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Saturday, Feb 20 - 10:00am Documentary Fundraising: The Art of Asking With Adella Ladjevardi, Lana Wilson, Tracie Holder and Anna Rose Holmer Create a robust understanding of the fundraising landscape and assemble the best possible proposal as you approach potential funders

Documentary Fundraising: The Art of Asking

With Adella Ladjevardi, Lana Wilson, Tracie Holder and Anna Rose Holmer Create a robust understanding of the fundraising landscape and assemble the best possible proposal as you approach potential funders
Saturday, Feb 13 - 7:30pm Virtual Womb A multi medium/media experience including projections, dancers, installation and music. A place of gestation, meditation, rebirth, and deprogramming. A place of kaleidoscopic perspectives and ideas, where birth and death are one of the same, where there is potential for change to happen, and a place with no past and no fear of the future.

Virtual Womb

A multi medium/media experience including projections, dancers, installation and music. A place of gestation, meditation, rebirth, and deprogramming. A place of kaleidoscopic perspectives and ideas, where birth and death are one of the same, where there is potential for change to happen, and a place with no past and no fear of the future.
Thursday, Feb 11 - 7:30pm Olmo and the Seagull Advanced Screening A journey through the labyrinth of a woman’s mind, OLMO AND THE SEAGULL tells the story of Olivia, a free-spirited stage actress preparing for a starring role in a theatrical production of Chekhov’s The Seagull.

Olmo and the Seagull

Advanced Screening A journey through the labyrinth of a woman’s mind, OLMO AND THE SEAGULL tells the story of Olivia, a free-spirited stage actress preparing for a starring role in a theatrical production of Chekhov’s The Seagull.
Sunday, Jan 31 - 7:30pm GOOD TIMES, WONDERFUL TIMES Discussion following the screening with Michael Rogosin, the filmmaker’s son, via Skype Good Times, Wonderful Times demonstrates Lionel Rogosin’s continued commitment to addressing themes rarely grappled with by mainstream cinema as evidenced by his better-known earlier works—the skid-row film On The Bowery (1956) and anti-apartheid masterwork Come Back Africa (1959). Disappointed by the limited release of the latter film in the United States, Rogosin set up shop in London for his next project, an attack on nuclear proliferation. Armed with letters of introduction from Bertrand Russell, Rogosin and his crew embarked on a several-year journey across Western Europe, the Soviet Bloc, and Asia to acquire newsreel, military, and other war footage from numerous (often uncooperative) government archives to be paired with their semi-documentary staging of a posh cocktail party. Awarded first prize at the Leipzig Documentary Festival and selected as Britain’s entry into 1965 Venice Film Festival, the film received a more muted response in the United States where political tensions forced the director to distribute the film himself via progressively-minded independent theaters and the burgeoning college campus circuit. Rogosin proudly claimed that over one million American students saw the documentary in its first year of release, galvanizing the youth antiwar movement in its crucial early stages. The film is a rarely seen gem of found footage filmmaking and biting critique of apathy in our tumultuous times. - Tanya Goldman.

GOOD TIMES, WONDERFUL TIMES

Discussion following the screening with Michael Rogosin, the filmmaker’s son, via Skype Good Times, Wonderful Times demonstrates Lionel Rogosin’s continued commitment to addressing themes rarely grappled with by mainstream cinema as evidenced by his better-known earlier works—the skid-row film On The Bowery (1956) and anti-apartheid masterwork Come Back Africa (1959). Disappointed by the limited release of the latter film in the United States, Rogosin set up shop in London for his next project, an attack on nuclear proliferation. Armed with letters of introduction from Bertrand Russell, Rogosin and his crew embarked on a several-year journey across Western Europe, the Soviet Bloc, and Asia to acquire newsreel, military, and other war footage from numerous (often uncooperative) government archives to be paired with their semi-documentary staging of a posh cocktail party. Awarded first prize at the Leipzig Documentary Festival and selected as Britain’s entry into 1965 Venice Film Festival, the film received a more muted response in the United States where political tensions forced the director to distribute the film himself via progressively-minded independent theaters and the burgeoning college campus circuit. Rogosin proudly claimed that over one million American students saw the documentary in its first year of release, galvanizing the youth antiwar movement in its crucial early stages. The film is a rarely seen gem of found footage filmmaking and biting critique of apathy in our tumultuous times. - Tanya Goldman.
Thursday, Jan 28 - 7:30pm Painters Painting With Justine Hill, Catherine Pearson and Mary Potter To grouse, as Vincent Canby did in the Times upon its initial release, that Emile de Antonio’s portrait of the post-war art scene in New York, Painters Painting, might have been more reasonably titled Painters Talking, misses the joke in several senses. Made at roughly the midpoint between his two most famous films, In the Year of the Pig (1968) and Underground (1974), and generally received as something of an amiable diversion from his more serious political work, Painters Painting in fact continues de Antonio’s career-long project of building structural critiques out of carefully culled anecdotes. So, yes: brand-name painters (Warhol, Johns, Rauschenberg, etc.) and the various other agents comprising the art world do indeed talk and talk and talk to de Antonio, a close friend of many of the film’s participants, in the process revealing both a considerable amount about their own principles and methods, and perhaps even more about the emerging role of the artist as a public persona.

