 marks the first creative collaboration between Toronto-based artist Chase Joynt (Everyday to Stay) and NYC-based filmmaker Brooke Sebold (Red Without Blue). 

With haunting suburban visuals backed by the rich sounds of Toronto based-band Ohbijou, 

 powerfully engages in a relationship between an Orthodox Jewish mother and her transgender son as they navigate silent secrets of a shared past.

"Hauntingly beautiful. Rarely have I watched a film that is such a perfect union of parsimony and punch. It left me breathless." - Michelle Stone 

"Perfectly timed and sequenced, 

 is so resolutely personal in it's detailing. Joynt points to a place, draws a circle around it, and then refuses to fill it in, restraint that leaves a powerful silence in which the viewer can inhabit." - Mike Hoolboom, Winner of the EP Canada/Canada Film Capital Award for Emerging Canadian Artist, Inside Out LGBT Film & Video Festival (2012)

Akin

 music video features soundscapes and footage from immersing ourselves in nature as we ground in our souls as bodies existing outside of isolation, capitalism, gender dysphoria, and the prison state. 

 was written together at the top of a mountain in Happy Valley in Tongva Land, so-called East Los Angeles at Sarita Doe and Champoy yurt dwelling ceremony.



 unearths diasporic queer spirituality and harnesses our ancestral languages - Urdu and Kapampangan.



 is a prayer to honor the bonds of our love that expands and brings regeneration into our multiverse. 

 is a spell to inspire deeper connections to our Earth and welcome in freedom and joy for ourselves and kin.

corporations own our water, pushed out BIPOC farmers, and tourism poisoned the salton sea. as water protectors we must bloom new beginnings.


BLOOM

Body-oddy-oddy-oddy: Destabilizing the Surveilling of Queer Bodies explores the nature of how Rosenthal and Souther understand the body, the ways in which they queer the body, and performative nature of how the artists explore our identities in media space.

The work challenges the supremacy of normative human body-to-body contact by exploring the role that a hybrid human-object-virtual encounter might pose for alternative forms of intimacy and contact. By creating a multi-channel video installation, Rosenthal and Souther create opportunities for audiences to reimagine their own bodies in proximity to the screens. 

The artists state that the work is developed "collaborating with A.I. systems that are trained on our visual and linguistic cultural understanding of "normativity," "queerness" and "bodies"".

Body-oddy-oddy-oddy: Destabilizing the Surveilling of Queer Bodies

Artist, musician and filmmaker Stan Greengrass’ documentary 

 explores the sacrifice of starting HRT for trans singers who rely on their voice for performance.

Down There The Seafolk Live

Created across the country with artists who never met, Sweatmother and Ellen Donnelly were interested in collaborating and creating a film over email.

Dryness

In the COVID-19 pandemic, mirrored fatality transverses through planet earth as international multi-hyphenated artists & farmers. 

 is an eco apocalyptic survival hit to fortify themselves towards food sovereignty & the collapse of the exploitative surveillance state. 

 is a prayer and their reflections from leaving the concrete jungle and restoring in sacred lands, regenerative farms, community gardens, and QTBIPOC (Queer Trans Black Indigenous People of Color) sanctuary projects on Indigenous land. 

 is an immersive journey about how we are stripped from our ancestral lands and pushed into cities suffering from COVID-19, food apartheid, the police state, and environmental racism.

chand is heartbroken by human biome(trics)’ destruction on yatu

overshadowed by grief, chand refuses to align with yatu

without chand and yatu's lunar eclipse and gravitational pull

yatu's brain coral reefs no longer spawn sanctuaries for a naiad

forests of joint pines suffer from dehydration

and cannot weep pollinating droplets to nourish a patia’nak gubat

naiad and patia’nak gubat communicate their impending extinction through marine fungi and mycelium root messaging

naiad and patia’nak gubat conjure chand and yatus’ metamorphosis by intertwining in cocoon webs ritual

patia’nak gubat and naiad’s cocoon webs realign chand and yatu’s orbit for revolutions to come

chand’s light embraces yatu’s biosphere and their bond regenerates patia’nak gubat, naiad, and all earthbody(s)

EARTHBODY(S)_BIOME(TRICS)

 is a queer-feminist, experimental post porn which aims to challenge the boundaries of post-pornographic representation and find visual codes for queer sensualities that expand the spectrum of human desire and sexuality.

