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«Ce film est né de mon amour pour la musique africaine contemporaine. Je collectionne des enregistrements de cette musique depuis une vingtaine d`années en me concentrant particulièrement sur la musique des anciennes colonies portugaises Angola, Mozambique, Guinée-Bissau et Cap Vert. Un jour, alors que j`étais en train de classer mes enregistrements de musique angolaise, j`ai découvert que je possédais six versions différentes d`une chanson intitulée Muxima. C`est ainsi que le film est né. » Alfredo Jaar

Alfredo Jaar est né en 1956 à Santiago de Chili. Il a remporté le prestigieux MacArthur Fellowship, ainsi que d?autres prix. Il a étudié l?architecture et la réalisation. Depuis 1982, il vit et travaille à New York. Son travail a été exposé dans des expositions individuelles et de groupe dans les musées du monde entier, dont le New Museum of Contemporary Art de New York, le Chicago Museum of Contemporary Art et au Moderna Museet de Stockholm. Jaar a également présenté son travail aux biennales de Venise, de São Paulo, de Johannesburg, de Sydney, d?Istanbul, et de Kwangju. Son travail a été exposé en 2002 à la Documenta de Kassel avec son installation « Lament of the Images ». Alfredo Jaar est un artiste sans compromis. Ses installations combinent des éléments photographiques, architecturaux, et des images documentaires, et explorent les relations complexes développées entre les nations et les soit disant pays du tiers-monde. Dans son travail, Alfredo Jaar suit et souligne les ironies et les injustices qui caractérisent ces relations, et met à jour la recherche systématique du profit qui y sont sous jacentes.

"From The Horse's Mouth was commissioned by Maya Stendhal of Maya Stendhal Gallery, NYC, for the Vital Signs 2005 exhibition. The video has a second title: "I Can Produce - Pronounce - Nuclear, which is its generative motivating core, an unscripted moment during Laura Bush's delivery of an entirely scripted stand-up comedy routine at the 2005 White House Correspondents Dinner in Washington D.C., in which through a Freudian slip she substituted 'produce' for 'pronounce'. The effect is staggering since it is her husband at the banquet table, smiling widely at her jokes, who has failed to produce WMD's stated as his reason for an invasion of Iraq. The images contort and writhe through visually gagging effects, intensifying the already-sick toxicity and hypocrisy which engulfs the room of 2,500 politicians, journalists, and media 'managers' who enjoy the manufactured wit and simultaneously implicate themselves in the crimes of her husband.

Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of "Angela?s Ashes" and "'Tis". Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, received a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor's in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University, and Digital Editing and Sound Design at New York Film Academy. Her work, "Little Bits of Skin (Words)" was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participated in the Jonas Mekas' "Fragments in Paradise" exhibit (2005), the politically-minded 'Vital Signs' summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her videos in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, and New York, as well as at Tribeca Film Festival (2003). Her videos are currently distributed through The New York Film-Maker's Cooperative, RoArtario Paris/Berlin, Light Cone, Paris, and http://www.thefieldprocess.com. Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series at the Synch Festival; the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005; and one for the Howl Festival, summer 2005.

a loft 16 min., silent, color, 2010 computer assistance; Nisi Jacobs A 3-D glimpse of a downtown Manhattan artist?s loft about to give birth to new artist?s lofts, which is odd, seeing that dentists and the minor hirelings of high finance are likely to be the new renters and buyers. Also odd is the absence of any 3-D technology.

Ken Jacobs Biography Born in Brooklyn, NY, 1933. After completion of high school, I went into the Coast Guard for two years. The GI Bill enabled me to study painting at various schools and to study film at CUNY but it wasn`t until I began studying painting with Hans Hofmann, 1956-57, that I felt that I was studying with someone who had something to teach. Started making films, 1955. I created/directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001, 2010; NYSCA 2001, 2007, 2009; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007; National Society Of Film Critics Annual Awards of 2008 awarded "RAZZLE DAZZLE The Lost World" Best Experimental Film; free 103 point 9 grant, 2010 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009, 2010; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007, 2010; Viennale, Int. Film Festival, 2007,2010; Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain; Nervous Magic Lantern performances: Oklahoma State University; Pacific Film Archives, SF, CA; RedCat Theater, LA, CA, Oct. 2009; Nervous Magic Lantern, Cinematheque, France, Jan.2010; Animism exhibition Antwerp, Belgium & Bern, Switzerland, 2010; gallery exhibition of my films and Nervous Magic Lantern performance, Curtas Vila do Conde, Portugal.

excerpt from THE SKY SOCIALIST stratified A digital visit in 2009 to where we, Flo and I, had been in 1964/65. Young people of today, take my word there`s no exaggerating how vivid, of the moment, whizbang and splendidly new 1964 and 65 were in their time. True, I was entering my thirties but Flo, my child-bride, was turning 23. Underground Cinema had gotten momentarily hot just as my 16mm camera was stolen. I recoiled from the throng pushing to enter the circle of cheap celebrity and switched to 8mm. I then filmed THE SKY SOCIALIST, a sunny feature during the time of US assault upon the Vietnamese people -why? because they were there, they were "yellow". and profit margins couldn`t be better, and afterwards Flo and I struggled to make a decent 16mm. blow-up, yet to happen. The purpose of cinema as I understood it then was to lie, in order to make history bearable. The lie, however, was to be obvious enough so as to allude to the truth; film was a lie that invited seeing through, it was like religion but with a more of a wink. Flo then became a stand-in for Anne Frank, while The Muse Of Cinema flew to the rescue with a happy ending mostly because she knew doing so gave her a chance to look good. Our days were permeated with the transcendent music of Olivier Messiaen and Charles Ives and Arnold Schoenberg and so, naturally, was this perfectly self-indulgent movie. For this return visit some of Messiaen can still be heard, contending with the supremely hip sensibility of Michael Schumacher.

