Third Annual Video Marathon

• 12:00 PM to 1:00 PM
  Children and Youth-Produced Media Program
• 1:05 PM to 3:05 PM
  Selections from Art in General’s Archives: A Program of Short Video Works
• 3:10 PM to 4:20 PM
  Post-Yugoslavia. Curated by Perry Bard
• 4:30 PM to 5:30 PM
  Experimental video. Curated by Video Lounge
• 5:35 PM to 6:45 PM
  All About Food. Curated by Catherine Ruello
• 6:50 PM to 7:50 PM
  Third Avenue: Only the Strong Survive by Jon Alpert
• 8:00 PM to 9:00 PM
  La Vista, The Downtown Cinema Club
• 9:00 PM to 10:00 PM
  Humor: Togetherness Again Organized by Jeanne Oleson
• 10:00 AM to 12:00 PM
  Art in General Submissions

Puppeteer’s Cooperative, Parade, (2000, 9:00 min.)
A video about what happens when “the circus comes to town”. The Puppeteers Cooperative works with kids of all ages in designing, building, and performing large-scale puppet parades and plays. Past shows include New Year’s Eve parades in Boston, The Lincoln Center kids festival, Brooklyn’s Atlantic Antic, and the Governor’s Institute on the Arts in Vermont.

Paul Andrejco/Puppet Heap, Last Rights (1998, 2:00 min.)
Our good sister of the faith goes up against the embodiment of pure evil, the devil himself, in a knock-down, drag-out prize-fight. We get ring-side seats.

Paul Andrejco/Puppet Heap, Three Wisemen from Gothem (1998, 3:00 min.)
Based on a Mother Goose rhyme, Three Wisemen unfolds into a heavenly serenade.

Paul Andrejco/Puppet Heap, Mother Hubbard (1998, 3:00 min.)
Taken from the classic Mother Goose rhyme, Mother Hubbard gets a little help from her wiseacre dog.

Yung LePage + Andy Fish, Short Attention-span Theater, Under Pressure (1996, 4:00 min.)
A music video performed by two aged rock stars in the comfort of their living room. You’ve never seen hand-rod puppets gettin’ jiggy like this!

Youth-Produced Media from Downtown Community Television and Street-Level Youth Media:

Street-Level Youth Media, Freeze Young Man! (2000, 5:00 min., Chicago)
An exploration of teens’ attitudes towards the police. From documentary footage to experimental animation, this piece opens up discussions of the issues present for both the officers and teens.

Natalie Neptune/Pro-TV, Zerzura, (2000, 5:00min., NY)
Zerzura is an experimental film in which its creator Natalie Neptune pays homage to three female high school graduates who are experiencing the transition from girlhood to womanhood. Neptune not only focuses on each woman’s change in life, but also on the emotional ladder that is leading them to a place of happiness, zerzura.

Aaron Snaggs/Pro-TV, Opposite Sex (2000, 11:00 min., NY)
Aaron Snaggs hails from Trinidad, where the interaction between the sexes is far more circumspect than in the typical New York high school. Aaron combines his wry personal observations with insightful and humorous interviews with his peers and classmates as they struggle to make sense of the never-ending battle between the sexes.

Boakyewaa Boakye/Pro-TV, Communication Gap (2000, 10:00 min., NY)
Strong-willed teen Boakyewaa Boakye (BB) and and her seemingly unapproachable father have a major communication problem. Unable to bridge the gap face-to-face, she decides to use the video camera as an intermediary. Can she and her father even agree that they have a communication problem, let alone come to terms with one another?

Envision-TV Productions, Straight from the Hood (2000, 18:00 min., NY)
Adam, Jason, Kareem, Jacob and Aisha are teen residents of the Amboy Family Shelter in Brooklyn and students in DCTV’s Envision-TV program. Straight from the Hood is a video diary of life on the shelter’s block, a down in the trenches account of how teens kill time in a depressed neighborhood that is boiling over with a potent mix economic, social, and political problems such as gangs, unemployment, and governmental neglect.

Organized by: Holly Block, Executive Director; Jeanine Oleson, Artist Resource Coordinator; and Catherine Ruello, Assistant Director, Art in General (NYC)

Cheryl Donegan, Head (1993, 2:49 min., NYC)
In this low-tech performance video, Donegan confronts sex, fantasy, and voyeurism in an auto-erotic workout performed to pop music with a container of milk. As a culminating gesture, she spits the liquid against the backdrop, creating a kind of irreverent Action Painting.