Painters Painting

With Justine Hill, Catherine Pearson and Mary Potter To grouse, as Vincent Canby did in the Times upon its initial release, that Emile de Antonio’s portrait of the post-war art scene in New York, Painters Painting, might have been more reasonably titled Painters Talking, misses the joke in several senses. Made at roughly the midpoint between his two most famous films, In the Year of the Pig (1968) and Underground (1974), and generally received as something of an amiable diversion from his more serious political work, Painters Painting in fact continues de Antonio’s career-long project of building structural critiques out of carefully culled anecdotes. So, yes: brand-name painters (Warhol, Johns, Rauschenberg, etc.) and the various other agents comprising the art world do indeed talk and talk and talk to de Antonio, a close friend of many of the film’s participants, in the process revealing both a considerable amount about their own principles and methods, and perhaps even more about the emerging role of the artist as a public persona.

Wave Farm Recent Artists-in-residence Present and Perform

With Ed Bear, Mike Bullock, Linda Aubry Bullock, Damian Catera, Patricia Kositzky, and Bernd Klug. presenting a living genealogy of artists’ experiments with broadcast media and the airwaves Making use of UnionDocs' newly installed 7.1 sound system these artists will perform the following pieces: Ed Bear will perform and present his newly developed instrument, an experimental multichannel synthesizer, comprised of an array of microradio transmitters. Mike Bullock and Linda Abury Bullock will present a 7.1 channel sound and single-channel video mix of their residency project "Lanalog," which was a six-hour durational performance using transmission to connect six performers located throughout Wave Farm's 29 acres. Bernd Klug will perform "Transmissions and Frequency Spectra of a Radio Station." Comprised of site-specific recordings made during his residency, Klug employs acoustic and electromagnetic detritus to produce a generative work in which the radio "plays itself." Damian Catera and Trish Kositzky will present "Strategies Against Communication: NIGHT," a four episode interactive radio performance series, incorporating original composition, theatre, and spoken word.

THE UNDO HOLIDAY PARTY

With dj's, drinks, dancers, and special guests. a party for believers and non-believers. for do'ers and UNDO'ers.
Sunday, Dec 13 - 7:30pm Internet Poetics: Steve Roggenbuck and Alli Simone Defeo With Steve Roggenbuck, Alli Simone Defeo, and Pejk Malinovski. STEVE ROGGENBUCK, poet, video artist, and comedian who was once “cataloged as a meme,” will be joined by ALLI SIMONE DEFEO, “the fastest poet alive”, for a reading, screening, and discussion on Sunday evening. Steve plans to also show a selection of his personal performative videos and give a talk on internet-based poets, twitter accounts, memes, image-based poetry, and video-based art. Radio producer and poet Pejk Malinovski will be there to show a clip from a doc-in-progress about Steve and initiate a discussion between the two artists and the audience.

Internet Poetics: Steve Roggenbuck and Alli Simone Defeo

With Steve Roggenbuck, Alli Simone Defeo, and Pejk Malinovski. STEVE ROGGENBUCK, poet, video artist, and comedian who was once “cataloged as a meme,” will be joined by ALLI SIMONE DEFEO, “the fastest poet alive”, for a reading, screening, and discussion on Sunday evening. Steve plans to also show a selection of his personal performative videos and give a talk on internet-based poets, twitter accounts, memes, image-based poetry, and video-based art. Radio producer and poet Pejk Malinovski will be there to show a clip from a doc-in-progress about Steve and initiate a discussion between the two artists and the audience.
Saturday, Dec 12 - 10:00am Translating Empathy: A Seminar Dedicated to Social Engagement and Documentary Art With Jody Wood, Sally Szwed, Barbara Hammer and Kelly Anderson Exposing social issues with accountable narratives and creating space for artistic decisions while decentralizing point of view.