Ken Jacobs: Resume/Biography Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001; NYSCA 2001, 2007; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Ken Jacobs: Resume/Biography (continued) page 2 Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007; Viennale, Int. Film Festival, 2007, Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain Filmography of Ken Jacobs ORCHARD STREET, 1955, 12 min., clr. silent THE WHIRLED, 1956-63, 19 min., b/w & clr., sound & silent STAR SPANGLED TO DEATH, 1957-59, completed (in digital) 2003-4, 440 min., b/w & clr., sound LITTLE STABS AT HAPPINESS, 1958-60, 18 min., clr., sound BLONDE COBRA, 1959-63, 30 min., b/w & clr., sound BAUD`LARIAN CAPERS, 1963, 25 min., silent & sound WINDOW, 1964, 12 min., clr. silent THE WINTER FOOTAGE, (1964-8mm.) (1985-16mm.) 50 min., clr., silent THE SKY SOCIALIST, (1964-65 8mm.) 16mm. to be completed 2006, approx. 2 hrs., clr., sound LISA AND JOEY IN CONNECTICUT, JANUARY `65: "YOU`VE COME BACK!" "YOU`RE STILL HERE!", 1965, 18 min., clr., silent AIRSHAFT, 1967, 4 min., clr., silent SOFT RAIN, 1968, 12 min., clr., silent NISSAN ARIANA WINDOW, 1968, 15 min., clr., silent TOM, TOM, THE PIPER`S SON, 1969, 115 min., b/w, silent (distributed on PAL vhs 2000, NTSC vhs 2002 together with a book of essays) GLOBE, 1969, 22 min., clr., sound Ken Jacobs: Resume/Biography (continued) page 3 URBAN PEASANTS, 1975, 50 min., b/w, silent image alternated with sound-in-dark SPAGHETTI AZA, 1976, 1-1/2 min., clr., silent THE DOCTOR`S DREAM, 1978, 27 min., b/w, sound PERFECT FILM, 1985, 27 min., b/w, sound JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE, 1987, 15 min., clr., silent OPENING THE NINETEENTH CENTURY: 1896, 1990, 11 min., b/w, silent KEATON`S COPS, 1991, 23 min., b/w, silent THE GEORGETOWN LOOP, 1996, 11 min., 35mm. & 16mm., b/w, silent DISORIENT EXPRESS, 1996, 30 min., 35mm. & 16mm., b/w, silent; Theater Works (a selection): all involved shadow-play or unusual uses of film. Each lasted about 90 minutes. THE BIG BLACKOUT OF `65: Chapter One "Thirties Man", 1965 RESTFUL MOMENTS, 2 and 3-Dimensional shadowplay, 1970 A GOOD NIGHT FOR THE MOVIES: 4th OF JULY BY CHARLES IVES BY KEN JACOBS, 1972 A MAN`S HOME IS HIS CASTLE FILMS: THE EUROPEAN THEATER OF OPERATIONS, 1974 "SLOW IS BEAUTY" -RODIN, 2 and 3-Dimensional shadowplay, 1974; MUMOK, Vienna, 2004 THE BOXER REBELLION, 2 and 3-Dimensional shadowplay, 1975 AIR OF INCONSEQUENCE, 3-Dimensional shadowplay, 1977 Ken Jacobs At The Console Performing STICK TO YOUR CARPENTRY AND YOU WON`T GET NAILED, 1979 AUDIO-VISUAL VAUDEVILLE, 2 and 3-Dimensional shadow-play, 1982, 1994, 2000 Film-Performances of THE NERVOUS SYSTEM; a unique double-analysis projector set-up designed to derive 3-D from standard 2-D film, most often archival and other found-footage materials (all performance lengths are approximate). THE IMPOSSIBLE: Chapter One "Southwark Fair", 1975, (1 hr.) THE IMPOSSIBLE: Chapter Two "1896", 1979, (11 min.) THE IMPOSSIBLE: Chapter Three "Hell Breaks Loose", 1980, (25 min.) THE IMPOSSIBLE: Chapter Four "Schilling", 1980, (1 hr.) THE IMPOSSIBLE: Chapter Five "The Wrong Laurel", 1980, (7 min.) XCXHXEXRXRXIXEXSX, 1980, (90 min.) KEN JACOBS THEATER OF UNCONSCIONABLE STUPIDITY PRESENTS CAMERA THRILLS OF THE WAR, 1981, (90 min.) THE WHOLE SHEBANG, 1982, (70 min.) Ken Jacobs: Resume/Biography (continued) page 4 MAKING LIGHT OF HISTORY: THE PHILIPPINES ADVENTURE, 1983, (90 min.) TWO WRENCHING DEPARTURES, 1989, (2 hrs.) THE SUBCINEMA, 1990, (2 hrs.) NEW YORK GHETTO FISHMARKET 1903, 1993 (90 min.) BITEMPORAL VISION: THE SEA, 1994, (90 min.) THE MARRIAGE OF HEAVEN AND HELL (A Flicker Of Life), 1995 (90 min.) LOCO MOTION, 1996, (25 min.) FROM MUYBRIDGE TO BROOKLYN BRIDGE, 1996 (includes "Muybridge On Wheels" (animated slides), "The Georgetown Loop" (film), "Loco Motion" (Nervous System work), "Disorient Express" (film), "On The Bridge" (Nervous System work) 90 min. COUPLING, 1996 (1 hr.) ONTIC ANTICS STARRING LAUREL AND HARDY, 1997 (1 hr.) NEW YORK STREET TROLLEYS 1900, 1997 (25 min.) UN PETIT TRAIN DE PLAISIR, 1998 (25 min.) Further Performance Work utilizing THE NERVOUS MAGIC LANTERN; a single self-designed projector that creates 3-D cinema without use of use of film or video, a 3-D which, like Nervous System works, can be seen in 3-D by the unaided eye, the single eye. CRYSTAL PALACE (Chandeliers For The People), 2000 (40 min.) A PLACE WHERE THERE IS NO TROUBLE, 2002 (1 hr.) LOCAL HUBBLE (For Marilyn and Stan Brakhage), April 2003 (1 hr.) LOCAL HUBBLE II: La Conference Des Oiseaux, March 2004 (1 hr.) CELESTIAL SUBWAY Last Stop All Out (music by Black Dice), March 2004, (1 hr.) CELESTIAL SUBWAY LINES 2,3,4,(multiple performances; music by John Zorn assisted by Ikue Mori) May 2004 (45 min.) SEEING IS BELIEVING (music by Rick Reed) September 2004 (1 hr.) SALVAGING NOISE (music by John Zorn assisted by Ikue Mori) October 2004 (1 hr.) INTERSTELLAR LOWER EAST SIDE RAMBLE (music by John Zorn assisted by Ikue Mori) January 2005, (1 hr.) Live Nervous Magic Lantern performance, April 2007 KYTN ?Dundee Contemporary Arts, Scotland Live Nervous Magic Lantern performance Lumen, May 2007, Leeds, England Live Nervous Magic Lantern performance, NYFF, October, 2007 Live Nervous Magic Lantern performance, Bozar, October, 2007, Brussels, Belgium Live Nervous Magic Lantern performance, Sonic Acts XII, Amsterdam, the Netherlands, February, 2008 Live Nervous Magic Lantern performance, Avanto Festival, November, 2008 Ken Jacobs: Resume/Biography (continued) page 5 Live Nervous Magic Lantern performance, KYTN ?England, November, December, 2008 Live Nervous Magic Lantern performance, Rotterdam Film Festival, January, 2009 Live Nervous Magic Lantern performance, Harvard Film Archive, January, 2009 Videography of Ken Jacobs FLO ROUNDS A CORNER, 1999, 6 min., clr., silent, digital computer work NEW YORK STREET-TROLLEYS 1901, 1999, 10 min., b/w, sound A TOM TOM CHASER, 2002, 10-1/2 min., b/w, silent, digital computer work CIRCLING ZERO: Part One WE SEE ABSENCE, 2002, 114 min., clr., sound, KEEPING AN EYE ON STAN, 2003, 117 min., clr., sound, CELESTIAL SUBWAY LINES/SALVAGING NOISE, 2004, 108 min., clr., music by John Zorn assisted by Ikue Mori, a Tzadik DVD MOUNTAINEER SPINNING, 2004, 26 min., clr., music by Rick Reed KRYPTON IS DOOMED, 2005, 34 min., clr., sound (Superman radio-play 1940) INSISTENT CLAMOR, 2005, 22 min., clr., music by Margaret Shelton Meier LEEDS BRIDGE 1888, 2005, 6 min., b/w, silent SPIRAL NEBULA, 2005, 45 min., clr., music by Rick Reed INCENDIARY CINEMA, 2005, 1 min., clr., sound (2005 Viennale Festival cine-logo) LET THERE BE WHISTLEBLOWERS, 2005, b/w & clr., 18 min., sound composed to DRUMMING, Part 1 by Steve Reich ONTIC ANTICS STARRING LAUREL AND HARDY; BYE, MOLLY, 2005, b/w & clr., 90 min., sound NEW YORK GHETTO FISHMARKET 1903, 2006, b/w & clr., 2 hrs. 12 min., music by Catherine Jauniaux and Tom Cora, (Tzadik DVD released March 2007 with THE SURGING SEA OF HUMANITY) PUSHCARTS OF ETERNITY STREET, 2006, b/w, 10 min., silent TWO WRENCHING DEPARTURES, 2006, b/w, 90 min., sound CAPITALISM: CHILD LABOR, 2006, 14 min., clr.,music by Rick Reed CAPITALISM: SLAVERY, 2006, 3 min., clr., silent THE SURGING SEA OF HUMANITY, 2006, 10 min. 40 sec., clr., silent RAZZLE DAZZLE The Lost World, 2006, 92 min., b/w & clr., sound WE ARE CHARMING, 2007, 1 min., b/w, silent HANKY PANKY JANUARY 1903, 2007, 1 min., b/w, silent NYMPH, 2007, 3min., b/w, silent MY FAVORITE WIFE IMPROVED, 2008, 2 min., b/w, sound RETURN TO THE SCENE OF THE CRIME, 2008, 93 min., b/w & clr., music by Malcolm Goldstein THE SCENIC ROUTE, 2008, 25 min., clr., sound THE GUESTS, 2008, 89 min., b/w, sound. Lumiere?s Entree D?Une Noce A L?Eglise; sequential film-frames combine, via slight convergence of the eyes, to produce (irrational) 3-D. Ken Jacobs: Resume/Biography (continued) page 6 ALONE AT LAST, 2008, 1 min. 53 sec., silent THE DISCOVERY, 2008, 4 min. 52 sec., silent LOVE STORY, 2008, 33 sec., silent HOT DOGS AT THE MET, (HD) 2008, 10 min., sound ANAGLYPH TOM, (TOM WITH PUFFY CHEEKS), 2008, 118 min., music by Michael Schumacher, Nisi Jacobs, Malcolm Goldstein; Movement by TOM TOM cast-members converted to (irrational) stereo via red/cyan spectacles WHAT HAPPENED ON 23rd STREET IN 1901, 2009, 13 1/2 min., silent ??SLOW IS BEAUTY? ?RODIN?, 2009, 51 min. clr., anaglyh 3-D recording (original performance 1974, revived 2004), sound BROOK, (HD) 2009, 2? 15?, clr., silent BOB FLEISCHNER DYING, (HD) 2009, 2?42?, clr., silent THE DAY WAS A SCORCHER, (HD) 2009, 7?48?, clr., silent JONAS MEKAS in KODACHROME DAYS, (HD) 2009, 3?19?, clr., silent WALKWAY, (HD) 2009, 8?24?, clr., silent excerpt from THE SKY SOCIALIST stratified, 2009, 18?, clr., sound BRAIN OPERATIONS, (HD) 2009, 22?22?, b/w, silent RON GONZALEZ, SCULPTOR, (HD) 2009, 20?, clr., sound GRAVITY IS TOPS, (HD), 2009, 10?M clr., sound Cine-Installations ZOOM, 1967 -viewer installed on a moving NY ferryboat as part of the NY Avant-Garde Festival. FESTOON, 1975 35 mm. film hung outdoors for individual viewing in (irrational) 3-D THE GUESTS, 1999, 3-D slide installation (74 min. continuous cycle) based on Lumiere?s ENTREE D?UNE NOCE A L?EGLISE, by Ken and Flo Jacobs Re-installed, with sound accompaniment by Nisi Jacobs, at the Maya Stendhal Gallery, NY, 2005 GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D; can be shown on a monitor or with a single projector, viewed through red/blue spectacles. 19 film-frames remain of artist-inventor Louis Le Prince`s 1888 movie-recording of Leeds Bridge, the first or near-first movie ever made. Here seen in stereo, Leeds Bridge (U.K.) is again active in deep space. Other 3-D comments regarding the rise of cinema are made. A 6`4 man among a 5`2 population, this giant "vanished" on the way to the patent office, quite possibly a feat of wizardry (skullduggery?) by The Wizard Of Menlo Park, Thomas Edison. Suspicions remain but now Edison is also gone and there`s only the film-fragment (originally over 200 frames) left to investigate. Also available as a Polaroid two-projector installation.

