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. The Weekender ...................................................
. a weekly digest of calls . actions . websites . campaigns . etc .
. send your announcements and notes to announcer@simsim.rug.ac.be .
. please don't be late ! delivered every friday . into your inbox .
. http://simsim.rug.ac.be/announcer/ for subscription info & help .
...................................................................
01 . Bureau of Public Secrets . May 1968 Graffiti
02 . gabi . Prix Ars Electronica 99
03 . Helena Earnshaw . [havoc] any outstanding websites?
04 . John Hutnyk . TRAVEL WORLDS
05 . miekal and . e p o s
06 . Reinhard Braun . [artimage]: call for entries // graz
biennial on media and architecture 99
07 . dLux media arts . D.art 99 :: Call for Entries ::
Sydney, Australia
08 . MAZE] corp [ROZE . confetti.org
09 . Koen Van Daele . D-Day 9: March 18: AFRICA as seen by
DEPARDON
10 . cello . Cellosphere - an INVITATION
................................................................... 01
Date: Thu, 11 Mar 1999 13:57:55 -0800
From: "Bureau of Public Secrets" <knabb@slip.net>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject: ann! ... May 1968 Graffiti
Translations of over 200 graffiti from the May 1968 revolt
in France are now online at
http://www.slip.net/~knabb/CF/graffiti.htm
A few examples:
Power to the imagination.
Be realistic, demand the impossible.
It's painful to submit to our bosses; it's even more stupid
to choose them.
No forbidding allowed.
When examined, answer with questions.
The more I make love, the more I want to make revolution.
The more I make revolution, the more I want to make love.
Boredom is counterrevolutionary.
Run, comrade, the old world is behind you!
* * *
The Bureau of Public Secrets website, which has received
over 30,000 page hits from some 7000 visitors during its
first six months, features selections from Ken Knabb's
SITUATIONIST INTERNATIONAL ANTHOLOGY (translations from the
notorious group that helped trigger the May 1968 revolt) and
from PUBLIC SECRETS, the recent collection of Knabb's own
writings, including "The Joy of Revolution," "Confessions of
a Mild-Mannered Enemy of the State," and an assortment of
comics, leaflets and articles on Wilhelm Reich, Kenneth
Rexroth, Gary Snyder, the sixties counterculture, radical
women, Chinese anarchists, socially engaged Buddhists, urban
"psychogeography," the Watts riot, the Iranian uprising, the
Gulf war, and the recent jobless revolt in France. New texts
are being added every few days.
BUREAU OF PUBLIC SECRETS
http://www.slip.net/~knabb
................................................................... 02
From: "gabi" <gabi@prixars.orf.aec.at>
Subject: Prix Ars Electronica 99
Date: Thu, 11 Mar 1999 09:54:07 +0100
In Austria every year the Austrian Broadcasting Corporation organizes the
worlds most reknown and highest prized competition for computer- and
multimedia art
PRIX ARS ELECTRONICA 1999
Price money: US$ 116,379 !!!!
No entrance fee!!!
You can participate in one of the following categories:
1.) Computer Animation /Visual Effects
Computer Animation refers to independent productions from the fields of
art,
science, etc.)
Visual Effects refers to commercial high-end productions from the fields
of
film, advertising, entertainment, etc.
2.) Interactive Art
3.)Net (e.g. Web galleries)
4.)Digital Musics
(e.g. computer music, digital artistic sound creations,
electronica, performances, soundspace projects, net.music, radio works,
soundscapes, Jazz, Techno, HipHop, Drumn Bass, DJ-culture, Ambient, etc.)
We would like to reach artists from all over the world to participate in
our
competition. It would be great, if you would participate and if you would
forward this information to all people you know, who might be interested
in
our competition.
If you are interested in the PRIX ARS ELECTRONICA 1999 and need detailed
information or have further questions please contact me:
gabi@prixars.orf.at
or get information and entry form from http://prixars.orf.at.
Thank you very much in advance. I hope to hear from you soon.
Best wishes
Gabi Winkler Tel: ++43-(0)732-6900-24563
Prix Ars Electronica Team Fax: ++43-(0)732-6900-24510
Digital Musics
Europaplatz 3 E-mail: info@prixars.orf.at
A-4010 Linz URL: http://prixars.orf.at
Austria / Europe
................................................................... 03
Date: Thu, 11 Mar 1999 12:30:22 +0000
From: Helena Earnshaw <helena@oneworld.org>
Subject: [havoc] any outstanding websites?
OneWorld Broadcasting Trust
Awards are looking for entries for all categories including:
The International New Media Award
including CD-Rom and Internet initiatives
Closing date: 26th March
Criteria
The judges are looking for work that highlights an issue of both
current importance and global impact. In particular, the judges are
looking for work which shows how the lives and actions of the world's
rich affect the security of the world's poor.
