From: anja ross (email suppressed)
Date: Tue Jul 06 2010 - 06:45:51 PDT
*Thanks, I will look after your link! Actally I can tell you what I think
about this text. First to mention I am not a filmtheorists, second piling of
pictures (sequences) as active self maker is for me interesting.
*
*a good day for every storymaker but a better day for picturepilingmakers*
2010/7/6 email suppressed>
> The persistence theory has been wholly discredited as a way of explaining
> the illusion of mevement. Link here to a good critique of the theory and its
> persistence among film theorists:
>
>
> http://web.archive.org/web/20080526105906/www.uca.edu/org/ccsmi/ccsmi/classicwork/Myth+Revisited.htm
>
> Nicky Hamlyn.
>
>
> On 6 Jul 2010, at 14:22, bryan mckay wrote:
>
> This may be a little pedantic, but the afterimage is not "persistence of
> vision," it's just an afterimage, which is something in and of itself.
> Persistence of vision refers to a theory relating to how viewers perceive
> cinematic motion. A theory, I should add, that has been largely disproved by
> scientists, despite film theorists still hanging on to the notion.
> Experiencing film is a complex cognitive process, an *active *process, and
> not a passive piling on of images in our retina.
>
> Bryan
>
> On Jul 6, 2010, at 7:21 AM, Amanda Christie wrote:
>
> Hello Anja,
>
> my apologies... when i used the word "intense" I was referring to the
> intensity of the flicker effect on the human brain in terms of it's power to
> cause psychological effects (similar to the hallucinogenic results of a
> dream machine)... not to emotional or aesthetic intensity....
>
> I don't argue with you... the after image left behind is what is called
> "persistence of vision" and it is very real and very beautiful. And I do
> like Paul Sharits' films very much as well.
>
> I was simply trying to clear up what appeared to be some confusion, and
> alas, I seem to have created even more.
> that still image on the blog post is not from Tony Conrad's "The
> Flicker"....
>
> Have a good day,
>
>
>
>
> Amanda Dawn Christie
> --------------------------------
> Master of Fine Arts
> www.amandadawnchristie.ca
> --------------------------------
> 506-871-2062
> email suppressed
>
>
>
> On 6-Jul-10, at 8:14 AM, anja ross wrote:
>
> Hello Amanda,
> I quote you:
> Yes, Paul Sharits' films do use the technique of flicker, but Tony
> Conrad's film is a much *more intense approach (THIS IS THE QUESTION OF
> PERCEPTION AND TASTE)*, as it is pure black and white with no
> representational human forms. *you receive the after image, the intense
> image, if you combine white frames and black frames with an image
> inbetween. So what.*
> *Honestly I do not know Tony Conrads flicker, but the Still itself is
> beautyful on the blog perhaps he should do something on paper.*
> **
>
> *Faithfully and a good daqy, Anja*
>
>
> 2010/7/6 Amanda Christie <email suppressed>
>
>> Hello Anja,
>>
>> I believe that Brjorn is referring to the title of a film called "The
>> Flicker" made by Tony Conrad in 1965.
>> This film does use the phenomenon of flicker as you described, but it is a
>> specific work of art that Bjorn is referring to.
>>
>> here is a link to an interview with Tony Conrad about "The Flicker" in
>> case you are interested.
>> http://flicker75.blogspot.com/2008/01/tony-conrad.html
>>
>> Yes, Paul Sharits' films do use the technique of flicker, but Tony
>> Conrad's film is a much more intense approach, as it is pure black and white
>> with no representational human forms.
>>
>> Amanda Dawn Christie
>> --------------------------------
>> Master of Fine Arts
>> www.amandadawnchristie.ca
>> --------------------------------
>> 506-871-2062
>> email suppressed
>>
>>
>>
>> On 6-Jul-10, at 7:49 AM, anja ross wrote:
>>
>> Hi Mister Lundgren,
>> Flicker means, one kaderpicture to another (25 frames = 1 sec). See Paul
>> Sharits films, so and we are still slow with our eyes so that you get the
>> flash by watching.
>>
>> Best wishes, ANJA C. ROSS
>> www.anjaross.blogspot.com (digital without zelluloid)
>>
>> 2010/7/6 Lundgren <email suppressed>
>>
>>> Hi
>>>
>>> Do you happen to have a code to the flicker?
>>>
>>> Regards
>>> Björn Lundgren
>>> Sweden
>>>
>>> ----- Original Message -----
>>> From: "Tony Conrad" <email suppressed>
>>> To: "Experimental Film Discussion List" <email suppressed>
>>> Sent: Monday, July 05, 2010 5:20 PM
>>> Subject: Re: [Frameworks] The code of
>>>
>>>
>>> > Hi---------
>>> >
>>> > My "The Flicker" has many of the characteristics mentioned in this
>>> > discussion.
>>> > Totally binary in its main content, it is in many respects
>>> indestructible.
>>> > The
>>> > sound and titles are analog, however. Kubelka's score is more
>>> pointilist
>>> > than
>>> > mine, which can be deciphered from published illustrations. You might
>>> > refer to
>>> > Branden Joseph's wonderful treatment in "Beyond the Dream Syndicate."
>>> >
>>> > -----------t0ny
>>> >
>>> >
>>> > On Mon 07/05/10 2:31 AM , Evan Meaney email suppressed sent:
>>> >> Hi Björn:
>>> >> It's funny, I'm actually teaching a class about codes and sequences
>>> >> in cinema in the fall, stateside - Kubelka's AR is an important part
>>> >> of the syllabus. I haven't found a ton of work about the _specific_
>>> >> code at work in AR but I was lucky enough to see him speak a few
>>> >> years ago about it. He said that he was interested in having the
>>> >> exact same amount of light and dark hit the screen over the duration
>>> >> of the piece. The presence and absence of information equalizing one
>>> >> another. Ditto for the sound, where the noise ( I forget it if it's
>>> >> just white noise or something more particular at the moment)
>>> >> contrasts directly with the silence.
>>> >> I would love, love, love to see that rock and find out that exact
>>> >> equation.If someone out there has it, do let us know.
>>> >> All the best,
>>> >> Evan
>>> >> On Jul 4, 2010, at 6:13 PM, Lundgren 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
>>> >>
>>> >> http://mailman-mail5.webfaction.com/listinfo/frameworks
>>> >>
>>> >>
>>> >>
>>> >
>>> > _______________________________________________
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