THE DAY WAS A SCORCHER Movie-star Flo, Nisi the thoughtful young girl, and Aza old enough to trudge with the rest of us but still expecting to be pushed around on wheels. The sun doesn`t kid around when it`s a sunny day in Rome. But it`s a perfect day , when -as said- nothing happens.

Ken Jacobs: Resume/Biography Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001; NYSCA 2001, 2007; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Ken Jacobs: Resume/Biography (continued) page 2 Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007; Viennale, Int. Film Festival, 2007, Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain Filmography of Ken Jacobs ORCHARD STREET, 1955, 12 min., clr. silent THE WHIRLED, 1956-63, 19 min., b/w & clr., sound & silent STAR SPANGLED TO DEATH, 1957-59, completed (in digital) 2003-4, 440 min., b/w & clr., sound LITTLE STABS AT HAPPINESS, 1958-60, 18 min., clr., sound BLONDE COBRA, 1959-63, 30 min., b/w & clr., sound BAUD`LARIAN CAPERS, 1963, 25 min., silent & sound WINDOW, 1964, 12 min., clr. silent THE WINTER FOOTAGE, (1964-8mm.) (1985-16mm.) 50 min., clr., silent THE SKY SOCIALIST, (1964-65 8mm.) 16mm. to be completed 2006, approx. 2 hrs., clr., sound LISA AND JOEY IN CONNECTICUT, JANUARY `65: "YOU`VE COME BACK!" "YOU`RE STILL HERE!", 1965, 18 min., clr., silent AIRSHAFT, 1967, 4 min., clr., silent SOFT RAIN, 1968, 12 min., clr., silent NISSAN ARIANA WINDOW, 1968, 15 min., clr., silent TOM, TOM, THE PIPER`S SON, 1969, 115 min., b/w, silent (distributed on PAL vhs 2000, NTSC vhs 2002 together with a book of essays) GLOBE, 1969, 22 min., clr., sound Ken Jacobs: Resume/Biography (continued) page 3 URBAN PEASANTS, 1975, 50 min., b/w, silent image alternated with sound-in-dark SPAGHETTI AZA, 1976, 1-1/2 min., clr., silent THE DOCTOR`S DREAM, 1978, 27 min., b/w, sound PERFECT FILM, 1985, 27 min., b/w, sound JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE, 1987, 15 min., clr., silent OPENING THE NINETEENTH CENTURY: 1896, 1990, 11 min., b/w, silent KEATON`S COPS, 1991, 23 min., b/w, silent THE GEORGETOWN LOOP, 1996, 11 min., 35mm. & 16mm., b/w, silent DISORIENT EXPRESS, 1996, 30 min., 35mm. & 16mm., b/w, silent; Theater Works (a selection): all involved shadow-play or unusual uses of film. Each lasted about 90 minutes. THE BIG BLACKOUT OF `65: Chapter One "Thirties Man", 1965 RESTFUL MOMENTS, 2 and 3-Dimensional shadowplay, 1970 A GOOD NIGHT FOR THE MOVIES: 4th OF JULY BY CHARLES IVES BY KEN JACOBS, 1972 A MAN`S HOME IS HIS CASTLE FILMS: THE EUROPEAN THEATER OF OPERATIONS, 1974 "SLOW IS BEAUTY" -RODIN, 2 and 3-Dimensional shadowplay, 1974; MUMOK, Vienna, 2004 THE BOXER REBELLION, 2 and 3-Dimensional shadowplay, 1975 AIR OF INCONSEQUENCE, 3-Dimensional shadowplay, 1977 Ken Jacobs At The Console Performing STICK TO YOUR CARPENTRY AND YOU WON`T GET NAILED, 1979 AUDIO-VISUAL VAUDEVILLE, 2 and 3-Dimensional shadow-play, 1982, 1994, 2000 Film-Performances of THE NERVOUS SYSTEM; a unique double-analysis projector set-up designed to derive 3-D from standard 2-D film, most often archival and other found-footage materials (all performance lengths are approximate). THE IMPOSSIBLE: Chapter One "Southwark Fair", 1975, (1 hr.) THE IMPOSSIBLE: Chapter Two "1896", 1979, (11 min.) THE IMPOSSIBLE: Chapter Three "Hell Breaks Loose", 1980, (25 min.) THE IMPOSSIBLE: Chapter Four "Schilling", 1980, (1 hr.) THE IMPOSSIBLE: Chapter Five "The Wrong Laurel", 1980, (7 min.) XCXHXEXRXRXIXEXSX, 1980, (90 min.) KEN JACOBS THEATER OF UNCONSCIONABLE STUPIDITY PRESENTS CAMERA THRILLS OF THE WAR, 1981, (90 min.) THE WHOLE SHEBANG, 1982, (70 min.) Ken Jacobs: Resume/Biography (continued) page 4 MAKING LIGHT OF HISTORY: THE PHILIPPINES ADVENTURE, 1983, (90 min.) TWO WRENCHING DEPARTURES, 1989, (2 hrs.) THE SUBCINEMA, 1990, (2 hrs.) NEW YORK GHETTO FISHMARKET 1903, 1993 (90 min.) BITEMPORAL VISION: THE SEA, 1994, (90 min.) THE MARRIAGE OF HEAVEN AND HELL (A Flicker Of Life), 1995 (90 min.) LOCO MOTION, 1996, (25 min.) FROM MUYBRIDGE TO BROOKLYN BRIDGE, 1996 (includes "Muybridge On Wheels" (animated slides), "The Georgetown Loop" (film), "Loco Motion" (Nervous System work), "Disorient Express" (film), "On The Bridge" (Nervous System work) 90 min. COUPLING, 1996 (1 hr.) ONTIC ANTICS STARRING LAUREL AND HARDY, 1997 (1 hr.) NEW YORK STREET TROLLEYS 1900, 1997 (25 min.) UN PETIT TRAIN DE PLAISIR, 1998 (25 min.) Further Performance Work utilizing THE NERVOUS MAGIC LANTERN; a single self-designed projector that creates 3-D cinema without use of use of film or video, a 3-D which, like Nervous System works, can be seen in 3-D by the unaided eye, the single eye. CRYSTAL PALACE (Chandeliers For The People), 2000 (40 min.) A PLACE WHERE THERE IS NO TROUBLE, 2002 (1 hr.) LOCAL HUBBLE (For Marilyn and Stan Brakhage), April 2003 (1 hr.) LOCAL HUBBLE II: La Conference Des Oiseaux, March 2004 (1 hr.) CELESTIAL SUBWAY Last Stop All Out (music by Black Dice), March 2004, (1 hr.) CELESTIAL SUBWAY LINES 2,3,4,(multiple performances; music by John Zorn assisted by Ikue Mori) May 2004 (45 min.) SEEING IS BELIEVING (music by Rick Reed) September 2004 (1 hr.) SALVAGING NOISE (music by John Zorn assisted by Ikue Mori) October 2004 (1 hr.) INTERSTELLAR LOWER EAST SIDE RAMBLE (music by John Zorn assisted by Ikue Mori) January 2005, (1 hr.) Live Nervous Magic Lantern performance, April 2007 KYTN ?Dundee Contemporary Arts, Scotland Live Nervous Magic Lantern performance Lumen, May 2007, Leeds, England Live Nervous Magic Lantern performance, NYFF, October, 2007 Live Nervous Magic Lantern performance, Bozar, October, 2007, Brussels, Belgium Live Nervous Magic Lantern performance, Sonic Acts XII, Amsterdam, the Netherlands, February, 2008 Live Nervous Magic Lantern performance, Avanto Festival, November, 2008 Ken Jacobs: Resume/Biography (continued) page 5 Live Nervous Magic Lantern performance, KYTN ?England, November, December, 2008 Live Nervous Magic Lantern performance, Rotterdam Film Festival, January, 2009 Live Nervous Magic Lantern performance, Harvard Film Archive, January, 2009 Videography of Ken Jacobs FLO ROUNDS A CORNER, 1999, 6 min., clr., silent, digital computer work NEW YORK STREET-TROLLEYS 1901, 1999, 10 min., b/w, sound A TOM TOM CHASER, 2002, 10-1/2 min., b/w, silent, digital computer work CIRCLING ZERO: Part One WE SEE ABSENCE, 2002, 114 min., clr., sound, KEEPING AN EYE ON STAN, 2003, 117 min., clr., sound, CELESTIAL SUBWAY LINES/SALVAGING NOISE, 2004, 108 min., clr., music by John Zorn assisted by Ikue Mori, a Tzadik DVD MOUNTAINEER SPINNING, 2004, 26 min., clr., music by Rick Reed KRYPTON IS DOOMED, 2005, 34 min., clr., sound (Superman radio-play 1940) INSISTENT CLAMOR, 2005, 22 min., clr., music by Margaret Shelton Meier LEEDS BRIDGE 1888, 2005, 6 min., b/w, silent SPIRAL NEBULA, 2005, 45 min., clr., music by Rick Reed INCENDIARY CINEMA, 2005, 1 min., clr., sound (2005 Viennale Festival cine-logo) LET THERE BE WHISTLEBLOWERS, 2005, b/w & clr., 18 min., sound composed to DRUMMING, Part 1 by Steve Reich ONTIC ANTICS STARRING LAUREL AND HARDY; BYE, MOLLY, 2005, b/w & clr., 90 min., sound NEW YORK GHETTO FISHMARKET 1903, 2006, b/w & clr., 2 hrs. 12 min., music by Catherine Jauniaux and Tom Cora, (Tzadik DVD released March 2007 with THE SURGING SEA OF HUMANITY) PUSHCARTS OF ETERNITY STREET, 2006, b/w, 10 min., silent TWO WRENCHING DEPARTURES, 2006, b/w, 90 min., sound CAPITALISM: CHILD LABOR, 2006, 14 min., clr.,music by Rick Reed CAPITALISM: SLAVERY, 2006, 3 min., clr., silent THE SURGING SEA OF HUMANITY, 2006, 10 min. 40 sec., clr., silent RAZZLE DAZZLE The Lost World, 2006, 92 min., b/w & clr., sound WE ARE CHARMING, 2007, 1 min., b/w, silent HANKY PANKY JANUARY 1903, 2007, 1 min., b/w, silent NYMPH, 2007, 3min., b/w, silent MY FAVORITE WIFE IMPROVED, 2008, 2 min., b/w, sound RETURN TO THE SCENE OF THE CRIME, 2008, 93 min., b/w & clr., music by Malcolm Goldstein THE SCENIC ROUTE, 2008, 25 min., clr., sound THE GUESTS, 2008, 89 min., b/w, sound. Lumiere?s Entree D?Une Noce A L?Eglise; sequential film-frames combine, via slight convergence of the eyes, to produce (irrational) 3-D. Ken Jacobs: Resume/Biography (continued) page 6 ALONE AT LAST, 2008, 1 min. 53 sec., silent THE DISCOVERY, 2008, 4 min. 52 sec., silent LOVE STORY, 2008, 33 sec., silent HOT DOGS AT THE MET, (HD) 2008, 10 min., sound ANAGLYPH TOM, (TOM WITH PUFFY CHEEKS), 2008, 118 min., music by Michael Schumacher, Nisi Jacobs, Malcolm Goldstein; Movement by TOM TOM cast-members converted to (irrational) stereo via red/cyan spectacles WHAT HAPPENED ON 23rd STREET IN 1901, 2009, 13 1/2 min., silent ??SLOW IS BEAUTY? ?RODIN?, 2009, 51 min. clr., anaglyh 3-D recording (original performance 1974, revived 2004), sound BROOK, (HD) 2009, 2? 15?, clr., silent BOB FLEISCHNER DYING, (HD) 2009, 2?42?, clr., silent THE DAY WAS A SCORCHER, (HD) 2009, 7?48?, clr., silent JONAS MEKAS in KODACHROME DAYS, (HD) 2009, 3?19?, clr., silent WALKWAY, (HD) 2009, 8?24?, clr., silent excerpt from THE SKY SOCIALIST stratified, 2009, 18?, clr., sound BRAIN OPERATIONS, (HD) 2009, 22?22?, b/w, silent RON GONZALEZ, SCULPTOR, (HD) 2009, 20?, clr., sound GRAVITY IS TOPS, (HD), 2009, 10?M clr., sound Cine-Installations ZOOM, 1967 -viewer installed on a moving NY ferryboat as part of the NY Avant-Garde Festival. FESTOON, 1975 35 mm. film hung outdoors for individual viewing in (irrational) 3-D THE GUESTS, 1999, 3-D slide installation (74 min. continuous cycle) based on Lumiere?s ENTREE D?UNE NOCE A L?EGLISE, by Ken and Flo Jacobs Re-installed, with sound accompaniment by Nisi Jacobs, at the Maya Stendhal Gallery, NY, 2005 GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D; can be shown on a monitor or with a single projector, viewed through red/blue spectacles. 19 film-frames remain of artist-inventor Louis Le Prince`s 1888 movie-recording of Leeds Bridge, the first or near-first movie ever made. Here seen in stereo, Leeds Bridge (U.K.) is again active in deep space. Other 3-D comments regarding the rise of cinema are made. A 6`4 man among a 5`2 population, this giant "vanished" on the way to the patent office, quite possibly a feat of wizardry (skullduggery?) by The Wizard Of Menlo Park, Thomas Edison. Suspicions remain but now Edison is also gone and there`s only the film-fragment (originally over 200 frames) left to investigate. Also available as a Polaroid two-projector installation.

