Somewhere else

Faraways, 2012, 10 minMagic Miles, 2014, 15 minTelescope, 2013, 80 minAudrey Lam's films follow people in situations and places familiar to her, them and others they know. Sometimes moments and landscapes are revisited in some way to remember thoughts and time missed.Telescope is a time-lapse of reflections, changes in sunlight of Dirk de Bruyn’s backyard, assembled over 20 years. Telescope starts in Super 8 and ends with digital video, shot mostly while his family were themselves at work, somewhere else. It is an emptied landscape.Audrey Lam was born in Hong Kong and lives in Australia. She studied film and photography at Queensland College of Art. She has participated in art festivals including Next Wave, Otherfilm and Yebisu, and her films have screened at film festivals in London, Rotterdam and Oberhausen. Her work often builds on shared experiences, re-chronicling everyday encounters to reflect on the nuances of place and belonging. She has been developing new work during her Asialink arts residency at Green Papaya Art Projects.Dirk de Bruyn was born in the Netherlands and migrated with his family to Australia in 1958 as young child. He has made numerous experimental, documentary and animation films, videos and performance and installation work over the last 40 years. He was a founding member and past president of MIMA (Experimenta). His book The Performance of Trauma in Moving Image Art was published in 2014.

Dirk de Bruyn: Australian master + Q&A

Dirk de Bruyn is one of Australia’s most successful and acclaimed abstract animators. It may be too soon to truly call this program a ‘retrospective’ but de Bruyn’s career none-the-less spans a significant portion of the history of abstract and experimental animation in Australia. His films are as addictive as they are bold and uncompromising examples of the genre. He displays a remarkable ability to learn the lessons gifted us by earlier greats and yet produce a flowing, beautifully realised river of imagery that is all his own. His film contain, in many instances, the spirit and ghost-narratives of his own life. MIAF is thrilled to be able to present this program and the chance to have him discuss these works in person will be one of the festival highlights.

Hillegonda: 3 projector performance

Dirk de Bruyn is one of Australia’s most successful and acclaimed abstract animators. His career spans a significant portion of the history of abstract and experimental animation in Australia and his films are as addictive as they are bold and uncompromising examples of the genre. He displays a remarkable ability to learn the lessons gifted us by earlier greats and yet produce a flowing, beautifully realised river of imagery that is all his own. MIAF’s look at the various iterations of de Bruyn’s work continues with this special one-off live performance in which he will utilise three projectors to create an experience that blends a suite of moving image artwork drawn from his practice with an improvised sound track. Hosted by the VCA, this performance is FREE and will take place in VCA’s Founders Gallery at 234 St Kilda Rd just a few short minutes walk from ACMI.

Programme d'intervention visant la diminution des manifestations d'opposition et de provocation chez les enfants de 3 ans par l'apprentissage des habiletés sociales et d'autocontrôle, en intégrant un volet soutien à l'éducatrice au programme Brindami

Rapport d'analyse d'intervention présenté à la Faculté des arts et sciences en vue de l'obtention du grade de Maîtrise ès sciences (M. Sc.) en psychoéducation.

Animação sociocultural em lares de idosos do concelho da Guarda

Dissertação Trabalho de Projeto apresentado à Escola Superior de Educação do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Gerontologia Social.

A cavalcade of erasures: an educational audio-visual presentation

Dirk de Bruyn has been creating film works for over 35 years; mostly in the hand-made, 'direct animation' mode. He also performs live with multiple projections of his films in a highly embodied mode of expanded cinema performance. His work is renowned for its intricate, suggestive layering of sound and image, and use of sumptuous, blooming fields of colour.An active participant in our PyR16, Dirk will be discussing his conceptual work, his meticulous creative process, and his particular relationship with the materials, light, space and time both on film and stage, illustrating with some examples.We'll conclude with a Q&A session with the attendants.

Re-processing The Mystical Rose

This essay explores the animation practice of Australian filmmaker Michael Lee, whose career spans the late 60s to the present. His notoriously dissident and innovative feature length work The Mystical Rose (1976, 65 minutes) is the primary focus, the fulcrum point of an analysis balanced by a review of his earlier shorter formative films, his cultural milieu, the thinkers that shaped his youth and particularly his changing relation to the Catholic Church. This relationship with Christianity has gone full circle through a critical rejection, worked through in The Mystical Rose, to a re-embrace in his later films Turnaround (1983, 60 mins) and The Contemplation of the Cross (1989, 27 minutes). This trajectory is understood here in relation to Magic Realism, Michael Bakhtin’s conception of the ‘Carnivalesque’ and Surrealism. What is of particular interest historically for animation is Lee’s pioneering innovative combination of animation with live action documentation, conveying both inner and outer realities, and mapping the relationships between them.

