tENTATIVELY, a cONVENIENCE Documentaries

(from late 1975e.v. september, 2021(e.v.)

(in order of most recent to oldest - with the exception of the HiTEC documents - which are organized together regardless of how they fit the overall chronology)

{tENTATIVELY, a cONVENIENCE can be contacted @ <idioideo at verizon dot net>}

I initially thought of myself as an experimental moviemaker. However, it became quickly obvious to me that my interest really lay in experimental approachs to 'reality' & I developed much more of an interest in documentaries. It wasn't long before I started using the term "Quasi-Documentary" to describe some of my work - by wch I meant documentaries that didn't necessarily claim to represent 'reality' but, instead, recognized the Heisenberg Uncertainty Principle (in, perhaps, a grossly overgeneralized & scientifically incorrect form): by observing, I alter.

These days, the simplest way of expressing it is that I make Experimental Documentaries - a type of moviemaking (not unique to me) that combines 2 of the least popular genres. Some of the documentaries listed below are more experimental than others. Many are straight-forward enuf in terms of content to even be acceptable to conventional tastes. However, let it be known that I find most conventional docs to be uninteresting, uninspired, & very suspect as carriers of so-called 'objective' meaning. Of the more established sub-genres I like Direct Cinema / Cinema Verité the most but prefer to not operate w/in its limits. There're 526 documentaries listed below out of a total of 659 movies I've made.

One thing that I can be fairly certain of is that by the time programmers & historians finally get excited about the genre of Experimental Documentary, any & all kudos will go to a cute young rich woman who's made one or 2 such things starting 40 years later than me & I will be completely unmentioned. Sigh.

It's worth mentioning that at the end of 2018 I got a copy of Scott Macdonald's "Avant-Doc" (2015). I finally read it a year later in 2019, I'm not mentioned in it. Arthur & Jennifer Smith are listed as having made 3 Avant-Docs from 2010-2012. MacDonald may never watch anything of mine because it hasn't appeared in his approved distribution markets (even though my work has shown in museums). YouTube? Why pay any attention to what's arguably the most vital & international distribution method currently in operation? Vimeo? The Internet Archive? My review of the MacDonald book appears appended to the bottom of this webpage OR it can be seen elsewhere online here: "Old MacDonald: Lifestyles-of the rich-in Cambridge": https://www.goodreads.com/story/show/1150122-old-macdonald?chapter=1

 

 

659. "Consciousness Expansion - Phase 4: The Winter of 2021"

- 2:53:47

- 1920 X 1440 - 30fps, stereo

- on my onesownthoughts YouTube channel here: https://youtu.be/456zw6WZHxg

- on the Internet Archive here: https://archive.org/details/expanded-consciousness-phase-04

 

658. "Consciousness Expansion Kenny & tENT"

- shot on Friday the 13th of August, 2021E.V.

- 1080p HD 30p, Stereo

- 58:38

- on my onesownthoughts YouTube channel here: https://youtu.be/GLt0HUZ5orM

- on the Internet Archive here: https://archive.org/details/2021.08.13-kenny-t-ent

 

657. "Vintage Human Race"

- shot on Serpentine Drive, Shcnley Park, Pittsburgh, on August 10, 2021

- 720p HD 30p Stereo

- 8:38

- on my onesownthoughts YouTube channel here: https://youtu.be/e7yCURsKICM

- on the Internet Archive here: https://archive.org/details/vintage-human-race

 

656. "Consciousness Expansion - Phase 03"

- 1920 X 1440 - 30fps, Stereo

- 41:52

- edit finished July 31, 2021

- on my onesownthoughts YouTube channel here: https://youtu.be/-Bu5cQIy07Y

- on the Internet Archive here: https://archive.org/details/consciousness-expansion-phase-03

 

655. "In Progress"

- the inaugural duet for tENTATIVELY, a cONVENIENCE's expanded consciousness featuring tENT & Ben Opie recorded on Sunday, July 11, 2021

- 1080p 29.97p Stereo

- 38:13

- on my onesownthoughts YouTube channel here: https://youtu.be/4burrBqGw-c

 

654. "Consciousness Expansion - Phase 02"

- 1920 X 1440 - 30fps, Stereo

- 6:29

- edit finished July 2, 2021

- on my onesownthoughts YouTube channel here: https://youtu.be/gh7AD6jEgEY

- on the Internet Archive here: https://archive.org/details/consciousness-expansion-phase-02

 

653. "Consciousness Expansion - Phase 01"

- 1920 X 1440 - 30fps, Stereo

- 2:45

- edit finished June 27, 2021

- on my onesownthoughts YouTube channel here: https://youtu.be/KlziLruwO6Q

- on the Internet Archive here: https://archive.org/details/consciousness-expansion-phase-01

 

651. "School of Negativity Painting 02: Impossible Traces"

- a documentary of tENTATIVELY, a cONVENIENCE painting a mural in a room he's just built

- 1080p 29.97 stereo

- 20:32

- on my onesownthoughts YouTube channel here: https://youtu.be/4wq0uhmW5Zg

- on the Internet Archive here: https://archive.org/details/impossible-traces

 

650. "Haley's Pomet"

- featuring a poem written for tENTATIVELY, a cONVENIENCE by Haley Clancy

- 2k 30p

- :59

- on my onesownthoughts YouTube channel: https://youtu.be/cjALhr7FIKo

- on the Internet Archive here: https://archive.org/details/haleys-pomet

 

649. "Slacklining (M)Usic"

- shot at Frick Park, PGH, on June 6, 2021 by tENTATIVEY, a cONVENIENCE

- using tENTATIVELY, a cONVENIENCE's "The Bleep/Bloop School of Fast & Regular"

- introducing the probable invention of Slacklining (M)Usic AND Effectslining

- 720p HD 30p Stereo

- 3:01

- on my onesownthoughts YouTube channel here: https://youtu.be/1P7Z7yNyCJY

- on the Internet Archive here: https://archive.org/details/slacklining-m-usic

 

647. "Light Show (of Sorts) 2"

- projected at the Andy Warhol Museum by tENTATIVELY, a cONVENIENCE on September 1, 2000

- For the soundtrack I've used 2 recordings of mine that were recent to the time of the Light Show & that didn't have any special visuals for them already: "Rehearsal for Musician's Club Duet" - Warren Burt & tENTATIVELY, a cONVENIENCE - Melbourne, Australia, April 8, '000; & "Let Your Freak Flag Fly" - tENTATIVELY, a cONVENIENCE - 3CR 855AM radio, Melbourne, Australia, May 20, '000.

- 1:48:47

- NTSC SD

- on my onesownthoughts YouTube channel: https://youtu.be/bZZX8BpGKt0

- on the Internet Archive here: https://archive.org/details/light-show-of-sorts-2

 

646. "Ministry of Puppetganda Press Conference - Friday, July 28, '000"

- a press conference from the Puppetistas in preparation for resistance to the 2000 Republican National Convention in Philadelphia

- NTSC SD - 29.97i, stereo

- 25:08

- shot July 28, 2000; edit made for online May 12, 2021

- on my onesownthoughts YouTube channel: https://youtu.be/b6XF8_6rsLM

- on the Internet Archive here: https://archive.org/details/puppetganda-press-conference

 

645. "the Official, October 28th, 1991E.V. Pixilatin' Deadly Drolls"

- shot at the 'Patanational PXL-2000 Festival

- 1920 X 1440 29.97fps

- 21:47

- on my onesownthoughts YouTube channel: https://youtu.be/r0bebxNO8k4

- on the Internet Archive here: https://archive.org/details/pixilatin-deadly-drolls

 

644. "Inverse Psychology Experiment: "The Environment""

- shot at the Witamy Do Bowl on July 16, '000

- NTSC SD 29.97 - 33:20

- on my onesownthoughts YouTube channel: https://youtu.be/tOWVCYMeeRk

- on the Internet Archive here: https://archive.org/details/inverse-psychology-experiment

 

643. "The Official Krononautic Protectors of Media Executives & Their Families Orgestra"

- takes 1 & 2 of the recording session for the "Official Wafer Face Record" on June 28, 1991E.V.

- NTSC SD

- 1:26:49

- on my onesownthoughts YouTube channel: https://youtu.be/fy-2tvgupa4

- on the Internet Archive here: https://archive.org/details/official-lp

 

642. "ooZ(e)"

- shot at the London Zoo in the spring of 1984 & at the Pittsburgh Zoo & Aquarium on April 1, 2021

- 1440 X 720, 30fps

- 9:11

- on my onesownthoughts YouTube channel: https://youtu.be/YiQ4mwV7xSY

- on the Internet Archive here: https://archive.org/details/ooze_20210413

 

639. "[heart emoji]"

- part(s) of a Film Kitchen aired February 9, 2021

- 2k

- 22:11

- edit finished February 20, 2021

- on my onesownthoughts YouTube channel: https://youtu.be/R7HaG1nz1bE

 

638. "Comedy"

- made from a Film Kitchen Comedy-themed streaming event on January 26, 2021

- edit finished February 19, 2021

- 1080p

- 49:54

- on my onesownthoughts YouTube channel here: https://youtu.be/VQWxQPsxiEw

 

637. "The Official..TV Audience..Medium Band"

- NTSC SD

- 40:46

- on my onesownthoughts YouTube channel here: https://youtu.be/02oyDi_yxpI

- on the Internet Archive here: https://archive.org/details/official-tv-audience

 

636. "Fake Murder at Table 2"

- NTSC SD

- 5:41

- on my onesownthoughts YouTube channel here: https://youtu.be/ZbowQf50eEg

- on the Internet Archive here: https://archive.org/details/fake-murder-table-2

 

635. "Table 2 Antics"

- NTSC SD

- 10:05

- on my onesownthoughts YouTube channel here: https://youtu.be/we3ygKFaS4U

- on the Internet Archive here: https://archive.org/details/table-2-antics

 

632. "TV Hospital: Talkathon - April 3, 1994E.V."

- NTSC SD (720X480)

- 4:04:00

- on my onesownthoughts YouTube channel here: https://youtu.be/lzsCANyaewQ

 

631. "TV Hospital: Talkathon Promotion - April 1, 1994E.V."

- NTSC SD (720X480)

- 3:00:10

- on my onesownthoughts YouTube channel here: https://youtu.be/TAOI0Ac2R1E

 

630. "TV Hospital: Talkathon Introduction - March 25, 1994E.V."

- NTSC SD (720X480)

- 1:53:19

- on my onesownthoughts YouTube channel here: https://youtu.be/nylqx2ekY7Y

- on the Internet Archive here: https://archive.org/details/tv-hospital-talkathon-introduction

 

629. "Old Folks at Home: Doug Retzler"

- 1080p

- 2:09:57

- made from January to November, 2020 (Vision)

- on my onesownthoughts YouTube channel here: https://youtu.be/vqLZkrl_yWo

 

628. "Like a Decoy out of Water"

- using 43 instruments played by tENTATIVELY, a cONVENIENCE + 4 voice-overs from Dick Turner, Inquiring Librarian, & Phil Bradley

- 1080P

- 29:32

- shot September 4-6 at Rehoboth Beach & Cape Henlopen, DE

- edit finished around September 27, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/fYm6BkYlyIM

- on the Internet Archive here: https://archive.org/details/like-a-decoy-out-of-water

 

627. "School of Negativity"

- 1080P

- 6:29

- shot at Lake Erie & edited July, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/XZcHF6FWKf0

- on the Internet Archive here: https://archive.org/details/school-of-negativity

 

626. "Reading 2 nature poems by Clark Coolidge"

- 1080p

- 2:32

- shot July 15, 2020; edit finished July 18, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/DEnv8pb7yIA

- on the Internet Archive here: https://archive.org/details/reading-coollidge

 

624. "Endangered Languages, Endangered Cultures, Endangered Ideas"

- a 'primitive', but satisfactory, presentation of tENTATIVELY, a cONVENIENCE's 3rd 'opera'

- 2k, 60p

- 2:19:21

- mainly made from 2016-2017

- 'finished' & uploaded in mid-June,2020

- because this is so high-definition (215.07GB) it had to be broken into its 4 acts to upload to my onesownthoughts YouTube channel:

- "Endangered Languages, Endangered Cultures, Endangered Ideas, Act 1" - 2k, 60p - 25:44 - 32:19GB - https://youtu.be/IYifS4vFq-Y

- "Endangered Languages, Endangered Cultures, Endangered Ideas, Act 2" - 2k, 60p - 46:45 - 62:08GB - https://youtu.be/XSsiSqC0T1Q

- "Endangered Languages, Endangered Cultures, Endangered Ideas, Act 3" - 2k, 60p - 54:23 - 93.56GB - https://youtu.be/xHWJH07x0Fo

- "Endangered Languages, Endangered Cultures, Endangered Ideas, Act 4" - 2k, 60p - 12:29 - 27.25GB - https://youtu.be/MC9LAlcXtoI

 

623. "bAd Haircut"

- 26:58

- 1080p

- mainly shot on June 8, 2020

- edit finished June 13, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/CooW4dMWU5U

 

621. a. "2020.05.12 ZOO(m)"

- featuring Anthony Levin-Decanini on percussion; Dan Willis on trombone & electronics as live sound to a video game run-through; Kevin Sapp on bass clarinet; Neil McCall (spelling uncertain) on electric guitar; & tENTATIVELY, a cONVENIENCE on reliving-his-youth in the form of story-telling & 12 string electric-acoustic guitar

- 1:16:17

- 2K

- edit finished May 15, 2020 (Vision)

- on my onesownthoughts YouTube channel here: https://youtu.be/NsjP_zXv5fk

b. "Heretic InExile in this 2020.05.12 ZOO(m)"

- tENTATIVELY, a cONVENIENCE's solo set from the above

- 10:23

- 2K

- on my onesownthoughts YouTube channel here: https://youtu.be/Mfd7YUIGXKM

 

619. "You'll Never See A Billionaire Standing In A Food Line"

- clandestine car iJones camera: ProjectileObjects; all else: tENTATIVELY, a cONVENIENCE

- 4:55

- 1080p

- shot May 4, 2020 (Vision), edited finished May 5, 2020 (Vision)

- on my onesown thoughts YouTube channel here: https://youtu.be/I_r8F-oMtYE

- on the Internet Archive here: https://archive.org/details/youll-never-see-a-billionaire

 

618.a. "2020.04.28 ZOO(m)"

- a document of the 2nd of a series of Zoom video conferencing concerts organized & Zoom video-recorded by Jeff Weston on Tuesday, April 28, 2020 (Vision)

- sets played by Emily Cook; tENTATIVELY, a cONVENIENCE; LeeJane Capps; David Gerard Matthews; thrreebee (Samir Ganwanu, Andrew Hook, Justin Kelly)

- cameras & screen recording, editing, titling: tENTATIVELY, a cONVENIENCE

- 58:56

- 2K

- edit finished April 29, 2020 (Vision)

- on my onesownthoughst YouTube channel here: https://youtu.be/F1827eQ3Q58

b. "Heretic InExile in this ZOO(m)"

- the tENTATIVELY, a cONVENIENCE set from the above + an excerpt from the overall event ending

- 11:59

- 2K

- edit finished April 29, 2020 (Vision)

- on my onesownthoughst YouTube channel here: https://youtu.be/DHn2KEiQQRY

 

617. "11 Minute Ticket (5-9 revision)"

- a revision of tyhe through-composed section of "11 Minute Ticket" making it easier to play

- 4:10

- 1080p HD 29.97, Stereo

- edit finished April 24, 2020

- on the Internet Archive here: https://archive.org/details/minutes-5-9-score-revised

 

616. "Medical Police State Improv in wch we don't try to Sooth the Savage Beast w/ Schmaltz"

- a duet & conversation between tENTATIVELY, a cONVENIENCE & Dick Turner recorded using the Zoom video conferencing call app on April 22, 2020 (Vision), & edited on the same day; Dick in Paris, tENT in Pittsburgh

- 26:53

- 1080p HD 29.97, Stereo

- edit finished April 22, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/UcJytu4faag

- on the Internet Archive here: https://archive.org/details/medical-police-state-improv

 

615. "Long Distance driving with MM 26"

- 2:44

- 1080p HD 29.97, Stereo

- edit finished April, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/oKjWr0p776o

- on the Internet Archive here: https://archive.org/details/longdistancedrivingwithmm26

 

614. "11 minute Ticket"

- 11:00

- 1080p HD 29.97, Stereo

- edit finished March, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/wJByJxkM25s

b. "11 minute Ticket (revised)"

- edit finished April, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/bKML3E8oTKU

 

613. "Old Folks at Home: Neil Feather"

- 1:05:38

- 1080p HD 29.97, Stereo

- edit finished February 13, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/QbxIGRTDLJY

 

612. "The Ticket that Exploded @ the library"

- featuring: tENTATIVELY, a cONVENIENCE: Ben Opie; Roger Dannenberg; Jeff Weston

- 1:05:59

- 1080p HD 29.97, Stereo

- edit finished February 1, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/Uw2sDzENK6o

 

611. "The Ticket that Exploded Who Unit? rehearsal January 18, 2020"

- featuring: tENTATIVELY, a cONVENIENCE: Ben Opie; Roger Dannenberg; Jeff Weston

- 1:06:37

- 1080p HD 29.97, Stereo

- edit finished January 30, 2020

- on my onesownthoughts YouTube channel here: https://youtu.be/JXGa4kbGQaE

 

608. "Morse Code"

- 41:35

- 1988 x 2316 60 fps

- edit finished December 3, 2019

- on my onesownthoughts YouTube channel here: https://youtu.be/MX7BVbVvQg8

- on the Internet Archive here: https://archive.org/details/morsecode_201912

 

607. "Coal & tENT: tENTATIVELY, a cONVENIENCE & Coal Hornet discuss IMPROVisation: 2019.11.24"

- 1:06:31

- 1080p

- on my onesownthoughts YouTube channel here: https://youtu.be/KX4QDzHpyJo

- on the Internet Archive here: https://archive.org/details/coaltent

 

606. "Diabetes Type 2"

- 1:22:42

- custom HD 1920 X 1440

- on my onesownthoughts YouTube channel here: https://youtu.be/2GLu66dgpKI

 

605. "I Told You So"

- shot by tENTATIVELY, a cONVENIENCE & Mr. Funky on September 28, 2019, at the Glitter Box Theater in the Bloomcraft Building as part of "The Future in Five Minutes" event organized by Mr. & Mrs. Funky

- edit finished October 5, 2019

- 1:03

- custom 1280 X 1280

- on my ones=own thoughts YiuTube channel here: https://youtu.be/GoWtcC0i_bk

- on the Internet Archive here: https://archive.org/details/itoldyouso_201910

 

604. "Prequel"

- the building of the hurdy-gurdy from a kit for "A-Gogh-Gogh" in September, 2019

- edit finished October 26, 2019

- 10:04:31

- 1080p

- on my onesownthoughst YouTube channel here: https://youtu.be/Jhp3vqHNpBQ

 

602. ""Yr of Sundays" K7 Release Party"

- main footage shot at the Chatham College Swimming Pool in the (former) Mellon Mansion, Pittsburgh, us@ on Sunday, March 29th, 1998, 8 to 9:30PM

- incorporating footage from the Volunteers Collective feature that was projected as part of the above

- edit finished September 6, 2019E.V.

- 1:28:29

- on my onesownthoughts YouTube channel here: https://youtu.be/xnghwdLNZx4

- on the Internet Archive here: https://archive.org/details/yrofsundaysrelease

 

601. "Slightly Musical Conehead Temperature Gauge"

- samples & keyboard map created in May, 2019

- mostly shot & audio recorded in early July, 2019, at the Who Unit? & at WRCT (thanks to DJ Steve Boyle) at Carnegie-Mellon University on July 13, 2019

- tENTATIVELY, a cONVENIENCE's 1st use of a microscope camera for close-ups of a 13 year old cicada corpse on July 24, 2019

- text & samples by tENTATIVELY, a cONVENIENCE; main reading by Karen Lillis; alternate reading by Celeste Neuhaus

- edit finished July 25, 2019

- 6:42

- HDTV 1080i

- on my onesownthoughts YouTube channel here: https://youtu.be/5EKRbeN1f9k

- on the Internet Archive here: https://archive.org/details/SMCTG

 

600. "AMD"

- "Administrator Meeting Disorder" as explained by tENTATIVELY, a cONVENIENCE using footage of a March 15, 2019, meeting + footage of various May Days + footage shot especially for this, etc..

- Thanks to SOMEONE for being a sample villain

- edit finished July 5, 2019

- 1:50:24

- custom 1920 (width) X 1440 (height) - 4/3 aspect ratio

- on my onesownthoughts YouTube channel here: https://youtu.be/IQgkC5OwPmw

 

599. "Street Ratbag No5 Release Event"

- shot by Kent Bye & tENTATIVELY, a cONVENIENCE in the fall of 2001E.V.

- centered around the manufacture & release of the "Street Ratbag No5" magazine edited by Rita Rodentia & RATical

- featuring performances by Guitarists Anonymous (tENTATIVELY, a cONVENIENCE + Daryl Fleming + Greg Pierce) + the Hip Criticals (HipHopcrates + Little Orphan Anarchy with guest appearance by tENTATIVELY, a cONVENIENCE)

- also featuring a movie by Mark Dixon of Think Tank VIII & an excerpt from a movie of tENTATIVELY, a cONVENIENCE's CircumSubstantial Playing & Blindfolded Tourism

- edit finished June 25, 2019E.V. by tENTATIVELY, a cONVENIENCE

- 3:43:50

- UNLISTED on my onesownthoughts YouTube channel here: https://youtu.be/3hEepzUGkss

 

598. "Dixmont"

- a tour of a closed-down mental hospital called Dixmont on February 17, 2002E.V. conducted by Zack Jones + scans & readings of a printed matter interview conducted by Rita Rodentia with Zack for the Street Ratbag magazine, issue 6

- featuring additional input from Erok & Angry Ron, urban explorers who joined us on the tour

- (almost) continuous camcorder: tENTATIVELY, a cONVENIENCE

- intermittent camcorder: Kent Bye

- all else: tENTATIVELY, a cONVENIENCE

- edit finished June 19, 2019E.V.

- 2:15:05

- on my onesownthoughts YouTube channel here: https://youtu.be/yEWrSNKzg60

 

597. "The back of Shozo Shimamoto's head"

- shot around July, 1987, in BalTimOre of a visit by Shozo Shimamoto, Ryosuke Cohen, & a Japaense performance artist whose name I unfortunately don't remember

- camcorder footage from Dave Guercio

- multiple exposure 35mm stills from tENTATIVELY, a cONVENIENCE

- edit & titling finished June 15, 2019E.V. by tENTATIVELY, a cONVENIENCE

- 7:02

- on my onesonwthoughts YouTube channel here: https://youtu.be/dpOcptaJt1Y

 

596. "tENTATIVELY, a cONVENIENCE Interviewed by Kent Bye February 16, 2002E.V."

- shot by Kent Bye; edited & titled by tENTATIVELY, a cONVENIENCE who alos enlarged upon the interview - especially by including footage shot by Kent Bye of his Frame of Reference puppet theater (1975)

- 45:34

- on my onesownthoughts YouTube channel here: https://youtu.be/6E8U-O0b21U

- on the Internet Archive here: https://archive.org/details/tENTInterviewKent

 

595. "DUET February 17, 2002E.V.: Michael Pestel & tENTATIVELY, a cONVENIENCE"

- shot originally by Kent Bye for tENTATIVELY, a cONVENIENCE's "Guitarists Anonymous Withdrawal Aids". It was also intended to be used in a documentary by Kent about tENT. The documentary was never finished. This version is the entire duet with most of the talking removed.

- 53:31

- on my onesownthoughts YouTube channel here: https://youtu.be/hYMMgww0gLg

 

594. "Volunteers Collective XXVI"

- my 2nd duet with Ben Opie shot on July 10, 1996E.V. with a statis lo-def surveillance camera to VHS at NU-NU, Pittsburgh

- titling & effects finished on May 31, 2019E.V.

- 46:38

- on my onesownthoughts channel here: https://youtu.be/0L--0Faiq_Y

 

593. "Sound Thinking: Phase III: Mimesis - "Mime" Rehearsal""

- An early 1996 rehearsal for a guerrilla mime piece I didn't perform until the next year where I performed it a few times in July in Hungary. This movie version is cobbled together from 2 very out-of-sync sources

- 7:18

- on the Internet Archive here: https://archive.org/details/SoundThinkingIIIMime

 

592. "Volunteers Collective XIX: "Vexations""

- Rob Johnston: prepared piano; tENTATIVELY, a cONVENIENCE: electronics, movie-making - performing an abridged & expanded version of Erik Satie's "Vexations" in the Turquoise, Beige, & Flesh Room at the Funny Farm on March 11th & 12th, 1995E.V.

- 1:34:40

- on my onesownthoughts YouTube channel here: https://youtu.be/dVOd7vtMveE

- on the Internet Archive here: https://archive.org/details/Vexations_201905

 

591. "Triple-S Variety Show @ Orgone Cinema"

- this movie was actually made as a performance document of the 1st thing I presented in Pittsburgh on January 12, 1995. I (tENTATIVELY, a cONVENIENCE) played a "Triple-S Variety Show" (live electronics using a DX27S synthesizer, 2 K2m wave-table synthesizers, & a Mirage sampler/sequencer) at the same time that I mixed VHS tapes that I'd prepared or selected for this purpose. This latter was projected. On May 29, 2019, I added a scan of the poster for the event to the front + a minimal title & repeated the title info at the end. This is concluded by the icon for my aRCHIVE.

- 1:56:42

- on my onesownthoughts YouTube channel UNLISTED here: https://youtu.be/mhhOcHKOKFw

 

590. "tENTATIVELY, a cONVENIENCE @ the Music Gallery, a sO-cALLED wHATEVER"

- featuring the talents of tENTATIVELY, a cONVENIENCE: 16mm films, record making, electronics, d composing; Colin Hinz: specially constriucted turntable, projecting; John Henry Nyenhuis: mind-nogglingly great keyboard playing

- shot on VHS by Istvan Kantor on September 8, 1995

- edit by tENTATIVELY, a cONVENIENCE finished May 28, 2019

- 1:35:54

- on my onesownthoughts YouTube channel here: https://youtu.be/kjkDZsaWhkk

 

589. "Soap Box Opera episode 8"

- an intercutting of 2 presentations of the same speech: May 3, 2019 at the May Day Variety Show & May 4, 2019 at the Polish Hill May Day Parade

- 6:10

- 1080p (1080H X 1920W)

- on my onesownthoughts YouTube channel here: https://youtu.be/F6nTCUV0A4I

 

588. "Double Takes"

- shot at the May 8, 2019 spoken word open mic at Biddle's Escape coffee shop in Pittsburgh - reading given by tENTATIVELY, a cONVENIENCE with the assistance of Breen Casey

- talk heard from Mark V. Rock-Steady, Mike, & Jonathan

- edit finished May 13, 2019

- 18:00

- 1080p (1080H X 1920W)

- on my onesownthoughts YouTube channel here: https://youtu.be/76siS_VmM5E

 

586. "The Official, April 29th, 1992E.V., Band That Does Accept Money From Institutions"

- shot on VHS by tENTATIVELY, a cONVENIENCE: stationary camera, Laure Drogoul: moving camera; edit probably made in 1992 using home VHS deck to home VHS deck with no editing interface in 1992

- tENTATIVELY, a cONVENIENCE: "Erector Set" Percussion + miscellaneous other Percussion, "Terrence Dougherty", Small Nondo, Vibraphone, Trumpet, Movies (& the mixing thereof), Voice, etc; Chris Astier: Fretless Bass, Euphonium, Tom, Voice, etc; John Eaton: Alto Sax, Flaming Alto Sax, etc; Scott Larson: Medium Accordion, Abomination, Flaming Sink, etc; John Berndt: DX7 Synthesizer, VSS-30 Sampler, Soprano Sax, Violin, Dry Heaves, Stephanie Palmer Apologetica, etc; Peter Williams: Bass, Pans + Pots & Pot Lids, Pipe Xylophone, etc; Sarmad Brody: VFX Synthesizer, Voice, etc; Courtney McCullough: Tenor Sax, Bass Clarinet, Voice, etc; Eric Myers: Slinky Reverbed Cello, etc; John Dierker: Clarinet, Bass Clarinet, Alto Sax, etc; Dawn Culbertson: Bass, Didjerido, Flaming Brad-A-Lon, etc; Neil Feather: Former Guitar, Apex Roto Zither, Bell Tree, Small Instruments Rig, Recombinant Electronics SK1 Sampler, etc

- 1:08;03

- uploaded to my onesownthoughts YouTube channel April 17, 2019 UNLISTED here: https://youtu.be/DdAPsiswqT8

 

585. "365 @ Regent Square"

- the premier of "365" (which accidentally turned out to be "364") on April 7, 2019, with the phenomenal assistance of Ben Opie: alto sax, Coal Hornet: Eb contra alto clarinet, Kenny Haney: Bb clarinet, Unfinished Symphonies: keyboard, Devin Sherman: electric guitar, Eric Lipsky: cello, Roger Dannenberg: trumpet

- Thanks to Pittsburgh Filmmakers, The Regent Square Theater, Michael Prosser, Joe Morrison

- 2:22:25

- 1080p

- edit finished: April 16, 2019

- on my onesownthoughts YouTube channel here: https://youtu.be/fsi5EVJaqUU

- on the Internet Archive here: https://archive.org/details/365RegentSquare

 

584. ""365" @ Regent Square Radio Spot 2"

- tENTATIVELY, a cONVENIENCE promoting the premier of "365" on WESA with Bill O'Driscoll on April 2, 2019 augmented by relevant scenes & stills & other visuals

- 36:41

- custom HD 1920W X 1440H

- on my onesownthoughts YouTube channel here: https://youtu.be/DLl0plCseIU

- on the Internet Archive here: https://archive.org/details/365RadioSpot2

 

583. ""365" @ Regent Square Radio Spot 1"

- Mike Shanley of Pittsburgh Current promoting the premier of "365" on WYEP on April 2, 2019

- 2:20

- custom HD 1920W X 1440H

- on my onesownthoughts YouTube channel here: https://youtu.be/f4BXsnx2V8c

- on the Internet Archive here: https://archive.org/details/365RadioSpot1

 

582. "Happy 100th Ferlinghetti"

- at the 100th Birthday Celebration for Lawrence Ferlinghetti, March 22, 2019, at Caliban Books as organized by Karen Lillis

- shot by The Dirty Poet of tENTATIVELY, a cONVENIENCE reading Ferlinghetti's "Autobiography" & "Junkman's Obligatto" & by tENTATIVELY, a cONVENIENCE of The Dirty Poety reading "The Statue of St. Francis" intercut with a CD of Ferlinghetti reading the same poems at the cellar with the Cellar Jazz Quintet in 1957.

- 16:09

- 1080i

- on my onesownthoughts YouTube channel here: https://youtu.be/c-FLu6yW_TY

- on the Internet Archive here: https://archive.org/details/Happy100thFerlinghetti

 

581. "UNDERAPPRECIATED in Belgrade"

- using footage shot by Vladimir Palibrk of the KVAKA 22 (Catch 22) squat where the March 5, 2019 LEPA SMRT festival was + footage of the 96 minute reductio ad absurdum of the UNDERAPPRECIATED (edited by tENTATIVELY, a cONVENIENCE)

- 4:16

- edit finished March 21, 2019

- custom HD: 1920W X 1440H

- on my onesownthoughts YouTube channel here: https://youtu.be/O9Boo2hsBGE

 

579. "Secret Music Society"

- shot Sunday, February 10, 2019

- 1:01:33

- edit finished Monday, February 18, 2019

- 1080p

- on my onesownthoughts YouTube channel here: https://youtu.be/4JS9wGPyAPY

 

578. "Living a Making"

- an edit of 40 years's worth of materials relevant to being a Jack-Off-Of-All-Trades at work

- 2:26:26

- edit finished January 23, 2019

- in 2 versions: custom 720W X 540H & custom 1920W X 1440H

- the latter version is UNLISTED on my onesownthoughts YouTube channel here: https://youtu.be/YSRsar8SfMg

 

577. "365"

- the entirety of my project of shooting footage of me playing (M)Usic every day of 2018. The month movies from 2018 & the duets & quartets & other related movies are all subsets of this.

- 2:17:11

- edit finished December 31, 2018

- custom HD: 1920W X 1440H

- uploaded to my onesownthoughts YouTube channel on December 31, 2018: https://youtu.be/wC09g1d-Ou8

- uploaded to the Internet Archive on December 31, 2018: https://archive.org/details/idioideo_verizon_365_201901

 

576. "December, 2018"

- the final month of "365" in which I shot footage of my playing (M)Usic every day of 2018. December had a formal structure roguhly reversing that of "November, 2018" but playing with it much more fast & loose. Additional playing was provided by: Jeff Weston: contrabass (2018.12.06); Roger Dannenberg: trumpet, Ben Opie: alto sax, Coal Hornet: EEb contraalto clarinet.

- 9:53

- edit finished December 31, 2018

- custom HD: 1280W X 960H

- uploaded to my onesownthoughts YouTube channel on December 31, 2018: https://youtu.be/77xIr8hSsXU

 

575. "1 X 4"

- a quartet consisting of tENTATIVELY, a cONVENIENCE: acoustic & electric pianos slightly out-of-tune with each other, percussion, sampler ("How To" samples), DX27S, mixer/sampler, muted voice, Liverpudlian membranophone, whistling; Ben Opie: alto saxophone, percussion, +; Roger Dannenberg: trumpet, vibraphone; Coal Hornet: EEb contra alto clarinet +

- documented at Who Unit? Sunday, December 23, 2018 as part of the ongoing "365" project

- 37:46

- edit finished December 25, 2018 (slightly corrected December 28, 2018)

- custom HD: 1280W X 960H

- uploaded to my onesownthoughts YouTube channel on December 30, 2018: https://youtu.be/nLz-bOpLRRk

 

574. "Filibuster"

- my reading on 2018.12.12 at the Biddle's Escape Spoken Word Open Mic

- 5:00

- custom HD: 1920W X 1440H

- uploaded to my onesownthoughts YouTube channel on December 12, 2018 here: https://youtu.be/7iU87E_2Y2s

 

573. "2018.12.06 tENT-Weston"

- an oneiric duet with contrabass player extraordinaire Jeff Weston performed at 3577 Studios, Pittsburgh, PA

- shot by tENTATIVELY, a cONVENIENCE using 3 cameras & edited & titled by the same

- 26:08

- custom HD: 1280W X 960H

- on my onesownthoughts YouTube channel December 10, 2018 here: https://youtu.be/j4vwPXLPLNg

 

572. "November, 2018"

- a month of me playing trombone & mutes

- edit finished November 30, 2018

- 7:55

- Custom 1280WX960H

- uploaded to my inesownthoughts YouTube channel on December 31, 2018: https://youtu.be/wDYxiMzNLxM

 

571. "October, 2018"

- a month of me playing toy piano (+ voice & alto sax) joined by Kenny Haney on clarinet & fiddle, Unfinished Symphonies on keyboard, Roger Dannenberg on trumpet, Ben Opie on tenor & alto saxes, & special guest 2 year old on voice

- edit finished October 31, 2018

- 20:49

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel Decmber 1, 2018: https://youtu.be/ytUixRI8bqA

 

570. "UNDERAPPRECIATED in the trash(Xploitation festival in Paris, France)"

- including footage shot by Dick Turner of his exploration of the squatted space where the trashXploitation festival was taking place (shot October 19, 2018), tENTATIVELY, a cONVENIENCE's movie made as an introduction to the UNDERAPPRECIATED MOVIEMAKERS FESTIVAL in the trashXploitation festival, & Frédéric Moulin & Vladimir Palibrk's footage of Dick's participation in the festival as MC & performer on October 21, 2018 - also featuring Ronxshka on voice

- online subtitling en Français & English added by Dick Turner

- 1920X1440

- 19:28

- edit finished by tENTATIVELY, a cONVENIENCE October 26, 2018

- on my onesownthoughts YouTube channel here: https://youtu.be/5OFbJZIjRcc

 

569. "Generic As-Beenism" (dramatically improved upon)

- a new edit of the document of my presentation at the September, 1987, New Literatures festival in Montréal called "Ultimatum II" organized by Alan Lord - this edit takes advantage of the improvement upon the editing facilities available to me given that the original was edited without an editing interface between 2 home VHS decks & this was edited in-computer using an editing program that enabled me to simulate the original triple projection

- footage of the original live event courtesy of the Ultimatum II video crew & the cable TV station that presented their edits of the festival in-progress

- 33:33

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel October 18, 2018: https://youtu.be/OL1Mppt2ck4

 

568. "September, 2018"

- a month of me playing alto sax

- 7:03

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel November 1, 2018: https://youtu.be/jTlUCu12CP4

 

567. "3 X 4"

- 3 quartets documented during the UNDERAPPRECIATED MOVIEMAKERS FESTIVAL

- Quartet 1: August 1, 2018: Mariëtte Groot: electroacoustic miscellaneous; Florian Cramer: electroacoustic miscellaneous; Dick Turner: Lilipudlian Memranophone; tENTATIVELY, a cONVENIENCE: piano

- Quartet 2: August 4, 2018: Mariëtte Groot: electroacoustic miscellaneous; Skizz Cyzyk: vibraphone; Dick Turner: trombone; tENTATIVELY, a cONVENIENCE: sampler

- Quartet for the End of Time: August 4, 2018: Mariëtte Groot: electroacoustic miscellaneous; tENTATIVELY, a cONVENIENCE: sampler; Dick Turner: trombone; Skizz Cyzyk: electric ukelele

- camerawork by tENTATIVELY, a cONVENIENCE & Florian Cramer

- edited by tENTATIVELY, a cONVENIENCE; edit finished September 28, 2018

- 50:02

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel September 28, 2018: https://youtu.be/FPtoafTKbBA

 

566. "UNDERAPPRECIATED MOVIEMAKERS FESTIVAL"

- This is basically just an end-to-end combination of all 4 of the "UNDERAPPRECIATED Day" movies with a title added, the end credits for each section removed, & overall credits added. I treat all 5 movies as separate entities because witnessing them as seperate days or as a whole are different experiences.

- shot at the UNDERAPPRECIATED MOVIEMAKERS FESTIVAL & environs from July 30-August 5, 2018.

- Thanks to the Glitter Box Theater, Pittsburgh Filmmakers & Will Zavala's Documetary Salon, & to the Babyland garage folks in general & to Greg Witt in particular for being affordable for lunatic fringe types such as myself

- camerawork by tENTATIVELY, a cONVENIENCE & Florian Cramer - with additional camera from Mariëtte Groot

- alphabet provided by tENTATIVELY, a cONVENIENCE; Skizz Cyzyk; & Dick Turner

- edited by tENTATIVELY, a cONVENIENCE; edit finished September 22, 2018

- 5:41:02

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel August 23, 2018: https://youtu.be/KwlfRxmRU3E

 

565. "UNDERAPPRECIATED Day 4"

- a document of the 4th & final day of the UNDERAPPRECIATED MOVIEMAKERS FESTIVAL preceded by a rehearsal of the Quartet for the End of Time & by Florian Cramer's scrutiny of Dick Turner & mealtime. Starting off with "Karaoke Orgy" by way of tENTATIVELY, a cONVENIENCE & Dick Turner. Next was Go Pill (Skizz Cyzyk) followed by Dick Turner followed by dzum (Mariëtte Groot), The climax was of those 4 performing together under the name of Quartet for the End of Time.

- Thanks to the Babyland garage folks in general & to Greg Witt in particular for being affordable for lunatic fringe types such as myself

- shot August 4, 2018, by tENTATIVELY, a cONVENIENCE & Florian Cramer

- alphabet provided by tENTATIVELY, a cONVENIENCE; Skizz Cyzyk; & Dick Turner

- edited by tENTATIVELY, a cONVENIENCE; edit finished September 16, 2018

- 2:18:05

- Custom HD 1920WX1440H

- uploaded to the Internet Archive starting September 17, 2018: https://archive.org/details/UNDERAPPRECIATEDDay4

 

564. "UNDERAPPRECIATED Day 3"

- a document of the 3rd day of the UNDERAPPRECIATED MOVIEMAKERS FESTIVAL followed by Florian Cramer & Dick Turner brainstorming at Who Unit?. Work & explication was presented by Skizz Cyzyk; tENTATIVELY, a cONVENIENCE; & Florian Cramer

- Thanks to the Glitter Box Theater for being affordable for lunatic fringe types such as myself

- shot August 3, 2018, by tENTATIVELY, a cONVENIENCE & Florian Cramer

- edited by tENTATIVELY, a cONVENIENCE; edit finished September 10, 2018

- 1:00:32

- Custom HD 1920WX1440H

- uploaded to the Internet Archive starting September 10, 2018: https://archive.org/details/UNDERAPPRECIATEDDay3

 

563. "UNDERAPPRECIATED Day 2"

- a document of the 2nd day of the UNDERAPPRECIATED MOVIEMAKERS FESTIVAL & the events in & surrounding it & featuring explication & conversation from tENTATIVELY, a cONVENIENCE; Dick Turner; Florian Cramer; Mariétte Groot; & various (v)audience members

- Thanks to Will Zavala for arranging access to the Mini-Melwood Screening Room at Pittsburgh Filmmakers & for hosting this evening as part of his Documentary Salon

- shot August 2, 2018, by tENTATIVELY, a cONVENIENCE & Florian Cramer

- edited by tENTATIVELY, a cONVENIENCE; edit finished September 7, 2018

- 1:07:43

- Custom HD 1920WX1440H

- uploaded to the Internet Archive September 9, 2018: https://archive.org/details/UNDERAPPRECIATEDDay2

 

562. "UNDERAPPRECIATED Day 1"

- a document of the 1st day of the UNDERAPPRECIATED MOVIEMAKERS FESTIVAL & the events in & surrounding it & featuring explication & conversation from tENTATIVELY, a cONVENIENCE; Dick Turner; Florian Cramer; Mariétte Groot; & various (v)audience members

- Thanks to the Glitter Box Theater for their highly open & amenable usage policies

- shot from July 30, 31; & August 1, 2018, by tENTATIVELY, a cONVENIENCE; Florian Cramer; & Mariétte Groot

- edited by tENTATIVELY, a cONVENIENCE; edit finished September 2, 2018

- 1:15:22

- Custom HD 1920WX1440H

- uploaded to the Internet Archive September 2-4, 2018: https://archive.org/details/UNDERAPPRECIATEDDay1

 

561. "August, 2018"

- edit finished August 31, 2018

- a document of me playing (M)Usic every day of August, 2018 - July was the 1st of these month movies in which I left my house, August continued that & had greater freedom in other areas too - it was the 'whatever' month.

- 10:37

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on October 1, 2018, here: https://youtu.be/nlvmltj_v7I

 

560. "FILMMAKERS don't let it be Dead at 47"

- shot at the Tuesday, August 14, 2018 Film Kitchen at the Melwood Screening Room at Pittsburgh Filmmakers during a time when Filmmakers appears to be ending after 47 years

- brief testimonial footage of tENTATIVELY, a cONVENIENCE shot by Stefano Ceccarelli & Tom Fisher

- all else shot, titled, & edited by tENTATIVELY, a cONVENIENCE

- edit finished August 21, 2018

- 1:07:50

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel August 23, 2018: https://youtu.be/6ZEkIgWa5vQ

- uploaded to the Internet Archive August 24, 2018: https://archive.org/details/DeadAt47

 

559. "4 X 2"

- four duets with Dick Turner shot in Pittsburgh on August 5, 6, 8, & 9 & edited end to end

- tENTATIVELY, a cONVENIENCE: Erector Set, music boxes, "Harps & Angles" samples, electronics, reading, alto sax & Liverpoolian Membranophone

- Dick Turner: trombone, piano

- edit finished August 12, 2018

- 24:56

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel August 12, 2018: https://youtu.be/1v2B4LgivH0

 

558. "Boning Up"

- shot at Biddle's Escape's Spoken Word Open Mic on Wednesday, August 8, 2018

- concept, text, reading, moviemaking: tENTATIVELY, a cONVENIENCE

- trombone: Dick Turner

- edit finished August 10, 2018

- 4:31

- Custom HD 1920WX1440H

- uploaded to the Internet Archive August 11, 2018: https://archive.org/details/BoningUp

 

557. "July, 2018"

- edit finished July 31, 2018

- a document of me playing (M)Usic every day of June, 2018 - the 1st of these month movies in which I leave my house

- 6:36

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on September 1, 2018, here: https://youtu.be/BD6wcoE92L4

 

556. "uni.Sol_II.tENT"

- shot on the 194th day, July 13, 2018, of the every day shooting in 2018 for "365"

- tENTATIVELY, a cONVENIENCE's participation in Slavek Kwi's "uni.Sol_II - United Artists for Well-Being of Solar System"

- edit finished on July 14, 2018

- 2:00:00

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel in an extremely compressed form on July 15, 2018, here: https://youtu.be/Sjg-C-Ay9MA

 

554. a. "June, 2018"

- edit finished June 30, 2018

- a document of me playing a duet every day of June, 2018

- 19:32

- Custom HD 1920WX1440H

b. "June, 2018 (titled)"

- edit finished June 30, 2018

- a document of me playing a duet every day of June, 2018

- 19:32

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on August 1, 2018, here: https://youtu.be/5eLDrLx9cjU

 

553. "2018.06.30 duet with Jeff Weston - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, electric guitar, guitar samples; Jeff Weston: acoustic stand-up bass

- edit finished June 30, 2018

- 28:24

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on August 13, 2018, here: https://youtu.be/UF-YSbGK0nE

& to the Internet Archive on the same day: https://archive.org/details/2018.06.30Jeff

 

551. "2018.06.29 duet with Stephen Bradley - BalTimOre, MD - via FaceTime"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, electronics; Stephen Bradley: miscellaneous electro-acoustic objects

- edit finished June 29, 2018

- 20:50

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on August 11, 2018, here: https://youtu.be/94oRrRpviYs

& to the Internet Archive on the same day: https://archive.org/details/2018.06.29Stephen

 

550. "2018.06.28 duet with AG Davis - Florida - via Skype"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); AG Davis: voice

- edit finished June 28, 2018

- 4:38

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on August 9, 2018, here: https://youtu.be/RTVYv8yRBjU

& to the Internet Archive on the same day: https://archive.org/details/2018.06.28AG

 

549. "2018.06.27 duet with Michael Boyd - Pittaburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, "Skeletal Remains" samples; Michael Boyd: electric bass

- edit finished June 27, 2018

- 10:32

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on August 7, 2018, here: https://youtu.be/WmChx3AoRo4

& to the Internet Archive on the same day: https://archive.org/details/2018.06.27MichaelBoyd

 

548. "2018.06.26 duet with Jason Belcher - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, electric guitar; Jason Belcher: melodica

- edit finished June 26, 2018

- 15:46

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on August 5, 2018, here: https://youtu.be/Hz2hzuvnH9k

& to the Internet Archive on the same day: https://archive.org/details/2018.06.26Jason

 

547. "2018.06.25 duet with San Salamandra - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); San Salamandra: electric bass

- edit finished June 25, 2018

- 7:16

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on August 3, 2018, here: https://youtu.be/09d0pD5ZZMY

& to the Internet Archive on the same day: https://archive.org/details/2018.06.25SanSalamandra

 

546. a. "2018.06.24 duet with William Davison - Toronto, Canada - via Skype"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, Set of 5 #1 samples, DX-27S; William Davison: miscellaneous electro-acoustic materials

- edit finished June 24, 2018

- 18:12

- Custom HD 1920WX1440H

b. "2018.06.24 duet with William Davison - Toronto, Canada - via Skype (FB version)"

- w/ the addition of a Facebook movie celebrating William's & my 7th anniversary there with the sound removed from it

- edit finished July 7, 2018

- uploaded to my onesownthoughts YouTube channel on August 1, 2018, here: https://youtu.be/DR7tT77Lbu8

& to the Internet Archive on the same day: https://archive.org/details/2018.06.24William

 

545. "2018.06.23 duet with Neely Bruce - Middleton, CT - via Skype"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, Brazil samples, DX-27S; Neely Bruce: grand piano

- edit finished June 23, 2018

- 17:59

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 30, 2018, here: https://youtu.be/RG9hAspi9Qw

& to the Internet Archive on the same day: https://archive.org/details/2018.06.23Neely

 

544. "2018.06.22 duet with Skizz Cyzyk - BalTimOre, MD - via Skype"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, pre-fab samples, MIDI-guitar; Skiss Cyzyk: electric ukelele

- edit finished June 22, 2018

- 6:45

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 28, 2018, here: https://youtu.be/uTWI5d5GEjc

& to the Internet Archive on the same day: https://archive.org/details/2018.06.22Skizz

 

543. "2018.06.21 duet with Ben Opie - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, troAc Fragm samples. MIDI-guitar; Ben Opie: tenor sax

- edit finished June 21, 2018

- 12:27

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 26, 2018, here: https://youtu.be/KfDnnPqIH_A

& to the Internet Archive on the same day: https://archive.org/details/2018.06.21Ben

 

542. "2018.06.20 duet with Spat Cannon - Leeds, England - via Skype"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Spat Cannon: electric stand-up bass

- edit finished June 20, 2018

- 9:48

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 24, 2018, here: https://youtu.be/Qb0UPboWnbk

& to the Internet Archive on the same day: https://archive.org/details/2018.06.20Spat

 

541. "2018.06.19 duet with Unfinished Symphonies - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, micro-Korg synthesizer (borrowed from public library); Unfinished Symphonies: electric bass (with spanking new bass amp)

- edit finished June 20, 2018

- 8:10

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 22, 2018, here: https://youtu.be/fljzUuSCQtc

& to the Internet Archive on the same day: https://archive.org/details/2018.06.19Rob

 

540. "2018.06.18 duet with Tom DiVenti - Eastern Pennsylvania - via FaceTime"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, percussion, micro-Korg synthesizer (borrowed from public library); Tom DiVenti: movie sound bytes

- edit finished June 18, 2018

- 17:08

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 20, 2018, here: https://youtu.be/4p7EfpowkLA

& to the Internet Archive on the same day: https://archive.org/details/2018.06.18Tom

 

539. "2018.06.17 duet with Eric Lipsky - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Eric Lipsky: cello

- edit finished June 17, 2018

- 5:34

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 18, 2018, here: https://youtu.be/c6o8ixWg4RA

& to the Internet Archive on the same day: https://archive.org/details/2018.06.17Eric

 

538. "2018.06.16 duet with Michael Pestel - Middleton, CT - via FaceTime"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"), vibraphone, Mexican ocarina; Michael Pestel: concert flute, piano harp, slide guitar, percussion, prepared piano, miscellaneous small instruments

- edit finished June 16, 2018

- 20:54

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 16, 2018, here: https://youtu.be/cNQDKLqeK34

& to the Internet Archive on the same day: https://archive.org/details/2018.06.16Michael

 

537. "2018.06.15 duet with Warren Burt - Australia - via Skype"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano. micro-Korg synthesizer (borrowed from public library); Warren Burt: computers

- edit finished June 15, 2018

- 10:20

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 14, 2018, here: https://youtu.be/6DJRuxzjz8Q

& to the Internet Archive on the same day: https://archive.org/details/2018.06.15Warren

 

536. "2018.06.14 duet with Devin Sherman - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Devin Sherman: guitar

- edit finished June 14, 2018

- 6:24

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 12, 2018, here: https://youtu.be/OBAhNYmN658

& to the Internet Archive on the same day: https://archive.org/details/2018.06.14Devin

 

535. "2018.06.13 duet with Hyla Willis - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Hyla Willis: erhu

- edit finished June 13, 2018

- 3:20

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 10, 2018, here: https://youtu.be/bo9CKfjzNWU

& to the Internet Archive on the same day: https://archive.org/details/2018.06.13Hyla

 

534. "2018.06.12 duet with Roger Dannenberg - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, electronics; Roger Dannenberg: trumpet, flugelhorn, sampling & looping software

- edit finished June 12, 2018

- 28:28

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 8, 2018, here: https://youtu.be/uD3i755cqPg

& to the Internet Archive on the same day: https://archive.org/details/2018.06.12Roger

 

533. "2018.06.11 duet with Alex Stanton - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Alex Stanton: guitar

- edit finished June 11, 2018

- 6:56

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 6, 2018, here: https://youtu.be/DRfKdm5YLQ0

& to the Internet Archive on the same day: https://archive.org/details/2018.06.11Alex

 

532. "2018.06.10 duet with Kenny Haney - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Kenny Haney: banjo

- edit finished June 10, 2018

- 5:50

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 4, 2018, here: https://youtu.be/qTaN1zyRzPA

& to the Internet Archive on the same day: https://archive.org/details/2018.06.10Kenny

 

531. "2018.06.09 duet with Slavek Kwi (Artificial Memory Trace) - Ireland - 'telepathically' (involving file exchange)"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, small nondo; Slavek Kwi: miscellaneous electro-acoustic

- edit finished June 11, 2018

- 10:14

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 2, 2018, here: https://youtu.be/7e_jY_cb0no

& to the Internet Archive on the same day: https://archive.org/details/2018.06.09SlavekKwi

 

530. "2018.06.08 duet with Little Fyodor - Denver, CO - via Skype"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Little Fyodor: plastic slide whistle

- edit finished June 8, 2018

- 6:37

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on June 30, 2018, here: https://youtu.be/droAU62tfA8

& to the Internet Archive on the same day: https://archive.org/details/2018.06.08LittleFyodor

 

529. "2018.06.07 duet with Coal Hornet - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Coal Hornet: contrabass clarinet

- edit finished June 7, 2018

- 5:25

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on June 28, 2018, here: https://youtu.be/0BqliMfTxhM

& to the Internet Archive on the same day: https://archive.org/details/2018.06.07CoalHornet

 

528. "2018.06.06 duet with Dick Turner - Paris, France - via file exchange"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, voice; Dick Turner: voice

- edit finished June 6, 2018

- 5:15

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on June 26, 2018, here: https://youtu.be/_sNrKmaiYmY

& to the Internet Archive on the same day: https://archive.org/details/2018.06.06Dick

 

527. "2018.06.05 duet with Rich Randall - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, electronics; Rich Randall: tapan

- edit finished June 5, 2018

- 10:20

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on June 24, 2018, here: https://youtu.be/bJZVdmssFDA

& to the Internet Archive on the same day: https://archive.org/details/2018.06.05Rich

 

526. "2018.06.04 duet with Jim Storch - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano; Jim Storch: percussion

- edit finished June 4, 2018

- 7:01

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on June 22, 2018, here: https://youtu.be/ErfvcYsVTMY

& to the Internet Archive on the same day: https://archive.org/details/2018.06.04Jim

 

525. "2018.06.03 duet with Caleb Gamble - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, vibraphone; Caleb Gamble: alto horn

- edit finished June 3, 2018

- 6:44

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on June 20, 2018, here: https://youtu.be/HyyR32b-QCU

& to the Internet Archive on the same day: https://archive.org/details/2018.06.03Caleb

 

524. "2018.06.02 duet with Noah Rectenwald - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, electronics, oboe samples; Noah Rectenwald: bassoon

- edit finished June 2, 2018

- 11:49

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on June 18, 2018, here: https://youtu.be/CH67VT5McGs

& to the Internet Archive on the same day: https://archive.org/details/2018.06.02Noah

 

523. "2018.06.01 duet with Ben Opie - Pittsburgh, PA - in person"

- part of a series of duets played every day of June

- tENTATIVELY, a cONVENIENCE: moviemaking, piano; Ben Opie: soprano sax

- edit finished June1, 2018

- 10:05

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on June 16, 2018, here: https://youtu.be/I8vngkQtrt8

& to the Internet Archive on the same day: https://archive.org/details/2018.06.01Ben

 

522. "May, 2018"

- edit finished May 31, 2018

- a document of me playing a (M)Usical Solo every day of May, 2018. May was my piano month.

