https://transitarts.co.uk Transit Arts Sat, 23 Jul 2022 19:34:27 +0000 https://transitarts.co.uk en https://transitarts.co.uk/Front-page Sat, 23 Jul 2022 14:16:26 +0000 Transit Arts https://transitarts.co.uk/Front-page Transit Arts was an itinerant organisation for the support of artists’ moving image, working through public screening programmes and experimental publishing between 2015 and 2025. This site stands as an archive. RECENT: ︎︎︎DOWSER, notes on artists’ moving image in Scotland&nbsp;(2020–2024) <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/0fdb324866b41c3dde19e0c083e42b5d08330488da5dd5a10b255d00d2263844/Dowser-Group-Shot.jpg" data-mid="238667814" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/0fdb324866b41c3dde19e0c083e42b5d08330488da5dd5a10b255d00d2263844/Dowser-Group-Shot.jpg" /> Documentation courtesy of Morwenna Kearsley. https://transitarts.co.uk/About Sat, 23 Jul 2022 14:16:26 +0000 Transit Arts https://transitarts.co.uk/About Transit Arts was an itinerant organisation for the support of artists’ moving image, working through public screening programmes and experimental publishing between 2015 and 2025. Transit Arts was founded by curator and writer Marcus Jack and supported the work of over seventy artists, filmmakers, performers and writers. Originally operating as a series of pop-up, outdoor projections, screened from the back of a transit van, the programme moved indoors in 2017, working with venues to present artist retrospectives and thematic screenings. Transit Arts events have featured film, video and performance by Forensic Architecture, Michelle Hannah, Taus Makhacheva, Lutz Mommartz, Yuri Pattison, Amie Siegal, Fern Silva, Deborah Stratman, Margaret Tait and Alia Syed amongst others. DOWSER was published on the Transit Arts imprint between 2020 and 2024 as a serial about artists’ moving image in Scotland, comprising essays, interviews and archival material from guest contributors. Transit Arts’ programme developed with the support and cooperation of numerous galleries, cinemas, festivals, archives and estates, with partners having included Alchemy Film &amp; Arts; ATLAS Arts; CCA Glasgow; Document Film Festival; Glasgow Film Theatre; Glasgow Short Film Festival; Goethe-Institut; The Pipe Factory; Radical Film Network; Scalarama; Scottish Contemporary Art Network; Southside Film Festival; and Tyneside Cinema. Transit Arts was a member of Film Hub Scotland and the Radical Film Network. Follow us via Instagram. Contact Marcus Jack (he/him), founder and curatorEmail: hello@transitarts.co.ukPersonal website: marcusjack.com Subscribe Sign up to our mailing list for news on Transit Arts programming, publishing and opportunities. We don't spam and will only send updates a few times a year. 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Introducing DOWSER July 2020 <img width="3817" height="2545" width_o="3817" height_o="2545" data-src="https://freight.cargo.site/t/original/i/cd6adcf1a4ea469bddcaef69ae0520bbe4ae6e9bd56405e6a411009f3ab7d449/IMGP3277lowres.jpg" data-mid="148895949" border="0" src="https://freight.cargo.site/w/1000/i/cd6adcf1a4ea469bddcaef69ae0520bbe4ae6e9bd56405e6a411009f3ab7d449/IMGP3277lowres.jpg" /> Simone Hutchinson: Enfolding Each Other July 2018 <img width="2072" height="1617" width_o="2072" height_o="1617" data-src="https://freight.cargo.site/t/original/i/8ce682d2668b43e08163dcfdb45b83c7aa6e70966b2193a0a0d0e8ee72451459/IMG_20180710_0004small.png" data-mid="148585356" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8ce682d2668b43e08163dcfdb45b83c7aa6e70966b2193a0a0d0e8ee72451459/IMG_20180710_0004small.png" /> Soft Cells, Programme Notes March 2018 <img width="4338" height="3240" width_o="4338" height_o="3240" data-src="https://freight.cargo.site/t/original/i/ba2d294d7799368cb641858089ade5a2288233e0c86d530a01bf73b07cc4ba24/WATCHMEN1.jpeg" data-mid="148585518" border="0" src="https://freight.cargo.site/w/1000/i/ba2d294d7799368cb641858089ade5a2288233e0c86d530a01bf73b07cc4ba24/WATCHMEN1.jpeg" /> Uncanny Loop: New Habitats, Programme Notes August 2017 <img