From: Ken Bawcom (email suppressed)
Date: Mon Jan 18 2010 - 23:20:42 PST
Tony,
Back in early December, near this thread's beginning, I listed a few
films that I think produced in me what I would call "sensory
overload," although I was not the one who started the thread. Those
films are;
Robert Nelson's "Hauling Toto Big,"
Craig Baldwin's "Tribulation 99, Alien Anomalies Under America,"
Peter Greenaway's "Prospero's Books,"
and Richard Kerr's "The Bombardment of Pearl Harbor."
Of course, later viewings do not seem as intense as the first one. So,
yes, I will admit that I can't remember for certain the last time I
experienced "sensory overload." Richard Kerr's film was the one I last
saw on the big screen at the Ann Arbor Film Festival.
But, I'll admit my reply was rather flip. However, when someone denies
the existence of a commonly acknowledged experience, that comes with
the territory. True, the term is derived from its meaning in
electronics, and mechanics, and is metaphorical, but that makes it not
one whit less useful, and descriptive.
What constitutes sensory overload? Early on someone said "density of
surplus of image," and I think that is part of it. I think Jack
Sargeant described it pretty well, a few posts back.
Can it be merely music that is too loud? Although that is not my
preferred form of sensory overload, I would argue that it could. In
fact, Pete Townshend is a case in point that comes very close to an
electrical definition. He has listened to so much loud music, while
playing concerts, that he can't hear well in the frequencies that his
guitar commonly produced. So, short term sensory overload, producing
long term sensory overload, resulting in physiological changes.
I would define sensory overload as receiving sensory input(s) that are
too intense, dense, or complicated, etc., to process in a normal
manner, either with one's sensory apparatus, with one's mental
apparatus, or both. That is to say, the burden is more than they can
bear, and maintain normal function.
I would add that drugs can produce a similar effect, so that common
sights, sounds, smells, etc., may seem overwhelming. Thus, sensory
overload, although of a bit different sort.
As others have said, when used in art, I think sensory overload is
used to get around our normal ways of perception/interpretation, so
that we take things in in an unfiltered manner, more directly, with
less conscious intervention in perception.
Ken B.
Quoting Tony Conrad <email suppressed>:
> Oh, Ken...........
>
> If you're that good at deflating things, I bet you can't remember
> the last time
> your senses were "overloaded."
>
> ------------t0ny
>
>
>
>
> On Tue 01/19/10 1:00 AM , Ken Bawcom email suppressed sent:
>> I'll try to remember that, next time my senses are overloaded. But, I
>> doubt I'll be able to...
>>
>> Ken B.
>>
>>
>> Quoting Tony Conrad <(address suppressed)
>> FALO.EDU>:
>> > Please stop!
>> >
>> > This is not a sensible topic.
>> >
>> > "Overload" originates in 1)
>> electronics and 2) mechanics or law, and > the usages
>> > in these two areas already contradict one
>> another. An electrical > circuit can be
>> > said to include a "load", and if it's
>> "overloaded" it draws too much > power and
>> > burns up. But senses can't meaningfully be
>> "overloaded" in this way, > since there
>> > is no power drain associated with the viewer and
>> the film is > certainly not going
>> > to burn up.
>> >
>> > A mechanical system may on the other hand be
>> overloaded if the > strain on it is
>> > too great and the system snaps. Also, in legal
>> terms a vehicle, for > instance, may
>> > be over loaded with people or personal
>> possessions: a condition > defined by its
>> > potential for an accident (arising directly or
>> indirectly from the > condition),
>> > which is prevented by the police.
>> >
>> > "Sensory overload" is a metaphorical
>> invocation of the viewer's > sensory pathways
>> > as circuits (not as mechanical systems or pickup
>> trucks), but the > metaphor only
>> > works if the term is also understood as implying
>> some kind of > excessive strain
>> > toward a breaking limit, or as tempting
>> accidental and incidental > damage -- with
>> > an implicit sense of illegality.
