Hello,

I am very interested in presenting a workshop/lecture/screening. Details follow. 

  

I hope to hear from you soon.
Thank you,

Gerry Fialka 





This is a link to my past lecture history at MIT, NYU, USC, etc -   WorkShops


These are links to more lecture descriptions (# 1 to # 146)  List 1 List 2 List 3 List 4 List 5 List 6 

What follows is recent accolades, then new lecture descriptions (more details available upon request). 
I can create a customized one, what's your subject matter? Thank you, Gerry Fialka


Accolades:

"Fialka's lecture was fantastic. It is always good to have students get exposed to diversity and expertise and he delivered in spades. I really liked the open format, the engagement with the students, and the focus on form to contextualize the content." - Peter Tan, professor, Mount St. Mary's University, Philosophy of Film

"Thanks to Gerry for pulling us into such a lively and interesting conversation. It was certainly unexpected but refreshing to talk about subjects I hadn’t thought deeply about. I enjoyed the format of the discussion and especially the way he allowed people the power to say they “don’t know” an answer. I certainly was inspired to think about certain topics more: coping, the concept of double bind, inventions and the rules around them, effects preceding causes and McLuhan's tetrad." - Josh Corn, School of Visual Arts, NYC

"What fun to have Gerry Fialka at Union Docs. We are grateful that he attracted many enthusiastic artists to convene in the space around his "Genuine Fake Films" program. It was definitely a treat to have full audience participation. He really made the discussion open, accessible and comfortable and we really appreciate that." - Jenny Miller, assistant artistic director, Union Docs
 
"We are grateful that Gerry Fialka brought his energy and ideas to UnionDocs." - Christopher Allen, director Union Docs

"Fialka's RIA LIVE CINEMA was an electrifying highlight at our festival. Our audience was deeply engaged in this immersive multi-media happening involving locals." - Ruby De La Casas, director of the Other Venice Film Festival 

More details on the following lecture proposals are available upon request:

147- Demaking Welles -  http://laughtears.com/broside.html

148- Snapchat as Spoof -
Probing the tropes of McLuhan (his Menippean satirized translation of Finnegans Wake, sense-ratio-shifting, effects-precede-causes), Fialka interconnects the motives and consequences of Evan Spiegel creating Snapchat as a spoof of Facebook. Both are based in literature (McLuhan as "applied Joyce" and Spiegel as The Unbearable Lightness of Being). Spiegel says: People wonder why their daughter is taking 10,000 photos a day. What they don’t realize is that she isn’t preserving images. She’s talking.” and Snapchat discards content to focus on the feeling that content brings to you, not the way that content looks.” Uncover the hidden psychic effects of smartphones and how to cope with the immersive screen environments. What makes the psychic effects more difficult to assess are the blinders imposed by our preconceptions, perceptions and language. Fialka inventories these effects and muses why we ignore them. 

149- Experimental Filmmakers as Phantom Clowns

150- Saturday Night Live's Short Film Festival Spoof (2016) as Avant Garde Meta-History

151- Film Programming As American Zen

152- "I'm a Hack" - Documentary Dilemmas of Wiseman, Herzog, Alex Gibney,and Errol Morris, who said "When I grow up, I want to be Adam Curtis," who says of himself, "I'm a hack." 

153- Fake News as Myth Information - Explore the new meaning of the word "fake."

154- What's App? D.O.C. - Drama of Cognition

155- RIA AS REVERSE INTUITIVE ABERRATION 
 http://laughtears.com/iwantmyRIA.html

156- AFROFUTURISM AS MCLUHAN

157- TRANSRACIALISM

158- BERRIGAN BROTHERS AS FAMILY REVOLUTIONARIES

159- GEEK OUT AS FREAK OUT

160- ROD SERLING AS SURREALISTIC FABULIST

161- MOTORCAR AS MECHANICAL BRIDE

162- VR CINEMA AS POINT OF BEING

163- RUBE GOLDBERG AS DEUS EX MACHINA

164- "I'm Not A Criterion Person" as "Do You Mind Nudity?"