- 13:15

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on July 1, 2018, here: https://youtu.be/-fNMKjIiKxc

 

521. "Spit'n'Polish Hill May Day Parade 2018"

- a personal document of my travels through the parade on May 5, 2018

- featuring the May Day Marching Band

- using an iJones, a GoPro, & a Vivitar sports camera (tENTATIVELY, a cONVENIENCE)

- edit finished May 16, 2018

- 30:39

- Custom 1920WX1440H HD (4/3)

- on my onesownthoughts YouTube channel here: https://youtu.be/YIOaGnBCrZU

 

520. "Sleeping Together"

- a collaboration with theremin player Pamelia Stickney at the Glitter Box Theater on Thursday, May 10, 2018

- using a GoPro + a Vivitar sports camera (tENTATIVELY, a cONVENIENCE)

- edit finished May 11, 2018

- 22:30

- 1080p (1920WX1080H HD)

- on my onesownthoughts YouTube channel here: https://youtu.be/VNNRBa5Z-cM

 

519. "Soap Box Opera episode 7"

- shot during the annual Polish Hill May Day Parade on Saturday, May 5, 2018

- using a GoPro + a Vivitar sports camera (tENTATIVELY, a cONVENIENCE)

- with additional iJones footage shot by Julie Gonzalez

- edit finished May 8, 2018

- 5:50

- 1080p (1920WX1080H HD)

- on my onesownthoughts YouTube channel here: https://youtu.be/QDtcfwvUH58

- also on "Here Comes Everybody ep25-2 (180622)": https://youtu.be/9UacNwUkKQk?t=9m21s

 

518. "Pre-Show: Total Mobile Home Suitcase"

- shot at Babyland pre- May Day Variety Show, May 4, 2018

- edit finished May 6, 2018

- 3:49

- 1080p (1920WX1080H HD)

- on my onesownthoughts YouTube channel here: https://youtu.be/fS6D-SP2GoU

 

517. "April, 2018"

- edit finished April 30, 2018

- a document of me playing a (M)Usical Solo every day of April, 2018

- 8:58

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on June 1, 2018, here: https://youtu.be/jKbgyKL-7hs

 

516. "Old School Futurism"

- images in rough order of appearance (some silent, some w/ sound): Pittsburgh Incline footage shot 2012.08.21 by t,ac; footage shot from front of MegaBus 2016.07.13 by t,ac; "Wallpaper Video" (demolition of Baltimore News American building) shot by Angus 1990.04.09 effected by t,ac using Larry Cherniak's gear; footage of Bayernhof Museum shot by t,ac 2014.04.19; footage of house demolition shot by t,ac 2018.03.3; footage of film inspection shot 2014.09.26; stills of reservoir shot by t,ac 2016.10.11; inflating pillow shot by t,ac 2018.04.10; collage made by t,ac mid-1980s; costume design (1916-17) by Depero for Stravinsky's "Chant du Rossignol" ("Nightingale's Song") scanned by t,ac from Michael Kirby's book "Futurist Performance"; letters for title made by t,ac using Carrà's "Interventionist Manifesto" (1914) scanned from Caroline Tisdall & Angelo Bozzolla's book "Futurism"

- Futurist soundtrack curated by t,ac in rough order of audition: "Risveglio di una Cita" (1913) - Luigi Russolo; fragment from the opera "L'Aviatore Dro" (1914) - Francesco Ballila Pratella; "Advertisement" (ca. 1914) - Henry Cowell; "Dynamic Motion" (1914) - Henry Cowell; "Five Advertising Songs": (1923) "Make This a Day for Plurodent!" - Nicolas Slonimsky; "Suicide in an Airplane" (ca. 1915) - Leo Ornstein; "Five Advertising Songs": (1923) "Utica Sheets and Pillow Cases" - Nicolas Slonimsky; "Chorale" (1921) - Antonio Russolo; "Five Advertising Songs": (1923) "No More Shiny Nose!" - Nicolas Slonimsky; "Second Sonata (The Airplane)" (1922) - George Antheil; "Five Advertising Songs": (1923) "And Then Her Doctor Told Her" - Nicolas Slonimsky; "Pacific 231" (1923) - Artur Honegger; "Five Advertising Songs": (1923) "Children Cry for Castoria" - Nicolas Slonimsky; "Definizione di Futurismo" (1924) - F. T. Marinetti; "La Battaglia di Adrianopolis" (1924) - F. T. Marinetti; "Serenata" (1924) - Antonio Russolo; "Ballet Mechanique" (1924, rev. 1954) - George Antheil performed by the Los Angeles Contemporary Music Ensemble conducted by Robert Craft; "Ballet Mechanique" (1925) - George Antheil performed by the Niederländisches Bläser-Ensemble conducted by Reinbert de Leeuw; "Bahnfahrt" (?) - ?; "Symphony of Machines - Steel Foundry" (1926-28) - Alexander Mosolov; "La Pioggia" (1914?, 1921?, 1927?) - Antonio Russolo; "Dnieprostrot - Dnieper Water Power Station" (dam built 1921-1941) - Julius Meyfuss; "Sintesi Musicali Futuristiche" (1931) - F. T. Marinetti

- edit finished April 15, 2018

- 13:08

- HD 720p

- on my onesownthoughts YouTube channel here: https://youtu.be/NXCTykUweV0

 

515. "2018.04.11 Film Kitchen Q&A"

- edit finished April 11, 2018

- 11:56

- custom HD 1920X1440 (4/3)

- on my onesownthoughts YouTube channel here: https://youtu.be/dfbdIUii2AM

 

514. "March, 2018"

- edit finished March 31, 2018

- a document of me playing a (M)Usical Solo every day of March, 2018

- 12:40

- Custom HD 1920WX1440H

- uploaded to my onesownthoughts YouTube channel on May 1, 2018, here: https://youtu.be/gavFY6NEUCU

 

513. "In 1963, rocket scientist Wernher Magnus Maximilian Freiherr von Braun asked his biologist colleague, Pierre Boulle, to conduct studies as to whether the difference in Moon gravity from Earth gravity might create elephantiasis in astronauts."

- edit finished March 30, 2017

- meant to be tied in to my review of Pierre Boulle's "Garden on the Moon"

- 2:37

- Custom HD 1920WX1440H (4/3)

- on my onesownthoughts YouTube channel here: https://youtu.be/lKe2NK03UF8

 

512. "February, 2018"

- edit finished March 14, 2018

- a document of me playing a (M)Usical Solo every day of February, 2018

- 11:58

- Custom HD 1920WX1440H

- put online April 1, 2018, on my onesownthoughts YouTube channel here: https://youtu.be/HeVPbxhA7Cc

 

511. "January, 2018"

- edit finished March 13, 2018

- a documenta of me playing a (M)Usical Solo every day of January, 2018

- 9:41

- Custom HD 1920WX1440H

- on my onesownthoughts YouTube channel here: https://youtu.be/aVJpvfu3M1w

 

510. "Vermin Supreme, His Humble Beginnings"

- edit finished February 27, 2018

- I've never had my computer crash as much as it did with this one. It may've crashed THOUSANDS OF TIMES before I finally managed to finish this. Aa such, it's not quite as thorough & polished as it might've been otherwise but I still think it's a remarkable document - tENTATIVELY, a cONVENIENCE note

- 1:19:07

- SD 720X480

- on my onesownthoughts YouTube channel here: https://youtu.be/9GmNOHKbRyY

- on the Internet Archive here: https://archive.org/details/VerminSupremeHisHumbleBeginnings

 

507. "Exorcising Capos"

- tENTATIVELY, a cONVENIENCE's participation in Mr. Funky's (Unfinished Symphonies's) "The Exorcism" event at the Glitter Box Theater, Saturday, February 3, 2018E.V.

- shot by tENTATIVELY, a cONVENIENCE (Vivitar sports camera & mini-dv) & Unfinished Symphonies (1080p)

- using additional footage filling in the some of the gaps shot on February 4, 2018E.V.

- 13:58

- custom 1700X1275 (4/3)

- edit finished February 4, 2018E.V.

- Unfinished Symphonies's raw footage on YouTube: https://youtu.be/J5SX8bkQW4c

- the edited version on my onesownthoughts YouTube channel here: https://youtu.be/nTRdh4YnA2I

 

505. "The Struggle to End Death by Incarceration"

- a document of the Panel Discussion at the Summit Against Racism, January 20, 2018. Pittsburgh, PA, organized by CADBI (Coalition to Abolish Death by Incarceration (West))

- featuring panelists Yusef Jones, Sharif Boyd, Paulette Carrington, Troy David, & Tiffany Sizemore

- https://cadbiwest.org

- shot, edited, & titled by tENTATIVELY, a cONVENIENCE using 2 mini-dvs, 1 Vivitar sports camera, 1 iJones

- stills & additional iJones footage by etta cetera

- 1:27:58

- 1700X1275 (4/3)

- on my onesownthoughts YouTube channel here: https://youtu.be/3KJc0rb-zRk

 

504. "Where did you get the idea for your most recent book?"

- my reading as part of the Spoken Word Open Mic at Biddle's Escape on January 10, 2018E.V.

- shot using a $35 Vivitar 'sports camera' & my $20 LG iJones

- 10:47

- on my oneownthoughts YouTube channel here: https://youtu.be/beFRcoyT_SY

 

503. "Dunking Booth Reading"

- raw footage from the complete reading by tENTATIVELY, a cONVENIENCE as part of a Dunking Booth benefit for Tom DaVenti's Apathy Press on Memorial Day, 1989, as part of the SoWeBohemian Festival

- footage from this was previously used as part of "Vex & Siolence"

- camcorder: John Berndt

- 35:37

- unlisted on my onesownthoughts YouTube channel here: https://youtu.be/8t9rT-XctXw

 

502. a. "MM 76 RELEASE"

- shot using 4 cameras on Friday, October 13, 2017, at the Glitter Box Theater by tENTATIVELY, a cONVENIENCE with one additional iPhone provided by Noah Rectenwald of his section

- performers in order of appearance: Noah Rectenwald; Warren Burt; Ben Opie; tENTATIVELY, a cONVENIENCE & Meg Graham; How Things Are Made (Matt Aelrmore & David Bernabo); Mike Boyd

- 1:28:38

- on my onesownthoughts YouTube channel here: https://youtu.be/XuoZopfS4CQ

b. "MM 76 RELEASE (medium rare)"

- 39:33

- on the Internet Archive here: https://archive.org/details/MM76RELEASEmediumRare

c. "MM 76 RELEASE (well done)"

- 12:24

- on Vimeo here: https://vimeo.com/241244343

 

501. "Tom Fryer, April 25, May 14, May 30, June 1, 2000"

- shot by tENTATIVELY, a cONVENIENCE in Melbourne, Australia

- extracted from "Don't Walk Backwards" & edited, titled, & uploaded on October 96, 2017

-17:18

- on my onesownthoughts YouTube channel here: https://youtu.be/15BHqI1_F8I

 

500. "Kate Kaos, April 9 & 10, 2000, May 14, 2000"

- shot by tENTATIVELY, a cONVENIENCE etta cetera in Melbourne, Australia

- extracted from "Don't Walk Backwards" & edited, titled, & uploaded on October 26, 2017

- 9:59

- on the Internet Archive here: https://archive.org/details/KateKaos

 

499. "tENTATIVELY, a cONVENIENCE @ Synesthesia"

- shot by etta cetera at the Synesthesia CD store in Melbourne, Australia, on April 22, 2000

- extracted from "Don't Walk Backwards" & edited, titled, & uploaded on October 26, 2017

- 8:14

- on Vimeo here: https://vimeo.com/240031833

 

498. "Ros Bandt, April 26, 2000, May 19, 2000"

- shot in Melbourne April 26 & May 19, 2000 mainly using a cheap VHS camcorder

- extracted from "Don't Walk Backwards" & edited, titled, & uploaded on October 26, 2017

- 16:20

- on the Internet Archive here: https://archive.org/details/RosBandt

 

497. "Ernie Althoff, April 20, 2000, April 25, 2000"

- shot in Melbourne April 20 & 25, 2000 using a cheap VHS camcorder

- extracted from "Don't Walk Backwards" & edited, titled, & uploaded on October 25, 2017

- 10:15

- on Vimeo here: https://vimeo.com/239887227

 

496. "1st Non-Existent International Neoist Apartment Festival in the Year 000"

- shot In Adelaide, Australia, from March 20, '000 to June 8, '000 by tENTATIVELY, a cONVENIENCE etta cetera using mainly a cheap VHS camcorder

- initial VHS edit finished in March, 2001; computer edit finished October 20, 2017

- 1:17:00

- on the Internet Archive here: https://archive.org/details/1stNonExistentInternationalNeoistApartmentFestivalInTheYear000

 

492. a. "Double Embrace"

- a celebration of the in-person meeting of tENTATIVELY, a cONVENIENCE & Libby Ramer from June 19 to June 26, 2017E.V.

- A Romantic Experimental Music Documentary Comedy

- 1700 X 1275

- 1:50:49

- on my onesownthoughts YouTube channel here: https://youtu.be/1GDXxp_g168

b. "An afternoon in Casa WHO UNIT?"

- the improvisation section excerpted from the above

- 1:04:01

- on the Internet Archive here: https://archive.org/details/AnAfternoonAtCasaWHOUNIT

 

490. "Party Teen on Couch No. 2 etta cetera read at the Fuel & Fuddle, Pittsburgh, August 27, 1998"

- edit finished by tENTATIVELY, a cONVENIENCE May 29, 2017E.V.

- 1700X1275 (originally lower definition)

- 34:44

- on my onesownthoughts YouTube channel here: https://youtu.be/dDrKuf7ybE8

 

489. "Pamelia Stickney, Herself Extraordinaire"

- a quasi-documentary about Pamelia Stickney's visit to Pittsburgh on May 18 & 19, 2017E.V.

- shot, audio recorded, edited, effected, scanned, titled, etc, by tENTATIVELY, a cONVENIENCE

- Pamelia Stickney: theremin, effects pedals, voice, piano

- tENTATIVELY, a cONVENIENCE: sampler, ELsoftware, wave-table synthesizer, DX27-S synthesizer, mixer-sampler, voice, music boxes, percusssion, etc

- Ben Opie: electronics, alto sax, percussion, voice

- MM 76 CD design: tENTATIVELY, a cONVENIENCE

- 1700X1275 (4/3) HD

- 1:37:14

- edit finished May 24, 2017E.V.

- on my onesownthoughts YouTube channel here: https://youtu.be/ZpNhMIwc9Po

 

488. a. ""EL" IP"

- a quasi-documentary about the development of the ELsoftware for my 'opera' entitled "Endangered Languages, Endangered Cultures, Endangered Ideas"

- software conceived of by tENTATIVELY, a cONVENIENCE

- software developed by Roger Dannenberg with assistance from Tianyang Feng & Wynne Yao

- 1st footage shot February 7, 2016

- edit finished May 19, 2017

- 1700X1275 (4/3) HD

- 1:23:45

- on my onesownthoughts YouTube channel here: https://youtu.be/fiAVrCNtKvQ

b. ""EL" IP (abridged)"

- the above version reduced to a single presentation of the 1st 6 paragraphs of the temporary libretto taken from the book entitled "Vanishing Voices - the extinction of the world's languages" by Daniel Nettle & Suzanne Romaine & my review thereof

- 12:06

- on the Internet Archive here: https://archive.org/details/ELIPabridged

 

487. "Das Offizielle, 21 Mai 1994 Era Vulgari Hypothetisches Tagediebetage Mittel-Band/Landesjugendorchester"

- an "Official" concert at the Tagediebetage Festival at the Milchhof in Berlin on May 21, 1994

- featuring tENTATIVELY, a cONVENIENCE (DX27S Synthesizer, Mirage 8 bit Sampler/Sequencer, & Tone Generators), Brad Hwang (Alto Sax), Yvonne Harder (Pretend Bass, Recorder, Voice), Florian Cramer (Alto Sax, Small Keyboard, Flute), Björn Balcke (Guitar), Dr. Meyrink (Trumpet).

- edit made by tENTATIVELY, a cONVENIENCE & finished May 13, 2017E.V.

- 720X480 (3/2) SD

- 55:39

- on my onesownthoughts YouTube channel here: https://youtu.be/VQELYKRVHF0

 

486. "DiVenti"

- Tom DiVenti interviewed by tENTATIVELY, a cONVENIENCE Sunday, April 30, 2017E.V. augmented by relevant materials from the tENTATIVELY, a cONVENIENCE archive, etc..

- interview mini-dv, scanning, titling, editing, f/x, etc: tENTATIVELY, a cONVENIENCE

- edit finished May 4, 2017

- 720X480 (3/2) SD

- 1:01:53

- on my onesownthoughts YouTube channel here: https://youtu.be/UydvbT-1geQ

 

485. "Soap Box Opera No. 6"

- tENTATIVELY, a cONVENIENCE's 6th annual speech as part of the Polish Hill May Day Parade in Pittsburgh.on Saturday, April 29, 2017

- assisted by a spontaneous volunteer People's Mic initiated by Carlin Christy

- shot by Francine Wahler using an iJones

- editing & titling by: tENTATIVELY, a cONVENIENCE.

- edit finished May 2, 2017

- 1700X1275 (4/3)

- 9:20

- on my onesownthoughts YouTube channel here: https://youtu.be/A_8Vgf97WMg

- also on Here Comes Everybody ep23-1 (180422) here: https://youtu.be/vil6KZK04_U?t=14m2s

 

484. "Is this a Black Theorem?"

- shot at tENTATIVELY, a cONVENIENCE's launch of his book entitled "Paradigm Shift Knuckle Sandwich & other examples of P.N.T. (Perverse Number Theory)" at the Glitter Box Theater in Pittsburgh on April 1, 2017E.V.

- shot using 2 mini-dv camcorders & 1 iJones

- edit finished April 10, 2017E.V.

- 1700X1275 (4/3)

- 1:01:38

- on my onesownthoughts YouTube channel here: https://youtu.be/gw48jIh0oS4

 

483. ""Making Dü"

- a document re tENTATIVELY, a cONVENIENCE's "Ping Pong" & mIEKAL aND & tENTATIVELY, a cONVENIENCE's "oWL pONG" made by tENTATIVELY, a cONVENIENCE

- iJones on "Ping Pong" footage from Gwen Sedlar

- "Two Halves" cover design images from mIEKAL & tENT

- "Ping Pong" footage shot on March 1, 2017

- edit finished April 8, 2017

- 8:53

- 1700X1275 (4/3)

- on my onesownthoughts YouTube channel here: https://youtu.be/OKqsWt_q_3o

 

482. "Monte con o sin safos Rides Again"

- a coproduction of Ryan Broughman & tENTATIVELY, a cONVENIENCE

- shot August 1-14, 2016; edit finished March 26, 2017

- shot at Who Unit?, Frick Park, Rock Room, Mattress Factory, Andy Warhol Museum, mm 68 & 69, B.Y.O.C. 4 & 5, Schenley Park, Allegheny Cemetery, Poetry & Prose Open Mic at Té Café, Janelle Pica Studio, Center for Postnatural History

- 2 iJoneses, laptop, GoPro, f/x: Monte con o sin safos

- 2 iJoneses, mini-dv, f/x, editing, titles, transitions: tENTATIVELY, a cONVENIENCE

- 1:38:27

- 1700X1275 (4/3)

- on my onesownthoughts YouTube channel here: https://youtu.be/rItG4Wa55_0

 

481. "diSTILLed Life"

- tENTATIVELY, a cONVENIENCE reading brief excerpts form his piece the 1st page of which is entitled "diSTILLed Life"

- Wednesday, August 10, 2017

- iJones: Monte con o sin safos, all else: tENTATIVELY, a cONVENIENCE

- 9:35

- 1700X1275 (4/3)

- edit finished March 25, 2017

- on my onesownthoughts YouTube channel here: https://youtu.be/WrbjKMTx6wg

 

480. ""Paradigm Shift Knuckle Sandwich" Reading at Té Café"

- tENTATIVELY, a cONVENIENCE reading from his 'pataphysics / math / humor / cognitive dissidence book at the Open Poetry/Prose Mic night on Wednesday, March 8, 2017

- landscape camcorder: Jonathan Wayne, portrait camcorder: Marc V. Rock-Steady

- 9:41

- 1700X1275 (4/3)

- edit finished March 10, 2017

- on my onesownthoughts YouTube channel here: https://youtu.be/pWiuslygsWo

 

478. "Cosmic Grunt / Betsy DeVos"

- tENTATIVELY, a cONVENIENCE reading at Té Café February 8, 2017

- 11:59

- 480X640 (3/4)

- edit finished February 9, 2017

- on Vimeo here: https://vimeo.com/203362094

 

477. a. "mm 75 presents: BIRD CALLS & SONGS"

- attendees: tENTATIVELY, a cONVENIENCE & Ben Opie

- 2:26:44

- 1700X1275 (4/3)

- edit finished January 24, 2017

- on my onesownthoughts YouTube channel here: https://youtu.be/9hAT8KCWHbg

b. "mm 75 presents: BIRD CALLS & SONGS" (ever so slightly corrected)

- the version I put on YouTube had an accidental repetition of an edit less than :06 long. While this was annoying to me, it wasn't worth going through another 3 days of turning the corrected version into a QuickTime movie.

- 2:26:38

- edit finished January 30, 2017

c. "BIRD CALLS & SONGS (Endangered)"

- 6:25

- edit finished January 31, 2017

- on the Internet Archive here: https://archive.org/details/BIRDCALLSSONGSEndangered.

 

476. "tENTATIVELY, a cONVENIENCE at Film Kitchen - December 13, 2016E.V."

- primarily the last movie I screened + the Q&A section

- 19:11

- 720X480 (3/2)

- edit finished January 3, 2017

- on my onesownthoughts YouTube channel here: https://youtu.be/9tj4JSKqvQI

 

475. a. "mm 74 presents: NONDO"

- focusing on Neil Feather's instrument, the NONDO

- shot using a mini-DV & screen recording by tENTATIVELY, a cONVENIENCE at Who Unit? on International Neoist Day, December 25, 2016E.V.

- 1:14:47

- 1700X1275 (4/3)

- edit finished December 29, 2016E.V.

- on my onesownthoughts YouTube channel here: https://youtu.be/OHmyNTfDs2U

b. "NONDO +"

- talking removed from version a

- 45:53

- 1700X1275 (4/3)

- edit finished January 2, 2017E.V.

- on the Internet Archive here: https://archive.org/details/NONDO

c. "NONDO (Endangered)"

- 3:13

- 1700X1275 (4/3)

- edit finished January 3, 2017E.V.

- on Vimeo here: https://vimeo.com/197947897

 

474. "Neil Feather & tENTATIVELY, a cONVENIENCE at the NorMill"

- shot by Laura O. White using a VHS camcorder on September 2, 1994

- edited & titled by tENTATIVELY, a cONVENIENCE on December 24, 2016

- 1:01:14

- 720 X 480 (3/2)

- on my onesownthoughts YouTube channel here: https://youtu.be/HP5Gmmu97Jc

 

473. "Thus - La Vie"

- shot using a mini-dv camcorder on April 11, 2008 by tENTATIVELY, a cONVENIENCE

- starring Neil Feather & John Berndt performing on their instruments at La Vie Gallery

- simple titles added December 22, 2016

- 54:58

- 720 X 480 (3/2)

- on my onesownthoughts YouTube channel here: https://youtu.be/0YWpmD3Npy0

 

472. a. "mm 73 presents: ZITHER"

- shot using 2 mini-dvs & a laptop screen-recording on December 11, 2016 at Who Unit? by tENTATIVELY, a cONVENIENCE

- edit finished December 16, 2016

- 1:01:41

- 1700X1275 (4/3)

- on my onesownthoughts YouTube channel here: https://youtu.be/fe51_KN9WfU

b. "mm 73 presents: ZITHER" (very slightly corrected: 1 of 2 corrections needed made)

- edit finished December 18, 2016

- 1:01:37

c. "ZITHER (Endangered)"

- edit finished December 18, 2016

- 2:39

- 1700X1275 (4/3)

- on Vimeo here: https://vimeo.com/196249356

 

471. a. "mm 72 presents: COUGHING"

- shot using 2 mini-dvs & 1 iJones on Sunday, November 20, 2016 at Who Unit? by tENTATIVELY, a cONVENIENCE

- also in attendance: Ben Opie & Unfinished Symphonies

- edit finished November 28, 2016

- 49:52

- 1700X1275 (4/3)

- on my onesownthoughts YouTube channel here: https://youtu.be/9yL_Mz-7sR4

b. "mm 72 presents: COUGHING (abridged)"

- edit finished December 1, 2016

- 34:04

- on the Internet Archive here: https://archive.org/details/Mm72PresentsCOUGHINGabridged

c. "COUGHING (Endangered)"

- edit finished December 3, 2016

- 2:08

- 1700X1275 (4/3)

- on Vimeo here: https://vimeo.com/194191621

 

470. a. "mm 71 presents: TUNING FORKS"

- shot using 2 mini-dvs, 2 iJoneses on November 6, 2016 at Babyland with tENTATIVELY, a cONVENIENCE, Gwen Sadler, & Zachary Haras holding cameras

- also in attendance: Anthony Levin-Decanini & Ben Grubb

- edit finished November 22, 2016

- 1:41:23

- 1700X1275 (4:3)

- on my onesownthoughts YouTube channel here: https://youtu.be/TwYDwJnHRe8

b. "TUNING FORKS (Endangered)"

- edit finished November 26, 2016

- 2:28

- 1700X1275 (4:3)

- on my Vimeo channel here: https://vimeo.com/193192550

 

469. a. "mm 70 presents: METRONOME"

- shot using 2 mini-dvs, 1 iJones, & 1 screen-recording on October 23, 2016 at Who Unit? by the sole attendee: tENTATIVELY, a cONVENIENCE

- edit finished November 11, 2016

- 18:50

- 1280X960 (custom 4/3)

- on my onesownthoughts YouTube channel here: https://youtu.be/MHvnyoa1Gu4

b. "METRONOME (Endangered)"

- 1:47

- 1700X1275 (4:3)

- on the Internet Archive here: https://archive.org/details/METRONOMEEndangered

 

468. "Keeping Up with the iJoneses #08: Lady Beast"

- shot using an iJones November 5, 2016 at the Lady Beast Album Release Show at the Brillobox

- edit finished November 8, 2016

- 1:00

- 720p (720X1280 HD) (16/9)

- on Facebook here: https://www.facebook.com/tENTATIVELY.acONVENIENCE/videos/o.196009870823284/10154909140090628/?type=2&theater

 

467. "Keeping Up with the iJoneses #07: Robinson, Campbell, (Rappa), Weston"

- shot using an iJones November 5, 2016 at Crucible Sound #21 at the Wood Street Gallery

- edit finished November 8, 2016

- 1:00

- 720p (720X1280 HD) (16/9)

- on Facebook here: https://www.facebook.com/tENTATIVELY.acONVENIENCE/videos/o.190023278089470/10154909033390628/?type=2&theater

 

466. "Keeping Up with the iJoneses #06: Jim Storch"

- shot using an iJones November 4, 2016 at the Circumnexus Flea Market at Palanzo's Beer

- edit finished November 8, 2016

- 1:00

- 720p (720X1280 HD) (16/9)

- on Facebook here: https://www.facebook.com/tENTATIVELY.acONVENIENCE/videos/o.319967748376972/10154908740585628/?type=2&theater&notif_t=video_processed&notif_id=1478654805573268

 

465. "Keeping Up with the iJoneses #05: Mantle Plume"

- shot using an iJones November 2, 2016 at the Lodge: Pittsburgh Modular's Monthly Synth Playground at Spirit

- edit finished November 8, 2016

- 1:00

- 720p (720X1280 HD) (16/9)

- on Facebook here: https://www.facebook.com/tENTATIVELY.acONVENIENCE/videos/o.258817021182684/10154907171650628/?type=2&theater

 

464, "To Pterosaur or not to Pterosaur"

- a glimpse at the installing of a Pterosaur exhibit shot using an iJones January, 2016

- edit finished October 17, 2016

- 7:56

- 720p (720X1280 HD) (16/9)

 

463. "Frankie Capri's 21st Birthday Party"

- shot using an iJones September 9, 2016 at the Oyster House in Pittsburgh

- "There's a whole lotta shakin' going' on!"

- edit finished October 13, 2016

- 14:46

- 720p

- on my onesownthoughts YouTube channel here: https://youtu.be/BsujOWJkgyY

 

462. a. "Wild Horses Couldn't.."

- shot at Assateague 1990 & September 27-29, 2016 using 2 iJoneses & a Go Pro

- also incorporating older Assategaue super-8 footage

- edit finished October 12, 2016

- 9:45

- (1080p) 1920X1080 (16/9)

- on my onesownthoughts YouTube channel here: https://youtu.be/kuLePIILvzg

b. "Wild Horses Couldn't.. (raining cats & dogs version)"

- edit finished October 15, 2016

- 8:56

- on the Internet Archive here: https://archive.org/details/WildHorsesCouldnt

 

461. a. "Hindsight"

- shot using a GoPro from June to August, 2016, by tENTATIVELY, a cONVENIENCE; Selena Or; & Goldie Lamé; final shot using an iJones by Unfinished Symphonies in early September, 2016

- edit finished September, 2016

- 1:33:34

- (1080i) 1920X1080 (16/9)

- on my onesownthoughts YouTube channel here: https://youtu.be/z1_wrZboeMs

b. "Hindsight (looping installation version)"

- edit finished September, 2016

- 1:29:31

- (1080i) 1920X1080 (16/9)

- on the Internet Archive here: https://archive.org/details/HindsightInstallationVersion

c. "Hindsight (quickie)"

- 123 stills from "Hindsight" rendered as a slide show w/ each slide at 10 frames

- :32

- (1080p) 1920X1080 (16/9)

- on my onesownthoughts YouTube channel here: https://youtu.be/4S0-Ez262Zs

 

460. "mm 69: Special Packaging"

- shot at the Opie manse Sunday, August 14, 2016 using 2 iJoneses wielded by tENTATIVELY, a cONVENIENCE & Ryan Broughman

- hosted by Ben Opie especially to highlight his collection of Conglomerate Records publications

- featuring: Ben Opie, Rob, tENT, Ryan, Elizabeth F, & Hyla

- edit finished September 9, 2016

- 1:14:36

- 1280X720 (16/9)

- on my onesownthoughts YouTube channel here: https://youtu.be/aQmdIJ_bBOw

 

459. B.Y.O.C. #5: the Human Cartoon

- shot at Who Unit? August 13, 2016

- featuring: Ryan Broughman; tENTATIVELY, a cONVENIENCE

- edit finished September 7, 2016

- 1:31

- on my onesownthoughts YouTube channel here: https://youtu.be/4UdjDe10zps

 

458. B.Y.O.C. #4: premier of "Limpolysemia"

- shot at Who Unit? August 6, 2016

- featuring: tENTATIVELY, a cONVENIENCE; Ryan Broughman; Myrna Newman; Calder Dudgeon; Mark O'Connor

- mini-DV, iJones: tENTATIVELY, a cONVENIENCE; laptop, iJones: Ryan Broughman

- edit finished September 5, 2016

- 28:38

- 1700X1275 (4:3)

- on my onesownthoughts YouTube channel here: https://youtu.be/aKIyLMvZjCo

 

457. "Music Boxing"

- shot at Who Unit? July, August, & September, 2016

- using Eadweard Muybridge boxing motion study photographs as templates for 30 note music- box rolls laboriously hand-made by tENTATIVELY, a cONVENIENCE

- featuring: tENTATIVELY, a cONVENIENCE; Ryan Broughman; Myrna Newman; Calder Dudgeon

- GoPro, iJones: tENTATIVELY, a cONVENIENCE; laptop, iJones: Ryan Broughman; 2 iJoneses: Mark O'Connor

- edit finished September 3, 2016

- 13:02

- 1700X1275 (4:3)

- on my onesownthoughts YouTube channel here: https://youtu.be/3iT-oyfCALg

 

456. a. "mm 68 presents: ELECTRONICS"

- shot at Who Unit? August 7, 2016 [incorrectly dated in movie as August 8]

- attendees: tENTATIVELY, a cONVENIENCE; Ryan Broughman; Ben Opie; Kelly Stiles; April Gilmore; Marcus

- 1 mini-dv, 2 iJoneses, 1 laptop: tENTATIVELY, a cONVENIENCE & Ryan Broughman

- edit finished August 24, 2016

- 2:19:14

- 1700X1275 (4:3)

- on my onesownthoughts YouTube channel here: https://youtu.be/BURHnvcb6V8

b. "ELECTRONICS"

- shot at Who Unit? August 7, 2016 [incorrectly dated in movie as August 8]

- edit finished August 29, 2016

- 15:06

- on the Internet Archive here: https://archive.org/detailsELECTRONICS_201608

c. "ELECTRONICS (Endangered)"

- edit finished August 30, 2016

- 5:16

- on my onesownthoughts YouTube channel here: https://youtu.be/Y7SEIQ6ANro

 

454. a. "mm 67 presents: HOUSEHOLD OBJECTS"

- shot at Who Unit? July 24, 2016

- attendees: tENTATIVELY, a cONVENIENCE; Ben Opie, Hyla Willis

- 2 mini-dvs, laptop, 2 iJoneses, GoPro: tENTATIVELY, a cONVENIENCE

- edit finished July 30, 2016

- 1:43:22

- 1700X1275 (4:3)

- on my onesownthoughts YouTube channel here: https://youtu.be/dFj2qH5H4xI

b. "HOUSEHOLD OBJECTS"

- edit finished August 4, 2016

- 3:47

- on the Internet Archive here: https://archive.org/details/HOUSEHOLDOBJECTS

c. "HOUSEHOLD OBJECTS (Endangered)"

- edit finished August 5, 2016

- 3:08

- on my Vimeo channel here: https://vimeo.com/177718577

 

453. a. "mm 66 presents: PIANO"

- shot at the Who Unit? June 26, 2016

- attendees: tENTATIVELY, a cONVENIENCE; Ben Opie

- mini-dv, laptop, 2 iJoneses: tENTATIVELY, a cONVENIENCE

- edit finished July 4, 2016

- 1:57:56

- 720X480 (3:2)

- on the Internet Archive here: https://archive.org/details/mm66PresentsPIANO

b. "PIANO (Endangered)"

- edit finished July 5, 2016

- 2:22

- Custom 1700X1275 (4:3)

- on my Vimeo channel here: https://vimeo.com/173585182

 

452. a. "mm 65 presents: VIBRAPHONE"

- shot at the Who Unit? June 19, 2016

- attendees: Pittsburgh: tENTATIVELY, a cONVENIENCE; Hyla Willis; Ben Opie; Soren Lundi; Selena Or; Richmond: Ryan Broughman, Hannah

- GoPro, laptop, 2 mini-dvs, iJones: tENTATIVELY, a cONVENIENCE

- hand-held iJones: Hyla Willis

- all Pittsburgh attendees played vibraphone; additional vibraphone recordings used of the following players: tENTATIVELY, a cONVENIENCE; Walt Dickerson; David Friedman; Lionel Hampton, Jay Hoggard; Bobby Hutcherson; Milt Jackson

- edit finished June 27, 2016

- 1:33:56

- Custom 1700X1275 (4:3)

- on my onesownthoughts YouTube channel here: https://youtu.be/pmzSusXI4nc

b. "VIBRAPHONE (Endangered)"

- the distilled version of the above made to be sampled from for my 'opera' entitled "Endangered Languages, Endangered Culture, Endangered Ideas"

-Edit finished June 30, 2016

- 3:28

- Custom 1700X1275 (4:3)

- on my Vimeo channel here: https://vimeo.com/172995385

 

451. "Limpolysemia (take 7)"

- one of the many sampling piece versions that didn't make it into the feature-length "Limpolysemia" & more fully explicated than any of the feature versions

- music box rolls d composed by tENTATIVELY, a cONVENIENCE in order of 1st appearance: "Flurries" (May 8, 2016), "Dum-Dee-Dum" (May 8, 2016), "Counterpointillism" (May 6, 2016); samples for tENTATIVELY, a cONVENIENCE's "Limpolysemia" sampling piece taken from: "HONK" poem by Monty Cantsin realized by Neal D. Retke, "Polka-Troika" performed by Nataliya Romanskaya & Kirmash from the "Songs & Dances from Belorussia" CD, Sergei Loznitsa's "In the Fog", Davide Ferrario's "Primo Levi's Journey", karen karnak Ekaterina Samigulina feat Sedoj - golos, karen karnak & samigulina - alfavit dinozavrov, karen karnak - na smert rabochego, Ekaterina Samigulina & Karen Karnak - Chernorabochie, Living Language Russian Complete Course; Super Duper Light Sensitive Doomsday Device made by Echo Lightwave Unspeakable

- 8:42

- 720 X 480 (3:2)

- edit finished June 20, 2016

- on Vimeo here: https://vimeo.com/171385032

 

450. "Limpolysemia"

- attendees: tENTATIVELY, a cONVENIENCE (Pittsburgh), Monty Cantsin (Rotterdam), Monty Cantsin (Minsk), Carrion Elited (Richmond), Yuli Ilyushchanka (Minsk), Carlin Christy (Pittsburgh), Katya (Minsk), Deanna? (Minsk), Sasha Krotovsky (translator) (Minsk), Egor (Minsk), Alexei (Minsk), Jury Urso (Minsk), Dmitry Veleskevich (Minsk), Anna Oldfield (translator) (South Carolina), Ben Grubb (Pittsburgh), Caleb Gamble (Pittsburgh)

- shot using screen recording (Ryan Broughman), mini-dv & iJones (tENTATIVELY, a cONVENIENCE) mostly on May 5, 8, & 9, 2016

- unedited 2:53:00 screen recording by Kareem EL E OT on YouTube here: https://youtu.be/DikIpJ_RX3E

- edited, titled, scanned, & otherwise labored over by tENTATIVELY, a cONVENIENCE

- 3:05:09

- 1200 X 800 (Custom 3:2)

- edit finished June 16, 2016

- a coproduction of tENTATIVELY, a cONVENIENCE & Lipovy Tsvet

- on the Internet Archive here: https://archive.org/details/Iimpolysemia

 

449. a. "mm 64 presents: MUSIC BOXES"

- attendees: tENTATIVELY, a cONVENIENCE; Soren Lundi,; Ryan Broughman; Frank Burchap

- screen recording from Ryan Broughman (unedited 2:30:01 here: https://youtu.be/PJvZjh6M8 )

- mini-dv & iJones footage from tENTATIVELY, a cONVENIENCE

- editing, titles, etc from tENTATIVELY, a cONVENIENCE

- 1:49:58

- 1280X720

- edit finished May 26, 2016

- on my onesownthoughts YouTube channel here: https://youtu.be/UYDhnx5CD7U

b. "MUSIC BOXES (Endangered)"

- 1:04

- 1280X720

- edit finished May 28, 2016

- on my Vimeo channel here: https://vimeo.com/168465116

 

448. "7th Annual Polish Hill May Day Parade 2016"

- 23:27

- 1080X720

- edit finished May 11, 2016

- on the Internet Archive here: https://archive.org/details/MayDay2016

 

447. "Soap Box Opera episode 5"

- shot at the 7th Annual Polish Hill May Day Parade on April 30, 2016 on iJones by Eric Woodward; stills from Mark Knobil; speechifyin' from tENTATIVELY, a cONVENIENCE

- 3:25

- Custom 1920X1280

- edit finished on May 2, 2016

- on my onesownthoughts YouTube channel here: https://youtu.be/PD6IfIImVeY

 

446. "Chalkboard Suit & Chernobylite Jokes"

- shot at the Annual May Day Variety Show @ Babyland on April 29, 2016

- MC: Matt; IMP ACTIVIST: tENTATIVELY, a cONVENIENCE; iJones: Terry Doloughty

- 4:25

- Custom 1000X1280

- edit finished May 1, 2016

- on my Vimeo channel here: https://vimeo.com/164947710

 

444. a. "mm 63 presents: HARMONICA"

- shot at the Who Unit? on April 17, 2016 using 2 cellphones: tENTATIVELY, a cONVENIENCE (720X480); Hyla Willis (1920X1080)

- participants: tENTATIVELY, a cONVENIENCE; Clint Hoover; Ben Opie, Unfinished Symphonies; Hyla Willis

- 1:38:50

- edit finished April 25, 2016

- custom 936X 720

- on my onesownthoughts YouTube channel here: https://youtu.be/wQFjfQvqooc

b. "HARMONICA (Endangered)"

- version made for in-progress large piece entitled "Endangered Languages, Endangered Culture, Endangered Ideas"

- 4:30

- edit finished May 3, 2016

- custom 1920X1280

- on my onesownthoughts YouTube channel here: https://youtu.be/2W95LUcETK0

 

443. a. "mm 62 presents: CLARINET"

- shot at the Who Unit? on April 3, 2016 using 2 mini-dv camcorders, 1 iJones, & 1 GoPro

- participants: tENTATIVELY, a cONVENIENCE; Ben Opie; Kenny Haney

- 2:18:20

- edit finished April 9, 2016

- on my onesownthoughts YouTube channel here: https://youtu.be/ErbOrZGZN2k

- 720X480

b. "CLARINET (Endangered)"

- version made for in-progress large piece entitled "Endangered Languages, Endangered Culture, Endangered Ideas"

- HDTV 1080i (1920X1080)

- on my Vimeo channel here: https://vimeo.com/163182020

 

441. "Raconteur"

- tENTATIVELY, a cONVENIENCE telling stories about a warehouse he lived in when he was in his mid 20s

- shot at the 10 Minute Playfest, Brillobox, Pittsburgh, us@, March 6, 2016 by Calder Dudgeon

- 1080X720

- 14:44

- on my oneesownthoughts YouTube channel here: https://youtu.be/D1mHckDXEzI

 

440. "The Warren Burt Show & Tell"

- shot from April - June, 2000 in Australia on VHS

- edit finished March 1, 2016

- 3:55:38

- on my onesownthoughts YouTube channel here: https://youtu.be/TiCYlcBm5nM

 

439. a. "How to NOT QUITE fix an ACCORDION"

- shot from January 29, 2012 to February 23, 2016

- edit finished February 26, 2016

- shot in mini-dv

- 33:14

b. "mm 61 presents: ACCORDION"

- incorporates the above movie as a preface + footage from Sunday, February 28th's mm 61

- featuring: tENTATIVELY, a cONVENIENCE; Ben Opie; Black Bear Combo; The Three Suns; The Crawlin' Low Band; Warren Burt, Kate Kaos, Jo Basile, Wire Mother, Guy Klucevsek, Jackson Mac Low & Pauline Oliveros

- edit finished March 16, 2016

- incorporates VHS + mini-dv (720X480) + iJones HD (1280X720) + GoPro (1920X1080 time-lapse) & combines them in custom HD 1700X1275

- 56:11

- on my onesownthoughts YouTube channel here: https://youtu.be/S-xLIwl5Bkk

c. "ACCORDION (Endangered)"

- version made for in-progress large piece entitled "Endangered Languages, Endangered Culture, Endangered Ideas"

- edit finished Saturday, March 18, 2016

- custom 1700X1275

- 2:53

- on my Vimeo channel here: https://vimeo.com/159677904

 

438. a. "mm 60 presents ORGAN"

- shot on Sunday, February 7, 2016, at the 60th (m)usic(ian's)(m)eeting

- edit finished Sunday, February 14, 2016

- custom 1700X1275

- 7:00

- on my onesownthoughts YouTube channel here: https://youtu.be/i0hWJdRTBJY

b. "ORGAN (Endangered)"

- version made for in-progress large piece entitled "Endangered Languages, Endangered Culture, Endangered Ideas"

- edit finished Wednesday, February 17, 2016

- custom 1700X1275

- 3:19

- on my Vimeo channel here: https://vimeo.com/155908157

 

437. a. "Monty Cantsin Rides Again" (Internet Archive version)

- made in honor of a visit from Monty Cantsin to Pittsburgh from November 6 - November 14, 2015

- edit finished December 19, 2015

- 1:56:49

- on the Internet Archive here: https://archive.org/details/MontyCantsinRidesAgain

b. "Monty Cantsin Rides Again" (interestingly defective version)

- intended to be the same as the above but due to computer malfunctions soundtrack portions repeat in accompaniment to non-synced visuals - because the results are somewhat interesting I decided to keep this version

-1:56:50

c. "Monty Cantsin Rides Again" (DVD version)

- An attempt was made to correct all the artifacts of the previous defective version which required some slight re-editing

- 1:56:43

 

436. "RonDodo"

- Shot at rehearsals at the Who Unit? & CMU & at the premier at The Space Upstairs (November 8, 2015)

- featuring: tENTATIVELY, a cONVENIENCE: (d) composer, cameras, conducting, sampler; Brian Riordan: conducting, percussion; Calder Dudgeon: conducting; David Bernabo: keyboards; Matt Aelmore: French Horn; Jason Blecher: valve trombone; Roger Dannenberg: trumpet; Ben Opie: alto sax; Kenny Haney: clarinet; Julian Krishnamurti: violin

- 25:12

- on my onesownthoughts YouTube channel here: https://youtu.be/CzsoiM8z1wk

 

435. "Tex-Mix (Giddyup Americana)"

- shot November 1, 5 (rehearsals), & 8 (gig at Babyland), 2015

- text from review of OPEN SPACE 15/16

- using 11 audio samples of simulated horse hooves & of instruments

- also using 50 audio samples from these 6 Tex Ritter movies:

"Song of the Gringo" (1936)

"Arizona Days" (1937)

"Sing, Cowboy, Sing" (1937)

"Mystery of the Hooded Horsemen" (1937)

"Tex Rides with the Boy Scouts" (1937)

"Rollin' Plains" (1938)

- edit finished December 2, 2015

- 14:02

- on my onesownthoughts YouTube channel here: https://youtu.be/yVZPa4gCdAU

 

433. "Soap Box Opera episode 2"

- tENTATIVELY, a cONVENIENCE speech excerpted from the above

- 3:39

- on my onesownthoughts YouTube channel here: http://youtu.be/7GHfd1JVuMQ

 

432. "MAYDAY - ANOTHER WORLD IS POSSIBLE - 2013"

- shot at the Polish Hill May Day Parade on May 4, 2013

- edit finished September 6, 2015

- 47:40

- on my onesownthoughts YouTube channel here: https://youtu.be/c9Y2XvJ1WfE

 

431. "BYOC PREMIER" (Premier of "Taking care of Business")

- collaboration with Ryan Broughman who made the screen-capture movie footage

- shot August 1, 2015

- edit finished August 31, 2015

- 24:09

- on my onesownthoughts YouTube channel here: https://youtu.be/jSW-vLZwLOQ

 

428. a. "mmm057: Remote Viewing / Remote Grooving" ('real-time' version)

- shot at mm 57 on Sunday, July 5, 2015

- a collaboration with Ryan Broughman in Richmond, VA, us@ who made the screen-shot movie portion of this

- incorporating Google Hangouts & FaceTime

- cell-phone footage shot by tENTATIVELY, a cONVENIENCE

- edit finished July 30, 2015

- 2:07:52

- HD 1280 X 960 Custom (4:3)

b. "mmm057: Remote Viewing / Remote Grooving" (abridged version)

- 1:25:45

- on my onesownthoughts YouTube channel here: http://youtu.be/-nQ0V6-M4EI

 

427. a. "Taking care of Business" (long version)

- shot almost entirely at the Who Unit? by tENTATIVELY, a cONVENIENCE

- shot from May 30, 2014 to June 4, 2015

- edit finished July 4, 2015

- 2:59:15

- in 2 parts: 2014: 2:26:54, 2015: 32:21

b. "Taking care of Business" (shorter version)

- edit finished July 12, 2015

- 2:20:03

- on my onesownthoughts YouTube channel here: https://youtu.be/v0bcpI5J-pw

- on the Internet Archive here: https://archive.org/details/takingcareofbusiness_201910

 

426. "mmm056: Invecticon!"

- shot at the Who Unit? in Pittsburgh on June 21, 2015, at mm 56

- Featuring tENTATIVELY, a cONVENIENCE & Ben Opie

- largely inspired by the Nicolas Slominsky edited "Lexicon of Musical Invective" & its "Invecticon"

- 32:48

- on my onesownthoughts YouTube channel here: http://youtu.be/WP4epHOpha4

 

425. a. "mmm055"

- shot at the Who Unit? in Pittsburgh on May 17, 2015, at mm 55

- Featuring tENTATIVELY, a cONVENIENCE; Frank; Brainpang (in spirit); Joey; Soren; Ben; Greg S.

- made by tENTATIVELY, a cONVENIENCE

- featuring the music of tENTATIVELY, a cONVENIENCE; Artie Shaw & his Orchestra; Charles Mingus; Joe Fiedler Trio; Ernie Krivda; Time Ghost & Laurie Amat; Angus MacLise; Jaques Lasry; Mario Lanza; the sound art of G. X. Juppiter Larsen; & the 'anti-tapes' of Conglomerate Records

- 1:31:55

b. "mmmo55" (abridged for YouTube

- 14:04

- on my onesownthoughts YouTube channel here: http://youtu.be/uFleYGfWMrs

 

424. "Soap Box Opera episode 4"

- shot at the annual Polish Hill May Day Parade on Saturday, May 2, 2015, using 2 iJoneses

- misnumbered in the title as "episode 5"

- 3:20

- on my onesownthoughts YouTube channel here: http://youtu.be/jImQyP8g_iQ

 

423. "mmm053"

- shot at the Who Unit? in Pittsburgh on April 5, 2015, at mm 53

- Featuring tENTATIVELY, a cONVENIENCE; Spat; Wandi; Hyla; Elizabeth F.; & Kenny

- made by tENTATIVELY, a cONVENIENCE

- featuring the music of John Cage, Mildred Couper, & James Brody

- 29:15

- edit finished April 9, 2015

- on my onesownthoughts YouTube channel here: http://youtu.be/inVUQmywyMw

 

422. a. "mm 51: Score Reading: Penderecki's "Passio""

- shot at the Who Unit? in Pittsburgh on February 15, 2015, at mm 51

- Featuring Matt Aelmore, Brian Riordan, Zachary Haras, & tENTATIVELY, a cONVENIENCE

- shot by & all the rest by: tENTATIVELY, a cONVENIENCE

- 1:47:05

- edit finished February 25, 2015

- on my onesownthoughts YouTube channel here: http://youtu.be/28AAI3PZ1u8

b. "mm 51: Score Reading: Penderecki's "Passio"" (without commentary)

- only the portion of the above when the music's playing & minus all other audio than the music

- 1:22:24

- edit finished February 26, 2015

 

421. a. ""A Catamaran Animist Vigor" & Anita Sphinx @ Babyland - 2015.01.24"

- featuring the players of "A Catamaran Anmist Vigor": Matt Aelmore: French horn, Roger Dannenberg: laptop 'piano' chords, Kenny Haney: Bb clarinet, Brian Riordan: latop samples, tENTATIVELY, a cONVENIENCE: percussion samples; & the members of Anita Sphinx: Anita Fix: voice, percussion, recordings, Ben Grubb: metalworking & percussion, Jim Lingo: percussion, Mika Metz: percussion, Paula Jean Tonsor: voice, percussion

- "A Catamaran Anmist Vigor": Score Movie making, camcorder on tripod, audio recording, general messterminding, editing, titling, etc: tENTATIVELY, a cONVENIENCE; Elizabeth Bushmann: hand-held camcorder, stills

- Anita Sphinx: hand-held camcorder, editing, titling, etc: tENTATIVELY, a cONVENIENCE; Elizabeth Bushman: stills

- 1:53:21

b. ""A Catamaran Animist Vigor" @ Babyland - 2015.01.24" (for YouTube)

- 41:08

- on my onesownthoughts YouTube channel here: http://youtu.be/cn3U055X-2U

c. "Anita Sphinx @ Babyland - 2015.01.24" (for YouTube)

- 43:51

- on my onesownthoughts YouTube channel here: http://youtu.be/dIIUKoKBa0o

 

420. "mm 49: Vivian Fine Marathon!"

