lodef.co.za

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	<title>lodef.co.za</title>
	<link>https://lodef.co.za</link>
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	<pubDate>Thu, 10 Nov 2022 17:02:35 +0000</pubDate>
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		<title>Main site home page</title>
				
		<link>https://lodef.co.za/Main-site-home-page</link>

		<pubDate>Tue, 18 Jan 2022 07:19:09 +0000</pubDate>

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		<description>Lo-Def Film Factory&#38;nbsp;

&#38;nbsp;About&#38;nbsp;
&#38;nbsp;Projects&#38;nbsp;
&#38;nbsp;Press&#38;nbsp;
&#38;nbsp;Contact&#38;nbsp;

︎</description>
		
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		<title>Contact</title>
				
		<link>https://lodef.co.za/Contact</link>

		<pubDate>Tue, 18 Jan 2022 12:57:11 +0000</pubDate>

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		<description>home
contact us

email: lodeffilms@gmail.com
instagram: @lodeffilms
twitter: @lodeffilms</description>
		
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		<title>Press</title>
				
		<link>https://lodef.co.za/Press</link>

		<pubDate>Tue, 18 Jan 2022 13:04:45 +0000</pubDate>

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Press


Subterranean Imprint Archive: excavations of disappeared and silenced histories&#38;nbsp;

— Bubblegum Club'To Miss the Ending,' 'Subterranean Imprint Archive' Look Into Future 

—

 Variety


Against Forgetting: Another Kind of Archive 

—

 Bubblegum ClubWhat Stays 

—

 Archiving Care &#124; Akademie der Künste, Berlin (adk.de)

Lo-Def Film Factory: high five! 

—

 The Critter“DZATA” is the film reimagining Africa’s technological history&#38;nbsp;

— WePresentDZATA: The Institute of Technological Consciousness&#38;nbsp;

— NataalAward-winners at Encounters South African International Documentary Festival announced 

— City Life Arts&#38;nbsp;Lo-Def Film Factory (SA) x WORM: Unmaking the Model

— Worm.org</description>
		
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		<title>Projects</title>
				
		<link>https://lodef.co.za/Projects</link>

		<pubDate>Tue, 18 Jan 2022 11:12:31 +0000</pubDate>

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		<description>homeProjects &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 


The Subterranean Imprint Archive


Mobile Pop-Up Cinema

Open Time
Imagining Otherwise

My Body My Space Digital Dance

Geo-Quiz (Archive of Forgetfulness)
Transmediale Digital Residency

Kosmotechnik
Dzata: The Institute of Technological 
Consciousness 
Fisherchild
The Rock Speaks


Workshops

Digital Storytelling Workshops

Mobile Storytelling for Activists

Mobile Wash Bus Workshops

Related Projects

AnotherKind
Core Dump
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		<title>Subterranean Home</title>
				
		<link>https://lodef.co.za/Subterranean-Home</link>

		<pubDate>Tue, 18 Jan 2022 07:14:23 +0000</pubDate>

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	home&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

&#38;nbsp; &#38;nbsp;
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		<title>About</title>
				
		<link>https://lodef.co.za/About-2</link>

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		<description>home
The Subterranean Imprint Archive is
a co-created research project made by South African artist duo the Lo-Def Film
Factory in collaboration with researchers, artists and thinkers.
It examines Africa’s role in an historical event that changed the future of
humanity: the nuclear bombs that were dropped on Hiroshima, and Nagasaki in
1945. The uranium used to make these bombs was extracted from Shinkolobwe mine
in the Democratic Republic of Congo (DRC). The central role played by the DRC,
along with exploitative mining and its consequences for local populations, have
been largely hidden from official histories of the bomb. By extending their
research to South Africa, the Lo-Def Film Factory shows that, from the 19th
century onwards, exploitation and mapping of the subsoil became increasingly
intensive as new, more efficient methods of extraction developed. 


This website was
produced while in residence. What Stays – Archiving Care is a year-long project
in cooperation with transmediale festival, The JUNGE AKADEMIE of the Academy of
Arts, and the Goethe-Institut Slovakia</description>
		
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		<title>Project Credits</title>
				
		<link>https://lodef.co.za/Project-Credits</link>

		<pubDate>Tue, 18 Jan 2022 07:14:45 +0000</pubDate>

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		<description>home

The Subterranean Imprint Archive is a co-created
research project.
 It examines Africa’s role in an historical event that changed the future
of humanity: the nuclear bombs that were dropped on Hiroshima, and Nagasaki in
1945. The uranium used to make these bombs was extracted from Shinkolobwe mine
in the Democratic Republic of Congo (DRC). The central role played by the DRC,
along with exploitative mining and its consequences for local populations, have
been largely hidden from official histories of the bomb. By extending their
research to South Africa, the Lo-Def Film Factory shows that, from the 19th century onwards, exploitation and mapping of the subsoil became
increasingly intensive as new,more efficient methods of extraction developed.
Inspired by Katsuhiro Otomo's Japanese graphic novel and film Akira (1988),
Lo-Def Film Factory juxtaposes the futuristic phenomena of VR with archival
research.