165- Jack Kerouac As Order, Tenderness & Piety

166- Atlas as Siglas

167- Theory as Spectacle

168- Orality as Earationality

169- Human as Technological Product

170- Tetradic Analysis as Coding

171- Reimagine the 4H Club

172- Amazon Echo as Android Meme

173- Jean Cocteau as Thinking Machine

174- Bresson as Ellipsis 

175- Nature Nap as Pulsar

176- Platforms as IPOs

177- Pauline Oliveros as Sonic Meditation - "Take a walk at night. Walk so silently that the bottoms of your feet become ears" 
http://www.afka.net/Articles/1969-00_La_Star.htm

178- Emojis As Art?

179 - Pokemon Go as Live Cinema 

Paramedia ecologist Gerry Fialka will probe Pokemon Go, the augmented-reality cellular app, as projection performance art. Survey "live cinema" from its roots in Gesamtkunstwerk (total art work) to what Francis Ford Coppola teaches as the multimedia genre merging theater, movie making and live televised streaming. Many variations span from Shakespeare's "All the world's a stage" to McLuhan's "Global Theatre."
 
We'll delve deep into topics like Expanded Cinema, psychogeography, Marshall McLuhan, Jane Jacobs, the Situationists, Bunuel's Land Without Bread, and James Joyce. Joyce invented cyberspace and disguised it as a book, Finnegans Wake, where he wrote: "Where the hand of man never set foot." 
 
We'll review McLuhan's Menippean satirized percepts: 
- "We shape our tools, then they shape us."
- "How about technologies as the collective unconscious and art as the collective unconsciousness?
- "Everybody experiences far more than he understands. Yet it is experience, rather than understanding, that influences behavior."
We'll explore the hidden psychic effects of cell phones and Pokemon Go, urban and country environments, and sense-ratio-shifting.
Are we wandering about like post-post-modern flaneurs?
Are we being played by Pavlovian prompts?
How can we reimagine meta-analysis of Free will and Determinism? 
What are the services and disservices of reward systems? 
What is the difference between consciousness and experience?

++++++++++++++++++

180- Stubbin' T.O.W.S. (If you guess what TOWS stands for, I pay you to have event)

181- The Battle Of Algiers As Training Film

182- GluBot as Culture Jam - 
GlueBot: Call for Submissions (March 15, 2017 deadline). The perceptual landscape is increasingly sticky and fateful, and it appears as smartphones have dominated conversations on issues like money, movement, and human behavior.
 
GlueBot is a zine-oriented publishing project and performance art work that seeks people to superglue their smartphone to their hand (and also, eventually to their forehead). All participants will attend the public viewing at the Venice Liennale on April 1, 2017. They will testify on the hidden psychic effects of this experiment during the GlueBot Workshop. This interactive discussion will explore adhesive apps, tetrad analysis, perception management, conscious clickbaiting, interior landscapes, limited hangouts, meta-cognitive machine learning, mailbox fullness, social engineering, cognizant coding, passionate pop sockin', information speed-up, "auralficial android memes," and the kitchen sink. Reinvent William Blake's axiom, "We become what we behold." 

Marshall McLuhan learned that every human invention (aka artifact, media, technology) extends humanness (a human sensorium). He called his probes "applied Joyce" via the Mennipean satire of Finnegans Wake, an epic 1939 book in which James ("Where the hand of man never set foot") Joyce invented the smartphone and disguised it as a novel. 

The smartphone is the new bacon, I meme, TV. And..."TV is tactile," yelped McLuhan. He examined the tactility of television exemplified by Salvador Dali's TV Guide cover depicting TV screens as thumbnails. Since words evoke more than their meaning, one could say that Marshall's last name is "Mac's Clue is the Hand."

The act of supergluing your smartphone to your hand needles somnambulism and traverses how to cope with the numbness caused by communication tools. We celebrate how both empathy and art shape behavior. GlueBot de-makeform and content, life and art, crime and artyfact, effects preceding causes and sense ratio shifting. 

