According to the visual artists and composers attending this year, the interviews were the most valuable part of the festival.  In fact, it was said that their work had never been discussed in such depth and that these interviews should be made available, along with the screening, to the art world, and universities in particular, on DVD.

Before discussing the interviews,  I'd like to discuss the curatorial process.  Many submissions are eliminated because they are technically unviewable (not all artists read the 'technical page' on the website which discusses format issues); they are inappropriate (perhaps meant for installations, not single screens or the work is made from appropriated video or their are no rights to the music, etc.); they are too long; they are not fully realized, etc.  From the works that remain a selection is made of approximately 90-120 minutes of programming.   The works chosen are the ones that have succeeded on their own terms.  Though the program is now announced to the artists - so that they can make travel plans to attend the festival - the curating work is just beginning.

Now each work is viewed several times over.  There are 10, sometimes 20 possible orders considered.  The criterion for these orders include: genre; b/w or color; referential or abstract; 3D, 2D, or video; electronic or acoustic or sound design or location sound/music; tempo; form; content; length; intensity; emotional content (from humor to tragedy), etc.  All of these considerations are then weighed so that the pieces can be ordered to focus on their individuality and originality.  Also, the form of the entire screening is considered, as it is linear and theatrical (meaning there is one large screen, with sound system, on which the program is seen sequentially in a dark room by a seated audience).  All of these considerations affect how the work is perceived in the final presentation.  

In fact, the entire screening is a work of art itself.  It needs must have proportion,  pacing, contrast,  intelligence and integrity.  It is the relationship of one work to another that not only enchances or detracts from each work - but that creates this greater whole - which is the 'Program.'  

Marco Villani, Genoa Italy
Michaela Eremiasova, Prague, Czech Republic
Stephanie Maxwell, Rochester, NY
Deborah Cornell, Boston, MA
Richard Cornell, Boston, MA
Thomas Liphard, Denver, CO
John Hawk, Aqua Dulce, CA
Carol Goss – curator - New York

The interviews are highly valued by the artists, musicians and composers. Because of the intense scrutiny their work receives, the questions they are asked are reputably more informed and provocative than any other context the artists have experienced.  This demonstrates that feedback about individual work, the art form and the history of the art form in is too short supply.  

Marco Villani travelled form Genova Italy.  Marco's video is taken from the world of survelleiance, whether it be concensual or not.  In "ReadyMadeLife" he presents a tightly edited selection of monitor rescans from subway, locker room and office complex security cameras.
Additionally, Carol Goss, a video artist and collaborator with many musicians since 1974, curates and interviews the artists.  Her first hand history in the art form provides a rare perspective in art criticism.  It was suggested by attending artists at this year’s festival, who are faculty at Calarts and Rochester Institute of Technology, that the Not Still Art Festival screenings and interviews be made available on DVD for University Media Departments.  We would like to add Music Departments as well.