They are also looking for work:
that communicates the humanity and resourcefulness of poor people
that has had a significant impact on government policy, public opinion
or both
that has made the issues relevant to new audiences
that required exceptional perseverance and bravery to realise
that demonstrates investigative and journalistic flair
More details at: http://www.oneworld.org/owbt
Please forward to anyone who might be interested.
Thanks.
................................................................... 04
Date: Thu, 11 Mar 1999 19:24:36 +0000
From: John Hutnyk <john.hutnyk@gold.ac.uk>
Subject: TRAVEL WORLDS
Folks,
Apologies for a bulk mailout, but I'm pleased to announce the arrival of
a:
NEW RELEASE FROM ZED BOOKS
TITLE: Travel Worlds - Journeys in Contemporary Cultural Politics
EDITORS: Raminder Kaur and John Hutnyk
PUBLISHER: Zed Books
ISBN/PRICE: 1 85649 562 0 pbk GBP14.95/$25.00
FROM THE BACK COVER:
'Travel Worlds dares you to embark on a variety of journeys
simultaneously - from magical-mystical tours that promise to fulfil
the private fantasies of jaded tourists and eager missionaries to new
journeys across old borders that have become terribly real by virtue
of being more psychological than territorial. This collection explores
exciting psycho-geographical spaces through journeys that somewhere
along the way become journeys into the self.' Ashis Nandy
African American musicians head East for Kung-Fu kicks, while
paedophiles go for cheap sex pilgrimage.
Western bible-bashers adopt missionary positions in India, waging war
to save the souls of folk with quite otherly narratives in mind.
Heroic Saint George signs on as an Arab soldier in Britain to convert
the painted 'barbarians' deep in their own Dark Ages.
The scars and borders of Partition in South Asia mock the protocols of
transit, while nomadic insurgents resist the Bangladeshi nation-state
with lyrical persuasion.
Kula Shaker and Madonna trinketize the `Orient', while dead-tourist
exchange values are calculated by travelling 'terrorists'.
British Mirpuris and Black women travel to the 'Old Country' and
beyond in ways that are not quite as they seem.
And ethnographers collide with tourists in the carousel of Goa's
markets.
With the inclusion of essays, poetry and fiction, Travel Worlds plots
the politics of diverse journeys - it's 'something of a travel guide,
something of a hold-all backpack, and something of another compass'.
Sure, everyone's got a traveller's tale. But this book tells them with
a sting.
ABOUT THE EDITORS
RAMINDER KAUR obtained her doctorate at SOAS and is now artistic
director and chief script writer of Chandica Arts. JOHN HUTNYK is
Lectures in Anthropology at Goldsmiths College and is the author of 'The
Rumour of Calcutta: Tourism, Charity and the Poverty of Representation'.
CONTENTS
1. Introduction - Raminder Kaur and John Hutnyk
2. Ni-Ten-Ichi-Ryu: Enter the World of the Smart Stepper - Koushik
Banerjea
3. Travelling Light: Missionary Musings, Colonial Cultures, and
Anthropological Anxieties - Saurabh Dube
4. Anthem - Joyoti Grech
5. The Strut of the Peacock: Partition, Travel and the Indo-Pak Border
- Virinder S. Kalra and Navtej K. Purewal
6. Bordercrossing - Joyoti Grech
7. Tourists, Terrorists, Death and Value - Peter Phipps
8. Magical Mystical Tourism - John Hutnyk
9. Wish You Were(nt) Here? discrepant representations of Mirpur in
narratives of migration, diaspora and tourism - Sean McLoughlin and
Virinder S. Kalra
10. Journey through Life - The Self in Travel - Shirin Housee
11. Parking the Snout in Goa - Raminder Kaur
**********************************************************
Copies of new Zed titles announced through this list may be ordered
by mail order by academic customers in the UK, Europe and elsewhere,
postage and packing free. (Customers in the USA and Canada, please
see below.)
Please send your order by email to: ling@zedbooks.demon.co.uk
or by post, phone or fax to:
Margaret Ling, Academic Marketing Manager, Zed Books
7 Cynthia Street, London N1 9JF, UK
Tel +44-(0)171-837 8466 Fax +44-(0)171-833 3960
quoting your full institutional address for despatch, and payment
details (VISA or Mastercard number, expiry date and registration
address, sterling cheque or bank draft). You may also request an
inspection copy for consideration for teaching use. Please send
details of the course for which you wish to consider the book,
including starting date and expected enrolment.
Ordering details and order forms for all Zed titles may be found on
our website at http://www.zedbooks.demon.co.uk/
**********************************************************
Customers in the USA please contact:
St Martin's Press, Scholarly and Reference Division
175 Fifth Avenue, New York NY 10010
Tel (212) 982 3900 Fax (212) 777 6359
(If you require an exam copy please write on college letterhead
enclosing a check for $5 or credit card information.)