Who buys superglue? Who buys smartphones? Does the drama of spending mirror the drama of cognition? Superglue is a powerful bonding agent used to create a semipermanent hold on the body, the mind and the spirit. So are smartphones. So are words. So are economics. So are "call for submissions." So what?

+++++++++++++++++++++++=

183- I Am Not Your Negro as Cinematic Seance (James Baldwin and Raoul Peck)


184- 
My Art Belongs to Venice -
How does a beach town become a sacred ground?  Gerry Fialka's interactive workshop probes the enduring existence of artists in an ever-changing Venice, California. Exploring the intentional and random roles that creative artists play in the life of Venice and vice versa, the workshop asks: How can a place affect the art-making and art-viewing done there, and exert a hidden influence on the psyches of its creative people? 
Fialka surveys the lively history of artists nurtured in Venice, from the Beats to the Hipsters. This impressive legacy includes the Cool School superstars, such as Ed Kienholz, Ed Ruscha, Wallace Berman, Marjorie Cameron, Ed Moses, and Robert Irwin; notable Boardwalk renegades, such as Sunny Zorro, Dougo Smith, Diane Butler and Vinny DiGaetano; and skilled painters, such as Tibor Jankay, Ray Packard, Earl Newman and Rip Cronk. What threads or themes, if any, can be said to unite the works of these diverse artists? Artist Mike Kelley commented that making art is making your sickness everybody else's sickness. Does that idea of illness and a unifying disaffection apply to the artwork done in Venice over the years?   As acclaimed screenwriter and director Paul Schrader has said, “The job of the artist is to attempt to sell out, but fail.”  This workshop sees whether that axiom applies to these many illustrious artists of Venice, past and present--whether they successfully made failed attempts to sell out.
 
Using Venice and its artists as a test case or jumping-off point, the workshop aims to examine larger questions of why art is created in the first place. What functions does it serve, for its creators and its audiences? Equally important, what terms, priorities, and metaphors make sense to use when talking about the reasons for art?  McLuhan and Warhol both said that art is anything you can get away with. We will trace interconnections between the famous ideas of "art for art's sake" and "the medium is the message."  From another perspective, Marcel Duchamp said that there is no art without an audience. Can Venice's art community help us to better understand the audience's role in the creative process? 
 
Returning to the idea of Venice as a sacred ground, a place of art and mystery, the workshop will look at how Thornton Wilder used different metaphors in addressing art's functions. He wrote, "Art is confession; art is the secret told. . . . But art is not only the desire to tell one's secret; it is the desire to tell it and hide it at the same time. And the secret is nothing more than the whole drama of the inner life."  That framework suggests that we must always ask, "What is art about, and then what is it really about?" Together, Fialka and workshop participants will consider: What is Venice's art really about?
 
“The Balinese have no word for art, they do everything as well as they can.” - McLuhan
 
"If it commands attention it's culture. If it matches the couch it's art." - Robert Williams

"One is an artist as the cost of regarding that which all non-artists call 'form' as content, as 'the matter itself.' To be sure, then one belongs in a topsy-turvy world: for henceforth content becomes something merely formal - our life included." - Friedrich Nietzsche

"Art as radar acts as 'an early alarm system,' as it were, enabling us to discover social and psychic targets in lots of time to prepare to cope with them." - McLuhan

"Art as a radar environment takes on the function of indispensable perceptual training rather than the role of a privileged diet for the elite." - W.T. Gordon

++++++++++++++++++++
 

185-
 Don't Even Look At It - (wording from cellphone warning at mainstream movie theater) ParaMedia Ecologist Gerry Fialka's interactive workshop probes how social media's multiple screens is changing the movie viewing experience and casting its own influence on film.
Via Fialka's essay "Don't Even Look At It" - Pixelvision & Multi-Screens -  http://laughtears.com/dont-look-at-it.html


186 - FILM CAN'T KILL YOU BUT WHY TAKE A CHANCE  -  Explore experimental cinema's hidden psychic effects via Gerry Fialka's new OtherZine article  http://www.othercinema.com/otherzine/sticks-and-stones-may-break-your-bones-but-film-will-never-hurt-you/ ;


187 GAZE INTO MY EYES - Fialka's raw and guttural performance art "play"shop on the sense of sight and the use of eye contact in movies and life.


