6:30 pm (Screening 7pm)
Tickets: £5/£3 conc.

Aubrey Williams was born in 1926, Georgetown, Guyana, on the Caribbean coast of South America. In 1952, Aubrey arrived on England to devote his time fully to painting. He attended St. Martin’s School of Art and became associated with the New Vision Centre. By the late 1950s and 1960’s, he was winning acclaim in the UK for his abstract canvases. By the early 1970s and 1980s, he worked and exhibited regularly overseas, in Jamaica, Guyana and Florida. The subsequent Olmec Maya series, drew deeply on his broad knowledge of historic Central and South American cultures.

The film follows Aubrey to Guyana’s capital city Georgetown, where he restored one of his murals, at Timehri International Airport. The visit was poignant, as Aubrey was to travel on to Hosororo in the far north-west of the country, returning to the source of his inspiration for the first time in forty years.

Imruh Bakari, born in St. Kitts, Eastern Caribbean, is a graduate of the National Film & Television School, Beaconsfield, England. He was a founder and director of Ceddo, the film and video production and training organisation in London [1982-93], and a director of Kuumba Productions. From 1999 – 2004, he was Festival Director of Zanzibar International Film Festival [ZIFF] and is a founder and director of Tanzania Screenwriters Forum. As a producer and director his credits include fiction and documentary films, most recently: Mwalimu – The Legacy of Julius Kambarage Nyerere [Documentary, 2009 – Tz] – Producer; and African Tales - Short Film Series [Fiction, 2005/2008 - Tz] – Script Editor/Producer. He lectures in Film & Media Studies at the University of Winchester, UK and has published works on African cinema.

To reserve a place please RSVP to press@octobergallery.co.uk

Entry £7 /£5 Concessions, Arrive 6pm for a 6:30pm Start - Wine available
Please reserve your place as space is limited.
Email rentals@octobergallery.co.uk or call 44 (0)20 7831 1618

	Greg Sams

Across the world our local star was once understood to be a living entity, and appreciated as our source of life energy. In the Western world today we see it as a senseless ball of fire, giving more thought to sunglass styles than to the nature of the Sun itself. We are even taught to fear it, though nothing could be more important to us and planet Earth. It was not the application of science that branded belief in a living Sun as primitive and ignorant it was the triumph of the prophet-driven religions that controlled our schools and universities for centuries.

In the light of solar science, ancient (and not so ancient) cultures appear to have been correct: a living Sun makes more sense than a hot rock. Recognition of stellar consciousness is THE big missing piece in the jigsaw puzzle of our cosmos. From the logical exploration of this realization it becomes apparent that consciousness pervades the entire cosmos, and that our Universe is a bottom up construction that is filled with intelligence and design, yet in no need of an Intelligent Designer.

Tonight we will be taking the lid off the longest running cover-up in history and bringing the Sun back in from the cold. The implications are stunning!

Gregory Sams has been bringing novel concepts to the culture from the age of 19, when he and his brother Craig opened the historic Seed Restaurant in 1968 London. Within a few years his Harmony/Whole Earth Foods was the countrys first and foremost source of natural and organic foods. In 1982 he created and christened the original VegeBurger, then in 1988 moved from food to fractals, opening a shop dedicated to the new chaos theory, publishing and licensing fractal art worldwide. This led to his first book Uncommon Sense: The State is Out of Date, exploring the lesson of chaos theory for humanity. His new book Sun of gOd, has just been published by Weiser Books, in which, as he puts it, the biggest elephant-in-the-room that you could ever imagine is unveiled.

www.gregorysams.com

This lecture is part of a series to be held at the October Gallery on the last Tuesday of each month (excluding August). Please check back to these pages for further details of the upcoming programme or email drdluke@gmail.com to be added to the series' mailing list.

2010 Programme

6:30 pm (Doors open 6:00 pm)
Tickets: £8/£6 conc.

	John Allen and Anthony Blake

Don’t miss this last round of dialogues which have been going strong since 1994!
Continuing a thought-provoking series of discourses, Allen and Blake, two outstanding contemporary thinkers, exchange views about human existence.

Anthony Blake
Anthony Blake’s early training was in physics at Bristol and the philosophy and history of science at Cambridge. He worked for more than fifteen years with John Bennett, one of the leading proponents of Gurdjieff’s ideas. Following a meandering path through consultancy, publishing and educational research he co-founded the non-profit DuVersity and authored books on Time, Systems, and Intelligence. His last two books were ‘The Supreme Art of Dialogue’ and ‘A Gymnasium of Beliefs in Higher Intelligence’. Married, with six children, he is currently living in Scotland.

John Allen
John Allen is inventor of Biosphere 2, engineer, author, poet, dramaturge, and co-founder of the Institute of Ecotechnics, a UK registered charity which is particularly interested in projects that advance the ecology of technics and synergize body, brain and behaviour in humans.

To reserve a place please RSVP to press@octobergallery.co.uk

Small group, so booking is essential (£25 per student). To reserve your place, please contact Bo on bolutos@gmail.com or call 07503 571 024.
www.lutoslawscy.eu – blog: http://boleslawlutoslawski.blogspot.com/

During the workshop, I will use the original photographs from my exhibition at South Bank, London as examples. This show was a portrait of a performance by the Opera Factory, from conception of the work to the opening night. I will also briefly touch on the importance of portraits when printed in related publications, like photographs of Michael Vyner or Tom Stoppard.

• Understanding of stage, lighting, & nature of stage design.
• Restrictions and opportunities for access to the action on stage.
• Cooperation with director and actors.
• Knowledge of performance.
• Theatre / Opera.
• Dance.
• Subsequent choice of camera and exposure setting.
• Presentation / publication.
• Design, visual awareness and composition.

• Ability to observe and to anticipate events on stage (like reportage).
• Sensitivity to various light setting (like in a studio, but without having any control).
• Being in the right place at the right time (like in field games).
• Sense of the architectural qualities of stage.
• Being in tune with the performance.
• Working smoothly in order not to disturb anybody (they are very, very tense and tired).

• Type of access
• Timetable and places of individual events
• An option of using one or two cameras with different lenses or a zoom
• Purpose