width="1800" height="1323" width_o="1800" height_o="1323" data-src="https://freight.cargo.site/t/original/i/681572b48e17d9d80b4246c61778ed755101cd5c4b8c9bac29ce25381247476e/Stratman002.jpg" data-mid="148585547" border="0" src="https://freight.cargo.site/w/1000/i/681572b48e17d9d80b4246c61778ed755101cd5c4b8c9bac29ce25381247476e/Stratman002.jpg" /> An interview with Lutz Mommartz January 2017 <img width="1354" height="758" width_o="1354" height_o="758" data-src="https://freight.cargo.site/t/original/i/ba751348399e56ffe63c60b204a28e5dacea2884ba2ccfe2dd6226da55d5b1ba/margret4.png" data-mid="148585553" border="0" src="https://freight.cargo.site/w/1000/i/ba751348399e56ffe63c60b204a28e5dacea2884ba2ccfe2dd6226da55d5b1ba/margret4.png" /> https://transitarts.co.uk/Enfolding-Each-Other Sat, 23 Jul 2022 17:35:35 +0000 Transit Arts https://transitarts.co.uk/Enfolding-Each-Other Enfolding Each OtherSimone Hutchinson If ecology is an approach [rather than a discipline], it proceeds from questions about viewing, subjects and objects.&nbsp;[i] [The] irresistible attraction toward enfolding each other is the vital motor of living and dying on earth.&nbsp;[ii] Ecology is best thought of as an approach which attempts to understand a dynamic relationship rather than as a study of physical structures [iii]. Anthropocene is ecology’s name for the current geological Era, but the word also encapsulates the single most important relation of our time: that between humankind and the environment. For that reason, essays on the Anthropocene may be found in disciplines far from ecology, such as art and literature. A Marxist articulation of the Anthropocene claims that ‘androgenic climate change is an unintended consequence of collective human labour’ [iv]. This statement implicates our socio-economic history in the degradation of the environment and emphasises the destructive potential of the economy when its power is prioritised over other socio-political concerns. <img width="1200" height="680" width_o="1200" height_o="680" data-src="https://freight.cargo.site/t/original/i/c13104df745c0914ef08efc9a6e51142ae706766f74ede67afd1f2b93b0ba7a7/untitled_4.png" data-mid="148587470" border="0" src="https://freight.cargo.site/w/1000/i/c13104df745c0914ef08efc9a6e51142ae706766f74ede67afd1f2b93b0ba7a7/untitled_4.png" />Annihilation, 2018. Photo: Paramount Pictures. Ecological criticism has joined other left-positioned political discourses in challenging the presumed naturalness of capitalism’s supremacy. Anti-racist, anti-ableist, LBGTQIA, intersectional feminist and now ecological conceptual frameworks share in common their different but intersecting quests to resist capitalism and deconstruct the human body (of one kind or another). These contemporary critical approaches to ideas about the human being in its social and ecological contexts draw from postmodernist theories of subjectivity and language. Language is important for ecology, which is ‘a verbal study of the oikos and a genre of scientifically and sociologically descriptive writing’&nbsp;[v]. Postmodernist discourses work well with ecocritical ones in providing a new conceptual language for imagining a fairer world beyond capitalism, since they both place the human in liminal regions amid psycho-social or geographical landscapes, where the human subject’s ecologically privileged position is disappeared, and where its de-centred position takes on new resonances. Science fiction writer M. John Harrison populates his Kefahuchi Tract trilogy (Light, Nova Swing, and Empty Space: A Haunting) with de-centred subjects whose importance to the unfolding events taking place in their universe is incidental. Neither characters nor plots are singly important, making each novel in the trilogy barely whole, comprised of countless fragments. The trilogy’s universe is ruled by complementarity – a physics where problems are resolved not by one law alone but by multiple. In this trilogy, aliens discover space travel technology one way, while humans find it out by another. Different methods arrive at the same result. This idea should be revolutionary, not least because such a system accepts difference. This is the only positive, hopeful element of this trilogy. The future it presents is shabby and retrospectively hooked on twentieth-century kitsch. The