ELEETHIIN,I C No flRRflT J UE 51ITl1RDR 5 OECENBER 89 19134 10 FIM, 10 Me SUN DFIY 5 OECEIeBER 9, 1984 - 10 F1M - 3 PNI

The ELECTRONIC NPRRf1TJUF symposium will explore the ways in which storytelling has changed, is changing and will change as a result of emerging electronic technologies, especially those of video, home computer systems and videodisc . These technologies suggest new methods of synthesizing the various forms of artistic expression, new ways of constructing and organizing narrative elements and new conceptions of the role of the reader/viewer. The ELECTRONIC Nf1RRATJUE is organized around three topics: ELECTRONIC OPERA, ELECTRONIC SVNTFX and ELECTRONIC JNTERAC- TIUITV. Electronic Opera extends a traditional notion of opera as a synthesis of all available art forms and technologies - i .e., theatre, literature, music, dance, sculpture - into the realm of electronics. Several video artists and composers have embraced this concept, employing advanced analog and digital image and sound processing tools to create elaborate and exciting works for television . ELECTRONIC 5YNTA8 arises from the notion that electronic technology suggests, invites, even demands, styles of organizing narrative information distinct from those employed by practi- tioners of cinema . With ELECTRONIC INTERPCTIUITV, the viewer participates in creating, or determining the direction of the storyline through the use of interactive videodisc and computer software for interactive fiction .

JUhCi OUMEY, a kinetic sculptor who pioneered JOHN 5HNBORN is an award-winning video ar- small-format video as an artform in the 1960 s, tist and producer of video music clips. As has received numerous awards and one-man director of composer Robert Ashley's widely shows internationally. He is currently produc- acclaimed three-and-a-half hour opera for ing an interactive videodisc based upon the television, PEHTECT LIVES, he designed a com- musical structures of 1.S . Bach, and an ex- plex, state-of-the-art visual score to accom- perimental educational series on perception pany music and text . and aesthetics for public television . ROODY URSIILKR is a pioneer in the production RICH GOLD is a composer, author, performer and theory of the electronic image. His design and computer artist whose "computer perfor- of new tools for analog and digital video mances" relate linguistic codes to social special effects has influenced artists and com- behavior. He is currently Senior Digital Sound mercial producers, and he has been the reci- Designer for Sega Enterprises, El Segunda, pient of virtually every major award and grant . in the field. THE COWi5SIUN is a video opera he produced based upon the infamous rela- ERNE5T GUEELLH creates fragmented, impres- tionship between Paganini and Hector sionistic musical narratives, blending a poetic Berlioz. with a pop sensibility. His works are in the col- lection of the Museum of Modern Art in New GRFHAC1E REINRRfN is currently completing a York as well as in museums throughout three-disc, touch-screen, interactive video Europe and South America. work, ERLMNG, based upon Schubert's lieder opus t and Goethes first published poem, BRiPN HENDER5ON is a film historian whose from which the viewer can select different im- theoretical and historical writingson film are ages that are connected narratively and widely published and include the book, I'l associatively. He was supervising film and tape CRITIQUE Of FILM THEORY (Cutton) . editor, as well as creative input for the U.S. GERALD O'GRP0V, media theorist, historian and Pavilion Interactive Video Display at the 1982 educator, is Director of the Center for Media World's Fair in Knoxville. Study, State University of New York at Buffalo, and Executive Producer of THE INUEPENUENTS, a satellite cable series for The Learning Channel . ADDITION& FRRTICIPf1NT5 TO BE FINN0U7fEL . Ernest Gusella as Paganini in Woody Vasulka's The Commission

REGI5TRATION FOR THE ELECTRONIC URRPTIUE is $10. Checks should be made payable to Media Study/Buffalo, 207 Delaware Avenue, Buffalo, New York 14202 . This symposium is made possible with the support of The Media Bureau . Media Study/Buffalo is supported, in part, by funds from the New York State Council on the Arts and the National Endowment for the Arts. For further information please call (715) 847-2555 .

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ELECTRONIC NARRATIVE

UNDER GRAND MUSIC PRODUCTION STAFF

Los Angeles Philharmonic Association Ernest Fleischmann, executive vice-presidentlmanogingdirector; Ara Guzelimian, artistic administrator ; Laura Dixon, program coordinator, David Brown, directorof marketing; Steven A. tinder, assistant director of marketing ; Norma Flynn, director of publicity and promotion; Vanesso Butler, associate director of publicity and promotion ; Jeannette Bovard, associate director of publicationsand archives ; Thomas L. Gill, Jr ., piano technician,

The Museum of Contemporary Art Richard Kosholek, director; Julie Lazar, curator ; Bonnie Born, program coordinator; Rebecca McGrew-Yule, curatorial secretary; RandyMurphy, faciities and operotionsmcnager; Mary Jane Arnoto, boxoffice manager; Catherine Gudis, editor; Cynthia Compoy, press officer; Sylvia Hohri, marketing and graphics manager ; Angela Escobar, communications secretary; David Bradshaw, technical manager for intermedio projects; Leslie Marcus, manager, support programs; Edward Solsomedo, chief of security .

Under Grand Music was initiated by County Supervisor Edmund D . Edelman with support provided by Los Angeles County, the City of Los Angeles Cultural Affairs Department, The Museum of Contemporary Art, and the Los Angeles philharmonic . Special thanks are due to David f.. Abell Fine Pianos, far providing the Yamaha piano used in the performances, and John von Homersveld, for providing the cover graphic .

