About this blog
The Finger Lakes Environmental Film Festival from the interns' point of view
Wednesday, February 26, 2014
Audio recorded and edited by Lucy Yang, Journalism and Politics, '14, FLEFF Blogger, Puyang, Henan, China
Tuesday, February 25, 2014
Blog posting by Kayla Reopelle, Documentary Studies and Production '14, FLEFF Blogger, Roy, WA
This week, the FLEFF Blogging team got to Skype with Dr. Leila Nadir, co-founder of Eco Art Tech, an environmental digital art collective. Nadir will be co-hosting the event "Dissonant Envrionments" with her partner Cary Peppermint.
Nadir is an Afghan-American artist, critic and theorist who recently received a PHD in English at Columbia University. She currently teaches courses in the Sustainability and Digital Media Studies programs at the University of Rochester. She is inspired by, "mobility, place, nature, globalization, and environmental identity."
We were greeted by her two dogs, both rescues, before heading upstairs to start the interview. Her partner, Cary Peppermint, also stopped by to introduce himself to us. With a giant smile on his face, he said he was excited to meet us at the festival.
Nadir showed us around her website.
"The first thing to know about us, we study the environment but not as scientists, usually when people think about the environment, people think about numbers, how we're going to manage resources… but we're studying the environment from the arts and humanities, which means we're studying the environment in the imagination."
This has positive and negative outcomes: "one of our main goals in studying the imagination of the environment is that we'll never have an ecologically sustainable society if we never understand our relationship to space and place.
"At the same time we're challenging the notion of the environment … we see the environment as every place, every room we're in, every sidewalk we walk on, everything has environmental relationships, and ecological relationships all the time.
"...It's to think about how to create an imagination and respect for the environment that isn't just based on nature, but also on the space we live in every day. Let's face it, people aren't living in nature anymore, and if we base it on that, we're in a problem because we aren't respecting the places we live in.
"Wilderness Trouble is an example of their early work that is trying to bridge environmental consciousness with spaces that aren't natural or romantic.
"Indeterminate Hikes is our most recent work, it's an app that tries to reinvent phones but also reinvent how we navigate space in the modern world. I think most of you can probably relate when we get on our phones, we probably withdraw from the world..we also use our phones to consumer, overcome obstacles and communicate really quickly. This app was made to:
"1. Slow people down: is it possible to use some of the technologies that are speeding us up to actually make us go slower, to put us in a meditative mindset?
"One of the things we're inspired by: ecology and environment. It's not just about green spaces - it's about media, social, and environmental ecologies. We tend to think of extinction as something that only happens to animals and plants, but as the environment changes, there are certain forms of being that are getting lost too. … What kinds of moving through the world are we also losing? One of the things we're losing is going slow.
"This app takes the vocabulary and the discourse of wilderness, hiking, backpacking and using it instead to navigate city streets. When you saw the slideshow online, you probably saw people walking down the street. This app is designed to make people touch a tree, I mean how often do we walk down a city street and actually pay attention to a tree that we see?
"Some are also inspired by a field of art called psycho geography.
"We're developing a relationship to urban spaces that just use streets as an instrumental means to get from point A to B as soon as possible. We're moving from Fluxus art. … It may seem nonsensical, but you're getting to know this patch of grass in a way you didn't know before.
"Cary and I are Buddhists, we meditate a lot, we try to think of every place, every moment as sacred and bringing that little bit of spirituality together with deconstruction and nature, and a transformation of the way we use mobile technologies."
Right now, we're loading a video from Nadir about Indeterminate Hike.
The video depicts the experience of going on one of the hikes - Listen for the loudest visual object in this place; try to take a picture of this sound. Reach your arms out toward the sky with arms extended. People in urban clothing on busy city streets, feeling, reaching, interacting with their space whether it is by throwing up leaves or hugging a friend.
Introduce yourself to the nearest living machine…
Fountains are waterfalls, brooks, streams.
"It's trying to change smartphones as something that works with nature instead of against it. There's often an assumption that technology and nature are antithetical and our work has emphasized that humans have always used technologies, whether hammers or rocks to smash things as a tool… I think that that stops a lot of interesting dialogue that can happen because we do need to think about technology in relation to the environment more, so can humans make their peace with it to create a sustainable society? That's a question of a lot of our work, is that even possible? Is this a futile attempt? Or is this trying to envision the future?
"Optimism or futility here… we don't really know."
Nadir is about to give the class a special sneak preview of an upcoming work, "Late Anthropocene."
"Our work can range from poetic videos to apps that are in the spirit of digital art.
