Inheritance | SWARM 17
Inheritance | SWARM 17

8 September 2016—8:00pm-10:00pm
Boheme, 1506 East Hastings, Vancouver

S Add to Calendar 2016-09-08 08:00 PM 2016-09-09 10:00 PM 6 Inheritance | SWARM 17 September 8–9
8.00pm – 10.00pm

Presented in partnership with [Millennium Development Group](

For SWARM 17 Cineworks presents Inheritance –– an off-site screening installation featuring works by 12 Canadian artists, commissioned and released by Edmonton-based Graphical Recordings under the title Variations. Each work offers a response to Poem (1957) by Michael Snow, and each respondent gravitates towards a different word or poetic image as the basis of formal and narrative experiments, extending their contact with the traces of Snow’s thought process through moving image and sound. 

Occupying 10,000 square feet of newly finished commercial rental space in East Vancouver, the installation takes the idea of cultural inheritance –– of forms, patterns, practices and assumptions –– as a framing device. A collection of artistic propositions, each responding to inherited arrangements of poetic materials and their effects, is set within a sweeping architectural edifice, within an up-to-the-minute example of mixed-use urban development, in a transitioning industrial zone of a city built on the unceded traditional territories of Coast Salish First Nations. Such space both opens anew and forecloses possibilities for different kinds of material-social action and, as such, enacts and challenges inherited conventions, codes and rules informing the composition of the urban milieu. In this way, the installation invites speculative connections between the repetition and adaptation of inherited principles in artistic investigation –– tokens by which habits of practice are staged, negotiated, reinforced and redefined –– and the complex forces of urban development that shape contemporary conditions of cultural production.


1. Evangeline Belzile and Ian William Craig (3:59)

2. Stephen Broomer and Stuart Broomer (7:34)

3. Kyle Armstrong and Mark Templeton (3:12)

4. Dan Browne and Steve Richman (3:45)

5. Michael Snow Portrait (silent) (2:16) 
(shot by John Price)

6. Christine Lucy Latimer (silent) (5:08)

7. Mani Mazinani (5:48)

8. John Price (silent) (3:30)

9. Clint Enns (5:48)

Total running time: 41:02

Also featuring an essay by Stephen Broomer

Artist Biographies

Michael Snow lives in Toronto and works on an internationally active practice that includes work in photography, installation, video, film and music. He has also produced work in painting, sculpture, drawing, holography and bookworks.  Snow has completed several public commissions such as Flight Stop (1979, Eaton Centre in Toronto), The Audience (1989, Rogers Centre, Toronto), Les Lumieres (Cinémathèque Québécoise, Montréal, 2013). Some recent solo exhibitions include: Michael Snow Sequences. La Virreina, Barcelona (2015),  Michael Snow Photo-Centric at the Philadelphia Museum of Art (2014), The Legacy of Wavelength at the Museum of Modern Art, New York (2013), Solo Snow at Galerie de l’UQAM, Montréal (2013), In The Way at the Jack Shainman Gallery, New York (2012), Recent Works at Secession, Vienna (2012), Objects of Vision at the Art Gallery of Ontario (2012).

Evangeline Belzile is a visual artist with a primary focus on still + moving images. She is based in Canada and is currently studying at Emily Carr University, specializing in film, video, + integrated media.

Ian William Craig was born in Edmonton, Canada in 1980. As a composer and vocalist, Craig runs on a combination of classical vocal training and process-based uncertainty. He received his MFA in printmaking from the University of Alberta, and after moving to Vancouver, began self-releasing albums from his new home on the coast of Canada. His first two physical recordings, A Turn of Breath and Cradle for the Wanting, were issued by Recital Program to critical acclaim and weaved together choral, ambient and noise influences billowing out from his custom-built tape decks.

Stephen Broomer is a filmmaker, film preservationist and historian. He completed his doctorate on difficult aesthetics in the Canadian avant-garde film under the supervision of R. Bruce Elder, with special attention to the films of Michael Snow. Broomer's films, which have screened at the Toronto International Film Festival, Views from the Avant-Garde (New York), and the San Francisco Cinematheque, are the subject of a recent monograph, The Transformable Moment: The Films of Stephen Broomer (Ottawa: Canadian Film Institute, 2014), edited by Scott Birdwise and Tom McSorley. His first book, Hamilton Babylon: A History of the McMaster Film Board, was released by University of Toronto Press in 2016.

