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He is going to discover that a dream is not worth as much as real life, despite its difficulties and disappointments, can give naturally. No entanto, apesar das boas. Despite his good intentions, however, he triggers one catastrophe after another and the more he attempts to set things right, the worse the situation becomes — until everything winds up in a sea of foam. Nasceu em em New Bedford, Massachusetts. Stephen Kijak terminou recentemente. Sabemos que tiveram sucesso, mas como?

This is the story of the Stones in exile. This is the Stones fighting for their lives. Avoidingbankruptcy as tax exiles in France, they are struggling to make an album. We know they succeeded, but how? Stephen Kijak was born in in New Bedford, Massachusetts. Executive produced by David Bowie, the film tells the story of one of the most enigmatic and influential figures in rock history and features such luminaries as Brian Eno, Radiohead, Sting, and Jarvis Cocker.

Foi uma das finalistas do concurso Jovens Criadores em , com o projecto Rebel Red Dog, onde tocava baixo. In a group of friends got together and formed Atomic Bees, with Rita in vocals. She was one of the finalists in the competition Jovens Criadores in with Rebel Red Dog, where she played bass. That same year she started developing her talent as a pianist in her solo project, Photographs.

A acompanhar o disco, foram produzidos 13 curtas-metragens realizadas por diversos autores. With this record, were produced thirteen short films directed by several authors. This show will materialize, therefore, the exhibition of these films with a live concert by Rita Red Shoes. Quis ser surpreendida.

Quis outros pontos de vista. During my writing process, images often come to me. Some are created by me, others come from films, photography and painting. I realised then that it made perfect sense to have new approaches to my songs, from a visual perspective. The choice of names was simple and based on my admiration for their work and career.

I wanted to be surprised; I wanted new points of view. Besides my great satisfaction and pleasure in having these films to accompany the record, I also have strange and wonderful feelings of empathy and proximity that this sharing experience has helped create. Their debut album was released in March and includes the best songs rehearsed between concerts and jam sessions. For Curtas Vila do Conde, Orelha Negra will play a special soundtrack to a selection of vintage short films taken from a tourist catalogue to several cities, Soundtracks for the City.

This series is made out of uncut versions of a set of promotional films made between and , depicting some of the biggest cities in the world. The majority of the prints were silent, and in Ian asked a variety of composers and music-makers to create soundtracks to inject a new lease of life into these faded films from yesteryear.

This area of educational, travelogue filmmaking disappeared with the rise in TV and video viewing, and the consequent changes in the culture of cinema presentation and attendance during the s. The practice of blacking out a room at home and running a film projector with an 8mm short on a special interest subject, also became a thing of the past.

Nevertheless, while they may appear dated, the films in this programme have a distinctive period charm, now revived through the rejuvenating qualities of contemporary music. Precisamente o que acontece com Orelha Negra. E depois? A Orelha Negra vem dar ainda outro passo por sublinhar a base instrumental que tantas mensagens suportou, e encarando-a a ela mesmo como uma mensagem. Aqui e agora. The impulse to combine and share experiences — in a studio or on a stage — has always been at the basis of some of the biggest creative advances in popular music.

When experiences that have been accumulated over time by different individuals are combined, the result is almost always greater than the sum of its parts.


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The issue here is dialogue — between the past, filtered through a sampler, and the present, as imagined by musicians: a loop taken from a Paulo de Carvalho song may leave behind its source, start a new life through repetition and harmonize everything else — scratch, bass, drums and keyboards — and then what? The digging is part of this background, of this culture. Orelha Negra brings the spirit of the quest to their music, a laboratory that researches our memory.

Orelha Negra takes one further step because it underscores the instrumental base that served as background to so many messages, seeing it as a message in itself. A universal groove, sure, but with a taste that can only be cooked in Lisbon — right here and right now. The authors of this gigantic oeuvre, from which the human eye can only discern the outlines, are too many to be mentioned here.

The ensemble is presented as an Encyclopaedia, whose entries are imaginary, as are its authors. The subjects covered up to now are: music. O Ensemble Modern Frankfurt ,. September 30, , Rouen. French composer of stage, chamber, choral, electronic and piano works that have been performed in Asia and Europe. He studied aesthetics, cello, conducting, and harmony and counterpoint with various teachers, and followed during three years the seminars of compared poetics by Jacques Roubaud in Ecole des Hautes Etudes Paris, , He wrote an History of Music published in by Flammarion, Paris , and is the initiator of the artistic collective CRWTH, which is active in the performance of multimedia projects since Animals with strange names and countless breeds of dogs, have long deserved a close and friendly look that sought to unveil life without deflowering its mystery nor disturb such a fragile ecosystem.