inclusion of a place called the Deleuze Hotel signals Harrison’s interest in ideas of deterritorialisation, capitalist desiring machines and schizophrenic subjectivities. Nature is conspicuous by its absence. Landscapes are ruinous, abandoned and uncanny. A planet famed for a sun which can be viewed in a state of magnificent, permanent sunset has been exploited by business and become a dishevelled tourist resort. People visit gene tailors to gain new characteristics, abilities, or sensoria. Nobody wants to be themselves, whatever that might be. The assistant to the detective is addicted to immersion tanks providing sexual gratification. She watches herself orgasm, but it is not an erotic event. Sex bears no relation to the seductive quality of desire, which has disappeared from the body. In the Kefahuchi Tract future, desire can only be found in the commodity. The haunting quality of empty space is the third book’s leitmotif. The phrase ‘empty space’ appears throughout, serving a variety of meanings – the empty space between each other, between humankind and nature, and the empty space left behind when capitalism exhausts desire. In Harrison’s trilogy, capitalism is really the central subject and it has driven a vast wedge of empty space between humankind and nature.<img width="1116" height="627" width_o="1116" height_o="627" data-src="https://freight.cargo.site/t/original/i/c49a86a9cb0b7603ebe87fe5250d20575b963645ba373f8335b634a2a68e5de9/23-annihilation-2.w710.h473.2x-e1533505635639.jpg" data-mid="148587638" border="0" src="https://freight.cargo.site/w/1000/i/c49a86a9cb0b7603ebe87fe5250d20575b963645ba373f8335b634a2a68e5de9/23-annihilation-2.w710.h473.2x-e1533505635639.jpg" />Annihilation, 2018. Photo: Paramount Pictures. Speculative narratives of futures where the space between nature and humankind closes up rather than expands offer alternative possibilities. One of these alternative approaches involves closing up the space quite literally. In Jeff VanderMeer’s Southern Reach series of novels (Annihilation,&nbsp;Authority, and Acceptance), the story begins by following a scientific expedition sent by a government agency known as Southern Reach into Area X, a littoral region of interest to the government for the strange occurrences in the flora and fauna. Some humans who visit become materially absorbed into the local ecosystem. A dolphin has a human eye, a body is absorbed into the landscape: the bodies of the separate beings end up assimilating each other and exist with each other symbiogenetically. Donna Haraway describes symbiogenetic relations as arrangements and assemblages, thereby emphasising the relational quality of all life: Critters [all living things] interpenetrate one another, loop around and through one another, eat each another, get indigestion, and partially digest and partially assimilate one another, and thereby establish sympoietic arrangements that are otherwise known as cells, organisms, and ecological assemblages.&nbsp;[vi] As the messy processes described above suggest, symbiosis is not necessarily mutually beneficial and the idea of humans being entrapped in a new symbiotic relationship with nature where nature alone benefits is one of the main ideas explored by the Southern Reach series. VanderMeer magnifies the principle of sympoeitic arrangements to create a terrifying vision of the future where the human body loses its individualism, distinct identity, voice, agency and physical form, becoming subservient to a mysterious organic force. Similar to John Wyndham’s triffids, in the Southern Reach series, nature reclaims the world from human beings, although the humans do not die. Such a fate would be kinder than this symbiont existence. The potency of horror lies is in its ability to expose truth violently through shock. VanderMeer’s trilogy requires its readers to recognise the falsehood of their assumed ecologically privileged selves. A common criticism of speculative fiction is that its presentations of future worlds reinforce the new social and economic forms of late capitalism more than they undermine them[vii]. But Harrison’s world of listless characters and peripheral plots at the margins of the