</em> is a journey to an unknown planet, where fantastic creatures live, obscured in deep forests of moss and grass. Where dewdrops are as large as boulders, and animals walk on water. Here, the Earth is rediscovered on a miniature scale: the unseen world of the insect kingdom. Set entirely in a quiet meadow, over the course of a single day and night, <em>Microcosmos</em> zooms-in on the landscape, until it morphs and transforms into something unfamiliar to the human eye. Filmed over three years, but preceded by 15 years of research, biologists-turned-filmmakers Claude Nuridsany and Marie Pérennou craft a near-wordless film that allows us, for a moment, to imagine life at the scale of an insect. Journeying deep into this perspective, the film acts as an initiation, inviting us to consider the beauty, complexity, and fragility of our shared planet.</p>
<p>La Jetée, is a 1962 French science fiction featurette by Chris Marker. Constructed almost entirely from still photos, it tells the story of a post-nuclear war experiment in time travel. It is 28 minutes long and shot in black and white.</p>
<p>A frustrated man travels back in time in order to change the outcome of the soccer game that forever changed his life.</p>
<p>A writer, Tucker Harding, is hired to cover an article on the hydrogen-bomb test, Nevada, 1952. While there, radiation mutates her code/soul, spawning in her the ability to travel through time by force of will. Not long after she is murdered by a woman from the future, Ofelia, intent on securing her own ability to time travel. However, before her death Tucker travels to the year 1997 where she meets Drew, a failed writer who has been infected with Tuckers original mutation since birth.</p>
<p>Multi-hyphenate, multidisciplinary artist Saul Williams brings his unique dynamism to this Afrofuturist vision, a sci-fi punk musical that’s a visually wondrous amalgamation of themes, ideas, and songs that Williams has explored in his work, notably his 2016 album MartyrLoserKing. Co-directed with the Rwandan-born artist and cinematographer Anisia Uzeyman, the film takes place in the hilltops of Burundi, where a group of escaped coltan miners form an anti-colonialist computer hacker collective. From their camp in an otherworldly e-waste dump, they attempt a takeover of the authoritarian regime exploiting the region's natural resources – and its people. When an intersex runaway and an escaped coltan miner find each other through cosmic forces, their connection sparks glitches within the greater divine circuitry. Set between states of being – past and present, dream and waking life, colonized and free, male and female, memory and prescience – Neptune Frost is an invigorating and empowering direct download to the cerebral cortex and a call to reclaim technology for progressive political ends.</p>
<p>Core Dump explores the place of screens in global and localised politics and history, looking specifically at the contradiction between Silicon Valley’s techno-utopianism, and its extractive and exploitative relationship to Africa.</p>
<p>Techne: Evidence in the Anthropocene telescopes between galactic and planetary evidence that is presented by scientists and artist-investigators who contemplate both deep time and the fate of the human species. Using the framework of a simulation model developed at NASA Jet Propulsion Laboratory that considers the probability for intelligent life to occur in the Milky Way galaxy, as well as the potential for self-annihilation; new forms and methods of investigation are highlighted. By moving back and forth between dystopian landscapes, forgotten technologies, legal conditions, and forensic traces a web of interconnected realities emerges through seemingly disparate sets of ideas and research methods. Evidence in the Anthropocene is about an era that is marked by a crisis of imagination and travels with these scientists and artists to explore the lush landscape of a remote Indonesian palm oil plantation; the abandoned ruins of a former nuclear test site in the Bikini Atoll lagoon that now appears as a sub-natural alien megastructure; the concept of the “material witness” in the context of the legal imagination; and gestures towards colonizing other planets and the “cone of imaginable possibilities” by developing weaving prototypes in zero gravity.</p> <p>More about the film at: <a href="https://danielrsmall.com/Techne" target="_blank">https://danielrsmall.com/Techne</a></p>
<p>A portrait of the blues poet Gil Scott-Heron, who gives a personal tour of Washington, D.C. and performs a concert with his Midnight Band.</p>
