Catching Z’s at the End of Language – 105 AJB, Friday, December 07 at 7pm – FREE!

Join us for Catching Z’s at The End of Language, a program of films curated by Jason Livingston.

Amos Vogel, legendary short film programmer and founder of the influential Cinema 16, has written “What we know of the world comes to us primarily through vision. Our eyes, however, are sensitive only to that segment of the spectrum located between red and violet; the remaining 95 percent of all existing light (cosmic, infrared, ultraviolet, gammas, and x-rays) we cannot see. This means that we only perceive 5 percent of the “real” world.”

This program of shorts asks us to see, if we dare, beyond the 5% of our habitual viewing habits to a political landscape over and beyond the frames that so dominate our vision.

Catching Z’s at The End of Language traverses geography and history, interior states and external realities, perception and politics, and the expressive possibilities of language despite the power structures that manifest themselves through oppressive grammar.


Yin-Ju Chen and James T. Hong
video, 5:21, 2006

A Symbolic History of Kapital. Inspired by Kasimir Malevich’s minimalist artworks and the struggles for resources in the age of peak oil, Suprematist Kapital was born of the want to create a visual artwork that could be displayed on many different-sized mediums regardless of resolution, e.g., theater screens, mobile devices, ipod’s, etc.
Where once technology as progress was an end in itself, it became the handmaiden of capitalist accumulation and war, and is now a form of capital itself in the age of peak oil.

Jason Livingston
16mm/video, 4:15, silent, 2014

Demonstration in support of Gaza and against Operation Protective Edge on July 24, 2014 in Ithaca, NY. A child of the protestors, a white newborn, ghosts into the film flare, and the second half of the film focuses on the young Palestinians killed during the Operation.

Limited Speech Holds Endless Misunderstandings
Orr Menirom
video, 10:00, 2013

A news interview with Noam Chomsky on the Israeli television turns into a surreal dream, revealing the subconscious of both Chomsky and the interviewer.

In 2010, Noam Chomsky was invited to give a talk in Birzeit University near Ramallah. Identified with the radical left, he was denied entry to Israel and sent back to Jordan. Shortly after the incident, Dana Weiss from the Israeli Channel 2 met with him at a hotel lobby in Amman for a 40 minute interview. During the interview, deep ideological tensions between Chomsky and Weiss surfaced. In the video, the interview language is cut apart into individual words, and then recomposed into a new monolog told by an invisible, third character. The character’s speech reference’s Chomsky’s linguistic theory.

According to Chomsky’s theory of Universal Grammar, language enables the pronunciation of endless expressions with a limited amount of words— a vocabulary. Similar to verbal language, the video’s image is a system with an inner grammar, portraying the deserted landscape through a complex of digital fragments. In this landscape, the relations between a limited amount of fragments create endless variations of the image. At the end of the video, the fragment arrangement mimics the shape of the hotel lobby in which the news interview took place.

Stephanie Barber
video, 3:07, 2011

A super condensed re-edit of an Unsolved Mysteries episode where cut-aways become the stars and real and imagined Youtube comments mingle together and compete with the original content. The comments on Youtube are my favorite part of that video viewing experience. I love the way they flop so gracefully between cruel and shallow, deep and kind. Strange and wandering they construct dialogs and narratives along an incredibly modular path and expand the viewing of any video making the medium necessarily interactive.

Kevin Jerome Everson
16mm/video, 10:00, 2017
IFO is about three famous UFO sightings over Mansfield, Ohio.

Farther than the eye can see
Basma Alsharif
video, 12:56, 2012

A woman recounts her story of the mass exodus of Palestinians from Jerusalem. Beginning with the arrival and ending with the departure, the tale moves backwards in time and through various landscapes. The events are neither undone nor is the story untold; instead, Farther than the eye can see traces a decaying experience to a place that no longer exists.

Peggy Ahwesh
video, 8:28, 2012

Working through my archive of accumulated video footage, I pretended it was found footage from anonymous sources. What began as a tribute to Bruce Conner of the period of Valse Triste and Take the 5:10 to Dreamland, with their deliberate pace and bittersweet memory of home, ended as a dedication to my father as I wound my way through miscellany with distance and another aim.

By foot-candle light
Mary Helena Clark
video, 9:00, 2011

A walk through the proscenium wings. You close your eyes and suddenly it is dark.

Oona’s Veil
Brian Frye
16mm, 8:00, 2000

Whispering Hope, or Grace and How to Get It. I know of only one film-record of Oona Chaplin (nee O’Neill), this screen-test made for a film in which she was cast and never appeared, having met and married Charlie Chaplin before shooting commenced.

Beatriz Santiago Muñoz
video, 26, 2017

Oneiromancer is the first of a series of works on the sensorial unconscious of the Puerto Rican anti-colonial movement. It centers on the figures, places, and leftover materials of the members of the Fuerzas Armadas de Liberación Nacional, a clandestine group, who were arrested and sentenced to near-lifetime prison terms for seditious conspiracy, a political crime.


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HEADROOM is sponsored by the Department of Cinematic Arts, the Public Digital Arts Cluster, and Little Village Magazine.

Individuals with disabilities are encouraged to attend all UI-sponsored events. If you are a person with a disability who requires an accommodation in order to participate in this program, please contact Cinematic Arts at 335-0330 or