From Source to Poem

Rosa Barba | 12 min | Germany | 2016

WORLD PREMIERE

SYNOPSIS
From Source to Poem is an invitation to think about the spaces in which history and cultural production is preserved in order to be passed on to future generations.

On the one hand, it pursues Barba’s research initiated with The Hidden Conference (2010-2015), a three-part film work exploring museum storages and whose title refers to imaginary conversations taking place between artworks inside these invisible spaces and of authors that have often not been contemporaries but their artworks can continue to speak through different time zones – on the other hand, it is a reflection about the obsession of preserving any output of western culture in any possible medium.
From Source to Poem shifts the focus from artworks into archival storage: Shot at the National Audio-Visual Conservation Center of the Library of Congress in Culpeper, Virginia, and at an enormous solar power plant in the Mojave Desert in California, it juxtaposes images from the largest media archive worldwide with a study of rhythm and images of cultural production with those of industrial production.
Like the temporal property of two things happening at the same time, “the interval determining the coincidence gate is adjustable”.
The film exposes the preservation of cultural outputs, but also their digitisation for the future. A vast number of the archives’ holdings are sound material (audio recordings, wax discs, vinyl and LPs); a sonic memory which is recovered and mixed in the soundtrack as a mean to set in motion otherwise unlikely dialogues.

Nowhere in this Universe is there any forgetting, but it’s all forgettable as any clam.
Light is transmitting into the future and storing memory in a territory without radio.
Narrative time can also be delaying, cyclic, or motionless. In any case, story as an operation carried out on the length of time involved,
and enchantment that acts on the passing of time, either contracting or dilating it.

“The film is a continuation of the thought, which brings together the sources: these can be kinds of inscriptions in landscapes, which we leave behind, and yet whose meaning can’t really be translated or projected into the future. These can also be documents, and even rumours; narratives that people haven’t written down but that just exist somehow as source material in some form.
I was thinking about the Library of Congress, the media archive at the National Audio-Visual Conservation Center as being some sort of white noise as all this information and all these sources become so compressed that it could be compared with light. I filmed a series of light production systems in the desert, such as solar plants where actual electricity and light energy is collected, then put these against each other with texts about the history of the Culpeper Center, and of the building itself, which was actually built as a bunker against nuclear attacks. A simultaneous existence and composition of simultaneous order.
It starts with all these facts, and then navigates to think about what this archive could mean, so in a way it perhaps turns into a sort of poetry. But primarily, the poetry part is the soundtrack, because it consists of a lot of free source material from the Library of Congress: interviews with field workers, with slaves, with native American poets, and more; and it has become a very dense soundtrack with all these voices that constitute the United States.”

The archive for the memorization of voices shapes time, ideas and memory of other powers and faculties formulating a “magical memory”, as Francis A. Yates named it.
Filmed and screened on 35mm film, the work itself is preserved in one of the most durable archival forms.

SCREENING SCHEDULE
Analytical Landforms
3:00 PM | Saturday, October 14, 2017
The New School
UL104
63 5th Ave, New York, 10003

PRODUCTION CREDITS
Production | Studio Rosa Barba
Cinematographer | Rosa Barba, Errico Scott
Editor | Rosa Barba, Hendrik John
Sound | Jan St. Werner

Image Credit: Rosa Barba, From Source to Poem, 2016. 35mm film, color, optical sound, 12 min. Film still © Rosa Barba.

DIRECTOR'S BIO
Rosa Barba (1972; lives in Berlin) is an artist with a particular interest in film and the ways it articulates space, placing the work and the viewer in a new relationship. Questions of composition, physicality of form and plasticity play an important role in the perception of her work. She interrogates the industry of cinema with respect to various forms of staging, such as gesture, genre, information and documents, taking them out of the context in which they are normally seen and reshaping and representing them anew. Her film works are situated between experimental documentary and fictional narrative, and are indeterminately situated in time. They often focus on natural landscapes and man-made interventions into the environment and probe into the relationship of historical record, personal anecdote, and filmic representation, creating spaces of memory and uncertainty, more legible as reassuring myth than the unstable reality they represent.