- shot at the Who Unit? Sunday, December 21, 2014E.V. from noon to about midnight

- a gathering in honor of the work of composer Vivian Fine

- edit finished December 31, 2014E.V.

- shot using 2 mini-dv camcorders & 2 iJones

- 1:48:00

- on my onesownthoughts YouTube channel here: http://youtu.be/vjqJ9xekECs

 

419. "HealthCare NightMare"

- shot at the Who Unit? December, 2014E.V.

- A glimpse into the dysfunctionality of HeathCare.gov & into the failure of the "Affordable Health Care Act" to be much more than yet-another scam to rob American citizens

- 13:25

- on my onesownthoughts YouTube channel here: http://youtu.be/tjB3QBz4LAc

 

417. a. "A Map Between Real Time & _____ Time"

- a quasi-document of the 1st rehearsal of the "A Catamaran Animist Vigor" Score Movie

- incorporating the Score Movie itself & footage of the rehearsal shot in the basement of Abandoned Store, October 13, 2014

- title taken from a joking comment made by Riger Dannenberg at the end of the rehearsal

- featuring:

Matt Aelmore: French Horn

Roger Dannenberg: Laptop 'piano' chords

Kenny Haney: Bb Clarinet

Joey Molinaro: Spray-Paint Cans

Brian Riordan: Laptop samples

- (d) composing, camera, editing, titling, etc: tENTATIVELY, a cONVENIENCE

- edit finished October 20, 2014

- 1:16:15

- broken into 3 parts on YouTube:

"A Map Between Real Time & _____ Time: Real": http://youtu.be/cC5d-SriB6Y

"A Map Between Real Time & _____ Time: Jumping Backwards": http://youtu.be/O2ToDm0HfKc

"A Map Between Real Time & _____ Time: Jumping Forwards": http://youtu.be/Bh9p5Io83OQ

b. ""A Catamaran Animist Vigor" rehearsal 2"

- incorporating the Score Movie itself & footage of the rehearsal shot in the (M)Usic Rm of Who Unit?, November 09, 2014

- featuring:

Brian Riordan: Laptop samples

Roger Dannenberg: Laptop 'piano' chords

Kenny Haney: Bb Clarinet

tENTATIVELY, a cONVENIENCE: Percussion Samples

Matt Aelmore: French Horn

- (d) composing, camera, editing, titling, etc: tENTATIVELY, a cONVENIENCE

- edit finished November 10, 2014

- 55:06

c. ""A Catamaran Animist Vigor" rehearsal 2" (for YouTube)

- version with just the performance of the score without the flanking discussion

- 41:19

- on my onesownthoughts YouTube channel here: http://youtu.be/9JueavuM5m0

d. "solo rehearsals of "A Catamaran Animist Vigor""

- edited from 2 solo rehearsals (January 21 & 23) for the January 24, 2015 Babyland gig

- 1:01:30

 

416. "FOR EVERMOR"

- filmstrip & 35mm stills shot in October, 1998, at House on the Rock & Dr. Evermor's Sculpture Park by tENTATIVELY, a cONVENIENCE etta cetera

- audio recording from Dreamtime Village & Dr. Evermor's: October, 1998: tENTATIVELY, a cONVENIENCE

- the latter featuring the voices of tENTATIVELY, a cONVENIENCE etta cetera, Malok, & Dr. Evermor

- some of the above made into "Say Cheese!" filmstrip repurposed here

- mini-dv shot on June 15 & 16, 2011, at House on the Rock, Dr. Evermor's Sculpture Park, a restaurant, & Dr. Evermor's home by tENTATIVELY, a cONVENIENCE

- edit finished October 5, 2014

- 1:32:44

- unlisted YouTube "Bird Band" section here: http://youtu.be/v2fIfIt6usI

- the entire movie is on my onesownthiughts YouTube channel here: https://youtu.be/prrluc2-tms

- on the Internet Archive here: https://archive.org/details/forevermor

 

415. a. "Johann Lynge's "Year 13"" (Vimeo version)

- shot at Johann's book release party on September 3, 2014. on the last day of his 7 years of parole

- edit finished September 18, 2014

- 2:31

- https://vimeo.com/106542078

b. "Johann Lynge's "Year 13"" (YouTube version)

- edit finished September 19, 2014

- 21:36

- on my onesownthoughts YouTube channel here: http://youtu.be/kt-t0nM8J-c

 

413. "mm 35: "The Enchantress of Bioluminosity" (& Prequel: Gen Ken)"

- shot at mm 35 at the Who Unit? on December 23, 2013

- a performance by Gen Ken Montgomery & Andrea, The Enchantress of Bioluminosity

- edit finished July 21, 2014

- 34:40

- on my onesownthoughts YouTube channel here: http://youtu.be/awpVze4EwIo

 

412. a. "The 29 Mmmms"

- shot at the MM 26 CD Release 2 at Pittsburgh Filmmakers's Melwood Screening Room, Tuesday, August 13, 2013

- featuring: Matt Aelmore: vocal, electric bass, montage recording; Kenny haney: vocal, banjo; tENTATIVELY, a cONVENIENCE as the Russian General with the strangely Arabic name who plays Irish samples

- shot using a mini-DV camcorder that dramatically dropped out sound

- the title being a reference to a well-known Alfred Hitchcock film

- edit finished July 17, 2014

- 49:10

b. "The 29 Mmmms" (for YouTube)

- 38:05

- on my onesownthoughts YouTube channel here: http://youtu.be/1YQI5IBEA0A

 

411. "Kit 'n' Caboodle (My Homemade Electronics)"

- Thanks to Ben Harris, teacher of the Pitt Electro-Acoustic Music class, for getting this ball rolling in 2011

- Thanks also to Michael Pestel for having me lecture in his Sound Art Class in 1997

- Thanks to Terrence Dougherty for donating his kit electronics to me in 1991 or 1992

- Thanks to Amy Catanzano for having me perform at Naropa University in 2010

- Thanks to Cheryl Fair for allowing me to excerpt from her movie "Sweatshop" made in 1992

- Thanks to Galerie Lascaux for having me perform there in 1997 & to etta cetera for helping with that performance

- Thanks to Modern Formations & to Anthony Levin-Decanini for hosting the "MM 26 CD Release" in 2013

- Thanks to the Music Gallery for having me perform there in 1995 & to Monty Cantsin (Istvan Kantor) for camerawork

- "3 Mile Island" made by B.O.M.B. in 1979

- Thanks especially to Richard Ellsberry & to Doug Retzler for their performances in the above

- "81 Apt" made by tENTATIVELY, a cONVENIENCE in 1981

- Thanks to Monty Cantsin (Istvan Kantor) for his performance in the above & to Lizard Media Systems for camerawork

- Thanks to Dave Guercio for helping to build the portable booed usic busking unit & to John Berndt for photography of the same

- Thanks to Trevor Blake for his photo of tENT at the busking unit

- "Tent's Muir" made by tENTATIVELY, a cONVENIENCE in 1988

- "Murraygate Busking" made by tENTATIVELY, a cONVENIENCE in 1988

- Thanks to Laura A. Trueseal for PXL camerawork & to Pete Horobin for VHS camerawork in Great Britain

- Thanks to VEX & LAW for busking with Laura & myself at the Murraygate Mall

- "Last Man on Earth" (in its various incarnations) made by tENTATIVELY, a cONVENIENCE in 1992 & 2006

- Gnome sampling piece made by tENTATIVELY, a cONVENIENCE in 2006

- "F.R.E.D. S. L.I.S.B.E.R.G.E.R." made by tENTATIVELY, a cONVENIENCE in 1992

- Thanks to Rebecca Barten & to Martha Colburn for assistance with the above

- My apologies to anyone I may've forgotten or otherwise neglected

- ALL ELSE: tENTATIVELY, a cONVENIENCE

- including: camerawork, archiving, scanning, titling, editing, CONCEPTS, daring, performing, meticulous labor & utter dedication in general

- edit finished July 7, 2014E.V.

- 46:44

- broken into 5 parts for YouTube:

"Kit 'n' Caboodle (My Homemade Electronics) - pt 1: Function Generator":

http://youtu.be/JM4yOAO27hQ

"Kit 'n' Caboodle (My Homemade Electronics) - pt 2: booed usic busking unit":

https://youtu.be/B2bMFv6ATZ0

"Kit 'n' Caboodle (My Homemade Electronics) - pt 3: The Terrence Dougherty":

http://youtu.be/7eH94cgjo4k

"Kit 'n' Caboodle (My Homemade Electronics) - pt 4: Speaker Switcher Suitcase":

http://youtu.be/sXdMjUdEMsk

"Kit 'n' Caboodle (My Homemade Electronics) - pt 5: Total Mobile Home Microcinema Suitcase":

http://youtu.be/3-6MvvN6zSI

 

410. a. "MM 26 Release - August 8, 2013"

- featuring Anthony Levin-Decanini: electronics; Ben Opie: electronics & alto sax; Kenny Haney: Bb clarinet; Rey Freme: synthesizer; Matt Aelmore: french horn & electric bass; tENTATIVELY, a cONVENIENCE: setting-up & tearing down, percussion, sampler, speaker switcher suitcase; special guest: Elisa Schwenniger: roll-up keyboard

- shot on dysfunctional mini-dv: August 8, 2013

- sound recording: Anthony Levin-Decanini

- edit finished June 18, 2014

- 1:38:46

b. "MM 26 Release - August 8, 2013" (w/ 'Director''s Commentary)

- edit finished June 21, 2014

- 1:39:04

c. "MM 26 Release - August 8, 2013" (for YouTube)

- edit finished June 24, 2014

- 33:18

- on my onesownthoughts YouTube channel here: http://youtu.be/zc5N4qdFVW0

 

409. "Keeping up with the iJoneses #3: 9 to 99 Percussionists performing John Luther Adams's "Inuksuit""

- a meander around Lake Elizabeth while this large-scale environmental music piece was being performed as part of Alia Musica Pittsburgh's PFNM (Pittsburgh Festival of New Music) on Sunday, May 25, 2014

- camera (iJones) & post-production: tENTATIVELY, a cONVENIENCE

- HD resolution: 1700X1275 (4:3)

- edit (& rendering) finished June 6, 2014

- 33:14

- An unfortunately lo-def version of it is here: http://youtu.be/QnRZy2s2r8I

 

408. "Keeping up with the iJoneses #2: Varispeed performing Robert Ashley's "The Living Room""

- a rather casually shot quasi-documentary of Varispeed at James Simon's studio, Thursday, May 22, 2014 performing as part of the Pittsburgh Festival of New Music

- scans of Ashley's "The Living Room" text provided by Dave Ruder (of Varispeed)

- camera (iJones) & post-production: tENTATIVELY, a cONVENIENCE

- resolution: 1700X1275 (4:3)

- edit finished June 1, 2014

- 33:08

- on my onesownthoughts YouTube channel here: http://youtu.be/0Y7hFH_o1Zw

 

406. a. "mm 37 - musical saw"

- yet another document of a m(usic(ian's))m(eeting) at tENTATIVELY, a cONVENIENCE's house where a broader variety of subjects are discussed than would be typical of most subcultures - including, but not limited to: the "Scratch My Back" book about Musical Saws, an old Musical Saw record the size of a CD, "Saw Playin' Band" song from the "Buddy Nutt and his Musical Saw" CD, Buddy Nutt's demise & Calder Dudgeon's role as the executor of his estate, the actress/screenplay-writer Britt Marling & her movie "Another Earth" & the Musical Saw part of that, the saw duet by Todd Whitman & Michael Johnsen on the "Volunteers Collective XXIX" selection of the "Volunteers Collective XXII-XXX" cassette that tENT publishes, a CD-R called "The Means of the Deck" (April 1999) w/ Chim Nwabueze: saw & Sylvie Menta: piano harp, "The Following" TV series about a serial killer who's a Poe expert - starring Kevin Bacon, The Space Exchange - the every Tuesday music series at the Thunderbird in Lawrenceville on Butler St that drummer Dave Throckmorton books, the Mandan O-Kee-Pa ceremony part of "A Man Called Horse", Stellarc & Fakir Musafar, George Catlin, ORLAN, The Big If, Kathleen Hannah bio movie, The Great CO2 Orchestra (1984), Andrew Drury "Renditions: solos 2004-2007" CD, the American Wind Symphony Orchestra, Penderecki's "Pittsburgh Overture" wch was commissioned & premiered by the AWSO - the part played has saw, David Burge's "Serenade for Musical Saw & Orchestra" (1965) & Bill Perkins's "Textures for Musical Saw & Percussion" (1971) from Jim Turner's "The Well-Tempered Saw" on Owl Records, the harmonics & extended technique on the latter piece, Ennio Morricone's "Il Etait une Fois dan L'Ouest" (Once Upon A Time in the West) from "La Scie endant»e de Maurice Dalle" saw record, musical saws & cases, Unfinished Symphonies's "Summertime" music video, MC5's "Kick Out the Jams" DVD w/ light shows, Fela's running for president, Tan Dun's "Water Concerto", a bondage movie w/ Throbbing Gristle's "Hot on the Heels of Love" from their "20 Jazz Funk Greats" record as part of the soundtrack, serial killers Myra Hindley & Ian Brady, Taryn Simon - whose work is in the Carnegie International who had done a project where she took people who'd been exonerated by DNA evidence after serving time & photographed them at the scene of the crime, the latest Herzog movie, & "Project W" CD

- shot on mini-DV January 26, 2014; edit finished on May 7, 2014 & outputted to DVD-R, mini-DV, & VHS

- 1:55:23

b. "mm 37 - musical saw (for YouTube)"

- edit finished May 8, 2014

- 39:27

- on my onesownthoughts YouTube channel here: http://youtu.be/mbmdUuwUP8M

 

405. "Soap Box Opera episode 3"

- tENTATIVELY, a cONVENIENCE's annual Polish Hill May Day Parade speech

- misnumbered in the title as "episode 4"

- shot by Julie Gonzalez with an iJones on May 3, 2014

- edit made by tENTATIVELY, a cONVENIENCE on May 5, 2014

- 2:56

- on my onesownthoughts YouTube channel here: http://youtu.be/FUY9DwiE1Dk

 

404. a. "Devival (for scholars)"

- a quasi-documentary of the June 22, 2013 Church of the SubGenius Devival / Tommy Amoeba's Rock n Roll Birthday Party At Howler's Coyote Caf»

- w/ additional footage of an interview w/ the Reverend Ivan Stang, Sacred Scribe on June 23, 2014 + tENTATIVELY, a cONVENIENCE rehearsing "Banned Names" on June 16th & 22nd, 2014 + historic footage of Ivan Stang at the 3rd Church & Foundation of the SubGenius Convention in BalTimOre in September, 1983, etc..

- featuring Saint Andrew the Impaled; Eric Singer aka Erok; Reverend Phriar, Phat Chick for Higher, Popess Phat Man Dee & the Cultural District; Princess Wei 'R.' Doe, Queen of ALL the UFOs; Saint tENTATIVELY, a cONVENIENCE; Reverend Ivan Stang, Sacred Scribe; Tommy Amoeba & Amoeba Knieval

- shot June, 2013; edited April, 2014 - edit finished April 10, 2014

- mini-DV shot by tENTATIVELY, a cONVENIENCE

- MP4, MP3, digital stills provided by StangDoe

- 3:19:46

b. "Devival"

- abridged version of the above reduced to more commercially palatable running time

- edit finished April 17, 2014

- 1:47:43

c.. "Devival" (for YouTube)

- edit finished April 24, 2014

- 52:47

- on my onesownthoughts YouTube channel here: http://youtu.be/FfDCnTR03dg

 

403. "Pi(ano Fort)e (the remake)"

- score for "Pi" created January 21, 2013; score for "e" created January 27, 2013

- score for "Pi(ano Fort)e (duet version for 2 X 76 keys)" created October, 2013

- playing of "Pi(ano Fort)e" by J. Tracy Mortimore & Michael Pestel vaudioed by Michael Pestel June 17, 2013

- playing of "Pi(ano Fort)e (duet version for 2 X 76 keys) (variation 3)" by tENTATIVELY, a cONVENIENCE & Ben Opie vaudioed by tENTATIVELY, a cONVENIENCE at mm 30 September 15, 2013

- playing of "Pi(ano Fort)e (duet version for 2 X 76 keys) (variation 1)" by tENTATIVELY, a cONVENIENCE & Nina Sarnelle vaudioed by tENTATIVELY, a cONVENIENCE October 27, 2013

- playing of "e (variation 1)" by Nina Sarnelle vaudioed by tENTATIVELY, a cONVENIENCE October 27, 2013

- playing of "Pi(ano Fort)e (duet version for 2 X 76 keys) (variation 2)" by Jaclyn & Mark vaudioed by tENTATIVELY, a cONVENIENCE at mm 33 November 17, 2013

- edit finished February 23, 2014

- 41:39

- on my onesownthoughts YouTube channel here: http://youtu.be/HbY5bR5zxbo

 

402. "CHAN(geling)"

- a media analysis of yellowface in Warner Oland movies by tENTATIVELY, a cONVENIENCE

- made from January to February, 2014

- edit finished on February 21, 2014

- 30:05

 

401. "Titin"

- conceived of with most of the work done by tENTATIVELY, a cONVENIENCE

- focused on the full chemical name of the protein Titin, as found on Sarah McCulloch's blog & then proofread & corrected by tENTATIVELY, a cONVENIENCE to yield a word 189,824 letters long with 23 component names within it. Also focused on tENTATIVELY, a cONVENIENCE's relationship with Elisa Schwenninger.

- beginning help with pronunciation of Titin from E. J. Barnes

- shot pronouncing these component names while skydiving with GoPro footage provided by the tandem skydivers, John & Cush, & stills of us preparing & landing by Marcie. Also shot of Elisa Schwenninger pronouncing component names at the Bayernhof Museum by tENTATIVELY, a cONVENIENCE. Further footage of Elisa used as well as footage of tENT & Elisa playing (M)Usic.

- shot mostly in July, a little in September, editing done from June, 2013 to February 11, 2014

- ediit finished February 11, 2014

- broken into 4 parts:

pt 1: Preparation - 1:59:40

pt 2: Free-Fall - 1:52:32

pt 3: Parachuting - 2:00:00

pt 4: Landing - 1:43:29

- total time: 7:35:41

- 2:06 sample on Vimeo here: https://vimeo.com/86542569

- the full thing is ony my onesownthoughts YouTube channel here: https://youtu.be/Z2hUqjvKv_A

- on the Internet Archive here: https://archive.org/details/Titin

 

398. "This Will Explain"

- a memorium to my friendship with "Blaster" Al Ackerman, 1939-2013

- more or less all the work done by tENTATIVELY, a cONVENIENCE, March-June, 2013; edit finished June 23, 2013

- 1:23:20

- on my onesownthoughts YouTube channel here: https://youtu.be/QJYHcjYc8Yk

- on the Internet Archive here: https://archive.org/details/thiswillexplain

 

397. "Soap Box Opera episode 1"

- the 1st of my Pittsburgh May Day parade speeches

- 3:16

- on my onesownthoughts YouTube channel here: https://youtu.be/loBDoK5Gyi0

 

396. "May Day, 2012"

- shot mostly by tENTATIVELY, a cONVENIENCE, May 4-6, 2012; edit finished May 2, 2013

- sound recording & stills from arrest night from SG

- a quasi-documentary of the pre-May Day Polish Hill Parade arrests, the Parade itself, & the jail vigil

- 51:45

- on my onesownthoughts YouTube channel here: https://youtu.be/5N4RFt1NJh4

 

395. "the "Official", January 18th, 1992E.V., Fake Partiers"

- shot by tENTATIVELY, a cONVENIENCE, January 18, 1992; edited finished April 27, 2013

- featuring Neil Feather, John Eaton, John Berndt, Scott Larson, Chris Astier, & "Blaster" Al Ackerman

- 29:11

- broken into 3 parts for YouTube:

Part 1: http://youtu.be/rpYh80gWvpw

Part 2: http://youtu.be/LqBoLNQJEaU

Part 3: http://youtu.be/9BXYWDnxvsE

 

394. "the "Official", June 16th, 1991E.V., Something or Another Beach Party Sand Fleas"

- shot by the Ocean City, MD, based "Beach Party" cable TV show crew

- slightly edited & w/ titles added by tENTATIVELY, a cONVENIENCE in mid April, 2013

- edit finished April 21, 2013

- 37:31

- broken into 3 parts for YouTube:

Part 1: explaining & rehearsing individual CAMUs (Cue Activated Modular Units) - 2:45 - http://youtu.be/jIW1mHYX_Xw

Part 2: rehearsal of the CAMUs in their correct fluid rule-governed relations - 18:43 - http://youtu.be/EiBVcmdm09Q

Part 3: interviews & demonstrations for the Beach Party crew - 16:09 - http://youtu.be/c5qvqMGUp8o

 

393. "Pi(ano Fort)e"

- score for "Pi" created January 21, 2013; score for "e" created January 27, 2013

- playing of "Pi" vaudioed January 21, 2013; playing of "e" vaudeoed January 28, 2013

- edit finished February 10, 2013

- 28:14

- on my onesownthoughts YouTube channel here: http://youtu.be/ivEPvq0UAKw

 

390. a. "mm 22"

- shot November 11, 2012 at the 22nd Music(ian's) Meeting

- incorporating various found modern dance footage & found footage of Tom Lehrer

- introducing footage of my in-progress "I Heard It Through the Grapevine" sound sculpture

- featuring tENTATIVELY, a cONVENIENCE; UNFINISHED SYMPHONIES, & Ben Opie

- edit finished November 13, 2012

- 1:35:12

b. "mm 22 condensed"

- re-edited to make it small enuf to be easily emailed to people on the mm list

- edit finished no later than November 14, 2012

- 1:23

- on my onesownthoughts YouTube channel here: http://youtu.be/giE80mBYO6g

 

389. a. "PHEW! 11"

- shot October 21, 2012 at the 11th meeting of the Polish Hill Elucubrating Writers' meeting

- featuring tENTATIVELY, a cONVENIENCE; Laura Zurowski; & Amy Catanzano

- edit finished October 25, 2012

- 7:07

b. "PHEW! 11 v. 2"

- re-edited to make it small enuf to be easily emailed to people on the PHEW! list

- edit finished October 26, 2012

- 1:26

 

388. "Death & the Maiden"

- an emotionally charged & conflict-fraught interview w/ my mom about what to do after her death

- shot in Baltimore October 17, 2012; end product finished in Pittsburgh February 24, 2013

- footage edited minimally & only in camera

- titles & images added in February, 2013

- Franz Shubert's 1817-1824 Streichquartett d-moll "Der Tod und das Mädchen" (slowed down to 65%) added as soundtrack

- 59:29

- this is on the internet on a private availability basis only

 

387. "Babelization Party"

- shot on Labor Day Sunday, September 2, 2012 in honor of tENTATIVELY, a cONVENIENCE's 59th birthday

- edit finished October 18, 2012

- 34:16

 

385. "North Deface"

- shot in mini-DV, edited to computer, outputted to mini-DV & DVD-R

- Aug 30 - Sept 1, 2012

- 12:42

 

384. a. "mm 05"

- a quasi-document of the 5th "mm" (music meeting)

- featuring tENTATIVELY, a cONVENIENCE; Unfinished Symphonies; Spat Cannon; Greg Pierce; Ben Opie

- shot January 29, 2012

- edited made July 12-13, 2012

- 1:02:23

b. "mm 05" (YouTube version)

- edit made July 14-15, 2012

- 15:51

- on my onesownthoughts YouTube channel here: http://youtu.be/ZF85ExKktCE

 

383. "Skeletal Remains"

- score finished March 22, 2012

- a sampling piece based on pieces using excerpts from James Joyce's "Finnegans Wake"

- demonstration performance at PHEW! 03 at the Who Unit? on May 27, 2012 performed by & camera by tENTATIVELY, a cONVENIENCE

- performance at SIX x ATE organized by Casey Droege on June 18, 2012, camera by Florian Cramer

- edit finished July 5, 2012 by tENTATIVELY, a cONVENIENCE

- 8:59

- on my onesownthoughts YouTube channel here: http://youtu.be/6EicbqmLvbk

 

382. "Robopaths"

- research probably started around late 2007, edit finished May 20, 2012

- a pastiche assembled by tENTATIVELY, a cONVENIENCE inspired by the Lewis Yablonsky term

- A/V sources used (roughly in the order in which I decided to add them to the project):

"Mother Night" movie by Keith Gordon based on the book by Kurt Vonnegut, 1996

"Colour of War VI: Adolf Hitler" movie from TWI/Granada Television - 2004

"Obedience" taken from A/V Geeks' "Science!" compilation

"Uncle Bernie's Farm" from The Mothers of Invention's "Absolutely Free" record composed by Frank Zappa

"Mother People" from The Mothers of Invention's "We're Only in it for the Money" record composed by Frank Zappa

"Mechanical Man" from "Lie" record - composed by Charlie Manson, performed by Manson + The Family

"Modern Times" movie by Charlie Chaplin, 1936

"Architecture of Doom" movie by Peter Cohen, 1989

"Joe" movie by John G. Avildsen, 1970

"Why does Herr R Run Amok?" movie by Michael Fengler & Rainer Werner Fassbinder, 1977

"Human Leech" from the "on the loose" record by Coyle and Sharp, 1964

"You Too can be a Puppet" from "Flahooley" musical, lyrics by E. Y, Harburg, music by Sammy Fain, 1951

"Seven Beauties" movie by Lina Wertmuller, 1975

"Anaconda Targets" movie by Dominic Angerame, 2004

"Punishment Park" movie by Peter Watkins, 1971

"Sweet Movie" movie by Duan Makavejev, 1974

"Otmar Bauer zeigt:" ("Otmar Bauer presents:") movie, 1969

"For the Love of... Part I" (2007-8) & "Threnody" (1992 rev. 2008) - electroacoustic compositions by Mark Steven Brooks from "Dam(n)age" CD

"Judgment at Nuremberg" movie by Stanley Kramer, 1961

"Rapture" installation by Shirin Neshat, 1999

"The South Bank Show (with Shirin Neshat)" tv show by Susan Shaw, 2001

"Hell's Ground" movie by Omar Ali Khan, 2007

"The Crooked E" movie by Penelope Spheeris, 2003

"Holy Smoke" movie by Jane Campion, 1999

"The Cult of the Suicide Bomber" movie starring Robert Baer, 2005

"Obsession: Radical Islam's War Against The West" movie by Wayne Kopping, 2006

"Rock Slyde" movie by Chris Dowling, 2010

"Rat Race" movie by Jerry Zucker, 2001

"Superstar: The Karen Carpenter Story" movie by Todd Haynes, 1987

"Terror's Advocate" movie by Barbet Schroeder, 2007

"Life and Debt" movie by Stephanie Black, 2001

"Entartete Musik - music suppressed by the third reich" movie from Beata Romanowski for Decca Records, 1993

"Amen." movie by Costa-Gavras, 2002

"The Stranger" movie by Orson Welles, 1946

"The Boys from Brazil" movie by Franklin J. Schaffner, 1978

"Manufacturing Consent - Noam Chomsky and the Media" movie by Mark Achbar & Peter Wintonick, 1992

"Shoah" movie by Claude Lanzmann, 1985

"Conspiracy" movie by Frank Pierson, 2001

"Nazi War Criminal goes on Trial" newsreel, 1961

"EYE-TRACKING" movie by tENTATIVELY, a cONVENIENCE, 1988

"The Hunt for Adolf Eichmann" movie from Dan Setton & Ron Frank, 1994

"The House on Garibaldi Street" movie by Peter Collinson,1979

"The Man Who Captured Eichmann" movie by William A. Graham, 1996

"Work Will Make You Free Trade" movie by tENTATIVELY, a cONVENIENCE, 2000

"The Killing Fields" movie by Roland Joffé, 1984

"A" movie by Mori Tatsuya, 1998

"Rhinoceros" movie based on the play by Eugene Ionescu, 1974

"Beginning Responsibility - Lunchroom Manners" movie by Coronet Instructional Films, 1960

"Soapy the Germ Fighter" movie by Avis Films

"Shy Guy" movie by Coronet Instructional Films, 1947

"Kansas vs Darwin" movie by Jeff Tamblyn, 2007

"Flock of Dodos" movie by Randy Olson, 2007

"Man in the Glass Booth" movie by Arthur Hiller, 1975

"The Wonderful, Horrible Life of Leni Riefenstahl" movie by Ray Mller, 1993

"This Film Is Not Yet Rated" - Kirby Dick, 2006

"Come and See" - Elem Klimov, 1985

"The Kaiser's Lackey" movie by Wolfgang Staudte, 1951

"Interpreting The Kaiser's Lackey" - movie by Michael Aronson, 2007 Assistant Professor of History and German & Scandinavian Studies University of Massachusetts Amherst: Andrew Donson]

"The 5000 Fingers of Dr. T" movie by Dr. Seuss & Roy Rowland, 1952

"Monty Python's Flying Circus: Episode 1: Whither Canada" tv program by Monty Python's Flying Circus, 1969

"The Pentagon Wars" movie by Richard Benjamin, 1998

"Backwards Masking in Rocks" movie by tENTATIVELY, a cONVENIENCE, 2008

"Women in Love" movie by Ken Russell, 1969

- text sources used:

Robopaths - People As Machines - Lewis Yablonsky, 1972

Joey: A "Mechanical Boy" (Scientific American Offprint: Scientific American, March 1959) - Bruno Bettelheim

Eichmann in Jerusalem - A Report on the Banality of Evil - Hannah Arendt, 1963

http://en.wikipedia.org/wiki/Reinhard_Heydrich

"The Other Possibility" (Die andre Mglichkeit) , Let's Face It (originally in Ein Mann Gibt Auskunft) - Erich Kastner, 1930

Four Arguments for the Elimination of Television - Jerry Mander, 1978

"How corporations became 'persons' - The amazing true story of a legal fiction that undermines American democracy." - Tom Stites, May 1, 2003 - http://www.uuworld.org/ideas/articles/157829.shtml

Little Superman (Der Untertan) - Heinrich Mann, 1914

- editing notes here

- 1:48:20

- on my onesownthoughts YouTube channel here: https://youtu.be/-PR7C8nFKtA

- on the Internet Archive here: https://archive.org/details/Robopaths

 

381. "May Day (without police)"

- shot in a Pittsburgh residential area on May 1, 2010

- edited on November 16, 2011

- 10:56

- on my onnesownthoughts YouTube channel here: https://youtu.be/4mKTZjZHWJY

 

380. a. "Spectral Evidence"

- silent version made for "Sync'd 4" in "3 Rivers Film Festival" intended to have live soundtrack

- shot in Massachusetts from September 12-21, 2011

- camera, direction, editing, effects: tENTATIVELY, a cONVENIENCE

- additional camera, shadowy presences: Amy Catanzano

- additional camera, nature guide, court jestering, Putt-Putt Course: Vermin Supreme

- edit finished October 1, 2011

- 8:28

b. "Spectral Evidence"

- edit finished October 19, 2011

- featuring music by: Arnold Schönberg, Peter Maxwell Davies, HiTEC,

& poetry w/ music by Kenneth Patchen w/ The Chamber Jazz Sextet

(music composed by Allyn Ferguson)

- 1:18:42

- on the Internet Archive here: https://archive.org/details/SpectralEvidence

c. "Lungs Face Feet @ Sync'd 4"

- edit finished November 11, 2011

- featuring music by "Lungs Face Feet" performed during "Sync'd 4" in "3 Rivers Film Festival" at the Regent Square Theater in Pittsburgh on Thursday, November 10, 2011 - w/ the band showing most of the time - this includes a unique edit of the "Spectral Evidence trailer".

- 41:37

d. "Spectral Evidence trailer" (YouTube version)

- edit finished November 11, 2011

- featuring music by "Lungs Face Feet" performed during "Sync'd 4" in "3 Rivers Film Festival" at the Regent Square Theater in Pittsburgh on Thursday, November 10, 2011 - w/ the band showing during "Verse 1" & the final "Chorus"

- 8:53

- on my onesownthoughts YouTube channel here: http://youtu.be/PFtodKMQpXE

e. "Spectral Evidence trailer"

- edit finished November 13, 2011

- featuring music by "Lungs Face Feet" performed during "Sync'd 4" in "3 Rivers Film Festival" at the Regent Square Theater in Pittsburgh on Thursday, November 10, 2011 - but w/o the band showing

- 8:53

f. "Spectral Evidence trailer" (with sound by Sound/Unsound)

- sound recorded at the Hollywood Theater in Dormont, PA, on December 1, 2013 as part of the "Silents, Please" series

- 8:44

 

377. "Innisfree Reading"

- a reading given by tENTATIVELY, a cONVENIENCE & Amy Catanzano @ Innisfree Poetry Bookstore & Café in Boulder, CO on June 1, 2011

- edit finished July 16, 2011

- broken into 6 parts for YouTube (leaving out the beginning intro & the ending Q&A):

01. tENT & Amy read @ Innisfree - pt 1 - 4:34

- on my onesownthoughts YouTube channel here: https://youtu.be/iWwMJDdEGr8

02. Amy & tENT read @ Innisfree - pt 2 - 7:39

- on my onesownthoughts YouTube channel here: https://youtu.be/XhL5RPKcrnY

03. tENT & Amy read @ Innisfree - pt 3 - 8:15

- on my onesownthoughts YouTube channel here: https://youtu.be/SeKRPVGa_ko

04. Amy & tENT read @ Innisfree - pt 4 - 9:06

- on my onesownthoughts YouTube channel here: https://youtu.be/fEuZnjpPIyI

05. tENT & Amy read @ Innisfree - pt 5 - 9:59

- on my onesownthoughts YouTube channel here: https://youtu.be/9GohN-MtOMg

06. Amy & tENT read @ Innisfree - pt 6 - 9:39

- on my onesownthoughts YouTube channel here: https://youtu.be/c0eevaoXyII

- 1:04:04

 

376. a. "Reductionism (A Yr of Sundays with Mono)"

- the movie version of the score (+ the score played) of the audio piece of the same name

- d composer/realizer: tENTATIVELY, a cONVENIENCE

- Thanks to Warren Burt for Pitch-to-MIDI & Cakewalk assistance

- 1997-1998 / 2000 / 2003 / 2011 - finished June, 2011

- 37:24

b. ""Reductionism (A Yr of Sundays with Mono)" + "Interpretive Duncing (The Sum of Multiple "Reductionisms")" + "Artifacts""

- 37:51

c. "Reductionisms Expanded"

- incorporating footage of the rehearsals & the premier

- 1:19:47

d. "Reductionism + Interpretive Duncing + Artifacts"

- incorporating footage of the rehearsals & the premier of just the expanded piece

- 42:15

- on my onesownthoughts YouTube channel here: https://youtu.be/0MkMFpaZGOU

 

375. a. "DEPOT (wherein resides the UNDEAD of Franz Kamin)"

- short version made for the March 19, 2011 NORKINFEST in Baltimore

- this covers Franz Kamin's years before he moved to St Paul to recuperate from alcoholism, ie: 1941-1986 & is a compressed synthesis of 357 & 359-362 amongst other footage shot in St Paul, NYC, Barrytown, & Pittsburgh

- super-8mm film & mini-dv & scans -> computer -> mini-dv & DVD-R

- 29:52

- October, 2010 - February, 2011

b. "DEPOT (wherein resides the UNDEAD of Franz Kamin)"

- full length version finished at the end of April, 2011

- 3:40:39

- on my onesownthoughts YouTube channel here: https://youtu.be/qDwGVNIJbgE

- on the Internet Archive here: https://archive.org/details/depot_201906

 

374. "George Quasha re Franz Kamin"

- This is the rough long edit of footage that'll be incorporated in shorter form into "DEPOT"

- shot in Barrytown, NY on December 20 & 21, 2010; edit finished February 22, 2011

- 7:13

- on my onesownthoughts YouTube channel here: https://youtu.be/aq7MRMOeg-k

 

373. "Franz Kamin's "Concert of Doors""

- a series of reminiscences re Franz Kamin's seminal synaesthetic concert that'll be incorporated into "DEPOT"

- shot in St Paul, MN on October 30th, 2010; NYC, NY; & Barrytown, NY on December 20th & 21st, 2010

- scan primarily thanks to John & Pam Beaulieu

- 4:37

- on my onesownthoughts YouTube channel here: https://youtu.be/2gjczaYBte8

 

372. a. "John Beaulieu re Franz Kamin"

- This is the rough long edit of footage that'll be incorporated in shorter form into "DEPOT"

- shot in Barrytown, NY on December 21, 2010; edit finished February 20, 2011

- 27:00

b. "John Beaulieu re Franz Kamin"

- I offered John the opportunity to suggest changes to this before I posted it on YouTube

- 26:12

- on my onesownthoughts YouTube channel here: https://youtu.be/1xhKN3hqedk

 

371. "Richard Cameron-Wolfe re Franz Kamin"

- This is the rough long edit of footage that'll be incorporated in shorter form into "DEPOT"

- shot in St Paul, MN on October 31, 2010; edit finished February 9, 2011

- 14:04

- on my onesownthoughts YouTube channel here: https://youtu.be/IqxF79zenLA

 

368. a. "A Neoist Research Project: Daffy Diplomacy" (backward version for YouTube)

- A quasi-documentation of my participation in the WORM Neoist Research Project experiments & outcomes event in the Netherlands on Friday, December 3, 2010 - my participation consisted of my playing sound effects & reading my Neoist Research Project proposal via an international long-distance phone call into a dark room full of very stoned people

- mini-DV

- shot Friday, December 3, 2010 - edit finished December 5, 2010

- 3:18

- on my onesownthoughts YouTube channel here: https://youtu.be/Nl6VVzCzaMY

b. "A Neoist Research Project: Daffy Diplomacy" (forward version)

- shot Friday, December 3, 2010 - edit finished December 6, 2010

- 3:18

- on my onesownthoughts YouTube channel here: https://youtu.be/ywB0rs0D4L0

 

366. a. "tENTATIVELY, a cONVENIENCE - School of Disembodied Poetics"

- shot at the PAC (Performing Arts Center) & environs of the Naropa University in Boulder, CO on October 8, 2010 by tENTATIVELY, a cONVENIENCE & a student from the PAC tech crew

- special thanks to Amy Catanzano for arranging this gig

- edit finished on November 24, 2010 by tENTATIVELY, a cONVENIENCE

- 1:49:19

b. "tENTATIVELY, a cONVENIENCE - School of Disembodied Poetics" (YouTube version)

- edit finished on November 25, 2010 by tENTATIVELY, a cONVENIENCE

- 10:21

- on my onesownthoughts YouTube channel here: http://youtu.be/f2puiVTPGYU

c. "Anselm Hollo Remembers Baltimore"

- Just the Anselm Hollo section extracted from the feature above for possible use in an exhibit about Baltimore literary history in the 1970s, 1980s, & 1990s

- edit finished on July 27, 2017 by tENTATIVELY, a cONVENIENCE

- 3:38

 

365. "Halloween Concert for Franz Kamin"

- shot at the Friends Meeting Hall in St Paul, MN, & at a private home brunch on October 30 & 31, 2010

- contributions from Nor Hall; Ben Kreilkamp; Richard Cameron-Wolfe; Todd Harper; Paul Cantrell; Michael Mann; Marcia Odden; tENTATIVELY, a cONVENIENCE; Matthew Smith; & Franz Kamin

- edit finished on November 13, 2010 by tENTATIVELY, a cONVENIENCE

- 19:04

- broken into 2 parts for YouTube: pt 1: 9:20, pt 2: 9:44

 

364. "Sonluminous Premier"

- shot at Project 53 in Pittsburgh on August 11, 2010 at an event organized by Kenny Haney

- Sonluminous design, sampling, wave-table synthesis, overhead camcorder: tENTATIVELY, a cONVENIENCE

- moving camcorder: Cornelius Henke, III

- edit finished on November 4, 2010 by tENTATIVELY, a cONVENIENCE

- 9:13

- on my onesownthoughts YouTube channel here: https://youtu.be/nAnnNd4qyxY

 

363. "tENTATIVELY, a cONVENIENCE discusses the answer to the question:"What's your name?" with Amy Catanzano"

- shot in a Day's Inn in Grinnell Iowa on July 24, 2010

- edit finished on August 10, 2010 by tENTATIVELY, a cONVENIENCE

- 9:40

- on my onesownthoughts YouTube channel here: https://youtu.be/tHnJvf0z414

 

362. "Amy Catanzano discusses her book "Multiversal" with tENTATIVELY, a cONVENIENCE"

- shot in a Day's Inn in Grinnell Iowa on July 24, 2010

- edit finished on August 7, 2010 by tENTATIVELY, a cONVENIENCE

- 5:56

- on my onesownthoughts YouTube channel here: https://youtu.be/qZeZuCpMVz4

 

359. a. "A Catamaran Animist Vigor" ('purist' version - ie: w/o the explanatory Mark Dixon interview)

- starring: tENTATIVELY, a cONVENIENCE & Bart Trotman

- shot April 17, 2010 in INVISIBLE's studio in Greensboro, NC, using Mark Dixon & Fred Snider's "Selectric Piano" invention

- camcorders: 2 still mini-dvs set up by tENTATIVELY, a cONVENIENCE

- edit from tENTATIVELY, a cONVENIENCE finished May 15, 2010

- 43:43

b. "A Catamaran Animist Vigor" (explanatory version - ie: w/ the Mark Dixon interview)

- 48:33

c. "Po, Li, Ou" ('purist' version - ie: w/o the explanatory Mark Dixon interview)

- using the "Po, Li, Ou" texts created by tENTATIVELY, a cONVENIENCE

- starring: Jodi Staley as the typist

- shot April 17, 2010 in INVISIBLE's studio in Greensboro, NC, using Mark Dixon & Fred Snider's "Selectric Piano" invention

- camcorders: 2 mini-dvs, one static, one moving, set up & shot by tENTATIVELY, a cONVENIENCE

- edit from tENTATIVELY, a cONVENIENCE finished June 11, 2010

- 27:18

d. "Po" (YouTube version)

- an adapted version of "Po, Li, Ou"'s "Po" section

- 4:29

- on my onesownthoughts YouTube channel here: http://youtu.be/T--GnT8Xk0w

e. "Li" (YouTube version)

- an adapted version of "Po, Li, Ou"'s "Li" section

- 7:17

- on my onesownthoughts YouTube channel here: https://youtu.be/NZk-vJoI9nY

f. "Ou - pt 1" (YouTube version - brroken into 2 parts to meet YouTube's technical limits)

- the 1st half of an adapted version of "Po, Li, Ou"'s "Ou" section

- on my onesownthoughts YouTube channel here: https://youtu.be/uDvCwN_QB04

- 8:53

g. "Ou - pt 2" (YouTube version - broken into 2 parts to meet YouTube's technical limits)

- the 2nd half of an adapted version of "Po, Li, Ou"'s "Ou" section

- 8:23

- on my onesownthoughts YouTube channel here: https://youtu.be/TPduDtGGlwU

h. "Po, Li, Ou" (explanatory version - ie: w/ the explanatory Mark Dixon interview)

- edit from tENTATIVELY, a cONVENIENCE finished June 13, 2010

- 32:44

i. "Selectric Piano; Po, Li, Ou; & Anagrammatic Variations"

- edit from tENTATIVELY, a cONVENIENCE finished June 15, 2010

- 1:16:32

j. "Mark Dixon's Selectric Piano" (for YouTube)

- edit from tENTATIVELY, a cONVENIENCE finished June 15, 2010

- 7:47

- on my onesownthoughts YouTube channel here: https://youtu.be/3x6AJ6ssJsk

k. "Claustrophrenia"

- Claustrophrenia - neologism coined by tENTATIVELY, a cONVENIENCE on June 17, 2010 (&, probably, by someone before him): mental discomfiture due to extraordinary interiorization.

- edit from tENTATIVELY, a cONVENIENCE finished June 17, 2010

- 45:15

 

355. "Ghanesh interviews "Free-Range Intellectual" Damien Broderick" (for YouTube)

- like so many entries after this, this is an excerpt of sorts from "Don't Walk Backwards"

- 9:53

- computer edit finished march 18, 2010

- on my onesownthoughts YouTube channel here: https://youtu.be/OhiGt9eJ9bw

 

354. "Franz Kamin's "Unknowing Games at the Hut"" (for YouTube)

- starrring: tENTATIVELY, a cONVENIENCE; John Berndt; Jeanine Farrall; Sara Epple; John Eaton; Leroy Keltner; Martha Colburn; Dawn Culbertson; the voice of Sarmad Brody

- shot during rehearsals leading up to the performance on sunday, november 21, 1993 at the Church of Saint Michael & All Angels in BalTimOre, MD, us@

- camcorders: still "fish-eye": Martha Colburn, moving: Lizard Media Systemss

- edited shortly thereafter into a 22:00+ VHS version not considered worthy of inclusion here

- new edit finished March 7, 2010 by tENTATIIVELY, a cONVENIENCE

- VHS & compact-VHS -> VHS -> computer -> DVD-R

- on my onesownthoughts YouTube channel here: https://youtu.be/C32z98YpSDU

- 8:35

 

353. a. "Purple Prose, Whitewashing, & Yellow Journalism"

- footage mentioning "anarchy" & various related concepts accumulated over yrs of movie witnessing, etc..

- concept, research, & editing by tENTATIVELY, a cONVENIENCE

- media excerpted from in order of appearance: "Le Pacte des Loups" - Christophe Gans, 2001; "Citizen Kane" - Orson Welles, 1941; sample Hearst paper text - Wikipedia; Patty Hearst audio tapes, 1974; "La Marseillaise" - Jean Renoir, 1938; "Mad Dog Morgan" - Philippe Mora, 1976; "Prisoners Among Us: Italian American Identity and World War II" - Michael Angelo DiLauro, 2004; "Lansky" - John McNaughton, 1999; "The Politics of Heroin in Southeast Asia" - Alfred W. McCoy, 1972; "And Starring Pancho Villa as Himself" - Bruce Beresford, 2003; "Pancho Villa - El Ángel y el Fierro" - Diana Roldán, 1999 - Spanish to English translation: Julie Gonzalez; Interview with the original Commando Cody, "Rocket Jock" George D. Wallace - Firesign Theatre, 2002; "Great Books: Alice in Wonderland" - The Learning Channel, 1996; Neoist "We Are All Lenin" action - Vác, Hungary, 1997; Lenin statue from online photo source; "Don't Look Back" - D. A. Pennebaker, 1967; "Brush Your Teeth IT'S THE LAW!" bumper sticker - Vermin Supreme; Vermin Supreme Campain footage; "Reflections on Citizen Kane" - Turner Home Entertainment,1991; "Wilson" - Henry King, 1944; "A People's History of the United States" - Howard Zinn, 1980; Mae Brussell audio tape, 11/16/1980; "The Element of Crime" - Lars von Trier, 1984; "Black Friday" - Anurag Kashyap, 2004; toppling of Lenin & Hussein statues - source forgotten; "Underground Railroad" - History Channel, 1998; lawn jockey from online photo source; "Uncle Remus" - Frank Zappa & George Duke, 1974; "Doctor Zhivago" - David Lean, 1965

- edit finished february 12, 2010

- computer -> mini-DV & DVD-R

- 36:26

b. "Purple Prose, Whitewashing, & Yellow Journalism" (slightly appended)

- I added a short section from: "RKO 281: The Battle Over "Citizen Kane"" - Benjamin Ross, 2000 to the end - november 14, 2011

- 36:35

 

337. "TESTES-3 Coming-Out Party / Sleep Deprivation Therapy School" (for YouTube)

- shot by John Ellsberry June 29-July 1, 1979; edit, scanning, titling by tENTATIVELY, a cONVENIENCE; edit finished: June 1, 2009

- 9:30

- on my onesownthoughts YouTube channel here: https://youtu.be/EFAjQlGPF04

 

321. a. "Triple-S Variety Show - Orgone Cinema"

- live mix & electronic soundtrack to VHS: Friday, January 12, 1995

- VHS

- 1:56:16

b. "Triple-S Variety Show - Orgone Cinema"

- VHS -> computer -> mini-DV & DVD-R

- 26:11

c. "Triple-S Variety Show - Orgone Cinema (revisited)"

- incorporating footage from the live presentation of this at the Why Are series on March 28, 2009

- shortened back down to 26:11 despite the addition of framing footage

- on my onesownthoughts YouTube channel here: https://youtu.be/31Idq235Jco

 

HiTEC documents:

- HiTEC (Histrionic Thought Experiment Cooperative) was originally proposed as "Sonic Aughts Union" by tENTATIVELY, a cONVENIENCE after a May '08 gig in a library by t,ac; Margaret Cox; Rick Gribenas; & Steve Boyle. When "Sonic Aughts Union" failed to materialize as cONVENIENCE originally imagined, it transformed into HiTEC & into more orchestral dimensions. Its 1st rehearsal was on July 14, 2008. In an attempt to document every rehearsal, mini-dv has been shot, sometimes w/ 2 cameras, sometimes w/ the camera(s) only on (a) tripod(s), sometimes w/ camera operators - & explanatory titles have been added. The numbers in the title represent the number of the rehearsal & the letters represent the sub-group of HiTEC that was rehearsing. 'Full' groups are designated as such. The order they're presented in here is an approximate recreation of the order in wch they were made.

- All were shot on mini-dv & edited & titled on computer by tENTATIVELY, a cONVENIENCE & outputted to DVD-R & mini-dv unless otherwise noted

 

280. "HiTEC 001 A"

- tENTATIVELY, a cONVENIENCE: piano, guitars, effects pedals, feedback, cymbal, sampler, wave-table synthesizer; Rick Gribenas: laptop, organ, vibres, floor stomping; Johan Nystrom: snare drum, cymbals

- Monday, July 14, 2008; etc..

- 1:05:22

- https://archive.org/details/HiTEC001A

 

281. "HiTEC 002 B"

- tENTATIVELY, a cONVENIENCE: piano, sampler; Ben Opie: alto sax; Spat Cannon: vibres

- Monday, July 21, 2008; etc..

- 0:22:40

- https://youtu.be/CzmiqSERZDU

 

282. "HiTEC 003 C"

- tENTATIVELY, a cONVENIENCE: piano; James Gyre: darbouka, Erector Set; Kenny Haney: bass clarinet

- Thursday, July 24, 2008; etc..

- 0:17:10

- on the Internet Archive here: https://archive.org/details/HiTEC003C

 

283. "HiTEC 004 A"

- tENTATIVELY, a cONVENIENCE: piano; Johan Nystrom: percusssion; Ben Grubb: homemade tongue drum; Hyla Willis: erhu

- Monday, July 28, 2008; etc..

- 0:28:37

- on my onesownthoughts YouTube channel here: https://youtu.be/EKgYd0g1ZxU

 

284. "HiTEC 005 D"

- tENTATIVELY, a cONVENIENCE: piano; Josh Tanzer: electric guitar; Tony Balko: temple blocks & singing bowls; Ilona Auth: tap dancing

- Tuesday, July 29, 2008; etc..

- 0:20:37

- on the Internet Archive here: https://archive.org/details/HiTEC005D

 

285. "HiTEC 006 E"

- tENTATIVELY, a cONVENIENCE: piano, sampler, wave-table synthesizer; Erok: trombone; Ally Reeves: vibres; Margaret Campbell: belly dancing

- Sunday, August 3, 2008; etc..

- 1:05:17

- on my onesownthoughts YouTube channel here: https://youtu.be/28AWJK4xbC0

 

286. "HiTEC 007 B"

- tENTATIVELY, a cONVENIENCE: piano, sampler, wave-table synthesizer, DX-27S; Ben Opie: Bb clarinet, thingamagoop; Spat Cannon: vibres; Julian Krishnamurti: electric bass; Ben Harris: violin, table-tapping

- Monday, August 4, 2008; etc..

- 1:05:19

- on the Internet Archive here: https://archive.org/details/HiTEC007B

 

287. "HiTEC 008 C"

- tENTATIVELY, a cONVENIENCE: piano; James Gyre: percussion, sampler, trumpet, didjeridoo; Kenny Haney: Bb clarinet, organ foot pedals, glass xylophone; Jonathan Brodsky: percussion, sampler; Joy: electric guitar, effects; Caleb Gamble: french horn

- Tuesday, August 5, 2008; etc..

- 0:50:42

- on my onesownthoughts YouTube channel here: https://youtu.be/d4xXx_WMhH8

 

288. "HiTEC 009 A"

- tENTATIVELY, a cONVENIENCE: piano, electric guitar w/ wah-wah, sampler, wave-table synthesizer, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, Jamaican bean; Ben Harris: violin ; Dave Bernabo: acoustic guitar; Kerrith Livengood: flute; Andrew "The Impaled" Laswell: Jamaican bean, piano, vibres

- Monday, August 11, 2008; etc..

- 1:05:10

- on the Internet Archive here: https://archive.org/details/HiTEC009A

 

289. "HiTEC 010 D"

- tENTATIVELY, a cONVENIENCE: piano, electric guitar w/ effect; Tony Balko: videocamera, vibres; Ilona Auth: (tap) dancing; Kevin Smith: Realistic Moog MG1

- Thursday, August 14, 2008; etc..