UNDER GRAND MUSIC TUESDAYS, THROUGH APRIL 24, 1990 12.00 - 1 :00 p.m. at MOCA's Ahmanson Auditorium 250 South Grand Avenue, Los Angeles, Ca 40012

FORTHCOMING PROGRAMS : APRIL 10 Amy Gerstler, poet and writer, reads from her works. The texts, written by Gerstler for several voices, address themes of speech and silence, illness and recovery . The readings will be interspersed with selections of Beethoven's music. Portions of this program will be signed for the hearing impaired . ` " APRIL 17 Carl Stone, composer, uses electronic techniques to transform the traditional into the new . Stone and pianist Gloria Cheng will perform two new works together with their original counterparts by Satie and Schubert . APRIL 24 Michiko Akao, flutist, draws upon the rich musical tradition of the Japanese flute, playing works of timeless folk origin as well as new music written expressly for the instrument by Japanese composers .

Advance reserved seating recommended as seating is limited . Call the MOCA Box Office at (213) 626-6828 for reservations. Reserved tickets must be picked up by 11 ;45 a.m . the day of the performance .

fully accessible to people with disabilities . For those who require special seating arrangements, please call the Box Office in advance of the performance .

The taking of photographs or tape recordings during performances is strictly prohibited. Eating, drinking, andsmoking are not permitted in the building . Thank you for your cooperation, UNDER GRAND MUSIC

UNDER GRAND MUSIC roproduced by The Los Angeles Philharmonic Association FRANKLYN D'ANTONIO (violin) joined the Los Angeles Philharmonic in and 1987 . He was a member of the Detroit Symphony from 1977 to 1981 and The Museum of Contemporary Art, Los Angeles played with the Chicago Symphony from 1981 to 1986 . He has performed in chamber music concerts and with orchestras in Detroit and Chicago . Under Grand Music is a free, noontime series of live performances providing new perspectives D'Antonio began studying the violin at the age of four with his mother, on chamber music with dance, video, and the spoken word. Presented Tuesdays, March 6 violinist Joy Lyle, and later became a pupil of his only other teacher, Paul through Apri124, 1990, 12 :00 to 1 :00 p. m . Under Grand Music was initiated by Los Angeles Shure. He attended El Camino Real High School and the University of County Supervisor Edmund D. Edelman with support provided by Los Angeles County, the City of Los Angeles Cultural Affairs Department, The Museum of Contemporary Art, and the Los Southern California, where at sixteen he was a member of Joscha Heifetz's Angeles Philharmonic . Master Class. He has been a member of the American Youth Symphony, the Young Musicians Foundation Debut Orchestra, and, at age seventeen, became the youngest member of the Los Angeles Chamber Orchestra . TUESDAY, APRIL 3, 1990

NICCOLO PAGANINI WOODY VASULKA was born in Czechoslovakia, where he studied metal CAPRICE NO . 24 IN A MINOR technologies and hydraulic mechanics at the School of Industrial Engineering . At the Academy of Performing Arts, Faculty of Film and Television, in Prague, INTRODUCTION AND VARIATIONS ON NFL COR PIU NON MI SENTO he began to direct and produce short films . Vasulka emigrated to the United FROM PAISIELLO'S LA MOLINARA States in 1965, where he freelanced as a film editor in New York. In 1967 he began experimenting with electronic sounds, stroboscopic lights, and, several Violin : Franklyn D'Antonio years later, with video . In the mid 1970s he became a faculty member of the Center for Media Study at State University of New York, Buffalo, and began his investigations into computer-controlled video, constructing "The Image WOODY VASULKA'S THE COMMISSION Articulator," a real-time digital video tool . With Steina Vasulka, he founded Vasulka's video fantasy The Commission is an episodic narrative revolving The Kitchen, a New York Media Theater. He has participated in many major around an incident between the 19th-century virtuoso violinist Niccola video shows nationally and abroad, given lectures, published articles, Paganini and his contemporary, Hector Berlioz . The anecdote concerns a gift composed music and made numerous video tapes . A 1979 Guggenheim of 20,000 francs that Berlioz offers to the destitute Paganini as commission for Fellow, Vasulka . resides in Santa Fe, . Since moving to New a piece of music - an extraordinary event between artists . The romantic myth Mexico he has produced two videotapes in addition to The Commission -- of the genius is given full attention by Vasulka . Specialized digital techniques Artifacts and The Art of Memory, a series of "songs" with a political allow his images to transcend video with multiple representations and aural orientation . He is currently working on a new, largely computer-assisted work mutations . titled Brotherhood .

Text and characterof Pagoniniby Ernest Gusella; text and characterof Berlioz by Robert Ashley; staging by Bradford Smith; camera by Steina Vasulka; videotape editing by Peter Kirby . American Museum Kaufman Astoria Studio Film and Video of the Moving Image Zukor Theater 34-12 36th Street Admission $4.00 Astoria, MY 1'1106 Phone reservations accepted 718 784-4742