188 - Will There Ever Be Silence? - Probe the hidden psyche effects of sound and image relationships as examined in Gerry Fialka's article in Canyon Cinemazine -  http://laughtears.com/willthereeverbesilence.html and   http://www.cinemazine.net/silence/


189 - LATENT RETINAL BURN -  Fialka's revealing rant on RIA http://www.laughtears.com/iwantmyRIA.html


The highly anticipated Tyler Hubby film on Conrad - tonyconradmovie.com & http://www.tylerhubby.com/

and the optogram, an image on the retina of the eye. This mix of kinetic-visual-sonic modalities probes the mirror-echo of the simplex simultaneity of underground cinema.

+++++++++++++++=

190- PLAY AS CONFLICT RESOLUTION -  The ultimate manifestation and function of play, according to Johan Huizinga, is the resolution of conflict, which in turn creates social order.   Gerry  Fialka's  "play-shop" probes this maxim and more. The word "play" comes from the Old English "  ple  -  gan  ," which means "move rapidly, occupy or busy oneself, exercise; frolic; make sport of, mock; per-form music." Participants play around much like Bob Fosse, as detailed in the book Fosse by Sam Wasson, who wrote that his dancers seemed "as if they were playing at dancing more than actually dancing." We will play at playing. Jimi Hendrix said, "You've got to have a purpose in life. But I'm not here to talk, I'm here to play." Miles Davis encouraged "Play what you don't know."   Brian Sutton-Smith said   "Play begins as a major feature of mammalian evolution and remains as a major method of becoming reconciled with our present universe. In this respect, play resembles both sex and religion, two other forms - however temporary or durable - of human salvation in our earthly box." and   “Games are rites of passage, the player performs a task, gains acceptance of his comrades and experiences success. It’s playing out an analogy of life.”

191- EXPERIMENTAL FILM AS PUNK ROCK (SUBVERSIVE ART) - Anthony Buchanan and Gerry Fialka probe the rebellious nature of the creative process by interrelating avant garde filmmaking and PUNK subversive art.

192- ART MAKING AS REMOTE VIEWING - Fialka probes the interactions of the non-physical with human art creations. How does technologies enhance human performance? How is matching a metaphor for neuron mirrors? Explore the neuroscience of James Joyce and McLuhan, who asked: "How about technologies as the collective unconscious and art as the collective unconsciousness?"


193- CHAPLIN CHANGES! CAN YOU? - Fialka probes Charlie Chaplin's motives and consequences in films, music, press strategies, amd life style choices. Explore how he embraced contradictions with his Tramp character, who embodied "the natural nobility of the downtrodden and the despised, yet he was no innocent." - Richard Brody. Delve deep into his relationship with the press, as a "suppress agent," and his maxim "numbers sanctify." Examine his Menippean satire: "The first Tramp film to be released, Kid Auto Races at Venice, features Chaplin on location at a real-life soapbox-derby competition, as a down-and-out swell cantankerously intruding on the newsreel camera crew filming the action. The template was instantly set: the Tramp’s self-conscious artifice launched Chaplin’s comic leap into reality." - Brody

 
194- LIGHT BULB AS ENVIRONMENT - Fialka probes the subliminal effects of the light bulb. Why is it the symbol of a good idea? " The 'invention' of the lightbulb became emblematic in the public's eye as 'the' quintessential invention. That, plus it obviously also works in the sense of 'he saw the light'." - Andy Konkykru. "In  Doctor Faustus Lights the Lights, Gertrude Stein uses electric light as a symbol for human inventiveness (and hubris) - the desire to overcome the limitations of daylight. Stein herself wrote only at night, and clearly identified with the Doctor Faustus she created." -Sarah Chinn. McLuhan wrote that  "a light bulb creates an environment by its mere presence." In  Gravity’s Rainbow, Thomas Pynchon describes a single light-bulb’s revenge plot on humanity. "Keep a good head and always carry a light bulb." - Bob Dylan.
 