Dennis Oppenheim, Material Interchange (1970, 3:00 min., NYC)
This short piece records performative actions that evolve as exchanges or interactions between Oppenheim’s body and natural elements. In some pieces, these gestures involve a kind of self-negation; others work in reverse, as Oppenheim leaves imprints or traces of himself.

Christian Nguyen, Take Out III (1999, 1:23 min., NYC)
Playing on the several meanings of the word ‘take out’ this short color video addresses concerns related to food, digestion and waste.

Hannah Wilke, Hello Boys (1975, 4:00 min. excerpt)
From the 1970s until her death in 1993, Hannah Wilke’s work explored issues of sex and sexuality, feminism and femininity. In Hello Boys, which documents a performance at the Gallery Gerald Pitzer in Paris, Wilke is entrapped in a large fish tank where she performs a repertoire of studied erotic gestures to the accompaniment of rock music. Using the iconic figure of a mermaid, with its ambiguous implications of sexual power and powerlessness, the artist explores the representation of female sexuality and the male gaze.

Type A, Four Urban Contests (1998, 5:10 min., NYC)
Type A is the collaborative team of Adam Ames and Andrew Bordwin. Together they have produced a series of short videos and installations dealing with men’s relationships and interaction with one another. The staged competitions between the two artists in Four Urban Contests are poking fun at the notion of male competition and its representation in the media.

Alix Pearlstein, Pause (1997, 8:00 min., NYC)
Using the “frame” freeze of film and photography, Pearlstein performs a succession of suspended movements to create a scenario referring to gender and identities. “Pause,” writes the artist "presents a series of pictures which chronicle the parameters of a solo performance through posture, position, gesture, expression and exclamation.

Lucy Gunning, Horse Impressionists (1994, 7:30 min., London)
Five women, one at a time, demonstrate their shared skills in mimicking the gestures and whinnies of a horse while committed to becoming the object of their desire. Gunning found these women through an ad in the newspaper.

Susan Black, Heaven on Earth (2000, 2:40 min., NYC)
Heaven on Earth is a slow upside-down film of Palm Spring California bungalows and gardens. Palm Springs populated mostly by elderly retired folk who plant heavenly landscapes in their last moments of life on earth. There are rarely people seen anywhere outside; an emptiness that makes the gardening even more surreal.

Ken Feingold and Nora Fisch, La Vida es Una Herida Absurda (1994, 4:00 min., NYC)
In La Vida es Una Herida Absurda, the juxtaposition of moving image and song is used to explore the unexpected humor and pathos that can emerge from the process of translation.

Nurit Newman, Out of this World (1998, 5:30 min., NYC)
With a keen sense of physical comedy, Newman uses her face and body and simple sets of props to explore various female roles.

Jenny Holzer, Televised Texts (1992, excerpt, NYC)
Using the form and language of commercial messages. Holzer creates works related to the Conceptual art of the seventies, but based on witty, poetical, and political sayings she often composes. Early on, called “Truisms,” by the artist, these sayings are designed to stimulate thought, provide humor and urge a critical attitude among an all-too-passive audience.

Janine Antoni, Loving Care (1992-96, 11:00 min.)
Excerpt from January 7, 1996 performance, Matrix, Wadsworth Athenaeum, Hartford, CT. (NYC) In this performance, Antoni “paints” the floor with Loving Care hair dye. Her adaptation of “action painting” and seminal performance work of the 1960s and 70s is re-cast in a choreographed reclamation of gallery space.

Ana Mendieta, Body Tracks (Blood Sign #2) from Selected Filmworks (1972-81, 1:00 min.)
The ritualistic performances and earth works of Cuban-born artist Ana Mendieta (1948-1985) centers on the pain of cultural displacement, and resonates with visceral metaphors of death, rebirth, and spiritual transformation. Her sculptural process work was often developed from the direct imprint of the body, as when the artist outlined her own silhouette on the ground with gunpowder and sparked it off, burning her form into the soil. In Body Tracks, Mendieta stands, arm raised, with her back to the camera. Moving down the wall, she traces two blood streaks with her hands.

Jeanine Oleson, The Fight (1996, 4:05 min., NYC)
This piece, originally shot on Super-8, co-opts the narrative structuring of the working-class hero a la Raging Bull, and inserts a female body shadowboxing social conventions of gender. Her work often deals with taking existing filmic and cultural narratives and inserting subversive content.