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Before the Code 1984 marks a special anniversary in the history of film censorship, for it was ex- actly fifty years ago that movie czar Will Hays decided to put some teeth into the Hollywood Production Code. This set of moral guidelines had existed on paper for several years, but, with no effective means of enforcement, filmmakers had begun to test its modest limits. The arrival of stars like Mae West and Jean Harlow proved the final straw for pressure groups around the country. Industry insiders like Ten Years of Living Martin Quigley agitated for tighter moral standards, and the newly formed Legion Cinema -Selections of Decency offered the threat of national Out of the cauldron of the New York art Friday, October 27, 7:30 p.m. boycotts. As a golden anniversary salute, world comes TEN YEARS OF LIVING we have rounded up some of the films CINEMA-SELECTIONS, a collection of Filmmaker ROBERT BREER will be present to discuss his work in I a ng wr e Mob[ arnous country, shown during epaa. - e 8 ea post-Code challenger. What was it about the Collective for Living Cia6ma. This se- garde movement,in general. these films that so rocked the nation in ries covers the major trends from ten TZ (1978) Robert Breer 1934? More to the point, could similar years of innovative filmmaking. Styles pressures today force changes in Holly- FRAMES AND CAGES AND range from experimental animation to Martha Haslang r wood's present methods of marketing sex utilization of found footage. Themes re- SPEECHES (1976) and violence? Series programmed by flecting the entire spectrum of modern THE BIG STICK (1973) Saul Levine Richard Koszarski . Face to Face: Acting for the life are included in the program. Some CRISIS IN UTOPIA (1981) Ken films are semi-autobiographicalin nature, Ross Silent Screen, Part 7Wo Friday, October 12, 7:30 p.m. while others are social and political state- SKINS (1976) Barbara Lattanzi Scan the covers of a hundred fan maga- Friday, November 2 I'M NO ANGEL (1933) ments on the role of art. In all, 23 films by is Lon Chaney in THE UNKNOWN (1927) and THE HALF-NAKED TRUTH in the ret- 'COUNTERPANE (19791 Jim Jennin zines from silent movie days and there (1932) 23 filmmakers are represented one thing you'll rarely see -a man's face. and John Gilbert in MAN, WOMAN rospective, bringing an exciting diversity KINO DA! (1981) Henry Hills Where the packaging and promotion of AND SIN (1927) Saturday, October 13, 7:30 p.m. of style and viewpoint to the screen . This RED BEDTIME STORY (1981) Esther romantic icons was concerned, women HEADED WOMEN (19321 program is presented in cooperation with of the Saurday, November 3 and CALL HER SAVAGE (1932) The for Living Inc Shatavasky dominated the silent screen. Freed Collective Cinema . and more rigid audience expectations which Ivan Mosioukine in SURRENDER is sponsored in part by the New York State (1927) and Emit Jannings In Friday, enveloped silent screen actresses, some October 19, 7:30 p.m. Council on the Arts and the National En- Saturday, October 28, 7:30 p.m. the movies' most talented men were THE LAST COMMAND (1928) MURDER AT THE VANITIES (1934) and dowment for the Arts. Each evening's pro- of THE STORY VESTIBULE (1978) Ken Kobland able to test the conventions of theircraft, of TEMPLE DRAKE (1933) gram is approximately 90 minutes long. play against type, and experiment with Friday, November 9 DISPLACED PERSON (1981) Dan daring new performance styles imported Raymond Griffith in THE NIGHT Saturday, October 20, 7:30 p.m. Thursday, October 26, 7:30 pan. Eisenberg CLUB (1923) and W.C. Fields in SAILORS LUCK (1933) from the European studios. In drama, comedy, and romance, silent screen ac- SO'S YOUR OLD MAN (1926) and THE OUTLAW (1940-41) DAUGHTERS OF CHAOS (1980) ORNAMENTALS (1979) Abigail Chi Marjorie Keller tors devised expressive techniques that SORTED DETAILS (1979) Charles WLt allowed them to combine a level of psy- Saturday, November 10 CITY EDITION (1980) Alan Berliner GENTLY DOWN THE STREAM (1981, chological truth and individual character William S. Hart in THE SILENT MAN IN THE EYE OF THE CHILD (1978) Su Friedrich development with the abstracted arche- (1917) and Tom Mix in SOFT BOILED Richard Levine types demanded by the medium. We (1923) PROJECTION INSTRUCTIONS (197 present a dozen of the best with piano DEUTSCHLAND SPIEGEL (1980) Morgan Fisher accompaniments arranged and played Friday, November 16 Sharon Cousin CLOSER OUTSIDE (1981) by Curtis Salke. Series programmed by Douglas Fairbanks in HIS MAJESTY, MISSION TO MONGO (1978) Vincent Grenier Richard Koszarski. THE AMERICAN 11919) and Ronald Jim Hoberman Colman in BEAU GESTE (1926) SHIFT (1974) Ernie Gehr Saurday, November 17 JEALOUSY (1976) Gail Vachon John Barrymore in DON JUAN (1926) an Conrad Veidt in THE MAN WHO MAX's SHIRT (1975) Bob Fleischner LAUGHS (1927)

of the Moving Image lepelow Pale0 34-12 36th Street Astoria, NY 11106 uaov Jua115 ayl 718 784-4742 + apoo Dill ejopair

On view in the gallery prior to each Friday is free with film program ticket. $2.00 for Video in the Gallery and Saturday's film program. Admission video program only. Ashley as Berlioz, Ernest Guselfa as Paganini and camera by Steina.

Fri. 11/9, Sat. 11/10 6:30-7:30 p.m. SONGS OF THE 80's Doug Half, 1993 A series of 5 episodes {songs) based on SONGS OF THE 80's which was performed 10SLti by Doug Hall on several occasions between L} fl 1. 0 14 1980 and '82, the tape Is not a documentation PUL, ~ihoo ;,l of a performance but ratherIts translation (mood and tone) into the medium of video, Friday, 10/12, Sat. 10/13 6:30-7:30 p.m. Thurs. 10/25, Fri. 10/26, Sat. 10/27 Intertwining sound and Image to convey a MUSIC WORD FIRE AND I WOULD DO IT 6:30-7:30 p m. content which is visually captivating, often AGAIN: THE LESSONS VIDEO 50 beautiful and, at times, unsettling. Robert Ashley, 1981 Robert Wilson, 1980 POSSIBLY IN MICHIGAN "OTl THE LESSONS is an overture to PERFECT Widely acclaimed for his surrealistic operatic AN Zglb-b81 811 LIVES, an opera-for-television directed by works Including the 5-hour EINSTEIN ON Cecilia Condit,1983 6M# 1!LUJad Robert Ashley, a composer, poet and leading THE BEACH presented at the Metropolitan A man fn a pig mask stalks a woman as the 90ir1 AN IeIr0;sq music swings from New Wave to a carnival acrd figure in avant-garde music. Consisting of 28 Opera House, Robert Wilson has transposed .sn one-minute video pieces arranged in four his theater of images to the electronic theme tv ominous and back. The man follows obeisod 18er3S 4139C U-PlE groups of seven, It Introduces the four prin- screen. In his first major video work, Wilson her home, turns Into a frog and then Into 31VU mine Prince Charming. An operalic'lairy tale" abswtI bwnoyy 84110 cipal characters and recapitulates the visual has concocted 100 spots-brief, graphic vig" 19oid-uaN themes of the opera. THE LESSONS is an nettes lasting about thirty seconds each- about cannibalism In Middle America with an wnesnpv LreapawVF extremely complex melange of Innovative and assembled them In a non-narrative but original scare by Karen Skladany. music, surreal Imageryand printed and spo- rhythmically resonant sequence. ken texts. Fri. 11/16, Sat. 11/17 6:30-7:30 pan. Fri. 11/2, Sat. 11/3 6-30-7:30 p.m. SAVAGE/LOVE rri. 10/19, Sat. 10/2d 6:30-7.30 p.m. THE COMMISSION Shirley Clarke, 1982 WHAT UNDER THE SUN? Woody Vasulka,1983 In her translation from stage to video of Sam Ernest Guselte, 1984 A rich and multi-layered electronic opera, Shepards and Joseph Chalkin's theater Ernest GuseBa Loosely based on Bernal Diaz's account of THE COMMISSION offers a fascinating por- piece, SAVAGEILOVE, Shirley Clarke lakes Cortex's conquest of the Aztecs, WHAT trait of the eccentric and self-destructive full advantage of the unique properties of the UNDER THE SUN? Is Ernest Gusella's private Paganini while at the same time relating an medium to expand and explore the relation view of Mexico and its history up to the pres- historical event 1n which Paganini presented between the piece's visual, verbal and musi- ent. The hot and brightly colored Images, sur- Berlioz with a commission of 20,000 francs. cal elements. realand hallucinatory, seem to jump off the Conceived and directed by Woody Vasulka, screen as they come alive to the often rau- this complex and beautiful work brings cous yet compelling music which accompa- together the talents of, among others, Robert nies them.