195 - WHEN HENRY MET VIVIAN -  Could Vivian Maier have met Henry Darger? They  both lived in Chicago at the same time. Gerry  Fialka probes these reclusive artists, and interconnects their tools and environments. Their  possible friendship raises questions. We will ponder the striking coincidences and psychic kinship of eccentric street photographer Vivian Maier and reclusive writer/artist Henry Darger. John Maloof, curator of some of Maier's photographs, summarized the way the children Vivian nannied would later describe her: "She was a Socialist, a Feminist, a movie critic, and a tell-it-like-it-is type of person. She learned English by going to theaters, which she loved. ... She was constantly taking pictures, which she didn't show anyone." Much of Darger's artwork is mixed media with collage elements and has become one of the most celebrated examples of outsider art. Darger's fantasy manuscript is called The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion
 
196- TWENTY FOR FOLLOW-UP - Live cinemaists Will Erokan & Gerry Fialka delve deep into the social engineering of Joseph Heller's Catch 22, the 23 enigma of William Burroughs & Robert Anton Wilson, Subgenius Robert Dobbs' Club 22, and David Lynch's  25 Twin Peaks. They make and match the "u" in the number "four" into the universal & multiversal individual: YOU! Bob Dylan says "I didn't create Bob Dylan. Bob Dylan has always been here." James Joyce and Frank Zappa say that all times are happening now. Richard Linklater proclaims in his film  Boyhood - "It's always right now."  T.S. Eliot wrote "In my beginning is my end." Phew! The job in five words: "probing invention's hidden psychic effects."
 
197- HIDE-AND-SEEK - Gerry Fialka's interactive workshop probes the function of art, and the motives of its makers. Explore the hidden psyche effects of the environments resulting from art-making and art-viewing. Hide-And-Seek is a children's game in which players conceal themselves in the environment, to be found by seekers. Participants will seek new metaphors. Consider this axiom: "Art is confession; art is the secret told. . . . But art is not only the desire to tell one's secret; it is the desire to tell it and hide it at the same time. And the secret is nothing more than the whole drama of the inner life." -Thornton Wilder. What is art about, and then what is it really about? Delve deep into the artist as "probe" and "antennae of the race." What role does intention play in the creative process? Marcel Duchamp said there is no art without an audience. What role does the audience play in the creative process (during the making)? What was the motive of the cave artists? James Joyce was the first projectionist in Dublin over 100 years ago. He abandoned it and asked, "Why should I go inside a building and see a movie of a tree when I can go outside and see a real tree?" Years later William Faulkner said that the best fiction can be more true than journalism. Why do we have to recreate/reproduce things in order to get them? Why do we go to a theatrical play of people acting out life? Why don't we just live life? McLuhan and Warhol both said that art is anything you can get away with. Examine the interconnections between "art for art's sake" and "the medium is the message/massage."
 
198- MADNESS AS MUSIC – Gerry Fialka & Brad Kay probe sanity and the creative process. Charles "Buddy" Bolden (1877-1931), the man credited with pioneering jazz, had schizophrenia and could not properly read music because of impaired motor function. His lateral, freewheeling approach may have been the roots of the very essence of jazz – improvisation.http://www.apa.org/monitor/oct01/melody.aspx  "You can't prove you are sane, unless you have discharge papers from a mental hospital." - McLuhan. “You’re driving me sane” – Peter Lorre.Chogyam Trungpa says "If there is no sense of rejoicing and magical practice, you find yourself simply driving into the high wall of insanity." Delve deep into Oliver Sacks, Thelonius Monk, shamanism and more. With live music, films, discussion and Insane Crazy Blues.