<p>A stranded team of soldiers are captured and experimented on by demonic-looking aliens.</p>
<p>A science fiction anthology series that aired on HBO. It was hosted by Parliament lead singer George Clinton. It also starred Casey Kasem, Robert Guillaume, and Anthony Anderson.</p>
<p><em>Courtesy of <strong><a href="http://www.mecfilm.de/services/pictures.html">mec film</a></strong></em></p> <p>A Space Exodus quirkily sets up an adapted stretch of Stanley Kubrick's Space Odyssey in a Middle Eastern political context. The recognisable music scores of the 1968 science fiction film are changed to arabesque chords matching the surreal visuals of Sansour's film.<br /> <br /> The film follows the artist herself onto a phantasmagoric journey through the universe echoing Stanley Kubrick's thematic concerns for human evolution, progress and technology. However, in her film, Sansour posits the idea of a first Palestinian into space, and, referencing Armstrong's moon landing, she interprets this theoretical gesture as "a small step for a Palestinian, a giant leap for mankind".<br /> <br /> The film offers a naively hopeful and optimistic vision for a Palestinian future contrasting sharply with all the elements that are currently eating away at the very idea of a viable Palestinian state. In A Space Exodus, Sansour does finally reach the moon, although her contact with Palestine's capital is cut off.<br /> <br /> This five-minute short is packed with highly produced visual imagery. The arabesque elements ranging from the space suit to the music are merged within a dreamy galactic setting and elaborate special effects. A great deal of attention is paid to every detail of the film to create a never before seen case of thrillingly magical Palestinian displacement.</p> <p>Director : Larissa Sansour<br /> Producer : Søren Lind<br /> Scriptwriter : Larissa Sansour<br /> DOP : Niels A. Hansen<br /> Editor : Lars Lyngstadaas<br /> Composer : Aida Nadeem<br /> Cast : Larissa Sansour</p>
<p><em>Courtesy of <strong><a href="http://www.mecfilm.de/services/pictures.html">mec film</a></strong></em></p> <p>Nation Estate is a 9-minute sci-fi short offering a clinically dystopian, yet humorous approach to the deadlock in the Middle East. </p> <p>With a mixture of computer-generated imagery, live actors and arabesque electronica, Nation Estate explores a vertical solution to Palestinian statehood. In Sansour’s film, Palestinians have their state in the form of a single skyscraper: the Nation Estate. One colossal high-rise houses the entire Palestinian population – now finally living the high life. </p> <p>Each city has its own floor: Jerusalem on the third floor, Ramallah on the fourth floor, Sansour’s native Bethlehem on the fifth and so on. Intercity trips previously marred by checkpoints are now made by elevator. Aiming for a sense of belonging, the lobby of each floor reenacts iconic squares and landmarks. </p> <p>The story follows the female lead, played by Sansour herself, in a futuristic folklore suit returning home from a trip abroad and making her way through the lobby of the monstrous building – sponsored and sanctioned by the international community. Having passed the security checks, she takes the elevator to the Bethlehem floor and crosses Manger Square and Church of the Nativity on her way to her apartment where she prepares a plate of sci-fi tabouleh.</p> <div> </div> <p> </p>
<p><em>Courtesy of <strong><a href="http://www.mecfilm.de/services/pictures.html">mec film</a></strong></em></p> <p><em>In the Future They Ate From the Finest Porcelain </em>resides in the cross-section between sci-fi, archaeology and politics. Combining live motion and CGI, the film explores the role of myth for history, fact and national identity.</p> <p>On the brink of the apocalypse, a narrative resistance group makes underground deposits of elaborate porcelain – suggested to belong to an entirely fictional civilisation. Their aim is to influence history and support future claims to their vanishing lands. Once unearthed, this tableware will prove the existence of this counterfeit people. By implementing a myth of its own, their work becomes a historical intervention – de facto creating a nation.</p> <p>The film takes the form of a fictional video essay. A voice-over based on an interview between a psychiatrist and the female leader of the narrative resistance group reveals the philosophy and ideas behind the group’s actions. The leader’s thoughts on myth and fiction as constitutive for fact, history and documentary translate into poetic and science fiction-based visuals.</p> <p>As the film progresses, the narrative and visuals alternate between the theoretical and the personal. The resistance leader’s deceased twin sister makes a crucial appearance as the story takes the viewer deeper and deeper into the resistance leader’s subconscious.</p>
