From: jaime cleeland (email suppressed)
Date: Sun Feb 07 2010 - 02:23:37 PST
http://www.archive.org/details/FetishNoiseDriver2_537
from Ethnomite Pux
--- On Mon, 1/2/10, JEFFREY PAULL <email suppressed> wrote:
From: JEFFREY PAULL <email suppressed>
Subject: Thanks for passing ASHOKA my way . . . .
To: email suppressed
Date: Monday, 1 February, 2010, 11:35
I'd not heard of it; it's a fine idea, and I passed it along t the movie makers I know.
- JP
On Sun 24/01/10 08:40 , jaime cleeland email suppressed sent:
> ASHOKA IS LOOKING FOR ANEVERYONE A CHANGEMAKER™ FILM, CAN YOU HELP?
> Ashoka, GOOD, andGeniusRocket are partnering to develop a film which
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>
> We are looking to you, our community of supporters, tocreate a video
> which makes this Everyone a Changemaker™world accessible.
>
>
> Find out more.
>
> The Challenge: Create a filmwhich leads up to and closes with the
> question: “How isthe world different because you are here?”
>
> The winning filmmaker will be paid$3,000 for their work.
>
>
> Find out more and please spread theword.
> --- On SUN, 24/1/10, LEO CARDOSO __ wrote:
>
> From: Leo Cardoso
> Subject: Re: suggestions? : sensory overload
> To: email suppressed
> Date: Sunday, 24 January, 2010, 9:10
>
> i understand 'sensory overload' in the art context as a specific term
> that may be used simply to define a work that uses audio/visual
> stimuli to induce body exhaustion/trance/annoyance/daze (depending on
> the context and creator's/receiver's intention). the more immersed the
> body is, the more effective the overload is. part of it is cognitive
> (data being processed by the brain), part of it is culturally situated
> (consciously-selected data to be processed). this reasoning encourages
> the creator to use more abstract-like sound and visuals, as these may
> concentrate and dissipate the receiver's perception, decreasing
> predictability and augmenting overload potential. throughout its
> history, the field of visual music offers interesting cases.
>
> Scot Artford's ' Static Room' is a good example of a piece working
> with sensory overload (especially when watched at the CineChamber,
> with 10 projected screens surrounding you and insanely loud sound that
> require ear plugs).
>
> best,
>
> leoC
>
> On Thu, Jan 21, 2010 at 6:36 PM, floresgb wrote:
> Even conventional filmmaking can overload your senses, war (or other
> topics on violence) documentaries can make you vomit, pornography
> films can make you come, and amazing films like Night and Fog for
> example can “transport you” to “spaces” you rather not visit.
> On the other hand not every installation or film projected on a
> gallery can effectively immerse the audience. 3-D at times looks as
> flat and fake as a cartoon on a cereal box.
> Cheers,
> Beatriz
> On 1/19/10 2:02 PM, "su b" wrote:
>
> Tony,
> Thanks for the punctuation.
> I have been wondering about the relevance of gesamtkunstwerk in this
> discussion, and the distinction that probably needs to be made
> between
> overload and immersion. 'Cinema' has perhaps moved away from total
> immersion by retaining a frontal dualistic visual sonic space, (well
> until the corporate rise of '3D', that is). So, is it the gallery that
>
> has remained the location/home for broader understandings of sensory
> experiences? Films in galleries often retain that sense of
> illegality... or at least of inhabiting spaces where they shouldn't...
> Su Ballard (Dunedin, Aotearoa, NZ)
> On 19/01/2010, at 5:40 PM, Tony Conrad wrote:
>
> > 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
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >> __________________________________________________________________
> >> >>>>> 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
> >> om>.>
> >>
> >>
> >> __________________________________________________________________
> >> For info on FrameWorks, contact Pip Chodorov at om>.
> >>
> >>
> >>
> >>
> >
> >
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at .
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at .
> __________________________________________________________________For
> info on FrameWorks, contact Pip Chodorov at .
> --
> Leo Cardoso
> Graduate student
> Butler School of Music
> University of Texas at Austin
> email suppressed
> (512) 216-8205
> http://leocardoso.org/
> __________________________________________________________________For
> info on FrameWorks, contact Pip Chodorov at .
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at .
>
>
>
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.