La lune à un mètre (The Moon at One Meter)

Dir. Georges Méliès — France — 3 minutes — 1898

Music by Stacey Barelos & Jay Kreimer

Le squelette joyeux (The Merry Skeleton)

Dir. by Louis Lumière — France — 30 seconds — 1898

Music by Stacey Barelos & Jay Kreimer

Pauvre Pierrot (Poor Pete)

Dir. Charles-Émile Reynaud — France — 4 minutes — 1892

Music by Jesse Langen

Down the Hudson

Dirs. Fredrick S. Armitage and AE Weed — USA — 3 minutes — 1903

Music by Jason Zeh

A Study in Choreography for Camera

Dir. Maya Deren — USA — 3 minutes — 1945

Music by Molly Joyce

Le Tango

Dir. Alice Guy-Blaché — France — 2 minutes — 1905

Music by Jesse Langen

Cinq minutes de cinéma pur (Five Minutes of Pure Cinema)

Dir. Henri Chomette — France — 5 minutes — 1926

Music by Flannery Cunningham

Stacey Barelos

Omaha native Stacey Barelos is a performer and composer specializing in the music of the 20th and 21st centuries. As a composer, Stacey’s works have been performed across the U.S. and in Europe and Australia. Currently, Dr. Barelos teaches at the Omaha Conservatory of Music, the University of Nebraska-Omaha and is the Education Director for the Omaha Under the Radar Festival.

Jay Kreimer

Jay Kreimer is a musician, instrument maker, sculptor, composer and educator. Kreimer has performed across Europe, including Dublin, Cork, London, Glasgow, Berlin, Amsterdam and Paris, and played at D-22 in Beijing. In collaboration with Wendy Weiss, he has shown sound and sculptural work in Beijing, San Francisco, Vancouver, New York, Washington D.C, and showed a major installation in Kansas City and Tulsa. Kreimer also performs with The Mighty Vitamins and Seeded Plain.

Jesse Langen

Jesse Langen is a guitarist who specializes in new music. Equally comfortable on classical and electric guitar, he seeks to push both the technical boundaries and the conceptual functions of the instrument. He can be heard regularly in Chicago, throughout the US, and abroad as a soloist, as the guitarist for Ensemble Dal Niente, as half of Hasco Duo with Amanda DeBoer Bartlett, and in duo with harpist Ben Melsky. A passionate and committed teacher of high school musicians, his students populate the finest conservatories and programs throughout the world, and have won international competitions and commissions.

Jason Zeh

Jason Zeh is an interdisciplinary artist whose work blends influences from long-time involvement in the underground, noise and experimental music scenes with performance and computer programming. Zeh’s work grapples with the scraps at the edge of meaning: the noise and errors that are in the margins of any message. Current performance works deal with intimacy, confession, and identity. These works employ self-designed software to transform junk electronics into technological systems that offer the promise of communication.

Molly Joyce

Composer and performer Molly Joyce’s music has been described as “serene power” (New York Times), written to “superb effect” (The Wire), and “impassioned” (The Washington Post). Her work is concerned with disability as a creative source. She has an impaired left hand from a previous car accident, and the primary vehicle in her pursuit is her electric vintage toy organ, an instrument which suits her body and engages her disability on a compositional and performative level. Her works have been commissioned and performed by ensembles including the New World, New York Youth, Pittsburgh, Albany, and Milwaukee Symphony Orchestras, New Juilliard, Decoda, and Contemporaneous ensembles, as well as Washington National and Fresh Squeezed Operas. Molly is a graduate of The Juilliard School, Royal Conservatory in The Hague, and Yale School of Music.

Flannery Cunningham

Flannery Cunningham is a performing composer fascinated by vocal expression, text, and auditory perception. She aims to write music that surprises and delights. Her work has been performed at festivals such as Aspen, June in Buffalo, Toronto Creative Music Lab, SPLICE, Third Practice, Electroacoustic Barn Dance, and Copland House’s CULTIVATE and by performers such as International Contemporary Ensemble, TAK, and Music from Copland House. Flannery writes for both acoustic ensembles and for players and singers with interactive electronics, always striving to foreground the musicality of human performers. She performs on voice and electronics with a Max/MSP-based set-up she has developed and is excited by the way such a practice lets her treat her own voice as raw audio material to be sculpted. Current projects include new works for Sō Percussion and PRISM Quartet and a multimedia chamber opera-in-progress entitled Groundwater.