This project seeks to situate the viewer in a counter-archive which traces the legacy of technopolitics in Central and Southern Africa. Drawing on research surrounding nuclearity in Africa from the Atomic Age to the present, it transports the visitor from the immaterial data bank of the cloud down into digital infrastructures embedded in the soil to unearth the contested histories of collaborative discovery and uneven distribution.


The work asks the questions:
Is there an alternative way to determine the
value of technological objects other than by their ‘use value’? How have
Western dominant techno-optimistic narratives obscured and overshadowed
alternate narratives of lived experience? And What is the true cost of
progress? 


&#38;nbsp;


We envision an alternative present in which notions
of progress are radically reimagined to incorporate the violent histories and
extractive processes in which our technologies are complicit.


This website was produced while in residence. What Stays – Archiving Care is a year-long project in cooperation with transmediale festival, The JUNGE AKADEMIE of the Academy of Arts, and&#38;nbsp;the Goethe-Institut Slovakia

 
Produced by Electric South (South Africa) and Le Lieu Unique (France)


Created by Lo-Def Film Factory (Francois Knoetze and Amy Louise Wilson)

Research by Joe-Yves Salankang Sa-Ngol

Lead Developer Kyle Marais

Commissioned by Oulimata Gueye for Le Lieu Unique

Sound by Joshua Chiundiza

Additional collage art by Duduetsang Lamola (blkbanaana)

Additional video art by Natalie Paneng

Additional sound by Caydon van Eck
Website design consultant by Francis Burger&#38;nbsp;

Performances by Gomez Bakwene, Peacemore Patsika, Victor Jakara, Nicole Goto, Phedre N’goua, Billy Edward Langa Voice-over by Paurisia Muhigirwa, Phedre N’goua

Performance workshops by Richard September, Buhle Ngaba


Special thanks to Tshisimani Centre for Activist Education, Congolese Civil Society of South Africa, Oulimata Gueye, Alex Sutherland, Ingrid Kopp, Steven Markovitz, Caitlin Robinson, Antoinette Engel, Kirstin Lee Grey, Taryn Joffe, Rick Treweek
About the Creators


Based in South Africa, the Lo-Def Film Factory’s work
involves archival research, dramaturgy, and visual strategies associated with
video art, collage, sculptural installation and new media, to explore and
create space for collaborative and experimental community storytelling. The
Lo-Def Film Factory was created by artist duo Francois Knoetze and Amy Louise
Wilson. It began as a mobile, amateur filmmaking workshop which co-created and
screened experimental video by and for underrepresented communities. Since
then, the duo’s practice has embraced elements both
formal, like installations and videos – and theoretical, like workshops. Their
work is particularly focused on working with young people to make participatory
research-creation projects, often using found/discarded materials – exploring
the connection between primary materials and social/geopolitical issues. 


Francois is a sculptor, performance and video artist, who
creates narrative portraits of the uncertainty in the nervous system of a
global digital machine at the brink of collapse, critically examining the
patterns of exploitation of both people and raw materials engrained in the
production of technologies. Amy is a writer and performer interested in traditional
South African performance practices as a methodology for research and experimentation.
 The duo work with digital technologies
in a DIY practice which emphasizes co-creation and
embraces mistake-making.&#38;nbsp;


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		<title>archive</title>
				
		<link>https://lodef.co.za/archive</link>

		<pubDate>Thu, 10 Nov 2022 17:02:35 +0000</pubDate>

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back to Dzata home
back to Lo-Def home
</description>
		
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		<title>Testimonies</title>
				
		<link>https://lodef.co.za/Testimonies</link>

		<pubDate>Tue, 18 Jan 2022 07:14:29 +0000</pubDate>

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home


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Testimonies:
Francois Matata


Jeremy Ngilaluko


Patrick Nontumpo


Nkembo Simanzondo


Feza Mukankuranga


Flora Amina 


Lula Malundama


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These oral testimonies were collected by researcher Joe-Yves
Salankang Sa-Ngol via a Whatsapp voice note chain. Contributors were invited to
speak about their experiences with and relationships to the mines in the
Democratic Republic of Congo.

JoeYves 

Salankang Sa-Ngol

: All the protagonists are Congolese, living in South Africa. We retained
them after a voluntary call to testify. Indeed, our commitment as a volunteer
within the Congolese community has enabled us to build a certain relationship
of trust with an important number in our community; which allowed us to easily
spot them but also to put in confidence those who accepted to testify. And for
such a sensitive subject, it must be recognized that several people have
admitted having things to say but prefer silence: - some because they fear that
their security will be compromised; - others just because it is painful episodes
that they prefer to forget rather than stir them up. In this mosaic of
confidential testimonies, some are direct survivors of the landslides, others
witness to the suffering and ordeal of this exploitation and still others have
indirectly suffered for having lost loved ones. These testimonies also speak of
the damage deliberately caused to the environment by mining companies. All the
protagonists have in common the fact that they come from poor backgrounds and
live with a permanent feeling of revolt to see the resources of their soil
becoming a sort of curse for them. All the protagonists live with a permanent
regret at having seen themselves obliged to immigrate very far from their
lands, in search of a better life.


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		<title>Hiroshima Aerial View</title>
				
		<link>https://lodef.co.za/Hiroshima-Aerial-View</link>

		<pubDate>Tue, 18 Jan 2022 07:14:30 +0000</pubDate>

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		<description>Hiroshima Aerial View

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