Stuart Broomer (Toronto, 1947). Musician, writer. First active in jazz and improvised music in 1965, Broomer's recordings include Conversation Pieces (with Bill Smith, 1977) and Annihilated Surprise (with John Mars, 1983). He has occasionally played with Michael Snow in various improvising ensembles from the 1960s to the 2000s; Broomer's Kinetic Ensemble provided live soundtracks for 1967 screenings of  Joyce Wieland's Bill's Hat at the Toronto Cinethon and the Art Gallery of Ontario. He is the author of Time and Anthony Braxton (Mercury Press, 2009) and writes regularly on music for Musicworks, New York City Jazz Record and

Kyle Armstrong is a Canadian filmmaker and artist. Working with super8 and 16mm as well as lo- fi video, Armstrong frequently uses hand-altering film techniques, employing bleaches, dyes, scratches, and paint to alter both his own footage and found films. His primary focus is on creating short, non-narrative films, which have been screened at various galleries, during live performances and in traditional cinemas around the globe. His films are influenced by filmmakers as diverse as Stan Brakhage, Hollis Frampton, Bela Tarr, Alexander Sokurov, Guy Maddin and Andrei Tarkovsky.

Mark Templeton is a Canadian sound artist who utilizes acoustic instruments, found sounds and sampled material to construct textured, collage-like electronic compositions. Templeton's works have been commissioned by organizations and artists of contemporary dance, film and audiovisual disciplines. His recordings have been published by Anticipate Recordings, Staalplaat, Sweat Lodge Guru, Under the Spire Recordings, Silentes and Graphical Recordings. He has performed live and exhibited his work at international festivals, art galleries and alternative spaces throughout Europe, Canada and the United States. In addition to his work as a sound artist, Mark Templeton is also a photographer, media studies teacher and the owner and curator of Graphical Recordings.

Dan Browne is a filmmaker, photographer and multimedia artist whose works explore patterns, nature and perception through dense and kinetic forms. His films have been presented at over 100 festivals and venues worldwide and have received several awards, including Jury Prize for Best Canadian Work at WNDX Festival of Moving Image, First Prize at Athens International Film and Video Festival, and the Deluxe Cinematic Vision Award at Images Festival. Dan is currently a PhD candidate in the York/Ryerson Graduate Program in Communication and Culture, where his research focuses on the intersections between technology, art and embodiment. He lives in Toronto.

Steve Richman (aka Zumone) enjoys experimenting with sound and image production across a wide variety of media. As a music producer and DJ, he draws inspiration from the traditions of dub music to develop multi-layered compositions with depth and weight. Steve has produced music for films such as Twelve (2009), memento mori (2012), and Derive (2015), and recorded sound for the award-winning documentary The End of Time (2012). Currently living and teaching in Toronto, he actively co-creates with several Toronto-based art collectives, bringing people together to celebrate through festivals and special events.

John Price is a filmmaker / cinematographer living in Toronto.

Christine Lucy Latimer is a Toronto-based media-maker. Her work in the past decade has been featured across 5 continents in over 200 film festivals and exhibitions. Recent exhibitions include Whitechapel Gallery (London, UK), Seoul International Photo Festival (Seoul, SOUTH KOREA), International Video Art House Madrid, Echo Park Film Center (Los Angeles, CA) and Experimental Superstars (Novi Sad, SERBIA). Christine has also recently been honoured with awards from The New York Photo Festival and Blackflash Magazine. Upcoming exhibitions include Experiments in Cinema (Albuquerque, NM), Art Cinema OFFoff (Ghent, BELGIUM), and Alchemy Film and Moving Image Festival (Hawick, Scottish Borders, UK).

Mani Mazinani makes artworks in multiple media including installation, video, film, photography, painting, printmaking, multiples, sound and music. His work directs attention to the physicality and logic of his subject medium. Current research interests include origins of ancient philosophical thought, perceptual limitations of humans and Hiphop culture. Mazinani has shown work internationally and his work has been featured in festivals like Nuit Blanche and Luminato, where he was in a two-person show with Michael Snow.  He has also collaborated with Snow on multiple projects as well as musically in their synthesizer duo and as a guest of CCMC.

Clint Enns is a video artist and filmmaker living in Toronto, Ontario. His work primarily deals with moving images created with broken and/or outdated technologies. His work has shown both nationally and internationally at festivals, alternative spaces and microcinemas. He has a Master’s degree in mathematics from the University of Manitoba, and has recently received a Master’s degree in cinema and media from York University where he is currently pursuing a PhD.  His writings and interviews have appeared in Leonardo, Millennium Film Journal, Incite! Journal of Experimental Media and Spectacular Optical.

