Hello John,

Here are two works by Dan Graham that could fit into that "
camera-sharing/participation/interaction":
*Helix/Spiral* (1973)
<https://www.macba.cat/en/helix-spiral-simone-forti-2979>
<https://www.macba.cat/en/helix-spiral-simone-forti-2979>
*Body Press* (1970-72)
<http://www.medienkunstnetz.de/works/body-press/images/5/>

Best,
Albert

On Tue, Oct 29, 2019 at 8:21 PM MARILYN BRAKHAGE <[email protected]> wrote:

> Possibly Brakhage's *Blue Moses* (1960) might fit what you're looking
> for, or in another way, *Made Manifest* (1980)
>
> Marilyn Brakhage
>
> ------------------------------
> *From: *"John Powers" <[email protected]>
> *To: *[email protected]
> *Sent: *Tuesday, October 29, 2019 10:53:42 AM
> *Subject: *[Frameworks] The Participatory Camera
>
> Hi Frameworkers,
>
> Sorry to hit the list with one of those periodic crowd-sourcing requests,
> but I'm curious if anyone can recommend experimental films from the
> 1960s-80s, especially overlooked or under-appreciated, where the camera
> could be said to "participate" in the actions depicted, rather than simply
> to "observe." I understand that these distinctions are not so
> black-and-white, and, construed broadly, any instance of shooting film
> could be called "participatory." But I'm thinking more of examples like
> Carolee Schneemann's FUSES, where the camera is integrated into Carolee and
> Tenney's sexual life, and they pass it back and forth; or Brakhage's
> WEDLOCK HOUSE: AN INTERCOURSE, where Stan & Jane pass the camera
> back-and-forth during an argument. CHRISTMAS ON EARTH is another candidate.
> Anyone have similar examples of camera-sharing/participation/interaction
> with the instrument, however you want to construe such a thing?
>
> Thanks for your assistance!
>
> best,
> John
>
>
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