Dear Frameworkers,

Julie Perini and I are pleased to announce that our curated program
"Collaborating with Nature" will be screening at two venues so far this

microcinema in Tucson) in March
Experimental Film Festival--Portland <>in May

Thanks to Julie for finding these opportunities for the filmmakers and
getting us back together.  Thanks to Bryan Konefsky and Michelle Mellor and
the wonderful folks at Experiments in Cinema, Albuquerque for giving us the
opportunity to put a version of this show together in the first place (at
EIC 2013).

Here is the program (and it could be available to tour to a microcinema or
festival near you):

Collaborating with Nature: Films Made with Natural Processes


2014 Screenings

Saturday, March 22, 2014 - Exploded View, Tucson, Arizona

Sunday, June 1, 2014 - EFF Portland, Portland, Oregon


Direct filmmaking meets environmental action in a program of films using
organic and inorganic material to alter the film surface. Collaborations
with Nature is co-presented by Signal Fire, an organization engaging
artists in our remaining wild and open spaces. This collection shows a
range of effects used to intervene on the actual film exposure and
processing; decay, spore hosting, compost, exposure to bioluminescent
plants, processing in polluted lakes, magnetic alteration, and more.

The program included work by Dorothea Braemer & Brian Milbrand, Cade
Bursell, Dagie Brundert, Caryn Cline, Devon Damonte, Lori Felker, Melissa
Friedling, Eva Kolcze, Robbie Land, Christine Lucy Latimer, Julie Perini,
Jeremy Rendina, Ken Paul Rosenthal, Eric Stewart, and Steve Woloshen.

Program Notes and Screening Order

S'more Spores (screening on film)

Devon Damonte, 16mm, color, silent, looped, 2011

An optically-printed loop of spores / sporangia / sori from a Resurrection
Fern frond collected in Florida by Linda Busta. Linda brought the idea of
putting 'more spores' directly onto film with her movie of mushroom spores
made at the Crackpot Crafters in Olympia, WA in Spring 2011. I used clear
sticky tape to lift the spores off the underside of the leaf and stuck that
right onto clear leader. The Resurrection Fern is also the subject of a
lovely song by Iron and Wine. --DD

Collaboration with the Earth (screening .mov)

Julie Perini, 1 minute & 12 seconds, 16mm film transferred to digital
video, 2011

During the summer of 2011, I created Collaboration with the Earth, which
involved cutting a 1970s era 16mm moving-picture advertisement for General
Electric into two-second strips, burying it in the groud, and then
unearthing one strip of film each day for twenty days.  I then pieced the
film back together so viewers can witness the gradual decay of the image
and sound in the film.  The result is an array of brightly colored abstract
compositions borne of my collaboration with dirt, worms, water, and other
earthly forces.

The Magic Soup (screening .mov)

Dagie Brundert, .mov/B&W/Sound, 2:45 minutes, 2012

I'm in Toronto. They have a gigantic lake here - Lake Ontario - and I
thought: why not use its water for my developing chemicals? Lake water plus
instant coffee, vitamin c and washing soda, it makes a real good soup. And
I poured some magic senseless something - you will see it in the end of
this film - a squirrel drink - which might have made the film solarize a
little bit. Magic soup! Try this at home! Use local water! Take care and
enjoy!  --DB

Matters of Bioluminescence (screening 16mm)

Robbie Land, 16mm/Color/Sound, 7:00 minutes, 2012

Matters of Bioluminescence is a personal documentation of the
bioluminescent phenomena. The film begins with a time-lapse of fireflies
and various raw film stocks contained in a glass jar.  The second portion
of the film is the abstract result the bioluminescent insects create with
the light sensitive film. The film then focuses on foxfire, glowing
mushrooms filmed in their environment using time-exposure cameras. The
mushrooms are also placed directly onto various raw film stocks.  --RL

Fruit Flies (screening 16mm)

