Author: Sarah Lawson

Have you seen the one where they catch the bad guy with an algorithm? This past August, an MIT research team announced a feat worthy of this sort of summer blockbuster. It found a means to re-create sound waves from soundless video; the team created a “visual microphone.” A demonstration of the discovery started with footage of nothing less than an empty chip bag videotaped through soundproof glass. Researchers then analyzed the visual micro-vibrations of the chip bag as sound waves from a song bounced off of it. Using an algorithm, they were able to re-create this song solely from the visual information in the video. In other words, they were able to retroactively listen in on a soundproofed area by enlarging visual vibrations created by sound waves.

Though it’s been months since the visual microphone was announced, the full implication of it remains unclear. It raises questions of privacy and certainly has the power to drastically change surveillance techniques. But how does it relate to our collective understanding of sound? And perhaps equally important, how does it relate to the 2008 Beyoncé song “Video Phone”? An upcoming colloquium hosted by UVA’s McIntire Department of Music will explore these questions.

An associate professor of philosophy and women’s and gender studies at the University of North Carolina-Charlotte, Dr. Robin James will present her work on these themes at the event. “The presentation is about the relationship between, on the one hand the role of women in post-feminist society, and on the other hand the role of sound in contemporary philosophy,” said James.

Though her juxtaposition of these ideas might be unexpected, don’t let it intimidate you. “I am like any other academic—I do research. I listen to pop radio, I read music blogs, I look up songs and listen to them,” she said.

Each semester speakers like James are selected by committee, incorporating suggestions from graduate students and faculty within the department. “Many of our faculty and grad students take an interdisciplinary approach to music studies, so we’re interested in work that similarly crosses boundaries,” said UVA Assistant Professor Nomi Dave. “There’s quite a bit of interest in music and gender across the department.”

James’ presentation will draw from her forthcoming book, Resilience & Melancholy: pop music, feminism, neoliberalism, slated to be published in February 2015. “In the book, I argue that ‘resilience’ is the foundation of current ideals and norms of femininity,” she said. “So, for example, [pop] songs idealize women who have learned to overcome specific facets of patriarchy. This is really deceptive, because it makes oppression seem like an individual problem that individuals are responsible for treating, and not a broader social phenomenon. It makes it seem like patriarchy is over.”

This is the world of post-feminism, and we’re just living in it. Rather than empowering societal shifts, this type of feminism suggests that gendered oppression is not systemic, but personal—and that the ability or need to fight that oppression is equally personal. “Beyonce’s ‘Video Phone’ is a great example of this,” said James. “In the video, she kills men with cameras on their heads. She makes the ‘male gaze’ something that she, with the help of Lady Gaga, can put an end to.” MIT’s visual microphone similarly acts as a jumping off point for examining contemporary philosophy’s continued marginalization of sound in its abstract perspectives.

In contrast, James—who is also a musician—explained that “doing sound art helps me think materially about the objects, practices, experiences and phenomena that I’m analyzing theoretically. It’s like putting my money where my mouth is.”

Though she began college as an oboe major, she has since taken a more experimental and theoretical approach to her musical practice, echoing her academic approach. “I don’t just theorize about stuff like music, I use music to think through philosophical problems,” she said. “If you never step outside philosophy, your philosophical work will never capture the nuance of real life. I want my work to capture that nuance—I actually think it’s essential.”

Her interests in hands-on practice and Beyoncé should be a hint that James is hardly the average philosophy professor. “I’ve always worked at the edges of several fields: philosophy, women’s and gender studies, musicology and sound studies,” she said. “One thing this means is I have to be really good at, and careful to, translate specialized ideas from one field into terms comprehensible to non-specialists in other fields.” This also means that James is an accessible presenter with a focus on engaging people who are interested in music and feminism but might not have an extensive theoretical background in either.

James will present “From ‘Video Phone’ To The Visual Microphone: Sound & The Ambivalent Politics of Feminist New Materialism” on November 21 at 3:30pm in Old Cabell Hall.

What sounds can you see?

In a desert of feature length movies, it’s a delight to stumble upon this year’s slate of short films at the Virginia Film Festival. There are four separate programs of shorts, featuring a total of 29 short films—a grand total that’s much higher than in recent years. These films range in genre and style, offering something for (almost) everyone.