Translating Empathy: A Seminar Dedicated to Social Engagement and Documentary Art

With Jody Wood, Sally Szwed, Barbara Hammer and Kelly Anderson Exposing social issues with accountable narratives and creating space for artistic decisions while decentralizing point of view.
Sunday, Dec 6 - 7:30pm Stone Tape Theories: Hearing, Haunting, and the Memory of Materials With Kevin T. Allen, Jen Heuson and Shannon Mattern. A stone tape is a material object that has “recorded” the energy of a past event. Widely popularized by British author Nigel Kneale in his 1972 teleplay The Stone Tape, beliefs in the recording ability of objects and environments span the practices of heritage preservation, paranormal investigation, sound and media theory, and spiritual pilgrimage. But if materials do, in fact, record the past, how do contemporary encounters act as instances of playback? Through a focus on sound, hearing, and listening, we will take up this question as an opportunity to interrogate what a sound recording is and what it does. How do we listen to and through material objects? How do we hear a mood or feeling? What is the sound of a memory or a myth? From experiences of haunting to early sound recording techniques to atmospheric design, we will trace a genealogy of stone tape theory and will discuss how these apply to our own scholarly and artistic practice. Through field recordings, film screenings, and archival examples, this evening will explore the relationships between the social and sensorial practices of hearing and listening and material objects ranging from vinyl to ghost towns to sacred stones. Works presented are grounded in years of non-fiction filmmaking and sound research and include investigations into aural politics, expanded sound recording techniques, and heritage production in South Dakota. The evening will culminate in a panel discussion about the relevance of stone tape theory to media archaeology, archaeoacoustics, aural heritage, sound theory, and non-fiction filmmaking.

Stone Tape Theories: Hearing, Haunting, and the Memory of Materials

With Kevin T. Allen, Jen Heuson and Shannon Mattern. A stone tape is a material object that has “recorded” the energy of a past event. Widely popularized by British author Nigel Kneale in his 1972 teleplay The Stone Tape, beliefs in the recording ability of objects and environments span the practices of heritage preservation, paranormal investigation, sound and media theory, and spiritual pilgrimage. But if materials do, in fact, record the past, how do contemporary encounters act as instances of playback? Through a focus on sound, hearing, and listening, we will take up this question as an opportunity to interrogate what a sound recording is and what it does. How do we listen to and through material objects? How do we hear a mood or feeling? What is the sound of a memory or a myth? From experiences of haunting to early sound recording techniques to atmospheric design, we will trace a genealogy of stone tape theory and will discuss how these apply to our own scholarly and artistic practice. Through field recordings, film screenings, and archival examples, this evening will explore the relationships between the social and sensorial practices of hearing and listening and material objects ranging from vinyl to ghost towns to sacred stones. Works presented are grounded in years of non-fiction filmmaking and sound research and include investigations into aural politics, expanded sound recording techniques, and heritage production in South Dakota. The evening will culminate in a panel discussion about the relevance of stone tape theory to media archaeology, archaeoacoustics, aural heritage, sound theory, and non-fiction filmmaking.
Friday, Dec 4 - 7:30pm Reception in Honor of the Roberto Guerra Documentary Fund With Kathy Brew and Cecilia Aldarondo Including a sneak preview of clips from Aldarondo's awarded and long-awaited film Memories of a Penitent Heart. In this personal documentary about family, faith, and the painful costs of prejudice, Aldarondo revisits her family history. Twenty-five years after her uncle Miguel died of AIDS, she tracks down his gay lover and cracks open a Pandora’s box of unresolved family drama. The Roberto Guerra Documentary Fund was launched in the fall of 2014 during the 5th Contemporary Peruvian Film Showcase. Originally from Peru, filmmaker Roberto Guerra came to New York as a young, aspiring filmmaker in the late 60s to meet the cinema verité pioneers. From then on he was inspired to create a number of films while living in New York and Europe. He continued to shoot and produce throughout the last year of his life. His spirit and equanimity in the face of his sudden cancer diagnosis was inspirational. He died in January 2014. The Fund aims to honor Roberto Guerra’s life and legacy in the field by supporting and encouraging an emerging Latin-American or US-based Latino filmmaker living in New York in the creation of his or her documentary work. Media artist Kathy Brew, Roberto Guerra’s long-time collaborator and wife, established the Fund in partnership with UnionDocs as the non-profit administrator. To date, the fund has raised almost $15,000. A list of supporters can be found here. A select group of people in the field were invited to nominate potential candidates and then a selection panel convened on September 11th. Cecilia Aldarondo will receive $ 2,500 to support the completion of her first feature-length documentary, Memories of a Penitent Heart. The film is currently in post-production and the grant funds will be used towards costs of an original music score for the film. Cecilia Aldarondo's personal documentary Memories of a Penitent Heart has been supported by grants and fellowships from The MacDowell Colony, the Sundance Institute, The Time Warner Foundation, Firelight Media, The Arch and Bruce Brown Foundation, and The National Association of Latino Independent Producers (NALIP). In 2015, Memories of a Penitent Heart was selected for IFP's Independent Filmmaker Lab as well as Sundance Institute's Edit and Story Lab. That same year, Aldarondo was selected as one of Filmmaker Magazine's “25 New Faces of Independent Film.”