**********************************************************
Customers in Canada please contact:
Fernwood Books Ltd
P O Box 4904, Station 'A', Halifax, NS, B3K 5S3
Tel (902) 422 3302 Fax (902) 422 3179
**********************************************************
Information on new titles from Zed books is posted to the
zed-academics mailing list. If you ever want to remove yourself from
the list, send a request to the administrator, Margaret Ling, Zed
Books, at ling@zedbooks.demon.co.uk
If a colleague or associate would like to subscribe to the list, they
are welcome to do so by sending a request to the administrator.
**********************************************************
................................................................... 05
Date: Fri, 12 Mar 1999 10:35:10 +0000
From: miekal and <dtv@mwt.net>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject: ann! ... e p o s
...eXTENDED pOETRY oPERATING sYSTEM...
EPOS is a reflexive sphere within which collisions & entanglements of
all LONGPOEM thoughts/works are invited. Dialogue. Networking.
Collective creation of a long poem resources website. A medium for the
broadcast of your long poem in progress. Book trading. Bibliomania.
Manifestos. Filibusters. Interwriting. Observations of the Author inside
her lifelong writation. Or in the very least, a readerly lens for
practical & usable understanding of works such as A, The Martyrology,
Maximus Poems, Cantos, Howl & ....
"The serial poem is not simply a sequence. It is meant to be a
narrative that transfigures time, our limit, mine. I have wanted to use
the form because it makes language direct and insistent without
reference to a grid of meaning, which in our time has become
intolerable, a-historical, a lie. Delicate and harsh are the words that
come to mind to describe the form. Since form is always the reach of
content, rhythmical and musical, the serial structure has allowed me to
imagine the indeterminate nature of what we are beyond finitude and
other small dead ends."
Robin Blaser (from the Long Poem Anthology)
"What is a long poem? perhaps it is simply a long life or some trust in
the durational aspect of being alive."
--bpNichol
----------------------------------------------
to subscribe tune yr browser to:
http://www.onelist.com/subscribe/EPOS
This unmoderated list
is facilitated & chiselled
into html by Miekal And
................................................................... 06
Date: Wed, 10 Mar 1999 22:29:09 +0100
From: Reinhard Braun <reinhard.braun@thing.at>
Subject: [artimage]: call for entries // graz biennial on media and
architecture 99
INFO 1/99 GRAZ BIENNIAL ON MEDIA + ARCHITECTURE
Dear collegues and friends,
we are pleased to announce the upcoming INTERNATIONAL COMPETITION
and invite you to respond to our
C A L L F O R E N T R I E S + P A P E R S + P R O P O S A L S
- ( 1 ) -
|| For the 4th time the GRAZ BIENNIAL ON MEDIA + ARCHITECTURE invites
|| ENTRIES FOR THE INTERNATIONAL COMPETITION: DEAD-LINE June 30, 1999
The 4th GRAZ BIENNIAL ON MEDIA + ARCHITECTURE, taking place from November
24 - 28, 1999, will again establish an experimental environment for most
recent artistic projects (visual/interactive media) relating to
architecture and urbanity coupled with current discourses on cultural
spheres. The GRAZ BIENNIAL will thus create outstanding inhabited
information spaces - get connected to what is at stake in contemporary
culture!
For the INTERNATIONAL COMPETITION the GRAZ BIENNIAL ON MEDIA +
ARCHITECTURE
is looking for challenging works of moving images - film - video - CD-Rom
-
internet - that creatively and innovatively deal with architectural spaces
and urban issues. Entries are welcome from now on!
The competition is composed of the two sections:
- "Art & Essay": creative perspectives on cultural, social, political and
aesthetic implications of material / immaterial spaces
- "Architectural Documentation": leading forms of documentary reflections
of architecture and urban spaces.
|| 6 awards are donated with overall ATS 300.000,-!
|| ENTRY FORMS are now available at http://www.thing.at/art.image
Don't miss being part of one of the leading competitions for visual media
and urbanism!
- ( 2 ) -
|| Furthermore, the GRAZ BIENNIAL ON MEDIA + ARCHITECTURE calls from now
on
|| for papers and proposals
|| for the subsequent sections of its '99 program: DEAD-LINE May 31, 1999
INSTALLATIONS
A number of unusual venues scattered all over the city will be taken as
settings for "delocated screenings" and "spread installations": temporary,
unexpected, but above all energetic, situational and interventionist. With
installations from the field of media, temporary encroachments and
interventions within the city prove to be catalysts for the reanimation of
urban space - topical and experimental contributions to applied urbanity.
METROPOLIZED
Spaces under Pressure - Bodies in Excess
With the large film retrospective METROPOLIZED the (mediatized) network of
the city will be reconstructed for the first time from the perspective of
an urban individual in an over-stimulated state. The film and video
program
will show how contemporary film-makers design "portraits" of the body and
its current disorders. These disorders in the relationship between the
body
and surrounding territories, these confusions between bodies, subjects,
urban spaces and their concrete as well as represented spatial orders,
lead
to a general state of confusion between the body, space, time and visual
surfaces. The retrospective explores the tense interrelation between the
city and the body, and lays out diverse (visual) paths through a
seemingly,
increasingly hypertrophic urbanism.