If you’re looking to dip your toes in short films, don’t miss the free screening of work by Light House Studio students on November 6 at the Downtown Regal. These 12 films encompass everything from offbeat animations to stylish music videos with documentaries and narrative films mixed in. The program is 46 minutes, followed by a discussion with the student filmmakers.

For those who don’t mind darting between theaters, there’s another shorts program immediately after this (also at the Regal Downtown). This program highlights six short documentaries, two of which should prove especially appealing to locals: The Art of the Moving Creature by Jessica Burnam and A Hundred Thousand Books by Zachary Parks Grigg. The first documents a recent UVA course of the same name, which engaged students in the creation of giant puppet-like creatures. You might have noticed some of these creatures parading around town, but this is your chance to learn why they came into existence and how they’re related to legendary special effects designer Stan Winston.

A Hundred Thousand Books is a short biopic focused on Charlottesville’s own Sandy McAdams. If you’ve ever stopped by Daedalus Bookshop there’s a good chance you’ve met McAdams. Those of us who have taken him up on his free-flowing book recommendations know how foolhardy it would be to miss this glimpse into his world.

Taking a more experimental approach to shorts, a program entitled DWELLING will screen on November 8 at the Downtown Regal. These six shorts focus on the idea of place and the creation of personal geographies, past and present. The works include a haunting exploration of the embodiment of life and death, a colorful and frenetic art school project examining the visual experience of space, slow-paced and meditative investigations into other cultures and more. By my count, the highlight of this program is Vashti Harrison’s Field Notes, an experimental ethno-documentary about Trinidad and Tobago, told through narrated oral histories and folklore. It’s worth it just for the beautifully grainy footage and tales of jumbies and lagahoos.

Rounding out the selections, short narrative films following a more traditional structure, and ranging from humorous to heartbreaking, will be shown on November 9 at PVCC.

Things I’ve learned from horror movies include: Never say anyone’s name into a mirror more than twice. You’re in trouble if that charming old house you bought has an unfinished cellar or attic. Stripes never go out of style when your fingers are made out of knives. And like all respectful dinner party guests, vampires need an invitation to enter your home. If you need a refresher on the latter, this year’s Virginia Film Festival has two movies for you.

A Girl Walks Home Alone at Night is a new Iranian film set in a place known only as Bad City with a character known only as The Girl. Early in the film, she—a meek, young woman on a dimly lit sidewalk—is invited up to the apartment of the local drug dealer. Let’s just say that things don’t turn out how he’d hoped. But there’s no revenge in this vampire’s feeding habits, no moral compass in her hunger. She just wants a snack before heading home to listen to post-punk in her bedroom under the glow of a disco ball.

The movie is highly stylized and aesthetically enjoyable. Beautiful black and white cinematography provides a lushness to the bleak setting amid vampire-like oil derricks, sucking the ground dry. The leading man drives a classic car and sports a James Dean ’do. The Girl is cloaked in a traditional chador that flows behind her as she skateboards down empty streets. She never leaves the house without dark lipstick and heavy eye makeup. Each character is an archetype, whether it’s the drug dealer’s track suit or the prostitute’s unrealized life dreams.

Don’t let this scare you off; embrace that this is a genre flick. Characters are used as shorthand to give you more time to revel in this extremely likable vampire movie.

For a more tongue-in-cheek perspective on vampires, What We Do In The Shadows is another festival option. Written and directed by a creative pair that includes “Flight of the Conchords”’Jemaine Clement, this is a vampire movie that pokes fun at genre conventions. Its faux cinéma vérité style (you may prefer the term “mockumentary”) lends a comedic lens to the trials and tribulations of vampire roommates spanning a couple centuries in age. If you like “Flight of the Conchords,” there’s a really good chance you’ll like this. If not, just watch Nosferatu instead.

In anticipation of the Virginia Film Festival this weekend, I’ve been considering geographical predispositions when it comes to movies. Predictably, as a student, French New Wave films were guaranteed pleasers. These types of geographical tastes exist for many. French films carry a different prestige than Hollywood movies. India’s Bollywood and Nigeria’s Nollywood each have their own connotative meanings as well.