Virtual Humans

Guillermo Marin & Fernando Cucchietti | Spain | 2017 | 6 min

SYNOPSIS
Parts of our bodies are already being simulated inside supercomputers. The next step is a virtual version of you.

SCREENING SCHEDULE
Cinema Performance Protocols
9:00 PM | Sunday, October 15, 2017
Made in NY Media Center by IFP
30 John St, Brooklyn, 11201

PRODUCTION CREDITS
Directors | Guillermo Marin, Fernando Cucchietti
Screenplay | Peter V Coveney, Roger Highfield, Fernando Cucchietti, Guillermo Marin
Producer | Peter V Coveney
Executive Producer | Mariano Vazquez
Music | Ben Lukas Boysen (www.erasedtapes.com)
Sound | Edi Calderón
Narrator | Elena Coveney
VFX supervisor | Guillermo Marin
Editor | Fernando Cucchietti
Compositing | Guillermo Marin
Visual development | Sol Bucalo

ARTIST'S BIO
Guillermo Marin is Lead Artist of the Visualization Group at the Barcelona Supercomputing Center where he creates data visualizations to explain scientific research projects. With a background in Fine Arts and Computer Animation, Guillermo has worked in the animation production industry for several years. Currently, he applies his experience to create appealing and informative data visualizations. Guillermo is also co-director and lecturer in the Master in Computer Animation of Universitat Pompeu Fabra, in Barcelona.

Fernando Cucchietti leads the data visualization and analytics group at the Barcelona Supercomputing Center (BSC). Before this, he worked on quantum computing at Los Alamos National Labs (USA) and the Institute of Photonic Sciences (Spain). At BSC he switched fields to focus on scientific data visualization (data heavy graphical interfaces, images, and videos), and data science applied to industrial problems (in particular artificial intelligence). Fernando is also data visualization lecturer at the Elisava School of Design.


Membranes and Thresholds

Markos Kay | UK | 2017

SYNOPSIS
A video art performance featuring abstract 3D animations and generative sounds that deal with the idea of thresholds and membranes as found in the theories and observations of the natural sciences.

SCREENING SCHEDULE
Cinema Performance Protocols
9:00 PM | Sunday, October 15, 2017
Made in NY Media Center by IFP
30 John St, Brooklyn, 11201

ARTIST'S BIO
Markos R. Kay is a digital artist, director and lecturer with a focus in art and science. The aim of his work is to create public engagement with complex science. His work can be described as a series of experiments using generative methods which explore and abstract the intricate worlds of molecular biology and particle physics.


The Flight of an Ostrich (Schools Interior)

Jessica Sarah Rinland | 4 min | UK | 2017

NORTH AMERICAN PREMIERE

SYNOPSIS
Birds are masters of the sky. The ostrich is incapable of doing the one thing birds are famous for – they can not fly. They compensate their impotence by having the largest eyes and by being the fastest birds on land, seldom caught by predators.   Schools Interior: The Flight of an Ostrich links this description of the ostrich to a moment during the life of a chin-down, shy eight-year-old girl who, while watching an educational video about ostriches, grasps an opportunity and flies in the face of her peer group.

SCREENING SCHEDULE
(IM)MIGRATIONS
7:00 PM | Saturday, October 14, 2017
National Sawdust
80 N 6th St, Brooklyn, NY 11249

PRODUCTION CREDITS
Director, Screenwriter, Editor | Jessica Sarah Rinland 
Producer | Nell Green
DOP | Annika Summerson

DIRECTOR'S BIO
Argentine artist filmmaker, Jessica Sarah Rinland has exhibited work in galleries, cinemas, film festivals and universities internationally including New York Film Festival, BFI London Film Festival, Rotterdam, Oberhausen, Edinburgh International Film Festival and Bloomberg New Contemporaries. She has received grants from Arts Council England, Wellcome Trust, Elephant Trust and elsewhere. Residencies include MacDowell Colony, Kingston University, Locarno Academy and Berlinale Talents. Her most recent multi-screen, randomized installation We Account The Whale Immortal was exhibited at Somerset House, London in 2016.


