Re: [-empyre-] Merleau-Ponty weighs in on Nicolas Clauss' "Nocturne"

["David Daniels" <owidnazo@thegatesofparadise.com>]

http://www.thegatesofparadise.com

Dear Barbara and Komninos,

Actually until the 20s or early 30s films were made and shown HAND CRANKED. 
No motor. Until now my .pdf animations have had to be hand cranked.

Adobe just came out with a motor for pdfs. So my .pdf animations now 
automate on THE PC in Acrobat Reader 7 ONLY.  Mac must not be far behind.

Acrobat Reader 7 FREE at

http://www.adobe.com/products/acrobat/readstep2.html

(ACROBAT 7 ITSELF STILL MIRED IN BETA BUGS)

My animation

NICOLAS CLAUSS and others

are now at

http://www.thegatesofparadise.com/humans.htm

HAND CRANK-

To preview ANIMATIONS in Adobe Acrobat or Reader- In VIEW click on FIT IN 
WINDOW and SINGLE PAGES- Then click on solid v on bottom RIGHT SIDE SCROLL 
BAR or bottom middle right arrow at any speed you wish in any direction 
forward or back you wish as many times as there are pages.



MOTOR-

Some animations may now be viewed in WINDOW/FULL SCREEN VIEW. To CLOSE 
WINDOW/FULL SCREEN VIEW press Ctrl+L and/or ESC on keyboard.


Your Friend,

David Daniels

http://www.thegatesofparadise.com

----- Original Message ----- 
From: "Barbara Lattanzi" <threads@wildernesspuppets.net>
To: "soft_skinned_space" <empyre@gamera.cofa.unsw.edu.au>
Sent: Saturday, March 26, 2005 6:35 AM
Subject: Re: [-empyre-] Merleau-Ponty weighs in on Nicolas Clauss' 
"Nocturne"


> At 09:48 PM 3/20/2005, you wrote:
> > i aslo like the idea barbara that you actually read or feel a work through
> > the mouse.
> > yes as well as sight and sound now we have touch as a semiotic system of
> > interpretation, different from the touch of turning a page or selecting a
> > channel on a tv remote.
> > an intuitive clue to navigating the work that can be found only with the
> > mouse, that can't be seen "here i am, a button" or can't be read "press
> > me", but, "oops something happened then, i'll go this way"
>
>
> thanks, Kominos.
>
> I also relate this to the historical figure of the film projectionist.  I 
> am interested in how that incidental role of someone who mediated the 
> cinema experience for an audience now coincides with the viewer's own act 
> of emotional projection through interactive gestures.  What was once 
> marginal to the cinematic experience (its mechanical projection) is now 
> foregrounded and central.
>
> Barbara
>
>
>
> > komninos
> > komninos zervos
> > lecturer, convenor of CyberStudies major
> > School of Arts
> > Griffith University
> > Room 3.25 Multimedia Building G23
> > Gold Coast Campus
> > Parkwood
> > PMB 50 Gold Coast Mail Centre
> > Queensland 9726
> > Australia
> > Phone 07 5552 8872 Fax 07 5552 8141
> > http://www.gu.edu.au/ppages/k_zervos
> > http://users.bigpond.net.au/mangolegs
> > http://spokenword.blog-city.com
> > _______________________________________________
> > empyre forum
> > empyre@lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
>
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