From: Jack Sargeant (email suppressed)
Date: Mon Jan 18 2010 - 13:11:12 PST
I'm pretty sure Cut-Ups is on Ubuweb or Youtube.
OK, by sensory overload in this instance I mean that the film uses
image and sound in such a way as to break any notion of coherence, so
that, watching it, the audience are compelled to experience the film
rather than just understand it or follow it. It resists the normal
sensory satisfactions associated with film, both the experiences of
hearing and watching are transformed, the combination of linguistic
permutations in the narration and the (on first viewing) apparently
random images means that the audience have to 'go with the film' and
experience something utterly unfamiliar.
As I said the notion of overload would be personal, I have no problem
with Cut-Ups but grew up in an MTV riddled world, however for
somebody watching the film in '68 the experience was probably utterly
On 19 Jan 2010, at 07:17, Myron Ort wrote:
> I was hoping for a "theoretical" definition of "sensory overload"
> rather than another example of a film or whatever that I cannot
> easily access. Even watching 77 minutes of Sistiaga's handpainted
> @ sound speed with overloud live punk music, I wasn't really
> thinking "sensory overload", just "unpleasant experience". Even
> multiple screen performances don't seem like "sensory overload" to
> me, but just what they are supposed to be. I was hoping for a
> definition of "sensory overload" that wouldn't need to include
> "handpainted" films almost by definition. In other words, once I
> accepted the hand painted film, or films where every frame is
> really (or really really) different it seems there can no longer be
> anything called "sensory overload". By "handpainted" I mean the
> one's where there is not so much figurative continuous action
> between frames like animation or clearly comprehensible
> anthropomorphic dancing blobs etc. As someone who digs
> "experimental filmmaking" and phenomena of nature, (pre and post
> psychedelic) I am not sure there is such a thing as "sensory
> Myron Ort
> On Jan 17, 2010, at 4:14 PM, Jack Sargeant wrote:
>> Although outside the period of the original question perhaps Balch
>> & Burroughs' The Cut Ups could be considered an example of sensory
>> But, of course the very notion of overload would be a personal
>> On 5 Dec 2009, at 04:04, Myron Ort wrote:
>>> Now that I think of it, I don't think I have ever experienced
>>> anything I would call "sensory overload" as pertaining to a film
>>> experience. Could someone define this genre for me. What are the
>>> Myron Ort
>>> On Dec 3, 2009, at 4:05 PM, Mark Toscano wrote:
>>>> Howdy all -
>>>> I've been working out a possible program (or two) of films that
>>>> demonstrate the idea of "sensory overload", and although I have
>>>> a bunch of titles in mind already, I'd love to get more
>>>> suggestions, especially of work from the past 10-15 years or
>>>> so. Shorts are preferable, as it's meant to be a diverse, mixed
>>>> program of numerous artists from different eras.
>>>> thanks much for any suggestions -
>>>> Mark T
>>>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.