May 2009

Monday, May 25, 2009

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David Hockney also painted his iPhone

The famous painter David Hockney uses his iPhone to paint. A 71-year artistic curiosity and the youth of this artist enchants.

"The BlackBerries are for secretaries and office workers while the Iphone is used by artists," he says.

An exhibition devoted to it at this time in London at the Annely Juda gallery where he exhibited essentially digital works, created on computer and printed, and then some, raised with the paint.

He says he made drawings on "printing machine".

One can easily imagine that David Hockney epaper will use when it becomes available in larger sizes, and color.

Note that I make with friends, a site dedicated to works on iPhone and iTouch, with the idea to mount an exhibition for Paris next.

I hear about it soon.

Sunday, May 17, 2009

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STATES GENERAL OF THE ACTION FILM AND VISUAL CULTURE

Summary of trade of the day on January 8, 2009, the eve of the general assembly

Preamble
the eve of the day First official general statements of cultural action film and audiovisual

we, practitioners of cultural activities from all over France, we found ourselves in
Centquatre
in Paris in the select committee of one hundred people to share our different findings, impressions, doubts and claims to draw together an inventory of the cultural landscape of the action film and video on our territory. We

, creators, producers and operators - both public and private - but also representatives of associations (such that the distribution structures and networks of cinemas, festivals, coordination of educational measures and time off school or local national, multimedia, popular education movements, unions of professional cinema and audiovisual, etc. .) we are here to express our common identity, reflecting the de facto cross that we can legitimately appoint the

a chain of cultural action film and audiovisual .

one voice, through the National Collaborative

cultural action film and audiovisual (Blac), the die cultural activity exhibited during this afternoon of January 8, 2009, the outline of a situation and its proposals around four workshop themes: • cultural action film: the role of cinema;

• issues of public education in the image; • vocational and renewal of talent

Auclaire • Report: a critical analysis.

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Introduction: why we () are there

A year after the call for mobilization of St. Andre des Arts, the gloomy outlook that lay ahead at the start of 2008 have come true: the state continues gradually to disengage from the cultural sector. Succeeding in a first set of responses to declining public funding of cultural activities, these general statements mark the entrance into a second phase: it is now to strengthen the collective voice to bring out a unified and structured players in the field and represent a driving force in the debate on cultural policies. The finding

first - we might say crucial - that crosses and guide the exchange of four workshops set up in January by the collective, like a breadcrumb is the absence of a negative definition of cultural activity
. Indeed, the cultural action is ill-defined concept - perhaps simply undefined - which covers such a multiplicity of actions infringed on an area so extensive that a fine understanding of its diversity and its national , regional or local is thereby impeded. In practice, and by nature, cultural activities developed locally. Hypothesis: This misunderstand-induced growth primarily a failure to take into account at their respective cultural policies by the state and the CNC - Centre National cinematography -
and by many communities. Second, this failure led the state and CNC

gradually diverting cultural activity of its intrinsic nature by introducing concepts

So to us, artisans of cultural activity, it is up to define it, give it a context, to highlight its aims, to highlight its transversal nature, to show any requirement and contribute to the best tools for its implementation.

.

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Workshop

The objective of the first workshop was to ask ourselves one hand on the role present and future of cinema as a venue for the dissemination of cinematographic works in the cultural action, second on supporting this action.

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The movie theater: a place to open up cultural action

"
must expand the walls, windows ... or we will die . "This injunction
is unanimously shared by all operators working in cultural action. Need to develop other artistic experiences, to open the site with other content (video games, internet, broadcasting in general) to work with new tools (digital), to multiply, as in some national scenes creative workshops combining artists from different backgrounds and professional technicians, to offer viewers participate to the lineup of the room ... Here, brushed a few words, the different perspectives to which it seems imperative that the operation is moving today.

cultural practices have changed. Nothing surprising about that at a time when the number of media grew, where the content available has exploded. Erosion of desire for cinema, curiosity cinephile? It is not for us to say. However,

fact is that viewers do not move as much in the halls without the establishment of a coaching works cultural action movie theaters, for lack of a perimeter to delineate own, was now exposed to the risk of a competitive blind? And if tomorrow, by the absence of strong political, cultural action of the rooms was absorbed by the market, reducing it to a service devoted to the highest bidder?

