Saturday, Nov. 25

4–6pm | Deep Listening: The Story of Pauline Oliveros (in-person tickets 🎟️)
6–6:30pm | intermission
6:30–7:30pm | Q&A with Deep Listening director Daniel Weintraub, Brenda Hutchinson, and Anastasia Clarke, moderated by Mara Barenbaum
7:30–9pm | Short Film Program A (virtual + in-person tickets 🎟️)

Sunday, Nov. 26

7–8:30pm | Short Film Program B (virtual + in-person tickets 🎟️)
8:30–9pm | Hali Autumn’s Twin Seas, presented with a live score by To End It All

(Ruth Hayes, Olympia, WA, 2:17)

The bells, or koudounia, that goats and sheep in Crete traditionally wore served as amulets to ward off evil spirits. Still in use, they also help shepherds know where their flocks are and what they are doing. Animated to a track composed of koudounia samples, this film’s abstract imagery originated in cameraless techniques that include stencil and bleach on 16mm color stock, and cyanotype.

(Abigail Hendrix, 14:59)

Nimueh is a hybrid 16mm and digital experimental film that explores the mythologizing of the body after violence and death.

(Hogan Seidel, Seattle, WA, 3:13)

Konstantin is an experimental film shot on high-contrast black and white 16mm film using a single 100ft reel. The film is an in-camera edit with triple exposures, creating a layered and complex visual language. Through this aesthetic, the piece explores themes of queer love and queer ecology. It invites the viewer to enter a unique and poetic world, where the boundaries between the human and natural realms blur and merge. Pushing against human exceptionalism and into a world where there is no ‘natural’ or ‘unnatural.’

Can a walk in the forest, a kiss between lovers, a roll of film, the touch of lichen, liberate ourselves from these hierarchies?

(Heather Hindes, Portland, OR, 7:52)

Isolated in the desert, something is created out of nothing. Signal was made in research between the creative habit and the elemental symbol of fire and its many images. We burn away our bonds from old forms and ideals and stagnancy due to a global pandemic. This film is a spell cast to help us all break our self limiting bonds and remember to lean on each other, and continue to inspire each other to keep walking forward. To keep burning.

(Ruby Lee, Seattle, WA, 2:59)

You are your own worst critic.

When she wakes up trapped in a nightmare, she must find a way out by facing her biggest fear: herself.

(Awa Moon, Seattle, WA, 3:37)

A love letter magnifying the intersection of transgender identity, nature and motorcycles.

(Sonam Tshedzom Tingkhye, Seattle, WA, 11:05)

A Tibetan refugee shares his story growing up as part of the first wave of Tibetans to settle in India as his daughter responds and connects through narrative movement. She dances with gesture, expansion, and carves through her childhood home while recognizing the adaptive nature of the Tibetan identity across generations. As the story progresses, the camera expands on movement with match cut editing, shifting perspective, and magnifying expression. Metaphors reveal themselves and the father recalls returning to his homeland after 50 years.

Dance, camera, and story merge as Home creatively unveils the Tibetan resilience by uniting both immigrant and first-generation voices.

(Julie Perini, Portland, OR, 4:14)

When I feel disconnected from myself, loved ones, or the Earth, I find it helpful to remember that water is relentless in its efforts to connect. Water is in constant motion, changing and transforming, linking everything to everything else on this planet and beyond.

1000 Waters (Oceans & Friends) is part of the 1000 Waters series; video meditations on the element of water. All of the shots in 1000 Waters are culled from my archive of daily video shooting with a consumer camera, a Flip camera or iPhone. Since April 1, 2011, I have been shooting a single-take, 60-second video each day, called a Minute Movie. I recently organized the Minute Movies into a massive database of over 5000 shots. About 20% of the shots in the archive contain water in the form of streams, lakes, the ocean, fountains, waterfalls, bath tubs, sinks, rain, hot springs, and more.

(Jalen Thompson, Eugene, OR, 12:51)

66 Motel explores the misconnections, the unspoken thoughts, and the delusions we experience in our digitally connected world.

(Chelsea Werner-Jatzke, Seattle, WA, 3:30)

Drawing on Roland Barthes, Cameras are clocks for seeing incorporates text fragments from Barthes as stanzas interspersed into personal meditations on landscape photographs taken by my beloved as a teenager. As a curator of Good Symptom (3rd Thing Press, 2023), a serial publication of time-based literature, I have been spending a lot of time with Barthes’s Camera Lucida, the source material for the title of the publication. During this time, I discovered these photographs in my husband’s childhood dresser and was inspired to meditate on how Seattle (the city where we met) and the time that we have spent there (together and apart) has shaped how we experience place, identity, and our relationship.

(Celestine Ocean, Seattle, WA, 12:00)

Star and Cleo – two siblings from a small town – have to choose between personal gain or honest sacrifice when they stumble upon a life-changing reward.

(Rana San, Seattle, WA, 2:34)

Hammered into 16mm found footage of a police propaganda film, subtext emerges letter for letter from the redundancy of repeated text—a reclamation of bodily autonomy from those who pose as protectors.

(Meriden Vitale, Quilcene, WA, 7:30)

In the depths of far away places, what do we discover that stirs the smile, entices the light, that lures the fish? What else could but mingle beastly desires with such innocence? Spetunia is ready to find out.

(Nick Roetemeyer, Olympia, WA, 4:15)

Official Music Video for “Waiting” by Annie Schultz from Trailing Twelve Records.

(Wesley Adam Klingele, Kent, WA, 2:30)

The human memory and the invention of the camera converge in an impossible new change.

(Jay Anthony Baker, Corvallis, OR, 3:50)

An experimental film about senses of place and journeys of emotional locatedness.

​Made with help from Val Chang, and dance from Shane Scopatz & Ayelet Nadav.

(blue jaye corvidae, Portland, OR, 2:30)

An experimental, traumacore short film written and directed by blue jaye corvidae, shot by buq corvidae-schulte.

Video opens on the [Projected Soul Impression] of the [Audience]’s anticipation and expectation of the [Performer]. The [Performer] enters the stage dressed as a [Ghost of Themself], projected upon with the [Audience]’s memory of prior performance, the [Performer] as [Ghost of Themself] begins to perform. Struggling to maintain the pressure of performance and expectation, the [Performer As Ghost of Themself] is distorted by panic, pulled into [Panic Attack], unable to maintain [Self], they excavate, dissociate, disappear into a small terrified inner place, seeing you, seeing them.

(Melina Kiyomi Coumas, Portland, OR, 3:30)

An experimental short exploring the filmmaker’s lifelong struggle with a speech impediment. Shot on super 8mm film.

(Misty Shipman, Newport, WA, 10:44)

When ballet dancer Polly wakes up in a fugue state, she is haunted by hallucinations and visions of her best friend, whose tragic death haunts her.

(Eric Michael Acosta, Seattle, WA, 16:06)

The negotiation on moving through.

(Mary Evans, Eugene, OR, 5:05)

The title Peisinoe is the name of a Greek siren. I imagine Caroline’s character luring in her victims with mystery and innocent wonder. Not to drown them in the ocean, but to trap them in an in-between state of consciousness.

(Sean Waple, Seattle, WA, 6:04)

Germination is a formal and temporal reinterpretation of vegetative life cycles.

Score written and performed by Victoria Jordanova.

(Hali Autumn, Portland, OR, 30:00)

Began fierce and tender. Waves coming toward each other in flesh and in water. Interruptions of rock formations. Intertwining spirals formed by the body crawling across the sand…

Featuring Vanessa Skantze; presented with a live score by To End It All