universe and VanderMeer’s expedition teams entrapped in a disastrous symbiotic condition can only be interpreted as critically aware explorations of capitalism’s potential to ruin us. However, considerations of post-human landscapes need not require the annihilation of the human nor the imposition of vast space between nature and humankind. There is the option to form new articulations of capitalism that respond to the thesis of our symbiogenetic condition, in the hope of designing an ecologically sensitive future. Simone Hutchinson is a freelance editor and founder of Hedera Felix (est. 2018). Based in Glasgow, she has worked in creative production and academic publishing since 2004. Her previous work includes collaborative writing with artist Conal McStravick for Gnommero (2009–2015) edited by Sarah Tripp, Eona McCallum and Richard Taylor, and the multimedia installation, (SAC) Ongoing Bodies: Le Syndrome de Paris Suite exhibited at the Centre for Contemporary Arts (CCA) in Glasgow, February 2014, made with Conal McStravick and writer Alexander Kennedy (director of Daat Press). Commissioned as part of Beyond Cataclysm, curated by Marcus Jack for Tyneside Cinema, July 2018. [i] Jon Sanders, ‘The Ecology of Iain Crichton Smith’s ‘High Hills,’” Scottish Literary Review,&nbsp;Spring/Summer 2015, p. 78. [ii] Donna Haraway, Staying with the Trouble: Making Kin with the Chthulucene (Durham and London: Duke University Press: 2016), p.58. [iii] Sanders, p. 72. [iv] McKenzie Wark, ‘Climate Science as Sensory Infrastructure’, White Review, August 2014 http://www.thewhitereview.org/feature/climate-science-as-sensory-infrastructure/ [accessed 3 July 2018]. [v] Sanders, p. 76. [vi] Haraway, ibid. [vii] Frederic Jameson, Archaeologies of the Future (London &amp; New York: Verso: 2005), p. 165. https://transitarts.co.uk/Soft-Cells-Programme-Notes Sat, 23 Jul 2022 17:52:58 +0000 Transit Arts https://transitarts.co.uk/Soft-Cells-Programme-Notes <img width="2481" height="3484" width_o="2481" height_o="3484" data-src="https://freight.cargo.site/t/original/i/fd74a2a49e033c9743b5c9c3ea8a77d75b17562beac1b47730c81d3de81a6655/img20210317_19341867.jpg" data-mid="148589569" border="0" src="https://freight.cargo.site/w/1000/i/fd74a2a49e033c9743b5c9c3ea8a77d75b17562beac1b47730c81d3de81a6655/img20210317_19341867.jpg" /><img width="2481" height="3487" width_o="2481" height_o="3487" data-src="https://freight.cargo.site/t/original/i/84cdbf0a096625495fec706a63ba540eb0ce896537b2b31910c46e3c7b528e0e/img20210317_19360493.jpg" data-mid="148589686" border="0" src="https://freight.cargo.site/w/1000/i/84cdbf0a096625495fec706a63ba540eb0ce896537b2b31910c46e3c7b528e0e/img20210317_19360493.jpg" /><img width="4960" height="3507" width_o="4960" height_o="3507" data-src="https://freight.cargo.site/t/original/i/6d7cf995deb7aeac710c3c023873c1cb55a85d0c39999370108475117f400acd/POSTERSIDE1.jpg" data-mid="148589849" border="0" src="https://freight.cargo.site/w/1000/i/6d7cf995deb7aeac710c3c023873c1cb55a85d0c39999370108475117f400acd/POSTERSIDE1.jpg" /> Published on the occasion of Soft Cells, curated by Transit Arts, March 2018. Including introduction by Marcus Jack, poster print of a still from Fern Silva’s The Watchmen (2017), and an extract from Melissa Gronlund’s essay “Return of the Gothic: Digital Anxiety in the Domestic Sphere”, first published in e-flux, January 2014. Double sided A3 risograph print in teal and black, designed by Marcus Jack. https://transitarts.co.uk/Uncanny-Loop-Programme-Notes Sat, 23 Jul 2022 17:53:06 +0000 Transit Arts https://transitarts.co.uk/Uncanny-Loop-Programme-Notes <img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/51bc606720612963c93aa54b9b935ed0df9f18572e898769243d65d68db4ada2/ULhandout27_08_17.png" data-mid="148589922" border="0" src="https://freight.cargo.site/w/1000/i/51bc606720612963c93aa54b9b935ed0df9f18572e898769243d65d68db4ada2/ULhandout27_08_17.png" /> <img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/c1f596c51ce7629f1cd24e77969b17090f5969ed7baa354c5829cc051ca635fb/ULhandout27_08_172.png" data-mid="148589923" border="0" src="https://freight.cargo.site/w/1000/i/c1f596c51ce7629f1cd24e77969b17090f5969ed7baa354c5829cc051ca635fb/ULhandout27_08_172.png" /> https://transitarts.co.uk/An-Interview-with-Lutz-Mommartz