>> >
>> > This sort of stew -- a confusion of
>> semi-contradictory but in each > sense somehow
>> > vivid metaphorical relationships -- is what
>> makes trashy criticism > exciting. But
>> > don't try to extract a coherent critical
>> category out of this mess. > If you do,
>> > the latent contradictions rapidly infect your
>> discourse, and we get what has> happened here: an "overloaded"
>> discussion of a term that is itself > "overloaded,"
>> > where "sensory" overload has turned to
>> "sense" overload.>
>> > --------t0ny
>> >
>> >
>> >
>> > On Mon 01/18/10 5:45 PM , Myron Ort email suppressed
>> sent:>> In 1968, the era of psychedelic light shows
>> at concerts, the>> popularity of underground cinemas showing
>> all kinds of unusual>> experimental films , concerts by John Cage
>> et al, "happenings">> etc , given that context "Cut
>> Ups" doesn't seem that far out to me in>> the "overload" sense, however,
>> it is a very good film, perhaps even>> a pioneering film, and one that I
>> certainly would have been excited>> about in 1968 (as I am now),
>> since some us
>> were clamoring for that>> kind of thing back then. So I take it, we
>> are maybe searching for a>> "term" which might describe such a
>> narratively "non>> linear" approach and this is what you
>> (and others?) are >> designating "sensory
>> >> overload"? Would there not be several
>> other alternatives terms?>> "Overload" has this "I can't
>> take it --too much man! my>> head will explode!" connotation
>> which, I guess, Is what I am >> objecting to. Cut
>> >> Ups, through an approach to montage
>> (collage) breaks up (disjoints)>> otherwise
>> "figurative/narrative/continuous" type recognizable>> shots and
>> reassembles
> them with a type of
>> "musicality" instead. Its a>> musical! An experimental film
>> "musical". Is that the term we>> are looking for? ha ha ha. smiley face,
>> etc.>>
>> >> Myron Ort
>> >>
>> >>
>> >> On Jan 18, 2010, at 1:11 PM, Jack Sargeant
>> wrote:>>
>> >> > 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
>> different.>> >
>> >> > Jack
>> >> >
>> >> >
>> >> >
>> >> >
>> >> > 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 >>
>> 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
>> >> >>>>>
>> >> >>>>>
>> >> >>>>>
>> >> >>>>>
>> >> >>>>>
>> >> >>>>>
>> >> >>>>>
>> >> >>>>>
>> >>
>> __________________________________________________________________>>&
>> gt;>> For> info on FrameWorks, contact
>> >> Pip Chodorov at
>> om>.>>>>>>> >>>>
>> >> >>>>
>> >> >>>>
>> >>
>> __________________________________________________________________>>&
>> gt;> For >> info
>> > on FrameWorks, contact Pip
>> >> Chodorov at om>.>>>
>> >> >>>
>> >> >>>
>> >>
>> __________________________________________________________________>>&
>> gt; For >> info
>> > on FrameWorks, contact Pip
>> >> Chodorov at om>.>>>
>> >> >>
>> >> >>
>> >> >>
>> >>
>> __________________________________________________________________>>
>> For >> info
>> > on FrameWorks, contact Pip Chodorov
>> >> at om>.>
>> >> >
>> >> >
>> >>
>> __________________________________________________________________>
>> >> For info on
>> > FrameWorks, contact Pip Chodorov at
>> >> om>.>
>> >>
>> >>
>> >>
>> __________________________________________________________________>> For
>> info
> on FrameWorks, contact Pip Chodorov
>> at om>.>>
>> >>
>> >>
>> >>
>> >
>> >
>> >
>> __________________________________________________________________>
>> For info on
> FrameWorks, contact Pip Chodorov at
>> <(address suppressed)
>> om>.>
>> >
>> >
>>
>>
>>
>> "Those who would give up essential liberty
>> to purchase a little temporary safety
>> deserve neither liberty, nor safety."
>> Benjamin Franklin 1775
>>
>> "I know that the hypnotized never lie... Do ya?"
>> Pete Townshend 1971
>>
>>
>>
>>
>>
>>
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
>
"Those who would give up essential liberty
to purchase a little temporary safety
deserve neither liberty, nor safety."
Benjamin Franklin 1775
"I know that the hypnotized never lie... Do ya?"
Pete Townshend 1971
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.