Kristin Lucas, Watch Out for Invisible Ghosts (1996, 5:00 min., NYC)
This mock virtual environment is a playground for the imagination. Equipped with helmet, goggles, and a basic understanding of early video game strategies, the artist morphs into an adventure land training camp where she meets with media icons and common ground. She fearlessly changes her intensity and velocity in unison with, and at times under the command of, rival action-heroes and network sponsors.

Keith Sanborn, Imaginary Laughter (1995, 5:40 min., NYC)
A study of male hysteria as Charcot might have imagined it had he been obsessed with cheesy horror films, underground classics, superman and cartoons. Keith Sanborn is a media artist, theorist, and translator.

Diane Nerwen, Spank (1999, 7:30 min., NYC)
Nerwen’s experimental videotapes explore the intersection of media, politics and everyday life. Combining appropriated images, sampled sounds, shot footage, and text, she presents a collision of media representations to critique the electronic mediation of daily life and expose hierarchies and structures of power.

Liss Platt, Over the Edge (1997, 7:00 min., NYC)
An homage to late seventies teen angst, a butch revels in her most compelling moment of identification, Matt Dillon’s first film, Over the Edge. By re-editing the original film and condensing it to its central conflict between agitated teen rebelliousness and the sexy, slow stoner rituals of the era, the tape evokes the zeitgeist of a very particular youth culture.

Jayne Austen, The Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as Told By Keith Sanborn (1998, 1:00 min, NYC)
If the copyright date on this tape is correct, it may be the earliest digital video work on record. If not, then it’s a cheap, irreverent forgery.

Jan Baracz, Surfacing (1989, 1:30 min. from a loop, NYC)
A video loop of a turtle slowly swimming up to the surface, and then quickly going back down under water after a brief look at the world above.

Sam Easterson, A Sheep in Wolf’s Clothing (1998, 4:21 min., Los Angeles)
In Easterson’s tape, a camera is mounted on a sheep’s head and then it’s re-introduced to social landscape of the herd, where a drama of poignant, yet humorous mistrust unfolds.

Neil Goldberg, Hallelujah Anyway #2 (1996, 2:00 min., NYC)
Goldberg transforms mundane activities with repetition, transcending the original gesture. In this tape, the camera becomes a witness for a kind of everyday choreography.

Alexander Ku, 5 Ways (4:00 min., NYC)
In this ironically simple animation surrounding a cherry pit, a story unfolds.

Joe Sola, Travelogue for 1999 (1999, 1:37 min., Los Angeles)
Sola’s approach to video comes from a history of experimental film and early performance based video. Influences include Un Chien Andalou by Salvador Dali and Luis Buñuel, examples of the excitement and power of the moving image. His work is inspired by the early conceptual video art of John Baldessari and Bruce Nauman, and the performance based video work of Vito Acconci.

Jocelyn Taylor, Armide 2000 (2000, 7:00 min., NYC)
This tape is based on Jean Luc Godard’s short film, Armide, in which two beautiful young women are maids in a men’s gym. Taylor inverts the polarized genders of the original film, with female bodybuilders working out, completely oblivious to the adoring gazes of the young men who are unable to elicit the attention of the buff women they desire to be and possess.

Jan Baracz, End (2000, 1:30 min. from a loop, NYC)
A continuous loop of a zooming end credit, going from black to white and back again.

On December 1, 2000 in a performance at the gallery Zlatno Oko in Novi Sad, Balint Szombathy placed a map of former Yugoslavia on the floor. On it he placed souvenir ashtrays from Croatia, Slovenia, Bosnia-Hercegovina, Macedonia, Serbia, Montenegro—one from each of the former states of Yugoslavia. He pulled out a pack of cigarettes one from each of the former states and smoked one cigarette from each pack alternating puffs comparing the taste. The performance ended when there were no more puffs to be had, a succinct summary of the current state of affairs.

Each of the videos in this program is a response to the political events of the last ten years. The group Skart, reflecting on the division of the former republic has written a new national anthem (Armatura), Baljac’s Crime that Changed Serbia is a view of the social situation through the lens of the criminal. Zarevac layers medieval mourning tradition with media images from the war in ‘91. Beban uses the nostalgic image of a record spinning as a counterpoint to the media image of bomber jets familiar from the UN intervention. Poljak’s personal response in Jump becomes a commentary on a collective unrest. Noise by Zoran Todorović is a database of responses gathered by placing a video camera in public spaces and asking people to speak up, a feat in itself in a regime where those who spoke against Milošević mysteriously disappeared.