Sat, 23 Jul 2022 18:01:34 +0000 Transit Arts https://transitarts.co.uk/An-Interview-with-Lutz-Mommartz <img width="1354" height="758" width_o="1354" height_o="758" data-src="https://freight.cargo.site/t/original/i/ba751348399e56ffe63c60b204a28e5dacea2884ba2ccfe2dd6226da55d5b1ba/margret4.png" data-mid="148590900" border="0" src="https://freight.cargo.site/w/1000/i/ba751348399e56ffe63c60b204a28e5dacea2884ba2ccfe2dd6226da55d5b1ba/margret4.png" />Lutz Mommartz, Margret’s Film, 2007. The Lutz Mommartz Film Archive / Creative Commons. Interviewer: Mr. Mommartz, please describe your relationship to Cinema? Lutz: I rarely go to the cinema; I don’t like westerns, nor dramas, nor comedies. Sometimes—out of curiosity—I enter a movie theatre, but even then with care. Sometimes it excites me, but I don’t have an explanation for that. How did you begin filmmaking? I never wanted to become a filmmaker. In 1963 I was in Uganda for six weeks. There was an 8mm camera around, and filming was a good way to kill boredom in Africa. I recorded things that were atypical for Africa. This satisfied me deeply. By way of example, I filmed a tablecloth hanging in the wind, long shot, full frame. For a few moments the wonderful landscape could be seen behind it—in colour. This material was unfortunately lost. I intend on giving up filming only when I have succeeded in recording such a beautiful setting again. <img width="3465" height="2651" width_o="3465" height_o="2651" data-src="https://freight.cargo.site/t/original/i/d9778b626aa048298fc0ffcea36e6ff1cf1cd7dffb62f2f823b091feaa4df0f6/dietreppe.png" data-mid="148590937" border="0" src="https://freight.cargo.site/w/1000/i/d9778b626aa048298fc0ffcea36e6ff1cf1cd7dffb62f2f823b091feaa4df0f6/dietreppe.png" />Lutz Mommartz, Die Treppe, 1967. The Lutz Mommartz Film Archive / Creative Commons. Did you make any more 8mm works? Yes, with friends and acquaintances, as a game about recording behaviours, without ‘filmic’ ambitions. Alongside this, I considered the possibility of constructing a film by stringing together chosen situations from the visible reality of the camera, without any post-production. This process required that each sequence be memorised. The selection of each image was based on my personal notions of plausibility. The more I recorded, the more specific the film became. After a relatively arbitrary start, plausible possibilities were incrementally reduced. This process demanded tremendous concentration. Initially, I wanted to carry out these experiments with individuals. I bought an old 8mm camera and exposed others to situations where they had to react to me and the camera. This test was very interesting for me, I wanted to find out what actions would develop from such a situation. However, when I decided to apply this practice to a group each individual had to cope firstly with their own presence, and then with that of others. It was clear to us that outsiders couldn’t understand this process through the film itself. Buying and using the camera therefore had little to do with the making of film. It soon turned out that approaches to playing with subjects and consciousness differed. Despite a willingness to work together everyone had their own interests. My interest turned out to be stronger than the others’. For the most part, the others in this group didn’t continue with these provocations. This is why we never established a commune, for example. I still didn’t want to become a filmmaker, but the camera enticed me to explore its possibilities. As I didn’t want to be a loner and considered myself a social being, I decided to make my ideas of the world public. In 1967, I bought a 16mm camera and shot the first films for EXPRMNTL 4 Film Festival in Knokke-le-Zoute at the end of the year. I couldn’t be bothered with presenting fictions, instead I lived through the story. Transcript of Lutz Mommartz, Erste Interviews (Early Interviews), 1963-68. The Lutz Mommartz Film Archive / Creative Commons. Translated by Gabriele Weiß, edited by Marcus Jack. https://transitarts.co.uk/DOWSER-1 Sat, 23 Jul 2022 19:34:27 +0000 Transit Arts