There’s always a project or an idea that’s incubating. It helps to let others know so that it holds me accountable.
BEING AND BECOMING
/ˈbēiNG/ & /bəˈkəmiNG/ ::
The acknowledgement of growth and change as a dynamic state of existence. Presence which allows for all things possible.
FORTHCOMING BOOK CHAPTERS:
Accepted and forthcoming: “Cyborg Citizenship in Keiichi Matsuda’s Colombian short film, “Hyper-Reality” (2016)” a book chapter in Digital Encounters now under contract at University of Toronto Press. The volume is edited by Dr. Cecily Raynor and Rhian Lewis, 2019-2020.
Accepted and forthcoming: “Politicized Web Aesthetics in Mexican Animated Short Films: “Reality 2.0” (2012) and “Retrato Político” (2013), a book chapter for the edited volume, Animated Cinema in Mexico: Ideology, the Family, and Profit in the National Cinema now under an advanced contract at SUNY press, 2020.
"Naturally Synth": A Landscape Music
Telethon for Radical Resting
Each day, after night falls and before the sun rises again, the cable television watchers of Quebec might choose
to spend their lonely hours between 2am and 6am watching the anti-Internet ------
------ that is, the very slow and
soothing program called “Bonne Nuit” on channel V.
“Bonne Nuit” looks like a fixed camera on a certain frame
of beautiful scenery around Quebec for about 20-30 minutes backed by a muzak soundtrack.
A Landscape Music Telethon for Radical Resting” is a feminist interpretation of cable television’s “Bonne Nuit”
in which we, as women and women-identifying electronic musicians, will document, sample, sequence, stream,
and re-broadcast the slow-tech sensation of Nature + Synthesizers + Radical resting. We (Lisa Teichmann,
Estelle Schorpp, and Kate Bundy) hope to perform and record the session at the same time as “Bonne
Nuit” (2am to 6am) accompanied by a backdrop of livestream national park cameras around the world.
musical collaboration mimics the muzak and public access registers of “Bonne Nuit” and then bends these tropes to our particular interpretations by using samples of field recordings of nature. Lisa, Estelle, and myself
will layer these textures and weave them into harmonious melodies and ambience of the livestream setting of
natural landscapes. Our idea is to evolve this sound into moments of quietude and cacophony within four
different ecosystems (mountains, desert, forest, and water) and eventually to welcome the early morning sun as
a culmination point of the performance -- to wake up and to have embraced rest and conscious activity.
atmosphere of the performance would ideally be a calm and safe space for the audience to listen, rest, sleep,
meditate, dance, stretch, and circulate freely and respectfully. We can encourage attendees to bring yoga mats,
cushions, blankets, hydration, and the space would allow for attendees to choose their approach to rest and
enjoyment of the telethon for as long as they need. During the performance, we will livestream the musical
telethon online, record the 4-hour musical session that will be synched to the landscapes in the background, and
then send the session to the programming offices Ici Radio-Canada Télé, TVA, V and Télé-Québec as a
proposal to broadcast on cable television during the regularly programmed hours of “Bonne Nuit.”
MY DOCTORAL DISSERATION:
Ibero-American short films in Web 2.0 as indicators of (Trans)nationalism
dissertation project will illuminate how the World Wide Web 2.0 shifted ways of
perceiving nationhood and national identity in Ibero-American[i]independent short film. Embedded in this shift is the question of how
cyberspace dialogues with national territories, borders, and belonging -- and
even the myth of the Internet as a “global village” of democracy, postnationalism,
and postcolonialism. The regional or national short film has historically
functioned as a government-subsidized, small-grant venture for budding
filmmakers and animators (Felando 40), and the ways that regional cultural
industries acquire, package, and distribute short film has been evolving
alongside the new possibilities of Web 2.0. In this online era of participation
and content generation, filmmakers can self-promote and market their projects
outside or alongside their official distribution houses; thus, skirting or
eliminating barriers of approval and gatekeeping in national and regional
cultural industries. With these newfound Web 2.0 capabilities of sharing,
“liking,” commenting, promoting, and fund-raising, short films that had been
more closely bound to a locality for funding, equipment, production teams, actors,
and languages could now rework and expand the connections between film
production and national belonging.
a parallel trajectory to the materialist approach to short film production in
the digital age is the remarkable shift in the content of the films themselves
and the questions that they propose about national identity in the digital age.
Since short films are usually made with leaner budgets and less oversight than
their feature-length counterparts, the timeframe from production to
distribution can be less than 12 months, signifying a greater possibility for
translating current cultural debates into scripts and productions in a timely
manner. In the 2010s, the Web 2.0 was well underway, and headlines about
cyberbullying, screen addictions, and data privacy breaches began communicating
mass anxiety about the damaging effects on societies that are constantly
connected and technology dependent. Reflecting the shift from analogue to
digital, many Latin American and Spanish short films produced during Web 2.0
began to follow filmic trends that created narratives surrounding the post humanness
of the web user and digital citizen in the Participatory Web. By theorizing
within critical frameworks of posthumanism, close analysis of three
contemporary Latin American and Spanish short films will dialogue with
depictions of the technologized body, the feedback loop of human cognition and
machine learning, and posthuman visions of a global future that reflect life in
the Web 2.0.
By Ibero-American short
film, I mean that the short could be associated with either the region of Latin
America or Iberia, or a collaborative production between the two regions which
is a frequent case. I choose not to use “Hispanic” or “Spanish-language” since
this excludes populations that are not majority hispanophone and the films that
are made in those other languages.