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Reviews

New Doc About A Pioneer Of Modern Design

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Architect Eliot Noyes was one of the leading pioneers of modern design during the mid-century, post-war boom in the United States. Educated by Walter Gropius at Harvard, Noyes did more than anyone to align the Modernist design ethos to the needs of ascendant corporate America. His impact on companies like IBM and Mobil Oil paved the way for Apple and many of the other design-conscious brands we know today.

Modernism, Inc. follows Noyes’ career up to a time when disruptive designers of the early ’70s began pushing back against the Modernist view of progress. As he did in Eames: The Architect and the Painter (co-directed with Bill Jersey), filmmaker Jason Cohn uses the story of a mid-century icon to raise contemporary questions about the role of a designer in today’s world.
Jason Cohn will appear in person at both the New York and Los Angeles openings.
“Well-researched, well-crafted and fascinating.
Noyes created and forged some of the most respected, meaningful, and influential industrial design programs in the United States. The rise and attraction of modernism on the heels of the postwar economic boom birthed contemporary design and philosophy that continue to exist and flourish today, influencing mega businesses, including Apple. The idea of beauty with utility, which was generated from the Bauhaus art movement, continues to remain vital today, and for this, we thank Noyes.”
-Sabina Dana Plassa, Film Threat

“Noyes held the belief that design was not an afterthought, but rather something that needed to be infused into every aspect of a company’s thought process. The result helped IBM become the technical design juggernaut of the early personal computing era—and paved the way for companies like Apple to design products for the 21st century. Interviews with those who worked with him, as well as those in his family who knew him intimately, paint the picture of a man who was truly ahead of his time.”-Sara Harowitz, The Georgia Straight
MODERNISM, INC. Directed by Jason Cohn 79 minutes | color | In English | 2023
CREDITS

Jason Andrew Cohn  Writer and Director
Camille Servan-Schreiber  Producer Kevin Jones and Jason Cohn  Editors Steven Emerson  Music Composer Sebastian Roché  Narrator Talia Mindich  Associate Producer
Talia Mindich, Andrei Valladolid, Nina Goodby  Assistant Editors

© 2023 Bread & Butter Films
For the Silo, Kelly Hargraves.
Sci-Tech

Seriously, What The F**k Do We Know About Reality?

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Whether you subscribe to the ideas presented in the movie and the book or not, it is worthwhile to consider that everything we think we know is wrong. CP
It is worthwhile to consider that everything we think we know is wrong.

Nearly two decades ago in a small theater in Yelm, Washington a little film called What The Bleep Do We Know?!? screened to its first audiences and the term “I Create My Reality” was thrust into the collective consciousness.

Since then countless films and books have extolled the wonders of quantum physics and how understanding the nature of reality could change your life, often in just 3 easy steps. I too thought it was easy, heck I made a movie about it! And for a while it was easy, until I realized that I had only scratched the surface of what “it” all means.

For sure, at a party I could rattle off the wonders of quantum this and quantum that, I could throw around words like entanglement and heady concepts like The Copenhagen Theory, I could wow you with the double slit like nobody’s business. But the truth was, it was really all just smoke and mirrors.

What did understanding quantum physics have to do with my happiness?

What did understanding the workings of the brain mean to my life, in reality, at least this reality, the one where I have kids and bills to pay? I mean it’s fun to dream about other dimensions and my life as electron popping in and out, but in the end I felt as though it was becoming mental masturbation an easy way to escape from the fact that even though I knew I wasn’t really touching that chair, that it is possible I wasn’t even real.

Betsy was one of the three filmmakers (along with Willliam Arntz and Mark Vicente) involved in What the Bleep Do We Know !?
Betsy was one of the three filmmakers (along with Willliam Arntz and Mark Vicente) involved in What the Bleep Do We Know !?

What I was truly seeking was not the facts about how that chair manifested itself into my reality, but how I could be happy whether I had that chair or not.