https://transitarts.co.uk/DOWSER-1 DOWSER, notes on artists’ moving image in Scotland was&nbsp;a chapbook series published by Transit Arts from 2020 to 2024.DOWSER featured newly commissioned essays, interview transcripts and archival materials, making available a collated set of resources from which we might begin to plot a history of artists’ moving image in Scotland. DOWSER was a non-profit project. Each chapbook was released as an open access online PDF and in a limited print edition. ISSN 2634-7083 (Print)ISSN 2634-7091 (Online) Stockists Transit Arts (Online) Good Press, Glasgow, UK LUX Moving Image, London, UK Public House, Birmingham, UK Blue Flower Texts, Ōtautahi, Aotearoa / Christchurch, New Zealand LibrariesGlasgow Zine Library, UK BFI Reuben Library, London, UK British Library, London, UK National Library of Scotland, Edinburgh, UK Bodleian Library, Oxford, UK Cambridge University, UK National Library of Wales, Aberystwyth, UK 1. These are the stones we have instead of trees Helen Nisbet Summer 2020 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/5463770e56780c2b2d2ebbed9be80be2dc46ce0e2b102d0125a1608e37fb9349/BOOK-01.jpg" data-mid="238666741" border="0" src="https://freight.cargo.site/w/1000/i/5463770e56780c2b2d2ebbed9be80be2dc46ce0e2b102d0125a1608e37fb9349/BOOK-01.jpg" /> 2. Circuits, Reels and ActionsAdam Lockhart Autumn 2020 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/1132396557bfc5f55a26153339843d734c5e86bcda082aff2f3daf8683e905cb/BOOK-02.jpg" data-mid="238666742" border="0" src="https://freight.cargo.site/w/1000/i/1132396557bfc5f55a26153339843d734c5e86bcda082aff2f3daf8683e905cb/BOOK-02.jpg" /> 3. Jugalbandi Jasleen Kaur and Alia SyedWinter 2020/2021 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e6863a7380a019e0e3c293d66f1fa812e227f6ec79655060e6d397a854300196/BOOK-03.jpg" data-mid="238666743" border="0" src="https://freight.cargo.site/w/1000/i/e6863a7380a019e0e3c293d66f1fa812e227f6ec79655060e6d397a854300196/BOOK-03.jpg" /> 4.A Persistent Vision Lesley Keen Spring 2021 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/fbeb39aee1b7417c2a1ec21c860ba39e0eb2b7618e13e3905cebcb34829657c6/BOOK-04.jpg" data-mid="238666744" border="0" src="https://freight.cargo.site/w/1000/i/fbeb39aee1b7417c2a1ec21c860ba39e0eb2b7618e13e3905cebcb34829657c6/BOOK-04.jpg" /> 5. _BEATING_ Seán Elder Summer 2021 <img width="5812" height="3875" width_o="5812" height_o="3875" data-src="https://freight.cargo.site/t/original/i/ba76690983327764e86a928d4fa8d6e1efa811ea68113c12b02f909154c2c8ac/BOOK-05.jpg" data-mid="238666745" border="0" src="https://freight.cargo.site/w/1000/i/ba76690983327764e86a928d4fa8d6e1efa811ea68113c12b02f909154c2c8ac/BOOK-05.jpg" /> Intermission 6. 3 Variant Texts Alan Robertson, Chris Byrne &amp; Malcolm Dickson, Ann Vance Summer 2022 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b5da7bf0bea0fc1748e1fb861ff45bf956a92d5bf0400a302399ff063b1a958e/BOOK-06.jpg" data-mid="238666746" border="0" src="https://freight.cargo.site/w/1000/i/b5da7bf0bea0fc1748e1fb861ff45bf956a92d5bf0400a302399ff063b1a958e/BOOK-06.jpg" /> 7. Dreaming a Black Scottish Archive Naomi Gessesse Autumn 2022 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b2d4608ee5844c63b048b814e8b60c0499e134e43b73dd07de5bb073b78c6578/BOOK-07.jpg" data-mid="238666747" border="0" src="https://freight.cargo.site/w/1000/i/b2d4608ee5844c63b048b814e8b60c0499e134e43b73dd07de5bb073b78c6578/BOOK-07.jpg" /> &nbsp; &nbsp; 8. Projecting Abundance Myriam Mouflih Summer 2023 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/56c4163e59710fdd8dc974e746703bc8f0f1ab02de36d4c8be16c0e0d8aa431a/BOOK-08.jpg" data-mid="238666749" border="0" src="https://freight.cargo.site/w/1000/i/56c4163e59710fdd8dc974e746703bc8f0f1ab02de36d4c8be16c0e0d8aa431a/BOOK-08.jpg" /> &nbsp; &nbsp;&nbsp; 9. Inhale Less Mandy McIntosh and Joey Simons Winter 2023/2024 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e490de52829c52647928d160312ae5d6ccc42d2294f87c6dcb15dd43e4dd200e/BOOK-09.jpg" data-mid="238666750" border="0" src="https://freight.cargo.site/w/1000/i/e490de52829c52647928d160312ae5d6ccc42d2294f87c6dcb15dd43e4dd200e/BOOK-09.jpg" /> &nbsp; &nbsp;&nbsp; 10. Working NearbyMason