Reception in Honor of the Roberto Guerra Documentary Fund

With Kathy Brew and Cecilia Aldarondo Including a sneak preview of clips from Aldarondo's awarded and long-awaited film Memories of a Penitent Heart. In this personal documentary about family, faith, and the painful costs of prejudice, Aldarondo revisits her family history. Twenty-five years after her uncle Miguel died of AIDS, she tracks down his gay lover and cracks open a Pandora’s box of unresolved family drama. The Roberto Guerra Documentary Fund was launched in the fall of 2014 during the 5th Contemporary Peruvian Film Showcase. Originally from Peru, filmmaker Roberto Guerra came to New York as a young, aspiring filmmaker in the late 60s to meet the cinema verité pioneers. From then on he was inspired to create a number of films while living in New York and Europe. He continued to shoot and produce throughout the last year of his life. His spirit and equanimity in the face of his sudden cancer diagnosis was inspirational. He died in January 2014. The Fund aims to honor Roberto Guerra’s life and legacy in the field by supporting and encouraging an emerging Latin-American or US-based Latino filmmaker living in New York in the creation of his or her documentary work. Media artist Kathy Brew, Roberto Guerra’s long-time collaborator and wife, established the Fund in partnership with UnionDocs as the non-profit administrator. To date, the fund has raised almost $15,000. A list of supporters can be found here. A select group of people in the field were invited to nominate potential candidates and then a selection panel convened on September 11th. Cecilia Aldarondo will receive $ 2,500 to support the completion of her first feature-length documentary, Memories of a Penitent Heart. The film is currently in post-production and the grant funds will be used towards costs of an original music score for the film. Cecilia Aldarondo's personal documentary Memories of a Penitent Heart has been supported by grants and fellowships from The MacDowell Colony, the Sundance Institute, The Time Warner Foundation, Firelight Media, The Arch and Bruce Brown Foundation, and The National Association of Latino Independent Producers (NALIP). In 2015, Memories of a Penitent Heart was selected for IFP's Independent Filmmaker Lab as well as Sundance Institute's Edit and Story Lab. That same year, Aldarondo was selected as one of Filmmaker Magazine's “25 New Faces of Independent Film.”
Sunday, Nov 22 - 7:30pm Nicolas Boone: Psalm and Hillbrow With Nicolas Boone. In this postapocalyptic world that evaporated into desert sand, neither questions nor answers exist, neither norms nor dialogue. At this event two of Nicolas Boone's most recent works, Psalm (2015) and Hillbrow (2014) will be screened.