Film in the Theater

exposition of the theory that the wages ofsin Ten Years of Living COUNTERPANE (1979) Jim Jennings Face to Face: Acting for the Golf routines and other Fields specialties are wealth, luxury, and social position," included . Directed by Gregory La Cava. Quigley griped. Also CALL HER SAVAGE Cinema -Selections KINO DAd (1981) Henry Hills Silent Screen, Part Two Saturday, November 10, 7:30 p.m. (1932, 88 min.) Clara Bow's comeback pic- BEDTIME STORY (1981) Esther Shatavasky ture offers her as a fiery half-breed who Thursday, October 26, 7:30 p.m. Friday, November 2, 7:30 p.m. THE SILENT MAN (1917, 62 min.) Cheated wields a mean whip. Rejected as unsuitable THE UNKNOWN (1927, 62 min.) Tod Brown- of his claim, miner William S. Hart turns by Radio City, it did just fine at the Roxy. DAUGHTERS OF CHAOS (1980) ing'$ creepy tale of Alonzo the Armless, who masked avenger, robbing stages and kidnap- Marjorie Keller Saturday, October 28, 7:30 p.m. hurls knives with his feet and burns with lave ping the villain's would-be bride. A forceful for Joan Crawford. "Man ofa Thousand prototype western from the masterof the Friday, October 19, 7:30 p.m. CITY EDITION (1980) Alan Berliner VESTIBULE (1978) Ken Kobland MURDER AT THE VANITIES (1934, 70 min.) Faces" Lon Chaney at his most bizarre. Also genre, Also SOFT BOILED (1923, 78 min.) A surrealistic girlie show provides the locale IN THE EYE OF THE CHILD (1978) DISPLACED PERSON (1981) Dan Eisenberg MAN, WOMAN, AND SIN (1927, 70 min.) More attuned to post-war tastes, this rare Tom More strong stuff from MGM with romantic Mix western shows off the sly comedy and far Mitchell Leisen's offbeat musical murder Richard Levine ORNAMENTALS (1979) Abigail Child mystery. Kitty Carlisle and Duke Ellington are idol John Gilbert as a newspaper reporter in flashy acrobatic skills that made Tom the all part of the show, at least until Gertrude DEUTSCHLAND SPIEGEL (1990) SORTED DETAILS (1979) Charles Wright lave with the boss's mistress-the legendary favorite cowboy of the jazz age. Michaels is machine-gunned while singing Sharon Cousin Jeanne Eagels. Manta Bell directs. GENTLY DOWN THE STREAM (1981) Friday, November 16, 7:30 p.m. an ode to marihuana. Also THE STORY OF MISSION TO MONGO (1978) Jim Haberman HIS THE AMERICAN (1919, 80 TEMPLE DRAKE (1933, 65 min.) Steamy Su Friedrich Saturday, November 3, 7:30 p.m. MAJESTY, SURRENDER (1927, 92 min.] The great Rus- min.) Douglas Fairbanks became the coun- doings down South as posh plantation heir- SHIFT (1974) Ernie Gehr PROJECTION INSTRUCTIONS (1976) ess Miriam Hopkins crumbles for macho sian actor Ivan Mosjoukine made only one try's most popular star by putting an idealized JEALOUSY (1976) Gall Vachon Morgan Fisher film in America, this artfully styled melo- American on screen, then adding his own bootlegger/rnurderer Lash LaRue. From Wil- humor and balletic action. Before the Code liam Faulkner's "Sanctuary'; with atmospheric MAX'S SHIRT (1975) Bob Flefschner CLOSER OUTSIDE (1981) Vincent Greater drama of a Russian officer occupying a Jew- brand of good photography by the great Karl Struss . ish border town during World War I. Mary Also BEAU GESTE (1926, 109 min.) Ronald Friday, October 12, 7:30 p.m. Philbin co-stars. Also THE LAST COMMAND Colman illustrates a different sort of idealism I'M NO ANGEL (1933, 88 min.) (1928, 90 min.) Germany's Emit Jennings in this first and best version of the classic Saturday, October 20, 7:30 p.m . Friday, October 27, 7:30 . adventure epic. With outstanding Goodness had nothing to do with Mae West's SAILOR'$ LUCK (1933, 78 min.) A rare p.m had better luck in the States, most notably in Sahara vil- riotous pre-Code vehicles . Here she takes screening of one of Raoul Walsh's casual pre- Filmmaker Robert Breer will be present this brilliant study of a Czarist general lainous support from Noah Beery. time off from lion taming to daily with Cary reduced to reliving his triumphs as a Holly- Code charmers, a potpourri of racial and sex- to discuss his work in particular and Saturday, Grant. "No more pretense of romance than ualhumor, double entendre, fisffights and the American avant-garde movement wood extra. Directed by Joseph van Npyember 17, 7:30 p.m. on a stud farm;" carped Martin Quigley. Also general mayhem. Also THE OUTLAW (1940- in general. Sternberg. DON JUAN (1926, 111 min.) The great pro- THE HALF-NAKED TRUTH (1932, 77 min.) 47 123 min-) "Whatare the two great reasons file as the great lover, a luscious romance More curious innuendo as fast-talking pro- ti-476j Robert Breer Friday, November 9, 7:30 p.m. enlivened by the self-mocking humor only for Jane Russell's rise to stardom?" asked John Barrymore could moter Lee Tracy cons gullible New Yorkers billboards designed by Howard Hughes for THE MIGHT CLUB (1925, 64 min.) Silk- get away with . Also with Lupe Velez, FRAMES AND CAGES AND SPEECHES (1976) hatted comic Raymond Griffith at his most THE MAN WHO LAUGHS (1927, 124 min.) "Princess" a carnival kootch his lusty Billy the Kid epic. It took six years of Martha Haslanger dancer. Directed by Gregory La Cava. battles with the Code Administration dapper, scampering through a stylish, German import Conrad Veldt blends the sty- legal lized gesture of expressionist cinema before audiences teamed the answer. THE BIG STICK (1973) Saul Levine sophisticated marital farce. A forgotten Para- into Saturday, October I3, 7:30 p.m. mount gem. Also SO's YOUR OLD MAN one of Hollywood's most outrd costume RED HEADED WOMAN (1932, 74 min.) CRISIS IN UTOPIA (1981) Ken Ross (1926, 62 min.) The best of W.C. Fields' spectacles. Paul Leni directs. Note: both Ex-platinum blonde Jean Harlow sets a now SKINS (1976) Barbara Lattanzi Astoria studio productions with Fields as the films with their original Vitaphone musical standard for working girls, "Essentially an hen-pecked inventor of unbreakable glass. scores.