Leaver-Yap, Margaret Salmon, Tako Taal Autumn 2024 <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/be22bba3d53c61cbc256921b8ea8121651f8a412b0aa58cc2affd7fef49e8bf1/BOOK-10.jpg" data-mid="238666751" border="0" src="https://freight.cargo.site/w/1000/i/be22bba3d53c61cbc256921b8ea8121651f8a412b0aa58cc2affd7fef49e8bf1/BOOK-10.jpg" /> All sales of issues 1–7 are inclusive of a minimum £2.00 donation to the Scottish Refugee Council (Registered Charity: SC008639). Since launching, DOWSER has raised over £1,250GBP (as of December 2021).Documentation courtesy of Morwenna Kearsley. https://transitarts.co.uk/Programming-1 Sat, 23 Jul 2022 18:28:24 +0000 Transit Arts https://transitarts.co.uk/Programming-1 An archive of screenings, performances and exhibitions organised as part of the Transit Arts programme and in collaboration with others. If you know, you know Roddy Buchanan, Jasleen Kaur, Lesley Keen, Mandy McIntosh, Lutz Mommartz, Margaret Tait, Alia Syed 18–21 February 2021 Online via Alchemy Film &amp; Arts <img width="2000" height="1501" width_o="2000" height_o="1501" data-src="https://freight.cargo.site/t/original/i/b8b467518878b7c82ed9bfd12c47d59b384b363040c9d7f94e6322d3e1344155/Screenshot-2020-09-28-at-20.27.05.png" data-mid="148599315" border="0" src="https://freight.cargo.site/w/1000/i/b8b467518878b7c82ed9bfd12c47d59b384b363040c9d7f94e6322d3e1344155/Screenshot-2020-09-28-at-20.27.05.png" /> The Territorial Sea Forensic Oceanography,&nbsp;Taus Makhacheva,&nbsp;Francisco Rodríguez 1 December 2018 Document Film Festival <img width="962" height="721" width_o="962" height_o="721" data-src="https://freight.cargo.site/t/original/i/b50a161a8db21492e4ed807a73429996b9e46c13b4932f8c5762c195eca5d1e4/Una-luna-de-hierro_12018-1.jpg" data-mid="148599327" border="0" src="https://freight.cargo.site/w/962/i/b50a161a8db21492e4ed807a73429996b9e46c13b4932f8c5762c195eca5d1e4/Una-luna-de-hierro_12018-1.jpg" /> Dioramas Patrick Hough, Karen Russo 26 October 2018Mycelia Publication Launch, The Glad Café <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/245a3cff4dac0f6f408b705864375125d5958f782a295fa6312a809f75b45ae6/TET-Stadt-film-still_2017_16mm-film.jpg" data-mid="148599334" border="0" src="https://freight.cargo.site/w/1000/i/245a3cff4dac0f6f408b705864375125d5958f782a295fa6312a809f75b45ae6/TET-Stadt-film-still_2017_16mm-film.jpg" /> Beyond Cataclysm Michelle Hannah, Jorge Jácome, Matthias Müller, Emily Richardson, Ben Rivers, Jon Schorstein, Fern Silva 20 July 2018 Tyneside Cinema <img width="2100" height="1575" width_o="2100" height_o="1575" data-src="https://freight.cargo.site/t/original/i/2b8d303b2d75a0ac8892ece3ab24cbe544159d953072567891d83dc148e3e09e/Fern-Silva---WaywardFronds---2014-1.jpg" data-mid="148599337" border="0" src="https://freight.cargo.site/w/1000/i/2b8d303b2d75a0ac8892ece3ab24cbe544159d953072567891d83dc148e3e09e/Fern-Silva---WaywardFronds---2014-1.jpg" /> How to Thrive James O’Brien, Liz Rosenfeld, Deborah Stratman 27 May 2018 Radical Film Network 1968 Festival, CCA Glasgow <img width="1913" height="1449" width_o="1913" height_o="1449" data-src="https://freight.cargo.site/t/original/i/6fc7b2e2be39cb1e3cf0d0b38fbd03f44d7e967b1492e146f6127f62524a34ed/BLVD_burnout.jpg" data-mid="148599344" border="0" src="https://freight.cargo.site/w/1000/i/6fc7b2e2be39cb1e3cf0d0b38fbd03f44d7e967b1492e146f6127f62524a34ed/BLVD_burnout.jpg" /> DDR/DDR Amie Siegel 24 May 2018Radical Film Network 1968 Festival, Goethe-Institut Glasgow <img width="2880" height="1610" width_o="2880" height_o="1610" data-src="https://freight.cargo.site/t/original/i/01dbd3686c47f46fe7c5b557d6bf0564b2cf0dd55ef53bc96228a45d3e3786ab/Screen-Shot-2018-05-22-at-22.06.59.png" data-mid="148599351" border="0" src="https://freight.cargo.site/w/1000/i/01dbd3686c47f46fe7c5b557d6bf0564b2cf0dd55ef53bc96228a45d3e3786ab/Screen-Shot-2018-05-22-at-22.06.59.png" /> Soft Cells Klaus vom Bruch, Christoph Girardet &amp; Matthias Müller, Tessa Lynch, Amie Siegel, Fern Silva 15 March 2018 Glasgow Short Film Festival <img