THE SCENIC ROUTE, 2008, 25 min., brief sound during beginning titles, b/w & clr. One of the nice things about movies was you could keep them at a distance. We were dimensional, they were flat, so it was easy to know which was which. But THE SCENIC ROUTE seemingly spills from the screen, threatening demarcation lines everywhere.

Ken Jacobs: Resume/Biography Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001; NYSCA 2001, 2007; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Festival, 2006, 2008; San Francisco Int. Film Festival 2007, Ken Jacobs: Resume/Biography (continued) page 2 ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007; Viennale, Int. Film Festival, 2007, Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Filmography of Ken Jacobs ORCHARD STREET, 1955, 12 min., clr. silent THE WHIRLED, 1956-63, 19 min., b/w & clr., sound & silent STAR SPANGLED TO DEATH, 1957-59, completed (in digital) 2003-4, 440 min., b/w & clr., sound LITTLE STABS AT HAPPINESS, 1958-60, 18 min., clr., sound BLONDE COBRA, 1959-63, 30 min., b/w & clr., sound BAUD`LARIAN CAPERS, 1963, 25 min., silent & sound WINDOW, 1964, 12 min., clr. silent THE WINTER FOOTAGE, (1964-8mm.) (1985-16mm.) 50 min., clr., silent THE SKY SOCIALIST, (1964-65 8mm.) 16mm. to be completed 2006, approx. 2 hrs., clr., sound LISA AND JOEY IN CONNECTICUT, JANUARY `65: "YOU`VE COME BACK" "YOU`RE STILL HERE", 1965, 18 min., clr., silent AIRSHAFT, 1967, 4 min., clr., silent SOFT RAIN, 1968, 12 min., clr., silent NISSAN ARIANA WINDOW, 1968, 15 min., clr., silent TOM, TOM, THE PIPER`S SON, 1969, 115 min., b/w, silent (distributed on PAL vhs 2000, NTSC vhs 2002 together with a book of essays) GLOBE, 1969, 22 min., clr., silent URBAN PEASANTS, 1975, 50 min., b/w, silent image alternated with sound-in-dark SPAGHETTI AZA, 1976, 1-1/2 min., clr., silent THE DOCTOR`S DREAM, 1978, 27 min., b/w, sound PERFECT FILM, 1985, 27 min., b/w, sound JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE, 1987, 15 min., clr., silent OPENING THE NINETEENTH CENTURY: 1896, 1990, 11 min., b/w, silent KEATON`S COPS, 1991, 23 min., b/w, silent Ken Jacobs: Resume/Biography (continued) page 3 THE GEORGETOWN LOOP, 1996, 11 min., 35mm. & 16mm., b/w, silent DISORIENT EXPRESS, 1996, 30 min., 35mm. & 16mm., b/w, silent; Theater Works (a selection): all involved shadow-play or unusual uses of film. Each lasted about 90 minutes. THE BIG BLACKOUT OF `65: Chapter One "Thirties Man", 1965 RESTFUL MOMENTS, 2 and 3-Dimensional shadowplay, 1970 A GOOD NIGHT FOR THE MOVIES: 4th OF JULY BY CHARLES IVES BY KEN JACOBS, 1972 A MAN`S HOME IS HIS CASTLE FILMS: THE EUROPEAN THEATER OF OPERATIONS, 1974 "SLOW IS BEAUTY" -RODIN, 2 and 3-Dimensional shadowplay, 1974; MUMOK, Vienna, 2004 THE BOXER REBELLION, 2 and 3-Dimensional shadowplay, 1975 AIR OF INCONSEQUENCE, 3-Dimensional shadowplay, 1977 Ken Jacobs At The Console Performing STICK TO YOUR CARPENTRY AND YOU WON`T GET NAILED, 1979 AUDIO-VISUAL VAUDEVILLE, 2 and 3-Dimensional shadow-play, 1982, 1994, 2000 Film-Performances of THE NERVOUS SYSTEM; a unique double-analysis projector set-up designed to derive 3-D from standard 2-D film, most often archival and other found-footage materials (all performance lengths are approximate). THE IMPOSSIBLE: Chapter One "Southwark Fair", 1975, (1 hr.) THE IMPOSSIBLE: Chapter Two "1896", 1979, (11 min.) THE IMPOSSIBLE: Chapter Three "Hell Breaks Loose", 1980, (25 min.) THE IMPOSSIBLE: Chapter Four "Schilling", 1980, (1 hr.) THE IMPOSSIBLE: Chapter Five "The Wrong Laurel", 1980, (7 min.) XCXHXEXRXRXIXEXSX, 1980, (90 min.) KEN JACOBS THEATER OF UNCONSCIONABLE STUPIDITY PRESENTS CAMERA THRILLS OF THE WAR, 1981, (90 min.) THE WHOLE SHEBANG, 1982, (70 min.) MAKING LIGHT OF HISTORY: THE PHILIPPINES ADVENTURE, 1983, (90 min.) TWO WRENCHING DEPARTURES, 1989, (2 hrs.) THE SUBCINEMA, 1990, (2 hrs.) NEW YORK GHETTO FISHMARKET 1903, 1993 (90 min.) BITEMPORAL VISION: THE SEA, 1994, (90 min.) THE MARRIAGE OF HEAVEN AND HELL (A Flicker Of Life), 1995 (90 min.) LOCO MOTION, 1996, (25 min.) Ken Jacobs: Resume/Biography (continued) page 4 FROM MUYBRIDGE TO BROOKLYN BRIDGE, 1996 (includes "Muybridge On Wheels" (animated slides), "The Georgetown Loop" (film), "Loco Motion" (Nervous System work), "Disorient Express" (film), "On The Bridge" (Nervous System work) 90 min. COUPLING, 1996 (1 hr.) ONTIC ANTICS STARRING LAUREL AND HARDY, 1997 (1 hr.) NEW YORK STREET TROLLEYS 1900, 1997 (25 min.) UN PETIT TRAIN DE PLAISIR, 1998 (25 min.) Further Performance Work utilizing THE NERVOUS MAGIC LANTERN; a single self-designed projector that creates 3-D cinema without use of use of film or video, a 3-D which, like Nervous System works, can be seen in 3-D by the unaided eye, the single eye. CRYSTAL PALACE (Chandeliers For The People), 2000 (40 min.) A PLACE WHERE THERE IS NO TROUBLE, 2002 (1 hr.) LOCAL HUBBLE (For Marilyn and Stan Brakhage), April 2003 (1 hr.) LOCAL HUBBLE II: La Conference Des Oiseaux, March 2004 (1 hr.) CELESTIAL SUBWAY Last Stop All Out (music by Black Dice), March 2004, (1 hr.) CELESTIAL SUBWAY LINES 2,3,4,(multiple performances; music by John Zorn assisted by Ikue Mori) May 2004 (45 min.) SEEING IS BELIEVING (music by Rick Reed) September 2004 (1 hr.) SALVAGING NOISE (music by John Zorn assisted by Ikue Mori) October 2004 (1 hr.) INTERSTELLAR LOWER EAST SIDE RAMBLE (music by John Zorn assisted by Ikue Mori) January 2005, (1 hr.) Live Nervous Magic Lantern performance, April 2007 KYTN ?Dundee Contemporary Arts, Scotland Live Nervous Magic Lantern performance Lumen, May 2007, Leeds, England Live Nervous Magic Lantern performance, NYFF, October, 2007 Live Nervous Magic Lantern performance, Bozar, October, 2007, Brussels, Belgium Videography of Ken Jacobs FLO ROUNDS A CORNER, 1999, 6 min., clr., silent, digital computer work A TOM TOM CHASER, 2002, 10-1/2 min., b/w, silent, digital computer work CIRCLING ZERO: Part One WE SEE ABSENCE, 2002, 114 min., clr., sound, video KEEPING AN EYE ON STAN, 2003, 117 min., clr., sound, video CELESTIAL SUBWAY LINES/SALVAGING NOISE, 2004, 108 min., clr., music by John Zorn assisted by Ikue Mori, a Tzadik DVD MOUNTAINEER SPINNING, 2004, 26 min., clr., music by Rick Reed Ken Jacobs: Resume/Biography (continued) page 5 KRYPTON IS DOOMED, 2005, 34 min., clr., sound (Superman radio-play 1940) INSISTENT CLAMOR, 2005, 22 min., clr., music by Margaret Shelton Meier LEEDS BRIDGE 1888, 2005, 6 min., b/w, silent SPIRAL NEBULA, 2005, 45 min., clr., music by Rick Reed INCENDIARY CINEMA, 2005, 1 min., clr., sound (2005 Viennale Festival cine-logo) LET THERE BE WHISTLEBLOWERS, 2005, b/w & clr., 18 min., sound composed to DRUMMING, Part 1 by Steve Reich ONTIC ANTICS STARRING LAUREL AND HARDY; BYE, MOLLY, 2005, b/w & clr., 90 min., sound NEW YORK GHETTO FISHMARKET 1903, 2006, b/w & clr., 2 hrs. 12 min., music by Catherine Jauniaux and Tom Cora, (Tzadik DVD released March 2007 with THE SURGING SEA OF HUMANITY) PUSHCARTS OF ETERNITY STREET, 2006, b/w, 10 _ min., silent TWO WRENCHING DEPARTURES, 2006, b/w, 90 min., sound CAPITALISM: CHILD LABOR, 2006, 14 min., clr.,music by Rick Reed CAPITALISM: SLAVERY, 2006, 3 min., clr., silent THE SURGING SEA OF HUMANITY, 2006, 10 min. 40 sec., clr., silent RAZZLE DAZZLE The Lost World, 2006, 92 min., b/w & clr., sound WE ARE CHARMING, 2007, 1 min., b/w, silent HANKY PANKY, 2007, 1 min., b/w, silent NYMPH, 2007, 3min., b/w, silent GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D. To be shown on a monitor or with a single projector, viewed through red/blue spectacles. Can also be arranged for b/w Polaroid 3-D projection. MY FAVORITE WIFE IMPROVED, 2008, 2 min., b/w, sound RETURN TO THE SCENE OF THE CRIME, 2008, 93 min., b/w & clr., music by Malcolm Goldstein THE SCENIC ROUTE, 2008, 25 min., clr. THE GUESTS, 2008, 89 min., b/w, silent. Lumiere?s Entree D?Une Noce A L?Eglise; sequential film-frames combine, via slight convergence of the eyes, to produce (irrational) 3-D. ANAGLYPH TOM, work-in-progress, 2008. Movement by TOM TOM cast-members converted to (irrational) stereo via red/blue spectacles. Cine-Installations ZOOM, 1967 -viewer installed on a moving NY ferryboat as part of the NY Avant-Garde Festival. FESTOON, 1975 35 mm. film hung outdoors for individual viewing in (irrational) 3-D Ken Jacobs: Resume/Biography (continued) page 6 THE GUESTS, 1999, 3-D slide installation (74 min. continuous cycle) based on Lumiere?s ENTREE D?UNE NOCE A L?EGLISE, by Ken and Flo Jacobs Re-installed, with sound accompaniment by Nisi Jacobs, at the Maya Stendhal Gallery, NY, 2005 GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D; can be shown on a monitor or with a single projector, viewed through red/blue spectacles. 19 film-frames remain of artist-inventor Louis Le Prince`s 1888 movie-recording of Leeds Bridge, the first or near-first movie ever made. Here seen in stereo, Leeds Bridge (U.K.) is again active in deep space. Other 3-D comments regarding the rise of cinema are made. A 6`4 man among a 5`2 population, this giant "vanished" on the way to the patent office, quite possibly a feat of wizardry (skullduggery?) by The Wizard Of Menlo Park, Thomas Edison. Suspicions remain but now Edison is also gone and there`s only the film-fragment (originally over 200 frames) left to investigate. Also available as a Polaroid two-projector installation.

An antique stereograph image of cotton-pickers, computer-animated to present the scene in an active depth even to single-eyed viewers. Silent, mournful, brief.

Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000-

This film marks the invention of human sexuality and as such figures as an important turning point in the course of human affairs.

Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000-

The belle of the ball surrounded by suitors. A vigorous 3-D that can be seen without special spectacles and even by the one-eyed.

Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000-

YOSHIKO 5`, 2007, DV, A/V By Nisi Jacobs YOSHIKO, a collage of pilfered footage and self-produced video, is a tribute to my life-long friend, Yoshiko Masuzawa. Yoshiko emigrated to the U.S. from Japan in the early 1960`s and lived in the apartment below. She lived through the war as a child and instructed me in important ways; the single time I remember her angered was when, as children, we began to play with and throw rice at the dinner table. She said that rice kept her and her family alive during the war, that it was precious, and not to be thrown around. Like other members in her family, Yoshiko has been suffering - with immense grace - colon cancer for the last several years. She was recently diagnosed with a terminal form of cancer and moved to a hospice. This film is an attempt to encapsulate my regard and admiration for her tigress spirit, humour, and gracious humanity. -Nisi Jacobs, 10/17/07