 
199- BE HERE NOW as BEING THERE - Gerry Fialka probes the relationship of watching the film  BEING THERE today (as in Ram Dass -  Be Here Now) and the audience's reactions. He explores the outtakes at the end. Why did Peter Sellers so protest including those scenes, which broke the fourth wall, making the form (the process) more dominant than the content. Consider this axiom: " Art is confession; art is the secret told. . . . But art is not only the desire to tell one's secret; it is the desire to tell it and hide it at the same time. And the secret is nothing more than the whole drama of the inner life.  " -Thornton Wilder. What was the film about? What was it REALLY about? What was the viewing experience about, what was it REALLY about? Delve deep into audience feedback and feed forward. 

200- ALL TIMES ARE HAPPENING NOW - DURATION IN THE CREATIVE PROCESS -  “At a certain point in DOUBLE PLAY, Benning suggests that duration in cinema reveals meaning. This is apparent, though manifested differently, in both Benning and Linklater’s films. In Benning, there’s on-screen duration: shots that can last anywhere from seconds to hours. In Linklater, duration occurs most interestingly between films (e.g. the BEFORE trilogy). DOUBLE PLAY explores the marks of time, of duration, not only in Benning and Linklater’s respective filmic bodies, but also in their friendship and lives.” –Gabe Klinger

201- KEEP VENICE HOMELESS - GF probes homelessness in Venice, California. Who loves your trash more than me. Need money to make new sign. Michael Ventura wrote "Do not avoid the eyes of the homeless." Viva Los Venice.   http://256.com/gray/quotes/solutions.html
             
202- NOBODY WROTE IT - Gerry Fialka probes the motives and consequences of songwriting. Examine the ownership conundrums. When asked who wrote Old Joe Clark, Charlie Haden yelped, "Nobody wrote it!" "Everything is in public domain." -Oscar Wilde. "These folk songs gave me the code for everything that’s fair game, that everything belongs to everyone." - Bob Dylan.   


203- FIALKARTWORKS - Gerry Fialka probes his own creative process in the uses and misuses of technology. His University of Michigan studies in Art History and Film with Diane Kirkpatrick and Yon Barna enabled him to exploit early failings via alchemical juxtapositions. https://www.youtube.com/watch?v=ttr6Gh8lcf0


204- MACGUFFIN AS METAPHOR - Gerry Fialka probes the film Inherent Vice as a LSD macguffin via the smoke from the main character's cigarettes.


205- DANCE THE LIGHT FANTASTIC - Gerry Fialka and  Rag'n'Bones perform live dance, music and poetry with avant garde moving image art to revolutionize spontaneous dancification rituals. "How can we know the dancer from the dance?" - Yeats.
 
206- McLUHAN AS MOVIE MUSIC - Music outsider Gerry Fialka examines  Marshall McLuhan's percepts as cinematic soundtracks. McLuhan wrote: “Song is slowed-down speech. The reason cultures have different musical tastes is ultimately connected to language difference” We will survey the hidden psyche effects of music in cinema, and how this interaction of sound and visuals is both political and personal. Explore Bernard Herrmann, the funk pioneers, the anti-hits of The Shaggs, Igor Stravinsky’s Harvard lectures (attempting to prove that music is an expression of itself and nothing more), Korla Pandit’s “Universal Language of Music” idea, The Mothers Of Invention’s employment of Sprechstimme, Ornette Coleman’s harmolodic philosophy, John Oswald's Plunderphonics, and air molecule sculptures by Captain Beefheart, George Russell and Sun Ra. “Music is the Mother art”-Frank Lloyd Wright. “The best music does not want to be recorded” –Tom Waits. 