Percussion band Drumming was formed in Oporto in and became well known through its participation in Oporto — European Capital of Culture Drumming has been synthesising the evolution of erudite percussion in Portugal as well as in Western culture. They have quickly gained the acceptance of audiences and critics alike becoming a significant part of the Portuguese music scene. They have contributed to the promotion of a series of important contemporary pieces, creating their own repertory and encouraging dozens of Portuguese and international musicians to compose for the group who has explored the most diverse and imaginative ways of expressing percussion, gradually winning new audiences for their music.

Under the musical direction of Miquel Bernat, Drumming stands out for their uniqueness combining the professional life experience of Bernat with the many styles and musical backgrounds of its members producing an eclectic mixture that includes contemporary music, Rock, Jazz and World Music as well as music for theatre, opera and ballet.

Contacto Contact Drumming, drumming drumming. Over the last ten years, Bruno de Almeida has become one of the most prominent Portuguese directors with a unique and independent trajectory built alongside his own production company, Arco Films. No In , they issued their first album, Vol. Since then, the group has presented their own innovative mixture of fado, rock and soundtracks from Westerns.

The result from this plastic and musical work was surrising and led us to adapt the piece to a film-concert performance where we added a series of new concepts. We used electronic processes such as slow motion, pitch changes, delays, reverberation, distortion, loops to create a base to which the musicians added new melodies. Some sound collages were produced using Dada concepts such as chance operations and ready-mades, where unchanged pre-existing sounds are added to new structures.

The idea of noise as a plastic sculpture is adopted and explored further in cacophony, dissonance, and atonality and by the use of formal repetitions. The images are also fragmented, processed and altered, deconstructing the context where they were initially used, proposing an appropriation of image as plain matter.

Nuno Rodrigues. Ken Jacobs is a pioneer of American avant-garde cinema. Ken Jacobs was born in New York and studied painting under Hans Hofmann, although film-making soon came to dominate his artmaking activity.

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Found footage would take on a special meaning both in his own work and in some of the most innovative trends in experimental film. Jacobs also developed an interest in the performance possibilities of cinema, staging 2D and 3D shadowplays and developing a technique he calls The Nervous System. For this, he uses two stop-motion film-projectors and two prints of a film to combine adjacent frames onscreen, conjuring up uncanny spaces and impossible motions. Renditions of some of these. Ken Jacobs nasceu em em Brooklyn, Nova Iorque.

Em , com a ajuda de Larry Gottheim e dos estudantes deste um dos quais era J. Ken Jacobs was born in in Brooklyn, New York. He was a featured filmmaker at the International Film Festival Rotterdam in He later developed The Nervous Magic Lantern, a single lightsource throwing depth-images onscreen from other than film-sources. Over the last decade, Ken Jacobs has become a serious researcher of the experimental capabilities of digital cinema. Within the scope of this exhibition there will be a set of activities that are included 18th Curtas Vila do Conde — International Film Festival.

The Nervous System is the name given by Jacobs to the live projection setup that he developed and used for performances from to It consists of two identical motion-picture film prints on two 16mm analytic or 35mm filmstrip projectors capable of advancing one frame at a time and freezing single images on screen. An exterior shutter, in the form of a spinning propeller positioned between the two projectors, is used to rapidly alternate between, and blend together, the two frames by interrupting the projections with imageless intervals.

The exterior shutter technique was discovered and first used with slide projectors by the artist Alfons Schilling, who invited Jacobs to apply the technique to film in It became an integral component to the Nervous System and was used in every work. Using short film sequences projected as a series of stills, The Nervous System operates on the temporal and spatial differences between two near-identical film-frames that are often only one frame apart from one another in filmic sequence.

As described in the digital videos section of this document, Jacobs calls the effect produced by this method, eternalisms. Ken and Flo Jacobs always manipulate Nervous System works live to pre-planned routines and the apparatus is usually made visible to the audience in the performance space.

