Esprit du don, dispositifs et reconnaissance : de "Diaries, Notes and Sketches : Also Known as Walden" (1969) à "The First Forty" (2006) de Jonas Mekas.

Après avoir passé plus de 4 ans dans des camps de travail forcé, Jonas Mekas, lituanien, est déporté avec son frère par les Nations-Unies en 1949 aux États-Unis. Les deux rescapés de la seconde guerre mondiale dédient alors leur temps au cinéma. Dès leur arrivée, ils se procurent une caméra 16 mm bolex et se tournent vers le cinéma expérimental, grâce, entre autre, à une de ces cinéastes pionnières américaine Maya Deren. En marge de l'industrie cinématographique hollywoodienne, Jonas Mekas participe à l'édification de structures - coopératives, associations, magazines, journaux - afin de rendre accessible ce genre filmique, de lui obtenir une reconnaissance publique et de, ultimement, le préserver. En 1969, il réalise un film intitulé "Diaries, Notes and Sketches : Also Known as Walden". Mekas réalise ensuite des films qui réemploient des séquences qui se trouvent dans cette première ébauche filmique. Ce processus se retrace au sein de son « premier essai » numérique qu'il réalise à l'ère cybériste intitulé "The First Forty" (2006), composé de vidéos et de descriptions textuelles. Tout comme il l’avait fait avec Walden, Mekas présente explicitement celui-ci à un public, en l’occurrence son nouveau public d'internautes, qui en prend connaissance sur son site web officiel. La présentation numérique et la table des matières papier accompagnant "Diaries, Notes and Sketches : Also Known as Walden" rédigée par l'artiste en 1969 ont une fonction similaire au sens où, par elles, Jonas Mekas donne ces deux créations aux spectateurs. Nous avons choisi d'employer le terme de dispositif pour parler de ces « objets » qui font appel à diverses formes énonciatives afin de créer un effet spécifique chez le spectateur. En explorant la théorie sociologique moderne du don développée par Jacques T. Godbout, notre projet a été de relever « l'esprit de don » qui se retrace au sein de ces dispositifs. Cette étude nous permet de constater que les dispositifs audiovisuels / cinématographiques que développa Mekas sont des « objets » qui peuvent être reçus tel des dons suscitant le désir de donner chez les spectateurs. Ils sont le ciment symbolique personnel et collectif nécessaire à l’accomplissement du processus de « reconnaissance » qu’implique le don.

Validación española de una batería de películas para inducir emociones.

Resumen tomado de la publicación

Parallel editing, multi-positionality and maximalism: cosmopolitan effects as explored in some art works by Melanie Jackson and Vivienne Dick

Garfield produces a critique of neo-minimalist art practice by demonstrating how the artist Melanie Jackson’s Some things you are not allowed to send around the world (2003 and 2006) and the experimental film-maker Vivienne Dick’s Liberty’s booty (1980) – neither of which can be said to be about feeling ‘at home’ in the world, be it as a resident or as a nomad – examine global humanity through multi-positionality, excess and contingency, and thereby begin to articulate a new cosmopolitan relationship with the local – or, rather, with many different localities – in one and the same maximalist sweep of the work. ‘Maximalism’ in Garfield’s coinage signifies an excessive overloading (through editing, collage, and the sheer density of the range of the material) that enables the viewer to insert themselves into the narrative of the work. In the art of both Jackson and Dick Garfield detects a refusal to know or to judge the world; instead, there is an attempt to incorporate the complexities of its full range into the singular vision of the work, challenging the viewer to identify what is at stake.

Old Tom, new Tom

This presentation will Involve a discussion of Canadian fringe artist Mike Hoolboom's experimental narrative Tom (2002 75 minutes, Digital Video) The presentation will Include a short excerpt and stills from the film Tom is a biography of experimental filmmaker Tom Chomont who tells of his struggle with HIV and Parkinson's disease and disarmingly recounts confronting memories of infanticide, incest, fetishism and death It is how these revelations are innovatively processed through excerpts of Chomont's films, home movies, photos, Images lifted straight form Video Busters, archival and found footage that is so telling it is as If the surface of cinema itself is the body that is being marked and reconstituted and "the personal" forever changed by the Infection of this material Into our psyche.

This work is offered as exemplary evidence of the strong link between an experimental non-narrative cinema that flourishes In North America and new media art

The presentation will touch on the following areas:

> The Innovative marking out of the self In terms relevant to a new media practice.
> The correspondence between this film and media theorist Arthur Kroker's Ideas about panic bodies and excremental culture.
> An examination of erasure and loss In non-narrative forms.
> The historical context of Hoolboom's work as part of a North American experimental tradition and as a shared non-narrative tradition With New Media.

The presentation Will conclude With some comments about the relationship between experimental film and new media In this country and how the failure to Identify this relationship constructively here may have contributed to the current "death of the new" The concept of new media and New Australian Will be contrasted to attain some Insight Into the Ideological underpinnings of "Creative Nation".

