The concerns and interests implicit in your inquiry, time, immediacy, delay, and the live, liquid, streaming nature of the signal, were extensively explored in many early works of analog video. The most obvious that comes to mind is Ira Schneider and Frank Gillette’s Wipe Cycle. Also Shirley Clarke’s TeePee Videospace Troup
Anyone interested in such ideas should read Ina Bloom’s excellent text, The Autobiography of Video: The Life and Times of a Memory Technology http://www.sternberg-press.com/?pageId=1650 Robert Harris On May 22, 2017, at 9:13 PM, John Muse <jm...@sonic.net> wrote: > Hive mind! I’m beginning research on moving image media works that couple > and complicate the relations between the following events, with an emphasis > on the time they take: the time-of-the-profilmic-event, the > time-of-the-recording-apparatus, the time-of-the-assembly-protocols, the > time-of-the-display-apparatus, and the time-of-the-viewing-experience. > > A mouthful, I know! But these events are relatively autonomous, as we know, > and ubiquitously so. Time lapse, slow motion, closed-circuit works and delay > systems, and even the simplest continuity edit, which purports to build a > single event for the viewer out of disparate events before the camera, > partake of this trouble. But I’m looking for works that critically > investigate and exploit these relations. Man with the Movie Camera, of > course and as usual, made all of these features explicit through > undercranking, overcranking, animation, jumpcuts, cross-cutting times and > spaces, superimpositions, split-screens, and the use of the movie house > itself. > > So many other works from the tradition of experimental film to consider. > Things I already love: Ernie Gehr’s Serene Velocity, Nancy Holt’s Boomerang, > and Ken Jacob’s Tom Tom and his Nervous Magic Lantern performances. From the > conceptual media side of the aisle: Bruce Nauman’s Live-Taped Video Corridor, > Dan Graham’s tape delay works, Douglas Gordon’s 24 Hour Psycho, and many of > David Claerbout’s works. > > Help please! I’m looking for other canonical materials, especially expanded > cinema works, and more contemporary efforts, ones that split these relations > even further: between image capture and image playback, there is processing, > whether optical and analog or digital: compression schemes, datamoshing, and > spline morphing, i.e., "bullet time" and other interpolation protocols. > > Comments and clarifying questions appreciated. > > j/PrM > > ************************************************* > > john muse > visual media scholar > haverford college > he/him/his > http://www.finleymuse.com > http://www.haverford.edu/faculty/jmuse > http://haverford.academia.edu/JohnMuse > > ************************************************* > > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks
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