Nicolas Boone: Psalm and Hillbrow

With Nicolas Boone. In this postapocalyptic world that evaporated into desert sand, neither questions nor answers exist, neither norms nor dialogue. At this event two of Nicolas Boone's most recent works, Psalm (2015) and Hillbrow (2014) will be screened.
Friday, Nov 20 - 7:30pm City of Lost Souls With Juliet Jacques. Lagging behind gay and lesbian history, a transgender cultural cannon is still being defined, and Rosa von Praunheim’s 1983 trans musical spectacular, City of Lost Souls, captures a unique position within the development of transgender theory. At the time it was released, City of Lost Souls was criticized for its messy storyline. Trans: A Memoir author Juliet Jacques argues that the film has aged remarkably well; in fact it’s flawed or Warholian insistence on character and improvisation forever preserved a nuanced exploration of the alienation that comes with being a gender or sexual minority. “It’s fascinating to see the debates in which they worked out their gender identities staged before online communities, transgender-specific fanzines or Queer/Transgender Studies courses — all crucial to the development of organized transgender politics,” Jacques wrote in her review of the film. By 1982, “transgender” had been used in several contexts, but it does not appear in City of Lost Souls. The relationship between the two main characters, Angie Stardust, a transexual, and Tara O’Hara, the transvestite “ideal,” whose breasts Angie envies and derides — anticipate the passionate debates about the tranvestite / transsexual dichotomy and transgender alliance. As Jacques writes in her memoir, the transgender alliance that emerged did not end debates between transsexual people who moved across the gender binary and transgender and genderqueer individuals who aimed to find space beyond male and female.

City of Lost Souls

With Juliet Jacques. Lagging behind gay and lesbian history, a transgender cultural cannon is still being defined, and Rosa von Praunheim’s 1983 trans musical spectacular, City of Lost Souls, captures a unique position within the development of transgender theory. At the time it was released, City of Lost Souls was criticized for its messy storyline. Trans: A Memoir author Juliet Jacques argues that the film has aged remarkably well; in fact it’s flawed or Warholian insistence on character and improvisation forever preserved a nuanced exploration of the alienation that comes with being a gender or sexual minority. “It’s fascinating to see the debates in which they worked out their gender identities staged before online communities, transgender-specific fanzines or Queer/Transgender Studies courses — all crucial to the development of organized transgender politics,” Jacques wrote in her review of the film. By 1982, “transgender” had been used in several contexts, but it does not appear in City of Lost Souls. The relationship between the two main characters, Angie Stardust, a transexual, and Tara O’Hara, the transvestite “ideal,” whose breasts Angie envies and derides — anticipate the passionate debates about the tranvestite / transsexual dichotomy and transgender alliance. As Jacques writes in her memoir, the transgender alliance that emerged did not end debates between transsexual people who moved across the gender binary and transgender and genderqueer individuals who aimed to find space beyond male and female.

Lucky

With Laura Checkoway, Julie Bridgham, Dr. Pereta P. Rodriguez and Neyda Martinez. Human Rights Through a Different Lens, is a film series meant to use documentary film to expand dialogue around the intersection of human rights and art. It is a partnership of Brooklyn media organizations Skylight, WITNESS and UnionDocs. n astoundingly brilliant, incredibly intimate account of struggle and survival, Lucky is a gut-wrenching and fascinating watch. Following the confrontingly bullish and hopelessly vulnerable Waleska ‘Lucky’ Torres Ruiz for over six years, ‘Lucky’ is an unflinching, provocative look at one woman’s turbulent life through foster care, rape, abuse, poverty, homelessness and hustling. A single parent lesbian mother of two, Lucky’s New York isn’t Barney’s and bike rides around Central Park. It’s the Bronx, homeless shelters and trying to fight a frustratingly red-tape strewn system.
Sunday, Nov 15 - 7:30pm Sublime Optics: Documentary, Geography, and Mapping With Peter Bo Rappmund and Laura Kurgan. Topophilia traces the 800-mile path of the Trans-Alaska Pipeline System (TAPS), and examines one of the most historically productive oil routes in the United States. Completed in 1977, TAPS unique structure runs both above and underground through pristine Alaskan terrain—up mountain passes, over frozen tundra, and across hundreds of rivers and streams. From numerous extraction points on the North Slope, hot crude oil is moved the entire length of Alaska via TAPS to the Valdez Marine Terminal, where ships load the petroleum before they voyage to ports around the world. This terminal was the initial point of departure for the Exxon Valdez, an oil tanker bound for Long Beach, California, which ran aground on the Bligh Reef in 1989 and resulted in the second largest oil spill in U.S. history. Shot entirely with a stills camera, Topophilia studies a pipeline’s inherent linearity and its unwavering repetition in construction. The documentary presents these architectural elements as both foreground and background; recurring patterns in the structure become fixed points that illuminate movement and stasis in natural and man-made landscapes. Through the use of frame by frame animation, time-lapse photography, looped sequences, and layered field recording compositions, the film decodes hidden messages of the built environment, and portrays TAPS and its surroundings harmoniously as a continuous, giant building; a space that not only reorders ideas about landscape and our place within it, but one that also offers an unmistakable juxtaposition between the endgame of industrial revolution, and the modern ecosystems where this scenario ultimately plays out.