“MILLENNIUM, A Canadian Company with International Vision.” “We build dreams. Dreams that are based on sober and painstaking research. Dreams that are founded on financial solidity. And backed by a track record of more than half a century of absolute success. The story of Millennium, and its principals, Shahram Malek and Peter Malek, is inextricably linked to that of Canada and British Columbia, a country and province on the leading edge of design, sustainability and quality of life. It is a story of blending years of experience in high profile international real estate development with the natural beauty of the West Coast and of site-specific award-winning architecture. At SEFC, Millennium saw a prime waterfront property, in an iconic location, ready to be developed into North America’s first truly sustainable neighbourhood. The challenge of housing the 2010 Olympic athletes in the buildings, designed and built in record time, only added to the significance of the task. This is the essence of Millennium's Olympic Village: a private project used for a global purpose, providing a legacy for residents and future generations, and a showpiece for Vancouver and Canada. Shahram Malek comments, “Our goal is to create something here that is world class in every sense – architecture, sustainability and livability – enhancing the Vancouver real estate experience.”Our real estate developments encompass shopping centres, office buildings, mixed use complexes, residential towers, verdant master planned communities, commercial and industrial centres. Millennium's in-house construction management expertise, born out of years of experience with complex construction systems and building techniques, and our retention of experienced consultants, enables us to closely review the design, budget and building processes. In this way, we are able to develop the highest quality buildings in a cost-efficient and timely manner. And we draw on the depth and breath of our international affiliates to keep us abreast of global happenings. We offer splendid developments, financial strength and a sense of vision. We seek and thrive on challenge. And we strive to build eternal quality to timeless design.”

Image: Christine Lucy Latimer, Variations (Video still, detail)
Boheme, 1506 East Hastings, Vancouver Cineworks YYYY/MM/DD
Film & Media Showcase: Cineworks | WIFTV | DOC BC
Film & Media Showcase: Cineworks | WIFTV | DOC BC

31 August 2016—7:00pm-9:30pm
Cineworks Studio, 1131 Howe Street (lane entrance)

S Add to Calendar 2016-08-31 07:00 PM 2016-08-31 09:30 PM 6 Film & Media Showcase: Cineworks | WIFTV | DOC BC The Film and Media Showcase is a forum for members of Cineworks, WIFTV and DOC BC that provides filmmakers with an opportunity to share their work with other artists, across genres and in a variety of lengths, in a space dedicated to discovery, discussion and inspiration. Each screening will be followed by a question and answer session with creators, with informal conversation and networking afterwards.

Tide Lines; 80 mins; HD Video
Director: Andrew Naysmith (WIFTV)
Producer: Arwen Hunter (WIFTV)

Two brothers and a friend set sail from Mexico with a dream to circumnavigate the world and surf. Over the course of the next three years, their lives would change dramatically through the beaches they visited, the people they met and a new found sense of global community through the oceans. Tide Lines is the true story of Ryan, Bryson and Hugh on a sailboat called “Khulula” and their inspiring voyage across the sea in search of adventure, plastic awareness and education.

Since 2003 somethingsomething studios has pushed the boundaries of non-fiction storytelling. Arwen Hunter has heralded projects that have taken her from from the centre of the vast Pacific Ocean to crossing Canada at 500ft in a bush plane. She has produced projects for History Television, the Lifetime Network, CBC North and Victoria's Chek Television often interviewing A-list talent including Harrison Ford and Kim Bassinger.

Andrew Naysmith is an award-winning filmmaker and freelance producer. Since graduating from the Art Institute of Vancouver, he has worked on six continents capturing pictures, producing films and documenting stories.
Dream; 5 min; HD Video; 2016
Filmmaker: Jesse Andrewartha (Cineworks)
Trapped in the oppressive monotony of the nine-to-five routine, an office worker escapes with dreams of manta rays.

Reclaiming the Deep: Solving the riddle of nitrogen narcosis; 5 min; HD Video; 2016
Filmmaker: Jesse Andrewartha (Cineworks)
Nitrogen narcosis is one of the most common dangers in deep sea diving; despite decades of study it remains poorly understood. However, advances in science & engineering mean that researchers are on the cusp of new discoveries. In this teaser for a full-length documentary, we take a glimpse at the ongoing work in the work of scientists in their aim to recapture the deep.

