** This week [September 30 - October 8, 2017] in avant garde cinema

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Pacific Coast Highway: Restored California Psychedelia (#anchor7) [September 
30, Washington, DC]

Cool World (#anchor8) [October 4, Boston, Massachusetts 02115]

Ism, Ism, Ism: Urban Harmonies/Dissonant Cities (#anchor9) [October 6, Los 
Angeles, California]

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
* Synaesthetic Cinema: Bruce Conner & Terry Riley (#anchor1) [September 30, 
* Catalogue (The Series): Films By Dana Berman Duff (#anchor2) [September 30, 
Los Angeles, California]
* Ec: Hugo / Jacobs / Levitt / Maas (#anchor3) [September 30, New York, NY]
* Ec: Tom, Tom, the Piper'S Son (#anchor4) [September 30, New York, NY]
* Five Films By Gx Jupitter-Larsen (#anchor5) [September 30, New York, New York]
* Media Archeology1 (#anchor6) [September 30, San Francisco, California]
* Pacific Coast Highway: Restored California Psychedelia (#anchor7) [September 
30, Washington, DC]
* Cool World (#anchor8) [October 4, Boston, Massachusetts 02115]
* Ism, Ism, Ism: Urban Harmonies/Dissonant Cities (#anchor9) [October 6, Los 
Angeles, California]
* Optronica1 (#anchor10) [October 7, San Francisco, California]
* Dear Mark & El Otro Lado (#anchor11) [October 8, Cambridge, Massachusetts]
* Ism, Ism, Ism: David Lamelas: Screening of Three Films (#anchor12) [October 
8, Long Beach, CA]

Another Experiment by Women Film Festival (NY NY USA; Deadline: December 15, 
Bodies (Naples, Italy; Deadline: January 31, 2018)
Microscope Gallery Event Series 2017-2018 (Brooklyn, NY, USA; Deadline: October 
15, 2017)

56th Ann Arbor Film Festival (Ann Arbor, MI, 48103; Deadline: September 30, 
25th Chicago Underground Film Festival (Chicago, IL USA; Deadline: October 02, 
Experiments in Cinema (Albuquerque, New Mexico USA; Deadline: November 01, 2017)
Black Maria Film Festival (Jersey CIty, NJ, USA; Deadline: October 15, 2017)
Microscope Gallery Event Series 2017-2018 (Brooklyn, NY, USA; Deadline: October 
15, 2017)


Cambridge: Harvard Film Archive
7pm, 24 Quincy Street
While both La Monte Young and Terry Riley were originally from the American 
west, Young’s move to New York and work with the Theatre of Eternal Music found 
him in contact with some of the darker strains of the Sixties counterculture. 
Riley’s music, while only marginally less rigorous than Young’s (no one is more 
rigorous than La Monte Young), maintained a lightness that can be seen in all 
the works here. Bruce Conner was a Californian and spent most of his life in 
the Golden State. One of his sojourns outside of it was to Mexico, where, in 
1963, he searched the countryside with Timothy Leary for psychedelic mushrooms. 
This experience in captured in Looking for Mushrooms, with the soundtrack 
Riley’s “Poppy Nogood and the Phantom Band” (an earlier version used The 
Beatles’ “Tomorrow Never Knows”). Easter Morning is accompanied by the epic “In 
C”, often errantly described as the first minimalist composition. “In C” is a 
circular score that can be played by any number of
performers on any number of instruments; in this case, the music is played on 
traditional Chinese instruments. We end with one of Gene Youngblood’s 
favorites, Music with Balls, a “fabulously rich mantra of color, sound and 
motion…. The composition builds from placid serenity to chaotic cacophony to 
bubbly melodiousness with a mad yet purposive grace.”

Los Angeles, California: Echo Park Film Center
8pm, 1200 N. Alvarado St.
“Catalogue (The Series)” is a series of 16mm films and videos that take as 
their subject a well-known mainstream furniture catalogue in 13 volumes, one 
film for each. Each film considers a different aspect of representation, 
looking, and desire.

New York, NY: Anthology Film Archives
6:00 PM, 32 Second Avenue
Ian Hugo BELLS OF ATLANTIS (1952, 10 min, 16mm. Preserved by the Library of 
Congress through the Avant-Garde Masters program funded by The Film Foundation 
and administered by the National Film Preservation Foundation.) A film poem, 
based on Anaïs Nin's HOUSE OF INCEST, spoken by Nin, who also appears. Ken 
Jacobs LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.) 
"Material was cut in as it came out of the camera, embarrassing moments intact. 
100' rolls timed well with music on old 78s. I was interested in immediacy, a 
sense of ease, and an art where suffering was acknowledged but not trivialized 
with dramatics. Whimsy was our achievement, as well as breaking out of step." 
-Ken Jacobs Helen Levitt, Janice Loeb, and James Agee IN THE STREET (1952, 12 
min, 16mm, b&w. Preserved by Anthology Film Archives.) Levitt's short, lyrical 
documentary portrait of life in Spanish Harlem. Stealthily shot by Levitt, 
Janice Loeb, and James Agee. Willard Maas GEOGRAPHY OF THE
BODY (1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The 
National Film Preservation Foundation.) "The terrors and splendors of the human 
body as the undiscovered, mysterious continent." -Willard Maas Total running 
time: ca. 55 min.

