there is this... https://www.youtube.com/watch?v=W85rbPbI7CI
''...cinema's role in new modes of visualization, in reconnaissance and damage assessment...'' and this.... http://www.goodreads.com/book/show/979442.War_and_Cinema 2016-02-25 9:04 GMT-04:00 John Muse <[email protected]>: > 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! > > j > > On Feb 25, 2016, at 7:12 AM, Mark Webber <[email protected]> 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 > > [email protected] > > https://mailman-mail5.webfaction.com/listinfo/frameworks > > > > j/PrM > > ************************************************* > > john muse > visiting assistant professor of independent college programs > haverford college > http://www.finleymuse.com > http://www.haverford.edu/faculty/jmuse > http://haverford.academia.edu/JohnMuse > > ************************************************* > > > > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks >
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