Jesse Andrewartha was introduced to the magic of silver halide imaging as a post-graduate in Scientific Photography but quickly discovered a passion for motion picture film. The coming of age in visual effects in the 90's was the launching pad of a twenty year career in the visual effects industry. A Render Efficiency Supervisor with Sony Pictures Imageworks, Jesse is also active in the Vancouver analog film community as a filmmaker.

Image: Tide Lines (2014). Khulula's view from mast.
Cineworks Studio, 1131 Howe Street (lane entrance) Cineworks YYYY/MM/DD
Text To Speech: Media Art and Theory Reading Group
Text To Speech: Media Art and Theory Reading Group

25 August 2016—6:30pm-10:30pm
Sunset Beach, West End, Vancouver (Location is Eastern-most beach in Sunset Beach Park, adjacent to car park; Look for the TTS sign; Rain venue: meet at location, then proceed to local apartment).

S Add to Calendar 2016-08-25 06:30 PM 2016-08-25 10:30 PM 6 Text To Speech: Media Art and Theory Reading Group A reading group organized by Western Front, Cineworks and VIVO, focused on intelligent writing about media, media art and the surrounding concepts and frameworks of the mediated world. This project is a collaborative group discussion that is open to suggestions and diversions, aiming to build stronger community ties and knowledge in our field. The text to speech notion draws from the successful format of other close reading groups, and we will facilitate group reading, discussion, and participation. Prior reading of a given text is encouraged but not required, as all sessions will involve some form of introduction, and some portion of close reading (out loud).

Text: Ute Holl – Trance Techniques, Cinema, and Cybernetics
In: Heike Behrend, Anja Dreschke und Martin Zillinger: Trance Mediums and New Media. Spirit Possession in the Age of Technical Reproduction, New York 2015.

[Download >>](

This reading has been selected in conjunction with [Dream Technologies: Early Works of Tony Conrad]( – a retrospective of the late Tony Conrad's 16mm film and music work, taking place at 7.30pm on Wednesday 24 Aug at Pacific Cinematheque, co-organized by Cineworks, Western Front and the Cinematheque.
Sunset Beach, West End, Vancouver (Location is Eastern-most beach in Sunset Beach Park, adjacent to car park; Look for the TTS sign; Rain venue: meet at location, then proceed to local apartment). Cineworks YYYY/MM/DD
Dream Technologies: Early Works of Tony Conrad
Dream Technologies: Early Works of Tony Conrad

24 August 2016—7:30pm-9:00pm
Pacific Cinematheque, 1131 Howe Street

S Add to Calendar 2016-08-24 07:30 PM 2016-08-24 09:00 PM 6 Dream Technologies: Early Works of Tony Conrad $11/$9; Tony Conrad (March 1940 – April 2016) was an American filmmaker, musician, composer, writer and teacher –– a pioneer of both structural film and drone music (including collaboration in the group Theatre of Eternal Music, also known as The Dream Syndicate, with Marian Zazeela, John Cale, Angus Maclise and La Monte Young). A dynamic visionary, Conrad abandoned and dismantled traditional Western composition, influencing bands like Sonic Youth, and condensed the principles of film to bare essentials of embodied subjective experience, famously in The Flicker (1966), considered a cornerstone of structural filmmaking.
In honour of the artist and his contributions to experimental film and music, Cineworks, Western Front and The Cinematheque together present Dream Technologies: Early Works of Tony Conrad. This event includes five of Conrad’s early short films on 16mm, preserved and managed by Canyon Cinema, and an experimental music interlude, drawing from one of Conrad's important early musical collaborations.

Warning: this event includes flickering light and is potentially hazardous for photogenic epileptics or photogenic migraine sufferers.


Articulation of Boolean Algebra for Film Opticals (Finale) (1975); 10 min
Articulation of Boolean Algebra for Film Opticals is one of the most austere and highly structure-dependent films ever, made without images other than six patterns of alternating black and white imposed upon the full surface of the film strip.

Film Feedback (1974); 15 min
Made with a film-feedback team which Conrad directed at Antioch College. Negative image is shot from a small rear-projection screen. The film comes out of the camera continuously (in the dark room) and is immediately processed, dried, and projected on the screen by the team. What are the qualities of film that may be made visible through feedback?