When it comes to American films that are made outside of Hollywood, what regions do we define? Too often, the alternatives are simple: New York and “everywhere else.” However, this year’s festival encourages us to think about Virginia filmmaking as its own category. For the first time, there is an entire program of films that have been curated to celebrate filmmakers in the Commonwealth. And given the wealth of filmmaking talent in Charlottesville alone, the offerings are understandably rich and well worth exploring.

Arguably the most renowned experimental film artist in the state, Kevin Everson returns to the festival this year for an advance screening of his upcoming release, Park Lanes, Spare. This work focuses on experiences of the American blue collar worker, following a typical shift at a bowling alley equipment factory. Everson has previously screened his films at the Rotterdam Film Festival, the 2008 Whitney Biennial (as well as a 2011 solo show at the Whitney Museum of American Art), and the Punto de Vista Film Festival in Pamplona, Spain, among other venues around the world. Much of his work examines African-American experiences in America through a non-narrative structure. Often, on-screen action is allowed to unfold without heavy editing, potentially fostering a level of discomfort in viewers unconditioned for this sort of cinema.

Case in point: In its 2015 release, Park Lanes, Spare will be an eight-hour film (mirroring the work shift) meant for gallery screenings in which people can come and go as they please. For some, this merits anticipation and a planned “sick day” to camp out where it will be on display. For others, an eight-hour screening sounds punishing. Charlottesville will have a chance to see an edited 90-minute version, so you can test out Everson’s style for yourself, and a filmmaker discussion follows.

When Everson isn’t making his own films, he teaches cinematography at UVA. His students are included in the Digital Media Gallery, which graces the walls of Second Street Gallery with works from UVA and the local nonprofit Light House Studio. An opening reception will be held on November 7 to coincide with the monthly First Fridays gallery walk and a closing reception with the filmmakers is set for November 20.

Charlottesville-based filmmaker Lydia Moyer also supports the short experimental genre with her film The Blocks, which is part of the DWELLING program. And the annual Adrenaline Film Project showcases local filmmakers in a break-neck competition to create short films in a 72-hour competition. The completed works will be shown and a winning filmmaking team announced.

Stepping back to look at the rest of the category of Virginia filmmaking, VFF programmer Wesley Harris explains that the curatorial idea behind this category includes “films that were either made in Virginia, or by filmmakers with distinct Virginia ties.” By that definition, there are plenty of other offerings that shouldn’t be overlooked.

Working in the genre of traditional documentary, A Winding Stream traces the personal lives and musical successes of the Carter family and their roots in Southwest Virginia. Big Moccasin explores the lived reality of daily life in the Appalachians. A third documentary, From Grain to Growler, traces craft brewing in the Commonwealth and features a discussion with the filmmakers and local brewers such as Champion Brewing Company’s Hunter Smith. And let’s not neglect Karate Tango, the locally made offbeat musical love story written by Peter Ryan and directed by Brian Wimer.

The festival also includes narrative feature films with Virginia roots. Wish You Well stars the inimitable Ellen Burstyn in an adaptation of a book by the Commonwealth’s own David Baldacci. Big Significant Things—a favorite at SXSW earlier this year—chronicles a 20-something’s search for meaning, ultimately leading him to Virginia. Finally, the opening night film, Big Stone Gap, proves that star power trumps geography. An adaptation of the best-selling novel by Adriana Trigiani, with an ensemble cast including Ashley Judd, Patrick Wilson, Whoopi Goldberg, and others, this Virginia film is still as Hollywood as it gets. For screening times check out www.vafilm.com.

What’s your favorite film set in Appalachia?

Does the name Peyton Tochterman ring any bells? It’s been three years since the local musician has performed in town but he’s certainly someone you should know. Tochterman’s last Charlottesville show celebrated the release of the full-length album, A New World. Since then, he’s been busy. “I was on the road almost constantly for two years,” he reflected. “The life of a musician is tricky. You make a record, tour until things slow a bit. Then, there is downtime and, if you have been smart, you write a new record and do it all over again.”

However, for most musicians, the U.S. Department of State doesn’t play a part in this cycle. For Tochterman, the story is a little different. In 2012, he had the unique opportunity to serve as an official cultural ambassador in Afghanistan. Though the gig fell to him when a good friend and fellow musician had to back out at the last minute, Tochterman’s musical style makes him an appropriate ambassador for American culture in the rest of the world. On Saturday, Tochterman returns to the Charlottesville music scene as part of a new band, Man On A Horse.