Nisi Jacobs is a video creator and video performance artist, born and raised in NYC. She holds a BFA in Painting from The Cooper Union, instructs video editing at NYU`s Graduate Center of Advanced Digital Applications, SohoEditors NYC, and Future Media Concepts, and programs the Sunset Sessions at Diapason Sound Art Gallery. She has instructed video editing at NYU`s Department of Film, Video and Broadcast, The New School, The Edit Center, New York Film Academy, and Harvestworks. Nisi performs live video with DRAW and Aeroplane Pageant and her videos have been shown in programs and festivals at the Madrid at the Circulo de Bellas Artes, in Paris at the Jeu De Paume Museum, SONAR festival at the Caracas Contemporary art museum, The Alejandro Otero Museum, and The national Cinématheque of Spain, at the Maya Stendhal Gallery, NYC, Manchester Metropolitan University, England, Tribeca Film Festival 2003, Sarah Lawrence College, The New School, Mass Art, The Donnell Library, San Francisco Cinematheque, roArtario Paris-Berlin, Glaz Art Festival, Hong Kong Film Festival, The Millennium, and Anthology Film Archives. In 2002, the soundtrack for her video "Dishing" was listed as KQED radio`s on-line choice of the month for EARSHOT: LISTEN TO A FILM WITHOUT PICTURES. She was recipient of the creative writing award by direction of Frank McCourt, author of Angela`s Ashes, upon grduation from Stuyvesant high school. Her work is distributed through RoArtario Paris/Berlin, Light Cone, Paris, New York Film-Maker`s Cooperative. Nisi curated monthly programs of video/film at The Phatory Gallery for the winter through summer months of 2005 in 5.1 surround sound and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, 2005, as well as for the HOWL Festival, 2005. She was Image/Sound Editor for STAR SPANGLED TO DEATH, the four-part internationally distributed 7-hour-forty-minute documentary (www.starspangledtodeath.com) by Ken Jacobs, which won The Douglas Edwards Experimental/Independent Film/Video Award by the Los Angeles Film Critics in 2005 and enjoyed screenings at Argos Festival (Brussels), Centre Pompidou Museum (Paris, France), Festival International Nouveau Cinema (Montreal), Artopos (Athens, Greece), CAL ARTS (LA), Starz Denver Film Festival (Denver), Cinematexas (Austin, Texas), Oesterreiches Filmmuseum (Vienna), Rotterdam Film Festival (Holland), Hong Kong Film Festival, MoMa at the Gramercy Theater (NY), Chicago Filmmakers, The Anthology Film Archives (NY), San Francisco Cinematheque (CA), NY Film Festival at Lincoln Center, London Film Festival, The Donnell Library, and Slovenska Kinoteka (Ljubljana, Slovenia). Nisi is presently working with Aeroplane Pageant on live projection performances with Aeroplane Pageant (www.aeroplanepageant.com), and has performed recently with the band at Bowery Ballroom, Mercury Lounge, PIANOS, Crazy Donkey, and Grace Gallery, and with electronic sound artist and composer Michael J. Schumacher (www.michaeljschumacher.com) on video/sound collaboration called DRAW. An interview with Nisi Jacobs and Family distributed through LOGOS JOURNAL ONLINE can be read at www.logosjournal.com/issue_4.3/jacobs.htm. Distribution: The New York Film-Makers Cooperative RoArtario Paris/Berlin Light Cone Paris

NOTHING/MOVING was created for the exhibition of Jonas Mekas: Fragments of Paradise at the Maya Stendhal Gallery, NYC, as a single monitor multichannel installation based on Jonas Mekas? epic film As I was Moving Ahead Occasionally I saw Brief Glimpses of Beauty, 16mm, 2000. Diary footage of twenty-five years of living in SoHo, New York City, and spontaneous voice-over commentary are used as raw material, along with fragments of soundtrack from Louie Malle?s Zazie dans le Metro, which I first saw at Mekas? Anthology in SoHo in 1976, and exotic bird calls forming a visual/aural poem homage to Jonas Mekas. Credits: Montage/Sound by Nisi Jacobs. Conception: Nisi Jacobs with Pip Chodorov. Original Film Material by Jonas Mekas. N.J.

NISI JACOBS VITAE Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of ?Angela?s Ashes? and ??Tis?. Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, receieved a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor?s in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University and Digital Editing and Sound Design at New York Film Academy. Her work, ?Little Bits of Skin (Words)? was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participating in the Jonas Mekas? "Fragments in Paradise" exhibit (2005), the politically-minded ?Vital Signs? summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her video in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, New York, as well as Tribeca Film Festival (2003). Video is currently distributed through The New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone, Paris, and http://www.thefieldprocess.com. Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005, and one for HOWL Festival, summer 2005. Please visit http://www.thefieldprocess.com for more information.

Epacta is Latin for the number of days which must be calculated to synchronize the lunar and solar calendars. The solar year of 365 days and the lunar year of 354 generally require 11 days to line up. I have taken sounds of the moon?s instrument, ropes and metal walkways, played by the tides tugging on docked vessels in ports, simultaneously being played upon by the moon?s gravitational pull on our water bodies. The audio of EPACTA LUNAE, A DAY AND A HALF derives from numerous layered natural field recordings within a bed of synthesized chords. EPACTA LUNAE, A DAY A HALF is the first video-sound poem which comprise a much larger project in process entitled THE MOON?S GUITAR, COLLABORATION WITH THE TIDES.

Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of ?Angela?s Ashes? and ??Tis?. Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, receieved a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor?s in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University and Digital Editing and Sound Design at New York Film Academy. Her work, ?Little Bits of Skin (Words)? was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participating in the Jonas Mekas? "Fragments in Paradise" exhibit (2005), the politically-minded ?Vital Signs? summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her video in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, New York, as well as Tribeca Film Festival (2003). Video is currently distributed through The New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone, Paris. Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005, and one for HOWL Festival, summer 2005.

FROM THE HORSE?S MOUTH (I CAN PRODUCE -PRONOUNCE- NUCLEAR), Nisi Jacobs, Video, 11min., 2005 Commissioned by Maya Stendhal of Maya Stendhal Gallery, NYC, for the VITAL SIGNS 2005 exhibition. FROM THE HORSE?S MOUTH has a second title: (I CAN PRODUCE -PRONOUNCE- NUCLEAR) which is its generative motivating core, an unscripted moment during Laura Bush?s delivery of an entirely scripted stand-up comedy routine at the 2005 White House Correspondent?s Dinner in Washington D.C. in which through freudian slip she substitutes ?produce? for ?pronounce?. The effect is staggering since it is her husband at the banquet table, smiling widely at her jokes, who has failed to produce WMD?s stated as his reason for an invasion of Iraq. The images contort and writhe through visually gagging effects intensifying the already-sick toxicity and hypocrisy which engulfs the room of 2,500 politicians, journalists, and media ?managers? who enjoy the manufactured wit and simultaneously implicate themselves in the crimes of her husband.

Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of ?Angela?s Ashes? and ??Tis?. Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, receieved a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor?s in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University and Digital Editing and Sound Design at New York Film Academy. Her work, ?Little Bits of Skin (Words)? was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participating in the Jonas Mekas? "Fragments in Paradise" exhibit (2005), the politically-minded ?Vital Signs? summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her video in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, New York, as well as Tribeca Film Festival (2003). Video is currently distributed through The New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone, Paris Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005, and one for HOWL Festival, summer 2005.

Struck by the ease of someone as articulate and expressive as my father losing their language facilities overnight with the advent of a stroke, I began filming the text of the city. The recorded audio is a montage of Peter Rose?s fabricated dialects when I recorded him reading a poem of mine mixed with synthetically altered wailing. Moments of mangled writing from various days after the stroke weave into the formal blocks of words in the environment playing between language as symbol, language as image, and language as pure experience. N.J.

NISI JACOBS VITAE Nisi Jacobs was born and grew up in New York City. She attended Stuyvesant high school where she studied Creative Writing with Frank McCourt, the author of ?Angela?s Ashes? and ??Tis?. Ms. Jacobs attended The Cooper Union for painting, a full-scholarship college in New York City, receieved a summer scholarship to study painting in Cortona, Italy, and graduated with a Bachelor?s in Fine Arts. She currently teaches Digital Editing at the Graduate Center at New York University and Digital Editing and Sound Design at New York Film Academy. Her work, ?Little Bits of Skin (Words)? was recently part of an affiliated program of the New York Film Festival, programmed by Mark McElhatten at The Anthology Film Archives, as well as The Invisible Film Series at the Millennium Film Workshop. Her videos have been exhibited as video/audio installations at the Maya Stendhal Gallery in Chelsea, NY, participating in the Jonas Mekas? "Fragments in Paradise" exhibit (2005), the politically-minded ?Vital Signs? summer group show (2005), and as a 70-minute 5.1 surround sound installation for the film projection installation of Ken and Flo Jacobs, entitled "The Guests". Nisi Jacobs has screened her video in festivals in Paris, Berlin, Athens, Greece, Hong Kong, UK, San Francisco, New York, as well as Tribeca Film Festival (2003). Video is currently distributed through The New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone, Paris, and http://www.thefieldprocess.com. Nisi Jacobs has curated monthly programs of experimental video and film at The Phatory Gallery and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, July 2005, and one for HOWL Festival, summer 2005. Please visit http://www.thefieldprocess.com for more information.

Deepening confusion becomes a delightful experience watching this collaborative film by Daniel Jacoby and Araki Yu. The documentary observes the idiosyncratic sounds and rhythms of Ban’ei, a rare kind of draft horse race that takes place only in Obihiro, Japan. Capturing the behind-the-scenes operations of the race, the film gradually twists itself into a knot as the excited voices of the commentators merge into a frenzy of gibberish.