Nowto reach the Astoria Foundation By car staff: The AMERICAN MUSEUM OFTmEMOVIAIG In 1982, the Founders Circle was established to pro- Programs ofthe American Museum of the Moving Take the Queensborough Bridge to Queens (lower RochelleStavin Executive Director IMAGEIs scheduled r(3 open tothepublic in 198& vide vital operating funds towardthedevelopment Image have also beenmadepossible through the By subway roadway) and follow Northern Blvd. to 35th Street. Robert Sklar HeadofInterpretation It will be the firstmuseumandmedia center In the and creation of the American Museum ofthe Moving continued support of corporations, foundations, Take theRR train to Broadway In Astorla, Queens, Turn left on 35th Streetand continue to the Astorla DonniePrives Director of Administration world to explore the full network offorces that Image. We thank the members of the Founders Cir- unions and guilds. We are deeply appreclallve of walkeast on Broadway 4 blocks to35th Street. Turn Studio bulldIng-located on 35th Street between JoAnn Hanley Program Director create and are created by the moving image modia. cle for their contributionsof $1,000 or more: Larry contributions ot$1.000 armors received during the right and walk along 35th Street 1112 blacks to the 35th Avenue and 34th Avenue, Virginia Strull Development Director An ambitious, unprecedented effort, TheAMERICAN Abrams. DavidAlter, Bryan BantrylBryan BantryPro- past yearfrom. Benton & Bowies, ChaseManhattan Astoria Studio Building. Amy E. Waterman Public Information MUSEUM OF THE MOVING IMAGEtakes as its subject ductions, David Begelman, PollyBergen, Norma Bank, ChemicalBank, , Con Edi- Take the Trlborough Bridge to Queens. Turn right at Eleanor). Mish Registrar all moving images-from film classics to animaied Bergerac, William Bernsfein, Ken Blancato, Mr. and son, Exxon, J Watter Thompson, Mobil Foundation, Take theEorF train to Queens Plaza. Across plat- the31st Streetexit-lastexit before Grand Central Michael Janlak Administrative Assistant cartoons, from television commercials todocumen- Mrs. AlbertBroccoli, David Brown, Ronald R. ScreenActors Guild, and the VidorFoundation. in form take the GO orN train 2 stops to Steinway Parkway-and follow 31st Street to 35th Avenue . Turn AnthonyBruni BoxOffice taries, from the magic lantern to the avant-garde. its CahenlCohen Insurance, Kevin Conway, Marvin addition we wish to thankthe following donors of Street. Walk west along 34th Avenue 4 blocks to 35th leftandgo 4 blocks 1o 35th Street. The Astoria Stu- programs and permanent and changing exhibits will Davis, Ellin Delsener, Embassy Television, Timothy C. $250 ormore: Actors Equity Association, Atlantic Street, Turn left on 35th Street to theAstoria Studio dio building is locatedan 35th Streetbetween 35th not only present Information and artifacts, butwill Forbes, Barbara Goldsmith & Frank Parry, JoyceCor- Bank ofNew York, Berkey K&L Custom Services, the building. Avenue and 341hAvenua. providea framework for interpreting the most don, Harry and Margaret GozIGoz Enterprises Inc., Conference of Motion Picture and TV Unions, Janus influential public art form a thiscentury. Jim Henson, Chick HymanICameraMart, Stanley R. Films, Martin E. Segal Company, andtheMalian Pic- Take the GG to Steinway Street. Walk west along 34th From Eastern Queens and Lang Island take the Jaffe, Linda LeRoyJanklow, QuincyJones, Robert ture StudioMechanics Local 52, Avenue 4 blocks to 35th Street. Turn left on 35th Grand Central Parkway to the Hoyt Ave, exit. Lefton TheAmerican Museum of the Moving image grate- Kahban, Mr. and Mrs. George S. Kaufman, Lawrence Street to theAstoria Studio building. 31st St. to 35th Ave. Left on to 35th eve. Go 4 blocks fullyacknowledges generoussupport of its pro- Keith, The Mafhilde & Arthur B. Krim Foundation Prints courtesy ofGeorgeEastman Houselfnterna- to 35th Street. TheAstoria Studiobuilding islocated grams from the following public agencies : theNew Inc., Mr. andMrs. A.R. Landsman, David J. Mahaney tional Museum ofPhotography, the Llbraryof Con- an 35th Street between 35th Avenue and34th York City Department of CulturalAffairs, the New Foundation, Dean Martin, MCA Foundation, John T gress, MCA/Universal, MGMIUA Entertainment Avenue, York Clly Public Development Corporation, the New McGuire, Dina Merrilla CliffRobertson. LuEsther 7 Company, Fox Film Corp., William X. Everson and the York State Councilon the Arts, the NationalEndow- Mertz, MGMIUA Entertainment Company, William Film Archive. ment for theArts, and the National Endowment for Morris Agency, RupertMurdoch, The May & Morris m the Humanitles. NewburgerFoundation, Glenn Ralston, Steve Aliprograms subject to change without notice. U & Roland, Mr. and Mrs. StevenJ. Ross, William She&, a We are deeplygratefulfor the generosity and Herbert J. Seigel, RichardSmith. Nelson Peitz/ N v encouragement ofHomeBox Office. Triangle Industries, Jerry Weintraub, Irwin Youngl .a DUAH Film Laboratories. p a 0 a TAI DEVIDEONAYTTELY 02.-04.12.1985