I have experimented with distancing myself from the interaction of human bodies and the fixation on eroticized body in post porn fims. Kinetic sand, butt cheeks, insect robots, and more were conceptualized as actors in their own right, recontextualized during montage within a digital, extended ecosexual pleasure fiction. Influenced by my affliction with complex PTSD and dysphoria as a trans*person, I was interested in representational possibilities of fragmented perceptions of reality that do not pathologize and normatively patch them back to a coherent perception. Combining 2D and 3D image manipulation programs I developed a destabilized visual language and patchy visual counter-fiction of bodies and sex that decisively departs from the dominant norm of representation, challenges the notion of the body as an autonomous, self-contained entity and instead supports a new-materialist, post-humanist notion of queer desire. Beyond the default settings of verticality and earthly rules of gravity, I misappropriated image production tools to visualize the porousness of bodily boundaries and fragmented perceptions of Self and Other in interplay with active gestures of sexiness. Multiple and frequently changing camera perspectives, which stand in devoted relationship to the actors, are intended to dissolve the static location of the viewer and aim to unsettle and shift habitual distances.

Fragmented Delicacies

Visual poetry film with layered voices, sound, and the image of ribbons on a wooden fence, floating on the wind.

Not too far away from conjunction, but whatever the opposite of coagulation is:

the process of something standing like a 19th century jelly (where to boil down the feet and the hooves was to make a spectacular trifle). A slab turning to ribbons on a washing line, yes. I’ve seen the same ones twice, like Godard playing the same prank on poor Agnés or the way a hospital smell can rudely interrupt the kitchen, even after all this time.


Something I learned last Easter, is that an ICU can also be called a CCU, and this is where we got stuck. A man at reception claimed ‘I CAN HELP’ by way of a ribbon sash across his chest, and as it hovered millimetres away from the map, I stood thinking to enter the waiting room with this funny story just to lighten the mood, and whether I should run there like on TV or walk like a sensible person. The likelihood of him dying suddenly in the 10 seconds difference between a light jog and a power walk was slim, albeit I am in a place where stupid slim dreadful possibilities 

Some of these days, the ribbons map themselves out like a detective would and I’m yelling whose fault is this! that 

 would end up some lonely murderer, looking for any excuse to lay ribbons out in the garden, and tie them up in chaotically synchronised knots - knots so ridiculous i can hardly stop myself from laughing.

One of those mornings, ha! I sat up, just like ha! He had been sitting with his wife, two heads racking two brains to come up with a solution. See, he was past the 2 months the doctors had given him, and he was actually feeling completely fine. Being the person he was, I am, continue to be, this felt almost rude, to be defying nature this way. No one knew what to do so we had a party. A drink in his hand was funny enough, given the ordeal that was sitting up in bed, the one I helped build in the living room, where he hung fluids from a picture hook and we all thought 

Anyway, another life, a drink in his hand, in a glass, not a bag. Beer spilling everywhere, like you see in films when medieval knights give most of their alcohol to the floor. 

Because the night! Belongs to lovers! Because the night! Belongs to love! 

everyone singing and spilling, this could be the last, this could be the only.

During the faltering of Easter last year, I brushed my teeth and emailed my therapist that I would not be able to make it today. My first apocalypse in June, a week before my 23rd birthday, I continued to make a potato, rosemary and garlic focaccia, and the paramedics watched me through the hatch in the kitchen. My sister went: 

And who knew that an unfunny situation and an unfunny pun would make for such raucous laughter, laughter so heavy I started screaming and did not stop.

Spring, really is quite violent in its arrogance - like the play I heard about where the stage swords were replaced with real blades. The audience made a cacophony of applause for the wound and the palpability of the pool of blood.

Summer, the day we stepped out to see what a post-apocalyptic world would look like and I can’t remember if I was yet 23. Out of the five of us, I realised I am now the only person with a name not beginning with J and I try not to take this personally. This I do remember: walking in a pack, us who had survived whilst the others, they were picking up bits for the barbecue later. None of them are aware that the end has come, been and gone, or that I may never learn how to use our barbecue now.

A very small boy can spell the word Pneumonoultramicroscopicsilicavolcanoconiosis, I know because I saw it in a YouTube video my brother showed me. Meaning: lung disease caused by the inhalation of very fine ash. The very nature of Bader-Meinhof is that it will appear more frequently the more you think about it.

lumps like the heavy pile of mentioned ribbons, pyjamas

is the moment of the severed head in the box

over and over until it’s almost boring.