Com este. In he ceased performing with the Nervous System and began to exclusively use the new technique in his live work. The Nervous Magic Lantern operates on the same principle as a traditional magic lantern projector: objects and transparencies, placed between a bright theater lamp and an arrangement of lenses, are projected at large scale and with no definable edges onto a projection screen or wall.

An external spinning shutter, such as that used in the Nervous System, is mounted in front of the lens, introducing a heavy strobing effect that sets the image in perpetual 3D motion. Ken and Flo Jacobs manipulate the apparatus live throughout each performance, concealed from view behind a lightproof enclosure.

Atmospheres , sound. Deep Silence silent. ZOOM mobile viewing chamber. Lengths of discarded 35mm movies were hung outdoors between trees. Onde se podia ver o que fazia os filmes mexer. A ironia manter-seia como atitude duradoura, quer ao encenar os gestos falsamente grandiosos de Jack Smith ou ao quebrar a barreira do bom gosto entrando nas engenhocas do 3D. Sem suspense! De bastantes anos, quando muitos trabalhos chegavam e partiam sem que quase se desse por isso.

Transbordavam vida. Juro que consigo cheirar as axilas da Joan Blondell. As suas personalidades precediam as suas personas. Aquilo a que decidi chamar paracinema, coisas como teatro de sombras, entraria no reino da divina efemeridade do teatro. Desconfio que convenci poucas pessoas. A ideia geral bastara. De alguma forma, eu sabia o que estava a fazer e onde queria chegar. Seduzido pela profundidade. Solto uma risadinha e saio, dou meia volta e torno a entrar. E desta vez, fico eu com o ovo de ouro! Gregory obrigado, Jonas explicaria como. Eu respeitava tanto Hofmann e as suas ideias, tal como as entendia, que passar a um ilusionismo 3D me parecia blasfemo.

O quotidiano com as sensibilidades activadas. Fora ela pingada ou atirada? Imaginava-se o artista a deixar pingar ou a atirar. Uma trincha teria deixado um largo rasto ondulado por toda a tela? Os desenvolvimentos na pintura tinham. Chegara o momento: as luzes do teatro apagaram-se e Onde estavam os meus interruptores? Tantos erros. Ah, teatro de sombras A vida era mais barata. Acredito que a tela, como um registo de performance, conduziu aos Happenings.

Eu vi algo a acontecer na pintura e fi-lo acontecer em tempo real. Serei eu um arrivista do 3D? Faz-me subir a escada. Dos que. Recordando-me que Jack tinha concordado que, quando SSTD fosse exibido, que ele abriria e fecharia as cortinas, com 20 minutos dados a cada um destes grandes acontecimentos. O pior foi para o inocente Dr. Cozinhado em manteiga torrada, pois. De uma forma geral,. Para se sentir e se colocar no contexto espacial, uma andorinha. Virar-se um pouco. Localizar e estudar a dor. Uma coisa bastante estimulante. Toda uma linha de autoclismos a reverberarem nas paredes de azulejos.

E pensando bem…. Fiquei apanhado! Sentir, tal como ensinava, era uma forma acrescida do pensamento. Ficamos familiarizados com as possibilidades. Falei com o Fred Worden sobre trazer. Inspirado, ele inspirava. Quando era teenager e estava com gente da minha idade nem sequer sabia quando devia falar.

Havia algum sinal para enviar e outro para receber? Talvez passem 25 anos entre cada performance. Ao escrever isto, tenho marcada apenas uma performance, em Janeiro no MoMA. No entanto, o Nervous System como performance acabou. Agora temos a Nervous Magic Lantern. Isto daria outra gargalhada. Pregunto-me se Brakhage alguma vez viu o que eu fazia. Ver um filme colorido teria sido — no que.

E provavelmente a sua arte lucrou com essa perda. Completamente enganado, completamente enganado. This I figure was why I got the lead in Jack And The Beanstalk, a shadowplay presented against a stretched bedsheet: I was there long enough to learn the part. A storyteller did the voices. Bare as it was on my side of the sheet, the campers watching our shadows laughed and applauded, yelling for Jack to run when the giant awoke. The machine phenomena of film would be the thing that grabbed me in later years. It was an enormous move then, before remotes, from moviegoer to where on the inside it was possible to stop and look around between frames.

Where you could see what made the movies tick.

