INVITE - Prisoners Cinema Film Festival
Former Fox Theatre - Nightly: 11:59pm, September 5, 2020 to September 5, 2027
What: Temporality Temporizing into the Distentio Animi By Measure of Filmic Frame!
Where: Prisoners Cinema Palais du Kinographie (formerly The Fox Theatre)
Host Bio: Born under a Venus-Saturn conjunct, Catherine Majthenyi is the Executive Director of the Toronto Yachting Club. Her journalism on subjects ranging from the rapacious need of the herdsman; revenge; lust; obsessive love; wrestling; romantic love; dreams; thievery; canted framing devices; The Spirit of the Times, neuro-linguistic programming; The Spirit of the Depths; markets; Machinic Desire, the “escape velocity of self-reinforcing machinic intelligence propagation,” semiconductor shortages; Phantoms feared in INLAND EMPIRE; film as a container of time; poesis; THE LIMITS OF CONTROL; things not being quite what they used to be; eternal recurrence of the same; eternal recurrence of the like; the thought of thoughts; the most dangerous thought; the ontological implications of Neuralink unless if else Kernel; the frequent trope of gambling in Seinfeld; the circadian clock within the suprachiasmatic nucleus; an anhistorical future; spike-timing dependent plasticity; debunked obelisks; Bernard Rose; Donald Barthelme; Roger Ebert; pets; the pleroma; and kindness as a means of value extraction has appeared in The New York Times Magazine, Cat Fancier, and many reputable blogs. Her self-reflexive poesy has been published in Ploughshares.
Catherine is a preeminent futurist in the futurism space and has many followers in the world of antiquity.
A victim of traumatic brain injury, she is the Vice-President of The Derealization and Depersonalization Sufferers Association of Southern Ontario.
She was on the booking committee in Total Nonstop Impact Wrestling from 2007 to 2009, working closely with Jim “Corny” Cornette.
Catherine was the recipient of a Henry Luce III Fellowship in Theology from Harvard University, which she disrespectfully declined as a protracted 17-year ‘rib’ at the expense of the academy, a vicious heel turn the theological community will not soon recover from.
Admirers describe Catherine as “prickly, but fair.”
Her only child, Claire, was taken from her, though fake-chokers despite this.
Her primary concern is your wellness, particularly the wellness wrought by the weal of divine wisdom scarred unto humanity through the blending lens of cinema.
Irrespective of John Searl’s disquisitions regarding just what mathamysticism can emerge from a Chinese Room, as well as dasein’s corresponding evolutional function, she plods with Heidegger towards “the time of the world’s night,” subjecting the manifold to tabulation, even as submitting to subjection does not ensure any actual understanding.
Knowing that knowing is such a nascent state, she serves as cosmological advisor on the congress for endonational calamities.
Given to ratiocination by syncopation in the elucidation of complications, her cosmological theory of everything is considered “plausible, if not sound” by the few randy cosmologists who’ve fallen under her spell, cosmologists who regard her scientific spurs as scientific burs endured only to be in a definite-location relationship with Catherine’s coveted figure at the International Conference on Metaphysics, Cosmology and Cosmogony in 2003 or in 2023, where she was but couldn’t be.
Knowing with William James that, “Hearing is the sense by which the subdivision of durations is most sharply made,” Catherine can hear colours, making the marriage of contrapuntal sound and asynchronous image a Rosetta stone to her cosmological theory of transaction time indeterminacy. Synchronous sound doesn’t elucidate the granularities of temporal qualification for Catherine quite so well. In this regard, she is like Eisenstein.
Catherine resents implication she is some dark-browed antinatalist interested only in the forming of a suicide cult. She resents comparisons to Teal Swann, of whom Catherine had not even heard prior to the vicious levying of said comparisons by Redditors eager for spike-sorted tetrodes that summon the demon of ontological discontinuity.
Between 1924 and 1947 she general managed Hilbert’s Grand Hotel until being unceremoniously told she must interleave this roadside nesting place after illumining its No Vacancy sign.
She is slavishly subservient to the introductory microphone of the #PRISONERSCINEMA network and will be until her foreseen dissolution that Michael Haneke describes relative to Robert Bresson’s oeuvre, “Everything dissolves into pure relationality, and it is up to the viewer to draw conclusions from the sum of the arrangements,” meaning attendees of the #PRISONERSCINEMA film festival are advised, nay, required, to take dutiful notes on the relationality of its arrangements if conditionally they wish to arrive at the sum of its conclusion in time.