Look, there are only a certain amount of severed heads i can receive,

Funny Ribbons

There are no more walls, things are not repetitive, my body is not a vessel, I am no longer suffocated. I breathe, I look, I touch myself, I find myself, I sit, he accompanies me. He accompanies me in my steps, with his hands he washes my face after feeling that pain that is no longer there, he is here with me, we feel each other, we touch each other, we transform each other. I am not alone, my mantra changes, I no longer have nightmares, now I inhabit myself.

Ya no hay paredes, las cosas no son repetitivas, mi cuerpo no es una vasija, ya no estoy asfixiado. Respiro, miro, me toco, me encuentro, me siento, me acompaña. Me acompaña en mis pasos, con sus manos me lava la cara después de sentir ese dolor que ya no está, está acá conmigo, nos sentimos, nos tocamos, nos transformamos. No estoy solo, mi mantra cambia, ya no tengo pesadillas, ahora me habito.

HABITÁNDOME

We started thinking through testosterone in gel and expanded to elements such as tears; warm beer; holy water; and mercury. 

With such, we propose a new constellation of technologies through a narration on vulnerability. Tools to destroy and disappear, but also to expand and nourish. 

A homage to the symbolic link in a drop of water and a late-night DM; a soaked jacket coming back home and trying to resuscitate a phone in rice.


The film was created through a back-to-back dialogue between "makers". It’s a research on writing and filming, and simultaneously on affection and subjectivity. It was filmed in Super-8 and 16mm film.


We believe this piece fits this platform because not only it's a reflection on the rewiring of the mind and the body through transmasculinities, but also it's a piece that acts as a moment to breathe, be vulnerable, share and be in peace with uncertainty. It's as much about fear as it's about euphoria.

I Might Go and Throw My Phone Into The Lake, Yeah

In this film I turn my body inside out to create a portal for inner listening. A heart monitor connects my pulse to animate a spotlight that illuminates my body. A contact microphone turns the sound of my breath into a sonic landscape. Exploring entrainment – the phenomenon by which biological rhythms like the heartbeat and breath gradually fall into sync – I invite viewers to tune into their bodies with me.

Inner Dawn

A lesbian art film by the Swiss filmmaker Cleo Übelmann, released in 1986. In black and white, 

 (Italian for “right hand”) is a study of erotic objectification which depicts one woman tying up another woman in a lengthy act of consensual bondage.

Mano Destra

 a singer attempts to decipher a song they are singing in a language they do not speak. The 1955 song Muistatko Monrepos'n was the first Finnish record to go gold and is still the fourth best selling single in Finland. The location it refers to occupies a specific place in Finnish cultural memory, as somewhere that was ‘lost’, and as such the waltz is highly loaded. What meaning remains, when the music is stripped away? At present, the nostalgic is not a neutral territory, it can be hard to separate weaponised nostalgia from its more well-intended forms. When its affective qualities are combined with notions of national identity, a potentially difficult space opens up. 

 is about trying to feel the weight of this context, from the outside.

Muistatko (a Method)


our non-linear disentanglement invocation channeling the hybridity of animals+cyborgs+transhumans: the laman haywan and labuad meklooq (kampangan_urdu for: flesh beast and earth creature) - the multispecies inhabitants of 2022 & 3033 living on ecocide 3urth: the corpses of natural ecosystems of planet earth murdered by apathetic humans and artificial intelligence seeking vengeance. our wails ascend us out of pits of lava + untouched seabeds contaminated by technological trash + nuclear shrapnel. as laman haywan and labuad meklooq, we symbiotically conjoin in the wreckage of deserted laboratories, holy ruins, & subaltern fires to evolve and reckon with our retribution.




joining together to change for
nourishment and those who feed
to transfuse
(zyg) - joining together
(mut) - to change
(troph) - for nourishment / those who feed
(00ze) - to transfuse


PRIMALDIAL MAGMA_ZYGMUTROPHOOZE

Visual poetry film with landscapes, voice, and sound.

who purposefully drove their car into the river

singing aye the tumbleweed of Grecian gods

never knowing what stone might taste of
  

singing aye the under seed of creaking logs

Postlude II

A ﬁlm about my personal experiences of dysphoria centred around my womb, and chest among other things.

Ripping Out The Womb And Other Things

explores ‘channeling’, time travel, and remix. It sources from numerous archives to explore the ‘techno somatic’: healing practices of sound moving through body and body through sound. This channel special homage to ‘tektonik’, a dance style popular in the early/mid 2000’s, as a parallel to the evolution of Techno, a genre grounded in Black culture (the Detroit music scene in the 80’s) before taking on subsequent, globalized iterations.

