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

Animation has not been overlooked. Much of the contemporary moving image in the Sequences show (that Jim refers to) could be called animation or it could be called something else. The distinction, if there is one, between animation and much digital video is vague and refers more to their heritage rather than current practice. Interestingly, picking up on your point about stucturalist film, one of the writers for the forthcoming book is Werner Nekes.

Interesting take on revising artists moving image work in light of
pre-cinema. This has been done extensively before, but in reference to
stucturalist film and, then later, artists video. I guess we will go through
the same process with online digital video.

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.



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?"

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Simon Biggs

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

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