Thanks, Jesse. The Smith! Of course. > On May 22, 2017, at 11:14 PM, Jesse Pires <jessepire...@gmail.com> 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 <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 > > _______________________________________________ > 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