207- SERIAL MUSIC: ART AS IMITATING ESPIONAGE? – Gerry Fialka probes how a workshop proposal like this one can upset people fiercely. Examine the effects of workshop proposals AND Examine the subliminal effects of music. How and why do theories like the following so affect scholars? Was Anton Webern using music to send Werner Heisenberg's discoveries in atomic energy to German spy Klaus Fuchs, who was working on the Manhattan atom bomb project? Were the Nazis secretly behind the twelve-tone technique of composition? Was it reviled to propagate the outlaw status it needed to remain outside of the larger public purview? We will delve deep into the motives and consequences of composing music.   We will examine these thoughts and more.    "Even if this is really true," states conductor Pierre Boulez, a composer who continues to utilize serial techniques, "the music has been vindicated by music critics for decades now. I see no reason to suddenly invalidate an art form just because of some funny business at its inception."   Chris Townsend writes,   “Schumann is interesting  - he was clearly syn-aesthetic, and also clair-audient. One theory concerning his 'madness' is that he started to 'hear' music which was simply too modern for his time. There are largely unresearched speculations that he hid a lot of abstruse and esoteric numerological codes in his music.”   http://music.columbia.edu/pipermail/music-dsp/1998-December/054637.html  

+++++++++++++++++++++


208 - Documentary As Commodity White-wash - GF probes the illusion of privacy and documenting life ala TMZ, Vice, Frederick Wiseman, Errol Morris, and more. 


209 - PSD - People's Street Discourse - GF explores the person on the street, their opinions on the Festival and the films. 


210- Avant Garde Film As the GAN (Great American Novel)

211- Big Data As Experimental Film - Lauren Poitras (Ernie Gehr ex-student) and more. Delve deep into the hidden psyche effects of decentralized, personal and liberating electronic technologies that transcend time and space. 


212- ? As Character - GF explores the AAFF as a character. In the film Boyhood,  time is a character. In McLuhan's first book The Mechanical Bride, he posits the ads and comics as characters in a new form of science fiction. Room 237  interviewee Juli Kearns says the window of the Overlook Hotel's office in Kubrick'sThe Shining is “a character in itself."




213- - Youtube As Experimental Film 


214 - Genuine Fake AAFF Workshop - GF explores how computer programs can make experimental films and even write this very workshop. He delves deep into the "android meme," as the maxim "we shape our tools and they shape us" re-imagines the opposite: "we ape our tools then they ape us." Prescience as mystic masseur. 

215-
LOS ANGELIC MIND-UCK - Ala the cosmic giggle of Reverend Dan's recasting The Beverly Hillbillies with Iggy Pop and Patti Smith, we invite you to participate in this multi-media event. Reinvent a song, dance, poem, film, artwork, performance, sculpture, etc by one of the Los Angeles icons mentioned below AND perform it as a character from The Beverly Hillbillies (or any 50-60's TV show).

  • Buddy Ebsen as J. D. "Jed" Clampett, the widowed patriarch
  • Irene Ryan as Daisy May ("Granny") Moses, Jed's mother-in-law
  • Donna Douglas as Elly May Clampett, Jed's tomboy daughter
  • Max Baer Jr. as Jethro Bodine, the brawny, half-witted son of Jed's cousin Pearl
  • Raymond Bailey as Milburn Drysdale, Jed's greedy, unscrupulous banker
  • Nancy Kulp as "Miss" Jane Hathaway, Drysdale's scholarly, "plain Jane" secretary
  • Harriet E. MacGibbon as Margaret Drysdale, Mr. Drysdale's ostentatious wife
  • Bea Benaderet as Jed's cousin Pearl (season 1)

LA ICONS:
Paul Krassner, Patty Hearst, The Black Panthers, Firesign Theater, Aimee Semple McPherson, Charles Bukowski, Manly P. Hall, Captain Beefheart (his wife Jan worked with Hall), Korla Pandit, Orson Welles, Aldous Huxley, John Cage, Cameron, Johanna Went, Marcel Duchamp, Ornette Coleman, Luis Bunuel, Lord Buckley, Frank Zappa, Man Ray, Simon Rodia, Ernie Kovacs, Rod Serling, The Del Rubio Triplets, Mike Kelley, Pee Wee Herman, Ruben Guevara, Kim Fowley, Rodney Bingenheimer, Tom Waits, Maya Deren, Wallace Berman, Chris Burden, Charles & Ray Eames, Martha Rosler, James & John Whitney, Chick Strand, Neon Park, The Chamber Brothers and.....