223

"There are those films that are formalistic by design – the materialist films, which can’t be accused of doing injustice to their subject matter. Most notable in this area has been Dirk de Bruyn’s "Direct on Film" series. The resulting films (Vision, 223, among others) comprise of frantic flashes of colour and shape – very annoying to the viewer. But once the filmmaker (or someone) explains that the films are visual music, it’s surprising how watchable they become! This example points to the importance of the viewer in the experimental film scenario. Whilst the modes of viewing for particular types of films take time to learn, a certain facilitation of them is possible if the viewer is open and adaptable." http://www.innersense.com.au/mif/debruyn_films.html

"With 223 I used Photographs from my past as a base. It gives the eyes something to come back to from the faster abstract shapes. The Pos/Neg flickering gives a feeling of depth. Its called 223 because I had some letterset of the numbers 223. There is a layering of images and techniques."

The outer limits of read-ability

This is a 20-minute presentation that involves 3 simultaneous 16mm film projections and live performance of sound poetry, which addresses issues of traumatic effect and affect. The Outer Limits of Read-ability extends the concerns of my earlier film, entitled Traum A Dream (Australia, 2003), into the immediacy of the performance situation. Traum A Dream has been described as “a representation of traumatised space, depicting a person who is consumed by a body of pain in which slowly something is remembered.” The Outer Limits of Read-ability enlists the strategies of experimental film, direct cinema, and punk, while invoking Artaud's notions of “cruel performance”

Analogue stress

Made from reworked and reanimated found industrial and discarded personal footage. The main focus is the soundtrack which has been reconstructed from scratches, pen marks, Letraset strips and the music and phrases of found films.

Published versions: #1, #2, #3 are all slightly different to each other.

Byron Bay hysteria

"This time lapse video work of De Bruyn's evidences the bold rythmic structures found in his nahd-painted 16 mm film work. A prolific fimmaler, de Bruyn is a master of his craft and shows in this work that that mastery knows no bounds in this format."  Fractured Light exhibition catalogue

Flusser's death rattle

A live film performance using magnificent 16mm featuring Dirk De Bruyn in person. Can an image be sonic and ephemeral in the digital age? Live 3-screen film projection, shadow-play and sound poetry plumbing 35 years of experimental film practice, laying bare those processes of graffiti production splattered across the alleyways and railway lines of the planet’s inner cities but whose performance threatens to become completely hidden inside the computer. Images scratched, dyed, bleached and redrawn by hand are brought together to immerse the audience in an aural-visual rant. Does the analogue answer back to the digital media explosion or merely succumb in an angry death rattle of lost causes? Rev presents a rare opportunity to see one of Australia’s most important experimental filmmakers presenting a unique expanded cinema event.

Uneasily along the sand

Uneasily Along the Sand evokes the state of mind of the great Mallee poet John Shaw Neilson during a period of hospitalization for nervous exhaustion around 1900. To his bed come the voices and apparitions of all those people whom he might have met but who in life eluded him. It is a ghost community of jesters, singers and seers, who parade in harlequin costumes and recall the poet to the vanishing spirit of the Mallee forest. In particular, a Wotjobaluk man by the name of ‘Jowley’ haunts him, a man found by white people as a child abandoned in a hollow log - abandoned, lost, stolen? The sound installation ‘Mac’ (that forms part of Uneasily and which will receive its first national broadcast to coincide with Mildura Palimpsest #8) evokes their strange meeting and a kind of reconciliation of peoples and cultures with environments that remains elusive. The hospital, where Neilson heard strange voices and saw strange visions, is evoked in a video work based on a set of ‘actions’ performed in Mildura’s Old Base Hospital, and sound recordings made in Pyrenees House, Ararat (a replica of the Swan Hill Hospital where Neilson was confined). The hospital solarium is transformed into a strangely distorted Mallee paddock, of sand, barbed wire and mattresses that leak like hour glasses. Caught in the fence lines of this dream world are scraps of a woman’s dress, bed sheets inscribed with charcoaled graffiti and footprints alluding to the ‘unevennesses’ of a life. Uneasily Along the sand is inspired by Paul Carter’s recent book, ‘Ground Truthing: explorations in a creative region’. The installation of Uneasily in Mildura coincides with Opening, another work inspired by ‘Ground Truthing’ that Carter and Dirk de Bruyn have created for the big screen at Federation Square, Melbourne.

Untitled : live cinema performance

Over the last 30 years Melbourne-based film-maker, writer and academic Dirk de Bruyn has made numerous experimental, documentary and animation films and videos, continuing to maintain a no-budget, independent, self-funded focus for much of his work. De Bruyns distinctive style entails cut-up collages that draw on animation, found footage and fragments of dialogue - dyeing, painting, incising and stencilling the film strip. Live De Bruyn’s anarchic multi projection performances can involve performance, freeform vocal workouts and De Bruyn, ‘bent over and mouthing into a microphone like a demented seagull, totally involved in the relentlessly unravelling collage of home-processed footage’.Penny Webb. Ian Helliwell provided a live electronic soundtrack.

Glass : re-materializing the digital screen

Glass has a long history of manipulating light. Though lost to digital media and discernible in experimental film practice a physical relationship to light still operates in glass art.In our digitally dominated situation, glass's materiality, luminosity and malleability positions this medium uniquely to comment on both digital media's strengths and absences.

2 or 3 things I remember or should have known about him

Optic Antics celebrates the work of Film Artist Ken Jacobs’ substantial and ongoing materialist practice, straddling more than 50 years, complicit in the 60s explosion of experimental film and now witnessing and commenting on the digital onslaught. This practice includes 16mm films that are recognized as foundation works for an experimental artist based cinema, celebrated and ongoing film performances and a renewed digital practice that re-animates historic 3-D images in flicker form.