This reminds me of SOP in the filmmaking department of the School of the Art Institute of Chicago c. 1980. The department's own screening room was closed at the start of a screening event, and you couldn't enter or leave until an official break. Late arrivals had to wait outside. No so much different than most classical music theatrical performances. I never saw anyone try to leave until it was authorized to do so.
Respect for the artist, or respect for the audience? Chuck Kleinhans On Mar 8, 2012, at 6:45 AM, David Tetzlaff wrote: Anyone can walk by a painting liking it or not, but sitting in a darkened room as a captive audience may not have quite as many dedicated fans True. But people who walk by a painting not liking it aren't exactly fans. One of the benefits of a proper theatrical screening space is that viewers can leave without creating the sort of interruptions that afflict the comings and goings of typical 'installations.' I've been to two public screenings of Warhol films, both of which started with audiences of 40-50, and when I lights came up I saw that less than 10 other folks besides myself had stuck it out. But I hadn't noticed the deflections. Some of this just involves really simple things like creating a transition space between the 'theater' and the 'lobby' that creates some kind of light block, and making sure the hardware on the door closers isn't super loud. _______________________________________________ FrameWorks mailing list [email protected]<mailto:[email protected]> https://mailman-mail5.webfaction.com/listinfo/frameworks
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