New York, NY: Anthology Film Archives
7:30 PM, 32 Second Avenue
by Ken Jacobs. "Original 1905 film shot and probably directed by G.W. 'Billy' 
Bitzer, rescued via a paper print filed for copyright purposes with the Library 
of Congress. It is most reverently examined here, absolutely loved, with a new 
movie, almost as a side effect, coming into being." -Ken Jacobs

New York, New York: Spectacle Theater
5:PM, Spectacle Theater
A series of films by Hollywood, California-based artist, writer, musician and 
filmmaker GX Jupitter-Larsen. Best known for over 30 years as a founder of the 
prolific and confrontational noise band The Haters, Jupitter-Larsen has since 
built a body of work across many disciplines—including mail art, novel writing 
and radio experimentation—founded on an aesthetic of abrasion and agitation as 
well as the development of a new, non-linear standard of measurement. After 
producing a body of shorts throughout the 90s and 00s, Jupitter-Larsen moved 
into feature filmmaking in 2013 with “A Noisy Delivery” and in 2017 with 
“Omniwave Refresher,” both included in this program.

San Francisco, California: Other Cinema
8:30PM, ATA Gallery 992 Valencia St.
A stalwart figure on the New York A-G film scene, Joel visits the Coast for the 
first time to debut his knowing homage to the format that put pop music into 
the hands of the masses. His 16mm—occasionally hand-processed—feature is an 
inspired and inspiring love-letter to the gramophone and its discs, from their 
early days in the Teens/Twenties to the renewed fandom of contemporary 
enthusiasts. Interviews with cultural historians, collectors, and DJs are 
interwoven with generous samplings of vintage shellac sounds, from red-hot jazz 
to hillbilly ballads. Joel personally wind ups his own steampunk phonograph, 
inviting others to try, while complimentary 78s float freely through our 

Washington, DC: National Gallery of Art
4pm, East Building
Introduced by Mark Toscano Restored works by celebrated American independent 
experimental filmmakers and artists, including Will Hindle, Barbara Hammer, Pat 
O’Neill, and Chick Strand, a member of the influential Bay Area experimental 
filmmaking community and a founder in 1961 of the legendary artists’ 
cooperative Canyon Cinema, which still fosters scholarship, distribution, and 
awareness of artist-made cinema. (Total running time 75 minutes)


Boston, Massachusetts 02115: MassArt Film Society
8pm, 621 Huntington Ave
MASSART FILM SOCIETY presents, COOL WORLD Program: CONNECTION, 1961 by Shirley 
Clarke 90min The Connection is a 1961 feature film by the noted American 
experimental filmmaker Shirley Clarke. The film was Clarke's first feature; she 
had made several short films over the previous decade. The film was the subject 
of significant court cases regarding censorship. COVERT ACTION, 1984 by Abagail 
Child 10min Covert Action is a stunning melange of rapid-fire retro imagery 
accomplishing Child's proclaimed goal to "disarm my movies." "I wanted to 
examine the erotic behind the social, and remake those gestures into a dance 
that would confront their conditioning and, as well, relay the multiple 
fictions the footage suggests (the 'facts' forever obscured in the fragments 
left us). The result is a narrative developed by its periphery, a story like 
rumor: impossible to trace, disturbing, explosive." MASSART FILM SOCIETY 
Entrance is through the new DMC Building on Huntington Ave. Enter
through the glass doors, to get to the film area-turn left and go into the 
South Building, turn right into the East building and go down the 1/2 flight of 
stairs, through the hall, back up the next 1/2 flight, keep straight and 
Screening Room 1 will be on your left. Suggested donation is $4 at the door and 
free to the MassArt community with their ID. Donations are used to give 
visiting artist something for their expenses of coming to show their work. 
MASSART 621 Huntington Ave. Boston MA 02115