- 0:38:45

- on my onesownthoughts YouTube channel here: https://youtu.be/SbWuSrLZIn4

 

290. "HiTEC 011 E"

- tENTATIVELY, a cONVENIENCE: piano, sampler; Erok: trombone; Margaret Campbell: belly dancing; Unfinished Symphonies: electronic keyboard; Stuart Anderson: videocamera

- Sunday, August 17, 2008; etc..

- 0:23:44

- on the Internet Archive here: https://archive.org/details/HiTEC011E

 

291. "HiTEC 012 B"

- tENTATIVELY, a cONVENIENCE: piano, guitar w/ f/x, sampler, DX27S; Spat Cannon: vibres; Tracy Mortimore: bass, piano; Roger Dannenberg: trumpet

- Monday, August 18, 2008; etc..

- 0:55:00

- on my onesownthoughts YouTube channel here: https://youtu.be/RWbIhs7vBkI

 

292. "HiTEC 013 C"

- tENTATIVELY, a cONVENIENCE: piano; James Gyre: percussion; Kenny Haney: bass clarinet; Roger Dannenberg: trumpet; Dani Simmonds: banjo-uke; William Wedler: glass xylophone

- Thursday, August 21, 2008; etc..

- 1:04:26

- on the Internet Archive here: https://archive.org/details/HiTEC013C

 

293. "HiTEC 014 F"

- tENTATIVELY, a cONVENIENCE: piano, electronics, Erector Set; Unfinished Symphonies: electronic keyboard; Dani Simmonds: lap guitar; William Wedler: vibraphone

- Sunday, August 24, 2008; etc..

- 0:30:27

- on my onesownthoughts YouTube channel here: https://youtu.be/tfUyHgiX5PM

 

294. "HiTEC 015 A"

- tENTATIVELY, a cONVENIENCE: piano; Hyla Willis: erhu, toy ratchet, siren whistle; Ben Harris: violin; Dave Bernabo: lap guitar, acoustic guitar; Kerrith Livengood: flute; Jonathan Brodsky: monome with mabalhabla software; Julian Krishnamurti: electric bass; Joy: Erector Set

- Erin Oldynski: (non-SM) camcorder

- Monday, August 25, 2008; etc..

- 0:40:21

- on the Internet Archive here: https://archive.org/details/HiTEC015A

 

295. "HiTEC 016 D"

- tENTATIVELY, a cONVENIENCE: electronics, MR/RRR RECORD, piano, percussion; Tony Balko: (non-SM) camcorder; Ilona Auth: tap dancing; Johan Nystrom: percussion

- Thursday, August 28, 2008, 2008; etc..

- 0:56:53

- on my onesownthoughts YouTube channel here: https://youtu.be/4naXZSpT-RI

 

296. "HiTEC 017 E"

- Johan Nystrom: percussion; Stuart Anderson: camcorder

- Sunday, August 31, 2008; etc..

- 0:06:26

- on the Internet Archive here: https://archive.org/details/HiTEC017E

 

297. "HiTEC 019 C"

- Johan Nystrom: electronics, camcorder set-up; Kenny Haney: bass clarinet

- Thursday, September 4, 2008; etc..

- 0:31:39

- on the Internet Archive here: https://archive.org/details/HiTEC019C

 

298. "HiTEC 020 F & A"

- tENTATIVELY, a cONVENIENCE: piano, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, small instrument; Dave Bernabo: vibres; Kerrith Livengood: alto flute; Jonathan Brodsky: monome with mabalhabla software; Unfinished Symphonies: electronic keyboard; Dani Simmonds: banjo-uke; William Wedler: Erector Set; Margaret Campbell: belly dancing, Wheel of Fortune

- Sunday, September 7, 2008; etc..

- 1:04:35

- on my onesownthoughts YouTube channel here: https://youtu.be/aDDsf5vY4nc

 

299. a. "HiTEC 021 'Full' Group" - w/ framing titles

- Clockwise w/ the Wheel of Fortune @ 12 O'Clock:

- Ilona Auth: tap dancing, WoF spinning; Ben Opie: alto sax, thingamagoop; Kerrith Livengood: flute; Ben Harris: violin; Dave Bernabo: acoustic guitar; Johan Nystrom: percussion; William Wedler: percussion; tENTATIVELY, a cONVENIENCE: grand piano, percussion; Unfinished Symphonies: electronic keyboard; Joy: acoustic guitar; Erok: trombone; Jonathan Brodsky: monome with mabalhabla software; Kenny Haney: bass clarinet; James Gyre: darbouka, flute, bicycle; Hyla Willis: erhu, small noisemaker; Tony Balko: 16mm camera

- Sunday, September 14, 2008; etc..

- 0:07:57

b. "HiTEC 021 'Full' Group" - w/ partial titles

- Tony Balko: 16mm camera

- Sunday, September 14, 2008; etc..

- 0:07:57

c. "HiTEC 021 'Full' Group" - w/ full titles

- Tony Balko: 16mm camera

- Sunday, September 14, 2008; etc..

- 0:07:57

- on my onesownthoughts YouYube channel here: https://youtu.be/e0thj_1lWlA

 

300. "HiTEC 021 'Full' Group"

- Clockwise w/ the Wheel of Fortune @ 12 O'Clock:

- Ilona Auth: tap dancing, WoF spinning; Ben Opie: alto sax, thingamagoop; Kerrith Livengood: flute; Ben Harris: violin; Dave Bernabo: acoustic guitar; Johan Nystrom: percussion; William Wedler: percussion; tENTATIVELY, a cONVENIENCE: grand piano, percussion; Unfinished Symphonies: electronic keyboard; Joy: acoustic guitar; Erok: trombone; Jonathan Brodsky: monome with mabalhabla software; Kenny Haney: bass clarinet; James Gyre: darbouka, flute, bicycle; Hyla Willis: erhu, small noisemaker; Tony Balko: 16mm camera

- Sunday, September 14, 2008; etc..

- 1:01:57

- 16mm + mini-dv -> DVD-R & mini-dv

- on the Internet Archive here: https://archive.org/details/HiTEC021full

 

301. "HiTEC 022 C"

- tENTATIVELY, a cONVENIENCE: piano, percussion, organ, effected WoF, electronics; Kenny Haney: bass clarinet, digital recorder

- Thursday, September 18, 2008; etc..

- 0:46:41

- on my onesownthoughts YouTube channel here: https://youtu.be/3wral6BUgx8

 

302. "HiTEC 023 F"

- tENTATIVELY, a cONVENIENCE: piano, percussion, effected WoF; Roger Dannenberg: trumpet; Unfinished Symphonies: electronic keyboard; William Wedler: Erector Set; Stuart Anderson: recorder, vibres

- Sunday, September 21, 2008; etc..

- 1:05:42

- on the Internet Archive here: https://archive.org/details/HiTEC023F

 

303. "Persisting Resisting"

- tENTATIVELY, a cONVENIENCE

- Using every version of the "Persisting Resisting" part of "Systems Management" from the 1st 12 rehearsals of HiTEC (Histrionic Thought Experiment Cooperative).

- featuring the following 28 participants:

- 001A - Monday, July 14, 2008

- tENTATIVELY, a cONVENIENCE: piano, guitars, effects pedals, feedback, cymbal, sampler, wave-table synthesizer; Rick Gribenas: laptop, organ, vibres, floor stomping; Johan Nystrom: snare drum, cymbals

- 002B - Monday, July 21, 2008

- tENTATIVELY, a cONVENIENCE: piano, sampler; Ben Opie: alto sax; Spat Cannon: vibres

- 003C - Thursday, July 24, 2008

- tENTATIVELY, a cONVENIENCE: piano; James Gyre: darbouka, Erector Set; Kenny Haney: bass clarinet

- 004A - Monday, July 28, 2008

- tENTATIVELY, a cONVENIENCE: piano; Johan Nystrom: percusssion; Ben Grubb: homemade tongue drum; Hyla Willis: erhu

- 005D - Tuesday, July 29, 2008

- tENTATIVELY, a cONVENIENCE: piano; Josh Tanzer: electric guitar; Tony Balko: temple blocks & singing bowls; Ilona Auth: tap dancing

- 006E - Sunday, August 3, 2008

- tENTATIVELY, a cONVENIENCE: piano, sampler, wave-table synthesizer; Erok: trombone; Ally Reeves: vibres; Margaret Campbell: belly dancing

- 007B - Monday, August 4, 2008

- tENTATIVELY, a cONVENIENCE: piano, sampler, wave-table synthesizer, DX-27S; Ben Opie: Bb clarinet, thingamagoop; Spat Cannon: vibres; Julian Krishnamurti: electric bass; Ben Harris: violin, table-tapping

- 008C - Tuesday, August 5, 2008

- tENTATIVELY, a cONVENIENCE: piano; James Gyre: percussion, sampler, trumpet, didjeridoo; Kenny Haney: Bb clarinet, organ foot pedals, glass xylophone; Jonathan Brodsky: percussion, sampler; Joy: electric guitar, effects; Caleb Gamble: french horn

- 009A - Monday, August 11, 2008

- tENTATIVELY, a cONVENIENCE: piano, electric guitar w/ wah-wah, sampler, wave-table synthesizer, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, Jamaican bean; Ben Harris: violin; Dave Bernabo: acoustic guitar; Kerrith Livengood: flute; Andrew "The Impaled" Laswell: Jamaican bean, piano, vibres

- 010D - Thursday, August 14, 2008

- tENTATIVELY, a cONVENIENCE: piano, electric guitar w/ effect; Tony Balko: videocamera, vibres; Ilona Auth: (tap) dancing; Kevin Smith: Realistic Moog MG1

- 011E - Sunday, August 17, 2008, 8PM

- tENTATIVELY, a cONVENIENCE: piano, sampler; Erok: trombone; Margaret Campbell: belly dancing; Unfinished Symphonies: electronic keyboard; Stuart Anderson: videocamera

- 012B - Monday, August 18, 2008

- tENTATIVELY, a cONVENIENCE: piano, guitar w/ f/x, sampler, DX27S; Spat Cannon: vibres; Tracy Mortimore: bass, piano; Roger Dannenberg: trumpet

- mini-dv -> computer -> DVD & mini-DV

- 0:09:11

- on my onesownthoughts YouTube channel here: https://youtu.be/uw65Z_87zsE

 

304. "HiTEC 033 Z"

- Alberto Almarza's "WorldsWithinWorlds" class at the Mattress Factory

- tENTATIVELY, a cONVENIENCE: mouth instruments, voice; Kimi Hanauer: percussion; George Cessna: percussion; Rashawn Haley: percussion; Hanna Madelyn Landesberg: percussion; Dawn Davis: percussion

- Alberto Almarza: teacher, camcorder

- Saturday, October 25, 2008; etc..

- 0:57:11

- on the Internet Archive here: https://archive.org/details/HiTEC033Z

 

305. "HiTEC 039 'Full' Group"

- tENTATIVELY, a cONVENIENCE: grand piano, effected WoF; Johan Nystrom: extended percussion amplified thru electric guitar; Hyla Willis: erhu; Ben Harris: violin; Dave Bernabo: acoustic guitar, homemade kracklebox made by dave kuzy; Kerrith Livengood: flute; Jonathan Brodsky: monome with mabalhabla software; Spat Cannon: acoustic bass; James Gyre: drum kit; Kenny Haney: bass clarinet; Roger Dannenberg: trumpet; Ben Opie: alto sax, thingamgoop (from kit); Julian Krishnamurti: electric bass; Unfinished Symphonies: electronic keyboard; Dani Simmonds: banjo-uke; William Wedler: percussion; Joy: acoustic guitar; Erok: trombone; Melissa St. Pierre: amplified toy piano

- Sunday, November 16, 2008; etc..

- 1:22:50

- on the Internet Archive here: https://archive.org/details/HiTEC039full

 

306. a. "HiTEC 024 A" (sound version)

- tENTATIVELY, a cONVENIENCE: piano, percussion; Johan Nystrom: percussion; Hyla Willis: erhu, vibres; Ben Harris: violin; Kerrith Livengood: alto flute; Jonathan Brodsky: monome with mabalhabla software; James Gyre: Erector Set; Spat Cannon: upright bass

- Monday, September 22, 2008; etc..

- 1:26:09

b. "HiTEC 024 A" ('silent' version)

c. "HiTEC 024 A" (hybrid version)

- 1:32:12

- edit made April 22, 2019

- on my onesownthoughts YouTube channel here: https://youtu.be/RmtaSPLef_w

 

307. "HiTEC 025 D"

- tENTATIVELY, a cONVENIENCE: piano, percussion, electronics, WoF; Dani Simmonds: banjo-uke; Julian Krishnamurti: electric bass

- Thursday, September 25, 2008; etc..

- 0:55:23

- on the Internet Archive here: https://archive.org/details/HiTEC025D

 

308. "HiTEC 026 E"

- tENTATIVELY, a cONVENIENCE: piano, percussion; Stuart Anderson: Small Nondo; Joy: acoustic guitar; Ben Opie: Bb clarinet, thingamagoop (from kit), vibres

- shot Sunday, September 28, 2008; edited December 11, 2008

- 1:18:06

- on my onesownthoughts YouTube channel here: https://youtu.be/6OPfaeUoVY0

 

309. "HiTEC 038 C"

- tENTATIVELY, a cONVENIENCE: piano, percussion; Kenny Haney: bass clarinet, balloons; Ben Opie: Bb clarinet, thingamagoop (from kit); Tony Balko: Systems Management camcorder; Julian Krishnamurti: electric bass; Unfinished Symphonies: electronic keyboard; Melissa St. Pierre: spinner

- shot Thursday, November 13, 2008; edit finished December 14, 2008

- 0:42:52

- on my onesownthoughts YouTube channel here: https://youtu.be/h_mLectZC94

 

310. "HiTEC 045 'Full' Group"

- Clockwise w/ the Wheel of Fortune @ 12 O'Clock: Joy: acoustic guitar; Unfinished Symphonies: electronic keyboard; William Wedler: percussion; Erok: trombone; Stuart Anderson: recorder; Roger Dannenberg: trumpet, flugelhorn; Dani Simmonds: banjo-uke; Spat Cannon: acoustic bass; Melissa St. Pierre: toy piano; Julian Krishnamurti: electric bass [app. 20 minutes into recording]; Mike Tamburo: hammered dulcimer; Ben Harris: violin; Jonathan Brodsky: monome; Johan Nystrom: extended percussion; Hyla Willis: erhu, small noisemaker(s); Kenny Haney: bass clarinet; Ben Opie: Turkish clarinet in G, soprano sax, thingamagoop (from kit); Tony Balko: SM camcorder; tENTATIVELY, a cONVENIENCE: grand piano

- Sunday, December 7, 2008; edit finished December 22, 2008

- 1:11:32

- on the Internet Archive here: https://archive.org/details/HiTEC045full

 

311. "HiTEC 027 C"

- tENTATIVELY, a cONVENIENCE: piano, percussion; James Gyre: Erector Set, sampler; Kenny Haney: bass clarinet; Roger Dannenberg: trumpet; Ben Opie: Bb clarinet, thingamagoop (from kit); Julian Krishnamurti: electric bass

- shot Thursday, October 2, 2008; edit finished December 25, 2008

- 1:05:28

- on the Internet Archive here: https://archive.org/details/HiTEC027C

 

312. "HiTEC 028 F"

- tENTATIVELY, a cONVENIENCE: piano; Unfinished Symphonies: electronic keyboard; Dani Simmonds: banjo-uke; Stuart Anderson: Erector Set; Erok: vibres

- shot Sunday, October 5, 2008; edit finished December 27, 2008

- 1:05:28

- on my onesownthoughts YouTube channel here: https://youtu.be/op9JufolGFY

 

313. "HiTEC 029 A"

- tENTATIVELY, a cONVENIENCE: piano, voice; Johan Nystrom: percussion; Ben Harris: violin; David Bernabo: acoustic guitar; Spat Cannon: acoustic bass; Tony Balko: camcorder, vibres

- shot Monday, October 6, 2008; edit finished December 28, 2008

- 0:35:20

- on the Internet Archive here: https://archive.org/details/HiTEC029A

 

314. "HiTEC 030 C"

- tENTATIVELY, a cONVENIENCE: piano, percussion, vibres; James Gyre: percussion; Kenny Haney: bass clarinet, piano; Roger Dannenberg: trumpet; Julian Krishnamurti: electric bass, percussion

- shot Thursday, October 16, 2008; edit probably finished shortly thereafter

- burned to DVD-R December 28, 2008

- 1:05:17

- on my onesownthoughts YouTube channel here: https://youtu.be/qvtF8UmLyuw

 

315. "HiTEC 031 F"

- tENTATIVELY, a cONVENIENCE: piano, percussion; Unfinished Symphonies: electronic keyboard; William Wedler: Erector Set; Joy: acoustic guitar; Stuart Anderson: recorder; Andrea (Unfinished Symphonies' sister): listener, WoF spinner

- shot Sunday, October 19, 2008; edit finished December 30, 2008

- 0:46:51

- on the Internet Archive here: https://archive.org/details/HiTEC031F

 

316. "HiTEC 032 A"

- tENTATIVELY, a cONVENIENCE: piano, percussion, voice; Johan Nystrom: percussion; Ben Harris: violin; David Bernabo: acoustic guitar; Kerrith Livengood: alto flute; Jonathan Brodsky: monome with mabalhabla software; Erok: trombone

- shot Monday, October 20, 2008; edit finished December 31, 2008

- 1:05:29

- on my onesownthoughts YouTube channel here: https://youtu.be/WAwvVSEyasY

 

317. "HiTEC 034 E"

- tENTATIVELY, a cONVENIENCE: piano, percussion; Spat Cannon: acoustic bass; Ben Opie: soprano sax; Erok: vibres

- shot Sunday, October 26, 2008; edit finished January 1, 2009

- 1:05:31

- on my onesownthoughts YouTube channel here: https://youtu.be/oh8Xjiuz2mg

 

319. "HiTEC 051 - New Hazlett Theater"

- tENTATIVELY, a cONVENIENCE: piano, SysMan, electronics, percussion, spinner, editing, etc..; Tony Balko: camcorder; Ben Opie - reeds, electronics; Kenny Haney: clarinets, balloons ; Spat Cannon: upright acoustic bass; Dani Simmonds: banjo-uke; Roger Dannenberg: trumpet, flugelhorn, piccolo trumpet; Missi St Pierre: toy piano w/ effects; Julian Krishnamurti: electric bass; Johan Nystrom: extended percussion; Kerrith Livengood: alto flute; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; Mike Tamburo: hammered dulcimer; Unfinished Symphonies: electronic keyboard; Joy: electric guitar w/ nylon strings; William Wedler: Experiment 1; Erok: trombone; Stuart Anderson: laptop; James Gyre: drums

- moving cameras: Blissy Ann Higgs, Bill Daniel, Ashley Brickman

- shot Friday, January 9, 2009; edit finished February 4, 2009

- high-definition hard-drive & mini-dv -> mini-DV & DVD-R

- 1:38:42

click here to check out the beginning of this

click here to check out an excerpt from the raw soft focus Hi-Def footage of this

- the complete gig is on the Internet Archive here: https://archive.org/details/HiTEC051full

- complete version also on my onesownthoughts YouTube channel here: https://youtu.be/lc20DsVW718

 

320. "HiTEC 035 C"

- tENTATIVELY, a cONVENIENCE: piano, percussion, editing, titling; James Gyre: Erector Set; Tony Balko: (SM) camcorder (projected); Dani Simmonds: banjo-uke, processor; Joy: acoustic guitar

- shot Thursday, October 30, 2008; edit finished February 13, 2009

- 47:41

- on the Internet Archive here: https://archive.org/details/HiTEC035C

 

322. "HiTEC 036 A & F"

- tENTATIVELY, a cONVENIENCE: piano, percussion, WoF spinner, Designator, editing, titling; Johan Nystrom: amplified percussion, vibres, Sheepdog; Kerrith Livengood: flute; Jonathan Brodsky: monome ; Dani Simmonds: banjo-uke; William Wedler: Erector Set, Designator; Spat Cannon: acoustic bass

- shot Monday, November 3, 2008; edit finished February 17, 2009

- 1:08:18

- on my onesownthoughts YouTube channel here: https://youtu.be/c7cIl-vckqk

 

323. "HiTEC 037 G"

- tENTATIVELY, a cONVENIENCE: piano, percussion, editing, titling; Unfinished Symphonies: electronic keyboard; Jules: SK-1

- shot Thursday, November 13, 2008; edit finished February 19, 2009

- 1:05:28

- on the Internet Archive here: https://archive.org/details/HiTEC037G

 

324. "HiTEC 040 A"

- tENTATIVELY, a cONVENIENCE: piano, editing, titling; Johan Nystrom: balloons, vibres; Hyla Willis: erhu, Jamaican bean, small noisemaker; Jonathan Brodsky: monome with mabalhabla software, electric guitar

- shot Monday, November 17, 2008; edit finished February 22, 2009

- 1:05:28

- on my onesownthoughts YouTube channel here: https://youtu.be/kWvAr1MHHcQ

 

325. "HiTEC 041 F"

- tENTATIVELY, a cONVENIENCE: Spinner, Processor, editing, titling; Unfinished Symphonies: electronic keyboard; William Wedler: Erector Set; Joy: electric guitar; Stuart Anderson: vibres; Erok: trombone; Roger Dannenberg: trumpet

- shot Sunday, November 23, 2008; edit finished February 26, 2009

- 1:03:29

- on the Internet Archive here: https://archive.org/details/HiTEC041F

 

326. "HiTEC 042 G"

- tENTATIVELY, a cONVENIENCE: piano, percussion, titling; Melissa St. Pierre: toy piano; Mike Tamburo: hammered dulcimer; Dani Simmonds: banjo-uke; Roger Dannenberg: trumpet

- shot Monday, November 24, 2008; edit finished March 2, 2009

- 1:05:28

- on my onesownthoughts YouTube channel here: https://youtu.be/EGZhm7VuAyw

 

327. "HiTEC 043 C & G"

- tENTATIVELY, a cONVENIENCE: piano, percussion, Spinner; James Gyre: Erector Set; Kenny Haney: bass clarinet; Ben Opie: soprano sax, thingamagoop (from kit), percussion; Tony Balko: SM camcorder; Julian Krishnamurti: electric bass; Melissa St. Pierre: toy piano; Mike Tamburo: hammered dulcimer, percussion

- shot Tuesday, November 25, 2008; edit finished March 5, 2009

- 1:21:27

- on the Internet Archive here: https://archive.org/details/HiTEC43CG

 

328. "HiTEC 044 A & G"

- tENTATIVELY, a cONVENIENCE: piano, percussion, voice, camcorder, titling; David Bernabo: acoustic guitar; Jonathan Brodsky: monome; Spat Cannon: acoustic bass; Melissa St. Pierre: toy piano; Mike Tamburo: hammered dulcimer, percussion, voice; Stuart Anderson: organ, camcorder

- shot Monday, December 1, 2008; edit finished March 7, 2009

- 1:22:47

- on my onesownthoughts YouTube channel here: https://youtu.be/6OXXONcpKXg

 

329. "HiTEC 046 C & G"

- tENTATIVELY, a cONVENIENCE: non-SM camcorder, Spinner; Kenny Haney: Bb clarinet, Spinner, Processor; Roger Dannenberg: trumpet, percussion; Julian Krishnamurti: electric bass, percussion, piano; Melissa St. Pierre: toy piano

- shot Thursday, December 11, 2008; edit finished March 14, 2009

- 1:17:35

- on my onesownthoughts YouTube channel here: https://youtu.be/CZCS6cnaQis

 

330. "HiTEC 047 A"

- tENTATIVELY, a cONVENIENCE: piano, percussion, oboe, camera, titling; Johan Nystrom: electronics, vibres; Hyla Willis: erhu, Jamaican bean; David Bernabo: acoustic guitar, percussion; Jonathan Brodsky: monome with mabalhabla software; Spat Cannon: acoustic bass, percussion; Mike Tamburo: hammered dulcimer, percussion

- shot Monday, December 15, 2008; edit finished March 19, 2009

- 1:22:50

- on the Internet Archive here: https://archive.org/details/HiTEC047A

 

331. "HiTEC 048 'Full' Group"

- Clockwise w/ the Wheel of Fortune @ 12 O'Clock: James Gyre: drum set; Joy: electric guitar w/ nylon strings; Unfinished Symphonies: electronic keyboard; William Wedler: Experiment 1, percussion; Erok: trombone; Dani Simmonds: banjo-uke; Spat Cannon: acoustic bass; Julian Krishnamurti: electric bass; David Bernabo: melodica, percussion, homemade kracklebox made by dave kuzy; Jonathan Brodsky: monome; Johan Nystrom: extended percussion; Kenny Haney: bass clarinet; Ben Opie: tenor sax, thingamagoop (from kit); Tony Balko: SM camcorder; tENTATIVELY, a cONVENIENCE: grand piano, editing, titling

- shot Sunday, December 21, 2008; edit finished March 28, 2009

- 1:24:46

- on my onesownthoughts YouTube channel here: https://youtu.be/MnanNTyY7yo

 

332. "HiTEC 049 A"

- tENTATIVELY, a cONVENIENCE: piano, percussion, voice, camera, editing, titling; Hyla Willis: erhu, percussion, voice; Jonathan Brodsky: monome; Melissa St. Pierre: toy piano; Roger Dannenberg: trumpet, SysMan software

- shot Monday, December 29, 2008; edit finished April 2, 2009

- 1:05:26

- on the Internet Archive here: https://archive.org/details/HiTEC049A

 

333. "HiTEC 050 'Full' Group"

- Clockwise w/ the Wheel of Fortune @ 12 O'Clock: tENTATIVELY, a cONVENIENCE: piano, SysMan, electronics, percussion, spinner, editing, titling; Tony Balko: Systems Management camcorder; Ben Opie: tenor sax, electronics; Kenny Haney: bass clarinet; Dani Simmonds: banjo-uke, harmonica; Roger Dannenberg: trumpet, flugelhorn; Missi St Pierre: toy piano w/ effects; Julian Krishnamurti: electric bass; Johan Nystrom: extended percussion; Kerrith Livengood: alto flute; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; Mike Tamburo: hammered dulcimer; Joy: electric guitar w/ nylon strings; William Wedler: Experiment 1

- shot Thursday, January 8, 2009; edit finished April 8, 2009

- 1:22:48

- on my onesownthoughts YouTube channel here: https://youtu.be/7CpcMSnch90

 

334. a. "HiTE Club PREMIER"

- starring joy toujours; Tony Blowad; tENTATIVELY, a cONVENIENCE

- 1:31:51

- on the Internet Archive here: https://archive.org/details/HiTEclub1

b. "HiTE Club PREMIER" (YouTube version)

- 09:46

- on my onesownthoughtsYouTube channel here: https://youtu.be/XU6AnSa4v0s

 

335. "HiTEC 054 'Full' Group"

- Clockwise w/ tENTATIVELY, a cONVENIENCE @ 12 O'Clock:

- tENTATIVELY, a cONVENIENCE: grand piano; joy toujours: guitar; William Wedler: Experiment 1; Unfinished Symphonies: electronic keyboard; Julian Krishnamurti: electric bass, erhu; Roger Dannenberg: trumpet; Dani Simmonds: banjo-uke, krackle box; Josh Beyer: cello; Red Bob: drums; Mike Kasunic: synthesizer; Mike Tamburo: hammered dulcimer, pipe xylophone, melodica; David Bernabo: acoustic guitar, percussion; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; James Gyre: darbouka, drum machine; Ben Opie: Bb clarinet; Kenny Haney: Bb clarinet; Hyla Willis: erhu, percussion, voice

- shot Sunday, May 10, 2009; edit finished May 16, 2009

- 1:22:50

- on my onesownthoughts YouTube channel here: https://youtu.be/On9c0e4pN2k

 

338. "HiTEC 057 H"

- tENTATIVELY, a cONVENIENCE: electronics, titling; Bob Jungkunz: Erector Set; Josh Beyer: cello, circuit-bent toy; Mike Kasunic: synthesizer; Tony Balko: SM camcorder, percussion

- shot Sunday, May 31, 2009; edit finished June 5, 2009

- 46:07

- on the Internet Archive here: https://archive.org/details/HiTEC057H

 

339. "HiTEC 058 'Full' Group"

- tENTATIVELY, a cONVENIENCE: grand piano, electronics; William Wedler: Experiment 1; Unfinished Symphonies: electronic keyboard; Mike Kasunic: synthesizer; Julian Krishnamurti: electric bass, ukelele; Dani Simmonds: ukelele, krackle box, harmonica; Spat Cannon: acoustic bass; Josh Beyer: cello; Jonathan Brodsky: monome with mabalhabla softwar; Ben Harris: violin; Kenny Haney: Bb clarinet; Hyla Willis: erhu, percussion, voice; Ben Opie: alto clarinet, C-Melody sax, grand piano, recorder

- shot Sunday, June 7, 2009

- 1:22:37

- on my onesownthoughts YouTube channel here: https://youtu.be/bN44OkFaXhU

 

340. a. "The End of Television"

Clockwise from Wheel-of-Fortune: Tony Balko: SM camcorder; tENTATIVELY, a cONVENIENCE: electronics, voice; Ben Opie: saxes, Thingamagoop; Kenny Haney: Bb clarinet; James Gyre: darbouka, drum set, flute; Spat Cannon: acoustic bass; Dani Simmonds: ukelele, small banjo, harmonica, darbouka, electronics; Roger Dannenberg: trumpet, flugelhorn, piccolo trumpet; Josh Beyer: cello; Julian Krishnamurti: electric bass; Johan Nystrom: extended percussion; Hyla Willis: amplified erhu; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; Mike Tamburo: hammered dulcimer, Crowned Eternal, melodica; David Bernabo: electric guitar; William Wedler: Experiment 1; joy toujours: trombone; Unfinished Symphonies: electronic keyboard; Red Bob Jungkunz: drums; Mike Kasunic: synthesizer, flute, percussion

- mostly shot Friday, June 12, 2009; edit finished June 30, 2009

- 1:58:35

- on the Internet Archive here: https://archive.org/details/HiTEC059full

- on my onesownthoughts YouTube channel here: https://youtu.be/RjzBIOt863Y

b. "Stanley Cup FINAL 2009" (for YouTube)

- 10:30

c. "Stanley Cup FINAL 2009" (revised for YouTube)

- 9:38

- on my onesownthoughts YouTube channel here: https://youtu.be/dsncOO-sql0

 

341. "HiTE Club 2" (for YouTube)

- starring: Unfinished Symphonies; Alpaca Beretta; The SB

- 09:28

- on my onesownthoughts YouTube channel here: https://youtu.be/jjPUzn3md3c

 

342. "HiTEC 060 'Full' Group"

- Clockwise w/ Wheel-of-Fortune @ 12 O'Clock: James Gyre: drum set [left early]; joy toujours: trombone; Unfinished Symphonies: electronic keyboard; Josh Beyer: Baribanjolo; Red Bob Jungkunz: drums; Ben Harris: violin; Ben Opie: alto sax; Kenny Haney: clarinets; tENTATIVELY, a cONVENIENCE: grand piano

- shot Sunday, August 2, 2009; edit finished August 19, 2009

- 1:07:18

- on my onesownthoughts YouTube channel here: https://youtu.be/nuw2QIDy568

 

343. "HiTE Club 3" (for YouTube)

- starring: DJ Hatesyou; Mike Tamburo; Shambolish

- shot Sunday, August 23, 2009; edit finished August 25, 2009

- 09:55

- on my onesownthoughts YouTube channel here: https://youtu.be/aT0FHGllolM

 

344. a. "HiTEC @ the VAF" ('full' version)

- 061-FULL-GROUP(18) - Friday, August 7, 2009 - Visionary Arts Festival, Schenley Plaza - Audience left to right: Johan Nystrom: extended percussion, camera; Mike Tamburo: hammered dulcimer, clarinet, amplified string & contact mic; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; William Wedler: Experiment 1; Unfinished Symphonies: electronic keyboard; joy toujours: trombone; Mike Kasunic: electronics; tENTATIVELY, a cONVENIENCE: electronics, percussion; Hyla Willis: amplified erhu, Jamaican seed pod; Tony Balko: SM camcorder; Ben Opie: alto sax, tube w/ reed, small percussion; Kenny Haney: clarinets; James Gyre: drum set; Spat Cannon: acoustic bass; Dani Simmonds: ukulele, electronics; Josh Beyer: Baribanjolo; Roger Dannenberg: McBlare, trumpet, flugelhorn, piccolo trumpet, SysMan

- 062-FULL-GROUP(17) - Saturday, August 8, 2009 - Visionary Arts Festival, Schenley Plaza - Audience left to right: [masked] Kerrith Livengood: electric guitar, etc..; Ben Harris: violin; Jonathan Brodsky: monome with mabalhabla software; William Wedler: Experiment 1; Unfinished Symphonies: electronic keyboard, tambourine; joy toujours: violin; Red Bob Jungkunz: drums; Mike Kasunic: electric guitar; tENTATIVELY, a cONVENIENCE: electronics, percussion; Hyla Willis: amplified erhu, Jamaican seed pod; Tony Balko: SM camcorder; Ben Opie: alto sax, tube w/ reed, small percussion; Kenny Haney: clarinets; Spat Cannon: acoustic bass [had to leave slightly before the end]; Dani Simmonds: tenor guitar, electronics; Josh Beyer: acoustic guitar; Roger Dannenberg: McBlare, trumpet, flugelhorn, piccolo trumpet, SysMan

- 063-FULL-GROUP(15) - Sunday, August 9, 2009 - Visionary Arts Festival, Schenley Plaza - Audience left to right: Ben Harris: violin; Mike Tamburo: hammered dulcimer, clarinet, amplified string & contact mic; Jonathan Brodsky: monome with mabalhabla software; Unfinished Symphonies: electronic keyboard; joy toujours: violin, amplified toy stuffed animal; Red Bob Jungkunz: drums; Mike Kasunic: electric guitar; tENTATIVELY, a cONVENIENCE: electronics, percussion; Hyla Willis: amplified erhu, Jamaican seed pod; Tony Balko: SM camcorder; Ben Opie: alto sax, tube w/ reed, small percussion; Kenny Haney: clarinets; James Gyre: drum set; Spat Cannon: acoustic bass; Roger Dannenberg: McBlare, trumpet, flugelhorn, piccolo trumpet, SysMan

- shot Wednesday, August 5, 2009 to Monday, August 10, 2009; edit finished September 3, 2009

- 3:35:58

b. "HiTEC @ the VAF" (1 disc version)

- shot Wednesday, August 5, 2009 to Monday, August 10, 2009; edit finished mid September, 2009

- 1:45:00

- on the Internet Archive here: https://archive.org/details/HiTEC06163VAF

- on my onesownthoughts YouTube channel here: https://youtu.be/FJ62djkqQ88

c. "HiTEC @ the VAF" (short version) [broken into 3 parts (slightly edited further) for YouTube]

- shot Wednesday, August 5, 2009 to Monday, August 10, 2009; edit finished mid September, 2009

- 28:00

HiTEC @ the VAF: Day 1

- on my onesownthoughts YouTube channel here: https://youtu.be/VlInVCCK4Ro

HiTEC @ the VAF: Day 2

- on my onesownthoughts YouTube channel here: https://youtu.be/YT06HpEcNj0

HiTEC @ the VAF: Day 3

- on my onesownthoughts YouTube channel here: https://youtu.be/YT06HpEcNj0

 

346. a. "HiTE Club FINAL"

- starring: Capgun Quartet (Richard Dannenberg, Jeff Stringer, Jay Matula, Roger Dannenberg), Ben Harris, & Kerrith Livengood

- shot Sunday, September 27, 2009; edit finished October 10, 2009

- 56:00

- on the Internet Archive here: https://archive.org/details/HiTEclub4

b. "HiTE Club FINAL" (for YouTube)

- 09:47

- on my onesownthoughts YouTube channel here: https://youtu.be/eqBXLTzZhAs

 

347. a. "HiTEC 064 I"

- tENTATIVELY, a cONVENIENCE: ASR-X Resampler, Pitchrider Pitch-to-MIDI converter, K1m wave table synthesizer (1st day w/o my programmed voices - they're all lost due to battery death), DX27S algorithm synthesizer, TX81Z FM tone generator synthesizer, small Chinese gong, 2 Chinese hand-held cymbals, 'lion's roar', chain, ratchet, corrugated tube, Zydeco tie, voice, whistling, etc..; Gina Ketter: viola, bowed electric guitar (unamplified); Roger Dannenberg: trumpet, piano; Mimi Jong: erhu, vibraphone, kalimba, voice; Hugh Watkins: kalimba, berrimbao, bottles, all sorts penny whistle, strummed CDs, stones, whistling, voice; Shane James: putatara (conch-shell trumpet), karaka manu (karaka = a particular type of tree, manu = birds; ie: a bird attractor), poi [Poiawhiowhio] (Twirled on a string, this instrument imitates various bird songs depending on size and shape of gourds and holes in them. The string inside also vibrates as gourd spins.), putangitangi, nguru (small nose flute), pounamu (jade rock percussion), beer bottle, koauau (small flute w/ 3 holes - similar to an ocarina), korero maori (Maori speech &/or chanting), whistling, putorino (trumpet/flute); Buddy Nutt: ukulele, slide didjeridoo, musical saw, Tibetan gong, Bb trumpet, slide whistle; Liz Hammond (Ukulizzy): ukulele, coronet (w/ & w/o mutes), slide whistle

- shot on Sunday, October 4, 2009; edit finished October 20, 2009

- 1:03:03

- on the Internet Archive here: https://archive.org/details/HiTEC064I

b. "Avicenna's Floating Maori" (for YouTube)

- edit finished October 21, 2009

- 10:01

- on my onesownthoughts YouTube channel here: https://youtu.be/gPOFMfbtRmc

 

348. a. "Systems & Processes 1 (HiTEC 065 Y)"

- the documentary of tENTATIVELY, a cONVENIENCE's "Systems & Processes" lecture created as an introduction to a series of HiTEC & Systems Management related workshops

- involving CMU Professor Jon Rubin & the 15 students in his concept class

- shot on Wednesday, October 28, 2009; edit finished early November, 2009

- 2:03:13

- on the Internet Archive here: https://archive.org/details/HiTEC065Y

- on my onesownthoughts YouTube channel: https://youtu.be/8mmBXJNSuZs

b. "Systems & Processes 1 (HiTEC 065 Y)" (for DVD)

- mainly different from the above b/c the end discussion is cut out to make the file small enuf for DVD

- 1:49:28

 

349. "Systems & Processes 2 (HiTEC 066 Y)"

- involving CMU Professor Jon Rubin & the 15 students in his concept class (minus 1 or 2)

- shot on Monday, November 2, 2009; edit finished early November, 2009

- 1:02:32

- on my onesownthoughts YouTube channel here: https://youtu.be/NNaRMpCKy4Q

- on the Internet Archive here: https://archive.org/details/HiTEC066Y

 

350. a. "Systems & Processes 3 (HiTEC 067 Y)"

- involving CMU Professor Jon Rubin & 6 students in his concept class + joy toujours, Josh Beyer, & Hyla Willis - special credit to Spencer Diaz & Laurie Shapiro

- shot on Wednesday, November 4, 2009; edit finished November 20, 2009

- 2:21:38

- the whole thing is on the Internet Archive here: https://archive.org/details/HiTEC067Y

- & on my onesownthoughts YouTube channel here: https://youtu.be/kePdIilUbX0

b. "Systems & Processes 3 (HiTEC 067 Y)"

- the 1st attempt to edit it down short enuf to fit in the final edit of all 4 classes together in DVD length

- 48:30

c. "Robotic" (for YouTube)

- this is just the above-named section from "Systems & Processes 3 (HiTEC 067 Y)"

- 6:57

- on my onesownthoughts YouTube channel here: https://youtu.be/DkZjJ1ePIos

 

351. a. "Systems & Processes 4 (HiTEC 068 Y)"

- involving CMU Professor Jon Rubin & 15 students in his concept class + Unfinished Symphonies & Hyla Willis - special credit to Spencer Diaz

- shot on Monday, November 9, 2009; edit finished November 24, 2009

- 1:59:03

- on my onesownthoughts YouTube channel here: https://youtu.be/wy2_Fd-RiTY

= on the Internet Archive here: https://archive.org/details/HiTEC068Y

b. "Systems & Processes 4 (HiTEC 068 Y)" (DVD version)

- the "getting back" section of the above was removed

- 1:50:39

 

352. "Systems & Processes 1-4 (HiTEC 065-068 Y)"

- involving CMU Professor Jon Rubin & 15 students in his concept class + Hyla Willis, joy toujours, Josh Beyer, & Unfinished Symphonies

- special credit to Spencer Diaz & Lauri Shapiro

- CMU footage shot on October 28, November 2, 5, & 9, 2009; edit finished November 27, 2009

- 1:48:35

 

355. "HiTEC 069 'Full' Group"

- Clockwise from tENT: tENTATIVELY, a cONVENIENCE: grand piano, percussion; William Wedler: percussion; joy toujours: violin; Spat Cannon: acoustic bass; Julian Krishnamurti: electric bass; Gina Ketter: 5 string electric violin; Bob Jungkunz: percussion; Kerrith Livengood: alto flute; Jonathan Brodsky: laptop; Spencer Diaz: camcorder; Kenny Haney: bass clarinet; Ben Opie: soprano sax

- shot Sunday, February 21, 2010; edit finished March 21, 2010

- 44:34

- on the Internet Archive here: https://archive.org/details/HiTEC069full

 

356. "HiTEC 070 'Full' Group"

- Clockwise from tENT: tENTATIVELY, a cONVENIENCE: grand piano, percussion; Spat Cannon: acoustic bass; Unfinished Symphonies: recorders; Hyla Willis: erhu; Spencer Diaz: camcorder; Bob Jungkunz: percussion; Kenny Haney: bass clarinet; Ben Opie: Max patches on laptop, percussion

- shot Sunday, February 28, 2010; edit finished March, 2010

- 35:23

- on my onesownthoughts YouTube channel here: https://youtu.be/W_CBPsGvmsc

 

357. "HiTEC 071 'Full' Group"

- Clockwise from tENT: tENTATIVELY, a cONVENIENCE: grand piano, percussion; Julian Krishnamurti: electric bass; Ben Opie: Bb clarinet, theremin + effects; Kenny Haney: bass clarinet, can; Tony Balko: camcorder; Jonathan Brodsky: laptop; Spat Cannon: acoustic bass; Bob Jungkunz: percussion; William Wedler: percussion; joy toujours: violin; Unfinished Symphonies: electronic keyboard

- shot Sunday, March 7, 2010; edit finished April 2, 2010

- 48:24

- on the Internet Archive here: https://archive.org/details/HiTEC071full

 

359. "HiTEC 072 - FINAL GIG"

- Clockwise from tENT: tENTATIVELY, a cONVENIENCE: grand piano, percussion, remote-control electronics, SysMan, Wheel-of-Fortune; Julian Krishnamurti: electric bass; Spat Cannon: acoustic bass; Ben Opie: alto sax, Thingamagoop, Max patches on laptop, rattle; Hyla Willis: amplified erhu; Kenny Haney: bass clarinet, Bb clarinet; Tony Balko: camcorder; Jonathan Brodsky: laptop; David Bernabo: melodica, percussion; Kerrith Livengood: alto flute, percussion; Bob Jungkunz: percussion; William Wedler: percussion; joy toujours: violin; Unfinished Symphonies: electronic keyboard; Gina Ketter: viola; Spencer Diaz: camcorder

- additional cameras: Greg Pierce, Morgan Cahn

- shot Saturday, March 13, 2010; edit finished May 31, 2010

- 1:44:35

- raw high-definition footage of Kerrith Livengood's "Sheepdog" shot by Morgan Cahn on YouTube - w/ Ben Opie as the Sheepdog

- on my onesownthoughts YouTube channel here: https://youtu.be/9oYIc09Zxk4

- An excerpt from this edited version of HiTEC's FINAL GIG that includes "Infinite Monkey Theorem", 'SOMNAMBULIST", "Saboteur", "Bypass", "Birds", & "Affinity Groups" (+ 1 typo - can you find it?).

- on my onesownthoughts YouTube channel here: https://youtu.be/o2jILMegKug

- full gig on my onesownthoughts YouTube channel here: https://youtu.be/FmiAklaJt3I

- also on the Internet Archive here: https://archive.org/details/HiTEC072FINAL

 

360. a. "Infinite Monkey Theorem"

- using footage from HiTECs 28F, 29A, 31F, 32A, 46C&G, 47A, 49A, 51-FULL, 58-FULL, 59-FULL, 60-FULL, 61-FULL, 62-FULL, 63-FULL, 70-FULL, 72-FULL

- approximately 52 people in 6 locations were involved in the making of this

- shot between October 5, 2008 & March 13, 2010; edit finished July 1, 2010

- 1:12:56

- on the Internet Archive here: https://archive.org/details/InfiniteMonkeyTheorem_201905

b. "Infinite Monkey Theorem" (condensed version for YouTube)

- using only footage from HiTECs 28F, 29A, 31F, 32A, 46C&G, 49A, 58-FULL, 70-FULL, 72-FULL

- edit finished July 2, 2010

- 9:30

- on my onesownthoughts YouTube channel here: https://youtu.be/bBCrl5L8stQ

c. "Narrative" (performance version)

- edit finished July 4, 2010

- 18:21

 

277. "What happens in the brain while witnessing "Subtitles (16mm version)" - as explained by a brain researcher who's screened the movie for 2 volunteers while their brains were fMRI-scanned"

- tENTATIVELY, a cONVENIENCE

- the 16mm version of Subtitles (in VHS transfer) was screened for 2 brain research volunteers while they were being fMRI (functional Magnetic Resonance Imaging) scanned. This was done w/ the assistance of brain researcher "Pig Pen" at a large institution that chose to remain un-named. This version of Subtitles is meant to be projected on the right simultaneously w/ the 16mm version on the left. This is edited from relevant excerpts from an interview w/ Pig Pen - mixed w/ brain research data images.

- mini-dv & image data files -> computer -> DVD & mini-DV

- 11:58

- brain scanning done early 2005, brain research interview shot april 8, 2005

- edit finished february 14, 2008

 

276. "Subtitles ('16mm <- brains' version)"

- tENTATIVELY, a cONVENIENCE

- the 16mm version of Subtitles (in VHS transfer) was screened for 2 brain research volunteers while they were being fMRI (functional Magnetic Resonance Imaging) scanned. This was done w/ the assistance of brain researcher "Pig Pen" at a large institution that chose to remain un-named. This version of Subtitles combines the 16mm version on the left w/ edited relevant excerpts from an interview w/ Pig Pen on the right - additionally mixed w/ brain research data images overlaid on both sides & on the combined sides.

- 16mm, image data files & mini-dv -> computer -> DVD & mini-DV

- 11:58

- 16mm film made 1980-1982, brain scanning done early 2005, brain research interview shot april 8, 2005

- edit finished february 13, 2008

 

275. "Backwards Masking in Rocks"

- tENTATIVELY, a cONVENIENCE

- using untouched & rewritten texts from:

Ray Palmer & Richard Shaver's "The Secret World - Volume One"

Jacob Aranza's "Backward Masking Unmasked - Backward Satanic Messages of Rock and Roll Exposed"

Suetonius' "The Twelve Caesers"

Marlen Haushofer's "The Wall"

- filching footage from:

Jean-Luc Godard & The Rolling Stones' "Sympathy for the Devil"

Flash Gordon episodes

The Compleat Beatles

Rob Reiner's "This is Spinal Tap"

- using music from:

Jefferson Airplane's "Crown of Creation"

Steppenwolf's "The Pusher"

Canned Heat's "Amphetamine Annie"

Frank Zappa & the Mothers of Invention's "Help, I'm a Rock"

The Official, March 13th, 1993E.V., Medium-Sized Band Who Have Just Put Out Their First Record & Who Will Be Selling Them At The 14 Karat Cabaret For A Fabulously Reasonable Price As Well As At Normal's Music Store At 429 E. 31st St. & Who Are More Wonderful, Original & Imaginative Than Even The Most Overblown Hyperbole Could Possibly Even Begin To Praise & Who Have A Penchant For Long Very-Hard-To-Remember Band Names That Even THEY Find Hard To Remember But How Else Can They Make Laure Drogoul, Baby MaDenney, & The Ever-Lovin' Pam Purdy Laugh Otherwise? - &, Besides, This Is Probably Their Last Show So Why Not Indulge Them A Little, Eh? Incredible Rapidly Shrinking Big Band Orchestra OOMPH!'s "'Patamorphic Institute Spiel"

John Lennon & Yoko Ono's "Revolution 9"

Little Fyodor's "Revolution 9"

- using images from:

Richard Shaver's rock-book paintings & rock photographs

Hustler magazine

Jerome Wycoff's "Rock, Time, and Landforms"

Crescent Books' "Crystals - Symmetry in the Mineral Kingdom"

Experimental Musical Instruments magazine article re the Till Family Rock Band

- starring:

tENTATIVELY, a cONVENIENCE as the rebellious filmmaker

- in the bible scene:

Babs Batera, Adam Grossi, Drew Pavelchak, Ray Herrera, Bill Ritter, Shaun Slifer,

G.G.Allin doll as King Saul

Scott Gibson as the Geologist

- additional camerawork during the "Dance Party Without Dance Music" scenes:

Kelly Stiles & Morgan Cahn

- dancing during the "Dance Party Without Dance Music" scenes: Morgan Cahn

- voice for the Richard Shaver / Ray Palmer texts: Kelly Stiles

- for the Punk Rock scene: Keira - stunt mouth - etta cetera - voice-over

- ALL ELSE (& that's quite alot): tENTATIVELY, a cONVENIENCE

- mini-DV -> DVD/1/2" VHS cassette

- 1:04:00

- fall, 2006 -> december 12, 2007

b. "Backwards Masking in Rocks"

- incorporating footage from the premier using 4 cameras + footage from the Ringing Rocks portion of the Anonymous Family Reunion (see 181) - additional sound from Ben Opie + acting from Scott Gibson & Babs Batera + spurting blood effect from Joe Lisi - final shooting done at the Meadowcroft Rock Shelter featuring Jeffrey Carpenter

- 1:26:17

- fall, 2006 -> may, 2008

 

273. "The Ballad of CodyodeeodoooO"

- shot while on a boat trip w/ the Boat Kids on the Ohio River in Pennsylvania & West Virginia

- mini-dv -> DVD

- 12:58

- shot june, 2006 - finished april 2, 2007

 

272. "Epidermoid"

- shot at a nudist mask party in Pittsburgh

- mini-dv, PXL-2000, super-8mm, 35mm slidestrip, 35mm filmstrip -> computer file -> DVD & mini-dv

- 10:49

- shot april 22, 2006 - finished february 12, 2007

 

271.a. "Gran LIQUIDACION por CIERRE!"

- made in collaboration w/ DJ Cutter of Barcelona's anarchist pirate radio station: Radio Bronka. DJ Cutter donated approximately 40 spanish anarchist posters to me & I recorded an interview w/ him talking about them. We also played some sets at Radio Bronka & one of them is used in the soundtrack.

- camera, sound recording, editing. etc: tENTATIVELY, a cONVENIENCE

- mini-disc recorder, digital stills camera, scanner, computer editing software -> DVD & mini-DV

- 57:03

- april 24, 2004 / january 2007 - finished january 31, 2007

b. "¡Gran LIQUIDACION por CIERRE! (extended)"

- in addition to the above, this includes interjections from recipients of the posters explaining who they are, where they're from, & why they picked the poster they did. These interjections were shot at a party for the premiering of the above vaudeo at wch one poster was given away to each attendee.

- 1:04;18

- april 24, 2004 / january 2007 - finished february 13, 2007

- on my onesownthoughts YouTube channel here: http://youtu.be/6lldh74_ZUY

 

269. "IMP ACTIVISM 7"

- combines 253, 254, 255, 257, & 258 + many things from other people

- some camera, editing, etc: tENTATIVELY, a cONVENIENCE

- mini-DV/DVD/1/2" VHS cassette

- 2:31:17

- finished june 24, 2006

 

267. a. "Book 'Em"

- camera, editing. etc: tENTATIVELY, a cONVENIENCE

- featuring etta cetera, Mitchell, Andalusia Knoll, Skot!, & various Book 'Em volunteers & supporters

- performances by Indicator Species, Mr Marcus & the Hollow Sisters, Mr Mason & the Baby Hollow Sisters

- mini-DV

- 42:08

- december 17, '00 / early 2005 - june 16, '06

b. "Book 'Em (YouTube version)"

- this was made w/ input from Rachel K from Book 'Em & was made to promote Book 'Em online via YouTube

- Rachel provided "bullet points" to add greater straightforwardness

- internet file

- 8:03

- edit made march 3, 2008

- on YouTube here: https://youtu.be/U98LDXOLf2A

 

266. "abhilnrty"

- maze building, text, camera & editing: tENTATIVELY, a cONVENIENCE

- 35mm stills & 1/2" VHS cassette -> mini-DV/DVD

- 8:50

- stills shot in early '84, VHS shot december '00, edit finished may 17, '06

- on my onesownthoughts YouTube channel here: https://youtu.be/iU0hLqruqfI

 

265. "Steelers Fans Against War"

- camera & editing: tENTATIVELY, a cONVENIENCE

- mini-DV

- 4:12

- finished april '06

- on my onesownthoughts YouTube channel here: https://youtu.be/82EhacEns5I

 

263. "Pittsburgh Radical History Tour"

- tour conceived of & conducted by Erok for Pittsburgh Bike Fest 2005

- camera , scanning, & editing: tENTATIVELY, a cONVENIENCE

- mini-DV

- 47:12

- june 26, '05 /../ april '06

 

262. "B.T.O.U.C."