A songwriter and musician with skills ranging from acoustic strumming to intricate fingerpicking, Tochterman credits traditional music with influencing his sound. The new band combines these talents with those of Randall Pharr on bass, Gary Green on harmonica, and Stuart Gunter on drums. According to Tochterman, “Man On A Horse is definitely an extension of my solo stuff. I would say [our music] stems heavily from the study and appreciation of American roots music. Our sound is basically what we learned from those guys and tossed into our pot and cooked it up for supper.”

Which might lead you to wonder—what kind of acoustic stew can we expect when Man On A Horse takes the stage? The performance promises to be a fun one, with enthusiastic riffs and lyrical songwriting. Binding the flavors together, these four bandmates have a strong mutual respect for their individual talents as musicians but also as friends. Green and Tochterman have played together in the past, touring together with another musician (Radoslav Lorkovic) during the Afghanistan ambassadorship. “When our trio of musicians returned home, we were reassured music really is a universal language that can unite diverse people,” said Tochterman. “I believe that music is one of the essential components to a healthy life. That and Bodo’s.”

So, maybe it’s not a stew so much as an all-American sandwich that’ll be served up by Man On A Horse during their upcoming performance. A B.L.T. on a sesame bagel, if you will. But without seeds stuck between your teeth.

Man On A Horse will perform on October 25 at The Southern Cafe and Music Hall, with Dean Fields as the opening act.

If your metaphorical Bodo’s order is more like chopped liver on a garlic bagel, don’t despair. This week also boasts a live show by three bands that are more metal than roots. On October 27, Snack Truck, Ex-Breathers, and Miami Nights will offer music that’s heavy enough to shake teacups and beer cans alike at Twisted Branch Tea Bazaar.

Snack Truck is a Richmond band that’s been around for years, gaining hordes of devoted Charlottesville fans in that time as well. Onstage, band members Matthew Krofchek, Frayser Micou, Jay Moritz, and Nathaniel Rappole spew an unflinching explosion of drums, guitar, and bass—and I’ve never seen a crowd resist getting caught in this sonic vortex.

Interestingly, one of the band’s drummers, Rappole, recently returned from a musical ambassadorship of his own as he traveled to Kenya to share his other musical endeavor—a solo project known as Gull—and explore how music can build bridges between people. (You can also catch Gull as the opening act for Adrian Belew at The Southern on October 22.) As Gull, Rappole’s music is intensely rhythmic and feels almost choreographed, often comprising a lone drumkit or guitar and an amplified mask microphone. In Snack Truck, he helps create a similar base of rhythm for the band to lay heavy jams over, around, and through. The band is rumored to be taking another hiatus soon, so catch them while you can. 

Ex-Breathers will joining Snack Truck with its hardcore punk aesthetic fresh from Tallahassee, Florida by way of the CMJ music festival. Narrowly missing Charlottesville when its summer tour stopped in Richmond instead, this band is worth the second chance. Ex-B just released a new EP at the beginning of October, titled ExBx, with the 12 tracks clocking in at less than 12 minutes total. No need to double-check that math; these songs are short and driving bursts of aural angst.

Rounding out the bill is Charlottesville’s own Miami Nights, a project led by multi-talented musician Max Katz. She is a classically trained flautist and has studied the instrument since she was six years old. Since then, Katz also received a master’s degree in music and picked up a variety of other instruments including the cacophonous drone guitar of Miami Nights. Here, her sound reverberates in your ears but really finds its home in your chest, where it’s practically heart-stopping in its intensity. This is a good thing, trust me. Katz has also performed with Bobby McFerrin, but that surely doesn’t hold a candle to her Miami Nights performances.

Snack Truck, Ex-Breathers, and Miami Nights will perform at Twisted Branch Tea Bazaar October 27.

What bagel order best describes your musical tastes?

This town is no stranger to open mic nights. We boast Big Blue Door storytelling and improv night; the musicians, poets, and comedians of Verbs & Vibes; and Olio, a pechakucha-style series that was popular until its untimely demise in 2011. So, how is the upcoming TEDxCharlottesville Open Mic Night different? In a word, glory. The presenters are vying for a place in the spotlight onstage at The Paramount Theater in November.

