My Life as a Godard Movie

Filmmaker, photographer, writer and traveler  Chris Marker (1921-2012) never respected boundaries between genres. His landmark 1962 film La Jetée is almost entirely stills, its one moving image as thrilling as the Lumières’ films must have been for their original audiences. Each of Marker’s films (including the widely celebrated Sans Soleil) stretched the definition of the art, merging at times with the essay, political manifesto, personal letter, even computer game. 

In Immemory, Chris Marker originally used the format of a CD-ROM to create a multi-layered, multimedia memoir. The reader investigates “zones” of travel, war, cinema, and poetry, navigating through image and text as if physically exploring Marker’s memory itself. The result is a veritable 21st-century Remembrance of Things Past, an exploration of the state of memory in our era. With it, Marker both invented a literary form and perfected it. And yet the digital format he chose for his experiment was quickly rendered obsolete.

Immemory: Gutenberg Version reinvents this unique work for the printed page, a project the author dreamed up, titled, and developed with Exact Change before his death. Now finally realized, Immemory: Gutenberg Version brings this seminal work by Chris Marker into the present and future via a time-tested, durable format of the past — the book.

Edited & with an Introduction by Isabel Ochoa Gold

Eponymously titled with his award winning 2014 film, “A Certain Amount of Clarity” is the first monograph dedicated to the artistic practice of Emmanuel Van der Auwera, whose work describes our experience of digitized life operating at intersections of documentary, reconstruction and fiction. 

His practice is one that demonstrates the impact of emerging technologies on perception and civic dialogue, building platforms for marginalized actors and engaging with technicians and scientists to explore the balance of ethics and aesthetics in new media. Through filmmaking, video sculpture, theatre, printmaking, and other media, Van der Auwera sets up encounters with found images that provoke a questioning of our visual literacy: How do images of contemporary mass media operate on various publics, and to what end? 

With the formal rigor of a logician, Van der Auwera dissects how images are engineered, mastering specialized industry techniques and intervening on their protocol. In so doing, Van der Auwera brings us no closer to a monolithic truth, but constructs new paradigms for reading images and understanding our relationships with them. 

In a reality in which the boundaries between cinema, art, installation and multimedia experimentation seem to be increasingly blurred, History of a Tree by Flatform is a project that sets out to radically alter the idea of the portrait in western art. 

A non-human living organism – the Oak of the Hundred Knights of Tricase, the oldest Vallonea oak in Europe at the age of 900 years – and the territory in which it has stood for centuries become the subject: through a film and a robotized video installation, statements become a portrait, and are transformed into a work of art. 

The book retraces the genesis, development and implementation of this original idea, providing a visual score, the film in 80 images, dialogues in ten languages, the contributions of a tree searcher, an art historian and two philosophers, as well as a series of in-depth essays drawing on the fields of science, history, anthropology, music and linguistics. 

A scrapbook on Baillie's life and career, with stills, ephemera and writings by filmmakers across generations.

This is the first book on the West Coast avant-garde filmmaker Bruce Baillie (1931-2020), famed for the films Mass for the Dakota Sioux (1964), Castro Street (1966) and All My Life (1966) and for his influence on directors such as George Lucas (one of Lucas' charitable foundations helped fund the digital transfer of Baillie's films) and Apichatpong Weerasethakul. Alongside stills from Baillie's films, the book fosters a dialogue between Baillie and filmmakers and writers across several generations, including experimental filmmaker Peter Hutton, filmmaker and anthropologist J.P. Sniadecki and Jonas Mekas, along with suites of images by the Thai director Apichatpong Weerasethakul, British artist and experimental filmmaker Ben Rivers and Brazilian artist and filmmaker Ana Vaz, among others. Reproductions of correspondence and other ephemera are also included.

Myth Lab: Theories of Plastic Love is a genre-defiant sex-trip to post-human dimensions. If C.G Jung, magic-mushroom shaman Terence McKenna and Camille Paglia (Sexual Personae) had a three-way while binging on George Bataille and undergoing Hormone Replacement Therapy, their baby might be the erotic cocktail of Myth Lab. Its extreme theme is nothing less than the fate of the species.

“Brilliant and wild, Jack Skelley’s Myth Lab is a manifesto of exuberance disguised as a sci-fi sex test-center for the invention of communal futures. Skelley’s a mad scientist, scholar and poet.” - Chris Kraus, author of After Kathy Acker
 
“In Myth Lab, Jack Skelley adroitly molds an “Einsteinian elasticity between objects and ether” to the “clitoverse.”  If this formulation seems too vast, just think about a) the last time you felt good about power and b) all the ways to say yes to pleasure as a source of liberation. In conducting a “cosmologic psychoanalysis,” Myth Lab thrillingly hot wires our neurons to an endless mirror stage reflective of our own instinctual nature.” - Kim Rosenfield, author of Phantom Captain
 
"An explosion of clit-cock-and-pop-culture worship. Skelley’s eroto-celestial universe fights back not only against the denial of desire – “also known as fuckheadocracy and market forces” – but against death itself."  - Francesca Lia Block, author of Weetzie Bat
 
"A hallucinatory book that straddles gender studies, science-fiction, and cultural criticism (to name but three of many genres). Ever eager to use a newfound Skelley-ism, I urge everyone to read Myth Lab and be “Kardashian'd” with love (i.e buy it now, it's great)." - Susan Finlay, author of The Jacques Lacan Foundation
 
"In Jack Skelley’s Myth Lab, something weird and beautiful is forged in the crucible of infinite horny grief. It’s an epic, delirious descent into the inferno, navigating the concentric circles of romance and desire as literary malady, TikTok psyop, benevolent cosmological principle, and more. Simultaneously a quest, a physics experiment and an elegy. I loved following its narrator - a tender, erotomanic, Blakean particle - seeking and finding visionary head." - Daisy Lafarge, author of Love Bug