Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations
OK so obviously I don't check this email account as often as I used to but I did want to add http://ubu.com/film/fluxfilm06_riddle.html to the mix. No analysis necessary, I don't think :-). On May 22, 2017, at 9:13 PM, John Muse 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. -- Best regards, Jim Flannery j...@newgrangemedia.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations
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 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 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations
de Sica's *Umberto D*. Well, you raised the question of time. It wasn't motion or clock time, as if you would be interested in seeing second hands. Or maybe time can only be appreciated when you are, well, doomed. It's almost over for you. On Wed, May 24, 2017 at 8:19 PM, Jorge Lorenzo Flores Garza < jorgelore...@hotmail.com> wrote: > I suppose the Warhol still films and thus all of Gidal’s films are > centered on the passing of time as real-time and not a representation of > compressed time. > > > > Enviado desde Correo <https://go.microsoft.com/fwlink/?LinkId=550986> > para Windows 10 > > > > *De: *alena williams > *Enviado: *miércoles, 24 de mayo de 2017 07:32 p. m. > *Para: *Experimental Film Discussion List > *Asunto: *Re: [Frameworks] looking for films, works of expanded cinema, > web-based projects, and installations > > > > dear john, > > > > i would recommend: > > > > adrià julià, popcorn (2012), 90min > > > > a feature length film capturing the eventual popping of a single kernel of > corn... stunning > > > > with best wishes, > > alena > > > On 23.05.2017, at 03:13, John Muse 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 > > > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations
I suppose the Warhol still films and thus all of Gidal’s films are centered on the passing of time as real-time and not a representation of compressed time. Enviado desde Correo<https://go.microsoft.com/fwlink/?LinkId=550986> para Windows 10 De: alena williams<mailto:al...@lowculture.com> Enviado: miércoles, 24 de mayo de 2017 07:32 p. m. Para: Experimental Film Discussion List<mailto:frameworks@jonasmekasfilms.com> Asunto: Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations dear john, i would recommend: adrià julià, popcorn (2012), 90min a feature length film capturing the eventual popping of a single kernel of corn... stunning with best wishes, alena On 23.05.2017, at 03:13, John Muse mailto: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<mailto:FrameWorks@jonasmekasfilms.com> https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations
dear john, i would recommend: adrià julià, popcorn (2012), 90min a feature length film capturing the eventual popping of a single kernel of corn... stunning with best wishes, alena > On 23.05.2017, at 03:13, John Muse 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 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations
Dear John, Excuse my arrogance, but I can't help identifying very strongly what you're looking for, and «especially expanded cinema works, and more contemporary efforts, ones that split these relations even further: between image capture and image playback», with my own *We Only Guarantee The Dinosaurs*, a performance-environment piece (for lack of a better word) that has shown widely. Here you can find a bit of info about it (photos and some written impressions). I can provide more documentation if needed. http://esperanzacollado.org/WORKS/weonlyguaranteethedinosaurs.html Best esperanza 2017-05-23 17:45 GMT+02:00 Dave Tetzlaff : > Belaboring the obvioius perhaps, but Hollis Frampton ‘Critical Mass’ and > ‘(nostalgia)’ [each shot is one 100’ load]; Owen Land ‘Film in which…’; > Robert Nelson ‘Bleu Shut’; Barbara Rubin ‘Christmas on Earth’ [non fixed > image-iaage and image-sound relationships]; Michael Snow ‘<—>’... > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > -- Esperanza Collado - - - - - - - - - - - - - - www.esperanzacollado.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations
Belaboring the obvioius perhaps, but Hollis Frampton ‘Critical Mass’ and ‘(nostalgia)’ [each shot is one 100’ load]; Owen Land ‘Film in which…’; Robert Nelson ‘Bleu Shut’; Barbara Rubin ‘Christmas on Earth’ [non fixed image-iaage and image-sound relationships]; Michael Snow ‘<—>’... ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations
Hi John, William Raban’s 2’45” (1973, recreated on 35mm as 4’22” in 2008) and Tony Conrad’s Film Feedback (1974) collapse those times. Conrad’s literally merges all of them into one moment - if I understand your different “times” correctly. Projection performances in general (in which one could possibly include both the aforementioned films) are often understood as a form of “live” filmmaking, the idea being not only that distinct “times” are collapsed, but that, in so collapsing, they bring together the people usually separated by those temporal boundaries - filmmaker and audience. Of course, there are lots of expanded cinema works that dispense with some of these times, too. all best, JW Dr. Jonathan Walley Associate Professor and Chair Department of Cinema Denison University wall...@denison.edu > On May 22, 2017, at 9:13 PM, John Muse 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 ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations
Thanks, Jesse. The Smith! Of course. > On May 22, 2017, at 11:14 PM, Jesse Pires wrote: > > The first few that come to mind: > > H.M. by Kerry Tribe > Girl Chewing Gum by John Smith > Candle by Neil Henderson > > On Mon, May 22, 2017 at 9:13 PM, John Muse 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 > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks 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
Re: [Frameworks] looking for films, works of expanded cinema, web-based projects, and installations
The first few that come to mind: H.M. by Kerry Tribe Girl Chewing Gum by John Smith Candle by Neil Henderson On Mon, May 22, 2017 at 9:13 PM, John Muse 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 > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
