Screen-based sculpture and experimental artworks in the late 1960~1970s in which the cinematic process and the screen itself emerge as an object of investigation.
Viewing regimes are literally and figuratively put on display in these environments.
emotion -> sound -> sound -> visual
structure is not making but shifting.
Text is form of the sound
Image is form of the thing– information / James Gleick
Schutz “cognitive style”
- a specific tension of consciousness
- epoché: suspension of doubt;
- working: projected & characterised by movement
- a specific form of experiencing ones’ self
- a specific form of sociality
- a specific form of time–perspection
Space & time are merely extremes of the contraction and dilation of a signal durée, or duration.
- frame ( matter movement) mobile cut
- shot (editing with montage shots )
Frames
- What does screen frame create / means?
- What we experience within the frame?
Fractals
- perception-image
- action-image
- affection-image
- impulse-image
- reflection-image
- relation-image
Frame’s muscle
Perception is a tool for selection.
Light go spread into all direction
Film essential
- consciousness of movement
- visual rhythms
is light is the primary medium?
–> projector is a medium?
- Intensity of light
- movement within a given space
- internal balance of time
Michael snow “shaping the main ingredient.”
Peter Kubelka “quick projection of light impulses.”
Whithin the hemispherical screen, the spectator himself is the frame of reference. The rectangular screenprovides an objective frame of reference both for “representational” and for “abstract” picture.
Shaw, J. and Weibel, P. (2003). Future Cinema: The cinematic imaginary after film. Cambridge, Mass.: MIT Press.
“Reality seen on the screen is the idea in the mind of the film-maker. Organ of lumination ends adn where it has its beginning.”
-Berkely-
To sing images, like a luminous fish does in the dark depths of the ocean, not with a reflected but with one’s own light.
Shaw, J. and Weibel, P. (2003). Future Cinema: The cinematic imaginary after film. Cambridge, Mass.: MIT Press.
Origin
Death of books “gallery-based, projected-image art.”
Video art -> film, cinema based or art based until 1960
1. Experimental artist’s film
2. gallery-based projected-image
1970 in the USA, ‘structural film overlapped with experimental filmmaker; Michael Snow, Hollis Frampton. Artist-filmmaker; Richard Serra, Robert Morris, Yvonne Rainer.
Structural film
P. Adams Sitney
Four feature
- flicker
- fixed-frame filming, unmoving or largely unmoving camera
- loop printing ( immediate repetition of shots )
- Re-photography from the screen
ex) Andy Warhol(1962-68)
Sitney’s definition combined a technique-based, formulation of a new aesthetic with the potential for a critique-based, avantgardist political programme for the film.
The UK -> Structural-materialist
#Peter Gidal ‘theory and definition of structural/materialist film’, studio ?International 190:978(Nov/Dec 1975). pp189-96
THEORY AND DEFINITION OF STRUCTURAL MATERIALIST FILM
Peter Gidal.(ed.) Structural Film Anthology (London: BFI publishing, 1976)
- rejection of narrative
- illusion
- representation
New theory ‘screen/space’
- modernism
- Festival
Michael Snow: engage with play between the physical and an illusionist space of projection
Importance of surrealism
Gallery and space
The nuanced view of the museum as a space in flux. Constantly inflected by the other space to which it is related by the works on show within it, and by new viewing technologies and the unfamiliar habits of viewing which they bring.
The light Reflection = touching
directed touching.
Provisionality of vision. our presumed transparency of vision, in fact, the product of complex historical conditions and cultural formation
Projected image
- The movement itself mimic the object.
It likes Deleuze mentioned in “becoming” sound mimicked bird singing and becoming the bird. Screen mimicking human’s physical movement and becoming human.
2. Mona Hatoum’s testimony
This work mimic the shape of the bodily organ shown in the circular form of the projected image. Suggests a chain of associations. How much moving image can break down the vision, through this journey, mimicking the big picture of the motion movement.
3. wink mimicking
4. technological diversity and concentrated material specificity. Attention to space & apparatus
5. Bill Viola
Vision of reality in which the form his art takes creates a ground for capturing the forces of nature.
How, through the optics of a moving-image recording technology, could he create a “vision of reality” absent of form.
I see that media techonologies not at odds with out inner selves, but in fact a reflection of it.
Bill Viola, “Presence & Absence: Vision and the Invisible in the Media age.” 2007
Accidents Invitation.
Urtext
6. Bruce Nauman
Nayman’s concrete actions begged questions about the structure that functions beneath language, in advance of conscious thought. He sought to connect this philosophic inquiry to the physical world of direct experience.
“Creates situations and objects that demand extended concentration from the viewer.
Laptop Frame and Screen
Compare with cinema screen environment, the laptop doesn’t require and insist a dark and limited space. It is not aiming the space as “projected-image art” in the gallery.
You already had said what you would said
The thing is existed itself. On the other hand, when we perceive it, the thing itself is pictorial.
Perception is a means whereby libing images receive movements, and perception is always linked to action, for which reason all perception is sensori-motor, and instrument for translating an external movement via the senses into an ensuing motor action.
Henri Bergson
However, user and subject view are not separable, frame transforms the character’s view… A correlation between persepective –image and a camera–consicouness “subject” that transforms it.
Henri Bergson
Out of the three-dimensional relationship, and forward to four-dimensional relationship finally space can be a solid body.
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