THURSDAY 11/6 AT 7:30


Millennium Workshop is pleased to present Michael Adno’s Cracker Politics, The Limits of Colonial Knowledge.

In Cracker Politics, Adno interrogates colonial narratives of our country’s past, working towards a more fluid and layered understanding of our relationship to history and its archive. These documents and monuments—embedded with traces of our past—invite us to ask questions rather than provide facts.

This collection of films from the Florida State Archives aims to show how moving image, photography, and the archive are screens upon which wider social forces make themselves visible. Moreover, the project tries to map the inextricable ties between the colonial period of Florida and the post-colonial present. Those bonds lie in the hyper-coded colonial knowledge that has fashioned the archive, history, and our idiosyncratic understanding of them. Their legibility serves as the deeds to our past and ultimately our future. Cracker Politics strives to integrate America’s colonial history into the global post-colonial entanglement, creating space for this discourse to grow and expand exponentially.

This film screening will be the second iteration of Michael Adno’s Cracker Politics, The Limits of Colonial Knowledge. Following an initial installation from earlier this year that was developed over six months conducting research on site in Florida as well as the Library of Congress and Smithsonian Archives in Washington, D.C. The initial installation employed photography, film, sculpture, and sound. Continuing from that, this curated collection of films continues Michael’s project-based work looking at the epistemological undercurrents embedded in our past. Two films from the initial installation will be shown during this screening as well.

Michael Adno is an interdisciplinary artist working primarily in project-based installation

Admission: $10 ($6 members)

“Describing films in which an artist has chosen to give some degree of control over to an external system — a set of rules, an abstracted itinerary, a computer algorithm — procedural cinema is composed not only of traditional cinematic aesthetics such as footage, optical effects, sound, cinematography, graphics, and animation, but also documents an aesthetic exploration of an artist’s relationship to procedure. Rule & Exception looks at important experiments in cinematic procedures, including rule-based films by Grahame Weinbren and Roberta Friedman, Lev Manovich and Andrea’s Kratky’s landmark works of SoftCinema, recent algorithmic images from visual artist Zach Nader, and Barbara Lattanzi’s foundational procedural work in ‘idiomorphic software’.” -Angela Ferraiolo

Artist Bios
Roberta Friedman has had a wide and varied media career, and continues to take on new challenges. Her work spans a large assortment of film and video productions, which have been shown extensively in the United States and Europe. Her projects have ranged from the commercial, such as her work for George Lucas on STAR WARS and THE EMPIRE STRIKES BACK, to the esoteric, with experimental work—such as her interactive video THE ERL KING, with Grahame Weinbren which was acquired by the Guggenheim Museum for its permanent collection. Friedman has extensive production and post-production television credits, working on such notable features as RAGTIME, DAYS OF HEAVEN, and HAIR. She was also the producer of the feature film ALPHABET CITY and co-produced the recently released Blockbuster films WOLVES OF WALL STREET and A GOOD NIGHT TO DIE, among others. Her experimental films are in the collection of the Australian National Film Library, Berlin Film Festival Archives, and have been selected to be preserved and archived by the Academy of Motion Pictures in Los Angeles, California. Friedman is currently a full-time associate professor and coordinator of the film program of the School of Communication & Media at Montclair State University in New Jersey.

Andreas Kratky is a media artist and a visiting professor at the USC School of Cinematic Arts. He was born in Berlin, Germany and currently lives and works in Berlin and Los Angeles. His work focuses on memory, database, and new forms of cinema, He is designer and co-director of several award winning projects including That’s Kyogen (2001), Bleeding Through – Layers of Los Angeles 1920-1986 (2003), Soft Cinema (2004), and Title TK (2006).

Barbara Lattanzi produces “idiomorphic software” – processes for extending cinematic encounters to mathematical spaces. It is a term that she applies to media more generally understood as cinema remix software or generative software. Her videos, installations, and software art have been exhibited widely and web-accessed by many. She has participated in online networks such as,,, Artport at the Whitney Museum of American Art (a gate-page link), among others. Barbara Lattanzi lives in Alfred, New York, where she teaches interactive media at School of Art and Design, New York State College of Ceramics at Alfred University. More about her work can be found at the website.

Lev Manovich is the author of Software Takes Command (Bloomsbury Academic, 2013), Soft Cinema: Navigating the Database (The MIT Press, 2005), and The Language of New Media (The MIT Press, 2001) which was described as “the most suggestive and broad ranging media history since Marshall McLuhan.” Manovich is a Professor at The Graduate Center, CUNY, and a Director of the Software Studies Initiative that works on the analysis and visualization of big cultural data. In 2013 he appeared on the List of 25 People Shaping the Future of Design.

Zach Nader conducts image-based experiments drawn from the possibilities of contemporary image editing software coupled with the fluidity of pictorial representation in his Brooklyn studio. His reworking of existing photographic imagery has been exhibited nationally and internationally, including a recent month-long nightly video installation on 23 electronic billboards and newspaper kiosks as part of Midnight Moment in Times Square. Zach is currently a visiting resident at Pioneer Works and is represented by Microscope Gallery in Brooklyn, NY.

Grahame Weinbren has worked in moving image media for over thirty years. He teaches in the graduate division of the School of Visual Arts and is the senior editor of the Millennium Film Journal. Programs of his works and collaborations will be shown at Anthology Film Archives on December 5th and 6th 2014.

Millennium Digital Curation supports an ongoing exploration in moving image. The series screens moving image artists who approach digital technology as an expressive medium in its own right. – Angela Ferraiolo, Digital Curation,