Happiness has nothing to do with quarks and the discovery of the Higgs Boson was not going to bring me ever-lasting peace and joy. That I was going to have to find all on my own.

I began to explore the sacred cows, not only in my life, my beliefs about who I was and what I wanted, but also the sacred cows of spirituality, new thought and yes, quantum physics and how I could take all this knowledge and use it to create the happiness I sought, because after all, that is what we are all after. It is why we ask “why?”. It is why we explore the deepest depths of the quantum foam and so far quantum physics hasn’t found the happiness particle, because it doesn’t exist within the particles out there, it exists within the immeasurable particles within me.

For the Silo, Betsy Chasse.

image courtesy of: science.howstuffworks.com
Image courtesy of: science.howstuffworks.com

What the Bleep Do We Know

Art

LGBTQIE And Ecosexuality

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Beth Stephens & Annie Sprinkle
“Life shrinks or expands in proportion to one’s courage.” -Anais Nin

Nature is born of sexuality.

The two are inextricable and inevitable partners. Where humans find fault with sex that does not suit their particular beliefs in what is right or wrong, nature transcends. There is no taboo in the natural world, there is no polite side-stepping of the rawness of nature. Nature simply is, in all its sensual glory.

Beth Stephens & Annie Sprinkle have collaborated for 17 years.

They recently showcased their film Water Makes Us Wet at Documenta 14. They were one of just 180 artists at the exhibition which takes place only every five years and draws in a million people. In conjunction with the film they exhibited visual art, performed Ecosex Walking Tours, and facilitated “sidewalk sex clinics.” Their film premier at the Gloria Theater was the only one to completely pack the house. For their Documenta Ecosex Walking Tour, Stephens & Sprinkle consciously began at the site of the first tree planted in Joseph Beuys’ 1982 Documenta project 7,000 Trees.
Their film is part art, part activism, a call to action, and a vision of how the future may look if we are careful with the earth as opposed to how it could look if we continue our ecologically destructive behaviors. Within the environmental activist movement, the two always felt a bit out of place. They felt the need to hide their flamboyance, their sexuality, and some of the details of their pasts. Because of this they began their own movement, an all inclusive environmental activism that encourages people to be themselves.
By allowing people to embrace their own identities and to infuse a little fun, they hope to create a movement that is sustainable and perhaps avoids some of the activist burnout that frequently effects those constantly fighting for the future of a healthy planet.
For the film, and throughout their work, Stephens & Sprinkle have unabashedly embraced and exposed their own bodies. In so doing, they show both their vulnerability and their strength as well as embrace their advancing age. Sprinkle, who is now 63, was once a pornographic film actress. She finds that showing her 63 year old body has pushed more limits than anything she’s ever done. “I think that taboo does need fixing,” she says.
During the making of the film, Stephens & Sprinkle were in a serious auto accident which features in the documentary. The two were seriously injured and hospitalized but eventually walked away. The wreck served as a metaphor for the universality of “eco-sinners” in that even the filmmakers were driving around in an old, polluting van.
The two describe the incident as romantic and remarkable and say it has given them a new lease on life. The accident was a result of another driver’s distracted driving. The film as a whole is a look at the issues facing the planet, some of those perpetrating them, and ways to think about the problem. “What we really hope with our film is that people leave the film thinking about the issues we’ve presented but also feeling like well, there is something I can do in my personal life.”
The term “eco-sexual” was originally used by dating sites and subsequently in a book titled Eco-sex: Go Green Between the Sheets and Make Your Love Life Sustainable by Stephanie Iris Weiss. Stephens & Sprinkle took the term and created an art movement around it. “We like to think that all sex is eco-sex including human on human because we are the earth, we’re not separate from the earth…we acknowledge all the sexuality that is going on around us.” At UC Santa Cruz where Stephens is a professor, the two established E.A.R.T.H Lab which stands for Environmental Art Theory & Happenings. There they incorporate some of the principles of ecosexuality in the programs they run. For the Silo, Brainard Carey.