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I was studying painting then, on 8th Street, the right place at the right time, after the jolt of Cubism had demolished convincing illusion as a pictorial value. Cinema for me would remain a playing on the margin of illusion and its imminent collapse into evident means, the drama of a tottering pretense, without the anxietyaddiction we celebrate as story an unconvincing story would be okay, with the audience having to actively make-believe. The last thing I wanted a viewer to be thinking about was what was going to happen next and will Happy Ending arrive on time.

No suspense! From the start there was the allure of the loop. Now the saturday-matinee kids could follow the perilous trials of Being itself. There would be no fooling my audience. I do tricks, on a stage. But even he never thought of demonstrating to the audience how the trick is done and then doing it. We would collaborate, audience and I, in fooling the senses, while knowing the laugh was ultimately on ourselves, banished from knowledge of what things were beyond the faulty evidence of the senses.

Our laugh would be part good-natured and part shit-eating, in the way that a conscious person resigns to a life-sentence of conscious error and even embraces it. I would show audiences the parts I would be bringing together, for instance with The Nervous System: twin filmprints, stop-motion projectors, a. Which is not the same as trying to be funny or the works intended as jokes.

You want the Charlotte Moorman story. Flo and I carried, from Ferry Street alongside Brooklyn Bridge to The Battery, a painted shiny bright red on the outside, dull black inside plywood stall, like a small outhouse, open to one side and high enough and just wide enough for one person to step into. We fastened it to the ferry facing forwards and then, return trip, it was a zoom shot facing backwards towards Staten Island the dramatic New York-facing side of the ferry had been taken, but Staten Island worked fine.

Stepping into the dark stall one could steady oneself holding a wooden bar and lean forward to look through a slit towards another cutout, in a second blackened panel a foot away, having the dimensions of a widescreen movie. A second such arrangement of peephole-slit and widescreen-finder was available below for children to look through.

The finders transformed the seeing of approach and departure, the side to side jockeying of the ferry into docking position; one now saw a 3D movie. Pictorial events took place within the rectangle at the same time that you could feel with your whole body massive motions connected to what you saw, the picture wagging the ferry, and hear tremendous related surround-sounds especially when the ferry would go crunching against the piles and the picture would settle for awhile in a grand confluence of energies. Kids were more likely to catch the quality of transformation and stay with it.

For adults Flo and I spied, hungrily observing responses it was more often a shaggy-dog stunt, as if the whole point was to trick them into a box to see the same thing available to be seen outside of it. Attached below are some of the program notes I wrote over the years. Many years, when many works came and went with little notice. A reason early talkies have so much flavor other than the churches had yet to succeed in emasculating them was that a new wave of performers had been swept in from life-experience, the ultimate improvisation. Hired by the Warner brothers they hit their marks running, pulling in their backgrounds.

They were redolent with life. Their personalities preceded their personas. What I got to calling paracinema, things like shadowplay, would cross into the divine transiency of theater. Richard Levine disapproved, saying paracinema like paramedic and paralegal indicated a lesser cinema, not the real thing, not an equivalent cinema created by other than filmic means or by using film in other than standard ways; equivalent, or parallel to, is what I had meant to convey. I suspect few people buy that. And that for most people performance is wishy-washy compared to the finality of film.

In the can, every frame accounted for, decisions decisions decisions, and no less alive for that. But both abstractexpressionism and jazz improvisation had impressed me deeply. Glenn Gould got flack for moving from concertizing to edited interpretations. I transgressed in the other direction; after the very earliest public screenings projectionists had been tamed and toying with direction and tempo gave way to uninterrupted absorption in subject matter.

Deliver that story! Somewhere there is film, sitting alongside the sunset, both wondering why hardly anyone comes around anymore to see them do their stuff. Kodak Analyst limited to foot reels. Designed for fast-slow to-and-fro study of golfstick swings and strafings by airplane gunners, for me it meant the thrill of seeing the minutia of the photographed world circle and dance over and over in an elastic time. I did not call him Joe. The one time I brought along Jack Smith the big babies hated each other at first sight. Suffice to say he was generous in his way, freely lending me films from his brilliant collection of disregarded wonders like The Belcher Sisters, meaty stage-tumblers in white gymnast outfits, hilariously appropriate to Kodak Analyst study.