<p>In Vitro is set in the aftermath of an eco-disaster. An abandoned nuclear reactor under the biblical town of Bethlehem has been converted into an enormous orchard. Using heirloom seeds collected in the final days before the apocalypse, a group of scientists are preparing to replant the soil above.<br /> In the hospital wing of the underground compound, the orchard’s ailing founder, 70-year-old Dunia is lying in her deathbed, as 30-year-old Alia comes to visit her. Alia is born underground as part of a comprehensive cloning program and has never seen the town she’s destined to rebuild.</p>
<p>John Oakleaf, Field Coordinator for the Mexican Wolf Repopulation Project, talks about the challenges of and strategies for introducing captive-born wolves to the wild. Wolf Release is a free-standing video; the material in it is related to Basquin’s feature-length experimental documentary, From Inside of Here (2020). Motion-sensor images: Mexican Wolf Inter-Agency Field Team.</p>
<p>The film depicts an encounter with a mysterious, luminous, electrical substance. Inspired equally by medieval accounts of visionary experiences and by 19th century photography of the invisible, Pwdre Ser joins Kirlian photography with hand-processed images.</p> <p>Pwdre Ser is the Welsh name for a mythical substance that has been observed by many since the 1400’s.</p>
<p>"The Jollies" is a biographical artwork about primatologist Alison Jolly (1937-2014), who was known for her pioneering theory on the evolution of social intelligence developed through her study of ring-tailed lemurs. Jolly's scientific and conservation work drew worldwide attention to the unique ecosystem of Madagascar. In this 12 minute video, the artist presents interviews with Jolly's network of colleagues, friends, and family. Many voices articulate the significance of her scientific discoveries as well as her career: group living over tool making as a driver for evolution, her description of a female dominant primate society, the role of play in learning, as well as her place in the first generation of women in the field of primatology and her development of community-based conservation. Monkeys, lemurs, and other nonhuman characters animate the conversation, producing reflection about humans as part of the primate order, social network, and ecosystem. Speakers include: Sarah Blaffer Hrdy (langhur), Pat Wright (ring-tailed lemur), Margaretta Jolly (baby ring-tailed lemur with mother), Hanta Rasamimanana (mouse lemur), Alison Richard (sifaka), and Donna Haraway (Australian Shepherd). "The Jollies" is exhibited as a four channel video installation.</p>
<p><em>We Rule</em> is from “The Leafcutters” series – a project that includes video, photography, drawing and sculpture. It was filmed at Liquid Jungle Lab, a biological research station on Isla Canales de Tierra off the Pacific coast of Panama. The soundtrack was created from wildlife recorded on location: howler monkeys, parrots, toucans, insects and an agouti.</p> <p>The piece portrays these industrious creatures as agriculturalists, living in large societies, maintained through complex systems of communication, and personifying what are predominantly thought of as behaviors and character traits solely expressed by humans.</p> <p> </p>
<p>Captain Sisko has a full sensory vision of himself as an under-appreciated science fiction magazine writer in 1950s America.</p>
<p>The Institute of Technological Consciousness (2023) is a creative research project by South African artists Russel Hlongwane, Francois Knoetze and Amy Louise Wilson. In fabricating a fictional institute and its archive, the artists explore and imagine vernacular technological practices operating across the African continent.</p>
<p><span style="font-size:16px"><span style="font-family:Arial,Helvetica,sans-serif"><span style="background-color:transparent; color:#000000"> A short documentary explores a formative moment in the life of Kenyan ritual healer Jackson, one of the last practitioners of the ritual healing practice called utapishi ('tapi'). The leaders of the local Christian church are not happy with the influence of the ritual and decide to go to court. Jackson pushes back against the threat of tapi's prohibition by local Christian church movements who seem to be determined to erase the complex history of a people. </span></span></span></p>