METROPOLIZED. Spaces under Pressure - Bodies in Excess is a project with
the Festival dei Popoli, Florence, and the European Media Art Festival,
Osnabrck, within the scope of the European Coordination of Film Festivals
(ECFF).
4th GRAZ MEDIA + ARCHITECTURE CONGRESS
ARCHITECTURE NOW! SPACE
The Congress ARCHITECTURE NOW! SPACE will focus on the interaction of art,
culture, technology and economy in the conception and realization of
architectonic and urban planning projects. Within this interdisciplinary
framework, ARCHITECTURE NOW! SPACE will deal with media-specific
possibilities of conception, documentation and mediation of contemporary
spatial structures. ARCHITECTURE NOW! SPACE will present and discuss
landmark examples of application and new trends in visual and interactive
development, analysis and representation of architectonic and urban
spaces.
Architects, producers, artists, representatives from television stations
and architecture journals, architecture critics and media experts will
discuss the roles of media-aided spatial analysis and present new designs
and projects.
In the special program section INSPIRING SPACES exemplary documentations
of
ground-breaking spatial concepts will be shown: from Frank Lloyd-Wright,
Le
Corbusier, Mies van der Rohe and Archigram, to Rem Koolhaas, Jean Nouvel,
Greg Lynn, Winy Maas and Toyo Ito.
[ art.image ]
Hallerschlossstrasse 21
A-8010 Graz
tel. +43-316-356155
fax +43-316-366156
http://www.thing.at/art.image
art.image@thing.at
................................................................... 07
Date: Sun, 14 Mar 1999 20:42:53 +1000
From: sinsite@ozemail.com.au (dLux media arts)
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject: ann! ... D.art 99 :: Call for Entries :: Sydney, Australia
Dear Colleague
I hope that the following information will be of interest to you.
If convenient, please forward the information contained
between the top and bottom ~~~~~ lines to associates,
members and other interested parties.
Thank you in advance for your generous cooperation.
Regards
Alessio Cavallaro
Director
____________
* Please accept our apologies if you have received this message more than
once.
* if you wish to have your address removed from our mailing list,
please reply with UNSUBSCRIBE in the subject field.
thank you.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
dLux media arts
CALL FOR ENTRIES
D.ART 99 ~ Sydney Australia
CLOSING DATE EXTENDED: 16 APRIL 1999
D.art, dLux media arts' acclaimed annual event,
computer animation art.
D.art will once again screen to capacity audiences at
the prestigious Sydney Film Festival in June. The
program will then tour inter/nationally. D.art 99 will also
feature a forum on topical issues in digital media arts.
CONDITIONS OF ENTRY
* CRITERIA
- entry open to all Australian and international screen artists
- works should be innovative/experimental (non-narrative)
within the digital domain, or, in the case of video and film
(S8, 16mm, 35mm), involve some digital prod/manipulation
- works must have been completed within 1998/99)
- works should be a maximum of 10 minutes duration
(does not apply to cd-roms)
* ENTRY FEE
AUD25 - or free to current members of dLux media arts
(support screen arts, join dLux now! AUS$30).
Method of payment:
- overseas entries: international bank cheque only in AUS dollars;
- Australian entries: personal cheque, bank cheque or money order.
* ARTIST'S FEE
- artists whose work is selected for exhibition will be paid a once only
fee
of AUD250.
* FORMATS
Please submit preview tape/s in ONE of the following formats:
- SP Betacam PAL only, or
- high-grade VHS PAL, or
- high-grade VHS NTSC
- cd-rom, Mac or PC (must contain all necesary operating files)
* CLOSING DATE FOR ENTRIES
- 16 April 1999
* INFORMATION
- to obtain a fax or email copy of the entry form, or for information
about other dLux activities and membership benefits, please contact:
Martha Ansara, administrator, dLux media arts
PO Box 306 Paddington NSW 2021 Australia
tel 61 2 9380 4255 fax 61 2 9380 4311
sinsite@ozemail.com.au
www.ozemail.com.au/~sinsite
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
_________
______________________________________________________________________________
*** dLux media arts ***
please don't hesitate to contact us for MEMBERSHIP enquiries / benefits,
or for more information about the dLuxevents listed below ...
*** dLuxevents 1999 ***
include:
february - STELARC: extra ear, exoskeleton and avatars
presented by dLux and Casula Powerhouse Arts Centre
Stelarc, Australia's internationally renowned cyber performance artist,
presents an illustrated and conceptual overview of his recent projects.
