Hi This thread reminded me of an installation- Field Cymbal Phase - I made many years ago using a timebase corrector. Alternating fields of a stick striking two cymbals alternately. Presented on two monitors, it was shown once, at The Ferens Art Gallery, Hull UK. incidentely, I am originally from Crystal Palace)
Best Wishes Rob > On 14 Aug 2025, at 19:03, Federico Windhausen <[email protected]> wrote: > > Hello Jared & co., > Apologies if this message is out of sync with the current thread about this > topic. I only receive the delayed, digest version of Frameworks. > I saw Crystal Palace at the Walter Reade cinema in New York in 2002. Because > the venue's video projector was not progressive-scan, the video's flicker was > quite visible. In 2011, I saw the video again, interlaced flicker intact, on > an old CRT monitor in Ernie Gehr's home studio in Brooklyn. > That year, I wrote about the video for an article (to my chagrin, in the > print version, an editorial error led to the still images of the video's > flicker being omitted). Not long afterwards, Ernie debuted a new version, > once again at the Walter Reade theater. He had attempted to use alternative > digital effects to compensate for the lack of the flicker "artifacting" on > now-ubiquitous progressive-scan video projectors. (I recall a number of > freeze frames that lacked flicker and thus made the video seem more static > than it had previously been.) He wasn't able to achieve anything close to > what he'd done in 2002. We discussed this after the screening. He was pretty > unhappy with the results, and I shared his view that he hadn't yet found a > satisfying way to revise and remediate the original version. I haven't asked > him about since then. I am sure he would also be very interested to know if > anyone has figured out how to preserve the flicker via contemporary digital > video media. > best, > Federico > > > > > > > > > > > Date: Wed, 13 Aug 2025 13:14:26 -0500 > From: jared ashburn <[email protected] <mailto:[email protected]>> > To: Experimental Film Discussion List <[email protected] > <mailto:[email protected]>> > Subject: Re: [Frameworks] field-level processing in video > Message-ID: > <CACFi8AVqrK=v6rosxftcxo-gwuapzhc+p_hk9e+uf9epdjp...@mail.gmail.com > <mailto:v6rosxftcxo-gwuapzhc%2bp_hk9e%2buf9epdjp%[email protected]>> > Content-Type: text/plain; charset="utf-8" > > Mark, Adam, Michael, and Robert, > > I saw "Crystal Palace" at some point, but couldn't remember the title. It > was that one that provoked my question, so thank you for reminding me. I'm > seeing it described as "An ode to digital interlace, which is to video what > intervals between frames are to film…". Do you happen to remember if it was > displayed on a CRT? I'm trying to figure out the title of the other one you > mentioned, and I do wonder if (and how) he managed to resolve the transfer > to a progressive format. I stumbled upon the same kind of field flicker in > FCP at about the same time he made "Crystal Palace" and was only able to > capture the output through rescan. I think a VTR (analog without an > internal TBC, maybe?) and a display that doesn't deinterlace by default > might work to preserve the field flicker, but I'm not certain. I also don't > know if that could then be transferred to a digital format (tape or file) > without it being deinterlaced at some point. Even if it were, as Adam > points out, most all digital projectors (and LCDs) would deinterlace and > apply frame interpolation, which would kill the flicker. To Robert's point, > perhaps field-based effects are best left to the analog domain. Still, even > there, it required a special instrument (Rutt/Etra or the Vasulkas Digital > Image Articulator —a hybrid device). Michael, I am unfamiliar with Yalkut's > work that you mentioned. I'd be interested to know, and VERY curious to > know what instruments he used. Thank you all for your input. I appreciate > it. -Jared > > On Sun, Aug 10, 2025 at 2:45 PM Robert Harris <[email protected] > <mailto:[email protected]>> wrote: > > > The person who most formally, thoroughly, and passionately immersed > > themself in the video field, in the formative instant of image generation, > > was video maker/filmmaker Al Robbins, working with portapak, reel to reel > > video in 1973 and after. > > Given the fragile, uncopyable nature of his tapes, and given the generally > > galleryizing world of video in the mid 70’s, Al’s work was tragically under > > appreciated. > > Rather than look to filmmakers who had no interest in analog video, you > > should pursue your Vasulka thread, and look to the individuals associated > > with the Experimental Television Center in Owego, NY. Founder Ralph Hocking > > is deceased, his wife and collaborator Sherry Hocking Miller is still > > around. Seek out Peer Bode, Hank Rudolph, David Jones, Neil Zussman. > > But for the original artist with absolute investment in the glitch and all > > its implications, Al Robbins. > > > > > > > > Robert Harris, Professor > > Fitchburg State University > > > > > > > > > On Aug 9, 2025, at 12:13 AM, jared ashburn <[email protected] > > > <mailto:[email protected]>> > > wrote: > > > > > > Does anyone know if Ken Jacobs, Ernie Gehr, or any other artists besides > > Woody and Steina Vasulka have worked at the level of the video field? I’m > > particularly interested in practices that manipulate fields (1/60 second in > > NTSC), whether for timing-based image alteration or for preserving > > field-specific flicker phenomena. Thanks! > > > -- > > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
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