Youngblood, like Zeuss you are throwing lightning bolts here!
At the top of my list then,
the forthcoming
SECESSION FROM BROADCAST: GENE YOUNGBLOOD
AND THE COMMUNICATIONS REVOLUTION
and/or
VIRTUAL SPACE: THE CHALLENGE TO CREATE ON THE SAME SCALE
AS WE CAN DESTROY
( Electrified by your thoughts here ((and also potentially?)) 13 years
after this blazing interview. )
Meanwhile,
(written before reading Gene's interview)
Seminal writings related to the original query
I have found nourishing:
the big big
BUFFALO HEADS:Media Study,Media Practice,Media Pioneers 1973-1990
edited by Vasulka and Peter Weibel
Women's Experimental Cinema:Critical Frameworks
editor Robin Blaetz
Peter Tscherkassky
-Horwath, Loebenstein editors
Anthony McCall:The Solid Light Films and Related Works
-Branden Joseph and Jonathan Walley
Edited by Christopher Eamon
Is This What You Were Born For?
-Abigail Child
This Is Called Moving:
A Critical Poetics Of Film
-Abigail Child
Optic Antics:The Cinema Of Ken Jacobs
Pierson, James, and Arthur
-DB
On Nov 8, 2013, at 10:02 AM, Gene Youngblood wrote:
Given the state of the world today, there are many compelling
reasons for removing the idea of an avant-garde from art history and
returning it to the political arena where it began. That’s been one
of my goals as a theorist for a long time. Here’s a conversation
about it 23 years ago. http://www.neme.org/1627/metadesigning-for-the-future
Remember this is 1990, five years before the World Wide Web. One
implication of this view, not stated here, is that any kind of art,
no matter how retrograde, can participate in an avant-garde project
because the site of avant-gardness is no longer art, it’s the “new
alliance” as such. That doesn’t negate any of the reasons given in
this thread for accepting or rejecting the notion of avant-garde
art, it just frames them in a larger context, more appropriate to
the paleocybernetic era in which we live.
From: Cari Machet
Sent: Friday, November 08, 2013 6:56 AM
To: Experimental Film Discussion List
Subject: Re: [Frameworks] seminal writing on American a/g film after
76
agreed the threshold is ever forward
thinking somehow that the time u exist in has a holding on anything
like expansion is just what in the psyche ?
Cari Machet
NYC 646-436-7795
[email protected]
AIM carismachet
Skype carimachet - 646-652-6434
Syria +963-099 277 3243
Amman +962 077 636 9407
Berlin +49 152 11779219
Twitter: @carimachet <https://twitter.com/carimachet>
Ruh-roh, this is now necessary: This email is intended only for the
addressee(s) and may contain confidential information. If you are
not the intended recipient, you are hereby notified that any use of
this information, dissemination, distribution, or copying of this
email without permission is strictly prohibited.
On Fri, Nov 8, 2013 at 2:43 PM, [email protected] <[email protected]
> wrote:
interesting. avant garde,experimental,personal. I think ag
filmmaking is personal filmmaking. films made for viewing by art,
poetry and film lovers and/or people who are inquisitive and open to
non traditional forms and/or subjects. films made by artists for the
many reasons anyone makes art.
that will endure.
Owen
> On Nov 7, 2013, at 7:31 PM, Fred Camper <[email protected]> wrote:
>
> Quoting Stashu Kybartas <[email protected]>:
>
>> There is no avant-garde now. The internet insures that NOTHING
will stay avant - EVER.
>
> I tried to make this point pre-Internet, in my 1986 article "The
End of Avant-Garde Film" in the 20th anniversary issue of
"Millennium Film Journal."
> By 1986, in my opinion, common usage was that an "experimental" or
"avant-garde" film was a film with certain features, such as
scratching or painting on film, a limited or abstracted narrative,
non-linear editing, very small cast and crew, and others -- some of
these if not all of them. Scratching on film was by then no longer
"avant-garde," in the sense of new or advanced, and the terms
"experimental" and "avant-garde" has come to denote a style of
filmmaking. This is neither good nor bad, but one important reason
to understand it is that artists must realize that techniques
already used don't justify themselves; everything depends on the
total work.
>
> Fred Camper
> Chicago
>
> _______________________________________________
> FrameWorks mailing list
> [email protected]
> https://mailman-mail5.webfaction.com/listinfo/frameworks
_______________________________________________
FrameWorks mailing list
[email protected]
https://mailman-mail5.webfaction.com/listinfo/frameworks
_______________________________________________
FrameWorks mailing list
[email protected]
https://mailman-mail5.webfaction.com/listinfo/frameworks
_______________________________________________
FrameWorks mailing list
[email protected]
https://mailman-mail5.webfaction.com/listinfo/frameworks
_______________________________________________
FrameWorks mailing list
[email protected]
https://mailman-mail5.webfaction.com/listinfo/frameworks