Daniel Jacoby (1985, Lima, Peru) and Yu Araki (1985, Yamagata, Japan) met in 2010 during a residency at Tokyo Wonder Site (Tokyo). Both their works have been highly influenced by their journeys. Fiction is often used by them as a tool to comprehend the puzzling cultural and socio-political differences across destinations. Their first film made as a duo is Mountain Plain Mountain (2017). This premiered and was awarded at the Ammodo Tiger Short Competition at IFFRotterdam in 2018. Daniel Jacoby graduated in fine arts from the University of Barcelona and furthered his education at the Städelschule in Frankfurt. Recent exhibitions include venues like Fundació Joan Miró (Barcelona), CRAC Alsace (Altkirch), EYE Film Institute (Amsterdam), The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), 1646 (The Hague), Trafó (Budapest), and the 11th Cuenca Biennial (Ecuador). His films have been programmed in festivals such as 25FPS (Zagreb), BIM (Buenos Aires), MIEFF (Moscow), Go Short (Nijmegen), Sheffield Fringe (UK), Videobrasil (Sao Paulo), Les Rencontres Internationales (Paris), and Cairo Video Festival (Cairo). His film Jagata won the National Competition at Lima Independiente (Peru) in 2016. Daniel has participated in residency programs at Delfina Foundation (London), Jan van Eyck Academie (Maastricht), Casino Luxembourg (Luxembourg), Tokyo Wonder Site (Tokyo), among other places. Yu Araki received his Bachelor of Fine Arts in Sculpture from Washington University in St. Louis, U.S.A. in 2007, and completed his Master of Film and New Media Studies from Tokyo University of the Arts in 2010. In 2013, he was selected to participate in Tacita Dean Workshop hosted by Fundacio´n Boti´n in Santander, Spain. His films have been programmed in international festivals such as NIFF (Thailand), BFI London Film Festival (U.K.), The Weight of Mountains (Iceland), International Short Film Festival Oberhausen (Germany), Dong Fang (Italy), and MIFF (Russia). Recent exhibitions and screenings include Okayama Art Summit (Okayama, Japan), Yokoha- ma Museum of Art (Yokohama, Japan), The Benaki Museum (Athens, Greece), JIKKA (Tokyo, Japan), The Container (Tokyo, Japan), Washingtown (Mito, Japan), ZKM (Karlsruhe, Germany), CAST (Tasmania, Australia), Tate Modern (London, U.K.), A*DESK (Barcelona, Spain), no.w.here (London, U.K.), Alternative Space LOOP (Seoul, South Korea), and Para/Site Art Space (Hong Kong). Araki has participated in residency programs at SNEHTA (Greece), Nes Artist Residency (Iceland), and Tokyo Wonder Site Aoyama (Japan), among other places. He lives and works in Tokyo, Japan.

Two camels and two men are trapped inside a fable, longing for, but distrusting knowledge. Who can fight for humanity among football playing fascists, partisan storms and phony nature? “Nothing but progress” freely adapts tales by German philosopher Günter Anders.

Frédéric Jaeger is a film critic and filmmaker based in Berlin. In his artistic work he looks for contradictions in the contemporary society, in order to have fun with them. He is the founder of the German-speaking film magazine critic.de and contributor to Berliner Zeitung and Spiegel Online. Nino Klingler is a freelance film critic and filmmaker living in Berlin, Germany. After having worked for the German Federal Foreign Office he now attends as an artist the graduate school of Universitat der Künste in Berlin.

The creation of Evaldas Jansas ?To Be on Show? (?Būti i?statytam?) can be hardly applied any specific genre characteristics. Here one may find documental shots of Vilnius city detailed plan presented to the society, and day-to-day life of psycho-neurological pension home inhabitants with the intertwined ?faked-up documentary? i.e. ? the acted scenes and computer-edited effects. The entire plot of a tragic and auto-ironic fiction is accompanied by the narration of a stuttering hero, how he finds himself in a lunatic asylum.

Born 1969 in Kaunas. Lives in Vilnius Education: 1988-1995 Vilnius Academy of Arts, Department of Painting Selected Solo Exhibitions: 2007 RetroPERspective, Picture gallery, Klaipeda, Lithuania 2004 Repudiated Realities, CAC, Vilnius 2004 In My Own Juice, Lithuanian Contemporary Art, part of exhibition, Art Museum of Estonia, Tallinn 2000 CAC, Vilnius 2000 Hommage to Routine, Cargo Cult TV, Basel, Switzerland 1999 Please Tie a Knot into the Bag, Kunstlerhaus, Boswill, Switzerland 1996 From Life?s Illustrations, Jutempus Gallery, Vilnius 1995 Jutempus Gallery, Vilnius Selected Film/Video Festivals: 2007 Nets, International Short Film Festival, Vilnius 2005 Recontres Internationals Paris/Berlin, Screenings at city space, Paris 2005 Invideo 2005. Short film festival, Milan, Italy 2004 Recontres Internationals Paris/Berlin. The Grand Halle of la Villette, Paris 2004 19th Brest European Short Film Festival, Brest, France 2004 Short Film Festival in Nevers, France 2004 Nets, International Short Film Festival, Klaipėda, Vilnius 2004 Politically Incorrect Film Festival, Ljubljana 2004 20th International Short Film Festival, Hamburg, Germany 2003 Wide World Video Festival, Amsterdam 2002 Nets, International Short Film Festival, Klaipėda, Vilnius Selected Group Exhibitions: 2006 101.3 KM: competition and cooperation, Picture gallery, Kaunas, Lithuania 2006 CAC Vilnius stand, Vienna Fair the International Art Fair Focused on CEE, Vienna 2004 Image of Violence/Violence of Image, Biennal of Young Artits, Bucharest 2004 The Others Are Me, Gallery Bunkier Sztuki, Krokow, Poland 2004 RAM 6, CAC, Vilnius 2004 From the Centre to the Edge, Kilkenny, Ireland 2003 RestCycling Art Festival, Berlin 2003 Baltixplatation, Hunter College, New York 2003 Parallel Progressions 3: etc., CAC, Vilnius 2002 SEX (Social Exhibitionism), Railway Museum, Riga 2001 Self-esteem. Lithuanian Art ?01, CAC, Vilnius 2001 Walls for NATO, CAC, Vilnius 2001 Male, Gallery of Contemporary Art Celje, Celje, Slovenia 2001 Exotica, CAC, Vilnius 2000-2001 Human Project, Bac - Presence Balte, Baltic Art Centre, Visby; Ileana Tounta CAC, Athens; Metronome, Barcelona 2000 Innocent Life, CAC, Vilnius 2000 ArtGenda, Helsinki 2000 Part of The System, association for contemporary art, Graz, Austria 2000 Dialog 2: Articulation, OK Centre for Contemporary Art, Linz, Austria 1999 View Assistences, Bazel, Switzerland 1999 Auslander Korespondenten, Cargo Cult TV, Bazel, Switzerland 1999 Lithuanian Art 1989-1999: The Ten Years, CAC, Vilnius 1999 Apartment? 99, Vilnius 1998 Cool Places, CAC, Vilnius 1998 International Performance Festival, Gallery Rigth-Left, Vilnius 1998 After Painting, CAC, Vilnius 1998 Twilight, CAC, Vilnius 1998 The Different - The Same, Bergens Kunstforening, Bergen, Norway 1997 Dimension O, International Performance Festival, CAC, Vilnius 1997 Ground Control, Beaconsfield, London 1995 Mundane Language, Vilnius 1995 1995: Art in Lithuania, CAC, Vilnius Special: 2005 Evaldas Jansas for CAC/TV. Contemporary Art Center/ TV 1 channel, Vilnius 2000 Ode rutinai (Ode to Routine). Book by Evaldas Jansas (in Lithuanian). Publisher: Contemtorary Art Center, Vilnius, Lithuania. Grands: 1996,1998,2000 State Grand of Lithuanian Ministry of Culture for Young Artists; 1999 Soros Contemporary Art Center in Lithuania Grand, Nordic Institute for Contemporary Art Grand

Time-lapse sequences shot at various public locations in Johannesburg blend into hybrid spaces. The locations include underwater shoots at public swimming pools over 24 hours, similar studies of the Bree Street taxi rank, as well as impressionistic studies of moments such as rain beating on a car windshield. These spaces interpenetrate and blend in the film, creating hybrid spaces: an underwater taxi rank with swimmers darting across the ceiling, legs of swimmers tangling in the branches of a Jacaranda tree during a summer storm, and giant ballroom dancers stepping through the taxi rank at the end of a commuting day. In this film we have explored the poetic possibilities of these hybrid, polyrhythmic spaces, moving into the realm of dream images rather than the sometimes harsh documentary studies from which the material is drawn. Still, dreaming about Johannesburg will always be to an extent disquieting. The interweaving of the rhythms of work and leisure time, as well as the underlying currents of class and race tensions within Johannesburg are absorbed by the camera, emerging as a questioning of the complex multiplicities of daily life experience in this often brutal city.

Mocke Jansen van Veuren was born in 1976 in Johannesburg, South Africa. He has worked in educational publishing and arts research in the non-governmental sector, as a professional animator and, since 2002, as a lecturer in Multimedia and digital filmmaking. In 2004, he started the on-going collaborative Minutes Project with Theresa Collins, documenting aspects of life in Johannesburg via time-lapse photography. Since 2006 van Veuren has collaborated with choreographer Nelisiwe Xaba in the creation of various performative works, focusing on sound composition and experimental video. He currently divides his time between the production of experimental films, the development of an analytical body of research, educational materials development, performative work, and lecturing at the UJ Multimedia Department and the Academy of Screen Arts (a new division of the Academy of Sound Engineering).
Theresa Collins lives and works in Johannesburg and graduated in 2002 with an MA Fine Art degree. The video and photography-based work she produces engages with elements drawn from her urban environment. She has worked in collaboration with Mocke Jansen van Veuren over the last 8 years and their preferred medium, time-lapse photography, lies somewhere between documentary film-making and animation. Their interest in time-lapse photography stems from studies in, and a passion for, the animation medium. Collins has recently worked as a researcher in the fields of education, heritage and history. She is currently working with the Market Photo Workshop as manager of curriculum and training.