Sublime Optics: Documentary, Geography, and Mapping

With Peter Bo Rappmund and Laura Kurgan. Topophilia traces the 800-mile path of the Trans-Alaska Pipeline System (TAPS), and examines one of the most historically productive oil routes in the United States. Completed in 1977, TAPS unique structure runs both above and underground through pristine Alaskan terrain—up mountain passes, over frozen tundra, and across hundreds of rivers and streams. From numerous extraction points on the North Slope, hot crude oil is moved the entire length of Alaska via TAPS to the Valdez Marine Terminal, where ships load the petroleum before they voyage to ports around the world. This terminal was the initial point of departure for the Exxon Valdez, an oil tanker bound for Long Beach, California, which ran aground on the Bligh Reef in 1989 and resulted in the second largest oil spill in U.S. history. Shot entirely with a stills camera, Topophilia studies a pipeline’s inherent linearity and its unwavering repetition in construction. The documentary presents these architectural elements as both foreground and background; recurring patterns in the structure become fixed points that illuminate movement and stasis in natural and man-made landscapes. Through the use of frame by frame animation, time-lapse photography, looped sequences, and layered field recording compositions, the film decodes hidden messages of the built environment, and portrays TAPS and its surroundings harmoniously as a continuous, giant building; a space that not only reorders ideas about landscape and our place within it, but one that also offers an unmistakable juxtaposition between the endgame of industrial revolution, and the modern ecosystems where this scenario ultimately plays out.
Sunday, Nov 8 - 7:30pm Eavesdroppers, Ventriloquists and Ghosts With Johanna Linsley, David Helbich, Brian House, Laure Fernandez, Brian Fuata & Alison S. M. Kobayashi This event brings together a group of international artists and theorists who work with sounds that are in some sense illegitimate. These sounds (and modes of listening to them) are particularly contemporary. They play on textures and moods conditioned by shifting economic forces, changes in our understanding of the role of the state, and the fragmenting of identity politics. Here, the illicit listening of the eavesdropper taps into the anxieties and potentialities of an era of surveillance and privatisation. The uncanny voice of the ventriloquist speaks of the encounter of human and non-human agent, and asks: who is controlling whom? The voices of the past and the ghost in the machine haunt the proceedings and insist on a reckoning with both history and the future that is nevertheless full of gaps, multiples and indeterminacies. This event is informed partly by notions of 'acousmatic' sounds, or sounds whose origins are in some way obscured or indiscoverable. As theorist Salomé Voegelin suggests, however, this is not to figure origins as singular and fixed, but to open up thinking about context as 'a plurality of things thinging' (Voegelin, 2015). This focus on plurality extends to ideas of the live and recorded, so that the distinction between them is understood as dynamic and subject to interpretation.

Eavesdroppers, Ventriloquists and Ghosts

With Johanna Linsley, David Helbich, Brian House, Laure Fernandez, Brian Fuata & Alison S. M. Kobayashi This event brings together a group of international artists and theorists who work with sounds that are in some sense illegitimate. These sounds (and modes of listening to them) are particularly contemporary. They play on textures and moods conditioned by shifting economic forces, changes in our understanding of the role of the state, and the fragmenting of identity politics. Here, the illicit listening of the eavesdropper taps into the anxieties and potentialities of an era of surveillance and privatisation. The uncanny voice of the ventriloquist speaks of the encounter of human and non-human agent, and asks: who is controlling whom? The voices of the past and the ghost in the machine haunt the proceedings and insist on a reckoning with both history and the future that is nevertheless full of gaps, multiples and indeterminacies. This event is informed partly by notions of 'acousmatic' sounds, or sounds whose origins are in some way obscured or indiscoverable. As theorist Salomé Voegelin suggests, however, this is not to figure origins as singular and fixed, but to open up thinking about context as 'a plurality of things thinging' (Voegelin, 2015). This focus on plurality extends to ideas of the live and recorded, so that the distinction between them is understood as dynamic and subject to interpretation.

Haunted (Maskoon)

With Liwaa Yazji and Jason Fox. An uncertain existence followed the escape and expulsion from Syria that tumbled into a physical and mental nowhere, a non-space between yesterday and tomorrow. Haunted tells of the loss of home and security, of the the meanings that a home has in one’s life. Haunted received a Special Mention Prize for a First Film at FID Marseille, 2014.

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