Christine Lucy Latimer, 16mm/Color/Silent (18fps), 1:23 minutes, 2010

This film seals under perforated 16mm splicing tape all of the fruit flies
that drowned in the vinegar trap on my kitchen counter last summer. --CLL

Seaweed (screening 16mm)

Jeremy Rendina, 16mm/Color/Sound, 3:00 minutes, 2002

Dried seaweed panes are photographed as light passes through. Printing
reveals an interior chasm of the sea's markings.  --JR

Fe (screening 16mm)

Eric Stewart, 16mm/B&W/Silent, 2:25 minutes, 2012

The ebb and flow of iron filings in a magnetic field.--ES

Garden Roll Bounce Parking Lot (screening .mov)

Mel Friedling, 16mm/Color/Sound (found footage), 5:25 minutes, 2010

Pop culture and land-use practices converge in Brooklyn, NY where a
Bangladeshi family recalls the found film that formed the overhead lattice
support for their urban garden - before it was leveled to make a parking
space for the father's livery car.  --MF

Zwischen (screening .mov)

Lori Felker, 16mm/B&W/Sound, 2:00 minutes, 2006

Zwischen ("Between") exists on the thin line between opposing forces. There
is no grey between black and white, as Zwischen jumps from earth to space,
mixes matter with air, and materializes inspiration at the insistence of
the hand. Dirt moves over light to a hand-drawn soundtrack of noise and
space.  --LF

Spring Flavor (screening .mov)

Ken Paul Rosenthal, 16mm/Color/Silent, 3:00 minutes, 1996

The alchemy and texture of film is celebrated with images of sun-splintered
reeds that have been re-photographed, hand-processed, buried beside a pond,
and soaked in cooked wild berries.  --KPR

 Earl Butz (screening .mov)

Dorothea Braemer/Brian Milbrand, .mov/Color/Sound, 2:35 minutes, 2004

A partially decomposed instructional film about farm life in the 1970's.
The film was exposed to farm products such as grain and beef over lengthy
periods of time. It serves as a metaphor for the destruction of the
American family farm. Earl Butz received the Director¹s Choice award at the
2011 Black Maria Film Festival. -DB

Compost Confidential (screening .mov)

Caryn Cline, .mov/Color/Sound, 4:00, 2012

A recycled film that addresses our culture of waste. According to a Cornell
University research report, eleven thousand tons of trash a day are
discarded in New York City, and 15 to 40% is food scraps that could and
should be composted. In "Compost Confidential," handmade botanicollage film
frames, saved from unrealized projects, were put in a compost bin, left for
several weeks, then retrieved and optically-printed. In the printing
process, the sprocket holes themselves, usually outside of the frame, were
intentionally revealed as an element inside the frame. The soundtrack,
recycled from an audio project, features interviews with urban composters
at the Union Square Greenmarket in New York City.--CC

Salt Lines (screening .mov)

Cade Bursell, HD/Color/Silent, 4:49 minutes, 2012

A haptic, visceral response to discordant lines of text associated with
Himalayan salt extraction  --CB

Markings 1-3 (screening .mov)

Eva Kolcze, .mov/Color/Sound, 7:00 minutes, 2011

An emotional journey in three parts. Markings 1-3 is an attempt to connect
with nature through the surface of celluloid, using such techniques as
tinting, toning, painting and scratching.  --EK

Zero Visibility (screening .mov)

Steve Woloshen, 35mm/color/silent (found footage), 2:15 minutes, 2010

This film explores the possibility of being blind under the conditions of
distance, light, and atmosphere while attempting to cross Montreal's
Victoria Jubilee Bridge during a blinding nighttime snowstorm. My aim was
to create a sense of severe structural damage, giving the look of a snowy
white out by fermenting the film prints in yeast, sugar and water. To
further increase the sense of unease, I froze the decayed images in ice and
then reconstructed the sequence by gluing each frame back onto 35 mm clear
leader. --SW

Caryn Cline
co-producer, *Acts of Witness*
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