Witte de With was established in 1990 as a center for contemporary art with the mission of introducing contemporary art and theory in the context of the City of Rotterdam as well as the Netherlands as a whole. The institution initially sought to present an alternative to both the classic museum for modern art and existing artists' initiatives. Over the years, Witte de With has evolved, growing to also commission and produce new works of art. This has resulted in the development of a local, national, and international network of people and organizations who follow and actively support the institution's activities. From the very start, many of these were accompanied by or documented in publications, which are now widely distributed and read. Witte de With continues to see its task as presenting the latest developments in contemporary art, without making concessions concerning their content, yet simultaneously seeking to reach as broad a public as possible.

Born in Gemert in 1975, Renske Janssen is based in Rotterdam as a curator, art historian, and writer. She previously worked at the Stedelijk museum in Amsterdam as an assistant curator. Since 2004 she has been working as a curator at Witte de With, center for contemporary art, Rotterdam, under Catherine David and currently Nicolaus Schafhausen. Among others, she has curated several group exhibitions such as "Street: behind the cliché" (2006), that dealt with complex topic of public and private space. With a concentration on solo exhibitions and publications she focuses on specific artistic positions dealing with the problematic status of the image and notions around representation in art and popular culture, beginning with "Mathias Poledna" (2006) and continued with "Tris Vonna-Michell" (2007). With an interest in the contemporary use of the personal and the emotive in moving imagery, for 2007's Rotterdam International Film festival Rotterdam she organized a program with a selection of artists' films under the title "Depiction, Perversion, Repulsion, Obsession, Subversion" that will focus on the (non)critical use of cinematographic tools such as sound and editing.

The work consists in 420 vinyl records´ disc covers, photographed in half-format on photographic slides, and projected at the rate of 24 images per second. It results in a 17,5-second-long movie

Florian Japp was born in 1971 in Zurich. He studied at Zurich´s Fine Arts School. He´s working as an artist and documentaries director in Berlin.

"Three non-linear linked scenes mixing fiction and non-fiction. Great misadventures, including being lost, run over by a truck, and implicated in the breakdown of three separate projectors in different parts of the world, contribute to the life history of this film. Originally made for the 1995 Antholoy FIlm Archives First International Exhibition of 3-image Films, it was recently remade in video to screen at the August 2005 Chicago Underground Film Festival, "New Visions." "

"Tom Jarmusch is an artist and director who lives in New York City. He makes films, videos, photographies and uses also other kinds of medias. His work has been shown in Europe and in the United States: for instance, at the New Museum of Contemporary Art, the Artists Space, the Knitting Factory and at Tonic as well as in galleries in New York and Paris. He also took part in international festivals in Dresde, Locarno, Rotterdam, Hampton, Ontario, Clermont-Ferrand (Vidéoformes), the New York Underground Festival and the London BBC. Tom Jarmusch worked as an artistic and assistant director for filmmakers such as Robert Frank, Claire Denis, Aki Kaurismaki, Ang Lee, Michael Almereyda as well as for his brother, Jim Jarmusch. He also had parts in films like "Johnny Suede" and "Living in Oblivion" directed by Tom Dicillo, and in "The Golden Boat" by Raoul Ruiz."

In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration -­ the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image­ political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.

Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de

In West Germany, ,,Dark Germany`` was a derisive term for reactionary regions of the country. Today it is mostly applied to former East Germany with its attempts to change its image: factories and chimneys are disappearing, wellness centers are popping up, sheep are grazing under solar panels. But recent past is stored close to the new surface. On a ghost train ride through the former GDR- industrial region around Halle/Bitterfeld, the Dunkeldeutschland-born filmmakers stumbling subjective camera is trying to find the right distance. Starting point of the journey is the former ORWO film factory, where people used to work in complete darkness.

Juliane Jaschnow: Studies in Fine Arts with Clemens von Wedemeyer and Joachim Brohm at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/photojournalism. Study abroad at the Academy of Fine Arts in Vienna with Thomas Heise. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the filmic initiative FILZ, Leipzig. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald.
Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class and PMMC Lab, Werkleitz Gesellschaft Halle/Saale. Member of the filmic initiative FILZ, Leipzig. www.schroederstefanie.de

In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration -­ the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image­ political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.

Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de

In West Germany, ,,Dark Germany`` was a derisive term for reactionary regions of the country. Today it is mostly applied to former East Germany with its attempts to change its image: factories and chimneys are disappearing, wellness centers are popping up, sheep are grazing under solar panels. But recent past is stored close to the new surface. On a ghost train ride through the former GDR- industrial region around Halle/Bitterfeld, the Dunkeldeutschland-born filmmakers stumbling subjective camera is trying to find the right distance. Starting point of the journey is the former ORWO film factory, where people used to work in complete darkness.

Juliane Jaschnow: Studies in Fine Arts with Clemens von Wedemeyer and Joachim Brohm at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/photojournalism. Study abroad at the Academy of Fine Arts in Vienna with Thomas Heise. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the filmic initiative FILZ, Leipzig. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald.
Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class and PMMC Lab, Werkleitz Gesellschaft Halle/Saale. Member of the filmic initiative FILZ, Leipzig. www.schroederstefanie.de

A lone airplane flies high over a dark landscape. Amid fields of untouched snow a rover is scanning both the ground and the stars, and is beginning to be troubled by the history it was once fed. People isolated inside the plane try to interpret the rover’s increasingly complex messages, while attempting to uncover the past and the future.

Appu Jasu (b.1987) is an artist living in Helsinki working with video, sound, photography and text. In his works fiction, documentary and the absurd meet and exchange ideas about life and society. His practice involves thinking through all the included mediums – picture, text and sound – each taking their turn leading the artwork into a new direction. Jasu’s video works can be found from the collections of Museum of Contemporary Art Kiasma and Helsinki Art Museum, and they have been shown e.g. in WNDX, Canada and in doclisboa, Portugal.

A cliché expression about being 25 years old.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

Public transportation in Jakarta: don't forget to pay your life insurance.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

A video remix from the 80's Indonesian film, "Pembalasan Rambu", a copy of the Hollywood movie, "Rambo".

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

A cliché expresion about relationships.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

Pain is so close to pleasure.

Dimas Jayasrana was born in Jakarta, on December 3, 1979. He did not continue his studies after high school. He moved to Central Java in 1998 and lived there until 2004. He has mostly been working freelance for film screening and art & culture events in general. Since 2002, he has been working on a film and video community database - an open access network for the film and video community in Indonesia.

JÄNICKE?s work is a track on the compilation ?Essay?s on the radio : Can I have two minutes of your time?? by Cronica Electronica.. This compilation comprises an audio CD + DVD release and, as merely compiling tracks were of no big interest to Cronica (no matter how interesting the tracks may be), what they searched for was an unifying idea that could help to create a coherent collective composition, not only showcasing both the artists and the label, as well as providing the possibility for some meaningful work to be done. ?Essays on Radio? aims to comment on the sound medium, on the technology and the culture of radio.

Akira Kurosawa said that "to be an artist means to never avert one`s eyes." Akira Kurosawa said that "to be an artist means to never avert one's eyes." This work was created as a teaching tool to inspire students in studio art courses that combine painting discourse with video art.

I am an Associate Professor of Art at Metropolitan State University of Denver. I teach courses such as performance art, socially engaged art, video art, environmental art, and internet art.

Breyer P-Orridge , also known as Genesis P-Orridge and life partner Lady Jaye, have garnered attention in recent years by undergoing medical procedures to eliminate their physical differences. "One of the central themes of our work is the malleability of physical and behavioral identity," they explain, giving rise to their merged identity. The two hope to create a new gender, the pandrogyne, a hermaphroditic entity called Breyer P-Orridge.

Nicolas Jenkins -A video artist and former underground warehouse party promoter based in New York City, Nicolas Jenkins has spent much of his life traveling. Born in Peru, he had already lived on six of the seven continents before graduating high school. His short films and videos have been shown extensively across North America and Europe. His video art piece ?The Bridge? is part of the permanent collection of the National Gallery of Canada. While living in Montreal he established a name for himself as a pioneer in the underground warehouse party scene. Jenkins has also collaborated with a number of internationally re-nowned groups like Cirque-du-Soleil to produce elaborate multi-media events. Nicolas is currently collaborating with Genesis P-Orridge and PSYCHIC TV on videos for their upcoming album and world tour. For more info go to www.sterilecowboys.org

We follow a man of advanced age walking along a misty mountain path in China. In one shot he carries a bag; in others he carries sacks of rice, or timber, or large buckets of water. He’s filmed in the morning, in the evening, and at night. The seasons change as we walk with him, through the bleakness of the winter, or on a fresh spring morning. The low-key atmosphere, the subdued gray-green hues of the surroundings, and the absence of dialogue and music all lend this film a refreshingly understated feel. A space is opened up in which the viewer can listen to the sound of the wind, the man’s footsteps, the birds. There is time to wonder who the man is that we are following, where he is going, and what his life is like. Only at the end of his journey do we find out a little more about him.

Born in 1989, Luoyang, Henan Province, Jin Jiang started to earn his living after dropping out of high school. In his spare time, he devoted himself to contemporary arts. In 2013, his first personal exhibition "In the Field of Hope" was held in his hometown. One year later, he came to Beijing and ventured into cinematography and film industry.