Nex

Philipp Buschauer, Michael Loithaler & Marlene Raml | 5 min | Austria | 2016

US PREMIERE

SYNOPSIS
Nex is a hybrid symbiosis of computer generated pictures and filmed material. The short describes a cruel but common natural event which is displayed in an aesthetic way to reveal details that normally would stay hidden from the observer. The film is about the attack of a cordyceps fungus on a rhinoceros beetle and the following struggle between life and death, showing that even the tiniest things can have a great impact and that death is not only the end followed by eternal darkness, it can also be the beginning of something new and beautiful.

SCREENING SCHEDULE
Feature: Photon
7:00 PM | Wednesday, October 18, 2017
Cobble Hill Cinemas
265 Court St, Brooklyn, 11231

PRODUCTION CREDITS
Directors | Philipp Buschauer, Michael Loithaler, Marlene Raml
Sound | K.Y.L.E.

DIRECTOR'S BIO
Philipp, Michael and Marlene are three students from Austria and Germany. They attended the University of Applied Sciences Upper Austria, Campus Hagenberg, where they first met each other during the bachelor’s program. After finishing the degree they decided to stay in Hagenberg for another two years and participate in the Digital Arts Masters Program. Nex is the result of the last three semesters of this educational journey.


Photon

Norman Leto | 107 min | Poland | 2017

SYNOPSIS
Photon is nothing less ambitious than a summary of all existence from the origins of matter to the entropic dissolution of the universe (along with human life, past, present, and future). It's also an extraordinary challenge to preconceptions of the science documentary, merging rigorously researched data with subjective and irrelevant writing that forces the viewer to question the assumed monolithic authority of the narrator. Is any film expressing fallible human ideas really more of a documentary than the wildest sci-fi speculation? Decide for yourself.

SCREENING SCHEDULE
Feature: Photon
7:00 PM | Wednesday, October 18, 2017
Cobble Hill Cinemas
265 Court St, Brooklyn, 11231

PRODUCTION CREDITS
Director, Writer | Norman Leto
Producers | Daniel Markowicz, Piotr Galon
Production | Lightcraft
Co-Producers | Przemysław Wierzbicki, Dariusz Sz. Szendel
Cinematography | Michał Marczak, Norman Leto
Film Editing | Norman Leto, Antoni M. Kowalczyk
Music | Przemysław Książek, Przemysław Wierzbicki, Igor Szulc
Make-Up | Aneta Chaber Stankiewicz
Stylist | Marta Śliwińska
Stage Designer and Assistant | Krzysztof Bagiński
Narrator | Andrzej Chyra
TV Journalist | Karolina Kominek

DIRECTOR'S BIO
Norman Leto (b. 1980) in Poland is an artist who is self-educated in the fields of painting, film and new media. His debut solo exhibition took place in The Centre of Contemporary Art in Warsaw in 2007. The same year, he worked with the director Krystian Lupa on "Factory Two", where his job was to prepare video sequences shown during the performance. From 2009-2010, Leto was a resident in New York completing his autobiographical novel “Sailor”. Simultaneously he completed a full-length film of the same title. Fully financed by the author, the film was well received at the 10th Era New Horizons Film Festival in Poland (2010) screened in "New Cinema" section. Despite having no official producer or distributor, "Sailor" has been screened worldwide at many art-house film festivals and in modern art institutions.


Launching in two days: Labocine

Imagine Science's new Labocine.com drops in two days (Thursday, August 4) with its first issue, MODEL ORGANISMS.

"The beating heart at the center of so many groundbreaking biological, medical, and psychological studies may not be a human's, but that of a rodent, a bird, even a fish or an insect. These essential collaborators rarely have an opportunity to add their thoughts to lab reports, so instead, we offer them our inaugural edition of Labocine to tell their stories. Here, we'll experience the perceptions of microbes, watch films made for and by non-human primates, travel with invertebrates investigating the human world, and see classic cognitive studies through the eyes of their subjects."

[rev_slider labo1]

Featuring over two hours films by:

Anne Milne
Anna Lindeman
Clemens Wirth
Boris Hars-Tschachotin
Rachel Mayeri
Hirofumi Nakamoto
Nieto
Samuel Ridgeway
Rose Stark
Coral Morphologic & Lucas Leyva
Sarah Enid Hagey
Du Cheng & Meghan Lockard
+2 new Imagine Science exclusives!