Manifesto of a defeated poet

This feature-length experimental film is the result of an intimate collaboration between Bosnian filmmaker/poet/painter/musician/performace artist Saidin Salkic (On Karasevdah: Srebrenica Blues, 2007 & Konvent 2010) and veteran Australian experimental filmmaker and film educator John Cumming (Obsession, Recognition & Sabotage 1985-87, First time Tragedy Second Tome Farce, 1989, The Hollow Centre 1999). Created over a period of four years it draws on the traditions and possibilities of improvisation – in cinematography, experimental cinema, dance, music and performance – with moments of intensity and repose, fluidity and halting re-composure. Cumming’s camera and Salkic’s movement work in front of it are at once expressionistic and in dialectical tension as are Salkic’s poetry, his haunting improvisations on piano and melodica and Cumming’s industrial soundscapes. SYNOPSIS: In the midst of fascist-capitalist madness, the Foreigner (a poet/dancer with sun on his palms and blood from his dreams on his face) hovers in neon twilight with last whispers of sanity on his lips, guarding and protecting the world – forever. REVIEW: ‘Full of mystery and beauty, punctuated by strange eruptions of silent cinema, of Chaplin, of film history made personal … not the film of a dance but a dance itself around pure presence … something unique and precious.’ Maximilian Le Cain, http://lecain.blogspot.com.au/2015/11/a-few-reflections-on-manifesto-of.html

Wolfensberger perjorative terms

This is a little animation that seeks to inform the reader of Wolfensberger 6 perjorative terms

bad LD terms small and faster

bad LD terms small and faster animation

Programme d'intervention visant la diminution des manifestations d'opposition et de provocation chez les enfants de 3 ans par l'apprentissage des habiletés sociales et d'autocontrôle, en intégrant un volet soutien à l'éducatrice au programme Brindami

Rapport d'analyse d'intervention présenté à la Faculté des arts et sciences en vue de l'obtention du grade de Maîtrise ès sciences (M. Sc.) en psychoéducation.

O experimentalismo na produção de documentos animados

Publicação bilingue, em português e em inglês, do II Simpósio Arte e Animação, organizado pela Casa da Animação, Porto, 30 abril/1 maio 2004, com textos e entrevistas dos intervenientes convidados: Keith Griffiths (Illuminations Television); Peter Dougherty (MTV Europe); Clare Kitson (Channel Four). Bilingual edition, in Portuguese and English, on the occasion of the II Symposium on Art and Animation, organized by Casa da Animação, Porto, April 30 / May 1, 2004, with texts and interviews of invited keynote speakers: Keith Griffiths (Illuminations Television); Peter Dougherty (MTV Europe); Clare Kitson (Channel Four).

De cuando Pinocho aprende valores. Una lectura de la novela de Collodi a la luz de las teorías de Shalom H. Schwartz y Leonardo Boff

Carlo Collodi published the chapters of the story Pinocchio in a children’s newspaper between 1880 and 1883. Since that time, Pinocchio has become universally known as a fundamental work in literature. Based on the perspectives of social psychologist Shalom H. Schwartaz and theologian Leonardo Boff, the author of this article contemplates the possibility that Pinocchio’s story allows the reader to develop greater social and moral values for living.

La creatividad en la vida

Recibido 10 de noviembre de 2010 • Aceptado 09 de marzo de 2011 • Corregido 04 de mayo de 2011     En este artículo desarrollo la idea de que la creatividad no está restringida al ámbito del arte, como suele creerse, ya que el arte es solo una expresión de la creatividad, que los humanos hacemos muchísimas cosas más que requieren de creatividad y que ni siquiera la creatividad es un atributo de los humanos pues a partir de ciertos niveles vitales se pueden observar conductas en los seres vivos que implican grados diferentes de cognición estética.

Educando con medios alternativos

Recibido 10 de noviembre de 2010 • Aceptado 09 de marzo de 2011 • Corregido 04 de mayo de 2011    Este artículo nace de mi interés por explorar caminos que hagan de la experiencia educativa que se vive diariamente en las aulas, una actividad más interesante y placentera; es por ello que exalto las posibilidades que como medio pedagógico tienen el cine y, en general, los medios audiovisuales, junto con la conveniencia de que los educadores recurran a ellos como alternativas enriquecedora de su desempeño profesional.