
	ARTICLES ON ART The Experimental Experience in the Films of Rose Lowder Paper by Tara Merenda Nelson (Submitted on March 7, 2011) French filmmaker Rose Lowder has been a prolific practitioner of perceptual experiments with 16 mm film since the 1970's. She has composed more than 50 films, mostly in and around her home in the bucolic region of Avignon, France. Lowder's films explore not only her surroundings, but also the experimental landscape of meaning by uniquely using the frame structure of film as a canvas that reveals new perceptual opportunities. Lowder's precise, frame-by-frame technique quietly approaches the natural world, creating new perceptual relationships to light, color and motion. CINEMA VÉRITÉlivision Essay By Will Lewis (Submitted on February 23, 2011) This essay is a historical look of Cinema Verité and how television has copied the visual aesthetics and how shows are using them with the aid of a narrative to push an entertainment value, rather than that of the films of Pennebaker, Rouch, Wiseman and others, who used the aesthetics in searching for a deeper understanding of truth within their subjects. I chart the historical progression (or regression) from the 60's onward into contemporary examples of television shows that still do this today and find that a technological progression has mainly been the cause for this. It's an interesting topic that brings up a lot of questions regarding documentary, like: is cinema verite an aesthetic? A period in time? The mode of observation? Truth? What is truth? ect.. Family Matters Containment and Natural Course in Dogtooth (2010) by Will Lewis (Submitted on February 25, 2011) "Containment is literally and metaphorically shown through moral intent. The fence, set in place by Father, is used just as much to keep, what he feels are negative influences out, than to keep the family in. While his actions may appear extreme or absurd to some individuals, he is doing nothing more than preserving his family's innocence by any means necessary." The Brutal Reality of Change by Dominic Angerame, Executive Director Canyon Cinema Published in Left Curve Magazine no. 35 (2011) www.leftcurve.org (PDF submitted 01/20/2011) "While the early psychometrics spoke literally of touch, I think of filmmaking as a kind of touch. Thus, the creation of an experimental cinema is very much akin to scientific experimentation. The filmmaker experiments with light and movement, yet his work also takes on a sense of mysticism, as he tries to find the hidden meaning of things and create a revolutionary way of capturing imagery." February 17, 2011 Newsletter INFLeXions No. 4 - Transversal Fields of Experience (Dec. 2010) by Simon Payne ~ Article Excerpt ~ "Paul Sharits' Ray Gun Virus (1966), which I will discuss first, calls to mind the minimalist colour field paintings of artists such as Barnet Newman or Ellsworth Kelly – the entirety of the screen is consumed by colour – but the aesthetic is absolutely filmic. The most obvious and significant point is that the colour fields in Ray Gun Virus are time-based and sequenced."

ARTICLES ON ART

The Experimental Experience in the Films of Rose Lowder
Paper by Tara Merenda Nelson (Submitted on March 7, 2011)
French filmmaker Rose Lowder has been a prolific practitioner of perceptual experiments with 16 mm film since the 1970's. She has composed more than 50 films, mostly in and around her home in the bucolic region of Avignon, France. Lowder's films explore not only her surroundings, but also the experimental landscape of meaning by uniquely using the frame structure of film as a canvas that reveals new perceptual opportunities. Lowder's precise, frame-by-frame technique quietly approaches the natural world, creating new perceptual relationships to light, color and motion.

CINEMA VÉRITÉlivision
Essay By Will Lewis (Submitted on February 23, 2011)
This essay is a historical look of Cinema Verité and how television has copied the visual aesthetics and how shows are using them with the aid of a narrative to push an entertainment value, rather than that of the films of Pennebaker, Rouch, Wiseman and others, who used the aesthetics in searching for a deeper understanding of truth within their subjects. I chart the historical progression (or regression) from the 60's onward into contemporary examples of television shows that still do this today and find that a technological progression has mainly been the cause for this. It's an interesting topic that brings up a lot of questions regarding documentary, like: is cinema verite an aesthetic? A period in time? The mode of observation? Truth? What is truth? ect..

Family Matters Containment and Natural Course in Dogtooth (2010)
by Will Lewis (Submitted on February 25, 2011)
"Containment is literally and metaphorically shown through moral intent. The fence, set in place by Father, is used just as much to keep, what he feels are negative influences out, than to keep the family in. While his actions may appear extreme or absurd to some individuals, he is doing nothing more than preserving his family's innocence by any means necessary."

The Brutal Reality of Change
by Dominic Angerame, Executive Director Canyon Cinema
Published in Left Curve Magazine no. 35 (2011) www.leftcurve.org
(PDF submitted 01/20/2011)

"While the early psychometrics spoke literally of touch, I think of filmmaking as a kind of touch. Thus, the creation of an experimental cinema is very much akin to scientific experimentation. The filmmaker experiments with light and movement, yet his work also takes on a sense of mysticism, as he tries to find the hidden meaning of things and create a revolutionary way of capturing imagery."

February 17, 2011 Newsletter

INFLeXions No. 4 - Transversal Fields of Experience (Dec. 2010) by Simon Payne ~ Article Excerpt ~ "Paul Sharits' Ray Gun Virus (1966), which I will discuss first, calls to mind the minimalist colour field paintings of artists such as Barnet Newman or Ellsworth Kelly – the entirety of the screen is consumed by colour – but the aesthetic is absolutely filmic. The most obvious and significant point is that the colour fields in Ray Gun Virus are time-based and sequenced."