Re: [-empyre-] PATINAGE and TURNBABY by Babel

At 04:50 AM 3/6/2005, you wrote:
There is a tradition of moving image work that has often worked "away from"
the cinema which has been very influential on some artists but is often
overlooked in contextualising discourses - animation. This is often
connected up with generative work but rarely with more explicitly "filmic"
or "video" based practices. Nevertheless, there is a body of work out there
that is addressable via this route.

Yes. I agree it would be useful to consider. Already mentioned the "trick cinema" of "Uncle Josh at the Moving Picture Show". But similar desire to transgress the boundary between the virtual and the physical occurs in the animation of Winsor McKay, e.g., "Gertie the Dinosaur" (1914).

(Note that by saying this, I am not trying to anticipate and reduce what surprises will be found by anyone latching onto your suggestion. I would rather understand you to mean that we could be genuinely surprised in what directions of practice that this would take us.)

There are also parallel traditions that continued into the 20th century that date centuries earlier such as described in Victor Mair's book on Chinese picture recitation and related cultural practices in India, the Middle East, and Europe, titled "Painting and Performance" (published 1988). Mair follows a thread of similarity among these practices in how they mediate for an audience the expository description/reading of picture scrolls. The emphasis is not on the pictures as illustration, but as central "prop" - an interface, if you will, to transformational experience.


Barbara Lattanzi

C-SPAN x 4



On 05.03.05 22:21, "Jim Andrews" <> wrote:

> Here are two works of interactive video for the Net by Canada's Babel (aka
> Chris Joseph). These are done in Flash.
> These pieces are part of a touring exhibition organized by Paul St. George,
> among others. Paul says of the exhibition (and about the forthcoming book
> about the exhibition):
> "I see chronophotography as an attempt to gain understanding of time, space,
> movement and duration through sequences of images. I do not see
> chronophotography as primitive or prototypical cinema but as something very
> different and perhaps antonymic to cinema. Typically, Cinema would display
> the sequence of images very quickly one after another and in doing so hides
> its facture and creates an illusion of movement. I selected the work in the
> current show because of its continuation of many of the chronophotographer's
> aims as if these had not been diverted by cinema.
> The exhibition aims to answer two questions. Can we gain insights into the
> use of sequential images in contemporary digital art by re-examining
> chronophotography and 'pre-cinema'? Do we gain a better understanding of
> chronophotography and 'pre-cinema' by re-assessing their histories from the
> perspective of contemporary art?"
> _______________________________________________
> empyre forum

Simon Biggs

Professor, Fine Art, Art and Design Research Centre
Sheffield Hallam University, UK

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