Includes panel discussion by prominent cultural theorists
on robotics | the post-human | bio-ethics.
2pm sat 20 feb Museum of Sydney cnr Phillip and Bridge Streets, Sydney
~ ~ ~
february / april - Peter Callas: Initialising History
commissioned by dLux media arts, a three-component program centred around
and curated by Peter Callas, one of Australia's most
internationally-acclaimed electronic media artists
* Initialising History, a full-career retrospective of Peter Callas'
influential work
* Peripheral Visions, specially curated program of recent international
video and
television art and computer animation
* An Eccentric Orbit: video art in Australia 1980 - 1994
premieres at Articulations, Festival of Perth, wed 10 feb
presented in Perth in association with PICA (Perth Institute of
Contemporary Arts)
Sydney premiere in april; venues, dates and times tba
~ ~ ~
march - 6th Annual New York Digital Salon
program of computer animation by emerging artists
from the internationally-renowned digital art exhibition
presented in association with the School of Visual Arts, New York, and
Leonardo Journal
tues 16 and wed 17 march, 5.50pm, Chauvel Cinemas Paddington
$10 full / $8 conc / $6 dLux members
~ ~ ~
june - D.art 99
dLux media arts' annual international showcase of experimental digital
film, digital video
cd-rom, computer animation art and topical forum; venues incl Sydney Film
Festival
closing date for entries: FRI 9 APRIL. contact dLux office for entry
forms.
~ ~ ~
june - Immersion
Multi-channel surround-sound performances curated by Philip Samartzis
tape-based compositions encoded with Dolby surround sound, printed onto
35mm
film stock, and presented within a multi-channel cinema environment.
~ ~ ~
august / september - Self-made Cinemas: Hong Kong film and video
program of experimental works from Hong Kong curated by Jo Law
presented in association with Film and Television Institute, WA
~ ~ ~
october - futureScreen 99 screen arts | science | technology
dLux media arts' annual event investigates the future of screen arts
as defined by the confluence of new media art theories and practices,
and scientific and technological developments. includes installations,
screenings, symposium
______________________________________________________________________________
dLux media arts (formerly Sydney Intermedia Network - SIN) encourages and
promotes the
development and critical discussion of innovative film, video, digital
media and sound arts in Australia,
and exhibits this work to diverse audiences nationally and
internationally.
director: Alessio Cavallaro
administrator: Martha Ansara
president: Kathy Cleland
tel +61 2 9380 4255
fax +61 2 9380 4311
email sinsite@ozemail.com.au
http://www.ozemail.com.au/~sinsite
upper level, Sydney Film Centre, Paddington Town Hall
PO Box 306 Paddington 2021 NSW Australia
______________________________________________________________________________
dLux media arts gratefully acknowledges the financial assistance of the
Industry and
Cultural Development Branch of the Australian Film Commission; the NSW
Film and
Television Office; the Visual Arts and Crafts Program of the New South
Wales Ministry for the Arts;
and the New Media Arts Fund of the Australia Council - the Commonwealth
Government's arts
funding and advisory body. dLux media arts also gratefully acknowledges
the
ongoing cooperation
of The Art Gallery of New South Wales and Powerhouse Museum.
dLux media arts is a member of
ASCIA (Australian Screen Culture Industry Association) and
SCAN (Sydney Contemporary Arts Network).
______________________________________________________________________________
................................................................... 08
Date: Mon, 15 Mar 1999 09:52:10 +0100
From: "MAZE] corp [ROZE" <xleton@imaginet.be>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject: ann! ... confetti.org
Hi ho,
Maze] corp [roze web site have moved:
New URL:
<http://www.confetti.org>
New up-date. Send us your remarks.
thank you,
xavier
-- THE VIRTUAL CONDITION IS A TELEGAMBLE THAT ALWAYS SPINS OFF?
please change my url (if bookmarked) to
- site: <http://www.confetti.org>
- add: <xleton@imaginet.be>
- cv: <http://www.confetti.org/C.V.html>
................................................................... 09
>From koen.vandaele@guest.arnes.si Mon Mar 15 09:02:42 1999
After the American Direct Cinema icon Frederick Wiseman, and
American-European always-curious traveller Robert Kramer, D-Day
introduces the work of another documentarist of format: the French
photographer and film-director RAYMOND DEPARDON.
As a film-director Depardon is probably best known for documentaries
on the institutions, the police, the judicial system, the press and
photography. Since the mid-eighties the fictional element became
stronger present in his already very personal documentary work.
But none of this in D-Day 9. Instead, we focus the program entirely
on Depardon's SIGHTS AND SOUNDS OF AFRICA.
At 6pm we present six short and medium-length documentaries:
TCHAD (1): L'EMBUSCADE (Chad: The Ambush; 1970); YEMEN (1973); TCHAD
(2 & 3): L'INTERVIEW DE F. CLAUSTRE & L'ULTIMATUM (Chad: The
Interview with F. Claustre & The Ultimatum; 1975-76); TIBESTI TOO
(1976); and LE PETIT NAVIRE (1987).