We wish to draw the attention of our political representatives on the trend of commodification of the action Cultural . If school systems are themselves properly framed, it is not the same for other actions in certain rooms for young audiences or other spectators. Multiplexes, whose every action is bound to benefit, are beginning to invest in the field. Maybe, but how do they work or will they? The same as ours? There is an urgent need to differentiate, understand that the efforts of both sides are not the same kind that the market is not alone able to satisfy a public service. The definition of cultural action film and video must go through a definition of coaching works.
However, to make that definition and support effective collaboration between rooms and associations,
operation needs to work on finding new audiences, which requires the maintenance or creation of posts of mediators that perpetuate the ties the room with the outside
. Cultural policy in respect of the performing arts has responded to this need. We have, we also movie theaters, local authorities need to include in their cultural policy film financing assistance of mediation.

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rooms is misjudged

The current assessment of the work of cinema it would be indexed, so underlying
on notions of profitability and results
? The question is ... at least at the level of grant aid support selective account by the CNC. Indeed, we raise the paradoxical consequences of the classification arthouse which triggers the system of aid. This came mainly from an automatic indication that corresponds to the proportion of sessions provided to all recommended films programmed, without distinction between articles and films without taking into account the results of traffic carried on these sessions. Thus, an arthouse film

fragile programmed over many sessions, will help close a room - even if it has attracted very few spectators and no work accompanying n ' was conducted. Paradoxically, this same film, scheduled one session with a real job and support a public success, will be less well reflected by the ranking. Paradoxically always, the programming of a film art house holder who contributes most the classification of the room since it has benefitted many sessions.

Aid for arthouse are designed to reward the dissemination of cultural works, not to reward a work of cultural action. "The cultural remains at the margin of CNC questionnaires, assessment leading to a uniform downward in the treatment of the classification of cinema. It is urgent to remember that not all the rooms, specifically classified do not do the same work. Some screenings in barns, cafes, caravans, etc.. have more success in cinemas. The nature of work should be seen in its local context. More generally, the treatment blind was found at all levels: CNC, State, Regions and Departments - Municipalities in turn, closer to the rooms, often the distinction.

In addition, payment of grants to a movie theater by local governments may, through the study of his case by the National Commission of selective aid arthouse cinema, playing against him.
The reasoning is the following: the classification committee arthouse does not consider it necessary to acknowledge the work at the art house run by a room if it is already funded under land use or dissemination and cultural activities. "There are
address such violence against the use of local money that we receive, without one ever thinks that we do not use this money to do what others do, but to do something else. Now, national targets for "cultural activities" are often different territorial objectives.
Moreover, if cultural action around the recommended films is poorly taken into account, is that the vast field formed by the
non-commercial sector, it is not at all reflected in the records Help selective. This "real testing ground
" has yet been highlighted in the report of Michel Berthod s
ur exploitation film called noncommercial early 2006. The equation is simple: revenue works broadcast as part of the non-commercial are not subject to the TSA. And the corollary argument: no lift in revenue, so no support. Therefore, the advocates of more-of recommended films, we could answer: yes, provided you do not open up the list of research and discovery films, considered too elitist (which is a false debate), but to include films ignored by the CNC films without visas or who have lost it. In the same vein, the procedure for applying for temporary visas, useful in the context of festivals, deserves to be discussed. We talked highest of equal treatment, it is still necessary treatment there, period! We do not emphasize enough how the cinema is a victim of non-recognition of its legitimacy to intervene in cultural action.
Let us: this is its legitimacy in terms of public policies on culture. Because it is an economic agent on a commercial market, compared to other places the movie theater is discriminated by the government.
But beyond the question of the room is the cinema itself, because it is an art "Bastard", more popular and more mainstream than others, pulling behind him a whole industry that does not enjoy the same prestige as other arts in cultural policies.

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Outlook: Improving the financing of cultural activities

"The support fund
penalizes us in our desire to open to other forms of expression to other art forms.
" Indeed, today the rules eventually force us, by restricting our room for maneuver. It no longer fulfills its role properly support, encouragement to new attempts. That is to say that we have gone from a sense of support for a logical incentive, which is not the same thing.
We stand together so the renovation of the support account. This renovation will
among other necessarily a review of the classification Arthouse, criteria too broad.

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Workshop

CITIZENS ISSUES OF EDUCATION ARTS

"Education in the image" as one of the pillars of cultural action Film and broadcast media. School time and after school time, indoors and out room, it seemed obvious and necessary to take stock amid the storm.

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"We do not want an image education"

This provocative title accent indicates a firm position which we believe: art - and its corollary, the aesthetic experience - is put at the heart of the debate
. Initially, we prefer to substitute "arts education" to "visual education", a term that connotes too the prospect of sending a know

an ability to read
images. However, this approach may allow to imply that we educate young viewers to learn to decode messages, to speak the language of images! Teach us the communication in spite of ourselves? This is not what it is in cultural action. We are rather in

sharing a sensory experience However, it is difficult to accept this design to be elected. During our discussions with them, the institutional partners turn a deaf ear when we ask them to develop a policy for arts education.

