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" <email@example.com> 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?"
Professor, Fine Art, Art and Design Research Centre
Sheffield Hallam University, UK