Re: [Frameworks] The code of "Arnulf Rainer"

From: Huckleberry Lain (email suppressed)
Date: Mon Jul 05 2010 - 17:41:15 PDT

Hello again Bjorn and Evan,
Sorry for any downloading issues, but I had to separate out the scans into
two parts cause as one zip file my ftp connection kept dropping. So check
out both and <>
.zip <> to get the entire sequence (53

Anyway, as for credit just a simple thing like "Arnulf Rainer transcription
[code, score, whatever] provided by Huckleberry Lain. Arnulf Rainer. Print
for transcription provided by Andrew Lampert and John Mhiripiri of The
Anthology Film Archives." In either film credit, footnote or bibliography.
 I really appreciate it.

I have been extremely fascinated by AR for quite some time (ever since I
first saw it, really). Not only is it an extremely important exercise for
breaking film down to it's most basic elements, but also because of the
disconnection of perception. Meaning, how the film sets up
a synchronicity between black + silence and white + white noise, but then
part of the way through the film it switches. I distinctly remember my
first viewing seeing a moment of white when there is white noise in the
middle of a black section and realizing it was my brain inserting a moment
of white.

Of course, Conrad's film "The Flicker" and Paul Shairt's T,O,U,C,H,I,N,G
both take this phenomenon to another level. But AR completely represents
a catalyst in experimental and structuralist film history and got people to
think much more about the film gate and it's relation to the celluloid.
 Certainly there were people like Harry Smith working with pure celluloid
with his hand-painted films, but it was often with [possible] indifference
to the frame line.

Within all of my research on AR I have never come across another flicker
film that came before it. I believe there were some moments in Van der Beek
and Brakhage films that were coming close, but not quite as purely

I also think it's interesting how not many people consider AR (and all
flicker films) to be an animated film. During my entire time of studying
for my MFA in Animation I was the only person (students and faculty) that
would reference AR. Some might say, "Well, that's what happens when you go
to USC, the Hollywood University." Often people who say this are unaware
that David James, Akira Lippit, Kathy Smith, Christine Panushka and many
other notable avant-garde filmmakers and historians teach at USC. And
within animation I certainly got my fair share of Brakhage, Smith, Breer and

Even during my studies as an undergraduate student at NYU I took an
experimental animation class where I made my first flicker film and I
was berated by the other students for the film because it was "not
animation". Now, that same professor, who I am still friends with, shows
Sharits' T,O,U,C,H,I,N,G to every single class he has.

Maybe I'm thinking about it all wrong. Maybe flicker films are the only
free area - it's not animation...and certainly not live-action. Maybe it's
not even cinema...Maybe it's just a loose representation of an idea. That's
very liberating. Who needs a camera?...who even needs a computer?! I know
AR was created from using a marker on a strip of clear celluloid. And, like
Mothlight, it holds up as a work of art without a projector.

Anyway, in reference to Bjorn's last question about the soundtrack - I have
transcoded it next to the image, but I don't know how it was "constructed".
 The optical track on the film I studied just looks like an optical wave
form that can be seen on any film (see facebook photos below - it's the two
lines next to the image). An optical film track is hard to distinguish from
one film to the next.

The zip files are ready to download. If there are any problems please let
me know.
Huckleberry Lain

PS Evan, glad you liked my recreation of AR (the footage was shot by Bradley
Eros, in case you were wondering)

Updated and Awesome -
On Mon, Jul 5, 2010 at 1:23 PM, Huckleberry Lain
<email suppressed>wrote:
> PS Please, Please, Please also within any credits thank the Anthology Film
> Archives, Andrew Lampert (archivist) and John Mhiripiri (programmer).
> thanks
> On Mon, Jul 5, 2010 at 1:13 PM, Huckleberry Lain <
> email suppressed> wrote:
>> Hello Bjorn and Evan,
>> The "map", "score", "code" of Arnulf Rainer I did on graph paper and then
>> scanned into images.  I always meant to transcode it to a word doc, but I
>> started grad school just after this and some how it got lost in the pile of
>> things I had to do.
>> Anyway, I am uploading a .zip file to my site of all the scans.  It should
>> be up later today:
>>  <>If you have any questions about
>> my transcription please let me know.  Also, check out my film that I made
>> for it of me getting a tattoo of AR:
>> <>Let
>> me know how it works out for you.  I would love to hear about how other
>> people use the AR "code".
>> thanks,
>> Huck
>> On Mon, Jul 5, 2010 at 1:53 AM, Lundgren <email suppressed> wrote:
>>>  Hi Lain,
>>> That would be fantastic. Many thanks in advance!
>>> Regards
>>> Björn Lundgren
>>> ----- Original Message -----
>>> *From:* Huckleberry Lain <email suppressed>
>>> *To:* email suppressed
>>> *Sent:* Monday, July 05, 2010 1:30 AM
>>> *Subject:* Fwd: [Frameworks] The code of "Arnulf Rainer"
>>> Hello Lundgren,
>>> I made a short film a few years ago with Arnulf Rainer as the subject.  I
>>> was working at the Anthology Film Archives at the time and I did as much
>>> research as possible and a lot of people talked about a "code" or "visual
>>> and audio score" of the film, but I was never able to find it (I found a
>>> transcription of Unsere Afrikareise that Paul Sharits made).  Therefore,
>>> I went through the entire film to transcribe the whole thing - sound and
>>> image.
>>> I can definitely pass on the "code" to you if you would like.  And the
>>> soundtrack is optical.  Let me know and I can send it to you.
>>> thanks,
>>> Huckleberry Lain
>>> --
>>> Updated and Awesome -
>>> On Sun, Jul 4, 2010 at 4:13 PM, Lundgren <email suppressed> wrote:
>>>> I remeber reading about Peter Kubelka saying something about that Arnulf
>>>> Rainer was the only eternal film, that he would write down the
>>>> concept/code/script/equation/whatever on a rock and then when all other
>>>> works of cinema had faded away (by technical death or whatever) his
>>>> could
>>>> allways be recreated perfectly in its intended form.
>>>> Anyway, what I was interested in was that form. Does anyone know if he
>>>> ever
>>>> spoke of the "code" or has anyone with access to a film copy been able
>>>> to
>>>> determine it?
>>>> A secondary question is also this: What is the technical form of the
>>>> "soundtrack"?
>>>> ______________
>>>> Björn Lundgren
>>>> Sweden
>>>> _______________________________________________
>>>> FrameWorks mailing list
>>>> email suppressed
>> --
>> Updated and Awesome -
> --
> Updated and Awesome -

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