"Digital art can often just exist digitally, it doesn't have a manifestation that's a pretty picture on a wall, like a lot of film and video, it can have a retinal visual experience, but a lot of digital art is conceptual.
The art is in the idea."
This video is just about to get distributed "a visual meditation on what's its like to be someone who loves nature and is very ecologically aware, but at the same time is also very aware that w'er living in the anthropocene where every moment of the earth has been touched by human hands…that climate change is going to up, possibly, any way of life we've known for the last millennia... It's the cognitive disruption of what living in this time means…"
The video plays with the temporality of nature, cutting back and forth between images, speeding things up and slowing them down, disorienting and reorienting us within natural and meditative spaces. What is normally seen as the natural is juxtaposed with the industrial, the commercial, the technological. The film highlights many different spaces, but largely as fragments. People are included, but play a small role. The film focuses on landscapes. It is almost as if the experience of nature is being fragmented based on a similar tempo to the Anthropcene era's thoughts and attention spans. Jumping back and forth between ideas and images. Animals, plants, people, buildings. Eventually, diegetic sound creeps in, but the reference to the digital in the soundscape is strong.
"Don't know if we're looking at a progression or a regression, don't know if the two are side by side, if they can exist side by side, if this is a sustainable merger. Nature for a long time, especially since modernization has been a refuge that was constant. As frenetic…chaotic as life could be in the cities, you could go back to nature to heal. .. the video is a little bit about how we can't see nature as a constant anymore. Bees as pollinators are decreasing…water is rising… in a way, it's become ghostly, something that's haunting us because we don't really know if it exists anymore or if it will exist in the future, and we don't really know if humans belong on this planet."
We now moved to questions from the class.
Kayla: How did eco art tech come to be?
N: Cary and I were the founders and we've actually been together for 17 years, so we've been together for a very long time. When we first were together, Cary was a new media artist; I was a women's studies major and got a doctorate in English… 10 years ago, in 2003, we went to a very natural place in Maine in the woods and lived there for four months. It completely transformed us…living in the woods was a huge change not only for our consciousness, but also for our bodies… I started studying environmental literature, he started studying environmental art… we started talking about things and then it just started merging -- art with his ideas in mind, literature with my ideas in mind...
Elma: Living as artist and creating alternative work, how hard is it to sort of finance those things?
N: It's really hard for artists this day in age… funding has dried up…we're academics, so we get a lot of funding that way…we've been lucky to get a lot of grants from NYSCA... paid exhibitions...
Kim: I guess going off of that, how does the New York State Council of the Arts funding work? Is there anything that they've turned down?
N: I think that's a better question to ask NYSCA than to ask me, they've been really supportive… I know one of the grants we got was a distribution grant and they were really forward looking for what distribution means for a new media artist…it seemed to be originally intended for film which is really clear cut, but how do you distribute something online? … When we got the grant it was really amazing, we had the Indeterminate Hikes app on Android and wanted to put it on iPhone… they were really awesome and helped us articulate how
They're really helpful with trying to adapt film grants for new media work… but honestly, it's really complicated.
Blaize: When looking at the videos on your website, I remember seeing this video of a sleepy pig, I don't remember his name, (Blaize sat and the end of the table and needed to move closer so Nadir could hear her)
how did you decide which material went in that would speak to that message (of your Late Anthropocene video).
N: His name is Bob, he shows up for a minute and he's actually part of the larger work we created called Bob Takes a Nap. You can go to the page and watch the video if you want. So why did we decide to put that in there? One of the things we're really interested in is how animals are treated in the modern world. The late anthropocene video is about how industrialization…development has effected the world, human lives…farm animals. The production of meat and industrialized life and industrialized food sources has entirely changed…animals used to be taken care of, but now they're just cogs. … we think part of the Late Anthropocene idea is what is happening to animals… we put a camera in his face and he wanted to take a nap, he kept snorting and was like come on, leave me alone, let me do my thing! We installed the video at a space in Syracuse… I think it made a lot of people uncomfortable.
Blaize: Are you guys vegetarian?
N: Yeah, we're vegan.
Elma: What's the reception been with some of the alternative videos that you have?
N: The funny thing about answering that questions is that we haven't released a video since 2007, it's been 7 years. Late Anthropocene hasn't been released yet, so I don't know how it will be received…when people think of the environment and environmental art, they're thinking about romantic ideas and didactic messages… when I've shown it to critics, they've been shocked…you're not just showing us romantic images to make us feel bad about destroying nature…this is about imagination and how we interact with the environment in the modern world… so I don't know a broad popular response yet… I know the piece Wilderness Trouble, was wildly suvvessful. I twas translated into multiple languages… it started out very romantic and then shifted to this knowledge, whoa-- there is no nature…even when I go camping I'm using tools that were made in China or Vietnam… we're all connected now… I thin people are looking for a way to think about the environment in an alternative perspective … our work says 'Look! as artists … we live in the woods every summer, but we love our modern technologies at the same time'… I think people are hungry for this interesting conversation."