At 8.30 pm we'll screen Depardon's 1996 movie AFRIQUES: COMMENT CA
VA AVEC LA DOULOUR (Africas: What about the pain?).
(More program details: below).
Best regards,
Koen Van Daele
programme curator & coordinator
++++++++++++++++++++++++++++++++++++++++++++
PROGRAM - DETAILS
D-Day 9: Dan za dokumentarec
March 18, 1999
Slovenska kinoteka, Ljubljana
RAYMOND DEPARDON (born on a farm in Villefranche-sur-Sane in 1942)
began his career as a photographer at the early age of fourteen. In
1959 he started working as a photo-reporter for the Dalmas agency.
For more many years he covered the top stories of that period (the
war in Algeria, Vietnam, Biafra, Israel, the Olympics, the Prague
Spring,...). In 1966 he established Gamma, the first independent
photographer's agency. In '81 he co-founded with Pascale Dauman his
film-production-company Double D Copyright Films. Since 1978 he has
been reporter for the world-famous photo-agency Magnum.
As a film-director Depardon is probably best known for documentaries
on the institutions, the police (Faits Divers ('83) follows the
daily activities in a Paris police station), the judicial system
(Dlits Flagrants ('94) shows the procedural itinerary of persons
caught "in the act", from arrival in the holding cell until seeing
their lawyer), the press and photography (Numros Zros ('77) shot in
the daily Le Matin de Paris; Reporters ('80); Contacts ('90)).
Since the mid-eighties the fictional element became stronger
present, in his already very personal documentary work (Les Annees
Dclic ('84-'85); Empty Quarter (Une Femme en Afrique) ('84-'85); La
Captive du Dsert ('89); Paris).
But none of this in D-Day 9. Instead, we focused the program entirely
on Depardon's sights and sounds of Africa. "In the beginning there was
nothing that predisposed me to Africa and its deserts. But I began to
spend more time there... I felt good there... I was happy there... I
always
felt like going back. I always found a pretext to return. Was it the
Toubous and their charm? Tibesti and its mountains? Or simply the
desire to do something different. to film the desert."
Africa is like a refrain in his opus. More than a third of his --now
around 30 movies counting-- filmography were shot there. Africa
became a touchstone of his "homework". In a way, the place where he
measures his other work. Depardon enjoys showing us his beloved
continent: its beautiful people, its magnificent landscapes. It seems
his ultimate refuge. And yet, he does everything to avoid the
ever-seducing exoticism, Africanism. So he puts the beauty in
perspective (but refuses to ignore it) to let us perceive something
of the real Africas (in plural!).
In his 1996-movie "Afriques, comment a va avec la douleur" Depardon
comments:"The man of images is inhabited by endless doubts. The
field of investigation of the eye is boundless. In Ethiopia, sight is
a talisman, even a medication. It teaches the wisdom elaborated by
King Solomon: I walk towards my image, and my image towards me. It
welcomes me and embraces me upon my return from captivity."
The French film-critic Serge Daney called Depardon the successor of
the later Rossellini: "He informs his audience about the current
state of his discoveries and research. Depardon, the photographer,
then the filmmaker, then the author, becomes the inventor of his own
imag(in)ed life".
++++++++++++++++++++++++++++++++++++++++++++++++++
THE D-DAY 9 PROGRAM
AT 6 pm:
TCHAD (1): L'EMBUSCADE (Chad: The Ambush)
Dir., photo. and voice off: Raymond Depardon; editor: Jos Pinheiro;
sound-mix: Paul Bertault; journalist: Michel Honorin.
1970, 12 min., col., 16mm (French spoken, with Slovene sim.
translation)
The ruins of a school bombarded by the French airforce, Aozou, Chad,
1970. Depardon --accompanied with two colleague reporters (Gilles
Carron and Michel Honorin)-- makes his first images of the
revolutionary Toubous. The regular Chadian army catches them in an
ambush. The journalists give themselves up. The fighting continues.
Depardon: "In Paris people slowly became aware that French troops
were fighting in Chad since 1968. But people knew little about this
rebellion. Much later they would know that some 200 French soldiers
were killed there."
YEMEN
Dir., photo., sound, voice off: Raymond Depardon; editor: Jos
Pinheiro.
1973, 19 min., col., 16mm (French spoken, with Slovene sim. translation)
After a photo-reportage in Vietnam, Depardon leaves with an clair 16
and a Sony-cassette for Yemen:"I like the Orient. I had just returned
>from Vietnam. It was winter. Yemen was divided in two: the feudal
North, and the South with its scientific Marxism. It was a little
reportage, a sort of TV-pilot: subjective and at the same time a bit
political and geographic. But I like the film, cause it's free. I
asked a Yemen-specialist to write the text. It's a very classical
approach: commentary, a bit of sync-sound, some music, some people
with weapons. faces. everything I detest. And yet, it was worth to
experiment a bit with treating a subject in this way. to then move on
and go further."
