I agree with you, Mark.  After watching the "Shoot Shoot Shoot" version last 
night in a hall with a wonderful sound system, I could only think of the fire 
bombing of Dresden, which is curious because London, obviously, knows these 
sounds as well.  That Dresden must be the reference; and even if it's not, it 
should be.  None too subtle either: the score and the parades and swarms and 
cascades and conspire to put thousands of planes in the sky; some patterns 
resemble crosshairs, maps, rail lines and spurs, urban spaces.  Fully 
metaphoric?  No, but forgive me for trying.  A futurist anthem?  Not likely.  
And I'm not trying to reduce the work to this reference, to war and 
bombardment, but this reference matters, as does cinema's role in new modes of 
visualization, in reconnaissance and damage assessment--think of screening this 
before Farocki's "Images of the World and the Inscriptions of War."  The 
impulse to produce the work was materialist, playful, inspired.  The resulting 
work though has these resonances; the title simply owns up to them, no?

The synch offset: we're all agreed!


On Feb 25, 2016, at 7:12 AM, Mark Webber <m...@markwebber.org.uk> wrote:

> I believe the title is also a reference to the bombing of Dresden in World 
> War II, and the qualities of the soundtrack suggest this also. Its remarkable 
> how much this soundtrack varies according to the projector it is shown on. 
> As Nicky Hamlyn stated, the soundtrack was offset after being made to put it 
> in sync with the image during projection. (Light Music was done the same way.)
> It’s remarkable how much these soundtracks vary according to the projector 
> they are shown on.
> Mark
>> Can anyone motivate the title of Lis Rhodes' Dynamo Dresden?  Or is she a 
>> fan of https://en.wikipedia.org/wiki/Dynamo_Dresden ?
>> I was hoping that either the Letratone or the clear leader was manufactured 
>> in Dresden.
>> And she claims that the optical track and the visual track are the same, but 
>> it looks like (and sounds like) she offset the optical track (26 frames 
>> ahead) so that there would visual and acoustic synch, even though she 
>> fabricated the optical track and the visual track in one go.  If you go to 
>> http://www.tate.org.uk/whats-on/tate-modern-tanks/display/lis-rhodes-light-music
>>  and scroll down to the video, you'll see at 51" prints of the film strip.  
>> Right?  Wrong?
>> j/PrM
> _______________________________________________
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks



john muse
visiting assistant professor of independent college programs
haverford college


FrameWorks mailing list

Reply via email to