Irony is intimate, inclusive, a wink passed between sender and receiver. Which is what happened, not that I think this is the way for everyone to work. Editing SSTD was a matter of watching many moments of wild release in the shooting now leap to join in sequential sense, snapping into place.

The rough idea had been enough. I had to have known on some level what I was doing and where I was going. Taking the specs apart and much trial and error revealed what was working. Hans Hofmann had stressed the primacy of the surface, even as depth was to be constantly referenced; seeming contradictions were breaking my head. Our friend Noel Sheridan of the cameo profile was a painter with a background in Irish theater and he supplied the shadow for Thirties Man, willowy Flo dancing onstage in the role of His Girl.

We rehearsed assiduously in our Ferry Street loft alongside the Brooklyn Bridge. There was no opportunity, however, for a dress rehearsal on-site. Sharing an evening crowded with other events would you believe it? It was now the moment: all the theater lights went off and Absolute blackness.

Where were my light switches? Beloved pot-head assistant Al Valentine flicked on his cigarettelighter and we began. So many mistakes. Finally, Noel and Flo did their shadow-bows and I immediately pulled down and balled up the paper screen and ran out with it, mortified. And yet when audience members did see me again it was to tell me they loved it. Ah, shadowplay.

Time-labor intensive! Like staging a movie in real-time and then no movie. But things were happening with the muscles of my eyes and I was feeling the impact of volumes everywhere. Spatial anomalies were becoming evident, where the optical effects of motion and color would cause lesions in what I knew were flat surfaces.

Seduced by depth. Flo sends me to get an item from the drugstore. I snicker and leave, circle and re-enter. Compound or multiple depth readings of surface signs was desirable. I so respected Hofmann and his ideas, as I understood them, that slipping into 3D illusionism felt blasphemous.

Even today I sometimes tell audiences my work is too easy on them, too outthere in its effects, depriving them of the opportunity to grapple with a picture-plane that, in its eternal instant, holds all back-and-forth and identity changes simultaneously in the perfect formula making up its surface-display. Beginning in the early Fifties, without knowing others were doing similar things when I did learn I stopped , I was creating small-scale Happenings.

Not public spectacles but purely for the benefit of their few art-minded participants. Aimless esthetic actions, looking surreal but not really. The quotidian with sensibilities turned on. Happenings were in the air, perhaps because much of what was then contemporary painting could support the description Action Painting. Had it been dripped or flung? Had a wide brush rippled paint in a wide swath across the canvas? That placed in mind a hand loading the brush with paint from a bucket, an arm swinging, a muscular forearm.

The canvas reflected choreographic activity. Paint applications joined to shape the plastic idea at the same time that they related the drama of their arriving there, including -very important- sequence of application: was this patch placed before or after -and does it lay under or over- this or that neighboring patch? The difference could start a revolution I believe the canvas as record of performance led to Happenings. Process would step further into receiver territory with the Nervous System film performances. Abstraction see the word action tucked in there?

I saw something happening in painting and made it happen in clock-time. Something suggested, implicit, I made explicit. Am I a 3D vulgarian? I guess someone had to do it. A funny, excrutiatingly embarassing story. A year or so after I stopped taking classes on 8th Street with Hofmann I would study again with him in Provincetown, and meet Flo we chance into each other on Bleecker Street. I am broke, seriously hungry, loveless, beat.

Very bruising, after which he and Yoko went into seclusion to pull themselves together, and -bummed out as I became- that was it for The Apparition Theater of New York. Once in a great while I shake out the old shadows and present an evening,.

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After stereo projection each picture was again shown as 2D with one of the two projection lamps turned off against a board covered with luminescent paint, temporarily preserving the image. A dozen or so such illuminated boards were sent circulating among the audience for close perusal. Followed by a short colorfilm of a Chinese magician and then a particularly colorful 3D shadowplay to Chinese celebratory percussion music: Flo and Helene Kaplan and seven year old Nisi going through the motions of preparing food, slicing lettuce in 3D close-up and so on, with savory smells preceding their emerging from the shadow realm bearing trays of hot egg-rolls with hot mustard -What hath shadowland wrought?

Our kids ate 3D spaghetti in this one, which came with naked ladies and live chickens had to drop the chicken act because of the smell and because the poor things were manufactured and conditioned to caged indolence. Shadowplay has always had a place for toddlers and for small animals.