JACK BRIECE BECKMAN & TYRANNY RON GREGORY REYNOLD WEIDENAAR WOODY & STEINA VASULKA

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SANTA FE COUNCIL santefe council for the arts presents FOR THE ARTS TONE ROADS WEST 109 Washington Ave. poetry and new music Santa Fe, NM 87501

march 17-20,1983 saint francis auditorium santa fe, new mexico kw-*dkP-t t awft. M, Ow ~ . .m ,.tkn ~kwM~kwM e,do-wm,w ~, ZD F~ Ow Pu and ale wa wn h wvJ inK"wmf twnle kxevdftwn. vvndl edauw¢ *p~~ s I' .0 v a flu$ a171 77Chpi0fC0. /elYwf "leti~h z V ~-M . w wow ~ r db~ r r--tm--av TONE ROADS WEST SCHEDULE ALL EVENTS AT ST. FRANCIS AUDITORIUM UNLESS OTHERWISE NOTED

-WEDNESDAY, MARCH 1.6,7.PM:30 : (PILACC TSA SATURDAY, MARCH 19 by FloyceAlexander,JimmySantiago IFTbe Cumn>iUsion", Aded opera woody Vasulka 1 pin - Poetry Reading: Benttt Premiere for TONE ROADSWESMPOETRYAND NEWS- Baca, Simon Ortiz, Luci Tapahonso Sic. Santa Fe Council for the Arts; 988-11378: 3 pm - Lecture: Carolyn Forch6 on the work of Claribel Alegria, Salvadoran poet. Conference Room. THURSDAY, MARCH 1'7 7 pm - Poetry Readings: Carolyn Forch6, Jackson 7 pm - Poetry Reading: Mei-Met Berssenbrugge, John MacLow Brandi, Joy Harjo, Arthur Sze 9 :30 pin - New Music Concert : Malcolm Goldstein, with 9:30 pm - New Music Concert : Joseph Weber ensemble, "The Seasons: Vermont/Winter, Vermont /Spring", "Froln the Diary ofan Edgewalker... . "Labyrinth", premiere "Soundings", "Marie's Song, Illuminated" of new work TBA SUNDAY, MARCH 20 pin FRIDAY, MARCH 18 2 - Discussion: Poetry and New Music Collaboration, 7 pm - Talk on El Salvador: Carolyn Forchk, poet and Malcolm Goldstein and Jackson MacLow. Conference human rights advocate, author of The Country Between Room. Us. Free. 6 pm - Poetry Reading: Carol Cellucci, Harold Littlebird, 8:15 pm - New Music Performance: Jackson MacLow, Leo Romero, Nathaniel Tarn accompanied by Malcolm Goldstein 8:30 pm -New Music Performance : Charles Amirkhanian 9:30 pm - New Music Concert- Peter Garland and Carol Law, "Hypothetical Moments", a performance "Three Dawns", "The Songs of Quetzalcoatl", "Matachin work utilizing tape, music, text/sound, projectors, and Dances", and work TBA ensemble

Peter Garland, Music Coordinator; Arthur Sze, Poetry Coordinator; Suzanne Jamison, Administrator .

TONE ROADS WEST: POETRY AND NEW MUSIC is sponsored by the Santa Fe Council for the Arts and funded in part by grants from the New Mexico Arts Division, National Endowment for the Arts and the William H. and Mattie Wattis Harris Foundation, with additional support from Merrill Lynch, Pierce, Fenner & Smith.