"The arts" is scary, the field of art is too abstract for them for their consent to be at the heart of their intervention . "When we against [them], the problem arises from the definition of" art "which is a great melting pot that does not mean anything. The term "visual education" has, especially in schools, to identify precisely what it was. If I tell my partners that I'm doing arts education, they do not understand me or pretend not to understand me. "

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We denounce all forms of normalization

To share the aesthetic experience, it also teach viewers to" see everything "or to see everything, but by talking together so that everyone can exercise critical thinking. However, this freedom is threatened by censorship of content - prohibitions, restrictions - which leads to a phenomenon of EEG / EKG flat (brain or heart ...) ". More surprises, questions, but a dull race. From the observatory of the creative freedom of The League of Human Rights , a representative gives his review: "The protection of children becomes obvious pretext for an increase of a number of censorship in general, in film as in other forms of artistic expression
[...] and raises the prohibitions, under 18 years total, which amounts to a infantilize adults.
"

at work: a member of the National Commission for College

cinema we reported that the Department of Education do not hesitate to veto the selection of a film catalog under the pretext that the theme of the film - in this case the role of money in our companies - may cause unrest in the dining room and classroom. Too dangerous, it is invoked. However, the artistic quality of the film is not in question, quite the contrary. Therefore, the risk to our little darlings would it not normalize the "right-thinking" in the programs? Finally, we oppose all drifts in the constitution and updated catalogs of schooling arrangements. Proposals for cinematographic works for catalogs should not be developed according to a logic of supply to meet demand (in this case the teacher or the application presupposed youth). "In School and adventure films, this is not the teachers who selected the films, they are programmers, coordinators, offering movies, organize and forecasters decide at the end of what will be projected. Mechanics, and especially in college at the cinema, which suggests that programming is done by all partners, denies the fact that programming is an artistic gesture.
"The choice of films should not be removed from the hands of qualified people ...

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Arts education is underfunded

Minister of Culture and Communication has announced a goal of doubling the number of school three devices: School and movies, cinema College, Students and apprentices in cinema. Beyond the questions it poses for both rooms for local authorities, the State Will he give the financial means to match its ambitions? As projects interdepartmental school measures of image education suffer from recurrent problems have always had the Ministry of Culture and Communication and of Education to work together. It is time to emphasize that this result include lack of undue financial intervention of the National Education .

Actions in schools, particularly in the context of "options for cinema schools, are underfunded. Teachers are increasingly required or urged to stay in class and out of the least often as possible. Their margins of maneuver and initiative are reduced in a context of respect for the increasingly rigorous program and crackdown on basic knowledge. Furthermore, in response to the objectives of democratization of culture, the rate of school sessions was capped at 2.50 euros maximum, in recent years, and without that National Education is not involved systematically in return. If local governments withdrew their future contributions (including compensation in ticket prices, or support of transportation for students), schools and theaters would be put into difficulty. The rooms are then forced to "filling" at the expense of quality home groups. Would it really meet the mission of arts education? The answer is no.

regard to outside school hours, the popular education movements gradually feel compelled to submit to the "norm" dictated by the national education. At the territorial level, communities develop the implementation of bidding for the film education towards private providers. The problem is their concept of service to offer: "For elected , cultural action is not to seek new audiences but this film to go to 3 euros to promote access to Culture .
"Logic quantitative expansion of the public against qualitative logic of building a glance. In addition, education associations regret the lack of training opportunities in the fields and Film broadcasting. "There
little BEATEP1 on film, why have they not developed? I think there was even less than before [...] especially with the new challenges of Education, there is a risk that we, the popular education movements, let us be deprived of arts education, artists and cultural intervention partners.
"
noted, however, to conclude on an optimistic note, that for the first time the development of arts education topped the list of issues develop in the engagement letters of the Ministry of Education and the Ministry of Culture and Communication in 2007.

.

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Workshop

AND RENEWAL OF TALENT

The focus of this third workshop was to highlight the effect of irrigation cultural action on the upstream of the film and audiovisual industry: the effect in terms of support and guidance to the renewal of the creators.

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The role of associations in the life of a film is paramount

" A dealer will often be limited to asking the director to move. If a producer, actor or a chef-operator makes you want the public to come into a room, do not hesitate to invite them. "
The directors and producers are eager to share their work with the audience, to be invited into the venues.