Breda Beban, Let’s Call It Love (2000, 10:00 min., Croatia/UK)
A close up of a record spinning Chet Baker’s tune is interrupted by the sound/image of bomber jets flying across a clear blue sky.

Skart, Armatura (1993-94, 6:45 min., Yugoslavia)
As a strategy to reunite Yugoslavia a national anthem whose text is “The armature is the thing that connects us” is written and ridiculously performed.

Dragana Zarevac, Ocaj (1996, 5:20 min., Yugoslavia)
A Serbian medieval mourning song and a communist revolutionary song are set to media images used as Serbian propaganda during the war in former Yugoslavia in 1991.

Janko Baljac, The Crime That Changed Serbia (1995, 35:00 min., Yugoslavia)
Young criminals discuss their concepts of crime for crime sake and crime as a result of events in war-torn Serbia.

Renata Poljak, Skok/Jump (2000, 4:00 min., Croatia)
A woman walks back and forth on a diving board repeating “Shall I jump or not” while the sweat from her pacing causes her makeup to run down her face.

Zoran Todorović, Noise (1998-99, 8:00 min., Yugoslavia)
Shot in Belgrade by inviting the public to record on a video camera placed in 3 different locations (street, mental institution, prison) this video offers each voice the opportunity to be heard.

Stuart Pond, Life On Mars (1997, 7:07min., UK)
Footage from the fifties is re-worked digitally using high contrast black and white, color, and a mixture of the two. This suggests at times a much earlier origin and at times a much later one. The effect is to disturb all sense of identifiable date, and the more so since the borrowed film is set almost two thousand years ago. The soundtrack brings together a wildlife recording, thirteen century music, and a spoken poem in which a solitary artist survives by creating a Mars of the imagination, populated with drawings of its inhabitants.

LeAnn Erickson, hours, minutes, seconds, frame (1999, 6:00 min., PA)
I’m sleeping, dreaming, and the time passes…hours,minutes,seconds…Utilizing a dreamscape of images, text, and sounds, the artist contemplates issues of memory, time, and healing surrounding the anniversary of her mother’s death.

Carolina Loyola-Garcia, The Other Land – El Otro Lugar (second stop) (1999, 13:00 min., Pennsylvania)
The Other Land is a journey through an empire. Appropriation and transformation occurs. Something is lost. There is just a feeling of cemetery left for us to remember how it used to be. This is the story of resistance , of survival, of becoming somebody else.

Sylvie Boisseau and Frank Westermeyer, Moi vu par (1999, 18:00 min., Germany)
Moi vu par is an attempt to portray the identity of a person using the images that others have of them. Instead of leading to a uniform picture of the main character, F, the film instead raises the question to what extent identity is constructed according to the viewpoint of others.

Chris Hughes, Oxygen (2000, 8:00 min., AZ)
Oxygen is a work about freedom and control, the rejection of authority and responsibility, self-control and self-destruction.

Hilary Mushkin, If You Lived Here You’d Be Home Now (2000, 4:45 min., LA)
An amusing look at how popular culture and mass media inform our self-perceptions. “I should have,” “I could have been,” “I might have” are mantras in this poetic experimental narrative. Driving, street advertising, and popular media culture are ironically associated with life choices in this contemporary take on the themes of Robert Frost’s classic poem The Road Not Taken.

Carrie Dashow, empty lot, boy, bike (2000, 7:00 min., NYC)
Escalation of anger. Boy Bike dirt, boy loy bike, boy beats up bike in empty lot, everyone knows it’s not staged. Sound: Matt Bua. iamvideotapingyourightnow

Maria Marshall, Put Medication in His Pocket (1999, 5:00 min. from 20:00 min. loop, UK)
A young boy swallowing an oyster, a fod rarely enjoyed by children and associated with the risk of poisoning. Courtesy of Team Gallery.

Dan Boord, Greg Durbin, Louis Valdovino, Eat Like A Winner (1999, 8:18 min., CO/OH)
In this salute to The Joy of Cooking and Claude Levi-Strauss’s The Raw and the Cooked, various aspects of life are seen from a food point of view.

Christian Nguyen, Take Out !!! (1999, 2:00 min., excerpt, NYC)
Playing on the several meanings of the word ‘take out,’ this short color video addresses concerns related to food, digestion, and waster.

Bill Creston, Peanut Butter (1995, 2:00 min., NYC)
Two guys making lunch.