<p>Exploring the ancestral, traditional, cultural and spiritual ties that exist beyond the boundaries of the material dimensions, this art film visualizes the transient spirits that have come before us, watch over us, guide us, and protect us. The characters reference spiritual elements of Senegalese and Afro-Brazilian traditions, commemorating their interconnectivity within the Black diaspora, whilst tracing back anaiis’ traveled upbringing and inspirations. United through movement and ritual, anaiis’ guides are summoned into a meditative ceremony as an ode to the mystical powers that lead her path.</p>
<p>The distant future. A Nigerian space station in a remote corner of the galaxy orbits an artificial pinpoint of matter so dense it cannot exist in our solar system. It is a recreation of the birth of the universe itself, contained for the purpose of study, and overseen by Yetunde, sole crew member on the space station Eko.</p> <p>The Golden Chain is a first time collaboration between experimental filmmaker Adebukola Bodunrin and graphic novelist Ezra Claytan Daniels. Fluent in very different disciplines, the two artists found common ground in their passion for Afrofuturism. Bodunrin has thrived exploring the lose structures and formal play of experimental cinema, while Daniels has met acclaim with rigid, cerebral science fiction graphic novels.</p> <p>The Golden Chain finds the two artists intertwining their contrasting aesthetics to revisit the themes of the Yoruba creation tale. Obatala’s descent from the heavens to create the earth and mankind becomes an astronaut traveling to the edge of the galaxy to create a new Heaven. Blending traditional motifs with hard science fiction, Bodunrin and Daniels create a world at once fantastical, yet almost plausible, in order to ask the question: "Where will we go, given where we came from?"</p>
<p>The sea was the first to see us and so the sea will be the last to leave us. A visual poem from Kenya that explores blood memory, creation myths and ancestry.</p> <p>A Visual Poem by Philippa Ndisi-Herrmann<br /> Editing by Angela Wamai<br /> Underwater Camera by Jahawi Bertolli</p> <p> </p>
<p>A ritual performance art film which invokes the intuitive aesthetic powers of two critical elements in ritual practices in Africa, i.e. the human body as a process of being, and water as a living spirit in the alchemical process of purification and transformation.</p>
<p>Garden ghosts flirt with the weeds of spring, cycling matter[s] and lives and deaths.<br /> <br /> From Felix Salten's Bambi, chapter on Winter:<br /> <br /> “Can it be true,” said the first leaf, “can it really be true, that others come to take our places when we're gone and after them still others, and more and more?” “It really is true,” whispered the second leaf. “We can't even begin to imagine it, it's beyond our powers.” “It makes me very sad,” added the first leaf. They were very silent a while.”</p>
<p>Since comets have been recorded, they’ve augured disaster: catastrophe, messiahs, upheaval and end times. A short film about these meteoric ice-cored fireballs and their historic ties to divination that combines imagery of 15th-18th century European broadsides with NASA Jet Propulsion Laboratory footage. ...These Blazeing Starrs! juxtaposes a modern empirical desire to probe and measure against older methods, when star gazers were translators, explicating the sky more intuitively for predictions of human folly. Comets are now understood as time capsules harboring elemental information about the formation of our solar system. Today we smash rockets into them to read spectral signatures. In a sense, they remain oracles-it’s just the manner of divining which has changed.</p>
<p>the air we breathe is an expanded, experimental documentary that thinks through the complexities of air pollution by weaving together themes of environmental catastrophe, environmental racism, cultural and political shifts, and conspiracy. Combining research into air pollution along with personal storytelling and speculative imaginings, this project deeply considers the complicated ways in which our air impacts us: from the way that smells travel through it and the memories they evoke; to the physical impacts of pollutants through shared inhalation; to the ways in which the air serves as a metaphor of connection in a cultural sense. Exploring the systemically racist decisions that result in unequally distributed impacts of air pollutants across geographies, this work considers the act of breathing as one of both political and social potential.</p>