TONE ROADS WEST presents two nationally acclaimed ports, and also draws best-known alternative performance spaces in the . Both are on the talent of twelve New Mexico poets. CAROLYN FORCHE's first book of renowned for their pioneering work in extending the techniques and aesthetics of poems, Gathering the Tribes, won the Yale Series ofYounger Poets Award in video, and for their integration of music and sound into this medium. 1976. Subsequently, she received fellowships from the John Simon Guggenheim Foundation and the National Endowment for the Arts. As ajournalist and human CHARLES AMIRKHANLAN and CAROL LAW are two of the most provocative rights advocate, she travelled extensively in El Salvador betweenJanuary. 1978 and interesting artists working in the intermedia field of performance art. and March, 1980. She provided documentation to international human rights Am irldianian, who for years has been music director of KPFA Radio in Berkeley, organizations, including Amnesty International and the International is this country's leading text-sound composer, and has been a tireless promoter of Commission ofjurists. Her second book of poems, The Country Between Us, experimental music. Law is one ofthe fray Area's most exciting and unorthodox was the Lamont Selection of the Academy of American Poets for 1981. It was visual artists, knomm both for her graphic and performance work. published by Harper & Row, with a special edition by Copper Canyon Press. macro-prosody in his "Utilizing the mundane sonic and visual stimuli with which we live daily but JACKSON MACLOW was perhaps the first poet to explore Law capture the 'strangenesses' 22 Light Poems, Black Sparrow Press, and in "Night-Walk" in the Caterpillar rarely experience intensely, Amirkhanian and ,, his experiments in chance, which are the pedestrian, yet singular, realities of us all. anthology . He has worked with -John Cage, and by Charles Amirklianian, 1750 ARCH Records language, and performance are exemplified by such work as the °°Asymmetries" notes to Lexical Music in Stanzas for Iris Lezak, Something Else Press.jackson recentlycelebrated his PETER GARLAND lives in Santa Fe, where lie edits and publishes SOUNDINGS sixtieth birthday in , and his work continues to receive wide Press, a small press devoted to contemporary music. As for his own work, recognition in Representative Works, Ross-Erickson, and From Pearl Harbor pay to FDR's Birthday, Sun fir Moon Press. "Garland's interest in basic, simple musical elements, often incorporating the traditional world musics, particularly those of the Western ORTIZ, JOY HARJO, LOCI means of Of the New Mexico poets reading, SIMON Hemisphere, represents a hold turn away from the gymnastics of Central TAPAHONSO, and HAROLD LITMEBIRD represent some of the most European avant-gardism of the last fifteen years." important Native American writers in the country today. Chinese-American poets, MEI"MEI BERSSENBRUGGE and ARTHUR SZE, are balanced by such High Fidelity1Musical America . Widely-published fine Chicano writers as LEO ROMERO and JIMMY SAGA and violinists ofthe poets,JOHN BRANDI, NA'T'HANIEL TARN, CAROL CELLUCCI, and FLOYCE MALCOLM GOLDSTEIN is one of the foremost composers multi-cultural presentation. TONE ROADS WEST American avant-garde, and has been active since the early 1960s, mainly in New ALEXANDER, round out the improvisational attitudes is an exciting event, the scope ofwhich has not been seen in New Mexico for some York City. He is a pioneer in the development of new time! and techniques. He has toured throughout the USA and Europe. For this performance Goldstein will direct an ensemble of Santa Fe musicians in the world premiere of his The Seasons. Vermont/Winter, Vermont/Spring . THE COMMISSION The premiere of Vasulka's long-awaited video opera is presented as a special °Malcolm Goldstein has, in a way, reinvented violin playing." benefit for Tone Roads West . Inspired by an historical event, the 60-minute The Village Voice exploration oflightlsound/actor/theatrical space dealswith the commissioning of Hector Berlioz to write a new work for violinist Niccoio Paganini . The JOSEPH WEBER, born in San Francisco in 1937, studied composition and commission later proved to be fraudulent. Noted composer Robert Ashley musicology at San Francisco state and has produced work in a variety ofmedia portrays Berlioz, and internationally video artist Ernest Gusella appears as with over 30 compositions to his credit. His Canzane for two pianoswon the first Paganini. Local actor Cosimo Corsano is the Mortician, with Ben Harris as annuaI Paul Masson Award in composition, and he received a composer's grant Paganini's son and Andrea Harris as the Voice. Steina Vasulka is the camera from the NEA in 1978-79.Weber moved to Santa Fr in 1979, where he nowmakes operator and sets are by sculptor Bradford Smith. This event is ticketed his home. event for TONE ROADS WEST. separately as a fund-raising "The real highlight ofWeber's music was feeling the rapport he has with his chosen Internationally-acclaimed video artist WOODY VASULXA was born in medium . . . Weber's ease with musical ideas and gesturesas a composer is perfectly Czechoslovakia and now lives in Santa Fe with his wife and co-worker Steina. In mirrored in his performing ability." the 1960s they moved to New York, where they founded The Kitchen, one ofthe Tom Larson, The New Mexican

SUBSCRIPTION FORM Mail to: Santa Fe Council for the .Arts, 109 Washington Ave., Santa Fe, NM 87501 (505) 988-1878

$30 Full Series $60 Patron (includes benefit ticket) of Fine Arts all events March 17-20, Museum - $150 Angel (includes benefit ticket) Single events available at the door only. Other ($ ) $4/reading and $5/concert; or $8/evening. $2 for each afternoon talk Hotel accommodations needed for no. people on dates $8 Special Benefit Premiere, The Commission Video Opera by Woody Vasulka, March 16, Reservations will be made for you at a downtown 7:30 p.m. Place to be Announced . hotel for specified number of people on specified dates.

