From: Joost Rekveld (email suppressed)
Date: Mon Jan 18 2010 - 16:04:36 PST
I guess pretty much anything on TV gets in the way of pretty much
anything else if you think about it ?
On 20100118, at 2334, JEFFREY PAULL wrote:
> Sensory overload seems, to me, to express the idea of too-muchness,
> not in the sense of being loud, and/or fast-paced or helter-
> skelter, - or even incoherent, (that's mearly "muchness".
> But sensory overload describes the feeling (in an individual) that
> whatever abundance(s) there is - there are,
> is GETTING IN THE WAY of something else that the person wants to
> "get" or to feel as fully as they they anticipate
> they otherwise could.
>
> comments?
>
>
> Jeffrey Paull
>
>
> On Mon 18/01/10 15:17 , Myron Ort email suppressed sent:
>> 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 overload".
>>
>>
>>
>> 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
>>> overload.
>>
>>> But, of course the very notion of overload would be a
>> personal
>>> experience.
>>
>>>
>>
>>> Jack
>>
>>>
>>
>>>
>>
>>> 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
>>>> characteristics?
>>
>>>>
>>
>>>> Thanks.
>>
>>>>
>>
>>>> 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 (address suppressed)
>> om>.
>>>>>
>>
>>>>
>>
>>>>
>>
>>>>
>> __________________________________________________________________
>>>> For info on FrameWorks, contact Pip Chodorov at (address suppressed)
>> om>.
>>>
>>
>>>
>>
>>>
>> __________________________________________________________________
>>> For info on FrameWorks, contact Pip Chodorov at (address suppressed)
>> om>.
>>>
>>
>>
>>
>>
>>
>> __________________________________________________________________
>>
>> For info on FrameWorks, contact Pip Chodorov at (address suppressed)
>> om>.
>>
>>
>>
>>
>>
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
-------------------------------------------
Joost Rekveld
----------- http://www.lumen.nu/rekveld
-------------------------------------------
"In theory, there is no difference between theory and practice.
In practice, there is."
(Jan L. A. van de Snepscheut)
-------------------------------------------
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.