A great animal moment was in a shadow revival at CalArts when a King Kong puppy apparent size being malleable in shadowplay , projected from underneath, pissed a hearty jet on a screaming audience, 3D shadowplay being a wraparound experience and not something only happening upfront. When the Walker Art Center was able to borrow two spider monkeys, the audience entered and shared the interior of their cage, optically enlarged to fill the entire theater. The naked ladies: one close behind the screen and the other before it on the audience side in a -temporarily and illegally- entirely darkened theater space.

They were near-identical in build and, in the soft 3D illumination, viewers wearing Polaroid spectacles watched the silhouetted women, one actual and the other a projection, quietly merge into one multi-limbed and two-headed dreamgirl doing chancecombination art-class poses. Alphonse lived nearby on Broadway I was commuting to Binghamton and for a while we seemed to be producing works for the exclusive pleasure of each other. We traded techni-. Developments in painting meant something then; the arts were far less crowded, with far less rings in the circus; an intellectual was more likely to be a Renaissance Man or Woman as it was still possible to follow the smaller spread of developments.

The cost of living was cheaper. TV was unwatchable, meaning there was that much more time available to learn just who was this Dylan Thomas. Two profound colleagues then went their own ways, Alphonse returning to considerable success in Vienna. It was time seen as depth, with no respect shown for the way things normally stack up one behind the other, viewer to horizon.

Rigorous and demanding, usually built around sardonic social observations and sometimes downright grueling to absorb, they attracted a limited if devoted audience. Benign neglect allowed me to work, no small thing, and with film-lab prices becoming impossible I could afford to put found-film through my projectors. My favorite flop was clearing out the Queens Museum except for one fellow sitting in the middle and a young couple in the front row way off to one side, obviously the very worst seats for hearing or seeing stereo. The infant must learn that forms continue though our seeing of them may be interrupted by other forms closer to us.

We adapt to a surrounding patchwork of interrupted and interrupting forms, inferring completion of each Baby must learn that there are discrete bodies and get a fundamental grasp of entireties that, as they move, or as Baby moves, change shape; Mom and Dad and the dog and cat, tables and chairs -whoever they are, and constantly reshaping rooms.

No wonder that Baby suddenly thrown into the swim of things will stare agog or burst into tears. Those that did look mostly kept it to a glance, and removed themselves smiling, good sports that they were.

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A fellow approached me as I stood at my Nervous Magic Lantern projection setup after a very well attended recent show I was blocking anyone from studying it; yes, the fellow determined to expose mechanism wishes to investigate his present discovery without being crowded for a while. Attached to the films were cardboard 3D viewers that could be slid from place to place to optically couple frames seen sideways, a first step into disorientation two and a half inches apart, forming stereo images one perspective times another equals infinity that made no spatial sense.

Instead of the orderly and consistent plunge into depth one sees with adjacent eyes, reporting to the arbitrating mind similarities and differences in their parallel fields of view, this was depth created by movement of the motion picture camera itself between frame-. The body is so innocent! We depend on its conditioning to sail us through our days with minimum attention.

Take me up these steps. Brain, deduce a 3D world from these pairs of 2D pictures fed you by this arrangement of bright button eyes. Balls, regenerate the species.

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Or you keep innovating, pushing on, lucky to have a few colleagues moving along with you while leaving behind casual or uninitiated viewers utterly flummoxed. And is participating, if only that much, in the communal project that is the further making of mind. As against the corporate project of making us all as stupid as the President of The United States. Teaching gave me a steady outlet for my performance urge. Alternating with talk were long sessions, up to three hours, of teaching by selection and juxtaposition of sound and picture elements, both complete films and sections, even fragments, together with slides and even live skits of a sort.

A marvelous offshoot was The Didactic Theater Of Gibberish events of former students Jim Hoberman and Bob Schneider, a vaudeville of stop-and-go screenings in which they slim Jim in his cool leather jacket, unkempt Bob big and raving exercised their passion for Sam Fuller. The Cinema Department, as much as it valued the metric cinema of Kubelka, the epic romanticism of Brakhage, was more than open to such indefinable mutant works.