Los Angeles, California: Filmforum
7:30 pm, Los Angeles State Historic Park. Under the Historic North Broadway 
Bridge, 1799 Baker Street
At the end of the silent era of cinema, there was an international cycle of 
films that depicted the nature of the modern city. These films, known as city 
symphonies or film symphonies, were edited as if following a musical score. The 
rhythm and succession of the images were immensely important for the 
filmmakers. In Latin America, some of the earliest experimental films 
participated in this cycle of city symphonies. For example, São Paulo: a 
Sinfonia da Metrópole (1929), by Rodolfo Rex Lustig and Adalberto Kemeny, and 
Humberto Mauro’s film-poem about his home town in Minas Gerais, Brazil, 
Sinfonia de Cataguases (1929). Ever since those early efforts many filmmakers 
have maintained a fascination with the city, as Latin American cities were 
transformed by unfettered growth, industrialization, and massive rural to urban 
migrations. This FREE program offers a range of urban visions—some more 
celebratory, others more critical—of the architecture, daily life, public 
spaces, and
transportation of cities such as Buenos Aires, Havana, Lima, Bogotá, Los 
Angeles, Santiago, and London. Tickets: Free, no tickets required


San Francisco, California: Other Cinema
8:30PM, ATA Gallery 992 Valencia St.
OCT7: MICHAEL GENDREAU + VICKI BENNETT/PLU + The first of Fall’s two Optronica 
programs mobilizes an international avant garde of media-performance: 
London-based Vicki (People Like Us) Bennett is here to premiere her single 
channel special edit Citation City with kindred spirit Michael Gendreau. As 
synth ensemble audre, Gendreau and Jorge Bachmann joyfully surf the phase-froth 
from two Invisible Manmovies!! ALSO: A special surprise guest (can't be 
advertised), Bennett’s British buddies Semiconductor, former Frisco duo Matmos, 
John Warren’s In Colors, a Quintron cameo...and a video memoir to dear friend 
Owen O’Toole, late of Wetgate. $8.88


Cambridge, Massachusetts:
7pm, 24 Quincy Street
Dear Mark In the tone and tenor of a loving note folded over and slipped 
beneath a door, Dear Mark shows celebrated sculptor and Lyon’s close friend 
Mark di Suvero, in footage shot in 1965 Stony Point, New York and 1975 
Chalon-sur-Saône, France, at work (and play) on his sculptures: climbing on, 
standing before, swinging from, surveying, assessing, outlining, cutting, 
welding, hammering... Much of the film plays through a multiple exposure, one 
view close up on the shirtless, bearded sculptor, the other tracing the beams 
of his imposing steel combinations, a third expanding to reveal the imposing 
structures in their full scale. Not entirely playful, the film touches on 
questions of immigration and national identity (di Suvero himself was born in 
Shanghai to Italian parents and emigrated to California at the outbreak of 
World War II) through the soundtrack, which incorporates samples of a crackling 
Gene-Autry-cowboys-versus-illegal-immigrants radio play. Directed by Danny
Lyon. US/France 1981, digital video, color & b/w, 15 min El Otro Lado (The 
Other Side) In the mountains of New Mexico, Lyon befriended Eddie Marquez 
Rivera, an undocumented Mexican house builder who traveled frequently between 
Mexico and the United States. Over the course of several border crossings in 
Rivera’s company, Lyon discovered the subjects of his subsequent work, 
including the migrant fruit pickers who appear in El Otro Lado. The title 
refers to a Mexican designation for the US, where Don Bernabe Garay and his 
sons travel annually with their neighbors from an agrarian “ejido” 1,300 miles 
south of the border to pick oranges and lemons in the orchards of Arizona. The 
heart of the film lies, as in all Lyon’s best work, in his camera’s panoramic 
sensitivity to the beauty of the land and the men working it, the hard, 
elemental realities of the work itself, and the wider set of historical 
meanings leavened by the intense specificity of extended, unsubtitled human
observation narrated by humor, stories, card-playing and song. Beset by the 
camera’s insistence on them as men to be seen and celebrated instead of as 
labor to be exploited, the Garays and their friends vacillate between awkward 
self-consciousness and disarming self-realization as they alternately trudge or 
skip, like anyone else, off to work, at times merging with—and then suddenly 
erupting again from–brilliant periwinkle and salmon skies. Directed by Danny 
Lyon US/Mexico 1978, digital video, color, 60 min. Spanish with English 

Long Beach, CA: Filmforum
5:00 pm, University Art Museum, Cal State University Long Beach, 1250 N 
Bellflower Blvd, Long Beach, CA 90840
In Person: David Lamelas. David Lamelas began working in film in the late 1960s 
while living in London. Subsequently he created films in continental Europe, 
the United States, and Argentina. Place plays an integral role in his film 
work, as do the phenomenological experiences of time, space, and narrative. The 
University Art Museum presents three films by David Lamelas, including a rare 
16 mm screening of Film 18 Paris IV 70 (People and Time-Paris), made with 
artist Daniel Buren, journalist Raúl Escari, and filmmaker Pierre Grinberg for 
the conceptual exhibition 18 Paris IV.70, curated by Michel Claura and Seth 
Siegelaub. The screening will be followed by a Q&A with the artist.

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