Elma: What about the app's reception?
N: The app has been pretty amazing. I'm actually a little uncomfortable with explaining how much people like it… what you saw in the video was one of our collaborators leading a hike in Spain…at first people don't know what to expect, people are timid, you want us to … touch the ground, touch a tree, look for a rabbit… I don't want to do that, that's not cool! Most of the hikes last 45 minutes to an hour, and by the end of it… people get really excited. … I've had people who attend our hikes that live in different neighborhoods in New York City, and have said I have never noticed this thing on this street corner.
Unfortunately the computer being used for live blogging died during our Skype session, but look out for highlights and reflections to this meeting with Leila Nadir this week!
To listen to the discussion, check out Lucy Yang's audio.
Tuesday, February 25, 2014
Blog posting by Kimberly Capehart, Documentary Studies '16, FLEFF Blogger, Cherry Hill, NJ
I sat down with first-time FLEFF intern Emelia Breen in the noisy pub on the Ithaca College campus to talk about her experience so far with festival and what she's looking forward to. Breen, a sophomore Culture and Communication major, shared her thoughts over our cursory meeting.
KC: Why did you decide to apply for the internship?
EB: Well, I heard about the opportunity through Dr. Patricia Zimmermann's [Introduction to Film Aesthetics and Analysis] class and I received a couple emails about the festival through Laurie Arliss, who is the Chair of the Communication Studies department. I decided to apply for the internship because it sounded interesting and I hoped that it would help me figure out what I'd like to do for my concentration for my major.
KC: Could you tell me a little more about your major?
EB: There's a lot of core classes: some of which are in [the Roy H. Park School of Communications], even though the major isn't considered to be a part of the Communications school. I've been taking research classes in addition to general communication classes. But every Culture and Communication major is required to design his or her own concentration within the degree. I've been thinking a lot about different artistic forms and how they communicate different messages, and I think FLEFF will definitely give me some good experience and show me a lot of different things that will help me decide what I'd like to concentrate in.
KC: How have you and the other interns been preparing for the festival?
EB: We've been doing a lot of reading about the festivals, and specifically about FLEFF. We've been attending FLEFF-sponsored screenings on campus and kind of getting our feet wet with the whole process.
KC: What have you learned so far that has changed your perceptions?
EB: I really like that the festival is about sustainability, but across many different discourses. I also like that the festival isn't comprised only of films: there's other aspects to it that, I think, make it a more well-rounded festival. I think the fact that it is well-rounded draws a more intellectual crowd.
KC: What are you most excited about for the 17th annual Finger Lakes Environmental Film Festival?
EB: As an intern, I'm excited to completely immerse myself in the festival for a week. It's going to be interesting to watch the films of different directors, producers, and distributors and then to be able to hear what they have to say about the films afterward. I'm really excited for all of the different conversations and questions that will be surrounding such a diverse showcase of films. I think that art and different forms of creation enable people to understand concepts and ideas that they may not have necessarily been able to understand if those concepts and ideas weren't presented in such a way.
Have any of your perceptions about FLEFF changed?
Tuesday, February 25, 2014
Blogging post by Alexis Lanza, Film, Photography, and Visual Arts '15, FLEFF Blogger, Enfield, CT
Dr. Annette Levine is a professor in the Department of Modern Languages and Literatures. She teaches classes in Spanish and Latin American Studies. Dr. Levine spoke about her involvement with FLEFF via e-mail.
Q: What is your educational background?
A: I hold a Master's degree in Latin American and Caribbean Studies from the University of Chicago and a PhD from UC Santa Barbara in Hispanic Languages and Literatures. My background is primarily at the intersection of literary studies and trauma studies with an emphasis on migration, exile, and dictatorships.
Q: How long have you been involved in FLEFF?
A: I first became involved with FLEFF in 2007.
Q. Can you elaborate on / describe on your involvement with FLEFF?
A. I have hosted FLEFF films in my courses.
Q. What is your mini-course about this semester and how does it relate to this year's FLEFF theme: Dissonance?
A. The mini-course I’m teaching “American Dreams” is about the perceptions we have of the ‘American Dream’ and its almost mythic proportions. In this mini-course we’ll explore portrayals of the American Dream in readings and films pertaining to Latin American and the Latino/a reality in the United States. The mini-course relates to the theme of dissonance in that the films and readings present the contradictions inherent in the ‘dream’: who may enjoy the inalienable rights of “Life, liberty, and the pursuit of happiness?”