Bruce and Norman Yonemoto, and Jeffrey Vallance, Blinky (1988, 15:30 min., CA)
A frozen chicken is purchased at Ralph’s supermarket and buried in the Los Angeles S.P.C.A. Pet Memorial Park. Ten years later, after exhumation, questions about the true cause of the poultry’s death continue to swirl.

Andrea Kleine, Josephine (1997, 5:00 min., NYC)
Incorporating video and Super8 film, this piece simultaneously explores eating disorders, flamboyance, compulsion, and the relationship between self-hatred and desire.

Stephanie Patton, Buttah (2000, 9:00 min., NYC)
In a culture obsessed with diet and self-help cookbooks, this duo celebrates the pleasure(s) of buttah, while playing with the tradition of endurance-based video performance.

Nguyen Tan Hoang, 7 Steps To Sticky Heaven (1995, 24:00 min., CA)
Explores the phenomenon of Sticky Rice (slang for Asian men who are attracted to other Asian men) through head interviews, rice washing, cooking, and eating with ten young Asian men in San Francisco.

This cinema-vérité-style documentary is an urban survival tale of six people’s lives as they live and work on Third Avenue—a stretch of roadway running through Brooklyn, Manhattan, and the Bronx. Award-winning reporter, Jon Alpert captures the stories of six people who live and work on Third Avenue. From Eddie, the automobile junkyard dealer, who steals cars at nights in order to sell the parts during he day, to Trudy, a homeless woman trying to survive in a burnt-out building with her five children. Ricky, is a hustler, working in Manhattan. Joe is a Bowery bum. Raul gores to church seven days a week and hopes his children will follow in his hard-working and God-fearing ways, and the Pascones bemoan the loss many of their clientèle at their fifty-year old barbershop. Third Avenue is a milestone in video and television history as a portrait of a changing urban landscape.

La Vista, the Downtown Cinema Club is a collaborative, community-based exhibition organization which has presented 100 programs in an on-going exhibition series at 303 East 8th Street. Almost every Sunday evening at 7:30pm, they dedicate themselves to the social pursuit of their various interests in history, spectacle, pleasure, and investigation. 16 mm motion pictures from the extensive holdings of the Donnell Media Center, a branch of the New York Public Library constitute the explicit aspect of our presentations.

In this, their second participation in the Art in General event, they present an hour long program demonstrating the dynamic, entertaining, and educational resources deposited in that collection.

Two pieces humorously exploring the theme of togetherness from a slapstick silent film-inspired story of love between two lady soldiers across warring national lines, to the very-connected identities of two women who are viewed as one witty, gay playwright. The notions of narcissism and difference in lesbian love are ripped apart and re-assembled within the boundaries of deconstructive comedy.

Nathalie Percillier and Lily Besily, Heroines of Love (1996, 10:00 min., 16mm film with sound, Germany)
One of those wars between France and Germany. Two lady soldiers, one German, one French, are lost in the woods. An encounter is inevitable…

Cecilia Dougherty and Leslie Singer, Joe-Joe (1993, 52:00 min., b/w, color video, NY)
An adaptation of the diaries of Joe Orton, not as one homosexual rogue, but as two women, both named Joe Orton-two sides of the same person, lesbians, sisters, lovers. Joe-Joe explores the construction of stardom via the infinitely unacceptable and unfashionable lesbian, confounding Freudian notions of narcissism as the exclusive territory of women and homosexual men.

Curated by Stephen Kent Jusick, Liss Platt, Jillian Mcdonald, Jeanine Oleson and Rachel Melman.

Tirtza Even, Pan & Zoom (1995, 10:00 min., NY)
Both Pan and Zoom are part of a series of works that explore the visual representations of the tension between public and private. Her aim is to mobilize or fracture the systems of time/space determining the scene. And via the cracks, to expose the overlap or friction between the private and public, the territory of the viewer and the territory of the viewed, the imagines and the documented it opposes or completes.

Joe Sola, Pullouts (1999, 1:45 min., CA)
In Sola’s work explores the desire and its manifestation in public/private spaces. In Pullouts, the camera pulls out time after time from the hotel/motel art decoratively hung above beds for rent in the LAX area. Each camera pullout teases the viewer as it moves out of the dreamy interior of the print or painting to reveal the empty bed below. The viewer is left craving the completion of a scene which never unfolds.

Neil Goldberg, Describing the Cyclone (1998, 3:30 min., NYC)
In this silent video, the artist captured the gestures people used when asked to describe their ride on the Cyclone rollercoaster.