Make checks payable to the Santa Fe Council for the Arts. The Council for the Arts is a not-for-profit corporation . Any amount over the series price is tax-deductible and will be used to defray expenses ofproducing this event. TONE ROADS WEST

MAANANTAI 02.12.1985

klo 14.00 Program 1 Woody Vasulka - The Commission 50'

klo 15.15 Program 2 Reynold Weidenaar - Night Flame Ritual 6' Beckman/Tyranny - South of La Honda Copacetic (origin still unknown) 27'30" Jack Briece - Summer Music 7'30" Steina Vasulka - Summer Salt 18' Jack Briece: Monkey Eighty. Reynold Weidenaor: Love of Line of Light and Shadow: The Brooklyn Bridge.

klo 17.00 Program 3 Jack Briece - Monkey Eighty 6'17" TIISTAI 03.12. Reynold Weidenaar - Love of Line of Light and Shadow : klo 14.00 Program 4 The Brooklyn Bridge 10'24" klo 15.15 Program 1 Woody & Steina Vasulka - In Search of klo 17.00 Program 2 The Castle 9' klo 18.30 Program 3 Woody & Steina Vasulko - Progeny 18' Ron Gregory (ed.) - MTV '85 20' KESKIVIIKKC3 04.12.

klo 14 .00 Program 2 klo 18.30 Program 4 klo 15 .15 Program 3 klo 17.00 Program 4 Woody Vasulka - Artifacts 23' klo 18.30 Program 1 Woody & Steino Vasulka - Conteloupe 28' Woody Vosulka : The Commission. Steina Vasulka - Selected Tree Cuts 8'

Jcirj . Kulttuur1kanava/Kyla-TV $ Sulo Karkultur Suorni-Arnerikka-yhdistys THE R TERRITORY

HE TERRITORY is a television production of Laguna Gloria Art Museum featuring films and video by independent media artists of the Southwest.

The format of the six-part series combines film and video screenings, artist interviews, and critical com- mentary by Ed Hugetz, Director of the Southwest Me- dia Project in Houston, and Tom Schatz, author and film professor at The University of Texas at Austin .

With its origins in Houston, THE TERRITORY is the oldest program featuring the work of independent producers in the country. It is produced in central Texas by Laguna Gloria Art Museum with Judith Sims as executive producer, and with the support of Austin Community Television and Austin Cablevision . THE TERRITORY is partially supported by a grant from the Texas Commission on the Arts and the Na- tional Endowment for the Arts, Laguna Gloria Art Mu- " Laurie McDonald seum and the Southwest Media Project. 3 July 17/August 28 ''DOROTHY DAVIS: MAKE A WAY" and other works by Hous- r ton video artist, Laurie McDonald . McDonald takes her inspira- tion from the things she finds around her to create both comical THE TERRITORY will and inspirational video. Like many artists, she explores the po- be shown during 1985 on tential of the environment with a special eye for things that are Austin Community Television, Channel 10, Wednes- neglected. "THE WORLD'S LARGEST" ''SURVEILLANCE" and days, 7-8pm. "NAMING THE BABY" will also be shown .

Animation July 2415eptember 4 July 3/August 14 " Lee Sokoi's, "HERE YOU WILL FIND IT," 18min ., a "ICON," 6min., by animator Keith Alcorn 4 is video of Dallas, weaves po- with the visual narration litical themes with sophisticated animation techniques In "I'M provided by Lee Sokol and the verbal . IN narration provided by a Mexican telling THE MOOD FOR LOVE," Alcorn uses special effects ranging man the story of his first and most pervasive romantic love. from state-of-the-art computer processes to simple photocopying . Both films were screened at the U.S.A. Film Festival in Dallas, 1985. Michael Cohn's, "DREAM BULLET" and ''THE MOTH," $ and 26min ., respectively. Cohn received his film degree from U .T., Austin, and will soon be returning MIRAGE and OZZ MIRAGE are graphics to teach there. "Dream Bullet" and advanced com- with its Romeo and Juliet munication design firms overtones uses a variety of experimen- located in Austin . Ozz Mirage uses tal film techniques to very imaginative video animation create provocative imagery, as does created digitally for visual presenta- "The Moth" which looks tions in commercial at relationships and survival in a post- situations . Media art serves as inspiration for apocalyptic world. such works and vice versa-

8 Experimental July 31 /September 11 5"$8.50 A BARREL," 50min., by Glen Pitre, a Harvard-educated, . July 10/August 21 Cut-Off, Louisiana native and one of the few Cajun filmmakers in "HOPIIT'81," 2 by Victor Masayesva, 14min. Masayesva is a the world. Entirely in Cajun and French, with English subtitles, Hopi Indian from northern Arizona This . beautiful work involves "$8 .50 a Barrel" tells the story of the 1938 shrimp war along the the viewer through visuals, natural sounds and limited speech Louisiana Coast. Produced on a very small budget with most of (Hopi) . Masayesva is interested in how media such as video can the natives of Cut-Cff in starring roles, the film is a combination of enhance the storytelling tradition- drama and documentary.

IL MYSTERIES," by George Krause, 6min. Krause currently teaches photography at The University of Houston. This film is based on the celebration of "semana santa" (Holy Week) by August 7/September 1$ Catholics of Andalucia, Spain, and is a progression of photo- "THE COMMISSION," by Woody that has Vasulka, 45min. Woody graphic images the feeling of movement. Krause has Vasulka of Santa Fe, New Mexico, captured the spirit of Holy is an internationally recog- Week and of Spain . nized leader in video experimentation. "The Commission," Vasuika's most recent work, is a narrative piece involving "SPEED OF LIGHT," by Brian Hansen, 29min., seems to be Paganini and Berlioz, conceived as an opera with special-effects dealing with America's state of confusion and lost innocence. video serving as an integral part of the dramatic interpretation. Things are not what they appear to be in a rural landscape that is increasingly menacing and ambiguous. Hansen received his Laguna Gloria Art Museum is funded in part by The City of Austin. film degree from U .T. . Austin, and is currently pursuing various film projects in California . t CI think independent filmmakers touch more the pulse of what is go- ing on in the country. In terms of history, issues, topics and heritage, they know more of what is going on - particularly those making regional films . . . We need to get away from this whole idea of having to release films that will be in- stantly viewed by the entire nation . There are great stories to be told about regional subjects, but they aren't being told . The independent filmmakers are the ones to do it ."

Robert Redtord Sundance- Institute

Laguna Gloria Art Museum Non-Profit Org, P. 0. Box 5568 u S. Postage Paid Austin, Texas 78763 Permit No . 2920 Austin, Texas

THE " ^^ rli, .~nTERRITORY6rt W1lsaniim fpatiirlnn films and video by independent media artists of the Southwest.