March 15 – Do You See What I See? New Works from Adele Horne, Rebecca Baron and Doug Goodwin

Sunday March 15, 2009, 7:00 pm

At the Egyptian Theater in Hollywood

Los Angeles Filmforum presents
Do You See What I See? New works on vision and digitization by Adele Horne, Rebecca Baron & Doug Goodwin
With Adele Horne, Rebecca Baron, and Doug Goodwin in person!

Filmforum is delighted to welcome back some of our good friends with new films. We last hosted Adele Horne with her documentary The Tailenders, which went on to win an Independent Spirit Award. Her new short works investigate realms of vision and interpretation of visual phenomena in delightful ways.

We’ve screened Rebecca Baron’s films in a few different shows, most recently How Little We Know of Our Neighbors. With the Lossless Series, she and filmmaking partner Doug Goodwin look into the small and large changes done to film images through digitization, compression, and digital manipulation, and by extension raise questions of the potential of the de- and re-construction of all images from/of the past.

Tonight we will be screening:

15 Experiments on Peripheral Vision (2008)

15 Experiments on Peripheral Vision (2008)

15 Experiments on Peripheral Vision by Adele Horne and Paul VanDeCarr
(2008, 29 minutes, 16mm, color, sound)
This film is a series of short experiments, each of which explores peripheral vision in a different way: attempting to capture it on film, conducting perceptual experiments, and telling stories about interpreting things seen from the corner of the eye.

The Image World (2008)

The Image World (2008)

The Image World by Adele Horne
(2008, 6 minutes, 16mm, black and white, silent)
The world seeks to replicate itself. Smooth surfaces create reflections, objects cast shadows, and apertures transmit the appearance of what lies beyond them. When sunlight falls through the spaces between leaves on a tree, the “pin-hole” apertures in the foliage create images of the sun on the ground below. This film records replicas of the sun as they appear and disappear in the dappled light under trees.

Quiero Ver (2008)

Quiero Ver (2008)

Quiero Ver by Adele Horne
(2008, 6 minutes, filmed on 16mm and finished on Digibeta, color, sound)
On the 13th of each month, hundreds of people gather at a site in the Mojave Desert to see visions of the Virgin Mary appear in the sun. They point Polaroid, cell phone, and video cameras at the sun, and compare interpretations of the resulting images.

The Lossless Series by Rebecca Baron and Douglas Goodwin
“Lossless” is a series that explores the effects of digital compression and file sharing on the film image. “Lossless” investigates film’s dematerialization, foregrounding the structural components of digital media. The project also considers the impact of the digital age on filmmaking and film watching, its social aspects and its political economy.

Lossless #2 (2008)

Lossless #2 (2008)

Lossless #2 (2008, 3 mins, b/w, sound)
What happens when a treasure of the avant-garde becomes a bittorrent in a peer-to-peer scenario? Lossless #2 is part of a series of works that unearths the effects of compression and distribution on the digitized film image.

Lossless #3 (2008, 10 mins, color, sound by Ernst Karel)
Lossless #3 is a deconstructed version of John Ford’s The Searchers, in which missing keyframes turn the American West into a melting ribbon of ochre and rust.

Lossless #4 (2008)

Lossless #4 (2008)

Lossless #4 (2008, 14 mins, b/w, silent)
Lossless #4 is derived from Ernie Gehr’s Serene Velocity. We ran a debugging routine on a digital version of the original film that uses vectors to follow movement in the image to instruct the subdivision of the video’s macro-blocks. We then removed Gehr’s image entirely, leaving only the movement of the vectors, The formal qualities of Gehr’s film are detectable, and the hypnotic effect of the shifts in the lens’s focal length in the original are now substituted with a purely graphical representation, creating a perverse replacement of the optical effect of the original.

Lossless #5 (2008, 3 mins, b/w sound by Ernst Karel)
A Busby Berkley water ballet turns into geometrical abstraction.

Filmmakers’ Bios:

Adele Horne was born in Nova Scotia and grew up in the United States. She makes observational, experimental and essayistic films. Her screenings include the Rotterdam Internanational Film Festival, Chicago Underground Film Festival, Morelia International Film Festival, and the Museum of Modern Art. Her recent film The Tailenders was broadcast on POV and won a Film Independent Spirit Award. Adele currently teaches at California Institute of the Arts.
Prior works: The Tailenders (2006), Homomorphy (2004), The Point of True Beginning (1998)

Paul VanDeCarr is an arts writer living in New York. He has made videos and audio walking tours about San Francisco. His videos include “San Francisco on Film” (2008), “San Francisco Empty” (2006), “After Jonestown” (2005), “One-Man Band” (2003) and others. Visit him online at his website.

Rebecca Baron is a Los Angeles-based media artist known for her lyrical essay films which explore the construction of history, with a particular interest in still photography and its relationship to the moving image. Her work has screened widely in international film festivals and media venues including documenta 12, Rotterdam Film Festival, New York Film Festival, Anthology Film Archive, Toronto Film Festival, Pacific Film Archive, Flaherty Film Seminar, Viennale and the Whitney Museum of American Art. Her films have received awards at the San Francisco, Black Maria, Montreal, Leipzig, Athens, Onion City, KIN, Sinking Creek and Ann Arbor Film Festivals. She is the recipient of a 2002 Guggenheim Fellowship and a 2007 fellowship at the Radcliffe Institute for Advanced Study. She has taught documentary and experimental film at Massachusetts College of Art, Harvard University, and since 2000 at California Institute of the Arts.

Doug Goodwin is a Los Angeles-based artist whose work investigates the mechanisms by which language and other technologies mediate our perception of reality. Goodwin’s work has been shown at many media venues including REDCAT, Toronto Film Festival, London Film Festival, Pacific Film Archive, Frankfurt Film Museum, SIGGRAPH, Eyebeam, and Dorkbot. Goodwin has held a variety of jobs in both art and system design including Technical Director for CalArts’ Center for Integrated Media, and system architect for Before earning an MFA in experimental writing at CalArts, Goodwin served as creative director for The Changing Scene Theater, a software architect for Spatial Technology, and as one of the founders of He has taught digital media production and theory at CalArts, Emerson College and Massachusetts College of Art.


2 responses to “March 15 – Do You See What I See? New Works from Adele Horne, Rebecca Baron and Doug Goodwin

  1. I can wait to see the lossless should be great coming from Rebacca and Douglass.

  2. Nice post, Thanks for sharing… 🙂

Leave a Reply to Maximusbanged Cancel reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s