Sarah Smiley, Jellyfish (1992, 2:00 min., NYC)
A video poem about jellyfish and the dual worlds created by the separation and surface of water.

Christian Nguyen, Moth (1999, 1:16 min., NY)
From the perspective of a moth attracted and then consumed by light, this video interrogates the nature of a spectatorship between a viewer and the media appearance.

Aaron Scott, Untitled/To touch (1999, 6:00 min., NY)
When I was a child I used to have certain nightmares in which people and things would appear out of proportion. My own body and the bed I lay in would shrink to a ridiculously Liliputian size, as I would feel myself sucked into a vacuum of collapsed space, my limbs becoming paralyzed and my chest convulsing, the air around me growing hot and feverish. The bed would catch on fire and I would try to scream, but the air in my lungs would escape without a sound. Music would start to play quietly in the background.

Jim Jeffers, Fire Bunny (1998, 2:00 min., NY)
A bunny burns. A bunny is resurrected from the flames.

Anna Dauèíková, Afternoon (1996, 5:00 min., Slovakia)
A simple gesture, transforming.

Jamie Mirabella, SOS…+… (1999, 9:45 min.)
The main protagonist, “played” by Cary Grant, moves through silent landscape of codes, struggling with he acquisition of information and the resulting responsibilities. The work’s total silence obscures the content and quality of the dialogue portrayed, which is almost exclusively conversations between the main character and his double, another part of himself. The piece addresses viewers directly by setting forth a confidentiality agreement and presenting a series of multiple-choice questions.

CH Gao, Pearl Lin (5:30 min., Denver/NYC)
An Asian man claims his sexuality and his own body.

Jon Shumay, Product/Process (1997, 1:41 min., PA)
An exploration of the relationship between commodification and consumption as they exist in our culture. In the system of commodification and consumption, product and process become inextricably bound.

Lucretia Knapp/Lynne Yamamoto, Blink (1999, 9:00 min., NYC)
Blink is an experimental object animation about a small house that is haunted by the spirits of two young girls. Objects move, walls whisper and a lock of hair is found behind the wallpaper.

Max Frankston, Just Into Girls (2000, 10:00 min., NYC)
Just Into Girls offer a compelling portrait of the director’s son, Spencer, and a revealing glimpse into the fears and relationships of children.

Anita Chao and Matthew Sandager, Looking for Jake Ryan (1999, 5:00 min., NYC)
Boy loves Jake, Girl loves Jake. Molly Ringwald loves Jake. Anthony Michael Hall loves Jake. Everyone loves Jake Ryan but where is he now? Where is he when you need him? They are all Looking for Jake Ryan. This mad cap adventure follows four people as they search for the one they love—Jake Ryan from Sixteen Candles.

Heiko Kalmbach, New York is Disappearing (1999, 11:00 min., NYC)
Robert DeNiro is opening a restaurant on Avenue B; It looks like it’s going to be one of those days. Staring Penny Arcade and Edgar Oliver.

Stuart Gaffney, Names (2000, 8:00 min.)
When you’re bi-racial, even your name is up for grabs. This video examines the shifting names and labels given to ambiguous outsiders, to their races and their sexualities. How do these names affect our sense of who we are?

K8 Hardy and Sarah Marcus, Knuckle Down (2000, 9:00 min., Portland/NYC)
Knuckle Down is a piece that gives you questions, not answers, evoking a weird madness around those issues so important to feminists and queers alike. Quickly morphing one loaded vignette into another, we are seemingly allowed to hear the opposing voices that come at and come out of the filmmakers’ minds, at times finding the two ironically indistinguishable. A cyborg sex scene poses questions about displaced power and technology, another scene asks for connections between culture and knowledge as pages from a book are consumed, and yet another provokes a questioning of disunity among friends. It’s identity that brings it all together, in a scene where white shirts are obsessively being put on and taken off, and identity that then makes it fall apart. Hardy and Marcus don’t give a straight answer.

Ken Anderlini, Hose (1998, 9:00 min., Canada)
An experiment in piss: Pissed as in on, as in off, and as in hosed. Juxtaposing the utopian promise of sexuality in the 70’s with the reality of cybersex in the 90’s, Hose examines the revolutionary promise of water sports in an age when sex may no longer make a difference. Weaving together cyberporn, found porn and basement porn, this rich visual examination is the coming of age story of Hose, a CuSeeme creation with a taste for piss.