Imagine Science Paris Recap

Imagine Science Paris, three days of films, lectures, performances, art, science, and more, took place earlier this month. Here are some highlights:

[rev_slider Paris2016]


The Mirror System

Eva Zornio | 17 min | Switzerland | 2015

SYNOPSIS
Pictures escape from a dream. A curious forest made out of neurons where the young director wanders every night. A dream that brings together brain and cinema, memories and scientific experiments. She tries to understand the link which is being woven between Neuroscience and films. A poetic journey at the heart of the Mirror System, the mechanism by which we feel or not empathy for other, whether in the real world or on the screen.

/////

Des images s’échappent d’un rêve. Une étrange forêt de neurones où la jeune réalisatrice se perd chaque nuit. Un rêve qui rapproche cinéma et cerveau, souvenirs et expériences scientifiques. Elle cherche à comprendre le lien qui se tisse entre neurosciences et films. Un voyage poétique au coeur du système miroir, le mécanisme par lequel nous ressentons ou non de l’empathie pour autrui, qu’il soit réel ou sur un écran.

SCREENING SCHEDULE
Shorts Program: Laboratory Stories // Courts métrages: Histoires de Labo
18h00 | Vendredi, 3 juin 2016
Institut de Biologie Paris-Seine (IBPS) (Campus Jussieu)

PRODUCTION CREDITS
Director | Eva Zornio
Screenplay | Eva Zornio
Cinematography | Joakim Chardonnens
Sound & Music | Vasco Pimentel, Régis Jeannottat, Ana Cordeiro Reich
Editing | Gabriel Gonzalez
Production Compagny | Elefant Films

DIRECTOR'S BIO
After earning a Master’s degree in Neurosciences, Eva Zornio changed course and launched herself into a bachelor’s degree in Cinema at the Haute Ecole d’Art et de Design of Geneva. Her projects question the link between the human being and the world, especially through the concept of perception related to the brain functions. She investigates the contemporary research in Science and especially in the field of Neurosciences. Deeply interested in New Technology she is taking part of a workshop organized by the CERN and Festival Tous Ecran for which she is led to imagine a concept using oculus rift.

/////

Après avoir terminé un master en Neurosciences, Eva Zornio se lance dans une formation artistisque au sein du Département Cinéma de la Haute Ecole d’Art et de Design de Genève. Elle développe depuis lors des projets qui questionnent notre rapport au monde à travers la perception, et son lien avec les neurosciences. Elle explore les recherches contemporaines en sciences, plus particulièrement les neurosciences. Curieuse des nouvelles technologies elle participe actuellement à un workshop organisé conjointement par le CERN et le Festival Tous Ecran pour lequel elle est amenée à développer un projet sur oculus rift.


The Dark Gene

Miriam Jakobs & Gerhard Schick | 99 min | Germany | 2015

SYNOPSIS
The film tells a very personal story from two perspectives: our protagonist is both doctor and patient. As a patient, he has struggled with recurring depression for years, and as a doctor he wants to find out why.

The search for the origins of his illness leads him into the realm of his own genes and casts light on the fundamental changes facing modern society as a result of the tremendous progress being made in the field of genetic sequencing. Along the way, he meets a host of people – researchers, artists, visionaries – who have developed their own very individual approach to genetic coding and are drawing attention to the social significance of genetic technology. The film does not restrict itself to a scientific view of the subject but also makes use of artistic visions and more playful approaches to genetic blueprints.

These varied perspectives challenge the apparent pre-determination of genetics and help the protagonist in his struggle with his illness. And despite the suffering involved, they provide a reassuring view of the uniqueness of life.

SCREENING SCHEDULE
Feature // Long métrage
21h00 | Vendredi, 3 juin 2016
Curie Institute

PRODUCTION CREDITS
Script | Miriam Jakobs, Gerhard Schick
Camera | Philipp Künzli, Simon Guy Fässler
Sound | Christian Lutz, Patrick Veigel
Music | Daniela Almada
Producer | Thomas Tielsch
Editor | Miriam Jakobs, Gerhard Schick
Production Company | Filmtank GmbH