TCHAD (2 & 3): L'INTERVIEW DE F. CLAUSTRE & L'ULTIMATUM
(The Interview with F. Claustre & The Ultimatum)
Dir., photogr., sound and voice off: Raymond Depardon; assistant:
Lionel Cousin; editor: Jos Pinheiro; sound-mix: Paul Bertault;
prod.: Gamma.
1975-76, 40 min., col., 16mm (French spoken, with Slovene sim.
translation)
The second and third part of Tchad are two interviews with Franoise
Claustre, a French archaeologist taken hostage by the Toubou-rebel
fighters of Hissene Habr. The first one was shot in August 1975, the
second a year later. In the first interview she talks without thinking
about the camera. She expressed herself very emotionally, speaking
about her living conditions, the coward attitude of the French
government in the affair, her despair, she cries...
The second interview has everything to be even more tragic (a year
later she's in a more desperate situation: the rebels have set an
ultimatum), and yet it's not. Now she is totally aware of the
presence of the camera, and grasps the opportunity to use it. She
realises it's probably her only chance to get something done. So she
controls her gestures, her lines.
Claustre was liberated in 1977, after 33 months of detention.
Charles Tesson (Cahiers du Cinema) remarks that the title of this
film could very well be "The Human Voice", for it's a "genuine
manifesto on the art of the monologue in cinema".
Depardon's 1989-fiction film La Captive du Dsert (with Sandrine
Bonnaire in the role of the captive) was based on the Claustre Case.
TIBESTI TOO
Dir., photo.: Raymond Depardon; assistant: Lionel Cousin; music:
Marius Constant; editor: Jos Pinheiro; sound-mix: Jean Neny; prod.:
Gamma.
1976, 40 min., B/W, 35mm (French spoken, with Slovene sim.
translation)
Between cinema and photography. The desert and those who inhabit it.
A sensitive look, beyond the spectacular.
"I took two cameras with me: an clair 16 to do the interviews, the
journalistic work, and the Cameflex for the long takes. It began at
that time: this schizophrenia of the two persons within me: the
journalist and the film-director-photographer. (...) Tibesti Too was
a fantastic experience. I was always a bit unhappy of being a
reporter, even if I realise that that's my family, my education, my
culture. The Orient is important to me, because it produces a
flagrant contradiction: Tibesti is the Orient, but it's also the
farmer's world. I found a lot of similarities with the world of my
childhood. People ask themselves:"Who are the Toubous?" Yes, they
sound exotic, but they're people just like us. I remember my father
asking that question. And I wanted to tell him that, in the end,
there's no big difference between a farmer in Villefranche-sur-Sane
and them. They have a similar character. The character I know, the
one I have a bit too, the one of never being satisfied:"It rains, it
rains too much, it doesn't rain enough, it's too dry, it's too wet.
Yeah, that's a beautiful cow, but..." If the Toubous got away with
it, it's because they resisted lots of invasions, Turkish, Senussian,
French too. They lived through them, they were proud about it, like
farmers. They are proud to be able to live of their soil."
LE PETIT NAVIRE (The Little boat)
Dir.: Raymond Depardon; photo. & sound: Claudine Nougaret; editor:
Roger Ikhlef; prod.: Double D Copyright Films.
1987, 6 min., B/W, 16mm(French spoken, with Slovene sim. translation)
"It's difficult to kill exoticism. Here, there's a beautiful bleu
sky... yellow sand... well, you can't see it cause it's shot in black
and white... and it's not because I don't want to give you the
pleasure of seeing it in colour.... it's because I think it falsifies
things."
Le Petit Navire is another piece in the autobiographical puzzle of
Depardon. We discover him, seated on top of a dune, talking about his
fears, his madness, his attraction/repulsion for the desert.
AT 8.30pm:
AFRIQUES: COMMENT CA VA AVEC LA DOULEUR?
(Africas: How about the pain?)
Dir., photogr., sound: Raymond Depardon; editor: Roger Ikhlef;
sound-mix & producer: Claudine Nougaret.
1996, 165 min., col., 35mm (French spoken, with English subtitles)
"I'm starting a journey. It's not a road movie, and not a piece of
investigative journalism, but the sights and sounds of ordinary pains
in Africa. A subjective journey, through my wishes, but also my fears.
Reassure yourself, I won't try to make you feel bad."
With these words Depardon begins his almost three-hour long,
beautiful, moving, revealing, and above all sincere, cinematographic
diary about Africa. His journey begins on top of a hill on the Cape
of Good Hope in the South-African winter-month of July, takes us
through dozens of countries, landscapes, situations,... and ends in
the courtyard of his parental home, a French farm in
Villefranche-sur-Sane.