It is reassuring for them to know that community networks exist locally.
A producer explains: "C

e'm interested in these movements, especially in rural areas where there work that is taking place, is whether there is a network, a mesh between the associations between the elected local councils, commissions that have supported us. It is very important to us. We are pleased to participate in that. The interest shifts to the producers and creators, beyond the importance of support for their films, also lies in the possibility of raising public awareness to the work of front-end manufacturing, so that the link between economics and the arts is not forgotten: "When a producer or distributor is talking about his work, the public realizes that the work is not something dematerialized as a download on the internet, but instead there are people who work behind and the economic chain is important. Klapisch What would have become without the accompaniment of his first short films? Klapisch, like many others, is a filmmaker now on the market today that is derived from cultural activity.

This emergence of important filmmakers is due to the tremendous work carried out initially on a short film , research work and exhibition of films works through networks of cultural action: Agency's short film, Crossroads Festival, Run for the short film, etc.
., grouped in the ROC -
Coalition of Short Film . For example, Agency short film receives 600,000 euros each year for the rental of copies, that money is then redistributed to the directors and producers.
"
You have to imagine a revolution of our systemic work on ways to work, put the film in the center of our projects to disseminate and raise new modes of cooperation. Why today's short films are distributed and they do they face more public? First, because they benefit from a network ranging from festivals and associations programming to the arthouse cinemas who may have access to movies quickly. Secondly, all these places have access to films throughout the life of the film, at the option of desire of a number of clandestine pictures to show those films. "

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L access to finance coaching works is difficult

major and crucial problem: there is no money, not enough revenue to pay for lift the work of filmmakers and producers.
Directors who accompany their movie, sometimes for six months of touring in theaters, are very often not paid for this work of cultural activity throughout the territory. Moreover, it is not uncommon for them to lose their rights to unemployment compensation because they give up a job creation during this period. Rooms, primarily, rarely remunerated work, lack of money and sometimes simply for lack of awareness: "The rooms are not always aware of the economic chain and their responsibility vis-à-vis her. We are all caught in this logic of numbers: of course we are required by the guardianship but not always! It is an internalized psychological pressure. "
Associative structures working outside cinema, meanwhile, suffer from their status when they are involved in the broadcast. Their actions at the territorial level are indeed sometimes not recognized as an integral part of dissemination policies and cultural action film.
We consider that the work conducted outside the rooms is not cinema.

I work in rural areas where past five years we project movies on video in all sorts of places: the halls, barns, fields, etc.. We move house films, documentary films and we invite developers. We often "room" full. Viewers come forty miles away. We create very special atmosphere, with sets adapted to the context and the film, with meetings and a lot of dialogue ... But we've really begun to be considered in terms of "cinema" in our region, from when we worked in a cinema, a true "room with armchairs. This recognition is linked to entry into the room, but not really the work we are doing for years.

" We stand against this view that regulation tends to confirm and that there are at least two types of film and audiovisual cultural action: the action and action in room off hall. This separation is a danger against which we must assert a unity in the conception of cultural action: to demonstrate that beyond these specific differences, we meet on common goals. We, who work both in cinemas and in the media centers, houses of culture, MJC, prisons, hospitals, community halls etc ..., do the same job!

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Distributors must take their share in the implementation of cultural action

The collective cultural action film and video calls that are mobilized all agents of our industry, particularly distributors, who are not here today ... The vertical solidarity should be strengthened in the interest of everyone. The majority Distributors are now spending huge sums in promotional costs, also victims of cost inflation (but do not hesitate to bail out on standard pricing abuses carried out especially with film clubs!). Should we not otherwise arbitrated output budgets? Why not consider a pot between producers, distributors and exhibitors to fund cultural activities around the works? Is there not a waste to spend so much money in advertising whose effects are uncertain?

"
distribution, which often do not believe in networking, offers no not the tools to communicate with the audience beyond the posters. Most associations do not have this vein. They believe that just the thing to do traditional commercial: posters, trailer, etc.. Anyway, according to the great mythology of poker film people, there's one in ten who will pass and everyone hopes that this will be his. You wait, you're scared, it's Wednesday night, bad luck and nine times out of ten the miracle does not happen!
"

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reminder of the genesis of the report

An inventory of cultural action - film, audiovisual and multimedia - coupled with a study of conditions for greater complementarity of actions in the fields of broadcasting, the Planning and Education in the image, was commissioned to Alain Auclair, in early 2008. This order was in response to the unprecedented mobilization in Saint-Andre-des-Arts Collective, whose large size and representativeness of a sector is extremely heterogeneous had greatly surprised the Ministry of Culture and Communication. Shortly after the publication of the report by Alain Auclair in November 2008, the department has demonstrated to the Blac to announce that the document would serve as a basis for dialogue with stakeholders in the cultural action.
Having shelled extensively in the eighty pages (plus appendices), we have reached a shared conclusion: we believe that the report suffers from "schizophrenia" between his diagnosis and his proposals.

