In Person: Allison Leigh Holt; Kadet Kuhne; Michael A. Morris; Kerry Laitala and OJOBOCA

presented in association with Canyon Cinema Foundation, Oddball Film + Video and SOMArts
sponsored by LUNA, MUBI, Ninkasi Brewing and Vimeo

Full Festival Pass: [$60 general/$40 Cinematheque members] available here.
Admission: [$10 general/$5 Cinematheque members]. Advance tickets available here.

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SCREENING:
Now I Want to Laugh (2014) by OJOBOCA; 16mm double, color, sound, 15 minutes, from the makers bay area premiere
This is a simulation of a prototype for a “feeling machine” envisioned by Dr. D. Forme in 1917. This simulation is based on a short description and diagram found in the doctor’s notebooks.  The description focuses on only one section of the machine. Brief mentions of the other sections were included but no detailed information was discovered. Obviously, the machine was never built, yet according to the description its purpose was “to replace the faulty mechanism of human emotion”. (OJOBOCA)

Resonant Luminance (2015) by Allison Leigh Holt and Kadet Kuhne; digital video double, color, sound, 15 minutes, from the maker world premiere
Resonant Luminance is a video and sound performance, with live image streams conducted through several minimalist videosculptures. Merging cross-sensory investigations of intangible phenomena and perception, this collaborative piece is an interpretation of time and multi-dimensional reality through incandescent glass forms, and the conversion of the visible spectra into audible frequencies. (Allison Leigh Holt and Kadet Kuhne)

Second Hermeneutic (2013) by Michael A. Morris; multi-projector, color, sound, 8 minutes, from the maker bay area premiere
This is the second in a series of works that explore the nature of interpretation. In this case, a pair of 16mm projections are overlapped while being captured by an HD video camera. The analog component signal is fed into an audio mixer without any further filtering. All audio in the piece is produced by the camera's output. The video waveform is manipulated by the film projection to produce a real-time, synaesthetic cinematic experience using the artifacts of one medium interpreting another as raw material. (Michael A. Morris)

Third Hermeneutic (2014) by Michael A. Morris; digital video, color, sound, 11 minutes, from the maker bay area premiere
The third work in the continuing series of expanded cinema performances exploring the hermeneutical process as it might be applied to cinema and technology. In this entry, the text-based filmic image is overlaid with a digital video projection that is controlled by custom software. The hybrid moving image is re-interpreted by the computer to control immersive audio synthesis. The viewer is questioned about her relationship to history, meaning-making, and cinematic experience. (Michael A. Morris)

Spectacle of Light (2015) by Kerry Laitala and Voicehandler; multi-projection, color, silent, 11 minutes, from the maker world premiere
In 1915 Walter D’Arcy Ryan induced explosions of color over the San Francisco night sky as part of the Pan-Pacific International Exposition, a presentation the likes of which had never been seen prior, and which became a model for light displays at future World’s Fairs and illumination showcases. One hundred years later, Kerry Laitala pays tribute to this historical moment with a dual-projector performance involving archival images of silhouetted spectators of the 1939 New York World’s Fair sharing screen space with sinuous light shapes swirling, twinkling and bouncing across the frame like unbound forces of energy. Laitala’s sound collaborators are the dynamic local duo of Jacob Felix Heule and Danishta Rivero, performing as Voicehandler. (Kerry Laitala)

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CROSSROADS 2015 receives generous support from: the San Francisco Arts Commission, San Francisco Hotel Tax Fund/Grants for the Arts, Fleischhacker Foundation, Zellerbach Family Foundation, The Andy Warhol Foundation for the Visual Arts and The Willow Foundation