- made under the name of Tim Ore

- cameras: David Yaffe, Lizard Media Systems, Craig Considine, Kent Bye

- conception, didActing, scanning, editing, etc: tENTATIVELY, a cONVENIENCE

- This is basically a drastically upgraded version of 036 that's different enough to get its own number.

- 1/2" VHS cassette, 35mm slides, mini-DV -> DVD

- 37:53

- '82-'84 / '01-'02 / march '06

- on my onesownthoughts YouTube channeel here: https://youtu.be/_HxXGlMriKA

 

261. a. "The Hardest Question Ever (audience view version)"

- a quasi-documentary of a puppet show conceived of & performed by etta cetera & Indicator Species

- cameras: tENTATIVELY, a cONVENIENCE; George Davis; Ross Nugent

- editing, etc: tENTATIVELY, a cONVENIENCE

- mini-DV -> DVD

- 33:36

- october, '05 - february, '06

b. "The Hardest Question Ever (behind-the-scenes version)"

- 35:40

 

258. "history in the making."

- a quasi-documentary of a November 19, 2005 gig at Garfield Artworks in Pittsburgh, us@

- starring: tENTATIVELY, a cONVENIENCE + Michael Evans + Fabio Roberti + Daniel Higgs

- mini-DV camera: Greg Pierce

- event organized & movie edited & otherwise manipulated by: tENTATIVELY, a cONVENIENCE

- using excerpts from 240. "booed usic" & from Fabio Roberti's "UNIVAC PRESENTS: "AVANT-GARDE SHOWCASE"

- various & mini-DV -> DVD

- 24:55

- november, '05

- on my onesownthoughts YouTube channel here: https://youtu.be/Db1SXIFd4AI

 

256. "IMP ACTIVISM #6"

- shot in Queen's Qweef; Melbourne; Pittsburgh; Adelaide; Baltimore; Goolengook; etc..

- largely attributable to the Street RatBags & many others that they/we feel politically sympathetic to

- this incorporates 242. "I.A.C. Deer Head Sculpture @ former Rankin Steel Mill", 244. "Media Hero or Media Hore?", 47. "July 4th Anti-Patriotic Picnic" [slightly revised], 245. "Defenders of Goolengook", & 243. "Street Ratbags meet John Safran" - as well as title & contact tracks made from footage shot in Queen's Qweef, Australia_

- 1/2" VHS cassette -> DVD

- app. 2:00:00

- summer '85 / '00-'04 / etc..

 

255. "Defenders of Goolengook"

- shot in Goolengook rainforest in Australia w/ additional footage filched from SKA TV's "Fortress Goolengook AD 2000"

- 1/2" VHS cassette -> DVD

- 17:19

- shot in '00 / edited december 26 & 27, '04

 

254. "Media Hero or Media Hore?"

- shot in Australia w/ additional footage filched from John Safran & the Lab Rats

- 1/2" VHS cassette -> DVD

- 8:57

- shot in '98, '00, & ? / edited december 25, '04

 

253. "Street Ratbags meet John Safran"

- shot in Melbourne, Australia

- 1/2" VHS cassette -> DVD

- 2:53

- shot june 1, '00 / edited december 25, '04

- on my onesownthoughts YouTube channel here: https://youtu.be/eWKRioI7A2U

 

252. "I.A.C. Deer Head Sculpture @ former Rankin Steel Mill"

- interview w/ Tim Kaulen of the Industrial Arts Cooperative

- 1/2" VHS cassette -> DVD

- 8:31

- shot in october '00 / edited in december '04

- on my onesownthoughts YouTube channel here: https://youtu.be/6NMI-GwhPVs

 

250. "booed usic"

- thanks to Lindsay Ruprecht for translating from English into Spanish

- 1/2" VHS cassette + 16mm + PXL-2000 + super-8mm + slides -> 1/2" VHS cassette

- 36:00

- (mostly) shot january 24, '84 - august 13, '88 / edit finished march, '04

 

249. "IMP ACTIVISM #5"

- The 5th VHS compilation of IMPish political ACTIVISM that, hopefully, has some IMPACT - featuring work by John Safran; Ron Douglas; subRosa; Think Tank (Year of the Palindrome); Neoists; Ratbags; Earthdream 2000 Crew; Money Against Capitalism; RATical; Vermin Supreme; & Chris Hopewell / Reverend Ivan Stang

- probably early 2004

 

248. "Reclaim the Streets - March 25, '000 - Adelaide, Australia"

- thanks to etta cetera & Dave Lahn for adding the crawling titles & to J-Mew for fixing the 2 typos

- VHS

- 10:55

- on my onesownthoughst YouTube channel within the context of "Don't Walk Backwards" here: https://youtu.be/kODzM_2_bRM?t=1h1m18s

 

246. "Money Against Capitalism & May Day 2000 in Melbourne, Australia"

- incorporating in its entirety the Access News / SKA TV May Day 2000 piece

- VHS

- 13:21

- may '00 / january '04

- broken into 2 parts for YouTube:

- May Day

- on my onesownthoughts YouTube channel here: https://youtu.be/5GrlEM3uvMg

- Anarchist World this Week

- on my onesownthoughts YouTube channel here: https://youtu.be/-yi9PTR99xE

 

244. a. "Anti-Neoist Rally"

- shot in Adelaide, Australia

- largely conceived of by at least 1 anti-neoist who we'll call "Birdie"

- starring Karen Eliot as the beleagured Neoist

- VHS

- 3:54

- march '00 / december '03

b. "Anti-Neoist Rally" (YouTube / Neoist Dictionary version)

- mini-DV / DVD-R / MPEG4

- 1:56

- march '00 / december '03 / january '09

- on my onesownthoughts YouTube channel here: https://youtu.be/QX7963kyl2k

 

243. "Batu Caves"

- shot in Malaysia (& Queen's Queef, Australia)

- starring: etta cetera as Ghanesh

- assistance w/ titling: J-Mew

- VHS + film/slide strips -> VHS

- 5:57

- march '00 / december '03

- on my onesownthoughts YouTube channel here: https://youtu.be/NoXhoYL6kH0

 

242. "IMP ACTIVISM #4"

- The 4th issue of the Street Ratbags vaudeozine of IMPish political ACTIVISM that, hopefully, has some IMPACT - featuring work by Adam Grossi; tENTATIVELY, a cONVENIENCE; R.U.T.S./L.E.R.; etta cetera; the Lab Rats; Mark Dixon's Think Tank; Rupert Wondolowski & Alfred Merchlinsky; Monty Cantsin AMEN; Brian Dewan; KonnieFrancis; etc..

- January '04 or later

 

239. "NASCAR vs. Rudolf Diesel via Turntablism"

- footage purloined from a NASCAR ad & a 1999 DJ competition document; camera in the "Dwayne Hedstrom discussing Rudolf Diesel" part: etta cetera; camera of tENTATIVELY, a cONVENIENCE & Colin Hinz @ the Music Gallery in 1995: Istvan Kantor/Monty Cantsin/AMEN?!

- special turntable construction: Colin Hinz

- all else: tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 3:54

- edited: october, '03

b "NASCAR vs. Rudolf Diesel via Turntablism" (YouTube version)

- 4:14

- credits added july 28, '10

- on my onesownthoughts YouTube channel here: https://youtu.be/L45VUClyH1Y

 

238. a. "Harps & Angles"

- to be attributed to "Who is like God?s"

- a quasi-documentary about the "Harps & Angles" installation by "Who is like God?s"

- cameras: Who is like God?s (Pestel & Tolson), Steffi Domike, Bob Gunderson, etta cetera

- starring: Who is like God?s, Steve Boyle, James Knopf, Elise Springer, Hyla Willis, Alex Smith, the vaudience, Michael Pestel's "Sound Art" class, Mark Dixon, Florian Cramer, Michael Johnsen, Greg Pierce, a boy & his dad

- DAT recording: James Knopf

- sampling & all else: Who is like God? (Tolson)

- mini-DV, 1/2" VHS cassette, CD, & DAT -> 1/2" VHS cassette

- 1:54:20

- shot: march - june, '03 / edited: july - september, '03

b. "Harps & Angles" (rough edit of 'performance' version)

- 42:45

- shot: march - june, '03 / edited: july - september/december, '03

c. "Harps & Angles" ('performance' version)

- 28:29

- shot: march - june, '03 / edited: july - september/december, '03

- on my onesownthoughts YouTube channel here: http://youtu.be/Qk_UOY0c1bk

 

237. "Is this Non-Euclidian Geometry?"

- to be attributed to "Who is like God?s"

- mini-DV -> 1/2" VHS cassette

- 1:34

- march 25, '03 / august 4, '03

- on my onesownthoughts YouTube channel here: https://youtu.be/VPV2jXz0O-M

 

235. "Anemia of the Paparazzi"

- shot in Baltimore @ the wedding of Whitney Ward & Joe Coleman @ the Visionary Art Museum, & in Pittsburgh & Centralia, PA

- starring Joe Coleman & Whitney Ward & various friends of theirs & w/ the wedding officiated by ventriloquist Peter "Brainpang" Warner & his "figure" Dutch

- 1/2" VHS cassette + 35mm filmstrip + PXL-2000 + super-8mm -> 1/2" VHS cassette

- 8:52

- november, 00 / april, 02 / november, 02

- on my onesownthoughts YouTube channel: https://youtu.be/HucBwEMz3AE

 

231. "millenarianism - volume one"

- The 5th volume of the series of audio-dominated video VHS compilations of my work.

- May, 2002 or later

- 2:01:39

- on my onesownthoughts YouTube channel here: https://youtu.be/QBTFTpscd4M

VHS cover: https://youtu.be/QBTFTpscd4M

title: https://youtu.be/QBTFTpscd4M?t=13

"OUR": https://youtu.be/QBTFTpscd4M?t=45

"Multiple Projections - 1978-2002": https://youtu.be/QBTFTpscd4M?t=735

"High Evil": https://youtu.be/QBTFTpscd4M?t=1092

"Interspatiality": https://youtu.be/QBTFTpscd4M?t=1232

"(M)Usic - 1885-2001": https://youtu.be/QBTFTpscd4M?t=1744

"Hungarian": https://youtu.be/QBTFTpscd4M?t=3680

"Background Movies for Home Music: (Toasting Emotions in Freudian) Western": https://youtu.be/QBTFTpscd4M?t=5412

"Space Ballet" (Condensed): https://youtu.be/QBTFTpscd4M?t=5511

"Black Rectangle Over the Eye": https://youtu.be/QBTFTpscd4M?t=5821

"How Orgone Cinema Treats Its Visiting Filmmakers": https://youtu.be/QBTFTpscd4M?t=6936

aRCHIVE info: https://youtu.be/QBTFTpscd4M?t=7286

 

230. "Black Rectangle Over the Eye"

- shot in Baltimore @ the Ottobar on february 6, 00 except for the parts excerpted from other movies

- 1/2" VHS cassette + 35mm filmstrip + 16mm -> 1/2" VHS cassette

- 18:32

- february 6, 00 / april, 02

- on my onesownthoughts YouTube channel here: https://youtu.be/QBTFTpscd4M?t=5821

 

229. "Hungarian"

- shot in Pittsburgh; Vác, Budapest, Debrecen (Hungary)

- Hungarian footage provided by Brian Damage, Monty Cantsin, Jubal Brown

- 1/2" VHS cassette + mini-DV -> 1/2" VHS cassette

- 28:48

- july, 97 / april, 02

- on my onesownthoughts YouTube channel here: https://youtu.be/QBTFTpscd4M?t=3680

 

228. "(M)Usic 1885-2001"

- 8mm vaudeo + 1/2" VHS cassette + 16mm + 35mm slidestrip -> 1/2" VHS cassette

- 32:24

- april 1, 97 / november 20, 97 / april 10, 01 / april, 02

- on my onesownthoughts YouTube channel here: https://youtu.be/QBTFTpscd4M?t=1744

 

227. "Interspatiality"

- 1/2" VHS cassette

- 8:27

- march 12, 97 / march, 02

- on my onesownthoughts YouTube channel here: https://youtu.be/K5nsRUM90Bg

 

226. "High Evil"

- 1/2" VHS cassette

- 2:23

- november 2 & 5, 96 / march, 02

- on my onesownthoughts YouTube channel here: https://youtu.be/ownYcKZVyz8

 

225. a. "Multiple Projections - 1981-2002" {resumé style version}

- shot in BalTimOre, Montréal, Dundee (Scotland), Kansas City (Missouri), Pittsburgh, & Melbourne

- video disc + super-8mm frames (-> 35mm slide) + VHS + super-8mm + 16mm + 35mm slides + 35mm filmstrips + 35mm motion pictures -> 1/2" VHS cassette

- 14:54

- march, 02

b. "Multiple Projections - 1981-2002"

- 6:31

- march, 02

c. "Multiple Projections - 1978-2002"

- 2:11

- march, 02

d. "Multiple Projections - 1978-2002"

- 5:51

- april 1, 02

e. "Multiple Projections - 1978-2009" (for YouTube)

- 10:00

- edit finished october, 09

- on my onesownthoughts YouTube channel here: https://youtu.be/6smYCjQPuXM

 

224. a. "Guitarists Anonymous Withdrawal Aids"

- shot in Pittsburgh & BalTimOre

- 35mm filmstrip + live sample playing

- indeterminate duration

- january, 02

b. "Guitarists Anonymous Withdrawal Aids"

- 35mm slides + live sample playing

- indeterminate duration

- january, 02

c. "Guitarists Anonymous Withdrawal Aids"

- 35mm slides + studio soundtrack of sample playing

- 32:00

- february, 02

d. "Guitarists Anonymous Withdrawal Aids"

- 35mm filmstrip + 35mm slides + studio soundtrack of sample playing + mini-DV + 1/2" VHS cassette -> 1/2" VHS cassette

- 32:17

- december 11, 01 - march 16, 02

e. "Guitarists Anonymous Withdrawal Aids"

- w/ the addition of a few crdedit titles including Kent Bye etta cetera for camera & Michael Pestel & Eric Myers for instruments & instrument playing as well as Alex Van Ness, Greg Pierce, & Daryl Fleming as guitar addicts & Linda Gielec as a success story

- 35mm filmstrip + 35mm slides + studio soundtrack of sample playing + mini-DV + 1/2" VHS cassette -> 1/2" VHS cassette -> computer -> mini-DV & DVD-R

- 32:41

- december 11, 01 - march 16, 02 / April 23, 09

 

223. "IMP ACTIVISM #3"

- The 3rd compilation of movies of IMPish political ACTIVISM that, hopefully, has some IMPACT. This features the work of the Street vRatbags, Bob Huff, CELLmedia, & the Institute for Applied Autonomy,.

- March, 2002

- on my onesownthoughts YouTube channel here: https://youtu.be/Fswe3Pcpys4

01. "Ski Mask News": https://youtu.be/Fswe3Pcpys4?t=13s

02. title: https://youtu.be/Fswe3Pcpys4?t=2m40s

03. "Undie-Pendance Day": https://youtu.be/Fswe3Pcpys4?t=2m53s

04. "Pretzels for the Suits": https://youtu.be/Fswe3Pcpys4?t=12m8s

05. "The Asshole is a Tense Hole": https://youtu.be/Fswe3Pcpys4?t=16m5s

06. "Nestled Deep.. (Part 1)": https://youtu.be/Fswe3Pcpys4?t=17m37s

07. "Contestational Robotics 1998-2000": https://youtu.be/Fswe3Pcpys4?t=43m29s

08. "Teenagers from Inner Space": https://youtu.be/Fswe3Pcpys4?t=47m17s

09. "Nestled Deep.. (Part 2)": https://youtu.be/Fswe3Pcpys4?t=1h31s

10. "Ventriloquism": https://youtu.be/Fswe3Pcpys4?t=1h20m43s

11. "Evidence of Police Conduct & Misconduct Against May Day Celebrants": https://youtu.be/Fswe3Pcpys4?t=1h21m16s

12. "Little Brother Gets Busted": https://youtu.be/Fswe3Pcpys4?t=1h52m18s

 

221. "Evidence of Police Conduct & Misconduct Against May Day Celebrants on May 1st, 2001 in Pittsburgh"

- shot during the May Day Celebration in downtown Pittsburgh & during the next few days of Jail Solidarity

- shot by: tENTATIVELY, a cONVENIENCE etta cetera (1/2" VHS cassettes), Joerael (8mm vaudeo), Cara & Troy (C-VHS cassettes), Fox 53, 2KDKA, & Channel 4 TV

- editing & titles by: tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 30:58

- may 1 - december 16, 01

- on my onesownthoughts YouTube channel within the context of "IMP ACTIVISM 3": https://youtu.be/Fswe3Pcpys4?t=1h21m16s

 

220. a. "A Slide Show by tENTATIVELY, a cONVENIENCE"

- slides originally assembled in this order in november of 1999 by tENTATIVELY, a cONVENIENCE

- transferred to mini-DV by Kent Bye in the fall of 2001

- narration from tENTATIVELY, a cONVENIENCE

- in-computer editing & additional photo insertions by Kent Bye

- 35mm slides & voice -> mini-DV -> computer -> 1/2" VHS cassette

- 43:53

- november, 99 / fall, 01

b. version with 2 titles added to end on June 16, 2019 for the internet

- 44:09

- on my onesownthoughts YouTube channel here: https://youtu.be/tWqjOGPyf98

 

219. a. "Hibonsa o osoleluna! "Heibon" ga omae o Dame m sulumaeni" ("Kill Normality Before It Kills You")

- This is a compilation of the Nudist Mask movies in chronological order w/ most titles removed & w/ relevant footage from 213a. "Circumsubstantial Playing & Blindfolded Tourism" interspersed. The other movies used are: 20. "Seriousness is Death", 98c. "Tent's Muir" {version 3}, 123. "Nudist Party", 130. "Signs & Symptoms of Leptospirosis", 158 b. "Volunteers Collective XII - The Last Transmission From the Short & Happy Life of a Meteorite Nudist Camp", 163. "Funny Farm Summit Meeting", 178. "Mirthplace of the Republicans", & 204. "Y, 2, Nay-Ked!"

- super-8 & 1/2" VHS cassette & 8mm vaudeo & 16mm & mini-DV -> 1/2" VHS cassette

- 1:11:04

- '82 - '01

b. "Hibonsa o osoleluna! "Heibon" ga omae o Dame m sulumaeni" ("Kill Normality Before It Kills You")

- This adds Karen Eliot's "I agree with tENTATIVELY, a cONVENIENCE's position on the Art Strike" & 262. "Epidermoid" & credits as well as a new section on the "Neoist Contest" at the Public Works Festival in Toronto in 1981

- super-8 & 1/2" VHS cassette & 8mm vaudeo & 16mm & mini-DV & PXL-2000 & 35mm slide-strip & 35mm filmstrip -> DVD

- 1:30:49

- '81 - '07 - finished february 24, '07

c. "Hibonsa o osoleluna! "Heibon" ga omae o Dame m sulumaeni" ("Kill Normality Before It Kills You")

- This adds 399. "Trundle Mannerisms" + the menu from version "b."'s DVD-R incarnation + my ad for Komakino Adult Diapers & the t-shirt related to the same

- 1:44:47

- edit finished August 6, 2014

d. ""Kill Normality Before It Kills You!" TEASER"

- a highly reduced edit of c. made to be unlisted on YouTube as a promotional version

- 3:24

- edit finished September 8, 2014

 

218. a. "Circumsubstantial Playing & Blindfolded Tourism"

- shot at the Mattress Factory & on the streets & at an undisclosed location in Pittsburgh

- mini-DV camera by John Evans, Jarrett Buba, & Owen Smith

- 1/2" VHS cassette shooting by all but one of the Pit Crew: etta, Dave, Nicole, Swifty, & Wynne

- 1/2" VHS cassette

- 1:30:42

- august 10 / september 23-25, 01

 


217. "Nestled Deep.."

- shot at the Stone Camp in Pennsylvania

- featuring spiritual ecologist extraordinaire Teddy Carnes!!

- a collaboration between Rita Rodentia & RATical

- 1/2" VHS cassette

- 45:45

- july/august, 01

- broken into 2 parts on my onesownthoughts YouTube channel within the context of "IMP ACTIVISM 3": part 1: https://youtu.be/Fswe3Pcpys4?t=17m37s , part 2: https://youtu.be/Fswe3Pcpys4?t=1h31s

 

216. "IMP ACTIVISM #2"

- shot in Pittsburgh; Melbourne; Adelaide; Philadelphia; New York City; & New England

- largely attributable to the Street RatBags & many others that they/we feel politically sympathetic to

- this incorporates the entirety of 205. "T.I.A.R.A.", 206. "'Work Will Make You Free Trade' Explained", 208. "Slime Detecting", 209. "Anti-W.T.O. Demonstration in Pittsburgh", & 210. "The Lab Rats Explain Their Veggie-Oil Powered Van" - as well as edited footage from the Surveillance Camera Players & newscasts regarding them + SKA TV + the Misinformed Citizens & Low Rent Media

- 1/2" VHS cassette

- 2:00:47

- november 30, '99 - april 4, '01

- on the Internet Archive here: https://archive.org/details/IMPACTIVISM2

 

215. "The Lab Rats Explain Their Veggie-Oil Powered Van"

- 1/2" VHS cassette

- 9:12

- march '00 / april '01

- on my onesownthoughts YouTube channel here: https://youtu.be/X0RsOO9W0hs

 

214. "Anti-W.T.O. Demonstration in Pittsburgh"

- 1/2" VHS cassette

- 6:14

- november 30, '99 / april '01

 

213. "Slime Detecting"

- shot in Melbourne

- 1/2" VHS cassette

- 4:35

- april '00 / april '01

- on my onesownthoughts YouTube channel here: https://youtu.be/sppHtVbLKvQ

 

212. "Don't Walk Backwards" (Long Version)

- tENTATIVELY, a cONVENIENCE etta cetera

- shot in Kuala Lumpur, Malaysia; Adelaide, Lake Eyre, William Creek, Coober Pedy, Melbourne, Canberra, Queen's Cliff, Goongerah, Goolengook, & Sydney, Australia from march '00 - june '01

- edited in Pittsburgh, us@ by tENTATIVELY, a cONVENIENCE from june '00 - march '01

- Super-8mm, 16mm, PXL-2000, 35mm filmstrips, 35mm slidestrips, 1/2" VHS cassette -> 1/2" VHS cassette

- 8:24:43

- march '00 - march '01

- the editing notes for this can be found here

- unlisted on my onesownthoughts YouTube channel here: https://youtu.be/kODzM_2_bRM

 

211. "'Work Will Make You Free Trade' Explained"

- shot in Adelaide

- 1/2" VHS cassette

- 1:02

- june '00 / december '00

 

210. "T.I.A.R.A."

- shot in Melbourne

- 1/2" VHS cassette

- 7:42

- april '00 / december '00

- on my onesownthoughts YouTube channel in the context of "Don't Walk Backwards": https://youtu.be/kODzM_2_bRM?t=3h15m25s

 

209. "Y, 2, Nay-Ked!"

- shot at a Nudist Mask Party in honor of the year 2000EV

- starring tENTATIVELY, a cONVENIENCE; etta cetera; John Evans; LL; & Lucy

- 8mm vaudeo & polaroids -> 1/2" VHS cassette

- 2:25

- shot january 1, '00 / edited november 27, '00

 

206. a. "Space Ballet" (Usical Material Version in 24 parts)

- w/ a soundtrack using elements from tENTATIVELY, a cONVENIENCE; Peter Illich Tchaikovsky; George Antheil; John Henry Nyenhuis; Remi Gassman; & Frank Zappa

- 1/2" VHS cassette

- 2:00:30

- october-november '99

b. "Space Ballet" (condensed)

- 5:02

 

204. "IMP ACTIVISM #1"

- shot in Ithaca, NY; BalTimOre, MD; Pittsburgh; Philadelphia; 3 Mile Island; Mexico; Washington DC; the Pentagon; & Boston

- largely attributable to the Street Rat Liberation Front & many others that they/we feel politically sympathetic to

- this incorporates small excerpts from 142. "Vermin Supreme Campaining for Mayor in BalTimOre, Tuesday, October 22nd, 1991E.V.", a considerably shortened edit of 6. "3 Mile Island", the entirety (very slightly altered) of 196. "Foiled Again!", & the entirety of 197. "Injustice System", 198. "Close the School of the Americas!", & 199. "Carnival Against Capital"

- super 8 & PXL-200 & VHS & audio tape (etc..) -> 1/2" VHS cassette

- 1:02:20

- february - august '99 (etc..)

- on my onesownthoughts YouTube channel here: https://youtu.be/EVEBDsOPzwI

- "IMP ACTIVISM #1" can be witnessed on YouTube in its section by accessing these links:

00. title: https://youtu.be/EVEBDsOPzwI

01. Vermin Supreme: https://youtu.be/EVEBDsOPzwI?t=28s

02. Vermin Supreme Campaining for Mayor in BalTimOre Tuesday, October 22nd, 1991E.V.: https://youtu.be/EVEBDsOPzwI?t=56s

03. Disturbed Youth: https://youtu.be/EVEBDsOPzwI?t=4m42s

04. Injustice System: https://youtu.be/EVEBDsOPzwI?t=5m23s

05. 3 Mile Island: https://youtu.be/EVEBDsOPzwI?t=11m4s

06. the Goons: https://youtu.be/EVEBDsOPzwI?t=15m41s

07. Confused? Try Zapatismo!: https://youtu.be/EVEBDsOPzwI?t=15m59s

08. 2 de Octubre (& Sarcasmo): https://youtu.be/EVEBDsOPzwI?t=22m11s

09. Close the School of the Americas: https://youtu.be/EVEBDsOPzwI?t=25m55s

10. Underprivileged Nation: https://youtu.be/EVEBDsOPzwI?t=35m56s

11. Carnival Against Capital: https://youtu.be/EVEBDsOPzwI?t=36m12s

12. Foiled Again!: https://youtu.be/EVEBDsOPzwI?t=40m17s

13. Vermin Supreme: https://youtu.be/EVEBDsOPzwI?t=1h12s

14. excerpt from "Beat the Devil": https://youtu.be/EVEBDsOPzwI?t=1h51s

 

203. "Carnival Against Capital"

- shot in Boston

- in collaboration with Will Rat for Iraq

- VHS

- 4:04

- june 18, 1999 (etc..)

- "Carnival Against Capital" can be witnessed online as part of "IMP ACTIVISM #1" starting here: https://youtu.be/EVEBDsOPzwI?t=36m12s & ending here: https://youtu.be/EVEBDsOPzwI?t=40m17s

 

202. "Close the School of the Americas!"

- shot in Washington DC & 2 the Pentagon

- in collaboration with Will Rat for Iraq

- VHS

- 10:00

- may 1 & 3, 1999 (etc..)

- "Close the School of the Americas!" can be witnessed online as part of "IMP ACTIVISM #1" starting here: https://youtu.be/EVEBDsOPzwI?t=25m55s & ending here: https://youtu.be/EVEBDsOPzwI?t=35m56s

 

201. "Injustice System"

- shot in Pittsburgh & Philadelphia

- in collaboration with Will Rat for Iraq

- VHS

- 5:45

- 1998-1999

- "Injustice System" can be witnessed online as part of "IMP ACTIVISM #1" starting here: https://youtu.be/EVEBDsOPzwI?t=5m23s & ending here: https://youtu.be/EVEBDsOPzwI?t=11m4s

 

200. "Foiled Again!"

- mainly shot at the implosion of a building to make way for yet another stupid stadium, the "Day of the Excluded" (in solidarity with the Zapatistas) in Pittsburgh, the secret safe house of the Street Rat Liberation Army, & at the "Millions for Mumia" demonstration (in solidarity with Mumia Abu-Jamal) in Philadelphia

- super 8 (shot by tENTATIVELY, a cONVENIENCE & Karen Eliot / Rita Rodentia / etta cetera) & PXL-2000 (shot by tENTATIVELY, a cONVENIENCE & Karen Eliot / Rita Rodentia / etta cetera) & VHS (shot by Will Rat) & audio tape (recorded by Rita Rodentia) -> 1/2" VHS cassette

- 19:50

- february - may '99

- "Foiled Again!" can be witnessed online as part of "IMP ACTIVISM #1" starting here: https://youtu.be/EVEBDsOPzwI?t=40m17s & ending here: https://youtu.be/EVEBDsOPzwI?t=1h12s

 

198. "Say Cheese! - 5 Days in Wisconsin"

- a trip thru the House on the Rock to Dreamtime Village to Dr. Evermor's Forevertron to Sid Boyum's backyard to the Hmong Reception & Banquet for General Vang Pao at the La Crosse Civic Arena

- with the assistance of etta cetera

- 35mm filmstrip & audio cassette

- 53:27

- october '98 - january '99

 

197. a. "Air Drops" {filmstrip version}

- quasi-documentation of a project in collaboration with Delta Bravo

- with the assistance of Juliet Lima & Sierra Lima Foxtrot November

- 35mm filmstrip

- indefinite duration

- september-november '98

b. "Air Drops" {vaudeo version 1}

- tANGO, aLPHA cHARLIE

- quasi-documentation of a project in collaboration with Delta Bravo

- with the assistance of Alpha Charlie, Juliet Lima, Juliet Papa, Sierra Lima Foxtrot November, & Mike Juliet

- 35mm filmstrip, 8mm vaudeo, slides, stills, audio cassette -> 1/2" VHS cassette

- 19:30

- september '97 - september '98

c. "Air Drops" {vaudeo version 2}

- using snippets from Current Affairs Films' "UFO'S: WHO'S WATCHING US?" & George Antheil's 2nd Piano Sonata: "The Airplane" (1st movement)

- 35mm filmstrips, 8mm vaudeo, slides, stills, audio cassettes -> 1/2" VHS cassette

- 14:20

- september '97 - november '98

 

196. "A History of the Toronto Railway Lands Central & West - Part 3"

- tENTATIVELY, a cONVENIENCE etta cetera

- 35mm filmstrip

- indefinite duration

- august '98

b. "Urban Myth of the Force That Prevents Building on the Railway Lands"

- assistance w/ titling: J-Mew

- VHS + 35mm filmstrip + 35mm slides -> VHS

- 9:00

- summer '98 / december '03

c. "Urban Myth of the Force That Prevents Building on the Railway Lands"

- voice overdub: etta cetera, reenactment camera: Mark O'Connor

- VHS + 35mm filmstrip + 35mm slides -> VHS & mini-DV -> computer -> mini-DV & DVD-R

- 6:01

- summer '98 / december '03 / edit finished May 6, '09

- on my onesownthoughts YouTube channel here: https://youtu.be/ugZqSTGV9Rk

 

192. a. "Volunteers Collective"

- using footage from: "The Widening of Peripheral Vision" (VC "3") (super 8) by John Berndt; "Color Bars" (using sound from VCs 10, 11, 15, 16, 17) (see #160), "Volunteers Collective XII - The Last Transmission From the Short & Happy Life of a Meteorite Nudist Camp" (see #158); Volunteers Collective 18 (super 8) by Alisa Dix; Volunteers Collective 19: "Vexations" (1/2" VHS cassette) by tENTATIVELY, a cONVENIENCE; Volunteers Collective 21 (16mm) shot by Alisa Dix & directed & edited by tENTATIVELY, a cONVENIENCE; Volunteers Collective 23 (1/2" VHS cassette) by tENTATIVELY, a cONVENIENCE; "The Department of Good Places to Live Presents: Volunteers Collective XXIV" (8mm vaudeo -> 1/2" VHS cassette) (see #174) shot by Alisa Dix & edited & effected by tENTATIVELY, a cONVENIENCE; Volunteers Collective 26 (1/2" VHS cassette) by tENTATIVELY, a cONVENIENCE; "Frothing Catatonic Siamese Twins Volunteers Collective 27 d composing Mozart Release Party" (8mm vaudeo -. 1/2" VHS cassette) (see #179) shot by Michael Johnsen & edited by tENTATIVELY, a cONVENIENCE; Volunteers Collective in the Welker Room @ Chatham, March 30, '97 (8mm vaudeo -> 1/2" VHS cassette) shot & effected by tENTATIVELY, a cONVENIENCE; Volunteers Collective near the Implosion of 500 Wood St, May 25, '97 (super 8) by Sharyn Lee Frederick & Michael Johnsen; Volunteers Collective @ the Anonymous Family Reunion @ Ringing Rocks State Park (near Pottstown), August 30, '97 (8mm vaudeo -> 1/2" VHS cassette) (see #181) by Anonymous; Volunteers Collective @ the Anonymous Family Reunion @ Sonambient Theater #1, August 30, '97 (8mm vaudeo -> 1/2" VHS cassette) (see #181) by Anonymous; Volunteers Collective @ the Anonymous Family Reunion @ Sonambient Theater #2, August 31, '97 (8mm vaudeo -> 1/2" VHS cassette) (see #181) by Anonymous; Volunteers Collective @ Chatham Pool, October 26, '97 (8mm vaudeo) shot by Michael Pestel &tENTATIVELY, a cONVENIENCE; "Background Movie for Home Music: Home" (see #183); "Background Movie for Home Music: Light Motion" [should be "Hurry"] (see #184); Volunteers Collective @ Jessica Rustler's Gongs @ Chatham, February 15, '98 (8mm vaudeo) - shot by tENTATIVELY, a cONVENIENCE; Volunteers Collective @ the National Aviary, February 22, '98 (8mm vaudeo) - shot by tENTATIVELY, a cONVENIENCE; & Volunteers Collective "A Year of Sundays" Release Party @ Chatham Pool, March 29, '98 - shot & edited by tENTATIVELY, a cONVENIENCE & disrupted by Michael Pestel

- edited & effected etc by tENTATIVELY, a cONVENIENCE

- super 8 & 1/2" reel vaudeo & 8mm vaudeo & 1/2" VHS cassette & 16mm -> 1/2" VHS cassette

- 1:30:00

- from app. '90 or '91 to march '98

b. "Volunteers Collective" {superimposition version 1}

- w/ visuals superimposition assistance from James Knopf

- this version superimposes the visuals of the 1st half-hour + the 2nd half-hour + the 3rd half-hour

- stereo w/ the sound from the 1st half-hour in the left & the 2nd half-hour in the right

- 30:00

- from app. '90 or '91 to march '98 & july/august '01

c. "Volunteers Collective" {superimposition version 2}

- w/ visuals superimposition assistance from James Knopf

- this version superimposes the visuals of the 1st half-hour + the 2nd half-hour + the 3rd half-hour

- stereo w/ the sound from the middle half-hour panning between left & right

- 30:00

- from app. '90 or '91 to march '98 & july/august '01

d. "Volunteers Collective" {superimposition version 3}

- w/ visuals superimposition assistance from James Knopf

- this version superimposes the visuals of the 1st half-hour + the 2nd half-hour + the 3rd half-hour

- stereo w/ the sound from b. & c. combined

- 30:00

- from app. '90 or '91 to march '98 & july/august '01

 

191. "typewriter poem - tomas schmit - march 63"

- directed & shot by Party Teen on Couch #2

- "typewriter poem" performance realized by etta cetera

- 8mm vaudeo

- 2:58

- march '98

- on my onesownthoughts YouTube channel here: https://youtu.be/XprYK4V5ZhQ

 

189. "N.A.A.M.C.P. P.S.A."

- directed by & DidActed in by tENTATIVELY, a cONVENIENCE

- tattooists: Dave Scheper (not shown) & Dar Igneous Higgs (shown)

- shot by Michelle Dunn & Jen Lahn

- 8mm vaudeo -> 1/2" VHS cassette

- :57

- january '98

 

186. "Time Capsule"

- w/ the assistance of Jen Lahn

- 8mm vaudeo -> 1/2" VHS cassette

- 5:57

- november 19, '97

- on my onesownthoughts YouTube channel here: https://youtu.be/wMdiKE6cBPI

 

185. "Anonymous Family Reunion"

- 1/2" VHS cassette

- 28:00

- august-september '97

- on my onesownthoughts YouTube channel here: https://youtu.be/Igk75JaCTPw

 

183. "UNCERTS"

- Another 2 hour VHS compilation in the series that began with "VAUDIO" that covers work of mine or by friends of mine made from 1990 to 1996. The "Frothing Catatonic Siamese Twins Volunteers Collective XXVII" piece is the last thing on it - hence it's listing here. It may've been assembled somewhat later in the chronology.

- on my onesownthoughts YouTube channel here: https://youtu.be/ShRgYeTSK40

01. "The Widening of Peripheral Vision" (Karen Eliot): https://youtu.be/ShRgYeTSK40?t=1m44s

02. "A.S.R.B.#1" (Franz Kamin): https://youtu.be/ShRgYeTSK40?t=7m13s

03. "Great Moments in Oddball Sports: A Cue Stick Guitar Duet" (Neil Feather & tENTATIVELY, a cONVENIENCE): https://youtu.be/ShRgYeTSK40?t=11m

04. "Sound Cage (Radio Music Edit Section)" (John Cage; tENTATIVELY, a cONVENIENCE): https://youtu.be/ShRgYeTSK40?t=17m20s

05. "Volunteers Collective XII - The Last Transmission from the Short & Happy Life of a Meteorite Nudist Camp" (t,ac): https://youtu.be/ShRgYeTSK40?t=23m22s

06. "Unknowing Games at the Hut" (Franz Kamin): https://youtu.be/ShRgYeTSK40?t=36m45s

07. "TV Hospital: Official.. TV Audience.. Medium Band": https://youtu.be/ShRgYeTSK40?t=42m44s

08. "Das Offizielle, 21 Mai 1994 Era Vulgari, Hypothetisches Tagediebetage Mittel-Band/Landsjugendorchester": https://youtu.be/ShRgYeTSK40?t=46m59s

09. "Boota/Psychologial Playfair" (KBZ200; t,ac): https://youtu.be/ShRgYeTSK40?t=49m46s

10. "Durham Duet" (Neil Feather & t,ac): https://youtu.be/ShRgYeTSK40?t=55m50s

11. "Orgone Cinema - Concrete Mixing" (t,ac): https://youtu.be/ShRgYeTSK40?t=58m30s

12. "Volunteers Collective XVIII": https://youtu.be/ShRgYeTSK40?t=1h1m

13. "Volunteers Collective XIXa": https://youtu.be/ShRgYeTSK40?t=1h3m11s

14. "Volunteers Collective XXI": https://youtu.be/ShRgYeTSK40?t=1h7m5s

15. "Volunteers Collective XIXb": https://youtu.be/ShRgYeTSK40?t=1h9m41s

16. "Suitcase" (t,ac): https://youtu.be/ShRgYeTSK40?t=1h11m58s

17. "CCMC": https://youtu.be/ShRgYeTSK40?t=1h14m5s

18. "Usic LPs" (t,ac): https://youtu.be/ShRgYeTSK40?t=1h17m39s

19. "Volunteers Collective XXIII": https://youtu.be/ShRgYeTSK40?t=1h18m48s

20. "Music Gallery / Funny Farm Meeting" (t,ac): https://youtu.be/ShRgYeTSK40?t=1h21m33s

21. "Bogus Piano Concerto" (John Henry Nyenhuis & t,ac): https://youtu.be/ShRgYeTSK40?t=1h35m17s

22. "The Department of Good Places to Live" (VC XXIV): https://youtu.be/ShRgYeTSK40?t=1h38m9s

23. "Sound Thinking: Phase III: Mimesis - "Mime" Rehearsal" (t,ac): https://youtu.be/ShRgYeTSK40?t=1h45m46s

24 "Volunteers Collective XXVI": https://youtu.be/ShRgYeTSK40?t=1h48m5s

25. "Frothing Catatonic Siamese Twins Volunteers collective XXVII d composing Mozart Release Party": https://youtu.be/ShRgYeTSK40?t=1h52m39s

 

182. "Frothing Catatonic Siamese Twins Volunteers Collective XXVII

d composing Mozart Release Party"

- shot by Michael Johnsen

- 1/2" VHS cassette

- 4:40

- september 22, '96

- this is presented within the context of "UNCERTS" on my onesownthoughts YouTube channel here: https://youtu.be/ShRgYeTSK40?t=1h52m39s

 

177. a. "The Department of Good Places to Live Presents: Volunteers Collective XXIV"

- shot by Alisa Dix

- w/ Todd Whitman, Greg Pierce, Sharyn Lee Frederick, Michael Johnsen, tENTATIVELY, a cONVENIENCE

- edited & effected by tENTATIVELY, a cONVENIENCE

- 8mm vaudeo -> 1/2" VHS cassette

- 7:20

- november 19, '95

- this is presented in the context of "UNCERTS" on my onesownthoughts YouTube channel here: https://youtu.be/ShRgYeTSK40?t=1h38m9s

b. "The Department of Good Places to Live Presents: Volunteers Collective XXIV"

- 1:02:46

- titles & digitizing finished may 30, 2019E.V. by tENTATIVELY, a cONVENIENCE

- on my onesownthoughts YouTube channel here: https://youtu.be/QqZjCduGiz4

 

176. a. "The Department of Dishes & the Cooking Show Present:"

- a collaboration w/ Julia Dzwonkoski

- using excerpts from Guy Debord's film Society of the Spectacle as subtitled by Keith Sanborn

- 8mm vaudeo & 1/2" VHS cassette -> 1/2" VHS cassette

- 5:03

- november 14, '95 / may 16, '99

b. "The Department of Dishes & the Cooking Show Present:"

- 8mm vaudeo & 1/2" VHS cassette -> 1/2" VHS cassette

- 4:41

- november 14, '95 / may 17, '99

 

172. "VC XXIII"

- w/ Terry Klein

- 8mm vaudeo -> 1/2" VHS cassette

- :18

- october 9, '95 / may 17, '99

- a 2:36 excerpt from the full session that the above is taken from is in the context of "UNCERTS" on my onesownthoughts YouTube chnnael here: https://youtu.be/ShRgYeTSK40?t=1h18m48s

 

170. a. "w/ CCMC"

- featuring: Michael Snow: piano, John Oswald: alto sax, Paul Dutton: voice singing, tENTATIVELY, a cONVENIENCE: sampler (w/ live sampling), syntheiszers

- shot by Istvan Kantor / Monty Cantsin September 12, 1995 @ the Music Gallery, Toronto

- edited to DVD sometime around 2002

- VHS -> DVD

- 27:39

b. "w/ CCMC" (YouTube version)

- this is the excerpt used on the "UNCERTS" compilation w/ title & credits added around November 4, 2009

- VHS -> mini-DV -> computer file -> mini-DV -> YouTube

- 3:31

- on my onesownthoughts YouTube channel here: https://youtu.be/epsDAADK2XA

 

169. a. "Volunteers Collective 21"

- in collaboration with Orgone Cinema, Sharyn Lee Frederick, & David Prentice (shot by Alisa Dix)

- 'directed' by & played in by tENTATIVELY, a cONVENIENCE

- {unfinished}

- 16mm sound

- app. 12:00 (This should be around 7:55 - I don't know what the 12:00 is)

- July '95

b. "Volunteers Collective 21"

- 16mm -> 1/2" VHS cassette

- limited interest almost presentable fall '96 edit by tENTATIVELY, a cONVENIENCE

- This might be the version that has scratch editing added onto the end - it might be around 12:00

- an excerpt from this is in the context of "UNCERTS" on my onesownthoughts YouTube chnnael here: https://youtu.be/ShRgYeTSK40?t=1h7m5s

c. "Volunteers Collective 21"

- I finally got rid of the extremely noisy Auricon sound & substitued the correctly synced auido from the room recording, I also added titles

- 8:04

- on the Internet Atchive here: https://archive.org/details/idioideo_verizon_VC21

 

165. "Funny Farm Summit Meeting"

- 16mm -> 1/2" VHS cassette

- 14:00

- august '94 - july '95

 

164. a. "Psychological Playfair"

- 16mm -> 1/2" VHS cassette

- 5:30

- march-may '94

b. "Boota"

- 16mm & 1/2" VHS cassette -> 1/2" VHS cassette

- 5:58

- on my onesownthoughts YouTube channel here: https://youtu.be/19_pe-nT9u0

 

161. "Sound Cage"

- a primitive document of the Baltimore Composer's Forum's tribute to John Cage on October 10, 1993 in BalTimOre

- moving camera: Laure Drogoul

- edited & titled etc by tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette -> 1/2" reel vaudeo (with graphics added using a Video Painter toy)

- 48:42

- october-november '93

- on my onesownthoughts YouTube channel here: https://youtu.be/MamQegRTPGQ

 

160. a. "Volunteers Collective XII - the "Seriousness is Death"/"Jurassic Park" remake - "Randomized" Edit"

- shot by Martha Colburn; directed by, DidActed in, & edited by tENTATIVELY, a cONVENIENCE

- super VHS -> 1/2" reel vaudeo

- 27:00

- october 31-november, '93

b. "Volunteers Collective XII - The Last Transmission From the Short & Happy Life of a Meteorite Nudist Camp"

- 14:00

- presented in the context of "UNCERTS" on my onesownthoughts YouTube channel here: https://youtu.be/ShRgYeTSK40?t=23m22s

 

159. a. ""Official" Retrospective: June 23, '90E.V. - July 28, '91E.V."

- 1/2" VHS cassette

- 30:00

- '91

b. "2 Yrs of "Official" History" (incorporating "a.")

- 1/2" VHS cassette

- 2:00:00

- '92

c. ""Official" Thistory" (incorporating most of the preceding & 155d)

- PXL-2000 & 1/2" VHS cassette -> 1/2" VHS cassette

- 2:00:00

- '91-'93

- on my onesownthoughts YouTube channel here: https://youtu.be/ulvzrmlOgXs

 

158. a. "P@rty Prop@g@nd@" {version 1}

- regular 8, super 8, & 1/2" VHS cassette -> 1/2" VHS cassette

- 2:00:00

- '90-'93

b. "P@rty Prop@g@nd@" {version 2}

- 1:09:00

c. "P@rty Prop@g@nd@" {version 3 - mostly black & white}

- has "Frothing Catatonic Siamese Twins Volunteers Collective XXVII d composing Mozart Release Party" added to end

- 1:13:37

- '90-'93/'96/'99

- This was UNLISTED on my onesownthoughts YouTube channel here: https://youtu.be/kNLVtxeIDyw until YouTube decided that it violated their "hate speech policy" & they removed it. They had removed "Triumph of the Will" on June 18, 2019 (which I didn't know until after I did some research after my censoring), for the same reason & since "P@rty Prop@g@nd@" incorporates some of "Triumph of the Will" that's probably the reason for the problem. Strangely, I think that both "Birth of a Nation" AND "October" could be objected to but they're both still on YouTube. That's probably because they're both 'silent' films. I appealed my censorship but as of August 16, 2019, I haven't gotten a reply yet.

- on the Internet Archive here: https://archive.org/details/prtypropgnd

 

157. a. "Official Tour/Ture - '92" {version 1}

- PXL-2000 & 1/2" VHS cassette -> 1/2" VHS cassette

- 2:00:00

- '92-'93

b. "Official Tour/Ture - '92" {version 2}

- 1:17:00

c. "Official Tour/Ture - '92" {version 3}

- 37:30

d. "Official Tour/Ture - '92" {version 4}

- 28:30

- on my onesownthoughts YouTube channel here: http://youtu.be/EN5U7JANpRA

 

156. "National Cancer Institute Documentary"

- 16mm

- 3:20

- '93

- on my onesownthoughts YouTube channel here: https://youtu.be/iANO4bKId7E

 

154. a. "F(acinorous)R(efulgent)E(squamate)D(onnered) S.(A.P.F.U. = Surpassing All Previous Fuck-Ups)L(ongiloquent)I(mprolificating)S(kookum)B(ruxomaniacal)E(pigamic)R(isorial)G(awsie)E(rose)R(hapsodomaniacal)" {mostly un"strobed" version}

- made with the assistance of Rebecca Barten, Martha Colburn, Michelle Cutler

- 8mm vaudeo -> 1/2" VHS cassette

- 2:00:00

- december, '92

- on my onesownthoughts YouTube channel here: https://youtu.be/6FLaTWhRuAg

b. "F(acinorous)R(efulgent)E(squamate)D(onnered) S.(A.P.F.U. = Surpassing All Previous Fuck-Ups)L(ongiloquent)I(mprolificating)S(kookum)B(ruxomaniacal)E(pigamic)R(isorial)G(awsie)E(rose)R(hapsodomaniacal)" {"techno-sensualist" version}

 

153. a. "Great Moments in Odd-Ball Sports: A Cue Stick Guitar Duet"

- w/ Neil Feather

- moving camera: Martha Colburn, ladder camera: Michelle Cutler

- 8mm vaudeo -> 1/2" VHS cassette

- 6:23

- '92-'93

b. "Great Moments in Odd-Ball Sports: A Cue Stick Guitar Duet" (for YouTube)

- 3:22

- edited in computer & outputted to mini-dv december 26, '08

 

146. a. "The "Official" John Lennon's Erection as Blocking Our View Homage & Cheese Sandwich"

- 16mm -> 1/2" VHS cassette

- 25:30

- '90-'92

- YouTube URL: http://youtu.be/z9f7mzn2euc

b. "The "Official" John Lennon's Erection as Blocking Our View Homage & Cheese Sandwich" ("techno-sensualist" version)

- 16mm -> 1/2" VHS cassette

- 25:30

- '90-'93

c. "The "Official" John Lennon's Erection as Blocking Our View Homage & Cheese Sandwich"

- 16mm -> 1/2" VHS cassette

- 1:24:00

- '90-'95

- onesownthoughts YouTube channel URL: http://youtu.be/nRqfWwHAdqA

 

144. "'Patanational PXL-2000 Movie Festival Compilation"

- At 1st, I didn't list these compilation VHS tapes that I publish in my Movieography but given that I edited them & added titles & that this, e.g., has a section in it of a performance that Neil Feather & I gave as part of the festival that isn't listed elsewhere, it seeems appropriate to list it here.

- November, 1991

- on my onesownthoughts YouTube channel here: https://youtu.be/KIVUeDkKNDo

 

143. a. "Vermin Supreme Campaining for Mayor in BalTimOre, Tuesday, October 22nd, 1991E.V."

- shot by Rebecca Barten & Jeffrey Pratt Gordon

- edited by tENTATIVELY, a cONVENIENCE

- PXL-2000 -> 1/2" VHS cassette

- 30:54

- '91

b. "Vermin Supreme Campaining for Mayor in BalTimOre, Tuesday, October 22nd, 1991E.V."

- titles added by tENTATIVELY, a cONVENIENCE August 30, 2017

- 31:37

- on Vimeo here: https://vimeo.com/232745914

 

[139. ""Official" part of "Singing Bridges""

[in the possession of the "Coyotes" - shelved due to lack of finances]

- duration unknown (less than 5:00)

- 16mm

- '90]

 

137. "Wallpaper Video"

- w/ Angus & Larry Cherniak

- 8mm video -> 1/2" VHS cassette

- 1:51:32

- april 9, '90 (etc..)

 

134. a. "One Word per Person Party" {version 1}

- 1/2" VHS cassette

- 2:00:00

- march 23, '90 (etc..)

b. "One Word per Person Party" {version 2}

- 1:00:00

c. "One Word per Person Party" {version 3}

- w/ inserts

- 10:00

d. "One Word per Person Party" (version 4 for YouTube with titles added}

- on my onesownthoughts YouTube channel here: https://youtu.be/cvgoTPwwCog

 

133. a. "Vex 1990E.V."

- w/ sound from Dick Turner

- super 8 -> 1/2" VHS cassette

- 6:20

- march 19 & 20, '90 (etc..)

b. "Vex 1990E.V." (for YouTube)

- w/ titles added december 25, '09

 

[132. "Assateague"

[film version in the collection of Dee-Dee Ranged]

- super 8 (transferred to 1/2" VHS cassette)

- 2:00

- '90

- partially incoroporated into: "Wild Horses Couldn't.." (on my onesownthoughts YouTube channel here: https://youtu.be/kuLePIILvzg ) & "Wild Horses Couldn't.. (raining cats & dogs version)" (on the Internet Archive here: https://archive.org/details/WildHorsesCouldnt )]

 

130. a. "VAUDIO"

- a compilation of video work with a strong audio component from 1980 to 1989; some of the parts of it are online in the same formk but most of the parts are different versions than are otherwise available

- 1:56:18

- possibly as early as the beginning of 1990

b. "VAUDIO"

- This is the version I made to put on my onesownthoughts YouTube channel here: https://youtu.be/yamGE-mVW8A . It's different from what's on the original VHS tape because I wanted to make some improvements:

- the components are:

"Crab Feast No.2 & 1 Halfish" (1980) - a film by John Ellsberry. That's not John's title, it's mine. I added the soundtrack too - it's by Crab Feast, a band of mine that John was in. We're shown rehearsing at the end. I had the transfer done & added the titles, John may not approve. - https://youtu.be/yamGE-mVW8A?t=20s

"booed usic at t he telectropheremoanin'quinquennial" (January 24, 1984) - a longer version of this without these titles is on the Internet Archive. - https://youtu.be/yamGE-mVW8A?t=2m58s

"Chinese for Celli" (1985) - already separately on YouTube. - https://youtu.be/yamGE-mVW8A?t=8m2s

"Transparent Smile (Monty Cantsin performing with White Colours)" (1984-1985) - the original VAUDIO version of this was of an early print of the film before I'd added scratching to the internegative. This is the same version that's on YouTube already except that the earlier upload is in 2 parts. - https://youtu.be/yamGE-mVW8A?t=15m1s

"Easter Island Bunny Booed Usic (excerpt)" (1987) - I didn't try to salvage this, what's presented here is the glitchy version direct from the VAUDIO 'master'. - https://youtu.be/yamGE-mVW8A?t=31m55s

"Generic As-Beenism - Part II: Bird-Brain-Ism" (1987) - In Montréal at Ultimatum II. Not previously on YouTube. - https://youtu.be/yamGE-mVW8A?t=40m16s

"Brain Waves Goodbye - Part VIII" (1987) - This is a complete section excerpt rather than the edit presented elsewhere on YouTube. - https://youtu.be/yamGE-mVW8A?t=49m40s

"Sound Along w/ t he Bounding Ball(s)" (1983-1986) - The silent negative version owned by the Enoch Pratt Library with a soundtrack added from various performances of the film as a score. The other version on YouTube is edited. - https://youtu.be/yamGE-mVW8A?t=54m46s

"Tents Muir" (1988) - The same version that's elsewhere on YouTube. - https://youtu.be/yamGE-mVW8A?t=1h4m16s

"Murraygate Busking" (1988.08.13) - The original version on VAUDIO is the same version that's on YouTube separately. This version is a straight shot without the PXL-2000 intercutting. - https://youtu.be/yamGE-mVW8A?t=1h14m50s

"Something That Dissolves The Shadow of Something That Was Next to Something That Combusted Twice. Once." (1989.11.04) - This is a version that's almost twice as long as what's already on YouTube (which is also broken into 2 parts). - https://youtu.be/yamGE-mVW8A?t=1h26m51s

 

129. "Barfroom"

- 16mm w/ optical sound

- 4:15

- '89-'90

 

127. a. "Something That Dissolves the Shadow of Something That was Next to Something that Combusted Once. Twice."