Participants had to submit either a two-minute video or a 200-word description of their proposed topic. Out of these submissions, the event organizers hand-picked speakers to take the stage, and like last year the audience will vote to select a winner who will get to speak along with 19 other curated presenters at the main TEDxCharlottesville event, which focuses on the theme of “RefleXions.”

Titles from the 2013 TEDxCharlottesville Open Mic Night included “Understanding What You See at Night With Your Eyes Closed,” “Connecting to Coincidence,” “Sociocracy,” and a variety of other areas of expertise (or some might say, strong and convincingly voiced opinions). Last year’s winner, Darius Nabors, gave a talk on bucket lists, a concept which was previously probed in the similarly titled Jack Nicholson and Morgan Freeman movie.

Which begs the question: In the majority of TED and TEDx presentations, by amateurs and professionals alike, are we really expanding our knowledge base or are we simply reinforcing concepts that are already within grasp? TED Talks make us feel smart when we agree with them—which is pretty much any time we watch or listen to one. The ideas are meant to unite, not rupture; to motivate us generally, but not to encourage us to face any uncomfortable realities. The official TEDx guidelines even state that “we seek to build consensus” and provide event organizers with a list of content areas to avoid.

Likewise, TEDxCharlottesville volunteer materials pose the question, “Do you ever feel inspired while watching a TED or TEDx talk?” Though this is clearly meant to, ahem, inspire people to volunteer, I have to ask myself: do I? Sure, I feel warm and fuzzy after watching. In many, but not all cases, I feel like I’ve just seen someone who has perfected the art of public speaking. But, then I close that browser tab and get back to work. And the moment—and any lingering inspiration—is lost.

TEDx events, like our local one, improve this. Rather than watching a video or listening to a podcast of a TED presenter in a vacuum, TEDx works because it opens the door to conversation, discussion, and debate within the microcosm of the TEDx audience at each local event. Acknowledging that this discussion is limited by the main TEDx event’s high ticket price and one’s ability to take an entire day off from work to attend, the open mic night provides even more accessibility to this discussion and exchange, with a centrally located venue on the Downtown Mall and free admission.

Still, finding a way to measure impact and follow-through resulting from the idea-sharing propagated by TED and TEDx Talks is, well, a TED Talk I’d like to see. For now, I’ll continue to enjoy the talents and well-spoken presentations. Moments of inspiration, no matter how ephemeral, are still worth spreading.

TEDxCharlottesville Open Mic Night takes place at The Jefferson Theater on October 13 at 6:30pm. Admission and voting are both free.

Return to the big screen

Prefer onscreen inspiration? On Tuesday, the Virginia Film Festival unveiled the schedule for this year’s festival, running November 6-9—and you won’t be disappointed. It boasts plenty of Oscar hopefuls including Foxcatcher with Steve Carrell,  Wild starring Reese Witherspoon, and director Mike Leigh’s new film Mr. Turner.

On top of that, this festival embraces a greater focus on emerging filmmakers and Virginia filmmaking, with works by directors like Joel Potrykus (Buzzard) and Jeff Reichert (This Time Next Year) as well as films shot in Virginia, including the craft beer documentary (From Grain to Growler) and the world premiere of Big Stone Gap. Filmed in the titular town, the latter features an ensemble cast with Ashley Judd, Patrick Wilson, Jenna Elfman, and others—some of whom will be in attendance.

The festival’s more offbeat highlights include Chris Marker’s Level Five, the Nick Cave documentary 20,000 Days on Earth, and biopics about jazz pianist Joe Albany (Low Down) and computing pioneer Alan Turing (The Imitation Game). Another highlight will be the live performance by Hal Holbrook accompanying the documentary Holbrook/Twain: An American Odyssey.

This year’s cinematic classics include Dr. Strangelove, Charlie Chaplin films, Dead Poets Society, and a free screening of The Wizard of Oz.

Want more? There will be more short films, more visiting filmmakers and actors, and more participating theaters than ever before. Tickets go on sale October 10 at www.vafilm.com.

Share your favorite film fest memories in the comments.