Marco, we don't know one another. But the question posed here is appropriate for the list, in my opinion. This is because film is, in my opinion, just an element of a larger project, of which we are a part. For my part, the films will be shown as film. I can say that about work I make. But it's far from all I will think about or do. And then, assuming these questions about art and exhibition are ironed out, we can get onto the substantive project, if I may call it that. Where to turn? Your list of titles reminded me of an artist who presented a website he built under the theme, "nothing." He had such diverse works under the heading that it struck me as a kind of designer-project that raises questions about the value of design. I very much appreciate the reservations such a list and such a talk provoke for me. But it means I begin to think about, not film, not formats, but art . . in an expanded sense, in a curatorial sense, in a sense that is timely . . may I say, interesting? Matthew Fuller's Media Ecologies gets me there.
Bernie On Thu, Jan 28, 2016 at 4:52 PM, Marco Poloni <[email protected]> wrote: > Hi Bernie, > Maybe we should have this conversation off list. As I just wrote it's > an itemized list that I shared on request of some members of > frameworks to comunicate what selection of films my idea brought me > to. > To answer specifically, yes they were shown digitally (including my > work, shot on film). I'd be happy to hear of a school of art that has > the budget to rent a 16mm and a 35mm projector for an audience of 12 > students. So the choice is to share knowledge with the means available > to you, or to keep it to yourself. > Marco > > On 28 January 2016 at 22:02, Bernard Roddy <[email protected]> > wrote: > > This may be a bit academic, but there are conventions of citation within > > publishing, as well as a body of thought about "best practices" bearing > on > > digital uses. I was remarking on the fact that all of the titles are > > written in lower case, and this seems unlikely to be how they were all > > titled. Your list doesn't identify format, either in production or > > exhibition. There might be an interesting conversation you are having in > > your programming and with your audience members, but from my experience, > the > > odds are growing that a film will be shown WITHOUT the artist's consent, > > that it will be shown DIGITALLY, and that it will be listed, of course, > in a > > way that misrepresents the artist's intentions. > > > > Bernie > > > > On Thu, Jan 28, 2016 at 2:41 PM, Marco Poloni <[email protected]> > wrote: > >> > >> Hey Bernard, > >> I am not sure I get your point about higher and lower case. What I > >> sent you is a copy paste of one of my work documents. The films were > >> organized in groups according to thematic lines and some conceptual > >> affinities amongst them, and properly introduced. > >> > >> > >> On 28 January 2016 at 21:09, Bernard Roddy <[email protected]> > >> wrote: > >> > Hi Marco: > >> > > >> > I wasn't watchng when you posted the request, but I have to wonder how > >> > these > >> > works were shown, given that everything has been forced into lower > case > >> > titles. > >> > > >> > On Thu, Jan 28, 2016 at 1:56 PM, Marco Poloni <[email protected]> > >> > wrote: > >> >> > >> >> Hello all, > >> >> I just finished screening a number of films at the University of the > >> >> Arts of Helsinki, in the context of a workshop for graduate students > >> >> about filmmaking at the anthropocene. > >> >> Some of you helped me identify suitable movies, and I am very > thankful > >> >> to you. I had promised, in return, to share my final selection. Here > >> >> it is. > >> >> Very best, > >> >> Marco > >> >> > >> >> susan schuppli, can the sun lie?, 2011 (?) > >> >> michael snow, la region centrale, 1971 > >> >> carlos reygadas, silent light, 2007 > >> >> bruce conner, crossroads, 1975 > >> >> steven osazaki, white light, black rain, 2007 > >> >> robert smithson, spiral jetty, 1970 > >> >> james benning, casting a glance, 2007 > >> >> marco poloni, the analogue dam, 2010 > >> >> thomas campbell, the present, 2009 > >> >> jean painlevé, the love life of the octopus, 1967 > >> >> walon green, the secret life of plants, 1978 > >> >> ramin bahrani, the plastic bag, 2009 > >> >> chris welsby, wind vane, 1972 (not projected, could not find a copy > in > >> >> time) > >> >> and, along the lines of an animistic turn: > >> >> jean rouch, les maîtres-fous, 1955 > >> >> alfred clah, intrepid shadows, 1966 > >> >> lucien castaing-taylor & véréna paravel, leviathan, 2012 > >> >> > >> >> -- > >> >> > >> >> > >> >> > >> >> Marco Poloni > >> >> http://www.theanalogueislandbureau.net > >> >> Usedomer Strasse 8 > >> >> D – 13355 Berlin > >> >> gsm de +49.163.6294080 > >> >> gsm ch +41.78.6322028 > >> >> skype marcopoloni > >> >> _______________________________________________ > >> >> FrameWorks mailing list > >> >> [email protected] > >> >> https://mailman-mail5.webfaction.com/listinfo/frameworks > >> > > >> > > >> > > >> > _______________________________________________ > >> > FrameWorks mailing list > >> > [email protected] > >> > https://mailman-mail5.webfaction.com/listinfo/frameworks > >> > > >> > >> > >> > >> -- > >> > >> > >> > >> Marco Poloni > >> http://www.theanalogueislandbureau.net > >> Usedomer Strasse 8 > >> D – 13355 Berlin > >> gsm de +49.163.6294080 > >> gsm ch +41.78.6322028 > >> skype marcopoloni > >> _______________________________________________ > >> FrameWorks mailing list > >> [email protected] > >> https://mailman-mail5.webfaction.com/listinfo/frameworks > > > > > > > > _______________________________________________ > > FrameWorks mailing list > > [email protected] > > https://mailman-mail5.webfaction.com/listinfo/frameworks > > > > > > -- > > > > Marco Poloni > http://www.theanalogueislandbureau.net > Usedomer Strasse 8 > D – 13355 Berlin > gsm de +49.163.6294080 > gsm ch +41.78.6322028 > skype marcopoloni > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks >
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