- shot by Joanne Bernititus (moving camera) & Austin Newsome (fixed camera)

- edited by tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 30:00

- november 4, '89 (etc..)

- on my onesownthoughts YouTube channel in the context of "VAUDIO" here: https://youtu.be/yamGE-mVW8A?t=1h26m51s

b. "Something That Dissolves the Shadow of Something That was Next to Something That Combusted Once. Twice"

- 16:48

- november 4, '89 (etc..) - new edit: march 10, '04

- divided into 2 parts on YouTube: "Something that Dissolves the Shadow of Something that was next to Something that Combusted Twice. Once." & ":November 4th 1989EV Dis Place BAL TIM ORE".

 

123. "Nudist Party"

- shot by John Berndt

- edited by tENTATIVELY, a cONVENIENCE

- 8mm vaudeo -> 1/2" VHS cassette

- 1:40

- '89

 

122. "Vex & Siolence"

- super 8 film & 8mm vaudeo -> 1/2" VHS cassette

- 5:30

- '89

 

118. a. "4 Months Away From Harm City"

- w/ Laura A. Trueseal & Pete Horobin

- slides, PXL-2000, & 1/2" VHS cassette -> 1/2" VHS cassette

- 3:30:00

- '88

b. "Homeless Movies" {version 1}

- 2:00:00

- '88-'90

c. "Homeless Movies" {version 2}

- 1:57:37

- w/ titles, etc..

{there are actually 2 other intermediary versions between "b." & "c."

that are basically preparatory for "c." & therefore not "worth" listing separately}

- on my onesownthoughts YouTube channel here: https://youtu.be/_OLEL-lHFbE

 

117. a. "I Plagiarized This Title From Outer Space Junk Mail"

- w/ Laura A. Trueseal

- PXL-2000 -> 1/2" VHS cassette

- 4:00:00

- '88

b. "I Plagiarized This Title From Outer Space Junk Mail"

- PXL-2000 -> VHS cassette -> computer -> mini-dv & DVD-R -> VHS cassette

- edit finished July 1, 2014

- 1:35:53

 

100. a. "A Walk Through the Murraygate in Dundee, the 13th of August, 1988"

- shot by Pete Horobin

- DidActed in by t he booed usicians

- 1/2" VHS cassette

- 12:30

- '88

b. "Murraygate Busking"

- additional PXL-2000 shooting by Laura A. Trueseal

- directed, edited, & otherwise altered by tENTATIVELY, a cONVENIENCE

- 13:10

- '88/'89

- http://youtu.be/Wk-J_nDrVSo

c. "Murraygate Busking"

- w/ inserts added

- 13:10

- '88/'89/'90

 

098. a. "Tent's Muir" {version 1}

- shot by Pete Horobin (1/2" VHS cassette) & Laura A. Trueseal (PXL-2000)

- directed by, DidActed in, & edited by tENTATIVELY, a cONVENIENCE

- 19:15

- '88

b. "Tent's Muir" {version 2}

- 8:10

- '88

c. "Tent's Muir" {version 3}

- 10:30

- '88/'89

- http://youtu.be/oBBjSe3REHA

d. "Tent's Muir" {version 4}

- w/ inserts added

- 19:15

- '88/'90

 

093. "You Haven't Heard the Record, You Haven't Read the Book, Now! Don't See the Movie!"

- super 8 -> 1/2" VHS cassette

- 27:00

- '88

 

Philosopher's Union Member's Mouthpieces:

{this project was initiated by tENTATIVELY, a cONVENIENCE as a proposed series of 50,000 mouths in close-up discussing the philosophies of their heads/bodies

- All listed are collaborations between the person named in the title & whoever vaudeoed them

- all those #ed as a continuation of the Movieography #ing were shot by tENTATIVELY, a cONVENIENCE & have #s showing their correct place in the overall Movieography

- usually w/ assistance from Laura A. Trussell

- all others were shot by those credited next to the title

- the full titles always begin w/ "Philosopher's Union Member's Mouthpiece:"

- this has been deleted in the following list for simplicity's sake..

- all mouthpieces are usually app 5:50 but sometimes vary by a few minutes

- all mouthpieces have been shot w/ a PXL-2000 camera & transferred to 1/2" VHS cassette}

073. #00,001: "Alan Rabbit Suit" - '88

074. #00,002: "Richard Tryzno Ellsberry" - '88

075. #00,003: "John Berndt" - '88

076. #00,004: "Litvinov" - '88

077. #00,005: "Norman Yeh" - '88

078. #00,006: "Neil Feather" - '88

079. #00,007: "Valerie Dearing" - '88

080. #00,008: "Casandra vonRinteln-Hambleton" - '88

081. #00,009: "Martha Peterson" - '88

082. #00,010: "Wendy Lee Parker" - '88

083. #00,011: "Karen Eliot" - '88

084. #00,012: "Wanda Villa" - '88

085. #00,013: "Rupert Wondolowski" - '88

086. #00,014: "Shortal & Morton" - '88

087. #00,015: "Emma Elizabeth Downing" - '88

088. #00,016: "Fang" - '88

089. #00,017: "Ethel" - '88

090. #00,018: "Lepus Timidus" - '88

091. #00,019: "Doodles Teetering" - '88

092. #00,020: "John Sheehan" - '88

{all of the preceding have been transferred to 1/2" VHS cassette & digitally processed & titled}

095. #00,021: "Mike Kane"

096. #00,022: "L.A.W." - '88

097. #00,023: "Inoralsect" - '88

101. #00,024: "Martin Walker" - '88

102. #00,025: "Mark Pawson" - '88

103. #00,026: "Lech Harrison" - '88

104. #00,027: "Stephen Perkins" - '88

105. #00,028: "Sianed" - '88

106. #00,029: "Dip Mandazi" - '88

107. #00,030: "Stefan Szczelkun" - '88

- Vimeo: https://vimeo.com/114670259

108. #00,031: "Graham Harwood & Minder" - '88

#00,032: "Naomi" - shot by Laura A. Trueseal - '88

109. #00,033: "Shaun Caton" - '88

110. #00,034: "Reinhardt U. Sevöl" - '88

111. #00,035: "Via Vidorae" - '88

112. #00,036: "Lisan" - '88

113. #00,037: "C.Ernst" - '88

114. #00,038: "Elisabeth Morcellet" - '88

115. #00,039: "Lisa Suckdog & Costes" - '88

116. #00,040: "NATO" - '88

{the preceding 20 were tinted & titled & interpolated, in excerpt(s), into "Homeless Movies"}

#00,041: "Mary Dixon" - shot by Laura A. Truseal - '88

#00,042: "Andrés Mares-Muro" - shot by Laura A. Trueseal - '88

#00,043: "Anasthesia Bag" - shot by Laura A. Trueseal - '88

#00,044: "Manmohan Sidhu" - shot by Laura A. Trueseal - '88

#00,045: "Renata" - shot by Laura A. Trueseal - '88

#00,046: "Jai Noa" - shot by Laura A. Trueseal - '88

#00,047: "Judith" - shot by Laura A. Trueseal - '88

#00,048: "Brenna" - shot by Laura A. Trueseal - '88

#00,049: "Bill" - shot by Laura A. Trueseal - '88

120. #00,050: "Vermin "A.K.A. Mr. Skull" Supreme" - '88

121. #00,051: "Janor Hypercleets" - '89

#00,052: "Czech Mike" - shot by Uncle An - '89

#00,053: "David Bell" - shot by Uncle An - '89

#00,054: "Squirrel" - shot by Uncle An - '89

#00,055: "Charlene" - shot by Uncle An - '89

#00,056: "Kitty/Kat" - shot by Uncle An - '89

#00,057: "Chris" - shot by Uncle An - '89

#00,058: "Keith" - shot by Uncle An - '89

#00,059: "Patty M." - shot by Uncle An - '89

134. #00,060: "Abigail Rachel True" - March 31, '90

135. #00,061: "Bob Huff" - March 31, '90

#00,062: "Name Withheld" - shot by Uncle An - '90

#00,063: "Courtney Powell" - shot by Randy George McWilliams - '91

#00,064: "John Eaton" - shot by ? - '91

#00,065: "Mok Hossfeld" - shot by Randy George McWilliams - '91

#00,066: "Nathan.. Long" - shot by Randy George McWilliams - '91

#00,067: "Dr. Al Ackerman" - shot by Randy George McWilliams - '91

#00,068: "Dr. Al Ackerman" - shot by Randy George McWilliams - '91

#00,069: "RAT Korga" - shot by ? (somebody connected w/ John Eaton) - '91

143. #00,070: "David Franks (on temperance)" - June 24, '92

b. #00,070: "David Franks (on temperance)" (YouTube version)

- 5:32

- transferred direct-from-PXL K7 to computer on January 16, 2010 b/c of Franks' recent demise

- brightness & contrast were corrected & minimal titles were added

189. #00,071: "Paul Flum" - July 10, '98

190. #00,072: "etta cetera" - July 12, '98

{the 5 digit #s preceding the name indicate the approximate order in the proposed series of 50,000 in wch they were shot - since others may've been shot w/o my knowledge etc.., this list is approximate}

 

070. "Welcome Back Laura"

- 1/2" VHS cassette

- 12:30

- '87

 

069. "It's Not A Matter of Life & Death: Part Z: Stereo Brain" (including preface)

- tattooist: Julie Beasley

- super 8 & 1/2" VHS cassette -> 1/2" VHS cassette

- 15:30

- '87

 

068. "An Incomplete History of APT Festivals"

{see #s 13, 22, 27, 30, 34, & 44}

- super 8, 1/2" reel vaudeo, & 1/2" VHS cassette -> 1/2" VHS cassette

- 2:30:00

- '87 (etc..)

 

067. "Ultimatum II"

- as editor

- 1/2" VHS cassette

- 2:00:00

- '87

 

066. "Ultimatum II: Generic As-Beenism: Part II: Bird-Brain-Ism"

- slides, super 8, & 1/2" VHS cassette -> 1/2" VHS cassette

- 9:20

- '87 (etc..)

 

063. a. "Easter Island Bunny Edit"

- super 8 & 16mm & 1/2" VHS cassette -> 1/2" VHS cassette

- 1:00:00

- '87

b. "Easter Island Bunny booed usic (middle mix)"

c. "Easter Island Bunny booed usic (final mix)"

d. "Easter Island Bunny booed usic

(final mix @ double speed & processed to remain @ original pitch)" -> 3/4" vaudeo

- 30:00

e. "Easter Island Bunny booed usic (final mix)" {"techno-sensualist" version}

- processed via 8mm vaudeo -> 1/2" VHS cassette

- 1:00:00

- '87/'93

 

062. "It's Not A Matter of Life & Death: Part Z: Stereo Brain (preface)"

[the film version is incorporated into "Satanic Liposuction, Neoasm?!, & YOU!!"]

- shot by Nathan Long

- directed by tENTATIVELY, a cONVENIENCE

- super 8 -> 1/2" VHS cassette

- 3:20

- '87

 

060. "International Neoist/Tourist Day"

[excerpts of the silent film incorporated into "Satanic Liposuction, Neoasm?!, & YOU!!" - with the remainder discarded]

- w/ John Sheehan, Martha Peterson, & Laura Trussell

- super 8 -> 1/2" VHS cassette

- 3:20

- march 24, '87 (etc..)

 

059. a. "Super Nova: The Climax/Anti-Climax of Sex (slow version)"

- 1/2" VHS cassette

- 2:00:00

- '87

b. "Super Nova: The Climax/Anti-Climax of Sex (fast version)"

- 1:00:00

c. "Super Nova: The Climax/Anti-Climax of Sex (fast version)" {"techno-sensualist" version}

- processed via 8mm vaudeo

- 1/2" VHS cassette

- 1:00:00

- '87/'93

 

058. "Not So Private Life (1st edit)"

- 1/2" VHS cassette

- 1:00:00

- '87

 

057. a. "Neoist Card Game"

- 1/2" VHS cassette

- 16:04

- '87

b. "Neoist Card Game"

- titles added February 13, 2019

- uploaded 2019.02.13 to my onesownthoughts YouTube channel here: https://youtu.be/blUcdH3N4BU

 

056. "Luskin's"

[only "worth" presenting as an A.V. aid to a description of the event that it's a quasi-document of - excerpts from the film incorporated into "Satanic Liposuction, Neoasm?!, & YOU!! - with the rest discarded]

- super 8 -> 1/2" VHS cassette

- 9:15

- december '86

 

055. "6 Fingers Crossed Country T.Ore/Tour"

- special thanks to Computer Graphics Conspiracy for the computer animations & to Alan Lord for the Montréal VHS footage

- super 8 & 1/2" VHS cassette -> 1/2" VHS cassette

- 1:30:00

- '86

- The "Rhoda Mappo signs John M. Bennett's "The Spitter" May, 1986 Texas" portion is online here: http://youtu.be/l7H8DJ0CYJE

- The entire movie was put online on my onesownthoughts YouTube channel on November 10, 2018 here: https://youtu.be/2QIZAxc1K6M

- I also uploaded it to the Internet Archive by the next day: https://archive.org/details/6FingersCrossed

 

054. "It's Not A Matter of Life & Death: Part Y: Crossbones"

- shot by Lizard Media Systems

- directed & edited by tENTATIVELY, a cONVENIENCE

- tattooist: Julie Beasley

- 1/2" VHS cassette

- 6:30

- september 4, '86 (etc..)

 

[052. "International Neoist Day"

[present location unknown - probably in the collection of 1 of the members of the 6 Fingers League]

- w/ Joan Lobell

- super 8 -> 1/2" VHS cassette

- 3:20

- march 24, '86

- on my oneownthoughts YouTube channel here:https://youtu.be/TJ7PKJboZmw ]]

 

051. "It's Not A Matter of Life & Death: Part X: DNA"

- shot by Lizard Media Systems

- directed & edited by tENTATIVELY, a cONVENIENCE

- tattooist: Julie Beasley

- 1/2" VHS cassette

- 6:00

- '86

 

047. "July 4th Anti-Patriotic Picnic"

- w/ O.J.Dart

- super 8 -> 1/2" VHS cassette

- 3:20

- July 4th, '85

 

046. a. "See-Saw" {version 1}

- See-Saw made by O.J.Dart

- regular 8 -> 1/2" VHS cassette

- 15:20

- '85

- on my onesownthoughts YouTube channel here: http://youtu.be/Y8MsA6Ezf70

b. "See-Saw" {version 2}

- w/ processing overkill

 

044. a. "The 8th International Neoist Apartment Festival" {version 1}

- shot by various Monty Cantsins

- edited & otherwise altered by tENTATIVELY, a cONVENIENCE

- super 8 & 1/2" VHS cassette -> 1/2" VHS cassette

- 1:40:00

- '84/'88

b. "The 8th International Neoist Apartment Festival" {version 2}

- 1:00:00

c. "The 8th International Neoist Apartment Festival" {version 3}

- 38:20

- on my onesownthoughts YouTube channel here: https://youtu.be/fgQzQZNpgTY

d. "The 8th International Neoist Apartment Festival" - w/ inserts

- 38:20

- '84/'88/'90

 

042. "Neoist Guide Dog"

- super 8 -> 1/2" VHS cassette

- 2:30

- '84

- on my onesownthoughts YouTube channel here: https://youtu.be/vM92UGWzMPM

 

039. a. "booed usic at t he Telectropheremoanin'quinquennial" {version 1}

- shot by Lizard Media Systems &/or Craig Considine

- organized & edited by tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 29:27

- january 24, '84 (etc..)

b. "booed usic at t he Telectropheremoanin'quinquennial" {version 2}

- w/ digital processing

- 29:27

c. "booed usic at t he Telectropheremoanin'quinquennial" {version 3}

- w/ another layer of digital processing added to the previous & w/ titles

- meant to be excerpted from

- 29:27

d. "booed usic @ t he Telectropheremoanin'quinquennial" {version 4}

- w/ titles & credits added September 15, 2017

- computer file

- 29:27

- on the Internet Archive here: https://archive.org/details/BooedUsic

 

038. a. "t he Telectropheremoanin'quinquennial"

- shot by Lizard Media Systems & Craig Considine

- organized & edited by tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 1:01:25

- january 24, '84 (etc..)

b. "Telectropheremoanin'quinquennial"

- an edit combining "t he Telectropheremoanin'quinquennial" & "booed usic at t he Telectropheremoanin'quinquennial" {version 2} & improving on some of the low-light shots as well as adding titles & a few transitions, etc..

- computer file

- 1:01:25

- edit finished September 14, 2017

- on my onesownthoughts YouTube channel here: https://youtu.be/SSP1tJK3pjs

 

036. a. "9 Months of B.T.O.U.C. History"

- 1/2" VHS cassette

- 7:15

- '83/'86

b. "t he Poop & Pee Dog Copyright Violation Ceremony in Retrospect"

- 1/2" VHS cassette

- 6:30

- '83/'88

c. "9 Months of B.T.O.U.C. History (revised)"

- 9:06

- '83/'93

 

035. a. "Thanksgiving Parade"

- shot by John Ellsberry

- edited by tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 16:00

- '83/'84

b. "Thanksgiving Parade"

- slightly improved january '97 edit from tENTATIVELY, a cONVENIENCE

- 15:23

c. "Thanksgiving Day Parade"

- drastically shortened december '03 edit from tENTATIVELY, a cONVENIENCE

- 3:35

- on my onesownthoughts YouTube channel here: http://youtu.be/fl_u-hWEm0Y

 

034. a. "Apt 7" {version 1}

- shot by Lizard Media Systems &/or Craig Considine (color) & Laure Drogoul (B&W) w/ additional footage (super 8) from Laure Drogoul & Boris Wanowitch

- organized & edited by tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 2:00:00

- '83 (etc..)

b. "Apt 7" {version 2}

- 1:00:00

c. "Apt 7" {version 3}

- 31:20

d. "APT 7" {version 4}

- This is version 2 with scans, titles, & credits added. There were problems with digitizing the parts that were originally reel-to-reel so the last section with Monty is particularly funky. Note also that Monty's flier for the festival has the last day as the 28th instead of the 25th. I tried digitixing version 1 1st but there were too many technical problems so I settled for reworking version 2 instead. This means that footage from Laure Drogoul's "Drilling Nails" is missing but she complained about my using it so much in the 1st place that that's probably why it's not in version 2. Obviously, other things are missing too. Still, it's the best version yet (& likely to be the last one because I had so many technical problems with making it that I don't think I want to spend anymore time on it.

- 1:02:18

- on my oneesownthoughts YouTube channel here: https://youtu.be/naU37TVUBRY

 

033. a. "14BX Sub-Par/Con" {version 1}

- shot by Lizard Media Systems &/or Craig Considine

- edited & otherwise altered by tENTATIVELY, a cONVENIENCE

- 3:00:00

- '83 (etc..)

b. "14BX Sub-Par/Con" {version 2}

- 1:30:00

c. "14BX Sub-Par/Con" {version 3}

- w/ digital effects overkill & titles

 

032. a. "Tunnel T.Ore & Tiger"

- shot by Lizard Media Systems

- directed, edited, & DidActed in by tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 6:00

- '83

b. "Tunnel T.Ore & Tiger"

- abbreviated january '97 by tENTATIVELY, a cONVENIENCE

- 2:56

c. "Tunnel T.Ore & Tiger" (Vimeo version)

- incorporates titles, "Seriousness is Death" excerpts, & stills

- edit finished March 27, 2016

- 7:19

- on my Vimeo channel here: https://vimeo.com/160516148

 

030. "Blo-Dart Acupuncture &/or Ear Piercing"

- shot by Istvan Kantor/Monty Cantsin

- directed & DidActed in by tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 10:00

- '83

 

029. a. "Pee on "Bob"'s Head" {version 1}

- shot by Lizard Media Systems

- directed & DidActed in by tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 7:40

- early '83

b. "Pee on "Bob"'s Head" {version 2}

- reshot off TV screen by Chris [last name forgotten]

- 16mm (mostly negative) w/ optical sound

- 10:40

 

027. "A Night at des Refusés during the 5th International Neoist Apartment Festival"

- shot by Matty Jankowski

- DidActed in by Hannah Aviva &tENTATIVELY, a cONVENIENCE/Monty Cantsin, Istvan Kantor/Monty Cantsin, & various other NeoASts

- edited by tENTATIVELY, a cONVENIENCE

- 1/2" VHS cassette

- 26:00

- march '82 (etc..)

 

026. "Skin Exchange"

[discarded - a vaudeo version exists as part of "A Night at des Refusés during the 5th International Neoist Apartment Festival"]

- regular 8

- unknown duration

- march '82

 

024. "A Double Negative As Not A Positive"

- w/ Hannah Aviva (tENTATIVELY, a cONVENIENCE DidActing under the name of E.G.Head)

- unsplit regular 8 -> 1/2" VHS cassette

- 2:00

- '82

- on my onesownthoughts YouTube channel here: https://youtu.be/OSxlaMSynjE

 

023. "The 4th International Neoist Apartment Festival "T.Oreist Painting DidAction""

[in the archive of Istvan Kantor/Monty Cantsin]

- 1/2" reel vaudeo

- unknown duration (between 10:00 & 32:00)

- october '81

 

022. "Neoist Parking Meter Action"

- shot by Frater Neo

- directed by & DidActed in by tENTATIVELY, a cONVENIENCE

- 1/2" reel vaudeo

- unknown duration (between 10:00 & 32:00)

- october '81

 

020. a. "Seriousness is Death" [film version discarded] {version 1}

- w/ Hannah Aviva

- regular 8 -> 1/2" VHS cassette

- 4:30

- '82

b. "Seriousness is Death" [film version discarded] {version 2}

- vaudeo version reedited & soundtrack changed

- 3:14

- '82/'93

c. "Seriousness is Death" {version 3}

- March 25, 2016 version with some explanatory titles added

- 5:13

- on my onesownthoughts YouTube channel here: https://youtu.be/fIr1_U-dDHI

 

018. a. "Made for TV Version of Attempt to Score Sum Action for Daily Living" [incomplete] {version 1}

- three 1/2" reel vaudeos (to be shown simultaneously on 3 monitors)

- app 30:00 (when presented simultaneously)

- '81

b. "Made for TV Version of Attempt to Score Sum Action for Daily Living" [incomplete] {version 2}

- 1 tape version

- 1/2" VHS cassette

- app 30:00

- late summer '90

c. "Made for TV Version of Attempt to Score Sum Action for Daily Living" [incomplete] {version 3}

- 1 tape version

- 1/2" VHS cassette

- 6:00

- late summer '90 - abbreviated january '97

 

015. a. "Paper Dolls in Dava's Class"

- shot by tENTATIVELY, a cONVENIENCE & Sally Hutchins (1/2" reel vaudeo)

- directed & edited to 1/2" VHS cassette by tENTATIVELY, a cONVENIENCE

- 3:00

- summer '81 (etc..)

b. "Paper Dolls in Dava's Class"

- january '97 edit by tENTATIVELY, a cONVENIENCE

- 2:27

click here to check it out on YouTube

 

013. a. "81 Apt" {version 1}

- shot by tENTATIVELY, a cONVENIENCE (1/2" reel vaudeo), Lizard Media Systems (1/2" VHS cassette), & Mannette Letter (super 8) -> edited to 1/2" VHS cassette by tENTATIVELY, a cONVENIENCE

- 2:00:00 [not "worth" presenting]

- may-june '81 (etc..)

b. "81 Apt" {version 2}

- 32:00

c. "81 Apt" {version 3}

- dramatically re-edited using audio tape & scans & titles & brightness & contrast adjustments, etc..

- broken into 9 parts, one for each day oof the festival (except fro Monday, June 1, when, as far as I can tell, 'nothing' happened) - w/ the 1st day abridged, for YouTube:

81 APT - May 29

81 APT - May 30

81 APT - May 31

81 APT - June 2

81 APT - June 3

81 APT - June 4

81 APT - June 5

81 APT - June 6

81 APT - June 7

- edit finished february 3, 2010

- 1:06:31

 

012. a. "id ntity's attempt 2 undermine "reality" maintenance traps" {version 1}

- shot as a 2 tape/2 monitor presentation by Axis Video

- directed & DidActed in by tENTATIVELY, a cONVENIENCE (under the name of id ntity)

- 1/2" VHS cassette & betamax cassette

- 2:00:00

- february 2 (groundhog's day), '81 (etc..)

b. "id ntity's attempt 2 undermine "reality" maintenance traps" {version 2}

- edited to 1 tape 1/2" VHS cassette by tENTATIVELY, a cONVENIENCE

- 6:00

c. "id ntity's attempt 2 undermine "reality" maintenance traps" {YouTube version}

- major editing changes made & titles added

- 10:06

- edit finished january 10, 2010

d. "id ntity's attempt 2 undermine "reality" maintenance traps" {version 4}

- major editing changes made & titles added

- 1/2" VHS cassette & betamax cassette to computer to 2 DVDs & 2 mini-DVs

- 2:04:41

- edit finished january 20, 2010

e. "id ntity's attempt 2 undermine "reality" maintenance traps" {version 5}

- basically the above w/ 10:32 removed (& a transition added) so that ut cd fit on 1 DVD

- 1/2" VHS cassette & betamax cassette to computer to DVD

- 1:54:09

- edit finished january 21, 2010

 

011. "Crab Feast(s)" [the only section "worth" presenting of this, "Crab Feast 2&1/2ish" {app 3:00}, was conceived of & shot by John Ellsberry - excerpts from the film "Crab Feast 2" (conceived of & directed by Gayle 26/X & shot by Susan Henderson) are incorporated into "Satanic Liposuction, Neoasm?!, & YOU!!" - all other film portions were discarded]

- super 8 -> 1/2" VHS cassette

- 10:35

- '79-'80 (etc..)

 

009. a. "Quasi-Documentation of Testes-3's End of Library K & M Series" {version 1}

- shot by John Ellsberry (1/2" reel vaudeo)

- lighting by Mannette Letter

- directed & edited to 1/2" VHS cassette by tENTATIVELY, a cONVENIENCE

- 32:00

- may 22, '79 (etc..)

b. "Quasi-Documentation of Testes-3's End of Library K & M Series" {version 2}

- additionally tinted, & titled by tENTATIVELY, a cONVENIENCE

c. "Quasi-Documentation of Testes-3's End of Library K & M Series" {version 3} (YouTube version)

- 10:09

- on my onesownthoughts YouTube channel here: https://youtu.be/0toRU7wYDvQ

 

008. a. "t he Phantom of t he Opera" [raw "quasi-documentary" footage only - as such not "worth" presenting in most contexts other than the audience interactive 1 in which it was shot]

- shot by John Ellsberry

- directed by tENTATIVELY, a cONVENIENCE

- 1/2" reel vaudeo -> 1/2" VHS cassette

- 13:25

- april 19, '79

b. "t he Phantom of t he Opera"

- highly edited 'synopsis' by tENTATIVELY, a cONVENIENCE

- 1:09

- april 19, '79/january '97

 

007. "B.O.M.B. Easter Parade"

- shot by John Ellsberry (1/2" reel vaudeo)

- edit to 1/2" VHS cassette:tENTATIVELY, a cONVENIENCE

- 8:00

- easter '79/summer '81

 

006. a. "3 Mile Island" {version 1}

- made as part of B.O.M.B. (the Baltimore Oblivion Marching Band a.k.a. a roving band of defiant youths a.k.a. No Name Interaction/Reaction Group)

- shot by John Ellsberry (1/2" reel vaudeo), Bob Dorsey (super 8), & Grace Zaccardi (slides)

- transfer & edit to 3/4" & colorizing: John Ellsberry, Bob Dorsey, Grace Zaccardi, Doug Retzler, & Richard Ellsberry

- 3/4" edit: 30:00

- april 3, '79 (etc..)

b. "3 Mile Island" {version 2}

- edit to 1/2" VHS cassette:tENTATIVELY, a cONVENIENCE

- 12:00

c. "3 Mile Island" {version 3}

- january '97 edit from 1/2" VHS cassette to 1/2" VHS cassette:tENTATIVELY, a cONVENIENCE

- 14:30

d. "3 Mile Island" {version 4}

- august '99 edit from 1/2" VHS cassette to 1/2" VHS cassette:tENTATIVELY, a cONVENIENCE

- 4:30

e. "3 Mile Island" {version 5}

- december '99 edit from 1/2" VHS cassette to 1/2" VHS cassette: tENTATIVELY, a cONVENIENCE

- 3:46

- on my onesownthoughts YouTube channel here: https://youtu.be/WFnEj9c35fE

 

002. "Computer Interview"

- initiated & shot by Steve Estes (w/ assistance from Kenny Klompus) as a part of an unfinished project of Steve's

- DidActed in & edited by tENTATIVELY, a cONVENIENCE (as id ntity)

- 1/2" reel vaudeo -> 1/2" VHS cassette

- 3:20

- summer '77 (etc..)

 

 

review of

Scott MacDonald's "Avant-Doc - Intersections of Documentary & Avant-Garde Cinema"

by tENTATIVELY, a cONVENIENCE - September 21 - October 2, 2019

"Old MacDonald: Lifestyles-of the rich-in Cambridge": https://www.goodreads.com/story/show/1150122-old-macdonald?chapter=1

https://www.goodreads.com/review/show/2999385966

https://www.goodreads.com/book/show/22826697-avant-doc

 

This review might seem to some to be 'sour grapes', maybe it is - but I don't think so. It's been tempting to just call this a review of "Lifestyles of the Rich in Cambridge", wch really isn't that unfair, but not everybody's connected to Cambridge, MASS, (although the majority might be) & not everybody's rich (although the majority seem to be). Some of them might be of the variety of rich that thinks they're not rich b/c they've 'only' got a million or so to play w/ (or whatever).

Here's some personal backstory to help contextualize my annoyance w/ this bk. I started making films in 1975, 44 yrs ago as of this writing. My 1st film ( https://youtu.be/uraX7UhTmxc ) might be called a 'Materialist' film even though I was unaware of that term until probably decades later. I was making what I was making somewhat in isolation although I might've read Parker Tyler's "Underground Film" around this time.

It wasn't until I witnessed most of the programs of "The American Independent Film Series" that were screened at the Baltimore Museum of Art from October 7, 1976 to June 4, 1977, specifically that part of the series that was based around the bk entitled "A History of the American Avant-Garde Cinema", that I finally got a chance to witness any films that I felt an affinity for. I liked most of the films but the ones that I remember liking the most from programs that I'm sure I attended were:

 

Program 2 (December 2, 1976):

 

"The Lead Shoes" by Sidney Peterson (1949)

"A Movie" by Bruce Connor (1957)

"Recreation" by Robert Breer (1956-1957)

"Anticipation of the Night" by Stan Brakhage (1958)

 

Program 3 (January 20, 1977):

 

"Science Friction" by Stan Vanderbeek (1959)

 

Program 4 (February 17, 1977):

 

"The Flicker" by Tony Conrad (1966)

 

Program 5 (March 17, 1977):

 

"Samadhi" by Jordan Belson (1967)

"Film in Which There Appear Sprocket Holes, Edge Lettering, Dirt Particles, etc." by George Landow (1965-1966)

"Lapis" by James Whitney (1963-1966)

"Wavelength" by Michael Snow (1966-1967)

 

Program 6 (April 21, 1977):

 

"T,O,U,C,H,I,N,G" by Paul Sharits (1968)

"Bleu Shut" by Robert Nelson (1970)

 

Program 7 (May 19, 1977):

 

"Nostalgia" by Hollis Frampton (1971)

 

I loved them all but I found myself most aligned w/ the films sometimes referred to as 'Structuralist': "The Flicker", "Film in Which There Appear Sprocket Holes, Edge Lettering, Dirt Particles, etc.", "Wavelength", "T,O,U,C,H,I,N,G", "Bleu Shut", & "Nostalgia". Whether the filmmakers themselves embraced this term or whether the aforementioned are even so categorized these days is a different story. I started programming films almost immediately & my 1st curation involved more work by Nelson & others in 1978. I even made a 16mm feature that riffed off of "Wavelength" ( http://youtu.be/nRqfWwHAdqA ). Just as I was finishing that feature I got to play w/ Michael Snow as a part of his group C.C.M.C. ( https://youtu.be/epsDAADK2XA ).

I made my 1st video (or, as I prefer, "vaudeo") in the summer of 1977 in collaboration w/ Steve Estes & w/ assistance from Kenny Klompus. Steve initiated the project but my input to it was substantial enuf for me to think of it as 'my' vaudeo too. It was called "Computer Interview" ( https://youtu.be/WTnMBakpHP8 ).

My 9th movie was shot on May 22, 1979, & it was called "Quasi-Documentation of Testes-3's End of Library K & M Series" ( https://youtu.be/0toRU7wYDvQ ). Note the importance of the terminology here: I call this "Quasi-Documentation", I was already realizing that my documentaries were enuf outside the box of conventional documentary making to not be "documentaries", per se, but, rather things that were partially documentaries & partially something else.

Even though I considered myself to be an experimental moviemaker (& still do) I realized that my inclination was to document experiments in 'real life' in an experimental way - thusly making the form of the document reinforce the nature of the content. Take, e.g., the "3 Mile Island" movie that I worked on in April of 1979 ( https://youtu.be/WFnEj9c35fE ).

As of today, September 21, 2019, I've made 482 experimental documentaries ( http://idioideo.pleintekst.nl/tENTDocs.html ). My work has been screened in at least 65 cities in at least 16 countries ( http://idioideo.pleintekst.nl/tENTScreenings.html ). Many (or, possibly, most) of these movies are online- making them accessible to billions of people. &, yet, Soctt MacDonald makes no mention of me. Why? IMO b/c I'm not one of his rich academic cronies that he's a PR person for. What possible you-scratch-my-back-I'll-scratch-your-back action cd he possibly get from presenting an impoverished anarchist pornographer who heavily features truly experimental (m)usic instead of the drek that Phillip Glass composes?! Besides wch, my overall body of work is much more complicated than that of, say, Godfrey Reggio - who's essentially made the same film 4 times.

& what about the term "Avant-Doc"? Well, it'll probably catch on in thought-free academic circles but there are those of us, such as Jackson Mac Low & myself, who've largely rejected the term "avant-garde" b/c of its military origin. After all, some of us are anti-war so why associate ourselves w/ the military except for under specific, often parodistic, circumstances? I honestly prefer "Quasi-Documentary" better, a term I coined 30 yrs earlier, apparently, than when "Avant-Doc" appeared.

You get the idea. Onward to the actual bk:

"Avant-Doc" came out in 2015. I cynically state in the intro to my "tENTATIVELY, a cONVENIENCE Documentaries" website ( http://idioideo.pleintekst.nl/tENTDocs.html ) that:

"One thing that I can be fairly certain of is that by the time programmers & historians finally get excited about the genre of Experimental Documentary, any & all kudos will go to a cute young rich woman who's made one or 2 such things starting 40 years later than me & I will be completely unmentioned. Sigh."

Now, that was overly cynical of me. "Avant-Doc" features 12 women out of a total of 26 filmmakers mentioned. I'd call such an almost even distribution of the sexes to be good scholarliness. The 12 are:

Annette Michelson (actually a critic)

Jane Pincus

Nina Davenport

Susana de Sousa Diaz

Amie Siegel

Jennifer Smith

Betzy Bromberg

Jennifer Proctor

Jane Gillooly

Ilisa Barbash

Stephanie Spray

 

Pincus started making movies in 1971 & made one movie (by 2015)

Davenport started making movies in 1995 & made 5 movies (by 2015)

de Sousa Diaz started making movies in 1988 & made 8 movies (by 2015)

Siegel started making movies in 1997 & made 27 movies (to date as of 2019)

Smith started making movies in 1996 & made 8 movies (by 2015)

Bromberg started making movies in 1977 & made 9 movies (by 2015)

Proctor started making movies in 2003 & made 26 movies (by 2015)

Gillooly started making movies in 1984 & made 11 movies (by 2015)

Barbash started making movies in 1990 & made 4 movies (by 2015)

Spray started making movies in 2007 & made 6 movies (to date as of 2019)

 

SO, you see, I was totally wrong, I admit it. Pincus made her ONE movie 4 yrs before I started; Davenport only started 20 yrs later than me; de Sousa Diaz only started 13 yrs later than me; Siegel started 22 yrs later than me; Smith started 21 yrs later than me; Bromberg started around the same time as me; Proctor started 28 yrs later than me; Gillooly started 9 yrs later than me; Barbash started 15 yrs later than me; Spray started 32 yrs later than me - not a single one of them started 40 yrs later than me!. That probably has something to do w/ the bk coming out 40 yrs after I started making movies. Anyway, the average length of time that these folks started making movies after me is a mere 14 yrs - it's makes perfect sense that I'd be excluded.

Now, the total number of movies they made collectively is 105. Contrast that to the 603 that I've made to date (they're not all documentaries). Sheesh, again, it makes total sense that my mere 603 movies shd be excluded - I mean how cd anyone decry this as classism?! Anyway, my movies must be crap - I cdn't've been so prolific b/c I work constantly & know how to do things w/o grants. Well, just as a little test, why don't I provide you w/ links to 105 of them & you can check all of them out & get back to the review. You won't, of course. Scott MacDonald certainly won't, I'm not rich & in his academic tour circuit.

001. "Computer Interview" (1977) ( https://youtu.be/WTnMBakpHP8 )

002. "3 Mile Island" (1979) ( https://youtu.be/WFnEj9c35fE )

003. "Quasi-Documentation of Testes-3's End of Library K & M Series" (1979) ( https://youtu.be/0toRU7wYDvQ )

004. "Paper Dolls in Dava's Class" (1981) ( https://youtu.be/x0fkllvVAl4 )

005. "Tunnel T.Ore & Tiger" (1983) ( https://vimeo.com/160516148 )

006. "Apt 7" (1983) ( https://youtu.be/naU37TVUBRY )

007. "booed usic @ t he Telectropheremoanin'quinquennial"(1984) ( https://archive.org/details/BooedUsic )

008. "See-Saw" (1985) ( http://youtu.be/Y8MsA6Ezf70 )

009. "6 Fingers Crossed Country T.Ore/Tour" (1986) ( https://archive.org/details/6FingersCrossed )

010. "Philosopher's Union Member Mouthpiece # 00,002: Richard Tryzno Ellsberry" (1988) ( https://youtu.be/2HUG-L_ovHQ )

011. "Philosopher's Union Member Mouthpiece # 00,008: Casandra vonRinteln Hambleton" (1988) ( https://youtu.be/RcAICoZ7mmc )

012. "Philosopher's Union Member Mouthpiece # 00,015: Emma Elizabeth Downing" (1988) ( https://youtu.be/gVqpSGYVAbo )

013. "Philosopher's Union Member Mouthpiece # 00,022: L.A.W." (1988) ( https://youtu.be/SRMZdg1mp9A )

014. "Philosopher's Union Member Mouthpiece # 00,030: Stefan Szcezelkun" (1988) ( https://vimeo.com/114670259 )

015. "Philosopher's Union Member Mouthpiece # 00,051: Janor Hypercleets" (1989) ( https://youtu.be/udxqfuGvrwo )

016. "Philosopher's Union Member Mouthpiece # 00,070: David Franks (on temperance)" (1992) ( https://youtu.be/kOUigEfApi4 )

017. "Tent's Muir" (1988) ( http://youtu.be/oBBjSe3REHA )

018. "Homeless Movies" (1988) ( https://youtu.be/_OLEL-lHFbE )

019. "One Word per Person Party" (1990) ( https://youtu.be/cvgoTPwwCog )

020. "National Cancer Institute Documentary" (1993) ( https://youtu.be/iANO4bKId7E )

021. "Official Tour/Ture" (1992) ( http://youtu.be/EN5U7JANpRA )

022. "Boota" (1994) ( https://youtu.be/19_pe-nT9u0 )

023. "Anonymous Family Reunion" (1997) ( https://youtu.be/Igk75JaCTPw )

024. "Urban Myth of the Force That Prevents Building on the Railway Lands" (1998) ( https://youtu.be/ugZqSTGV9Rk )

025. "Don't Walk Backwards" (2000) ( https://youtu.be/kODzM_2_bRM )

026. "The Lab-Rats Explain Their Veggie-Oil Powered Van" (2000) ( https://youtu.be/X0RsOO9W0hs )

027. "Multiple Projections - 1978-2009" (2009) ( https://youtu.be/6smYCjQPuXM )

028. "Interspatiality" (1997) ( https://youtu.be/K5nsRUM90Bg )

029. "Anemia of the Paparazzi" (2000) ( https://youtu.be/HucBwEMz3AE )

030. "Harps & Angles ('performance' version)" (2003) ( http://youtu.be/Qk_UOY0c1bk )

031. "Anti-Neoist Rally" (2000) ( https://youtu.be/QX7963kyl2k )

032. ""Money Against Capitalism" on "Anarchist World This Week"" (2000) ( https://youtu.be/-yi9PTR99xE )

033. "I.A.C. Deer Head Sculpture @ former Rankin Steel Mill" (2000) ( https://youtu.be/6NMI-GwhPVs )

034. "A Slide Show by tENTATIVELY, a cONVENIENCE" (2002) ( https://youtu.be/tWqjOGPyf98 )

035. "History in the Making" (2005) ( https://youtu.be/Db1SXIFd4AI )

036. "B.T.O.U.C." (2006) ( https://youtu.be/_HxXGlMriKA )

037. "Steelers Fans Against War" (2005/2006) ( https://youtu.be/82EhacEns5I )

038. "¡Gran LIQUIDACION por CIERRE! (extended)" (2004/2007) ( http://youtu.be/6lldh74_ZUY )

039. ""HiTEC 024 A" (hybrid version)" (2008/2019) ( https://youtu.be/RmtaSPLef_w )

040. "HiTEC 051 - New Hazlett Theater" (2009) ( https://archive.org/details/HiTEC051full )

041. "The End of Television" (2009) ( https://archive.org/details/HiTEC059full )

042. "HiTEC @ the VAF" (2009) ( https://archive.org/details/HiTEC06163VAF )

043. "HiTEC 064 I" (2009) ( https://archive.org/details/HiTEC064I )

044. "Infnite Monkey Theorem" (2008-2010) ( https://archive.org/details/InfiniteMonkeyTheorem_201905 )

045. "Mark Dixon's Selectric Piano" (2010) ( https://youtu.be/3x6AJ6ssJsk )

046. "tENTATIVELY, a cONVENIENCE - School of Disembodied Poetics" (2010) ( http://youtu.be/f2puiVTPGYU )

047. "DEPOT (wherein resides the UNDEAD of Franz Kamin)" (2010-2011) ( https://archive.org/details/depot_201906 )

048. "COLONY" (2010-2011) ( https://youtu.be/7AgvRX4MJmA )

049. "North Deface" (2012) ( http://youtu.be/r8Dre9tTEyE )

050. "Titin" (2013) ( https://archive.org/details/Titin )

051. "Devival" (2014) ( http://youtu.be/FfDCnTR03dg )

052. "FOR EVERMOR" (2014) ( https://archive.org/details/forevermor )

053. "HealthCare NightMare" (2014) ( http://youtu.be/tjB3QBz4LAc )

054. "mm 49: Vivien Fine Marathon" (2014) ( http://youtu.be/vjqJ9xekECs )

055. ""A Catamaran Animist Vigor" @ Babyland - 2015.01.24" (2015) ( http://youtu.be/dIIUKoKBa0o )

056. "BYOC Premier" (2015) ( https://youtu.be/jSW-vLZwLOQ )

057. "mm 61 presents: ACCORDION" (2016) ( https://youtu.be/S-xLIwl5Bkk )

058. "Limpolysemia" (2016) ( https://youtu.be/DikIpJ_RX3E )

059. "mm 68 presents: ELECTRONICS" (2016) ( https://youtu.be/BURHnvcb6V8 )

060. "Music Boxing" (2016) ( https://youtu.be/3iT-oyfCALg )

061. "Hindsight" (2016) ( https://youtu.be/z1_wrZboeMs )

062. "Wild Horses Couldn't.. (raining cats & dogs version)" (2016) ( https://archive.org/details/WildHorsesCouldnt )

063. "mm 72 presents: COUGHING" (2016) ( https://youtu.be/9yL_Mz-7sR4 )

064. "mm 74 presents: NONDO" (2016) ( https://youtu.be/OHmyNTfDs2U )

065. "mm 75 presents: BIRD CALLS & SONGS" (2017) ( https://youtu.be/9hAT8KCWHbg )

066. "Monte con o sin safos Rides Again" (2016-2017) ( https://youtu.be/rItG4Wa55_0 )

067. "Making Dü" (2017) ( https://youtu.be/OKqsWt_q_3o )

068. "Is This a Black Theorem?" (2017) ( https://youtu.be/gw48jIh0oS4 )

069. "Soap Box Opera No. 6" (2017) ( https://youtu.be/A_8Vgf97WMg )

070. "DiVenti" (2017) ( https://youtu.be/UydvbT-1geQ )

071. ""EL" IP" (2017) ( https://youtu.be/fiAVrCNtKvQ )

072. "Pamelia Stickney, Herself Extraordinaire" (2017) ( https://youtu.be/ZpNhMIwc9Po )

073. "Double Embrace" (2017) ( https://youtu.be/1GDXxp_g168 )

074. "1st Non-Existent International Neoist Apartment Festival in the Year 000" (2000) ( https://archive.org/details/1stNonExistentInternationalNeoistApartmentFestivalInTheYear000 )

075. "Ernie Althoff, April 20, 2000, April 25, 2000" (2000) ( https://vimeo.com/239887227 )

076. "Ros Bandt, April 26, 2000, May 19, 2000" (2000) ( https://archive.org/details/RosBandt )

077. "Kate Kaos, April 9 & 10, 2000, May 14, 2000" (2000) ( https://archive.org/details/KateKaos )

078. "Tom Fryer, April 25, May 14, May 30, June 1, 2000" (2000) ( https://youtu.be/15BHqI1_F8I )

079. "MM 76 Release (well done)" (2017) ( https://vimeo.com/241244343 )

080. "The Struggle to End Death by Incarceration" (2018) ( https://youtu.be/3KJc0rb-zRk )

081. "Vermin Supreme, His Humble Beginnings" (2018) ( https://archive.org/details/VerminSupremeHisHumbleBeginnings )

082. "Sleeping Together" (2018) ( https://youtu.be/VNNRBa5Z-cM )

083. "Spit'n'Polish Hill May Day Parade 2018" (2018) ( https://youtu.be/YIOaGnBCrZU )

084. "FILMMAKERS don't let it be Dead at 47" (2018) ( https://archive.org/details/DeadAt47 )

085. "UNDERAPPRECIATED MOVIEMAKERS FESTIVAL" (2018) ( https://youtu.be/KwlfRxmRU3E )

086. "Generic As-Beenism" (1987) ( https://youtu.be/OL1Mppt2ck4 )

087. "Filibuster" (2018) ( https://youtu.be/7iU87E_2Y2s )

088. "365" (2018) ( https://youtu.be/wC09g1d-Ou8 )

089. "Living a Making" (2019) ( https://youtu.be/YSRsar8SfMg )

090. "Secret Music Society" (2019) ( https://youtu.be/4JS9wGPyAPY )

091. "Future Paintings" (1987/2019) ( https://youtu.be/E8It7MXQkEE )

092. ""365" @ Regent Square Radio Spot 2" (2019) ( https://archive.org/details/365RadioSpot2 )

093. "The Official, April 29th, 1992E.V., Band That Does Accept Money From Institutions" (1992/2019) ( https://youtu.be/DdAPsiswqT8 )

094. "Double Takes" (2019) ( https://youtu.be/76siS_VmM5E )

095. "Soap Box Opera episode 8" (2019) ( https://youtu.be/F6nTCUV0A4I )

096. "tENTATIVELY, a cONVENIENCE @ the Music Gallery, a sO-cALLED wHATEVER" (1995/2019) ( https://youtu.be/kjkDZsaWhkk )

097. "Triple-S Variety Show @Orgone Cinema" (1995) ( https://youtu.be/mhhOcHKOKFw )

098. "Volunteers Collective XIX: "Vexations"" (1995) ( https://archive.org/details/Vexations_201905 )

099. "DUET February 17, 2002E.V.: Michael Pestel & tENTATIVELY, a cONVENIENCE" (2002/2019) ( https://youtu.be/hYMMgww0gLg )

100. "tENTATIVELY, a cONVENIENCE Interviewed by Kent Bye February 16, 2002E.V." (2002/2019) ( https://archive.org/details/tENTInterviewKent )

101. "Dixmont" (2002/2019) ( https://youtu.be/yEWrSNKzg60 )

102. "Street Ratbag No5 Release Event" (2001/2019) ( https://youtu.be/3hEepzUGkss )

103. "AMD" (2019) ( https://youtu.be/IQgkC5OwPmw )

104. "Slightly Musical Conehead Temperature Gauge" (2019) ( https://archive.org/details/SMCTG )

105. ""Yr of Sundays" K7 Release Party" (1998/2019) ( https://archive.org/details/yrofsundaysrelease )

 

Now, given that we live in an era where the main criteria for quality seems to be how expensive the cameras used are, some of you might object to the use of VHS, 8mm film, super-8mm film, PXL-2000, 35mm slides, filmstrips, & $35 'sports' cameras. Whatever. I rarely have money, I'm highly unlikely to get funding, I've often used broken & borrowed cameras. I'm concerned w/ CONTENT & innovation. If the results are HD (as many of the more recent ones are) so be it, if the results are lo-def, so be it. Others of you may be afraid that all of the above movies might require.. ATTENTION SPANS! Yeah, most of them do - but have no fear, some of them are fairly short - so even if you start spacing out after yr 1st toke b/c there aren't any murders to keep you sortof paying attn, don't worry, coffee might bring you back for a few seconds. Others of you might object that many of these movies are about my own activities. What of it? At least I have activities TO document. Shd it be held against me that I'm a polymath?

Where were we?

"In the beginning of 2009, I was invited to be a keynote speaker at a conference sponsored by the graduate students in the Department of Comparative Literature and Film at the University of Iowa, called "Avant-Doc: Intersections of Avant-Garde and Documentary Film."" - p 1

In the beginning was the conference. NOT. In the beginning was the work, of course, w/o wch the conference wd've been more or less meaningless. Not that MacDonald's saying otherwise.

""Documentary" was first used by John Grierson to refer to Robert Flaherty's Moana (1926): Grierson said the film had "documentary value," meaning, presumably, that Flaherty had documented aspects of the life of a distant culture (the Samoans) that no one else had. Of course, we now know that during the production of Nanook of the North (1921) and Moana Flaherty asked the Inuit and the Samoans to reenact elements of their current and/or previous ways of life; basically, he was "documenting" a fabrication. Nevertheless, these reenactments were produced in collaboration with real Inuit and real Samoans, and were filmed in their actual environments." - p 2

So far, so good.

"Bill Nichols, who remains the leading scholar of documentary, has argued for a distinction between document and documentary. For Nichols, making a document of a cultural moment or practice is not making a documentary, since a documentary requires the filmaker's formation of an intellectual argument that is an interpretation of the subject, based on whatever film documents have been recorded or whatever information the filmmaker has discovered." - p 4

Recently, I was inclined to use "document" instead of "documentary" - but that phase seems to be over already. Nichols's distinction isn't quite what I had in mind since it seems to imply that the actual raw footage is closer to 'objective truth' w/o moviemaker spin. Such a position seems to not take into consideration, although I take it for granted that Nichols is smarter than this, that the moviemaker's spin begins w/ choosing the subject & aiming the camera - in other words, far before editing even takes place. Otherwise, I don't think that a "formation of an intellectual argument that is an interpretation of the subject" is 'necessary' given that choices may be made w/ aesthetic preferences in mind rather than intellectual arguments.

"In 1955, Francis Flaherty, Robert Flaherty's widow, hosted a symposium of filmmakers to honor her husband's filmmaking oeuvre and to promote his commitment to filmmaking "without preconceptions." Within a few years, "the Flaherty," as the symposium came to be called, was attracting dozens of filmmakers, programmers, scholars, teachers, students, and other cine-aficionados for week-long immersions in a program of screenings and discussions. By 1963 the Flaherty had become so identified with documentary that it could provoke an aesthetic guerrilla action by avant-garde filmmakers Jonas Mekas and Ken Jacobs, who wanted to present Jack Smith's Flaming Creatures (1963) and Jacobs's own Blond Cobra (1962) at the seminar."

[..]

