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

[Paul St George <lists_stgeorge@lgu.ac.uk>]

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.

http://www.sequences.org.uk

> 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.
>
> Best
>
> Simon
>
>
> On 05.03.05 22:21, "Jim Andrews" <jim@vispo.com> wrote:
>
> >  Here are two works of interactive video for the Net by Canada's Babel (aka
> >  Chris Joseph). These are done in Flash.
> >
> >  PATINAGE
> >  http://rhizome.org/artbase/14049
> >
> >  TURNBABY
> >  http://rhizome.org/artbase/6614
> >
> >  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
> >  empyre@lists.cofa.unsw.edu.au
> >  http://www.subtle.net/empyre
>
>
>
> Simon Biggs
> simon@littlepig.org.uk
> http://www.littlepig.org.uk/
>
> Professor, Fine Art, Art and Design Research Centre
> Sheffield Hallam University, UK
> http://www.shu.ac.uk/schools/cs/cri/adrc/research2/
>
>
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