We also include The Shaggs, Charlotte Moorman, Nam June Paik and James Joyce, who wrote, "And let me be Los Angeles" in Finnegans Wake (1939, page 154). 

Gerry Fialka presents this interactive event probing art and spirit. Delve deep into the interconnections of place, the creative process and the non-physical. LA nurtures modern thinkers. Survey their epiphanized percepts. Evoke the Carl Andre axiom: "sculpture as place." 

In the spirit of the infamous salons of Ed Ricketts and Lionel Ziprin, participants will uncover the hidden psychic effects of what humans invent, and how to cope with them. What is the function of art, music and poetry? "Artists are engaged in writing a detailed history of the future because they are the only people who live in the present." - Wyndham Lewis. Lionel Rolfe wrote: "In literature, 1939 was a great year for the Los Angeles basin. There was a strange and volatile mix of bohemianism and the apocalyptical brewing. This was the year Aldous Huxley published After Many A Summer Dies the Swan, Thomas Mann was laboring away on Doctor Faustus while living in the Palisades. Malcolm Lowry began seriously writing Under the Volcano which was about the Day of the Dead in 1939 in Los Angeles. It wasn't published until 1947. He writes about a Cabalistic descent into the maelstrom that was World War II. Day of the Locust was written in 1935 on a hot summer day filled with fire, the Depression, and assorted gloom and doom, leading the way from the essential hopefulness of bohemia, despite all their hedonism and what not. The book paved the way for Joseph Heller's Catch 22 in the '50s. 1939 also saw Grapes of WrathDay of the Locust and Raymond Chandler's The Big Sleep." Finnegans Wake was published in 1939, which was also a vital year for related films - The Rules of the Game, Gone With The Wind and Wizard of Oz (Us).

++++++++++++++++++
216-
Wannabe: A Menippean satire of “cinema as resistance” by Gerry Fialka and Will Nediger (F&N)
F&N probe the axiom "One creates what one resists" by reinventing new questions about the jujitsu dance of enemies and influences. Navigate the inbetweenness of empathy and alliance, friction and adversary. F&N focus on The Battle of Algiers, Adam Curtis, Frederick Wiseman and Raoul Peck's cinematic séance I Am Not Your Negro. How do artists want to be their heroes, and at the same time, they try to resist being their heroes?

+++++++++++++++++++++++++
+++++++++++++++++++++++++

GERRY FIALKA's articles-
 
"Gerry Fialka is a meteor shower in the contemporary media arts discourse. I am so happy that he writes for OtherZine. He's blowing my mind." - Craig Baldwin, who has published many Fialka essays on his online film magazine OtherZine since 2009.
 

Fall 2015 Sticks & Stones will break your bones but FILM WILL NEVER HURT YOU http://www.othercinema.com/otherzine/


Spring 2013 - Nothing & Stay Out (on Rodney Ascher's Kubrick documentary Room 237 & more) - http://othercinema.com/otherzine/archives/index.php?issueid=29&article_id=172


Spring 2012 - Occupy Awake: Conscious Mapmakers On World Wide Watch http://othercinema.com/otherzine/archives/index.php?issueid=27&article_id=148

Fall 2011 - McLuhan's City As Classroom Flips Into All-At-Onceness As Classroom

Spring 2011 - McLuhan & WikiLeaks: 'Hoedown' and 'Hendiadys'

Spring 2010 - Looking Glass - Review of Millennium Film Journal #51 http://othercinema.com/otherzine/archives/index.php?issueid=23&article_id=99

Spring 2009 - Dream Awake -HOW JOYCE INVENTED OTHER CINEMA & DISGUISED IT AS A BOOKhttp://othercinema.com/otherzine/archives/index.php?issueid=21&article_id=85

Canyon Cinema Magazine -


Gerry Fialka