Nick Cave’s Soundsuits (PBS NewsHour) | Youtube

Nick Cave: Forothermore (Guggenheim) | Youtube

Cybergoth Dance Party (gNarLy cEe) | Youtube

Tecktonik Dance Moves Compilation (David Vidal) | Youtube

Tecktonik vs. Shuffle Girls (juan oroszco) | Youtube

Yelle - A Cause Des Garcons (Chanson Française) | Youtube

Rapper HAITI BABY freestyle on Real 92.3 LA | Instagram

DJ Edan mixing Blue Note record | Instagram

Personal footage screen recorded on iPhone 13 and sourced from Facebook Archives (2009, 2012)

TECH[TON]IK

The Flaming Creatures is an Avant Grade Art film by artist Jack Smith. The film was made during the the era of the New York Underground Film movement that brought us art film artist like Andy Warhol and the Kuchar Brothers both which inspired John Waters.
The weird plotless film features male and female nudity and the police often raided showing in the sixties. The film evokes a non-narrative orgy in its parade of flaccid penises, bouncing breasts, and at various intervals depictions of both violent assault and celebratory pleasure.
Smith shot the movie on old army surplus film that was about 15 years old. 

The Flaming Creatures

The Reconstruction and Deconstruction of the Female Form

In the network-culture society there are hundreds of thousands of video tutorials that show performance techniques of the genre. Within this type of video and under the title “How to shave like a real man” or “To shave like a real man” we can find a wide variety of men who explain with great precision how to properly shave the face. beard. While carrying out this action, they usually address “cis male adolescents”, thus reproducing a self-affirmation of their identity as “men” through this action.
The social construction of genres and the audiovisual media we use to expose and represent ourselves are a technology, and as such they can be hacked, they are unstable and fragile.

 is another video tutorial to learn how to shave, with some particularities that distance it and put it in confrontation with the videos that are part of this genre of “beauty tutorials” that we can find on the internet.


The video is subjected to a digital glitching process, the appearance of the error/glitch calls into question the unity and purity of a system, revealing that it does not exist as such. The glitch process is a metaphor that reveals the prevailing fiction of representation, plays with the deconstruction at a technical level of the video image and the gender performance action that it is showing.


To shave like a real man

We hiked a bridge to nowhere and at the end were metal locks scratched with names to symbolize eternal love. We gazed at a vale in the middle of forest mountains with a river vortex flowing to nourish the four corners of the farming town: Negra (so-called Blanca), Murcia, Spain with its abundant lemons, grapes, olives, and oranges. Down below were dogs, baby sharks, ducks, butterflies, and murmurations.

 is a tale honoring the world building created when moments of reciprocal, trusting, and sacred love for our lovers and the lands we protect & steward are prioritized and fought for.

 contains field recordings of our immersion during our residency at Centro Negra with AADK Spain: the church bell that rings every hour, the 2022 New Years countdown, parades, farms, climbing the top of Valle de Ricote, and the industrial dam at the center of Negra.

VALE

The filmmaker collects notes on the Jewish water ritual mikvah, which slip into immersive, recollections of memories. 

Mikvah, directly translated as a ‘collection [of water]’, a ritual immersion in water revolving around the body’s innate holiness and purposed towards marking transition – physical and transcendent, minute, and tectonic – becomes the visual language and essayistic frame for exploring the filmmaker’s own marking and ideas. As information and images are collected, and details and meanings of the ritual of the mikvah understood, so too are the feelings and thoughts which have brought the filmmaker to make the film. As they collect themselves, and the memories they recall underwater come closer to the present day, the truths they (re)claim become an offering on the way we evolve and love.

notes on mikvah

 is an examination of tension. It is an exploration of the physiology of my voice, as it visibly stretches and strains, and the histories held in its folds. Most often when we see trans bodies in the media, they are objectified and sexualized. Here, attention is placed on a desexualized and androgynous focal point, the throat, as two voices of the same body explore less familiar themes of trans corporeal vulnerability and exposure.

the training wheels screeching as I round each bend

Robin Rutenberg, they/them, b. 1987, Florida, USA. Currently living and

Robin is an artist with an emphasis on experiential sound, experimental

composition, digital arts, poetry and storytelling. Their practice is steeped in

ruminations on gender, family, and kinship and asks how

[missed]communication and [mis]understanding within our own bodies,

other bodies, objects, and environment inform these relations. They are

deeply interested in the affective power of using one's voice, speaking with

the body, and being witnessed as generative acts of healing and connection.

Robin received their undergraduate degree from the University of North

Florida and their MA in Sound Studies and Sonic Arts from the University of

Categories

Sound