Straight and Narrow (1970); 10 min
Straight and Narrow is a study in subjective color and visual rhythm. Although it is printed on black and white film, the hypnotic pacing of the images will cause viewers to experience a programmed gamut of hallucinatory color effects. Straight And Narrow uses the flicker phenomenon not as an end in itself, but as an effectuator of other related phenomena. In this film the colors which are so illusory in The Flicker are visible and under the programmed control of the filmmaker. Also, by using images which alternate in a vibrating flickering schedule, a new impression of motion and texture is created.

Eye of Count Flickerstein (1967); 7 min
The sustained dead gaze of black-and-white TV "snow," captured in 1965 and twisted sideways, draws the viewer hypnotically into an abstract visual jungle.

Sonic interlude; 28 min
Curtains are drawn across the screen for this experience: a deep-listening journey through expansive topographies of electronic sound, by Tony Conrad and early collaborators.

Flicker, The (1966); 30 min
This is a notorious film; it moves audiences into some space and time in which they may look around and find the movie happening in the room there with them. Much has been written about The Flicker. It is a library of peculiar visual materials, referenced to the frame-pulse at 24 frames per second. All flickering light is potentially hazardous for photogenic epileptics or photogenic migraine sufferers.

Film notes by Canyon Cinema

Pacific Cinematheque, 1131 Howe Street Cineworks YYYY/MM/DD
Images Reimagined with the Oxberry Optical Printer
Images Reimagined with the Oxberry Optical Printer

13 August 2016—12:00pm-4:00pm
Cineworks, 1131 Howe Street (Lane Entrance), Vancouver, V6Z 2L7

W Add to Calendar 2016-08-13 12:00 PM 2016-08-13 04:00 PM 6 Images Reimagined with the Oxberry Optical Printer Annex Volunteer Admission: $45 + taxes
Member Admission: $70 + taxes
General Admission: $95 + taxes
[Registration >>](

Learn the basics of Cineworks' mighty Oxberry optical printer! Make duplicates, prints, and limitless analog effects on 16mm and 35mm. Participants will learn a variety of techniques including but not limited to:
Basic functions
Controlling exposure
Balancing colour
Multiple exposures
Step printing

Take advantage of the small class size and learn how to reimagine your images. Space is limited to four.

A little about the printer:

The Oxberry optical printer is the cream of the crop among analogue film printers and it’s applied for manually created analogue special effects on 16mm and 35mm film. An optical printer is a device consisting of one or more film projectors mechanically linked to a film camera. It allows filmmakers to re-photograph one or more strips of film. With special lenses for resizing and distorting the material with projectors sending the film image to the camera, fade-outs and fade-ins, dissolves, slow motion, fast motion and image overlays, extraordinary results can be easily achieved. More complicated work can involve dozens of elements, all combined into a single scene.

Instructor: C.J. Brabant

For the past decade, film artist cj brabant has explored the regeneration and reformatting of the small-gauge film image. Working to make the familiar unfamiliar, brabant creates visual abstractions that yield the unseen and unfelt by means of mechanical and DIY processes that fracture, disassemble, and reassemble isolated moments.
Cineworks, 1131 Howe Street (Lane Entrance), Vancouver, V6Z 2L7 Cineworks YYYY/MM/DD

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Cineworks encourages the production of new media art works and their dissemination by actively providing new opportunities for artists through inhouse initiatives.

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How to Volunteer at Cineworks

Volunteering at Cineworks is a great opportunity to connect with like-minded people in Vancouver’s media arts community. Members and non-members alike are welcome to volunteer, although privilege will be given to current members in good standing. Please visit our Cast/Crew/Wanted Ads section if you are looking specifically for on set experience.

Cineworks is a member-driven organization and runs on its core of amazing volunteers. All current members are expected to volunteer a minimum of 10 hours per year as part of your membership duties.


The Annex Production Facility

Located in Vancouver’s Railtown District in the historic Ironworks Building, Cineworks Annex is an analogue studio specializing in celluloid cinematic practices. The Annex is a communal studio space that is home to our past Local Artists in Residences and houses a dark room, optical printing, Steenbeck flatbed editor, film processing/printing facilities, and an animation stand.

We recommend doing an orientation for those interested in learning more about the Annex. It is a mandatory step before using the facilities. To schedule an orientation, please contact When you come to the Annex for your orientation, please ring the doorbell on the right side of the metal gate at the bottom of the slope.

Please note that the Annex does not have regular office hours. If you want to go to the Annex you have to book an appointment. Send an e-mail to for inquiries about the Annex or if you want to go to the annex for an orientation.

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