Depardon sets down his camera and looks around, carefully, precisely.
Fixed frames are alternated with shots where he lets his camera pan
on its axe, the full 360 degrees. Slowly the landscape, the situation
unfolds. To grasp something of the complexity you need time. Depardon
avoids easy solutions, the collection of sound-bites, the
spectacular, the clichs. He explains that he shoots without cuts
("en continue") for two reasons: he doesn't want to give himself the
possibility to modify real time --his real experience-- afterwards,
and he wants to show us his position, his point of view. "Every
film-director has the moral responsibility over his take. Real time
guarantees this." An image of a sick old abandoned people in a
desperate looking hospital for outcasts in Sudan continues to smiling
faces, some children. Sometimes he informs us about the shots he
didn't take. They were too known, too spectacular, over-mediatised.
So why show them again? They wouldn't explain anything new. They
wouldn't contribute to our understanding, let alone to our
solidarity. We see the first black president of South-Africa, whom he
asked to film one minute, in silence; the remains of apartheid:
Soweto; the Mo Kuvale nomads who live on the high plains border-zone
between Namibia and Angola; refugees in Ruanda and Burundi;
worshippers at the ancient cave churches in the Ethiopian Lalibela;
the magnificent plateaus in Ethiopia; Mogadishu from the green line
dividing North and South; Tibesti "his favourite mountain in the
desert"; the Toubous, the Saharan black nomads, who "played" in his
fiction-film La Captive du Dsert; 5000 incarcerated people, waiting
for their trial, accused of the Ruandan genocide; passers-by in a
Brasilian caf in Alexandria.
It's a puzzling picture, complex and full of contradictions. Depardon
communicates with sounds, images and words something of the every day
pains of Africa.
(More info "Afriques..." at Forum, Film Festival Berlin 1997:
http://www.fdk-berlin.de/forum97/f001e.htm )
+++++++++++++++++++++++++++++++++++++++++++++++++
TICKETS:
ob 18.00: 600 SIT
ob 20.30: 600 SIT
Complete D-Day 9: 1000 SIT
+++++++++++++++++++++++++++++++++++++++++++++++++
The series D-Day: Dan za dokumentarec is produced by OPEN SOCIETY
INSTITUTE SLOVENIA; in collaboration with OPEN SOCIETY NETWORK
PROGRAMS - SOROS DOCUMENTARY FUND (New York).
Executive producer: SLOVENSKA KINOTEKA.
Additional support for D-Day 9:
INSTITUT FRANCAIS CHARLES NODIER - Ljubljana &
Ministere des affaires etrangeres - Republique Francaise - Direction
generale des relations culturelles scientifiques et techniques -
Direction de l'action audiovisuelle exterieure - Division des
programmes.
++++++++++++++++++++++++++++++++++++++++++++++
PRESS-PICTURES ARE AVAILABLE UPON REQUEST.
................................................................... 10
Date: Mon, 15 Mar 1999 09:22:14 +0000
From: cello <cello@numinous.easynet.co.uk>
To: Multiple recipients of <announcer@simsim.rug.ac.be>
Subject: ann! ... Cellosphere - an INVITATION
You are invited to attend and/or listen to:
Marvin Ayres 'Cellosphere'
UK release night/CD broadcast
Tuesday 23rd March 1999
8 -11pm GMT
Global Cafe
15 Golden Square
London, W1R 3AG
0171 287 2242
nearest tube Piccadilly Circus
A new release from Ritornell - a division of Mille Plateaux
--------------
a b o u t C e l l o s p h e r e
============
Recent comments on Marvin Ayres "Cellosphere" : "very beautiful indeed,
quite movingly so";
"it reminds me of plants growing or a torrent of water"; "heady
serenity"...
"Produced entirely on Cello and Violin, the basis for the broad outline of
Cellosphere was to create an amorphous soundscape using new technologies
and treatments, but without the rigid confines of restrictive music
sequencers.
It is meant to be absorbed and imbibed, rather than studied, whereby one
is
hopefully rewarded by hearing something new upon each listening. Imagine
watching an open fire , where one is nearly always drifting into and out
of
the unconscious mind. " Marvin Ayres 1999
--------------
l i s t e n n o w a n d r e a d
============
n u m i n o u s : http://www.backspace.org/numinous/audio
--------------
l i s t e n l a t e r
============
Audio broadcast of Cellosphere
23/03/99 GMT 19.30 to 23.00 http://gold.globalcafe.co.uk
23/03/99 GMT 19.30 to 24/03/99 GMT 12.00 http://bak.spc.org/radio
--------------
p u r c h a s e
============
Cat.No: EFA 14851-2 Ritornell CD1
--------------
m o r e i n f o r m a t i o n
============
Ritornell is a division of Mille Plateaux
http://www.force-inc.com
Published by Freibank
http://www.freibank.com
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