Including performance that Larry Gottheim and I would have to resourcefully defend as para-cinema when put on the carpet as happened after Peter Kubelka suggested we invite Hermann Nitsch to stage his bloody theater-art on campus. It was desperate orgiastic raging wrap-around visceral theater, the aim being sense-overload and depth-psyche spasm or abreaction. It became a bloody Binghamton scandal. Worse for innocent Dr. Nitsch, veterinarian, just down the road from the school and confused with Hermann. I was 2 years into a 3-year contract when the to-do prompted President Dearing to rush through my tenure his son was an artist is the only way I can figure it.

In a firehouse with big black stoves rented for the occasion by the Cinema Department, he cooked a feast that included the animal slaughtered for -not by- Nitsch lasting the entire night, each course of many many announced by a blast of symphonic music. Gray dawn and we proceeded, Fellini-like, to the Binghamton zoo to marvel at and to pay our respects to our living cousins. Ersatz tropics issued from four alternating 16mm.

The films proceeded from beginning to end in general but with the projectionists arbitrarily shifting from film to film, rethreading films while others were showing, eventually coming around to each of the many titles for further sections, so that approaching 24 hours of projection-- when we had to wake sleepers strewn on the theater floor so as not to miss it-- many movies contributed in turn to our tepid but extenuated climax. There had been no viewers other than my students and some invited friends, and when someone thought to put a sign on the door inviting passersby I turned it inside-out lest the occasion be trivialized.

A shuttle alternated two stereo-images, a flipping back and forth between related picture-volumes that tended to cling to each other making a momentary 3D morph on the changes It has to be the predicament of poets, composers, dancers, of nearly all high-art performers in a low-brow time, when the things that do get hugely promoted --in the economy of attention-- have to take attention from at the same time as they direct it to.

How then explain the willingness to keep going? The inventing is so interesting! Only recall being rained in and the ecstasy of playing alone with your blocks or dolls. You want to share results but not everyone has it so together to get out there and do the pushing. Their artificially produced 3D images intermittently obey, then disobey solid as against open space etiquette. A horse in the background appears in. A really complete screening of SSTD would include those hundreds of manic classes. Reminding me that Jack had agreed, when SSTD was to be shown, that he would pull open and shut the curtains, with 20 minutes provided for each grand stage event.

Fragile chicken-boned Jerry Sims coerced with dollars to stand on a shaky chair in a black space amidst the audience while narrow-beamed penlights travel searchingly over and around his head and hands and rumpled oversized clothing. An airplane motor drones while a nude woman behind the cloth slowly turns and lightly presses and ever so slowly removes parts of herself from contact with the cloth. From their imaginary overflight the audience sees islands and archipelagos rise into bright prominence and then subside, sinking away to be replaced by others, aeons of topographic history condensed into minutes.

The blackest of black spaces, no light-leaks whatsoever. No obstruction recognized between sensation-islands. To feel, and place in spatial context, a swallow. Hearing my voice as only another kind of sensation, its volumetric character and location in relation to the growing constellation of awarenesses. Slightly twist. Extend an arm Hold it in mind while taking inventory of the other sensations. And so on until finally a tiny island or two of light would be joined to the constellation but not as light, again as nameless sensation. I would go through the room lightly touching each person and gently just barely move them backwards towards imbalance Pretty heady stuff.

But not as much as dividing a class in two and, back in the dark, have members of one group give members of the other creative headrubs sensations lighting up the dark inside those heads. I distributed a couple of hundred pennies and we stood around and within a large campus courtyard ringed with moonlit arches. An unintended acoustics marvel, a Stradivarius of campus courtyards. One or two or a few at a time we sent the pennies rolling and ringing across the wide face of the instrument, and listened, from wherever we were, sensoriums resonating to the web of their long crossings.

In case of no show the invoice will be billed in local currency, including this additional fee IVA. This additional fee IVA is not included in the hotel rates and must be paid separately. South America Chile Santiago Hotels. Check Availability. Select your room. Quick description via booking. Important information Assistance and guide dogs are allow in the property.

Free parking is possible on site. Please note a link for the electronic check-in will be sent to guests after their reservation has been made.


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  5. The passenger won't be exempt from this fee when paying in local currency. In case of no show the invoice will be billed in local currency, including this additional fee IVA. This additional fee IVA is not included in the hotel rates and must be paid seperately. South America Chile Santiago Hotels. Check Availability. Select your room. Quick description via booking.


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