[-empyre-] stepping out of the frame to shadow play around
Timothy Conway Murray
tcm1 at cornell.edu
Tue Jul 31 07:57:48 EST 2012
Indeed, Chris Marker deeply understood the mobility of the screen, having moved to cd-Rom and multi-channel video installation late in life while providing invaluable commentaries in Sans Soleil, Immemory, and Level Five on the screen and the culture of the time-image. Now he's finally attained Level Five. Yesterday was his 91st birthday. Tim
Director, Society for the Humanities
Curator, Rose Goldsen Archive of New Media Art
Professor of Comparative Literature and English
A. D. White House
Ithaca, New York. 14853
From: empyre-bounces at lists.cofa.unsw.edu.au [empyre-bounces at lists.cofa.unsw.edu.au] on behalf of Simon Biggs [simon at littlepig.org.uk]
Sent: Monday, July 30, 2012 5:01 PM
Subject: Re: [-empyre-] stepping out of the frame to shadow play around
Talking about passing on - someone who understood the screen well has passed on - Chris Marker.
On 30 Jul 2012, at 09:56, Sean Cubitt wrote:
(I know we are passing on the baton but . . . )
Patricia asked about:
a specific computational technology of abstraction that puts something like affect on a grid.
and Baruch comments
There are no "continuous feeds" in electronics.
this might be the space to address - the space evoked in Martin's posts earier this month - for affect, which I take to be both the emotional and the flux of continuous conection that Deleuze calls immanence: a reality of flux under the surface of the thingyness of things (which I would call mediation)
I was reading this morning Chris meigh-Andrews note on Robert cahen's 90s video piece Juste le temps: citing a comment of Robert's about video expressing or exposing a bodiliness beyond image capture. Just as film struggled to present a reality which its two-dimensionality masked and denied, and an emotional life that its mechanical mature opposed, so electronic media arts work still in that cool space of MacLuhan's, or could:
most of the time (as in the pervasive Olypics coverage on UK TV) the plot is to inveigle us into the screen; but where, as in cahen's piece (and many more workds described and evoked in these discussions) the eye slides off the glass or the reflective screen, distracted, thinking about other things, such as the shadows Robert Cahen describes sliding impercptibly in and out of vision that video (in its pre-digital form) was a privileged witness to.
there will be perpetual struggle between discrete and continuous modes of existence as long as the discrete form of digital visualisation remains dominant; and (though I know the term dialectic is anathema to many) the contradiction is what makes the work of video so important, so political, so tragically beautiful. We make our own art; not under conditions of our own choosing, but still we make it
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s.biggs at ed.ac.uk<mailto:s.biggs at ed.ac.uk> Edinburgh College of Art, University of Edinburgh
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MSc by Research in Interdisciplinary Creative Practices
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