Recombinant Festival 2017 is a showcase of 360-degree spatial cinema and sound, a site for live audio-visual performances developed in collaboration with Recombinant Media Labs over the last twenty years. The historic 10-screen CineChamber apparatus at Gray Area’s Grand Theater propels audiences into a “VR mindset without the headset;” which extends the single viewer platform of virtual and augmented reality into a shared experience of immersive panorama. Recombinant Festival 2017, presented at Gray Area October 11–15, includes films, in-persons appearances, performances and installations by artists including Craig Baldwin; Jeff Carey; Paul Clipson & Grouper; Erik Davis; Michaela Grill, Philip Jeck, & Karl Lemieux; Daniel Menche; Pedestrian Deposit; Martin Rev of Suicide; Makino Takashi; V. Vale and more. Full details available here.
The sun sets on the fiftieth anniversary of the Summer of Love(™). begins with Kenneth Anger’s infernal and incantatory Invocation of My Demon Brother (1969), featuring an abrasive electronic score by none other than Mick Jagger. A dark classic cinematic conjuration of the mighty Lord Lucifer, filmed in infamous SF locations (including the Straight Theater and the mysterious countercultural stronghold known as the “Russian Embassy”), Invocation… drills to decadent thanaterotic core of the 1960s peace ‘n’ luv fantasy. Film features Anger as the Magus, Anton LaVey as His Satanic Majesty, Bobby Beausoleil as Lucifer and Mick Jagger as “himself.” Invocation is followed by a very rare screening of forgotten Quebecois filmmaker Etienne O’Leary’s unknown masterpiece Chromo Sud, filmed in Paris, 1968. A careening and desintegratory diaristic work (featuring an amazingly aggressive soundtrack), Chromo Sud rivals the darkest visions of Anger in its fusion of violence, eroticism, profane mysticism and lives lurching out of control in late ‘60s Paris. 16mm screenings of Invocation… and Chromo Sud precede ten-channel 360-degree immersive video performances in RML’s mighty Cinechamber: Gone, Gone Beyond by electronic appropriationist extraordinaire People Like Us—a work which “breaks the rectangle, smashing the thin screen into tiny fragments, looking beyond the frame, climbing through to see what’s behind”—and two works by Cinechamber pioneer Masako Tanaka: Sensa (music by Oval) and Shell of Light (music by Burial). (Steve Polta)
Image Credit: Etienne O’Leary: Chromo Sud