Digital photo-animation ok, or do you prefer film? I used Fibonacci sequence as
a control via frame counts for a digitally-composed animation a while back ...
Jessica
http://drawclose.com
On Aug 5, 2014, at 6:45 PM, Mark Toscano fiddy...@gmail.com wrote:
Roberta Friedman and Grahame
Yes I'm looking for a diversity of approaches to show my students! Thanks for
all for the suggestions - Cade
Sent from my iPhone
On Aug 6, 2014, at 8:13 AM, J. Fenlon snowbloods.para...@gmail.com wrote:
Digital photo-animation ok, or do you prefer film? I used Fibonacci sequence
as a
beautiful/strange https://vimeo.com/7656765
a 3-minute animation made in a 72-hour filmmaking ‘challenge weekend’ in 2006.
Fibonnacci in relationship to time.
Thanks!
Jessica
http://www.drawclose.com
On Aug 6, 2014, at 2:25 PM, c b bigmuddy2...@hotmail.com wrote:
Yes I'm looking for a
May interest you-
Not a F. Seq. , but Frampton's Zorn's Lemma is based on a math thing
Too bad I flunked math.
2014-08-06 15:28 GMT-04:00 Lady Snowblood snowbloods.para...@gmail.com:
beautiful/strange https://vimeo.com/7656765
a 3-minute animation made in a 72-hour filmmaking ‘challenge
These are not films, but the 16 Accretions linked to near the top of
this page
http://fredcamper.com/A/index1.html
are series of photo-based digital prints that have cinema as one key
inspiration. The use of Fibonacci numbers in them should be obvious.
They do have some aspects of
Greetings Frameworkers,
I'm looking for experimental films that engage with the Fibonacci sequence -
suggestions?
Thanks!
Cade ___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
Abigail Child mentioned that the structure of “Surface Noise” is based on the
Fibonacci sequence when she screened it at the Harn Museum a decade ago. I’m
not sure I understood exactly what she meant—I hadn’t sensed it in watching the
film—but I’d be curious to look again with that in mind.
: [Frameworks] Fibonacci Sequence
Abigail Child mentioned that the structure of “Surface Noise” is based on the
Fibonacci sequence when she screened it at the Harn Museum a decade ago. I’m
not sure I understood exactly what she meant—I hadn’t sensed it in watching the
film—but I’d be curious to look
Roberta Friedman and Grahame Weinbren's excellent FUTURE PERFECT from 1978 uses
a Fibonacci series (among others) as a basis for some precisely placed
graphical forms marked onto (and conceptually relating to) the film's
underlying photography.
Mark Toscano
On Aug 5, 2014, at 2:26 PM, c b
