Ok, so here I am. at a particular place at a particular time. situated. and we are talking about, exploring this idea of rewind. where to begin?... where I am now. Where to go?.. well, backwards.

Eg.: I remember the 1st time I heard about Capital Magazine: [still think it's the best afro i ever actually saw in person [wow, how's that for a provincial attitude..!?] ] Is that a rewind? A displacement? Where does memory fit into this? We must seek [how's that for bridging themes, eh?], scan, toggle, journey towards a deciphering of this concept... but it is confused. as with any large meme, there are evocations, multiplicities of meaning...

Testy

This issue's Short Film is Ptikobj, an animated short that brings you on a dream-like ride through a wacky, pink world.

í‚  í‚   For aspiring filmmakers, one of the hardest things can be getting a pitch heard by the industry folks necessary to bring the idea from concept to the big screen. Pamela Schott was one such filmmaker. Having worked as a screenwriter for about 9 years without success, Schottí‚   moved to LA and gradually began toí‚   get some of her material optioned. But frustrated with her slow progress, Schott realized that there may be a way to get her ideas across in a more exciting, visual way, setting her apart from countless competitors. She began to cut short í¢â‚¬Å“visual pitchesí¢â‚¬  of her work so producers and industry experts could get a sense of not only the story, but also her visual style.

Artists doní¢â‚¬â„¢t always have an intention in mind when creating art. Part of the reason is that as time passes, an artistí¢â‚¬â„¢s understanding of their work can be clarified or can change all together. This has been the case for most of the art Ií¢â‚¬â„¢ve produced. My work tends to focus on feminist questions of sexuality and includes a variety of abrasive and thought provoking images. These images include myself having sex with a raw pig heart, dancing with a dead chicken that I use as a prosthetic penis and performing a strip tease that I interrupt to binge eat cup cakes.

Directed by Ray Lawrence

Starring Gabriel Byrne and Laura Linney

Family drama comes under the spotlight in this Australian offering from Ray Lawrence, director of the internationally-acclaimed Lantana. In a return to similar thematic territory, Lawrence explores a tense family dynamic, in a story adapted from the Raymond Carver short story So Much Water So Close To Home. Stewart (Byrne) and Claire (Linney) are a New South Wales couple with a troubled past, whose lives are further complicated when Stuart and his buddies discover the body of a murdered Aboriginal girl, while fishing in a remote valley. Their decision to leave the body, and even postpone reporting the discovery to the authorities, exposes simmering social tensions within their isolated town of Jindabyne.