<p>Taking its title from Charles Altamont Doyle, the film is a meditation on ritual, at once a labor of love and of pain, of parting. A taxonomy of the investigation of love, of becoming. In perpetual beginning. In perpetual ending. Coming into vision, into the present, a leaving. A leaving.</p>
<p><em>in ocula oculorum</em> interrogates the unknown and the internal, in both subject matter and experience. Dealing with the contemporary state of perpetual doom, the film contemplates various stages of life and death from the point of view of our human bodies and perceptual systems. It explores beta movement and phi phenomenon, pushing the limits of intermittence and persistence of vision, playing with our innate desire for continuity and cohesion by forcing image slip.</p>
<p>A world tender and unhatched, Future chaos in repose, in slumber. Yggdrasil. Microcosmos. Batter in a bowl. A living wreath. Oleander hyacinth blow away dandelion, particles of an interplanetary lullaby.</p>
<p>"Our Body is a Planet" is an art/science collaboration between Léonie Hampton of Still/Moving and scientists at the MRC Centre for Medical Mycology at the University of Exeter. This short film challenges the way we think of ourselves as individual genetically prescribed entities, independent from our surroundings. Without fungi and bacteria our bodies and biosphere would not exist; we are in partnership with the microbial world. Our bodies are made up of more microbial cells that our own ‘human’ cells. This symbiotic life sustaining alliance is under threat, partly as a result of the colossal scale of the destructive practices wrought by humans on the planet during the age of the anthropocene. The delicate balance between living bodies and the world is in danger. Fungi are being forced to adapt to changing environments and this is leading to an increase in fungal pathogens and the spread of new diseases. Today, mostly as a result of modern medicine, HIV, and climate change the number of lethal fungal infections is increasing, killing 1.5 million people a year. If these practices continue to grow scientists warn that we will face a medical emergency with an increase in drug resistance, and the threat of fungal virulence due to climatic change.</p> <p>Simultaneously there is so much to be gained from the study of fungi; about which we still understand very little. They offer us collective, resilient, regenerative ways of being that might in turn lead us back to a more balanced partnership with the microbial world and one another. The symbiotic and pathogenic pathways of fungi challenge our animal imaginations and mechanistic modern systems of life, offering new possibilities of how we might learn to “live and die well together on a damaged planet” *</p> <p>*Anna Tsing, The Mushroom at the end of the World</p> <p><a href="http:// https://stillmoving.org/projects/our-body-is-a-planet">Our Body is A Planet Webpage</a></p> <p> </p>
<p>“Yummy Body Truck” is a fictional food truck that sells ‘edible human body parts’. The stall collects samples of organisms found nearby, grinds their flesh into mouldable paste, and reshapes it into forms of human bodies. Different types of flesh can be characterised by factors such as pigmentation, endocrinological condition and toxin accumulation. As the paste is shaped into body parts, those aspects gain more political significance: The pigmentation of brown meat turns into ‘race’, and oestrogen residue determines ‘gender’. The truck serves the body parts in a lunchbox, and an instruction video guides visitors on how to see, smell and taste them. The flavours of pigments, hormones and toxins make them more aware of the nuances of the bodies that they eat.</p>
<p>A dialogue between two selves – infant and adult, the film traverses through a series of psychological events, transforming memories, emotions, thoughts and imagination.</p>
<p>The film showcases medical records of posthuman patients in an imaginary hospital through experimental digital images.</p>
<p>In “Mother is a Woman”, Fan extracted estrogen from urine samples collected from their post-menopausal mother. This estrogen was then blended into a face cream and distributed to Fan’s network of non-biological kin. This project grapples with the slippery constitution of “natural” and “synthetic” genders, posing a series of seemingly absurd questions: What happens if I re-feminize my body with my mother’s estrogen? If your body absorbs my mother’s estrogen, are you feminized by her? If so, who are you to her, and who are you to me? Can our epidermis be our first contact of kinship? Can kinship be infectious?</p>