"Francis Flaherty's idea of "non-preconception" continues to inform modern Flaherty seminars (e.g., films are presented at the seminars without introduction) but the idea that one can approach a film, or a subject, with no preconceptions seems of questionable value even in a context of Robert Flaherty's work (clearly when he returned to Northern Canada to make Nanook, he had preconceptions about what to film), and all those attending a Flaherty seminar bring with them their assumptions about cinema and the world." - p 10

Given the premise of this bk that there's a category of documentary that incorporates aesthetics & techniques & philosophy etc of avant-garde moviemaking, I'd be fine w/ including Smith's "Flaming Creatures" (I've witnessed Jacobs's "Blond Cobra" too but I don't really remember it) - but, heck!, won't all reality start to fall apart if we get that loose & sloppy?

"Of course, I am well aware that this panorama of filmmaker conversations cannot pretend to represent all the worthy achievements of what I am calling "avant-doc"-even the worthy achievements I am presently aware of."

[..]

"It will be obvious that my survey focuses primarily on recent filmmaking in the United States (and within this country, on work that has a connection to Cambridge, Massachussetts)." - pp 16-17

What's perhaps less obvious is that these filmmakers are far from the grassroots, they're mostly an economic elite. On the other hand, there're plenty of experimental documentaries made by political activists. A look at such things as the various video series made by such folks such as "Undercurrents" from Britain ( http://www.undercurrents.org/about.html ) or 'IMP ACTIVISM" from the us@ ( IMP ACTIVISM #1: https://youtu.be/EVEBDsOPzwI , IMP ACTIVISM #2: https://archive.org/details/IMPACTIVISM2 , IMP ACTIVISM #3: https://youtu.be/Fswe3Pcpys4 ) will reveal that they aren't particularly fettered by a lack of imagination.

"Having grown up in the wake of the Carnation Revolution, which developed during the years following the death of Antonio de Oliviera Salazar in 1968 and toppled his dictatorial regime in 1974, Susana de Sousa Diaz became fascinated with the forms of filmmaking sponsored by the regime during its forty-eight years in power. Since 2000, when she was first allowed to explore the Salazar regime's official archive, de Sousa Diaz has struggled to find cinematic forms that can do justice to the realities of oppression within what has often been seen as a relatively benign dictatorial sysyem." - p 22

Here I am, still in the Introduction & I'm starting to get really interested: What cd be better?: a filmmaker whose work I've never witnessed & a subject of potentially deep interest to me. So, you see?, I was being too harsh earlier.

The 1st person interviewed is Annette Michelson, the cofounder of October, a publication that I only have 2 issues of in my aRCHIVE, neither of wch have I read, & someone that I'm glad to finally learn more about.

"Leaving Artforum in 1976, she founded the journal October together with Rosalind Krauss. October was formed as a politically charged journal that introduced American readers to the ideas of French post-structuralism, made popular by Michel Foucault and Roland Barthes. Michelson's early essays for the journal included several on Sergei Eisenstein and Dziga Vertov, as well translations of texts by Georges Bataille. Krauss and Michelson remained on the journal's editorial board, along with Yve-Alain Bois, Hal Foster, Benjamin H. D. Buchloh, Denis Hollier, David Joselit, Carrie Lambert-Beatty, Mignon Nixon, and Malcolm Turvey.

"Among her numerous translations, essays and articles, Michelson edited Kino-Eye: the Writings of Dziga Vertov (1984), and Cinema, Censorship, and the State: The Writings of Nagisa Oshima (1992)." - https://en.wikipedia.org/wiki/Annette_Michelson

Considering what a major intellectual she is, her Wikipedia entry is rather paltry. At any rate, I was glad to read her interview.. but, uh, what does she really have to do w/ "Avant-Doc"? Perhaps MacDonald just wanted to include the interview in a bk & this was his opportunity.

"Whereas early documentary filmmakers could find corporate and/or government support for their work and beginning in the 1950s found television networks willing to present their films, avant-garde filmmakers have generally had far less dependable resources for their filmmaking-and have needed champions. Especially since the Second World War there have been champions of many kinds. In this country, Maya Deren's energy and persistence in creating an audience for her own films helped to inspire Amos and Marcia Vogel to create Cinema 16. Vogel and his San Francisco colleague Frank Stauffacher at Art in Cinema became champions of many forms of avant-garde and documentary cinema. In the 1960s, Jerome Hill, operating relentlessly under the radar, provided angel financial support for many crucial films. Of course, Jonas Mekas championed what he called the New American Cinema in his widely read and influential column first in the Village Voice and subsequently in the Soho Weekly News and was a prime mover in the creation of the New York Cinematheque, Anthology Film Archives, and New York's Filmmakers' Cooperative. Bruce Baillie, Chick Strand, and their Bay Area colleagues founded Canyon Cinema, which became exhibitor, publisher (of the Canyon Cinemanews), and the most dependable distributor of avant-garde work." - p 26

& that's a history I deeply love. Alas?, things have changed, such culture is barely supported by society-at-large anymore & the passion of the above people & projects has been replaced by what? Think of Pittsburgh Filmmakers, a similar alternative institution that started a decade later than the New York Cinematheque & Canyon Cinema. Filmmakers, a mainstay in my own personal cinematic experience, had to sell its main bldg a yr ago & remake itself under a different umbrella. This, for me, & for many others, was a great loss. See "FILMMAKERS don't let it be Dead at 47" ( https://archive.org/details/DeadAt47 ), my very spontaneously shot doc of one of its last events. In fact, I got this bk from the Filmmakers library sale as they were preparing to leave their sold main bldg.

"Michelson's passion for Dziga Vertov would help to revive interest in The Man with a Movie Camera and would lead to her editing Kino-Eye: The Writings of Dziga Vertov (Berkeley: University of California Press, 1984)." - p 27

Certainly both of those things are major reasons for me to admire Michelson. "The Man with a Movie Camera" is probably in my top 10 favorite movies of all time (to see a list of my "Fave Faves" go here: http://idioideo.pleintekst.nl/tENTFaveFaves.html ). I've even had the pleasure to contribute to a bk dedicated to the study of & reaction to ONE STILL from "The Man with a Movie Camera": "Vertov from Z to A" (2008) edited by Peggy Ahwesh & Keith Sanborn (see: http://idioideo.pleintekst.nl/Book2008Vertov.html ).

MacDonald tells me about a Greta Garbo film I haven't seen: "the transformation of the falling snow that surrounds Garbo's lover as he walks, pensive and alone through the city streets, into countless falling white silhouettes of Garbo's profile." (p 28) I'd love to see that.

MacDonald's interview w/ Michelson is one of the few, if not the only, where the reader gets a sense of the interviewees actually having to work for a living. I'm all in favor of avoiding being a wage slave as much as possible but inherited wealth, the usual means for avoiding wage slavery while maintaining a quality lifestyle, breeds stupidity & a lack of mindfullness.

"MacDonald: What did you work at that allowed you to save the money?

"Michelson: I was a part-time salesgirl in two different department stores, but then got a full-time job at the Brooklyn Public Library and shared an apartment in the Village with a friend. The job didn't pay well, but I managed, after a couple of years, to have enough for passage by ship and a few months in France. The exchange at the time was massively in favor of the American dollar." - p 30

Now, that's 'magic realism': imagine saving money from a low-paying job in NYC, where the landlords might as well be a cabal of vampires. Anyway, I can relate. I can also relate to the following:

"MacDonald: You're so busy reading, you haven't unpacked your books from your move to this apartment!

"Michelson: There are too many of them! I never knew how many until the moving man told me-they're accustomed to making estimates. Getting the books unpacked and shelved is my project for the summer.

"MacDonald: Could you tell me what their estimate was?

"Michelson: Ten thousand, to which I've added another thousand" - p 31

We move on to Michelson recalling Kenneth Anger in Paris.

"Of course, Kenneth's reputation in Paris was based largely on his book of Hollywood gossip (Hollywood Babylon (San Francisco, Straight Arrow Books, 1975), which was translated, published in France in the late 1950s and often quoted as a reliable text on the dreamland that means so much to everyone!" - p 32

What's wrong w/ this picture? What seems to be wrong are conflicting dates: "published in France in the late 1950s" in contrast to "Straight Arrow Books, 1975". However, it appears that Michelson is correct:

"Originally published in French in 1959 by J.J. Pauvert (Paris) as Hollywood Babylone, the first U.S. edition of Hollywood Babylon was published in 1965 by Associated Professional Services of Phoenix, Arizona. A second U.S. edition was published by Rolling Stone?s Straight Arrow Press and distributed by Simon & Schuster, released in 1975 after a series of copyright conflicts" - https://en.wikipedia.org/wiki/Hollywood_Babylon

I was the projectionist at the Andy Warhol Museum when Kenneth Anger came, around 1997, to give a Hollywood Babylon slide show. Not only did Anger gouge the museum for as much money as he cd get, he presented one of the grossest vicarious revelings in the sufferings of other people I've ever witnessed. The small theater was packed w/ what seemed to be mostly well-to-do young white gay males. They seemed particularly thrilled by such stories as the one about the man who wanted to commit suicide during sex by shooting himself. Anger claimed to know a woman who agreed to this arrangement. That struck me as tragedy rather than camp entertainment. After Anger's fairly paltry presentation, a large number of the audience lined up to buy advance copies of "Hollywood Babylon III", a bk that didn't exist yet &, as far as I know, still doesn't exist 22 yrs later. I watched this, amazed, certain that the idiot fans were being fleeced. They were. Anger made some great films.. & he made some trivial ones. All in all, he made very few films - the cash cow of wch he's managed to milk for all they're (not) worth.

"Julliard asked me to read English language books submitted for translation and publication, but they also said, "We know that there are some American writers living here; could you find something interesting for us?" I spread the word and Jimmy Baldwin brought me the typescript of his first book, Go Tell it on the Mountain [published by Knopf in 1953], which they rejected!" - p 33

Imagine trying to get James Baldwin published & seeing his work rejected!! Michelson is a fantastic person - too bad she never made any experimental documentaries.

"My 2001 piece was written partly in anger at the whole film-critical establishment, including Andrew Sarris, who just dispensed with the film, didn't understand it." - pp 37-38

Reading such things is like reading Nicolas Slonimsky's "Lexicon of Musical Invective". In the "Lexicon" one gets to read bad press given to composers now commonly in the pantheon of the greats. Take, e.g., this May, 1804, review of Beethoven:

"Beethoven's Second Symphony is a crass monster, a hideously writhing wounded dragon, that refuses to expire, and though bleeding in the finale, beats about with its tail erect." - p 42, "Lexicon of Musical Invective" (1953, 1965, 2000; W. W. Norton & Company, Inc.)

Not recognizing the talent of Baldwin or the genius of Kubrick's "2001" can only be a sign of the imbecility of those in a position to judge & reject. Sarris is probably in a netherworld now where his eyes are perpetually open & watching "2001" looping 1st forward & then backward for eternity. Serves him right. & what about "Man with a Movie Camera"?

"I learned that the film had been available for several years but that there had been only two rentals before mine-there were years when nobody rented it!" - p 41

But who were the 2 people who had rented it?! That's what I'd like to know.

"This was a terrific opportunity because we could do a catalogue, new prints of everything we showed were made and given to the filmmakers after the event, plus all of their transportation and expenses were covered." - p 42

OSEG! (Oh Somebody Else's God!) Imagine being treated that well. Those were the days. Why, I wd kill Stan Brakhage & Andy Warhol for such good treatment!!

"I'm sure you've seen Fuses [1967] and I wonder what you think about it.

[..]

"Carolee had the most famous body and she used it very well. She was right: I didn't care about the films, didn't really think much about them." - p 43

Carolee Schneemann's Fuses, a sex film w/ gorgeous hand touches, is one of the greatest direct-on-film films (IMNAHO: In My Not Always Humble Opinion) - & my saying that has nothing to do w/ the instant desire I have to fuck her when I see it. I appreciate Michelson's honesty about Schneemann's use of her body but I think it may've blinded her to the accomplished technique. Otherwise, I think I may've only seen Schneemann's Kitch's Last Meal in addition to Fuses & I admit that I didn't find it in the least bit interesting. I did have the pleasure of meeting her around 1981 & I found her very nice. We bonded over my collection of broken umbrellas. I talked w/ her again over the phone in December, 2010, about the possibility of my interviewing her about Franz Kamin, a person that I was told she might've known, for my "DEPOT". Alas, she hadn't known him well enuf. SO, today, I was looking her up on the internet only to learn that she died this yr on March 6, 2019. I'm truly upset by this, I wish I'd interviewed her anyway. What a lost opportunity.

"I don't even know if I'd seen Hollis's films before then, perhaps not. Of course, I was very struck by them. There was the usual question and answer period after the screening, and at one point I raised my hand and asked a question about Lemon [1969]. Now, I don't really remember the question, but I do remember the beginning of the answer: "Ah, you must be Annette Michelson!" What response could have been more flattering!"

[..]

"I have never recovered from Hollis's death, I've had very few intellectual companions like Hollis, very few friendships like this one (and it was an intellectual friendship). I continue to miss that, and him, terribly." - p 46

I'd love to know what her question about Hollis Frampton's "Lemon" was b/c I like his work in general but find that one to be a real.. lemon.

"MacDonald: I assume the recent Frampton issue was an attempt to generate some energy in younger scholars"

[..]

"Michelson: Yes, in part, but I would like scholars and others who can explore more recent work. October is very special-we know that-and not everybody is going to submit to us, but I think there must be a certain number of people who could make important contributions." - p 47

October still exists: https://www.mitpressjournals.org/october , it's up to its 169th issue! That's impressive!! Michelson died in 2018 so issue 169 is dedicated to her. Their submissions guidelines page is here: https://www.mitpressjournals.org/journals/octo/sub . I quote:

"All submissions should be sent to octobermagazine@gmail.com. Manuscripts should not exceed 8,500 words in length and should hew as closely as possible to Chicago Manual of Style strictures. We reserve the right to edit letters and responses selected for publication."

I wdn't even bother to submit something, "Chicago Manual of Style strictures" mean death to creativity. No thanks. & I don't mean "No, thanks."

Now we move on to the actual moviemakers. 1st up is "Robert Gardner". Never heard of him so I decide to find what I can at my local library. Nothing. Instead there's an abundance of work by one "Robert Gardner" who I'll henceforthe refer to as "Robert H. Gardner". I'd never heard of him either, he makes PBS style docs, the type of docs that experimental docs are an alternative too. I've watched very few PBS style docs. I got about 8 of Robert H Gardner's docs out of the library. They were so generic it was 'painful'. "Barbarians" was particularly atrocious.

"Robert Gardner is still best known as the pioneering etnographic filmmaker who made Dead Birds (1964), Rivers of Sand (1974), Deep Hearts (1981), and Ika Hands (1988). A controversial figure, even within the field of ethnographic film, Gardner's commitment as a filmmaker was always less a matter of providing anthropologically useful information about the peoples he depicted, than of offering his own poetic visions of their lives, visions that often have a good deal to do with Gardner's sense of his own culture." - p 48

There seems to be an ongoing philosophical debate about what a documentary is supposed to do. From my POV, there aren't any requirements as to what any particular documentary shd do. If ALL docs were to become government controlled propaganda then I'd be upset - but when a doc unabashedly displays its maker's personality I'm not usually bothered. If it claims to be 'objective' I'm much more likely to be suspicious & critical.

Now that we've reached the actual moviemakers I can make my case for "Lifestyles of the Rich in Cambridge" in more detail:

"MacDonald: You're from an old Boston family, a family long involved in the arts. Isabella Stewart Gardner is a legend. How exactly are you related to her?

"Gardner: She was my great aunt by marriage. She died the year before I was born so I never knew her. I was born in her summer house (Green Hill) in Brookline and was a frequent visitor to Fenway Court (now the Gardner Museum) in Boston. I was also saturated with her aesthetic objects and decorative elements that she did not include in Fenway Court surrounded me in the house where I was born and grew up.

"MacDonald: When you were growing up, was your family much involved in the arts?

"Gardner: My father was an investment banker but also an engaged member of the boards of the Museum of Fine Arts and the Gardner Museum." - p 51

Major privilege.

"MacDonald: You brought a number of people to the Carpenter Center to work and lecture.

"Gardner: One of the first was Dusan Makavejev, who came over from Yugoslavia and taught brilliantly, he was absolutely what Harvard needed" - p 61

Ok, I love Makavejev's work. If you haven't seen "Sweet Movie", you haven't lived. Hell, you haven't even been reincarnated as a cockroach.

"You've not asked about animation, but for years, Boston was an epicenter of independent animation. I put animation into the program at the Carpenter Center from the very start. I tracked down the man who made the Oxberry;" [a type of optical printer] "it turned out he was a Harvard graduate. I convinced him that he should give an Oxberry to Harvard. Of course, the moment you get something that big into a building, you almost have to use it, so right away, I began bringing in the best animators I could find: the Hubleys for example-John Hubley was our first animator. Almost every animator of moment in American and European animation has taught at Harvard.

"I found Derek Lamb in London; I remember drinking a Guinness with him in a bar in Piccadilly Square, trying to persuade him to come to Harvard. He was working for John Halas at the time; Halas and Joy Batchelor did Animal Farm [1954].

"George Griffin, Caroline Leaf, Jan Lenica all taught here, and we brought John Whitney in for a screening. The films that were made here set a standard for independent animation that not even the National Film Board of Canada has come up to." - p 62

Wow. That's quite a claim. Norman McLaren & Grant Munro worked for the National Film Board of Canada. I've seen some of Lenica's work & liked it; I've seen some of Griffin's work & thought it was ok; but I've seen everything I can by McLaren & I think it's total genius. Frankly, even though I respect Gardner's passion here, I don't believe anyone at Harvard has ever matched McLaren's work let alone superceded it.

"I was a director of that corporation on the basis of a modest investment-I think I put in $10,000 when the group was formed in the middle to late 1960s." - p 65

Wealth again. 1967's $10,000 = 2019's $76,813.77. That's 10 yrs of the Social Security Retirment money that I'm living off of. I'd hardly call that "modest". How can a person who's so dismissive of what I'd call a huge amt of money have any grip on reality? In other words, this is a classic example (pun intended) of how classist the decisions are for the people chosen for this bk. "Lifestyles of the Rich in Cambridge"

"Because Boston was what it was (and still is:) a university town, there were numberless students in the area who would switch on Screening Room. At one point we did a survey and found that 250,000 people were watching this program!" - p 68

Wd it be possible to generate an experimental program these days that wd attract such attn? It seems unlikely. The popular social climate of the late 1960s & early 1970s seems to've been more open-minded & curious. Today, I don't know, if there's open-mindedness & curiousity on a large-scale I seem to be missing signs of it.

"MacDonald: Were you able to pay filmmakers to be on Screening Room?

"Gardner: Yes. Nobody programming independent film had much of a budget in those days, but I had something like a thousand dollars to pay each filmmaker, plus money for their travel expenses; they were put up in a hotel; and they were paid a per foot rental fee for the films we screened. They could usually walk away with fifteen-hundred or two-thousand dollars.

"MacDonald: A lot of money then." - p 69

Indeed. Alotof money NOW & considerably more than I've ever been pd. If the show was from Nov 1972 to 1981 then let's say someone got pd $2,000 in 1977, that wd be the equivalent of $9,537.47 for being on one TV program & having one's films shown on it. That's over a yr of what I live off of now. It's mind-boggling. I'd feel lucky to get pd a measley 5% of that.

"MacDonald: You were either the executive producer or the producer on all the films funded by the Carpenter Center. How did that work? Were you the academic version of a Hollywood mogul in the sense that you decided what projects got funded?

"Gardner: I'm afraid so. And it worked for a while, though in the end there was an inquiry as to what the Film Study Center was. And why it even existed. And who is Gardner, and what do he and the people associated with him think they're doing? Making the films they want to make?! Not doing peer reviewed scholarly articles?!

"It was an enormous investigation, by apparatchiks of the administration coming in and asking questions and putting me on the spot. I told them, "The Film Study Center I set up years ago to make good films." "Who's to say they're good films?" "I don't know, I guess the public, the audience. But certainly the attempt is being made to find people who are making good films, and give them a chance to do something." "Is it open to everybody on a fair and equal basis?" Finally there was a report. I was never able to see it-although I was promised that I would see it when it was done. Guzzetti was very much involved in that report as a good soldier in the department.

"Then a committee was formed to vet all the requests for film production money and to make awards to people. Maybe this was necessary, a way to take power out of the hands of one person and put it in the hands of a group of people who were more representative of the whole constituency of the faculty." - pp 73-74

This, to me, is an important issue. On the one hand, I'm sympathetic to the passiomate individual whose vision gets things rolling & who's willing to make the money appear. On the other hand, since this was happening in a university context, it's understandable that university people wd want a more democratized process. But then there's the issue of "peer review": what if the person being reviewed has no peers? The passionate visionaries have no peers among the bureaucrats. In a case like this, the idea of 'peer review' is a bad joke. Gardner's 'peers' wd have to be people who'd started & made possible programs. Perhaps Gardner's 'mistake' was to have it all happen in an academic context in the 1st place. If he'd kept it some sort of private enterprise he might've had an easier time just following his own vision.

We move on to different moviemakers but the Boston promo persists: "My sense is that Cambridge's importance in the development of documentary cinema has somehing to do with the fact that Pragmatism developed here and has had an abiding influence." (p 79) Ok, Charles Sanders Pierce is credited w/ being the Father of Pragmatism & he was from Cambridge. That's interesting - but I wonder if anyone ever thought about the mother or did a DNA test just to be sure? Was Pragmatism a test-tube baby? That wd explain alot.

"MacDonald: Were you hassled by whites?

"Pincus: We were. When we first got to Mississippi, we hardly knew anybody. We had rented a house in a black subdivision outside of Natchez, and there was a three-mile stretch of deserted woods between the town and that subdivision. One night we decide to go to this black, fast-food chicken place. We pull up and two minutes later this white cop car pulls in and just sits there watching us. We had no idea what to do. Finally the chicken comes and David says, "Well, let's just get in the car and see what happens." I'm about to get in the car when this black guy in the car next to me says, "Don't worry, I'll follow you home." That was the total conversation. We say thanks and pull out, then this guy's car pulls out, and the cop car pulls out. We get across those three miles back to the apartment without incident, but two days later the black guy shows up and tells us that the cops stopped him and took him to court, where the judge said, "Stop agitatin' " and gave him a small fine, which we paid. But that was the general atmosphere." - pp 82-83

Yep, that's the Amerikkka that I know.

"Soon after this, there was some kind of collapse at PBL, and LBJ appointed a new guy to head it up. Somebody at the network showed this new guy One Step Away, and he said, "This is the best film I've ever seen!" (apparently somebody else said, "It's the first film you've ever seen!") Anyway, we'd bought back the rights to the film, and when we reopened negotiations, we had to deal with a lawyer who absolutely hated it. He said that during One Step Away ninety-eight felonies were committed and to make matters worse, the filmmakers had not reported these felonies to the police. The film was never shown on television. Later, Leacock/Pennebaker did some theatrical distribution." - p 87

You got ME interested. Alas, it's not at my library.

"What we would have done was shoot the pig farm and the people attending the concert; Jimmy Hendricks would have been this little figure you could hardly see, like Icarus in Pieter Brueghel's Landscape with the Fall of Icarus [c. 1558]. Neither of us had a talent for making the kind of films that make money." - p 87

Coincidences are so thrilling. I just recently read Rudy Rucker's "As Above, So Below", a novel based on Brueghel's life (read my review here: "Rudy Bruegel: Caltrop": https://www.goodreads.com/story/show/1139169-rudy-bruegel ) In that bk there's a reproduction of the above-mentioned painting & it was hard not to notice that Icarus was just-another-detail. Speaking of details, "Jimmy Hendricks"?!: One might think that, perhaps, that was his birth-name & that he changed it to "Hendrix" to be all rock'n'roly-poly - but, no, according to the great oracle he was born named "Hendrix". What does that tell you about this bk & this interview?! Even the lowliest worm knows that Jimi Hendrix was Hendrix. Sheesh. Such ignorance makes me ashamed of being human.

"One of Ricky's major projects was designing a sync-sound Super-8mm camera rig that would be cheap and easy for people to use. What he was trying for became available with the digital camcorder. For me the major problems with film were not technical, so we disagreed there, but basically we agreed not to argue about our differences." - p 88

The "digital camcorder"? Why "digital"? Why not just the video camcorder? Or just the camcorder?

"MacDonald: Between 1981 and 2005, so far as I know, you didn't make a film. Why did you disappear from filmmaking for so long?

"Pincus: Well, part of the story is in Diaries. Basically, Dennis Sweeney, who I knew during my Black Natchez days, had begun to threaten my life, Jane's life, and my son's life. Dennis had become delusional, paranoid, and dangerous. To do the kind of film I was doing, you had to make personal appearances and that put my family at risk. Once Dennis began to threaten us, we made a permanent move to Vermont in order to hide from him. We de-listed our telephone number and told everybody not to tell anyone where we were. A psychologist who had seen Dennis suggested that I use a different route to work every day (I was still teaching at MIT, but commuting from Vermont) and that I avoid being alone. Basically I created the life of a paranoid-for six years." - p 95

I find reading about Pincus & his work interesting & I'm sympathetic to his plight. Nonetheless, we don't get Dennis's position here so the presentation isn't well-balanced. Furthermore, as an excuse for not making movies for 24 yrs that just doesn't cut it, regardless of what problems Pincus was facing. He cd've made a movie about his moves to protect himself & his family. That wd've been interesting. We move on to Jane Pincus.

"CORE [Congress of Racial Equality]. We'd go and look at an apartment-to test whether the landlords discriminated. We did that a few times, and we marched against the Vietnam War, and I was involved in a rudimentary kind of draft counseling for young men who didn't want to go to Vietnam." - p 98

Yet another thing that interests me. I half-like the idea of the "Mystery Shopper" & in this day & age of Yelp reviews & the like a person can be a "Mystery Trickster Shopper". In other words, if you're abused somewhere by someone who takes it for granted that you're a poor person who can't defend themselves then you can write a review in wch you detail the way in wch that person was abusive - thereby defending yourself. E.G.: I went to a restauant w/ a friend & the waitress apparently didn't like our looks so she put off waiting on us for 40 minutes or so. She wasn't busy & she saw us there. We never got cutlery or napkins or water. Everyone else did - including all the people who came in after us that looked more bourgeois. I had fun writing the Yelp review about her. Anyway, the Pincuses seem to've been at least somewhat up my political alley.

"Our group incorporated in 1971, as the Boston Women's Health Book Collective, and that's when I started to work on the re-write, which became the 1973 Simon and Schuster edition of Our Bodies, Ourselves.

"MacDonald: Ed mentioned to me that he wanted to film the collective for Diaries, but wasn't allowed.

"Pincus: Nobody wanted to be filmed by a man at that point. And it's too bad. That was a huge part of my life and it's not included in Diaries. I regret that." - p 99

Ed Pincus collaborated w/ Lucia Small. Small comments:

"Personal documentary is one of the most challenging forms, at least for me; you're constantly considering how much you can reveal about your family and about yourself." - p 105

I respond w/ both WHATEVER & INDEED. I say the former b/c if one is extroverted & willing to make one's self vulnerable then it's just a part of yr life; I say the latter b/c I've made a few personal docs that I'll probably never screen. Maybe they'll get shown after I die.. but I doubt it.

But then we're back to money again & I get irritated. Here's Small talking:

"It took us two years to find a camera Ed felt comfortable with; we finally decided on the JVC GY100 HDV camera, which fits nicely on the shoulder." - p 105

I imagine that model is outdated by now but I still see one on ebay used for $1,024.95. Pricey by my standards. My iJones cost me $20, the camera isn't that great but I can live w/ it. My GoPro is the most expensive camera I have & that cost something like $250.00. I'm fine w/ that. 'Needing' the expensive camera is what I call a "Pampered Poodle Moment".

"Pincus: I've always hated the way music is normally used, so I've avoided it. As a judge recently at a film festival I saw this absolutely beautiful film An Unmistaken Child (2009; Nati Baratz), but it had a really bad, manipulative music track, and I hated that. I told the rest of the jury, "I think this was the best film, but because of the music track I can be convinced to vote for another." But I like what Lucia did with music in The Axe; she had to be very tough with the composer to get what she wanted. The music in The Axe never tells us how to feel; by contemporary standards, our use of music is minimal.

"Something that I discovered on The Axe is that I love working in a 16-9 aspect ratio. I thought I'd hate it. With the wider image sometimes you have the center of the interest in the left part of the screen and then as time goes on, the right part of the screen develops interest. It's very different from working with the usual Academy 4-3 aspect ratio." - p 107

I'm w/ Pincus on the music (sortof) but he seems proud of being able to boss the composer around - maybe what the composer wanted to do was more important. As for the 16/9 vs 4/3 that just seems pure Amateur Hour to me. 16/9 has nothing to do w/ wide-angle or not wide-angle. That's an illusion of sorts. Let's say yr 16/9 HD is 1920 X 1080 - if you were to make that 1920 X 1440, lke I do w/ a custom setting, it wd be the same amt of w/a but also 4/3. We're not talking Cinemascope & anamorphic lenses anymore.

"Pincus: We had one aspiration that didn't pan out. The Bush administration had tried to eviscerate the federal government; they wanted to show that the federal government couldn't do anything. That's why they hated social security so much. It was and is a successful federal program. We wanted to make a film that was not overtly political, but that would help swing the pendulum back towards the necessity of big government-because, of course, nobody wants to pay taxes for FEMA unless they need FEMA. We had hoped that the movie would play a part in the presidential campaign, which it didn't." - p 108

Did I say that "the Pincuses seem to've been at least somewhat up my political alley"?! NOT. I wd disagree that ANY president has ever "tried to eviscerate the federal government": after all, the president is the pinnacle of federal government. Making the claim that the federal government is being minimized is just a way of saying that controls on how the rich get richer will be demolished as much as possible & that all money devoted to the middle & poorer classes will be redirected for that purpose. The federal government, as a means of insuring the protection of the ultra-rich, stays firmly in place. Do we 'need' big government? Or any government? I have my doubts.

As for: "nobody wants to pay taxes for FEMA unless they need FEMA"? That's an over-generalization that typecasts people as basically selfish - it might be true of most but not necessarily everyone. If I had my druthers about where my tax money wd go to I'd support FEMA, education, food for everyone, libraries.. - that sort of thing. I wdn't support companies like Haliburton.

On to Alfred Guzzetti, another filmmaker whose work I don't know but wd like to, & another Bostonian.

"Given his considerable accomplishments and his longevity as a moving-image artist, it is surprising that Alfred Guzzetti remains little known among aficionados of independent cinema outside of the Boston area (he has taught at Harvard since 1968)." - p 109

Yet another person I've never heard of whose work I searched for in my local library w/o success. How many talented creative people aren't known outside of their area of residence? Too many.

"I felt very distant from what the Carpenter Center was doing in film at the time. Apart from Gardner, everybody there seemed to think that design was the commanding factor in good films. They had a canon that included very few filmmakers out of all of film history, and those filmmakers didn't interest me at all: Leni Riefenstahl, whom I hated then and still do; and Charles Eames, whom I saw as trivial. I remember thinking, what about The Grand Illusion [1937] and Rules of the Game [1939]? What about Ivan, the Terrible, Part 2 [1958]?" - p 111

Riefenstahl's "Triumph of the Will" has been recently removed from YouTube as propagating hate speech, apparently at the prompting of the ADL (Anti-Defamation League). Given that I detest the film, I can't really say I miss it but I think its removal is a misguided attempt to censor history. Making matters even worse, YouTube then removed my own "P@rty Prop@g@nd@" b/c it uses parts of "Triumph of the Will" even though my purpose was to critique nazis & propaganda in general. I find that even more idiotic. Fortunately, YouTube is not the only game in town so I put the movie on the considerably less censored Internet Archive instead here: https://archive.org/details/prtypropgnd .

"I do remember meeting Fred Wiseman, and I remember seeing High School [1969], which is about the high school that was the main rival to my own high school in Philadelphia. I hated every minute of High School and its unrelenting tone of condescension. Wiseman was an outsider who didn't understand the culture he was filming; he went in with an elitist attitude, and for him it was like shooting fish in a barrel. I came from that culture, so I knew."

[..]

"But despite my feelings about High School, I think Wiseman is the most important living documentary filmmaker." - p 112

I'm glad Guzzetti made that ameliorating statement b/c I've witnessed quite a few Wiseman films (at least 12) & I've loved them all. I've seen "High School" & I don't really remember it as condescending, I remember it more as just being reflective of obvious weaknesses of the times. Still, Guzzetti's critique makes me want to revisit it.

"Another thng, kind of a stupid thing but true, was that I felt that 16mm projectionists never got reel changes right and sometimes didn't even have two projectors. I didn't want to make a movie that depended on instantaneous reel changes; I made it so that if a projectionist blew a reel change, the audience wouldn't lose details. Each new reel begins with a title." - p 121

Ha ha! As a former professional projectionist who mainly projected 16mm I find this interesting. Films have what're called "changeover marks". The projectionist gets ready to make the change at the first of these marks (usually a circle cut in the emulsion in the upper right-hand corner but sometimes an "X" drawn across the frame). When the 1st of these marks appears the 2nd projector is started w/o the bulb on (or the dowser open), when the 2nd (& final) mark appears the light of the 1st projector is dowsed & the 2nd projector's image appears. The 2nd projector's reel is supposed to be cued to the "3" in the countdown leader, the last number before the black leader that precedes the image. (I hope that's right, it's been something like 13 yrs since I last projected 16mm) [For a glimpse at the more creative end of my projecting witness "Multiple Projections: 1978-2009" here: https://youtu.be/6smYCjQPuXM ]

Anyway, that's what ideally happens. Sometimes, the leader at either or both ends of the reel has broken off or been spliced at a break so that it's shorter. Someimes, there's no leader at all or, at least no countdown leader. Sometimes, more often w/ 35mm, new changeover marks have been made so that there're multiple marks, none of them at the correct interval. Perhaps most commonly w/ 16mm, there're no changeover marks. In that case, the projectionist can either make the marks or try to project correctly w/o them. The result is that sometimes the projectionist has to cue the films as best as they can & then have to remember that 'Ok, at the change from reel 2 to reel 3 there's only a second.' I always admired the films that took changeovers into consideration & had a few seconds of something like a still-life at the end of a reel & at the beginning of the next one so that if part of either were cut off it wdn't result in the loss of important info.

"MacDonald: I moderated a discussion about Beginning Pieces at the Flaherty Film Seminar in 1987. It was attacked by a woman who argued that the camera-as-phallus implicitly created a parental rape of your daughter, You were shocked that somebody would see the film this way." - p 124

Presumably, this was intended as a feminist critique. I'm a feminist but I don't agree that a camera is a phallus. A phallus actually penetrates the body, it's not a metaphor or an analogy. There's a big difference between symbolic penetration & actual physical penetration. I remember one woman of my acquaintance complaining that when men leave the toilet seat up they're being inconsiderate & abusive of women who then go & sit in the toilet b/c there's no seat down to prevent this. I suggested that women shd take that big evolutionary step & learn to look before they leap. The point is that if one were to take the woman's critique seriously why not just declare finger-pointing (or any other gesture) rape & be done w/ it?

"and we were all in dialogue about what was happening in Nicaragua. Reagan had said that the Contras were the moral equivalent of the Founding Fathers of America and had put a lot of money into backing the Contra war. Reagan also said that Nicaragua was like Nazi Germany in the 1930s, and Dick, Susan, and I thought that maybe we could try to film what those "Nazis" looked like. I never had any illusion that a film we would make could have a drastic impact-but maybe we could change some attitudes." - p 126

I respect the Sanctuary Movement & all those others who intervened on the behalf of Nicaragua & El Salvador & other Latin American countries that the US government was engaged in dirty wars against. This was happening when I was in my 20s & 30s & I certainly cd've participated in such activites too but I think my lack of Spanish-speaking ability & my engagement w/ other things both selfish & not was enuf to make it so I didn't. As usual, I'm also sure it cost money to go to Nicaragua, money I didn't have. Instead, I participated in protests at home. Reagan's propagandistic proclamations are little more than proof of how completely out-of-touch w/ reality he was.

"What remained was the idea of a film about a family, and Susan thought we could work with the family of Violeta Chamorro's brother Carlos, the Barrios family. Violeta had resigned from the government in 1980; in 1984 she was running La Prensa, of which her husband, assassinated in 1978, had been editor.

"I liked the idea because they were a bourgeois family, not a peasant family, so we wouldn't be making one more film with generic campesinos fighting for their rights, which I didn't think would make much of an impression. What appealed to me was that the audience for the film, the PBS audience, basically white suburbanites, would be very similar to the Barrios family; they'd have pretty much the same values, the same kind of education-some members of the family went to college in the US-enjoy the same pop music." - p 127

It seems to me that this is where the privilege of most of whom MacDonald presents shines thru again: to Guzzetti there're "generic campesinos" - y'know, all poor people look alike - instead he prefers the bourgeoisie, presumably the people he too can identify w/ - not just the PBS audience. But these are no petit bourgeois, these are people formerly of the government who edit a newspaper. Upper class might be a more apropos description. Maybe all bourgeois look alike too.

I remember being in Berlin, Germany, at a friend's video store. On the TV there was a politician: he looked completely 'normal': subdued clothing, no tattoos, short hair; he was shaking hands w/ & smiling at potential constituents. In fact he was a 'nazi' candidate, according to my German friends. They asked me what I thought of him, I sd he looked just like an American politician. The point is that a wealthy Nicaraguan family might be more likely to appeal to the average white suburbanite in the US precisely b/c they'd be closer to nazis than the campesinos wd.

"By the time we were finished with Living at Risk, PBS was skittish; they didn't want to go near anything that looked partisan, and that was made worse by the absence of Carlos.

"The essence of our film was that not only do these people have Christian values, values that have led them to support a government based on these values, but in order to act on what they believe and do their daily work, they have to function in the middle of a terrorist war sponsored by the United States. I don't understand how even the most neutral person in the world could fail to see the connection between what the US government did with the Contras and what everybody for the last ten years has called "state-sponsored terrorism"; what we did there was state-sponsored terrorism." - p 128

Indeed. The most important point of the above, to me, being the part about "state-sponsored terrorism". There seem to still be people who actually believe that the US is Commander Pureheart in the battle against terrorism instead of a leading terrorist itself. Pshaw! It's too bad that Guzzetti has to put in the bit about "Christian values", though - b/c, to me, at least, "Christian values" = hypocrisy & a willingness to commit genocide & to wipe out whole cultures.

"Abroad there was no problem and Pictures was shown on television in Europe, Japan, and Australia, and in fact it was paid for by the BBC. Our experience with the BBC was amazing. Within a couple of weeks, André Singer called to say, "I really like your proposal; I'm going to try to get it financed," and two weeks later he called back: "I've got it financed! Send me a budget."" - p 132

Once again demonstrating that the BBC is more progressive & open-minded than PBS.

"Isaac Julien once told me that what I should do is make twenty-five copies of each video, sign them and get a gallery to sell them for five thousand dollars apiece. I told him that I'd been waiting all my life for digital media, where you can make hundreds of copies, all of them identical to the original; and the idea of choking this opportunity off in order to profit from the art world made no sense to me." - p 137

Indeed - but why this emphasis on the magic word?: "digital". One cd make copies before digital, VHS tape & audio cassettes being the obvious example. One cd argue that there's quality deterioration & that's true but it's also true w/ digital media despite hype to the contrary. I've had a DVD published, e.g., & had the 2nd burn not work as a 'master' while the 1st burn did work. Even file-to-file has the risk of corruption.

Still, I'm w/ Guzzetti on this one. I'll take making the work available on YouTube, the Internet Archive, & Vimeo anyday over making big bucks thru artificial price boosting. I want people to have access to the work. Making money is great but if it's at the expense of availability it isn't worth it. I don't make the work so that only a few rich people & institutions can have access to it.

On to Ross McElwee, a filmmaker whose work I am familiar w/.

"As McElwee's personal documentaries developed into a saga, however, the very intimacy of his filmmaking approach came into increasing conflict with the realities of his evolving personal life. This process reached its apogee with In Paraguay (2009), a personal documentary about McElwee and Levine's adoption of their daughter Mariah in 1995. Completed in 2009, as McElwee and Levine were in the throes of divorce, In Paraguay is a love letter to what has passed, to a moment still early in the marriage when Ross, Marilyn, and Adrian handled a frustrating situation in a foreign country with remarkable patience and aplomb. After the film's premier at the Venice Film Festival, it was removed from distribution at Levine's demand." - pp 144-145

The 1st movie I witnessed of McElwee's was "Sherman's March". I loved it. McElwee's friend Charleen plays a prominent role. I found her obnoxious & horribly pushy but she was bearable in the humorous context of the movie. Then I saw McElwee's movie dedicated to her, "Charleen", & it was very diffcult to endure her, I'd NEVER want to be in the same place as her - that's my version of hell. Next up "Backyard", wch I don't remember at all. "Time Indefinite", "Six O'Clock News", "Bright Leaves": I enjoyed the latter but the more work I witnessed by him, esp anything w/ Charlene in it, the less I liked his work in general.

The thing about personal documentaries, & I've made plenty of them, is that if your personal life isn't interesting then chances are the doc won't be either. The same goes for poetry. All this diary diarrhea poetry about people's completely banal lives is Mr. Yuk. Hence non-discursive poetry stands a better chance of being interesting b/c at least it might have some formal innovation. I can't totally fault Marilyn Levine for demanding that "In Paraguay" be withdrawn, even though I'm generally against such censorship, b/c she must've found McElwee increasingly insensitive & resorted to her demand out of exasperation. Still, that's too bad, isn't divorcing him enuf?

MacDonald, whose livelihood revolves around universities, spends entirely too much time promoting them to my taste. I'm an autodidact.

"MacDonald: You saw Primary [1960] and Titicut Follies [1967] when you were at Brown, and you attended student screenings at RISD [Rhode Island School of Design]. What do you remember, cinema-wise, from those years?"

[..]

"MacDonald: In 1974 you attended a summer institute at Stanford. Who did you work with there?"

[..]

"McElwee: I was at MIT from 1975 to 1977, when I got my MFA, and then lingered on as a TA for Ed Pincus for an additional year and a half." - p 149

Money, money, & more money. McElwee's from a family of doctors. In the US that reeks of privilege.

"shooting my thesis film, "Charleen" [1978], that spring." - p 152

Wow, "Charleen" was his thesis film, that's almost disturbing. In one of his films, it might be "Time Indefinite", Charleen talks about how her ex-husband committed suicide by setting fire to himself & the house they had lived in on his birthday. What on earth cd've driven him to such a terrible & desperate act? Well, given that he had put an enormous amt of work into the house they lived in as a sortof dream-come-true & that the ex-wife had somehow gotten it in the divorce & then sold it, methinks that we might as well call a gravedigger a gravedigger & blame Ms Pushy USA.

Let's speculate: What's the dynamic of this sort of thing? It's class warfare, class exploitation: a wealthy woman buys a decrepit mansion but doesn't want to pay workers to bring it back to good condition. The best 'solution' is to marry a clever, hard-working, poorer man who wd never be able to afford such a place on his own & to then have him work extremely hard for free to bring the place up-to-snuff. Tens of thousands of dollars of free labor. Then get rid of the guy, he's served his purpose, sell the house for a fantastic profit & get even richer! The rich woman doesn't have to be intelligent, she just has to blissfully 'unaware' of her completely venal conduct. This is what's called 'being smart' in a world where actually 'being smart' has no value whatsoever.

"One other memory: the way the lovely !Kung children mimicked my cameraman movements as I went about my work. They had it down pat: squint, stalk, kneel, stoop, glide while doing make-believe tracking shots. They fashioned battery belts out of old film ends and discarded camera-can tape. One kid had manufactured a replica of my Spectra light meter from a small cardboard box and wore it on a string around his waist. The lens was cleverly made from carefully uncoiled spirals of unused 16mm film stock which had been discarded after scratch tests. These little lenses were scaled to look exactly like the Angenieux 9.5-57 lens I used. The children held them up to their faces, making little whirring and clicking sounds, meant to sound like film passing through the camera gate. It was marvelous and hilarious. I filmed one of these little pantomimes, but I don't think John ended up using the footage." - p 155

I wonder what the finished !Kung children's movies looked like.

McElwee talks about his dr father's reaction to his movies.

"About Backyard, his salient response was, "You make us seem much more wealthy than we really are," which was also true. He was a general surgeon, not a specialist, and made a good living, but we were not fabulously wealthy." - p 157

Sheesh, this is a prime example of how out-of-touch w/ reality privileged people are. As if "a general surgeon" is just some humble position instead of something bringing in 6 figures a yr. I'm reminded of a friend of mine whose dad was a lawyer in Washington DC: she, too, protested that they didn't have much money. Right, a lawyer in DC is just slightly above someone working in a McDonald's. NOT. McElwee's obviously someone who takes it for granted that he can fly where he wants to, rent a car, & stay in a hotel. He's not hitch-hiking & sleeping in fields or under bridges like I have. Even at age 66, as a person far more accomplished than McElwee cd ever even remotely hope to be, I cdn't fly, rent a car, & stay in a hotel. McElwee floats in a dream world of privilege & isn't even aware of it.

"After the ICA screening, he understood what this approach to filmmaking was about, and it seemed to please him quite a bit that the film was successful. Shortly after Sherman's March premiered, I was able to pay him back $5,250 he had loaned me to purchase film stock and processing for Charleen. The $5,000 was the principle and $250, the interest he charged me, god bless his Presbyterian soul. He could have afforded to give me the money, but he wanted me to prove to him and to myself that I could make some sort of living from my filmmaking." - p 157

Ok, $5,000 in 1978 = $19,674.69 in 2019. Having a parent who can even loan you that much money just to finish a thesis film is privilege. My house cost less than that & I didn't take that plunge until I was 52. Being able to spend that much money on a film is privilege. I've made 603 movies to date & none of them, including my 16mm feature, has cost anywhere close to that much. In fact, the total budget for all my movies might not be even as much as $30,000 - & that's over a 44 yr period. AND, of course, his father was pleased that "Sherman's March" "was successful" b/c it made money. Who cares about content or talent? It's all about the money. I have to laugh about the Presbyterian part too: my mom raised me Presbyterian, my mom's a miser. Are they all that bad?

 

Now, one might say that McElwee's father deserves to be rich b/c he's that sacred thing, a dr. My own personal experience w/ drs is that they're not necessarily all they're PRed to be. Instead, they're often arrogant, condescending, incompetent, megalomaniacal drug pushers who are far from guaranteed to do their patients any good. The most recent idiot I consulted w/ told me I was diabetic & that I must immediately begin injecting insulin. I told her that I prefered correcting the problem w/ diet & exercise. She told me that was "impossible". 5 days later, I no longer had any symptoms of diabetes, 2 wks later my blood sugar was back to normal. That was "impossible" - meaning it didn't generate any kickback money for the dr from the pharmaceutical industry. Her 'cure' for me wd've made me dependent on an expensive drug for the rest of my life. My cure for me cost me the expense of my groceries & only took 2 wks. So, yeah, I'm not impressed by McElwee's father & brother being drs.

McElwee discusses his ex-wife: "At one point, she told me she did not respect my form of filmmaking anymore. She was, of course, entitled to feel that way, but still, it hurt when she said it." (p 159) Ok, I can feel sympathy for McElwee here, I can imagine how painful that must've been. After all, one hopes for a complete openness from a loved one & when that's not forthcoming the whole love becomes suspect of shallowness. Alas, I can identify w/ the ex-wife's position too b/c McElwee does strike me as a bit of a one-trick pony, it must've gotten monotonous to be around after awhile.

On to another privileged Bostonian:

"Nina Davenport is part of a younger generation of Cambridge personal documentary filmmakers, having studied at Harvard with Rob Moss and Ross McElwee"

[..]

"a visual/auditory record of Davenport's sixteen-month stay in India during 1990-92" - p 169

The cost of going to Harvard for one yr from 1988 to 1989 is listed online as having been $18,210. $18,210 in 1988 = $39,040.50 in 2019. That's 5 times what I have to live off of on Social Security Retirement. Then she had a 16 mnth stay in India upon graduation. Privilege. Again. If these people weren't wealthy MacDonald wd have a hard time relating to them or considering their work to be of any value. As w/ Guzzetti in Nicaragua, MacDonald needs upper middle class people. It's like grant giving: grants are given to rich people by rich people in order to reinforce the idea that the rich deserve to be that way. Working Class people need not apply unless there's a tokenism effort being put out there to try to pretend that the status quo isn't what it is.

"Davenport: When I studied photography in high school, I was obsessed with Dianne Arbus who photographed people viewed as freaks by society, but her photographs end up being portraits of her, even though she's not in them." - p 175

I have a bk of Arbus's photographs & I've always found them interesting b/c the people are unusual or they're shown in some sort of hyper state that makes them at least temporarily exemplary. Still, It's hard for me to not see her as exploitative. In her introduction to the bk I have she states:

"Actually, they tend to like me. I'm extremely likeable with them. I think I'm kind of two-faced. I'm very ingratiating. It really kind of annoys me. I'm just sort of a little too nice. Everything is Oooo. I hear myself saying, "How terrific," and there's this woman making a face. I really mean it's terrific. I don't mean I wish I looked like that. I don't mean I wish my children looked like that. I don't mean in my private life I want to kiss you. But I mean that's amazingly, undeniably something."

Arbus rc'vd 2 Guggenheim grants & had her work exhibited in & purchased by museums. I've always wondered how her subjects felt about having themselves elevated to icons of extremism for people to gawk at. Arbus committed suicide on July 26, 1971. She was 48. I know nothing about her life, I can't begin to realistically speculate about why she killed herself. Wikipedia has this to say:

"Arbus experienced "depressive episodes" during her life similar to those experienced by her mother the episodes may have been made worse by symptoms of hepatitis. In 1968, Arbus wrote a letter to a personal friend Carlotta Marshall that says: "I go up and down a lot. Maybe I've always been like that. Partly what happens though is I get filled with energy and joy and I begin lots of things or think about what I want to do and get all breathless with excitement and then quite suddenly either through tiredness or a disappointment or something more mysterious the energy vanishes, leaving me harassed, swamped, distraught, frightened by the very things I thought I was so eager for! I'm sure this is quite classic."" - https://en.wikipedia.org/wiki/Diane_Arbus

On to Leonard Retel Helmrich:

"For this film he invented a device that could be suspended from the ceiling, allowing a sound-art performance by Peter Zegveld and Thijs van der Poll to be recorded by a heavy video camera not only in a single, continuous sixty-minute shot (antedating Andrei Sokurov's Russian Ark [2002] by nearly ten years), but from within the performance itself."

[..]

"Since Helmrich uses a digital camera that makes no noise, and since he does not edit in-camera-he allows the camera to run continuously so long as something interesting is being recorded, and only decides which sections to use later on: he calls this "single-shot cinema"-he is able to create an unusual and engaging sense of intimacy. We are with him, inside a family and their community as they are transformed by personal and political events. The steadywings also allows even complex camera movements to be fluid" - p 185

So what?! Using a continuous shot to be edited later is obvious. I 1st used that technique on Groundhog's Day, 1981, for my "id ntity's attempt 2 undermine "reality" maintenance traps" (a highly abridged version of wch is here: https://youtu.be/Ababbr_8Xas ). Maybe the "steadywings" that Helmrich invented as an improvement on the SteadyCam is something special but that seems pretty obvious too.

"When I went to film academy, I discovered that there was the camera department, the directing department, the acting department, the documentary department, and it seemed as if any kind of interaction between the departments was frowned upon, This was the 1980s-I don't know how it is now; I haven't filmed in Holland for quite a while. At that time, they wanted the American system where there is a person for every job, even very small jobs. I realized quickly that that was not my kind of thing. I wanted to do fiction films, but not with this kind of infrastructure. One of the reasons I turned to documentary was because in making documentaries you can use a smaller crew and you can work together with them." - p 187

Yep, that kind of too-much-crew thinking is very big business. Hollywood makes some great extravaganzas, I love them, but their way is hardly the only way. Being taught that it IS the only way is very inhibiting. I was in Kuala Lumpur in 2000, at the National Art Gallery of Malaysia, participating in a panel about moviemaking & one of the other presenters made a claim along the lines of 'You can't make a movie with a crew of less than 7.' Naturally, I found that ridiculous. I often make movies w/ a crew of ONE, myself. Using multiple cameras (they can be cheap) helps enable a livelier edit. My "mm 73 presents: ZITHER" ( https://youtu.be/fe51_KN9WfU ) is a perfect example of a documentary / educational movie made w/ a crew of one in wch all of the 'rules' of 'good' moviemaking are completely ignored. I just sat thru the whole thing & found it quite entertaining. Then again, I'm its 'star' so I can easily be accused of egomania.

"MacDonald: How many documentaries did you do for TV?

"Helmrich: A bunch of short pieces, a few minutes each, for a television series, Jules Unlimited-"Jules" being Jules Verne-about new kinds of inventions." - p 187

There's, IMO, an excessive emphasis on made-for-TV docs in "Avant-Doc". This is a 2-pronged problem: 1. that's where these people get their money, 2. just how "avant" is something on TV going to be? Not very, IMO. Remember the days when a movie not expensive enuf to make it on the theater circuit was made to be straight to VHS? Such movies were automatically categorized as low-budget trash - but what if they were just low-budget? My own movies have become the 21st century equivalent of straight to VHS, meaning straight to the internet: more specifically straight to YouTube, the Internet Archive, & Vimeo - & there's a similar stigma associated w/ that. Someone researching the zither online might stumble across my ZITHER movie & find it interesting. It's guaranteed to be unlike the other more straightforward presentations on the subject - including the ones I excerpt from.

