melinda wrote
as i too sort of regret loosing that sense of
expectation of what will fill a gap, that exquisite capsule of {time space}
which created a really easy to use tension in web work..
I used to love that - the drift you got if you set a single-pixel gif
as backgroud image, and it slowly flooded the page? Like the comet
tails in early quicktimes (Vivian Sobchack wrote a lovely thing about
it in Millennium Film Journal), putting the art in 'artefact'
other times: the timing of release: the DVD of Lord of the
rings/fellowship is out - sold out here. This is the *first* release:
basically the movie (so I believe: I haven't had a chance to check it
yet). This will see us through to the second movie, due not long
before Xmas. Then the deluxce box-set, which we al hope will contain
episode one of Costa's remarkable doco (not so much a making-of, more
an artist's documentary as we hear) plus thre making-of's etc etc.
The project has a schedule to cover the three parts and their
collector markets so one jumps on the shoulders of the next. There is
the new industrial time, in itself as rich and complex as the time of
the Tiller Girls that entranced and outraged Kracauer.
To think about these industrial-scale times as art resources, in the
same way we think about global internet artworks far bigger than
sculpture, architecture, urban planning . . . perhaps like the
cosmological timescales that Stonehenge draws on its landcsape, but
of these times, not theirs. . . .
and at the same time to think about the microtemporalities of
download and interlace, of optical perception and psychic recognition
. . .
--
Sean Cubitt * Screen and Media Studies * University of Waikato *
Private Bag 3105 * Hamilton * New Zealand * seanc@waikato.ac.nz * T:
+64 (0)7 838 4543 * F: +64 (0)7 838 4767