Sunday, April 6, 2014, 12:00 am

CROSSROADS 2014 Program 8

intimate immensities 2: untethered…


2961 16th Street

San Francisco, CA 94103

In Person: Charles Chadwick, Catie Eller, Talia Feder, Allison Leigh Holt, Thad Povey, April Simmons and Scott Stark

Admission: [$5 members / $10 non-members]
Festival Pass: [$25 members / $50 non-members] available here
Order advance tickets for this program here
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CROSSROADS 2014 is sponsored by Ninkasi Brewing.
Thanks to our co-presenters, community partners and advertisers: 23FiveArtists’ Television AccessBAVC, Canyon Cinema Foundationthe Center for New MusicThe ExploratoriumFandor, Oddball Film + Videothe SF Dance Film FestivalShapeshifters Cinema and Yerba Buena Center for the Arts

Special note! This screening will feature ASL interpretation!

Friction of the Inner and Outer Consciousness (2014) by Isaac Sherman; digital video, color, sound, 7 minutes, from the maker
“About looking up (into the air). Fearful and jubilated, a hide and go seek game between myself and the nature that knows me. Blocking the sky from sight with my hands—dodging in and out of frame, something about the world or myself is revealed.” (Isaac Sherman)

Through Tunnels (2013) by Talia Feder; digital video, color, sound, 4 minutes, from the maker
Through Tunnels advances the viewer through an assembled continuous tunnel following the stream of lights.” (Talia Feder)

Visual Pleasure (2013) by Catie Eller; digital video, color, silent, 6 minutes, from the maker U.S. premiere
            “My work explores how media affects our perception. I manipulate 16mm films, videos, and digital projections to create a parallel universe that does not physically exist. Generated through the structure of moving images, the human eye adapts to the state of the visual phenomenon. The silent and abstract moving images cause cognitive dissonance due to afferent sensory reduction.” (Catie Eller)

A Noisy Delivery (2013) by Charles Chadwick; digital video, color, sound, 2 minutes, from the maker
“In this film, the artist employed a pair of video spy glasses to record his visits to six different post-offices and the process of waiting in line to mail a single letter. The resulting experience is a psychedelic version of an ordinarily mundane experience: visiting a post office without a camera. No fancy colors or droney soundtrack... they’re there, just hidden. This film was originally done as a trailer for GX Jupitter-Larsen’s film A Noisy Delivery.” (Charles Chadwick)

Hacked Circuit (2014) by Deborah Stratman; digital video, color, sound, 15 minutes, from the maker bay area premiere
            “A single-shot, choreographed portrait of the Foley process, revealing multiple layers of fabrication and imposition. The circular camera path moves us inside and back out of a Foley stage in Burbank CA. While portraying sound artists at work, typically invisible support mechanisms of filmmaking are exposed, as are, by extension and quotation, governmental violations of individual privacy.” (Deborah Stratman)

Nocturnal Symmetries (2014) by Scott Stark and Allison Leigh Holt; 16mm double projection, color, sound, 12 minutes, prints from the makers
“Untethered in dream-like urban and natural landscapes, aggravated by artificial light, lost in the gap between imperfect symmetries.” Images by Scott Stark; sound design by Allison Leigh Holt, using field recordings by Byram Abbott.

Half Life (2013) by April Simmons; digital video, color, sound, 6 minutes, from the maker bay area premiere
            “Half Life employs audio from the videogames Portal I, II and Half Life. This work attempts to draw upon players” experiences and is influenced by the Greek and Roman myth that when we die, we will arrive in a field; once there, we are accompanied by our closest friend.” (April Simmons)

‘til I see my way back home (2013) by Thad Povey; digital video, color, sound, 5 minutes, from the maker
“A meditation on impermanence.” (Thad Povey)

 Threshold (2013) by Robert Todd; 16mm, color, sound, 20 minutes, print from the maker bay area premiere
“The storm as lived from the inside, merging into darkness, yet pulled ever toward the blinding intensity of the ratings without.” (Robert Todd)