width="2394" height="1800" width_o="2394" height_o="1800" data-src="https://freight.cargo.site/t/original/i/756a4398eba6f602168dcd3e232a13bbe4cbdfddf268a896b5e377c67d2bfd61/vombruch.png" data-mid="148599507" border="0" src="https://freight.cargo.site/w/1000/i/756a4398eba6f602168dcd3e232a13bbe4cbdfddf268a896b5e377c67d2bfd61/vombruch.png" /> Uncanny Loop:&nbsp;The Bird with the Crystal Plumage Daria Argento, Emily Richardson 8 September 2017 Scalarama, CCA Glasgow <img width="1000" height="423" width_o="1000" height_o="423" data-src="https://freight.cargo.site/t/original/i/a98eb002d9c51a7d48c5b2dc6d2150e152a4296dd0cfe1dab8e56e4e9170dc60/birdcrystal04.jpg" data-mid="148599488" border="0" src="https://freight.cargo.site/w/1000/i/a98eb002d9c51a7d48c5b2dc6d2150e152a4296dd0cfe1dab8e56e4e9170dc60/birdcrystal04.jpg" /> Uncanny Loop: New Habitats Morwenna Kearsley, Yuri Pattison, Emily Richardson, Jon Schorstein, Deborah Stratman 27 August 2017 Crossing the Line, Glasgow Film Theatre <img width="2306" height="1772" width_o="2306" height_o="1772" data-src="https://freight.cargo.site/t/original/i/a17b9e4cb17f72f4d94ae664a49a4e0541cb6633dabfbd0aa2a228baec3439a0/IONTBH_pharm.png" data-mid="148599493" border="0" src="https://freight.cargo.site/w/1000/i/a17b9e4cb17f72f4d94ae664a49a4e0541cb6633dabfbd0aa2a228baec3439a0/IONTBH_pharm.png" /> Lutz Mommartz: the breath of the sheep and the sea is infinitely beautiful Lutz Mommartz, Carrie Skinner 26 January 2017 CCA Glasgow <img width="980" height="742" width_o="980" height_o="742" data-src="https://freight.cargo.site/t/original/i/0c8b4d3cdbeab8c8862a90a152887e434e992138eed62aa672c590a4e4a33d83/glasser1.png" data-mid="148599498" border="0" src="https://freight.cargo.site/w/980/i/0c8b4d3cdbeab8c8862a90a152887e434e992138eed62aa672c590a4e4a33d83/glasser1.png" /> the weight of things Morwenna Kearsley, Lutz Mommartz, Jenny Okun, Semiconductor, Jonas Staal 3–9 September 2016 Tontine Building <img width="980" height="744" width_o="980" height_o="744" data-src="https://freight.cargo.site/t/original/i/1fa2f8cd02ea2fe477ae30f9456c536f25b729410f9775f32683d2e4c652b933/Fokus.png" data-mid="148599548" border="0" src="https://freight.cargo.site/w/980/i/1fa2f8cd02ea2fe477ae30f9456c536f25b729410f9775f32683d2e4c652b933/Fokus.png" /> SAOTHAIR Robin Haig, Nick Hand, Oliver Mezger, Margaret Salmon, Margaret Tait, Scottish Educational Film Association 29–30 April 2016 ATLAS Arts at Skye Live <img width="670" height="396" width_o="670" height_o="396" data-src="https://freight.cargo.site/t/original/i/1bc04564e647e80769db61f15cae8e01bb545ae5f61f33e7ed10738de9b0a05b/Oyster-Film-Still.jpeg" data-mid="148600138" border="0" src="https://freight.cargo.site/w/670/i/1bc04564e647e80769db61f15cae8e01bb545ae5f61f33e7ed10738de9b0a05b/Oyster-Film-Still.jpeg" /> and everything crooked will become straight Dorine Aguerre, Miles Joseph, Lucie Rachel, Josie Rae Turnbull, Jane Topping 17–19 March 2016 Glasgow Short Film Festival <img width="2050" height="1208" width_o="2050" height_o="1208" data-src="https://freight.cargo.site/t/original/i/1d5b334feac348b0d04949f6bd5b54b43a77f8dce6335a74054fca81584de50a/Peter---Still.jpg" data-mid="148599511" border="0" src="https://freight.cargo.site/w/1000/i/1d5b334feac348b0d04949f6bd5b54b43a77f8dce6335a74054fca81584de50a/Peter---Still.jpg" /> The Lens is a Lyric Chris Bowman, Andy Mackinnon, Jen Martin 10 October 2015 Southside Film Festival <img width="3415" height="2107" width_o="3415" height_o="2107" data-src="https://freight.cargo.site/t/original/i/932eaac86fb4b4f55012f7eac61a47ecb939f1da1d7a5c18b623ad7e6ae4c3bf/Andy-Mackinnon-2.png" data-mid="148599598" border="0" src="https://freight.cargo.site/w/1000/i/932eaac86fb4b4f55012f7eac61a47ecb939f1da1d7a5c18b623ad7e6ae4c3bf/Andy-Mackinnon-2.png" /> The Economy Experience Caroline Campbell, Common Culture, Dennis &amp; Debbie Club, Jean-Baptiste Maitre, Will Kendrick 11–18 September 2015 Various locations <img width="4500" height="4500" width_o="4500" height_o="4500" data-src="https://freight.cargo.site/t/original/i/e8f0e87f866258e3b527a626287daea26e2a7cb041583d75bf8e1deaf6d76ba8/Dennis---Debbie-Club--Shit-Job-T-Shirt-Uniform--2015.jpg" data-mid="148599728" border="0" src="https://freight.cargo.site/w/1000/i/e8f0e87f866258e3b527a626287daea26e2a7cb041583d75bf8e1deaf6d76ba8/Dennis---Debbie-Club--Shit-Job-T-Shirt-Uniform--2015.jpg" />