[-empyre-] Time...

[Simon Biggs]

I don¹t want to promote eca activities in particular, but our next weekly
Research Seminar is on the issue of time and would seem to dovetail into
some of the issues being discussed here, as follows:

The Inner sense of time
Time is intangible. There is no sense organ dedicated to the perception of
time, yet we experience its passing. We feel the duration of events: ten
minutes waiting for a train or ten minutes of snatched conversation with a
friend. Current neuroscience research suggests a connection between
subjective time and parts of the brain that monitor physiological states of
the body and inform embodied emotions. Does looking at a clock, observing
time, affect our perception of time. Imagine a clock that only functions
when observed. What is the relationship between "lived time" and "universal
time"?

It is being presented by Julian Kiverstein and Chris Speed, who are:
Julian Kiverstein is teaching fellow in philosophy at Edinburgh University,
recently completing a postdoc within the Eurocores Consciousness in a
Natural and Cultural Context programme. He undertakes interdisciplinary
research into the neural basis of subjective time, integrating phenomenology
of mind with embodied cognitive science. Publications include a forthcoming
book on Heidegger and cognitive science. Chris Speed is Reader in Digital
Architecture at Edinburgh College of Art and is currently directing the
EPSRC funded ToTEM research project inquiring into the "internet of things",
examining things and our memory of them.

at:
Wednesday 3 March 2010, 4.30-5.30 pm

If you are around please drop in. It¹s free.

Best

Simon


Simon Biggs

s.biggs at eca.ac.uk  simon at littlepig.org.uk  Skype: simonbiggsuk
http://www.littlepig.org.uk/
Research Professor  edinburgh college of art  http://www.eca.ac.uk/
Creative Interdisciplinary Research into CoLlaborative Environments
http://www.eca.ac.uk/circle/
Electronic Literature as a Model of Creativity and Innovation in Practice
http://www.elmcip.net/



From: christopher sullivan <csulli at saic.edu>
Reply-To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
Date: Fri, 26 Feb 2010 08:25:53 -0600
To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>, T Goodeve
<tgoodeve at gmail.com>
Cc: soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
Subject: Re: [-empyre-] post


Hi Thyrza, when you decide what is hardy and what is not is can always lead
to
trouble, trouble is good, I go there all the time.
     Temporality and time are pretty big issues. I think as an animator one
of
the real challenges is presenting real time images, with silence and
stillness.
Animation is often thought of as something that should be clear,
informational,
and when one drifts from that. audiences can be confused.
     In the new film Country Doctor, by Koji Yamamura , there is a bit of
this.
the film is beautiful, but sometimes you want it to shut up, visually and
audio
wise (I would say this about my work too) . but perhaps it is animators
trying
to respond to audiences desire for clarity. I want Prit Pran who I love, to
shut up sometime. But animators feel compelled to clarify and give context,
perhaps it is an impulse from animation being a commercial vehicle for
humor,
for most of it's life.
     Igor Zovalov, is willing to shut up, which I like(see Milch) very
depressing but interesting. by the way, I love the Quays and they are
paramount, but I would like to here people talk about some of the other
great
animators who are out there now. have a good day.


Quoting T Goodeve <tgoodeve at gmail.com>:

> Hello everyone:
> 
> 
> I'm not sure I posted correctly. I sent this last night as a reply. Sorry if
> I'm confusing anyone. Thyrza
> 
> Sorry I¹ve been so lax as a discussant-generator but here I am with some
> thoughts and reflections. If it¹s okay just an aside first: off the top of
> my fingertips<many of you make stuff you love and live for, also write about
> with great passion, and the animated worldscape is still and ever will be
> one of magic and wonder I hope (you have the romantic here), i.e., endless
> visual and aural reimagings via its ability, or definition, whether anlogue
> or digital, to do anything and everything within and beyond the spacetime
> continuum. But sometimes I miss the basic humor, wonder, and sheer ³wow² of
> the simplicity of animation. I mentioned in a post. The blank page and the
> dot. We lose track, myself included, analyzing the life out of things
> sometimes and to do this with animation seems particularly perverse. I
> realize I set myself up for a bit of ridicule here but alas, someone has to
> speak up for the puppet doll in *Street of Crocodiles* who cradles the bare
> light bulb baby in its arm and brings it back to life with light, or the
> frayed and earnest bunny who does his best to keep up with the spinning
> demented ping pong balls and a pair of disembodied knee socks and slippers
> moving up and down on tip toes in the Quays ³Are We Still Married² <up and
> down, up and down. I think Christopher Sullivan was trying to get at this
> but not evieryone is out to do what he does nor interested in the way I am or
> the Quays or for that matter, those who use it for visualization, but
> depending on why you do what you do we are here to discuss the breakthrough
> insights of theory and technology and animation, but it¹s just sometimes
> I¹ve felt we¹ve let the technology get away with doing too much of the
> talking, not that it doesn¹t have a lot to say.
> 
> But a more hardy, if overly general, topic is temporality and time, now-time
> vs say the way cinema¹s capturing, sculpting, control of time was such a
> huge part of its magic. Siegfried Kracauer describe in an essay how powerful
> just ³having² the wind in the trees <a moment< captured on film is for him.
> How different from one of my students when I showed some film, perhaps
> Tarkovsky,² Why does he keep leaving the camera on the trees so long?²
> Students of cinema are different. We know this: ADD and short digitized
> attention spans. But how do you see this in your worlds of animation either
> in terms of resistance or something emerging that is part of this. One thing
> I thought was very relevant was the post of the shift tilt which is amazing
> and disturbing in this respect. Lots to say about it: not only the time
> lapse but the way the world is miniaturized. Here the real profilmic world
> is literally made into an stop motion animated ³cartoon². One could talk
> about the Quays work and time ­ both in terms of period and affect; rhythm
> and texture of their worlds (*In Absentia*, the film they made with
> Stockhausen, is in some ways about light/time, metaphorically written all at
> once over and over (the character n the film) hence no time. Endless time.
> Speed of lightS  .) But I do not know what people have seen. I am more
> interested in hearing you all discuss temporality and animation ³today²<both
> theoretically and examples. These discussions are so energetic. They amaze
> me.
> 
> Thanks, Thyrza
> 


Christopher Sullivan
Dept. of Film/Video/New Media
School of the Art Institute of Chicago
112 so michigan
Chicago Ill 60603
csulli at saic.edu
312-345-3802
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