The majority of the stills in this bk are of people - thusly playing into the completely non-avant-garde art of portraiture. In fact, if one were to judge the degree of experimentation from the images in the bk it wd be hard to think of these films as anything other than conventional documentaries.

"Yesterday I was asked if my shooting ratio was 1 to 10, 1 to 20? Actually, The Eye of Day is a little bit less than one percent of what I shot: about 200 hours for a 90 minute film, but that does not mean that all the footage I didn't use is rubbish. There's a lot of very interesting stuff." - pp 193-194

What a waste. Waste Not, Want Not. I can't help but be disgusted. If there's "a lot of very interesting stuff" then use it!! - either in a longer movie or in sequels or whatever. If there's not "a lot of very interesting stuff" then what was the filmmaker doing?!

"What changed my interest in wanting to make a positive film about Islam in Indonesia was my learning that this boarding school was proud of the fact that they burned down the local cinema." - p 198

"The problem is the indoctrination of the people not from above, not by the government, but from underneath, in the mosques-especially by Muslim missionaries teaching a fundamentalist Arabic Islam. They don't start by saying all Christians are bad, because there are Christians living in the neighborhood, or by saying Indonesian culture is bad. But if they see that someone wants to present the shadow puppet performance called Wayang Kulit, an old and wonderful Indonesian tradition, they say, "Well, as a good Muslim, you'd beter not watch this." Even in little villages they approach the Lurah, the person who gives the permission for this performance, and say, "It will be better if you don't let them do this performance." Many Lurahs don't give the permits anymore.

"In the village where my mother was born, Javanese dances were traditionally taught to the young people every Friday evening. The Muslims now say that those dances are too sexy and shouldn't be permitted. So young people aren't being taught traditional dances. The fundamentalist Muslims want people to play only the rebana, a kind of drum tambourine that you hold in your hand (sometimes there are bells on it) and other instruments." - p 201

I've sd it before & I'll say it again, Muslims & Christians originated in the desert & certain of their rules are desert-based: anti-sexuality rules are sensible in the desert if the idea is to prevent a population too large for the available resources. However, Christians have moved away from the desert-mindset while Islam still seems stuck there. Fundamentalists of both stripes are toxic but it seems that fundamentalist Islam is much more dominant in Arabic countries than fundamentalist Christ Insanity is in Good Ole Boy USA. All those liberal people who're afraid of appearing Islamaphobes shd try being Islamacritical instead. They'd quickly realize that Islam = oppression & slavery. Sorry, but whatever message of egalitarianism Mohammed originally presented is long since subsumed by power-hungry patriarchs of the most heinous sort.

"I'll be trying to reach a younger audience. Shape of the Moon and The Eye of the Day don't sell well because they're not in a conventional television form. These days, television explains everything. Even when the things that are happening are quite clear, a narrator is explaining what we are seeing-especially in reality TV. The younger generation expects explanations, and I must adjust to this. I still have to make a living or otherwise I can't continue to make films." - p 205

What an idiot. The reason why "television explains everything" is b/c it's propaganda & undermining critical thinking. This jerk goes along w/ it b/c he wants their money. Wd he've kept working in nazi Germany? It seems that way. There are other ways of making a living & funding one's movies than sucking the ass of the Glass Teat. This guy's an 'Avant-Doc' maker?! It sure don't seem that way to me, feller.

Alright, finally we get to someone who seems like he probably wasn't raised rich, Jonathan Caouette. Not surprisingly, I was more interested than I have been so far.

"Tarnation is a personal documentary, part of the tradition nurtured in Cambridge, Massachusetts, by Ed Pincus, Alfred Guzzetti, Ross McElwee, and Robb Moss, but it is far more visceral than any of the films by those filmmakers." - p 206

It's presumably "more visceral" than the work of the others mentioned b/c Caouette has had to deal w/ more unpleasantness in his life b/c he's not sheltered by wealth. As for the plug for Cambridge?: Enuf, already, ok? One cd say that my "Quasi-Documentation of Testes-3's End of Library K & M Series" is a personal documentary & that was made in Baltimore in 1979 so Cambridge isn't necessarily the center of the universe.

"A couple weeks before I was ready to shoot Flamingos Forever, I wrote to John Waters to ask his permission. I don't know how I found his address; he might have been listed in the Baltimore directory. I was too afraid to do the phone call myself; my friend Joan made the phone call, but John wasn't there. We sent him a handwritten letter asking permission, and a couple of weeks later he wrote back explaining that the lawyers would never go for it (he didn't know how old I was or anything), and he said, "You should make a film with your own script one day and I'm sure it will be great."" - p 211

He shd've made the film anyway. Do you think Waters asked for permission when he did a nude hitchhiker scene? I tried to get Waters to act in a film of mine in the early 1980s. There had been an old Baltimore man who it was a tradition to throw snowballs at. Waters had been lovers w/ a friend of mine who'd been one of the kids who'd thrown these snowballs. Waters had written in "Shock Value" about throwing raisinettes as if they were snowballs. The old man, named Welzant, kept complaining to the polcie about his ill-treatment. They didn't help. One day Welzant brought out a gun & killed 1 or more of his tormenters, I was on his side. Welzant was acquitted, partially b/c he was something like 85 yrs old. Anyway, I wanted to cast Welzant as himself & to have Waters be his tormenter. Waters wdn't do it, he suggested that I use someone who was made to look like him. He sd everybody wd "get it". I didn't like that idea. Then I asked him if he thought about my making an inflatable life-size John Waters fuck-me doll. He sd he'd sue me if I did that.

Caouette has the family-from-hell - thusly insuring that a movie about them will be popular.

"Not long after the auditions, I called my mother. She hadn't called in about three days, and for my mother not to call me in three days was the equivalent of not hearing from a normal loved one for weeks-she usually called every day. Finally, after five days or so, my grandfather picked up the phone in her apartment. He had just gotten over a major car accident and was having major cognitive problems. He told me, "Your mother's here, yes, and I'm not sure what's wrong with her; she's been laying down here for two days with a blank expression on her face and she's not talking to me."" - p 216

If my mother called me every day, I'd just leave her laying there.

"I started feverishly putting the film together. The process of editing on the iMovie 1 program-having the computer crash over and over and over again and having to build sections of the film from scratch-was exhausting." - p 217

Welcome to my world. I made "Story of a Fructiferous Society" (2005) ( https://archive.org/details/StoryOfAFructiferous ) using iMovie, working on it for 18 hrs a day for 6 mnths & having the computer crash frequently too. I had to work a little, set it to rendering, sleep a little, wake up & do more. Caouette & I part ways as he goes commercial.

""One Dream Rush" premiered in Beijing and also showed at Cannes. I don't know what became of the series; I don't even know if the website is still up. There was also an installation, which I never saw, something along the lines of 42 LTV screens with all the 42-second films looping and a big vodka bottle in front." - p 220

At least Caouette was poor. If I had to read one more word of humble wealth I wd've puked all over my computer & I wdn't be able to afford to get it fixed.

"As is obvious in the films, I don't come from money; I'm not a trust fund kid. I don't have anything to sustain me beyond what I can come up with, and I've been helping to provide for other people most of my life. That's not a complaint or a cry for help; it's just the reality." - p 226

On to Pawel Wojtasik:

"Wojtasik emerged as an accomplished video artist during his late fifties, though his work, made in the aftermath of a mystic experience, often has a youthful glow." - p 227

"Wojtasik: I was aware of Brakhage's film, which, when I saw it the first time, seemed to me the best film ever made. Or, to put it a different way, all other films shoot at the target, but only The Act of Seeing hits the bullseye. Because it goes directly to the essence of what life is about, of what we are. It shows us as meat, animate becoming inanimate, the living and the dead as one." - p 238

Given that "The Act of Seeing with One's Own Eyes" {1971) is Brakhage's autopsy film, I think that it's more than a bit morbid to say that "it goes directly to the essence of what life is about, of what we are". I don't personally think that life is about death.. maybe I'd agree if I were a necrophiliac.

I got interested again by the section on Michael Glawogger:

"Glawogger's "Globalization Trilogy"-Megacities (1998), Workingman's Death (2004), and Whore's Glory (2011)-is a landmark. Megacities and Workingman's Death offer intimate, visceral, sometimes courageous panoramas of working conditions of a wide variety of kinds across the globe and especially in places where the world's dirty work is done. Whore's Glory is an exploration of prostitution in Thailand, Bangladesh, and Mexico." - p 248

I find the subjects interesting, I haven't seen the films - I wonder, here, as I have elsewhere, what, exactly, are the "avant" aspects?

"In Megacities there's the scene with the Bioscope Man, a man who has a little machine, almost a little cinema, that he travels around with, showing films to kids. He's like a showman from the time of Méliès. I really liked this guy because he reminded me of my early training at film school. He'd go around to movie theaters that showed Bollywood films, and since the theaters were quite sloppy with the prints, pieces of the films and previews of upcoming films would end up on the floor. The guy would collect them and stitch them together with needle and thread, then run the result through his little projection machine." - p 252

Now, that's "avant".

"MacDonald: At the beginning of the miners' section, you use some mid 1930s Soviet footage about Alexey Stakhanov. I hadn't known about him.

"Glawogger: I put Stakhanov into the film because I was amazed that a system could make a worker into a pop star. Nowadays, this is not possible. And it's also interesting that from the moment when Stakhanov was made into a worker-hero, he never worked again; he spent the rest of his life drinking with Stalin's son. And, of course, all the other miners hated him because they were forced to work as hard as he did." - p 256

There's also Polish filmmaker Andrzej Wajda's "Man of Marble" (1976), a fictional movie made as a critique of the Societ system of setting hard workers as the pace-setters. In it, a young & very strong bricklayer becomes the worker-hero & there're competitions between bricklayer teams w/ him leading his own. The other workers aren't as young & strong so they're made to work harder than they're physically capable of & to look bad when they can't keep up w/ him. Eventually, someone tosses hot bricks to him & his hands get severely injured. Not long after, he falls from grace as the worker-hero & becomes a forgotten man.

"I was also amazed by the sculptures of workers that I saw. When we were shooting, a city in the Ukraine still looked a lot like it did during the time of the Soviet Union-things are changing, but there are many holdovers. And some of these holdovers were still affecting contemporary reality. When I asked the Ukrainian workers to behave like those statues, they knew exactly what poses I meant and what I wanted to suggest. They understood the irony" - p 256

When I was in Vàc, Hungary, in July 1997 for the XXXPanzio A Neoizmus?! Anti-Esemény / XXXPanzio In the Name of Neoism?! Anti-Event in Posta Park, a group of neoists stood on a platform where a statue of Lenin had been (it had been demolished after the dissolution of the USSR) & mimicked the pose that the statue had been in. Footage of this is online ( https://youtu.be/QBTFTpscd4M?t=3742 ).

"Sometimes you don't know where to start. I had an absurd situation in Thailand doing Whore's Glory. There isn't a place on Earth with so much prostitution as Thailand. You can practically ask any waitress in any restaurant if she wants to sleep with you if you pay her. It's all over the country, but when I approached the authorities about filming, they said, "Prostitution doesn't exist here."" - p 258

That's tricky, isn't it? I've never applied for permission to film anything - but I've never filmed prostitutes, I didn't make "Titicut Follies". I admire filmmakers who document things I'm not likely to experience directly, things that're difficult to access.

"MacDonald: Do you pay the subjects of your films? You mentioned that you bought heroin for Mike and no doubt did other things for him as you were filming him, but in general do the people you film receive anything from you other than the satisfaction of being in a film?

"Glawogger: Oh, yes they do and I am proud of the fact that I am able to compensate them for their time and effort. They open up to me, share their lives and their souls, and the least I can do is give them something in return. Some people have the twisted notion that the exchange of money alters the truth. Nothing is more wrong than that. Exchange of money or gifts is an act that determines the way people deal with each other in situations of work. And making a film is a working situation. So not to compensate your protagonists is nothing but bad behavior." - p 260

It's easy for a rich person to say that not compensating the people you film "is nothing but bad behavior" but, obviously, you have to be able to afford to do so. That sd, I admire Glawogger for paying people - I'm sure very few other documentarians do that. I certainly don't - but then I'm usually shooting myself, my friends, or people in somewhat guerrilla situations. Furthermore, I don't make any money off what I do nor do I have any funding.

"When I began, producers didn't trust my generation; they'd say, "If we decide to let you make a film, you'll have to take an experienced cameraman with you." They were patronizing. Now they say, "Well, try it." You get a $100,000; if the film succeeds, your career goes ahead; if it doesn't, you can try again using your credit cards, and if that doesn't work, you're fucked and left with no friends and no career." - p 265

Oh, well, I liked this guy up until that section where it became obvious that he's just another spoiled rich asshole. I keep reading about these people & having an interest in what they do until I realize that they take $100,000 budgets for granted & realize that they probably cdn't do much of anything w/o their privilege. Will Susana de Sousa Dias fit the same mold?

"Susana de Sousa Dias's experience of the fall of the Salazar regime in 1974 when she was 12 years old helped to create a fascination with the nature of the Portuguese experience during the decades before the Carnation Revolution freed the nation from forty-eight years of dictatorship. Once she found her way into the archive that houses the propaganda films produced by the Salazar regime-the PIDE/DGS (Policia Internacional e de Defesa do Estado/DIrecçao-Geral de Sehurança; International and State Defense Police/General Security Directorate)-and saw the photographic evidence of the widespread imprisonment of men and women who resisted the regime, she made a commitment to use filmmaking to explore what most of her countrymen had become comfortable suppressing from the national dialog: the nature of the brutalities that had kept the dictatorship in place for so long." - p 266

Fascinating, right? This is exactly what I'm interested in, I want to witness her films. Once again, I find nothing by her in the local library.

"I'd become disillusioned with the whole system of film production and decided that from then on I would assume full responsibility for my work, which meant setting up my own production company. Kintop was founded by me, my husband, and a close friend of ours. Our funding has mainly come from two sources: the Portuguese Film Institute and the state television channel." - p 270

In other words, yet-another rich person. What was her family doing when the people were being incarcerated by the Salazar dictatorship?

"The perception of people abroad, to the extent that they think about Portugal at all, is that the Salazar regime was a very mild dictatorship. Not many people died, so it could not have been all that bad. It is true that not many people were killed by the dictatorship in Portugal. However if we were to include the Portuguese colonies in Africa, it becomes a different story: lots of Africans were killed, even though almost nobody speaks about them.

"And in any case, we cannot measure dictatorships merely on their numbers of dead. The most powerful facet to the Portuguese dictatorship was its control over the minds of the people. This invisible violence ensured the dictatorship's survival for so many years. Even today, we continue to experience the lingering after effects of this mind control." - p 272

At least she can somewhat isolate the tools of the mind control in the films she's accessing. What wd happen if one tried to do that in the US? The mind control is so pervasive & comes from so many different sources. Take something like the mainstream film "Pearl Harbor": when the Japanese are attacking Pearl Harbor the view is at street level & the chaos & devastation that's being caused to people, when the US's retaliation bombings are shown happening in Japan the view is arial of warehouses w/o a single person showing - as if no-one's being harmed. That's propaganda, that's mind control.

"MacDonald: From the conversations in 48, it seems as if much of the torture the people endured was less a means of getting specific information, than torture for torture's sake (rather like Abu Graib). Were there people you talked with who felt that they had provided information that had been to the detriment of colleagues in the field? It's one thing to be humiliated by yourself; it's another to know that you've contributed to further humiliations endured by others.

"De Sousa Dias: That's a very complex problem and one I decided not to deal with in 48. In Portugal, people ask, "Why did you choose to include only people who didn't talk in prison?" But in 48 there are people who talked, who gave information to the police. There are people who talked, but who did not exactly betray anyone. There are people who betrayed others only because of the pain and they subsequently tried to warn those named. Then again, there were people who betrayed in the full sense of the word, real traitors." - p 278

What wd De Sousa Dias do under torture? What wd I do under torture? How can anyone who talks under torture be held responsible? Torturers are the problem. In the spirit of anarchist selective assassination I'd like to see all torturers & all government officials who endorse torture executed. Kiss yr ass goodbye GW, kiss yr ass goodbye Condoleezza Rice. Of course, this is just fantasy, torturers are so hidden that uncovering them is next-to-impossible. Kudos to any investigative reporter who exposes them. The "Blond Angel" is probably still in prison in Argentina, if he's not dead yet, but what price cd he possibly pay for the immense suffering he caused?

"De Sousa Dias: Yes, I think so. Making Still Life gave me lots of ideas, ideas for at least ten different films. I had to choose one of them to actually make, which was 48- but doing 48 gave me another ten ideas! Then, while making modifications in the editing of Obscure Light, which is still not finished, I started working on another film, about three sisters, collecting interviews with them and doing archival research about their criminal cases. One of the sisters is the first woman who appears in 48.

"It's become a huge process, exponential. A never-ending archive that I am continually exploring and rethinking. Of course, what gets done depends a lot on what I find the financing for." - p 282

Always the financing. What if revolutionaries waited for the financing? Maybe most of them do, they wait for the shipments of guns, etc. What if everyone just waited for the financing to criticize a dictatorship?

On to Amie Siegel:

"Amie Siegel's DDR/DDR (2008) is a rumination on the history and demise of the Deutsche Demokratische Republik (DDR, what Americans call East Germany): in particular, two aspects of the DDR's cinematic history: the relentless surveillance of its own population by the Stasi [the nickname for the Ministerium für Staatssicherheit, the East German Ministry for State Security] and the widespread popularity within the DDR of the movie Western and of going Native-American (in the DDR, the Indians, the "red-skins," were the "good guys," and, at least in theory, ideologically simpatico with the "reds" of the DDR)." - p 283

Take, e.g., Hans Jurgen Syberberg's "Die Nacht" (1985) starring Edith Clover at the Reichstag. It's a 6 hr monolog remarkable for the actress's memory b/c it's shot as close to one long running shot as was technically possible at the time. The texts are by Syberberg and many different authors, such as Johann Wolfgang von Goethe, Heinrich von Kleist, Plato, Friedrich Hölderlin, Novalis, Friedrich Nietzsche, Eduard Mörike, Richard Wagner, William Shakespeare, Martin Heidegger, Samuel Beckett and chief Seattle. I was fortunate enuf to witness the film in a theatrical setting. At the time, I was under the impression that the actress was a Native American, now I'm not so sure. This was a West German film but, still, I think it's relelvant to East German sympathies.

"a metaphor explained in one of Siegel's voice-overs: "The history of the Stasi is simultaneously a history of media technology in the second half of the twentieth century. Their surveillance efforts begin with slent, small-gauge film, 8mm, then 16mm throughout the Sixties. In the Seventies black-and-white video is introduced, accompanied by silence. In the Eighties, 16mm film is abandoned entirely for sound color video, and this lasts until 1989. The Stasi was entirely analog, encapsulating the period before digital" - p 283

So what happened to the whole Stasi network once the Soviet Union ceased to be? It was supposedly so extensive that there must've been quite a few people left unemployed.

"Around 189,000 people were informers [for] the secret police of the GDR's communist regime, when the Berlin Wall fell in 1989 -- that's according to Thuringia's state office for researching East Germany's Stasi on Monday, March 10."

[..]

"According to the report, political ideals served as the primary motivation for people to turn in their nieghbors, friends and acquaintances to the secret police. Financial incentives played only a minor role and blackmail was rare."

- https://www.dw.com/en/east-german-stasi-had-189000-informers-study-says/a-3184486-1

What did those informers do when they no longer had this structure in their life? Did they form IAs? Informers Anonymous? Support groups in wch they cd inform on each other for old time's sake?

"Siegel: In 2003 I was invited to Berlin by the DAAD [Deutscher Akademischer Austauch Dienst] Berliner-Kunstlerprogramm, a residency that brings foreign artists to Berlin. I was aware of works produced by the many artists, filmmakers, and writers who had had prior DAAD residencies, ranging from Marcel Broodthaers and Waler Abish to Yvonne Rainer and Ernie Gehr." - p 284

Gordon Monahan was another DAAD recipient. I made my film "Boota" ( https://youtu.be/19_pe-nT9u0 ) partially in connection w/ some Monahan projects done in collaboration w/ his wife, Laura Kikauka.

For whatever reason, one of my favorite parts of the Siegel interview is this:

"That fact that I, an American woman of Jewish background and recognizable as such, had to dress in their image of a Native American, with braids and belt and beads, compressed both the victim they seeks to identify with-the Native American-and the victim they avoid acknowledging-the Jew-into one being.

"Of course, any ethnographic filmmaker would have absolutely refused to "go native," as this would give the lie to his supposed "objective" distance. My dressing up also questions my own complicity in the very activity my camera is supposedly recording/critiquing." - p 291

Life's complicated, eh?!

But, HEY!, we haven't had a plug for Cambridge for awhile. Were you starting to feel a vague discomfort? A sense of loss?

"Like Nina Davenport, Alexander Olch is a "third generation" Cambridge filmmaker who studied with Robb Moss and Ross McElwee, though his interests as a fledgling filmmaker did not jibe with those of his teachers: while the Harvard filmmaking courses were geared toward cinema-verite documentary of one kind or another, Olch's interest was in fictional narrative."

[..]

"At Harvard Olch achieved an early student-film success with his No Vladimir (2000), produced during his junior year by McElwee and Chantal Akerman" - p 292

"The breakdown of costs for 2000-01" [at Harvard] "is: tuition, $22,694; room and student services, $5,879; board, $3,792; health fees, $745." - https://news.harvard.edu/gazette/story/2000/03/2000-01-undergraduate-tuition-and-fees-are-set/

That adds up to $33,110. That's $49,330.05 in 2019 dollars. You get what you pay for - in this case production by a world-famous filmmaker.

"In recent years, Olch has become well-known known" [sic] "as a fashion designer. At Alexander Olch New York (olch.com), he designs ties, handkerchiefs, scarves, and other accessories, which are sold at Bergdorf Goodman, Barneys, and other high-end men's stores. It remains to be seen whether he will be able to meld his success in fashion with a filmmaking career." - p 293

Ties seem to average about $250 apiece at Bergdorf Goodman & a bit cheaper at Barneys. What an unbelievable waste of money.

"I thought I had a great little movie going, even before I'd shot a frame. And so did Dick Rogers. Dick and I applied for and won one of the larger Harvard grants, so there was now actual money to start shooting. And I had some momentum because No Vladimir [2000], the junior year short I had made with Ross and Chantal as my producers, had gotten some attention; it was playing in festivals and had been sold to Bravo and IFC." - p 294

"What it first appeared to be was a story about Georgica, a town in the Hamptons-about the place and the people in what, over the course of Dick's life, had become the wealthiest community in the US." - p 296

Money, money, & more money. If you accept that the subtext of "Avant-Doc" is what to do w/ your inherited wealth (w/ exceptions of course) & you're fine w/ that, then this bk is A-OK. If you find that annoying, as I do, then you might have a hard time stomaching this after awhile. On to Arthur & Jennifer Smith:

""Avant-garde film," "experimental film." even "critical cinema," the term I've used in my other interview collections, are problematic and become increasingly problematic as the years go by and the history/geography of cinema continues to develop and expand. It is particularly difficult to make sense of these terms once they are used to describe new contributions to what have become traditional approaches to making film-as often seemed the case, for example, in the screenings presented at "Views from the Avant-Garde," the long-term sidebar to the New York Film Festival curated by Mark McElhatten and Gavin Smith. Can a new work made by painting and scratching onto 16mm film or a new surrealist montage really be "avant-garde"? For all practical purposes, "avant-garde," and even "experimental," are no longer descriptive terms, but are simply conventional ways to refer to time-honored traditions that may have been, or at least seemed to most cineastes, "avant-garde" or "experimental" when they were first attempted." - p 305

Indeed. Thank you for noticing. The same thing applies to 'free improvisation' in music, it's become a style, the freedom is all but gone.

"After the Bush administration opened the Arctic National Wildlife Refuge, within which Kaktovik sits, to oil drilling, the Smiths' photography and filmmaking became imbued with the mission of demonstrating the beauty of the polar bears and of their complex social structure, in the desperate hope that if a substantial number of filmmakers could be convinced not only that polar bears can be lovely to look at, but that they (and their Iñupiat neighbors) live together in a way that deserves to be an environmental model, their filmmaking might play a role in forestalling the seemingly inevitable drilling that will destroy the bears' habitat and the traditional Iñupiat way of life." - pp 304-305

So far, so good - will this be ruined for me?

"MacDonald: I can already see that I'm working totally out of stereotype: all my questions assume that you're sacrificing yourselves by living in Kaktovik to do this work.

"Arthur Smith: Oh, it's no sacrifice: if there's an Eden left on this planet, Kaktovik is it. We have the Arctic Ocean out our front doorstep, and behind us, theirty-five miles or so, some of the highest peaks in the Brooks Range; you add the drama of the Arctic weather and the diversity of life-there aren't many places in the world where whales and polar bears and caribou and grizzlies all come together in a habitable environment that you can call your backyard. Before you step off your front porch up here, you've got to look both ways and it's not for traffic! We had a bear on our porch this past September" - p 309

Interesting. I might enjoy that for a little while. The whole who's-going-to-eat-who? issue is a challenging one. Basically, I like & am interested in all animals.. &, yet, I'm a carnivore so I might eventually resort to eating a polar bear, etc, even though I want polar bears to thrive. So I can't really blame a polar bear for wanting to eat me. It seems only fair. But I'd rather be friendly kin. How wd one become a vegetarian in the Arctic?

"Arthur Smith: A transition from standard definition to high definition allowed us to make Ice Bears and get it out. In 1999, Sony introduced the F900, a high definition camera that cost over $100,000, not including lenses and editing equipment. Three years later, George Lucas shot Star Wars Episode II: Attack of the Clones [2002] with the F900. At that time, shooting a movie digitally wasn't feasible unless you were already plugged into Hollywood or a major broadcast organization. Over the last ten years, the rapid advancement in digital technology enabled a two-person team like us to afford a HD camera and finish a high-definition movie.

"Now, as digital cinema has evolved, the bar has been raised beyond HD, and some would argue, we are now able to match 35mm film quality standards. In 2009, Jennifer and I started shooting with the RED ONE, a digital camera that has four times the resolution of high definition. With this camera, and several dozen terabytes of hard drive space, we're able to generate a better product then we could if were shooting 35mm film-partly because of the ease of working with a smaller camera that handles cold weather well: we're often shooting at 20 degrees below zero." - pp 310-311

I've often wondered about what camera might be good at such temperatures. I've shot using a cheap camera in cold weather in Pittsburgh & had the camera freeze up. The temperature wasn't anywhere close to as low as "20 degrees below zero." I see a RED camera for sale new online for $4,150. That's over half of my yrly SS but I don't really begrudge it to these folks, at least we're not talking $100,000.

"The Red One first introduced in 2007 was Red Digital Cinema's first production camera. It captures up to 120 frames per second at 2K resolution and 60 frames per second at 4K resolution. Its "Mysterium" sensor digitized to a proprietary RAW format called Redcode. By 2010, Red began selling upgrades to a 14 megapixel sensor called the "M-X". The Red One has been reviewed as having effectively the same quality as 35mm film. The Red One was made out of cast iron and the body alone weighs in at 10 lbs (4.5 kg)." - https://en.wikipedia.org/wiki/Red_Digital_Cinema

I can imagine shooting w/ one of those although I find the weight to be a bit intmidating as something to be held up for a long time. As noted earlier, tho, I do have a problem w/ the emphasis on camera quality. The rubes will always be impressed by the highest resolution but what does it amount to otherwise? People will always love an Ansel Adams photo, e.g., b/c of the crispness of detail of natural scenes - but Ansel Adams didn't make the nature so how much credit shd he get for creativity? Is he really that much different from any other point-&-shoot type? I realize that's blasphemy but I'm trying to make a point. I prefer photographers who make elaborate set-ups, like Joel-Peter Witkin, or ones who do complex post-production, like Jerry Uelsmann - in other words, photographers who go past point-&-shoot, who use their imagination.

On to Betzy Bromberg, another academic:

"I was in touch with Bromberg, who is Director of the Program in Film and Video at California Institute of the Arts, during the summer of 2012" - p 315

"I guess the point you were making, really, is that I've abandoned any use of words in my recent soundtracks. I think I've come to avoid words because I'm more interested in creating alternative realities. At this point we're so thoroughly bombarded with verbiage and information that I'm in full retreat from the onslaught. I'd rather be elsewhere. I'm much more interested in creating dreamscapes and places of the interior. While I was working on Voluptuous Sleep, I spent a lot of time looking at Mark Rothko pantings and listening to Morton Feldman's music." - p 322

Methinks Bromberg has a narrow perception of how language can work. Obviously, it can be very helpful in creating "alternative realities". Perhaps she doesn't read much SF. I suggest looking at my "Writing" website ( http://idioideo.pleintekst.nl/Writing.html ), perhaps my 1979 piece entitled "PLAY OUT REGRESS" ( http://idioideo.pleintekst.nl/W1979.PlayOutRegress.html ) might be of interest. My critique of Instagram Poetry might be educational ( http://idioideo.pleintekst.nl/InstagramPoetry.html ). That sd, I can understand & relate to the desire to leave out elements that overdefine, wch is often what language is used for.

It's a joy for me to read about someone else enjoying the same painters & composers that I do. Hence Bromberg's mentioning of Rothko & Feldman perks me right up. In fact, I'm listening to Feldman's "Rothko Chapel" (1971) right now in honor of Bomberg's mention. It's one of my favorite pieces of music. Feldman is on my "Top 100 Composers" index ( http://idioideo.pleintekst.nl/Top100Composers.html ) although I haven't made a separate page for him yet. The version of "Rothko Chapel" that I just listened to is the one on Columbia Odyssey's Modern American Music Series & it features Karen Philips on viola, James Holland on percussion, & the Gregg Smith Singers. This recording, wch I got in 1986, probably contributed to my appreciating Rothko's painting more. I imagine that hearing it inside the Rothko Chapel wd be a profound experience.

More academia w/ Jennifer Proctor:

"Jennifer Proctor is a child of the 1990s and 2000s and while she is certainly attuned to the history of avant-garde filmmaking-she studied hands-on 16mm filmmaking and video at the University of Iowa-her work, including A Movie by Jen Proctor, requires no special screening situation and is easily accessed through her website and on Vimeo. Proctor is serious about her work and about the history it is part of, but her instinct is less to accomplish another remarkable film than to rethink the history she has inherited and in some instances to see it as raw material for her own work. Her A Movie by Jen Proctor, for example, is a nearly shot-by-shot remake of one of the most canonical of avant-garde films: Bruce Conner's A Movie (1958)." - p 325

The alert amongst the readers of this review might notice that I list "A Movie" as one that I liked very much when I 1st witnessed it. You might also notice that I list it as having been made in 1957. I wonder wch of us is correct. Since "A Movie by Jen Proctor" is listed as easily accessible online I just checked it out on Vimeo ( https://vimeo.com/11531028 ) & I liked it so much I added it to my "Favorite Movies from Other People" webpage ( http://idioideo.pleintekst.nl/tENTothers.html ). Having just done that, I was surprised that Conners's original isn't on the list. I must've gotten tired of his work by the time I started compiling the website. That doesn't seem fair to Conner, maybe I'll add it at some point.

The issue for me here, in the context of this bk, is: Is "A Movie by Jen Proctor" an 'avant-doc'? B/c if it is then so is Conner's "A Movie" & so is my "A -Gogh-Gogh" ( https://archive.org/details/agoghgogh ). However, I don't consider "A -Gogh-Gogh" to be an 'avant-doc' or a quasi-documentary even though it, in some way, documents differences between 19th century & 21st century modes of representation. Nor do I consider "A Movie" & "A Movie by Jen Proctor" to be 'avant-docs'. I consider all 3 films to be more formal exercises than they are content-carriers.

"While her work is sometimes presented at public screenings, mostly it is accessed through her website." - p 326

As I wrote earlier in this review: "I'll take making the work available on YouTube, the Internet Archive, & Vimeo anyday over making big bucks thru artificial price boosting." & "My own movies have become the 21st century equivalent of straight to VHS, meaning straight to the internet: more specifically straight to YouTube, the Internet Archive, & Vimeo - & there's a similar stigma associated w/ that." Even though MacDonald doesn't stigmatize Proctor for having work online, that's partially b/c it's on her own website & Vimeo - rather than the more 'low class' YouTube. Vimeo prides itself as high quality & used by professional artists (what I have on Vimeo is accessible here: http://idioideo.pleintekst.nl/Vimeo.html ) whereas YouTube is more grassroots. Vimeo charges people for having something like over 2GB up whereas YouTube uses advertising to fund itself. YouTube censors, rather stupidly IMO; I don't know if Vimeo does. The Internet Archive seems to not censor or charge or use advertisements - they also make the work easily available for download. Vimeo appeals to snobs who want to appear to be 'real' artists. I like all 3 of them but the Internet Archive is probably the most egalitarian. It seems likely that YouTube will survive the longest. Proctor does make a plug for YT:

"These days, some of the most interesting unconventional work is coming out on YouTube" - p 328

"More recently, I've been inspired by previous avant-garde remakes: Jill Godmilow's superb What Farocki Taught and Ben Coonley's fantastic Wavelength 3D [2003] video (perhaps more prank than full-fledged remake, but delightful nonetheless, and in keeping with what I see as Snow's wonderful and pun-tastic sense of humor)."

[..]

"and Eric Fleischauer's remake of Hans Richter's Rhythmus 21 [1921] as Rhythmus 21st Century [2011]." - p 327

 

Then again, one might include the guy who did it before any of these people, myself, in my ""Official" John Lennon's "Erection" Homage & Cheese Sandwich" (1990-1995) in wch I remake part of Snow's "Wavelength" but give it a plot twist (the relevant section starts here: https://youtu.be/nRqfWwHAdqA?t=1755 ). One might also mention my "Teenagers from Inner Space" (2001) ( https://youtu.be/mTxvaTGk7Rc ), a remake of the 1st 2 scenes of Tom Graeff's "Teenagers from Outer Space" (1959) using actual teenagers. Even though it wanders from the remakes-of-avant-garde-films it's still in the realm of avant-garde-remake-of-a-commercial-film, I'd also include Anne McGuire's wonderful "Strain Andromeda The" (1992) & her "Adventure Poseiden, The (The Unsinking of my Ship)" (2006). Given McGuire's inclusion one might even add Terry Gilliam's "Twelve Monkeys" (1995) (a remake of Chris Marker's "La Jetée" (1962)). Why stop there? What about Gus Van Sant's remake of Hitchcock's "Psycho" (original: 1960, remake: 1998)?

I'm also delighted to see something by Eric Fleischauer included. I highly recommend his "twohundredfiftysixcolors" (2013) comade w/ Jason Lazarus.

"And I'm especially interested in the access we now have to visual databases that are growing at a rate of thousands of hours a day on sites like YouTube and Vimeo." - pp 328-329

Proctor's plugging these online resources endears her to me but I wonder why the Internet Archive is left out? I use it extensively.

"This was swirling around in my head as I watched A Movie with my students, semester after semester, but I couldn't decide whether such a remake would be cheap and gimmicky or actually meaningful until I started putting the footage together-and then, the power and logic of the film's structure became apparent. The structure of A Movie-even if somewhat random, based on the footage that Conner was able to find-is beautifully taut.

"I came to feel that if you followed his thread through the film, you could switch footage every year and the film would still be powerful." - p 330

A predecessor of this might be John Cage's "Williams Mix" (1951-1953) & Larry Austin's meticulous following of its score in order to make a new realization of it, "Williams [re]Mix[ed]" (1997-2001). More realizations by other people cd certainly be made but who's going to go thru all that work other than Austin?!

"YouTube and LiveLeak (and LiveLeak is important; it's less-censored YouTube, popular with military uploaders)" - p 332

I don't recall being previously familiar w/ LiveLeak so I searched for it online ( https://www.liveleak.com/ ). As a 66 yr old, it's a curious development of the 21st century that 'leftists' seem more inclined toward censorship these days than the 'right'. This censorship is enacted in the name of discouraging hate crimes, I get that. The right's anti-censorship seems mainly against the censoring of whatever irresponsible nastiness they want to throw out there. I don't agree w/ either of them, I'm anti-censorship AND anti-haters/bigots/supremacists/etc. There are other alternatives to YouTube that're more obviously aligned w/ alt.right than LiveLeak: BitChute & PewTube. It's my opinion that anyone who gets into power will try to limit the speech of their opponents.

"I'm always watching to see what new portable image technologies are coming out, and I was struck by the advent of tiny video projectors-pico projectors-which got me to thinking about how they might work to produce sculptural light. Remakes have been on my mind, obviously, and in some ways, ideas start as a play with the titles of the original work, so a little punning led to "Line Describing a Phone," with an iPhone attached to a pico projector, which led to the idea of miniaturizing McCall's piece." - p 334

Great. Even Proctor's being an academic didn't spoil this section for me. On to Jane Gillooly:

"There are filmmakers who find their métier early in their careers and continue to work in a generally predictable way for a lifetime: Frecerick Wiseman and Peter Hutton can serve as examples. And there are filmmakers whose approach seems to change with every project. Over the past tweny years Jane Gillooly has completed three feature-length documentaries, each of which involved a different production process and has a different kind of impact." - p 336.

Whoopee. NOT. Are we really supposed to be impressed by that?! 3 fucking movies in 20 yrs?! So what if she managed to make them different, she's practically standing still. Has anyone checked her pulse lately? She might be dead.

SOOOOOOOO, here I go again, promoting myself: I've made roughly 128 feature documentaries in the last 44 yrs (see the complete list of my features here: http://idioideo.pleintekst.nl/tENTFeatures.html ). Given Gillooly's 3 in 20 yrs let's say I have to come up w/ 7 that're dramatically different from each other for my 44 yrs. Here goes:

"AMD" - on my onesownthoughts YouTube channel here: https://youtu.be/IQgkC5OwPmw

"365" - uploaded to the Internet Archive on December 31, 2018: https://archive.org/details/idioideo_verizon_365_201901

"UNDERAPPRECIATED MOVIEMAKERS FESTIVAL" - uploaded to my onesownthoughts YouTube channel August 23, 2018: https://youtu.be/KwlfRxmRU3E

"Vermin Supreme, His Humble Beginnings" - on the Internet Archive here: https://archive.org/details/VerminSupremeHisHumbleBeginnings

"The Struggle to End Death by Incarceration" - on my onesownthoughts YouTube channel here: https://youtu.be/3KJc0rb-zRk

"Monte con o sin safos Rides Again" - on my onesownthoughts YouTube channel here: https://youtu.be/rItG4Wa55_0

"Hindsight" - on my onesownthoughts YouTube channel here: https://youtu.be/z1_wrZboeMs

& that's only a small selection from the last 3 yrs! But Gillooly's from Boston.

"Gillooly, who is on the graduate faculty of the school of the Museum of Fine Arts, Boston" - p 336

"MacDonald: The performance element of the tapes sometimes verges on the surreal: at one point Jeannie is talking to Tom via tape (a tape he will hear, but not until later) as she is waiting at a hotel for him to join her. The phone rings, she stops talking to the tape recorder to answer and talk to Tom, who is the caller; then, when the phone call is over, continues her taped conversation with Tom, who presumably has been held up and might not make the rendezvous. The taping seems the real connection with Tom; the phone call an interruption of it." - p 343

Gillooly's editing providing the more calculated interruption. My editing providing further interruption: on to Godfry Reggio's "Visitors": I'd previously witnessed Reggio's 3 previous films, the "Quatsi Trilogy". I'd loved "Koyaanisquatsi", the 1st one I saw (in a movie theater), &, even tho I think Glass is a mediocre composer (please, spare us from the "New Tonality'!), I even loved Glass's soundtrack - or, at least, the way it worked w/ the visuals. I wasn't aware of "Visitors" so, finally, I managed to get that one out of the library. I found it close to insufferable: not only was the theme essentially the same as w/ the Quatsi Trilogy, the technique was more limited & the expensively high definition close-ups on people's faces considerably less interesting than my own "Philosopher's Union Member's Mouthpieces" ( http://idioideo.pleintekst.nl/Philosopher.html ) shot using the $100 toy PXL-2000 camcorder.

"MacDonald: What was the final budget?

"Reggio: Just over 4.6 million, most of which is the below the line: that is, it's all going into the film." - p 350

What a mind-numbing wwwwwaaaaaaaaasssssssssssttttttteeeee of money.

On to Todd Haynes, another of the filmmakers whose work I'm familiar w/ & generally like:

"MacDonald: I think that you're correct that there was kind of pivot at the end of the Seventies and during" [the] "early Eighties, from filmmakers whose films looked more or less the same from beginning to end, or expressed a certain very particular kind of structure from beginning to end, to films that started to mix things up. Superstar" [1987] "was made almost simultaneously with Su Friedrich's Damned If You Don't [1987] and Marlon Riggs's Tongues Untied [1989], and each of these films combined approaches common to both documentary and fiction, plus performance, poetic experiment, and found footage into a single work." - p 360

"Superstar: The Karen Carpenter Story" (1987) was the 1st thing I saw by Haynes, on a bootleg VHS. I loved it, I found its use of a Barbie-look-alike doll to be a perfect way of critiqueing the potential toxicness of bulemia-inducing role models. I still cdn't stand the music. I even used an excerpt from it in my "Robopaths" (2007-2012). "Poison" (1991) was next, I saw that in a theater, it only took 4 yrs for Haynes to make it to the art house theater circuit. I have great respect for Jean Genet's work so I found that one deeply interesting too. After that, I saw "Safe" (1995). I liked it, Haynes was still fresh for me, the subject was strong. "Velvet Goldmine" (1998) was next, I have some interest in Glitter Rock so I enjoyed that one too. Haynes's craft is always meticulous & refined. After that I lost track of his work.

I wasn't that prolific in 1987, probably my main work was "Generic As-Beenism" ( https://youtu.be/OL1Mppt2ck4 ), a triple projection piece w/ live action, that I liked so much that I broke my usual procedure of never performing the same piece twice & presented it in Montréal (1987), Washington DC (1989), Chicago (1989), Phoenix (1989), & BalTimOre (1989). Is that a piece that mixes things up? You decide. The link that I've provided is to the best reconstruction of it that I've managed to make but it's far from representing the full glory of the original. I don't think that (m)any people wd deny that this is a complex work.

"Haynes:" [..] "Superstar certainly generated a bigger audience than most experimental films" - p 360

Of course it did! B/c it wasn't really an experimental film!! Despite its use of dolls instead of actors it had a straight-forward narrative & a celebrity subject. This was hardly the 1st use of dolls, they wd've been common objects for animators. It was the use of the highly appropriate Barbie-like dolls that made this so special.

"How fully were you trying to be funny in Superstar? Aside from the Barbie Dolls, it comes across as a relatively conventional documentary about a serious subject.

"Haynes: At the time, there was always a question about the film's attitude toward Karen Carpenter. Was I being a little too ironic or campy or something like that. Of course, as soon as you deal with dolls as a vehicle for telling a story or with a character as over-determined as Karen Carpenter-particularly if you're a gay filmmaker, identified with traditions of camp sensibility and humor-you're going to create those questions. And they were fair questions I thought. But in fact, Cynthia and I had an almost childishly earnest desire to understand this character against the grain of the criticism and the dismissal of her as not a serious singer or subject. We thought of ourselves as trying to rescue Karen Carpeneter from her family." - p 363

&, to me, that comes across very clearly & is one of the things that makes the film so great.

"MacDonald: One of the early screenings of" [Jean Genet's] "Un Chant d'amour in this country was in San Francisco, it was shut down by the police, who confiscated the film. Saul Landau, who later was involved with the San Francisco Mime Troupe, wrote a brilliant defense of the film. It was the first important essay to be published in what would become a key publication for those interested in avant-garde cinema from the mid-1960s into the 1980s: the Canyon Cinemanews. Landau had courage; one of the first things he did after the brouhaha about the film screening was to show the film again, this time as a benefit for Kenneth Anger." - p 368

Saul Landau! I already had deep admiration for the man but this just takes that even further. Not only was he an expert on CIA dirty work in Latin America, "Landau authored 14 books, produced and directed over 50 documentary films, and wrote editorial columns including for the Huffington Post" ( https://en.wikipedia.org/wiki/Saul_Landau )

"Haynes: Exactly-the line between life and art is erased. In so many ways that crazy intersection of experimental filmmaking, erotic film (it wasn't called porn in the mid-Sixties), and feature filmmaking-that crazy commingling of all those traditions-produced a moment when people would line up around the block to see Chelsea Girls [1966]. All the categories were in a state of flux. Thsi produced not only extraordinary filmmakers, but active and essential audiences. We don't have audiences like that today." - p 370

Indeed. Even when I go to mainstream, ostensibly popular, movies there's hardly anyone there. I can't even say I think I know what's going on. 10 or 15 yrs ago, Pittsburgh had a filmmaking scene that largely revolved around people who had worked or were still working in the Equipment Office at Pittsburgh Filmmakers. Groups like Jefferson Presents... &, before them, Orgone Cinema presented programs of intense interest to these people who attended the screenings w/ enthusiasm. It wasn't a huge crowd but it was a significantly engaged one. Most of those people have moved away now & Filmmakers's financial despair forced them to sell their main bldg. In a sense, nothing has replaced it. Some film series have continued on but the uncertainty of venues makes attendance unreliable. Beyond that, I'm not even sure that there's any interest.

If there ever was a time when "Chelsea Girls" cd attract a long line of attendees (it's hard to believe given my own experience w/ projecting it at the Andy Warhol Museum to a generally empty theater) it might've been b/c the general cultural feeling was more open-minded & eager for change away from the society that had produced the monstrous Vietnam War.

These days? I don't know. Somehow, everything seems more fragmented. There are popular events that attract sheeplike behavior among cliques & subcultures - I imagine that's not really that different than what wd've driven people to go to "Chelsea Girls" - it's the 'in' thing to do - but people seem to have even more limited attn spans. It's easy to blame this latter on the effects of the internet: it's common to just browse things, to skim, to only experience a few seconds or, at most, a few minutes before moving on. The US is still constantly at war but the mobilization against it isn't as popular as resistance to the Vietnam War, war is taken for granted as a sort of background noise.

Hardly anyone I know reads, that takes too much concentration. There seems to be NO curiosity about much of anything. One good friend of mine told me recently that he's not interested in the work of anyone but himself & me. I found that astounding, I'm interested in the work of thousands of people!! Maybe I'm just out-of-touch w/ what moves people. There's plenty of mouthing-off against racism & homophobia, etc, but too much of it seems like herd-like behavior by people conforming to the norms of their subcultures - not that it isn't sincere, but I can imagine the sheep being led away to something else. At any rate, the (v)audience for experimental film here in PGH seems to've mostly evaporated. Issues of what types of representation are least coercive seem to be of no interest.

One of the Haynes movies discussed is "I'm Not There" (2007), one that I hadn't seen that I was fortunate enuf to be able to get out of the library. Once again, I was impressed by the imagination of it, by the craft.. but I just didn't really care. It's a beautifully made film.. but it's about Bob Dylan, someone whose work never moved me that much. When I was a teenager, I covered Dylan's "Like a Rolling Stone", "Just Like Tom Thumb's Blues", "Don't Think Twice, It's Alright", "Billy the Kid" &, possibly, "Maggie's Farm". I had Dylan's "Greatest Hits" (purchased in 1968), "New Morning" (purchased in 1971), "Highway 61 Revisited" (purchased in 1972), & "Blonde on Blonde" (purchased in 1972) - so you can see that he was important to me early on. I still find the lyrics interesting but it wasn't long before I found the music boring & generic. The choice & use of the songs in "I'm Not There" were a highpoint for me, I was reminded of how 'surreal' Dylan's lyrics can be. I even relistened to a tape of his "Love and Theft" again recently while I was reading this bk but, once again, I was bored. It wasn't long before I got rid of all the records but "Blonde on Blonde" - wch I kept partially b/c I thought that using the Country sessions musicians was an innovation.

The point being that while Dylan was important to me 50 yrs ago he was never as important as more experimental pop musicians like Frank Zappa & the Mothers of Invention, Captain Beefheart & his Magic Band, & the Bonzo Dog Band, amongst many others. SO, by the time I finally witnessed "I'm Not There", despite its creative brilliance, I was mostly just restless to get thru it & not be annoyed by Dylan's personality (as depicted by 6 different actors).

On to the "Sensory Ethnography" section:

"Among the most important proponents of what has come to be called "sensory ethnography" is Lucien Castaing-Taylor, who established Harvard's Sensory Ethnography Lab (SEL), a collaboration between the Departments of Anthropology and Visual and Environmental Studies, in 2006. The Lab has revived Cambridge's significance in the history of ethnographic filmmaking, nurturing a cadre of accomplished and adventurous filmmakers-most notably, John Paul Sniafecki, Stephanie Spray, Véréna Paravel, and Pacho Velez-interested in using cinema to provide sensory experiences of cultural practices in the process of transformation." - p 374

Ok, this bk has convinced me that Cambridge has been an important center for ethnographic filmmakers - but I'm not convinced by "what has come to be called "sensory ethnography"": come to be called by whom?! I don't find the term appealing at all - what isn't sensory?! Was previous ethnography non-sensory?! How wd that be physically possible?! It just strikes me as an attempt to make something new w/o actually providing anything of substance.

Ilisa Barbash & Lucien Castaing-Taylor:

"But Marshall was an uneven cinematographer and a rather sloppy filmmaker. His magnum opus, A Kalahari Family, is all over the place, stylistically and substantively." - p 377

SO?!

"What can I say? We had no money."

[..]

"He told me about his colorist, Patrick Lindenmaier, based in Zurich who has hand-built the most advanced digital-to-film transfer facilities in the world.

"I sent Patrick a rough-cut of Sweetgrass on DVD, and when he saw the shot of the newly shorn sheep shivering in the snow, he agreed to work with us, but warned that he could only do so much. To the extent that Sweetgrass is watchable at all is in large part due to his efforts. We spent two long weeks in Zurich and Bern doing final post-production and film-out." - pp 382-383

Right, they have "no money" but they hire a colorist in Switzerland & go to Zurich & Bern to work w/ him for "film-out": "film out" to what? 35mm? That's vvveeerrrryyyy expensive. None of that is done w/ "no money". I'm reminded of a rich friend of mine, rich off of inherited wealth, who told me that 'you can't do much these days with a million dollars.' Rich people always seem to think they don't have enuf.

"In fact, when it comes to cinema, I'm pretty illiterate. To be honest, I don't really like movies: most are so audio-visually intrusive, all about spectacle and distraction. I resent them. Literature at once gives freer rein to and intrudes less on your imagination. It's less sensorially stimulating and less coercive-it seems more intellectually democratic. Not that I have the concentration to read either!" - p 392

There you have it, a sample of what I was writing about earlier, the new illiteracy, unashamed, unabashed. If he's so "illiterate" about cinema, how does he know that most movies "are so audio-visually intrusive"?! Furthermore, it's too bad that he doesn't have "the concentration to read either". Welcome to the Idiocracy. Nonetheless, I'm intrigued by the description of "Sweetgrass". The library supposedly has a copy but it was nowhere to be found. Too bad.

"Few theaters are equipped to play back 5.1 or 7.1 (or any other format of) surround sound, and fewer still from HD video, rather than 35mm film." - pp 397-398

That, of course, has completely changed in only a few yrs.

"Castaing-Taylor: Well, you've pretty much said it all. Juxtaposing perspectives from the sciences, the arts, and the humanities, the aim of the Sensory Ethnography Lab is to support innovative combinations of aesthetics and ethnography, especially with work conducted through audio-visual media (video, sound, film, photography, and "new" hypermedia)" - p 402

In other words, nothing new enuf to justify the new name.

"We started filming with our own cameras, quite heavy and shoulder-mounted, but one was stolen in New Bedford and the others were lost to the waves. So we resorted to progressively smaller DSLRs and tiny GoPro cameras which we both handheld ourselves and attached to the fishermen's bodies: to their heads, chests, and wrists. From the second trip on, we also attached a couple to the end of two 8-foot poles that were fastened together, giving us about a 16-foot reach, so we could film underwater and from above the sea and the boat." - p 407

That's more like it, that's more the way I work, cheaper 'sports cameras' exploited for their light weight & underwater capabilities, no focus abilties or much of anything else.

All in all, I'm now interested in all these moviemakers. That's good. I'm also convinced that MacDonald did a piss-poor job of actually representing "avant-doc" makers. That's bad. Shd Saul Levine be in this bk? He's a Boston guy who made super-8mm single-frame documentaries of protests, e.g.. Is that "avant"? He recently retired from the Massachusetts College of Art and Design. That's not Harvard, I know. I shd definitely be in this bk &, egomanical as I may seem to be, I think I've established that fairly well. But this bk isn't primarily about "avant-doc", it's about the people in MacDonald's good ole boy (& girl) network - mostly upper middle class academics. "Avant-Doc" is the cover story that's intended to make these people seem like pioneers. I'm not convinced that most of them are. I AM convinced that that $100,000 production money is important to them. I suggest this: check out my "Don't Walk Backwards" ( https://youtu.be/kODzM_2_bRM ): it's 8:24:43 long, it was shot in VHS, super-8, slides & filmstrips. It involved a 3 mnth trip to Malaysia & Australia & was done on a budget of less than $4,000. That includes all transportation (including plane fare), housing, food, etc, for TWO PEOPLE. I seriously doubt that ANY of these moviemakers cd've done what my partner & I did.

Much of what I assert here will probably be found offensive &/or ridiculous by the people that I've written about - but I needn't worry about their reactions, it's incredibly unlikely that Scott MacDonald will read this review or any of the moviemakers. After all, this is the age of the 'New Illiteracy' & the same-old, same-old class struggle. I don't represent money, just intelligence - & who gives a shit about that?

 

 

 

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