Q: How are students made aware about the mini- courses? Do you usually have a full class of students?
A. This will be my first time offering a mini-course.
Q. What does “dissonance” mean to you?
A. That which sounds “off” but in essence reveals an almost unbearable truth that must be heeded.
Sunday, February 23, 2014
Blog posting by Kayla Reopelle, Documentary Studies and Production '14, FLEFF Blogger, Roy, WA
On a rainy Thursday night, I walk past the entrance to Cinemapolis. All the red formica tables are pushed together into a long line. Members of the board for Ithaca’s non-profit art house cinema gather before the doors open for business.
Brett Bossard, the executive director of Cinemapolis, smiles and walks behind the ticket counter. Customers for the National Theatre Live 6:30pm screening of Coriolanus hand their self-printed tickets to him.
How would you describe yourself?
“I guess I’m sort of a, I just put this on my Twitter thing, I’m a culture pro-sumer. I’m an equal opportunity culture consumer when it comes to art, film, culture, television, media. [I’m very media literate,] which naturally drives me toward the work that I do here. Can I?”
Mr. Bossard pointed to the ticket counter. I nodded. He glided from our table to the counter. As director of Ithaca’s non-profit art house cinema, he often wears many hats.
What are some aspects of being director that people wouldn’t expect?
“In a small place like this, you’re changing toilet paper. ... There’s a lot of minutiae that happens that you might not automatically associate with what a director does in an oragnization like this. I actually enjoy running box office occasionally because I think it’s important for me to see who the regulars are.”
"Because we’re a nonprofit, there’s a lot of community buildling, friend raising and fund raising work that you also might not normally associate with being the director of a movie theater. Grant seeking is something that I spend time at least thinking about whether or not, whether I actually have the time to go out and do it is another issue all together."
Bossard graduated from Ithaca College as a Television-Radio major with a screenwriting concentration in 1995. He’s been a student of film in some way or another since a young age.
When did you first get interested in cinema?
“Some of my first memories are going to the movies. I grew up in a small town called Hornell, little town west of here, and so there wasn’t a lot happening, but we had a movie theater which was a few blocks from the house I grew up in.
"...I got carted around to the movies at a young age and it just sort of blossomed from there ... appreciating film for the experience as well as for the content.
"...I think the art form of film is not in danger, everyone has a screen in their hand at all times. The language and vocabulary of cinema is probably stronger and more readily understood than it’s ever been, but the cinematic experience is actually in great danger...
"There’s something important about seeing the art form of film the way it was intended, which is in a communal environment. I think that’s a really important element of experiencing art of any kind ... especially with film because its such a collaborative art form, part of that collaboration is with the audience.”
What kinds of films or ideas excite you?
"I really enjoy when we can show a film here that might on the outside feel like a real broad, more commercial, general audience kind of movie and then introduce some really challenging content or challenging concepts or even challenging technical elements. It gets people in the door that might not otherwise come here."
How is Cinemapolis connected to FLEFF? What is your relationship to the festival?
"FLEFF [provides] for us an opportunity for bring in new faces and also bring to our screens really specialized material that might not otherwise make it here... There’s this great win-win: we’re providing what I think is a fantastic home for the festival and the festival is giving us a chance to showcase the kind of filmmaking that we might not do otherwise."
This year’s theme is dissonance. How do you think it’ll play out in the festival?
"The concept of dissonance to me is great, especially when you think of it as cultural dissonance, which I think there is an abundance of when you talk about the haves and the have-nots in our society, what is considered appropriate and not appropriate, cultural norms.
"There’s a lot of dissonance we’re presented through media with a lot of what would be considered anti-social behavior, and yet, in the real world and daily life, the actions that we’re consuming on a day-to-day basis would be frowned upon by the general public."
Is there anything else you’d like to add?
"... I think it’ll be really interesting this year because we have all digital projection now, so it should make [screening] a little easier to juggle all of the different films because I know it has always been historically challenging with all different formats, some 35 some, Blue Ray, some DCP; so I’m excited, hopefully, knock on wood, it’ll be a little smoother this year."
So does that mean there won’t be any “film” films screened?
Bossard points to the gray projector sitting before the wall of paintings that reflect moments in cinematic history.
“That is the only 35mm projector we have in the building right now and its an artifact.”
Two patrons stare at the projector, walking around it, moving their faces closer, contorting their bodies around it. They turn and head into the cinema.