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Workshop

CRITICAL ANALYSIS
was obvious, the group had to react as quickly as possible in the first report that the object of study main cultural action. Reactions to hot, so, in the statement and the proposals.
cf. also the response
Alain Auclair

the next day, January 9, and reactions to it

the next day during the second

Roundtable .

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diagnosis halftone

must begin by highlight some interesting biases and courageous work done, show boldness rarely do most of the reports of the same type. The findings relate to our shared recognition:

disengagement of the state in the culture at a specific time: 2008;

the breakdown of trust between actors in the field, the department, CNC and local authorities;

a certain contempt for the work of field workers, or even the local authorities;

However, the diagnosis is not without flaws. Instead, it is riddled with inaccuracies, and even contradiction. As examples, we found:

lack of global perspective

the absence of any mention of an entire segment of players who cultural action
: media libraries, video libraries, ECM, etc. popular education movements. etc., reducing the issue of cultural action to theaters and festivals, and has
failure to identify any part of outreach work and support of the aforementioned

the charge of "elitism" catalogs of educational devices the image that would justify a distrust of teachers vis-à-vis the devices;

Furthermore, we would have liked to be pointed in this report the lack of transparency in the method of redistribution of funds devolved following declines in 2008. To illustrate our claim, recall that "

Overall, we want the assessment to be rebalanced in favor of quality. We will be in that perspective, the proposal: "We

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Proposals "staggering"

Apart from wishful thinking in general, we subscribe unanimously disagreed vis-à-vis the bulk of the report's proposals Auclaire. For example, stress analysis and some proposals which seemed absurd:

the posting of all educational documents of schooling arrangements particularly in view of the doubling of the workforce;

striking federations cine-clubs and their transformation into counseling agencies;

the will of a more-movies "that would mean the opening of the recommendation" research "and enlargement of catalogs of educational measures on the grounds that there would not enough children affected by the devices;

, especially in the competition between operators for devices of image education and the opening film catalogs for teachers can pick them based on their knowledge of the movie title or appropriate to their discipline.

Moreover, it seems that the foundation of the three devices is denied by the school report, threaten what makes our eyes philosophy, c

(specific documents, thoughtful, designed, made and given to teachers and students, for each film viewing).

prescribers of a wider range of cultural
.

***
The fourth workshop was followed by a lengthy exchange on engaging each other, the future of the mobilization and movement, and its future organization .

Saturday, May 16, 2009

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FIRST GENERAL STATE OF CULTURAL POLICY

Introduction by Amelie Chatellier and Eugene Andréanszky

On behalf of the interim secretariat of the Collectif
cultural action film and audiovisual
(Blac), we want to welcome everyone to

Centquatre,
this new place of cultural activity that welcomes us for these two days of work and reflection.
Almost a year to the day after the historic gathering of the St. Andre des Arts, exceeding all corporatism, we end up with the same determination, the same energy to move forward together ... Since that date "before it is too late "- to refer to our editorial in the folder on the cultural activity of Cahiers du Cinema in January 2009 that was given to you at the door - the group began to exist and to mention only some of its actions, we recall:

intervention of Jeanne Moreau at the ceremony Caesar, and still the same February 22, 2008, mobilization "black screens, throughout France over 200 screens;

launch In April, the text transdisciplinary "Save our culture! "With actors of cultural action from theater, dance, plastic arts, multimedia or music and film, which has collected nearly 15,000 signatures on this occasion the Blac asked filmmakers to make film leaflets around "Save our culture! "

Fortnight ;

steep.

Faced with this situation and the continuation of actions already undertaken by the collective, we wanted the "States General of the action film and audiovisual culture" with, as its priority objectives:

an attempt to define the cultural action film and audiovisual

a new state of play in early 2009, after a year 2008 somewhat chaotic

an inquiry of the State on its withdrawal in culture and art education;

So we spent the afternoon yesterday, during nearly four hours, to reflect together on these issues and many others: the report Auclaire, arts education, the sector of cultural activity and renewal of talent, and, of course, on the emergence of an unprecedented movement that brings together farmers, producers, distributors, filmmakers, national associations, regional, and structures as diverse as the DOJ, rural households, multimedia, ECM - Espaces Culture Multimedia - The movement of drive clubs, the league education, unions to name just a few of the nearly 380 structures that form the collective.

Thanks for coming unabated.