<p>Xenophoria chronicles Fan’s pursuit of eumelanin pigment, the molecule responsible for skin color found in both human and non-human bodies. Referencing the aesthetics of both microscopic imagery and autonomous sensory meridian response (ASMR) videos, "Xenophoria" includes actions such as dissecting squids and bursting their ink sacs, harvesting fungi with scalpels, and locating bodily moles, irises and skin. The work also includes close-ups of bulbous tumors protruding from faces in the medical paintings by Qing Dynasty painter Lam Qua. In this work, Fan presents an absurdist investigation and fetishization of the molecule responsible for centuries of racial othering, suggesting how this molecule in fact exists within all of us, human or not.</p>
<p>Youngchun Hur is the father of Private Wonkeun Hur who lost his life in 1984 (during the Fifth Republic of Korea). Suspecting the death of his son, Mr. Hur taught himself forensic medicine to reveal the truth. Autodidact was initiated by my meeting with Mr. Hur, at that time, a family member of the victim as well as an unofficial forensic investigator. The video shows magnified images of Mr. Hur’s investigative materials he studied and his handwritings, while two different narrators tell a story. (The script was made based on my conversation with Mr. Hur about his struggles, in which he went against the state’s cracking down on his attempt to unearth the truth over the last 30 years. The topics of conversation also include politics and key life events of the time, and the forensic evidence he found.) The two alternating narrators are Mr. Hur himself and a man in his early twenties. The work attempts to reflect the “voice” of the others through reading the material only with eyes, reading aloud, and re-reading by a different person’s voice.</p>
<p>The film is a visual experiment, an effort to attend to the recurrent cylindrical formations that permeate human bodies, our technology, our parasites, and most of our cities’ infrastructures. Through a focus on form, the project seeks to generate unexpected connections between categories often seen as entirely separate from each other. The connections that emerge from the repeated attention to tubes are also seen as a challenge to the traditional boundaries between the human and the nonhuman, the body and the world, the natural and the artificial. In the film, as inside of any tube, perspective is lost, there is no up nor down, inside or outside, just a dizzying encounter with sameness. </p> <p>Music: Marina Peterson and Cassius Walker<br /> SEM images: František Moravec and Liesl Van As<br /> Microscope footage: Steven Gielis</p>
<p>‘Nevil Maskelyne, celebrated magician, proprietor of the Egyptian Hall and astronomy enthusiast, filmed this solar eclipse in North Carolina on May 28, 1900. Recently discovered in the collection of the Royal Astronomical Society, the film is believed to be the first surviving astronomical film in the world. It is a fragment showing the corona around totality and the 'diamond ring' effect.’ – British Film Institute</p>
<p>Brilliant Noise takes us into the data vaults of solar astronomy. After sifting through hundreds of thousands of computer files, made accessible via open access archives, Semiconductor have brought together some of the sun's finest unseen moments. These images have been kept in their most raw form, revealing the energetic particles and solar wind as a rain of white noise. This grainy black and white quality is routinely cleaned up by NASA, hiding the processes and mechanics in action behind the capturing procedure. Most of the imagery has been collected as single snapshots containing additional information, by satellites orbiting the Earth. They are then reorganised into their spectral groups to create time-lapse sequences. The soundtrack highlights the hidden forces at play upon the solar surface, by directly translating areas of intensity within the image brightness into layers of audio manipulation and radio frequencies.</p> <p>More at: <a href="http://www.semiconductorfilms.com/root/Brilliant_Noise/BNoise.htm" rel="nofollow noopener noreferrer" target="_blank">semiconductorfilms.com/root/Brilliant_Noise/BNoise.htm</a><br /> </p>
<p>In Chile's Atacama Desert, widows search for the bones of loved ones, left by Pinochet's atrocities.</p>