From: JEFFREY PAULL (email suppressed)
Date: Mon Jan 18 2010 - 14:34:08 PST
Sensory overload seems, to me, to express the idea of too-muchness,
not in the sense of being loud, and/or fast-paced or helter-skelter, - or even incoherent, (that's mearly "muchness".
But sensory overload describes the feeling (in an individual) that whatever abundance(s) there is - there are,
is GETTING IN THE WAY of something else that the person wants to "get" or to feel as fully as they they anticipate
they otherwise could.
comments?
Jeffrey Paull
On Mon 18/01/10 15:17 , Myron Ort email suppressed sent:
> I was hoping for a "theoretical" definition of "sensory overload"
>
> rather than another example of a film or whatever that I cannot
>
> easily access. Even watching 77 minutes of Sistiaga's handpainted @
>
> sound speed with overloud live punk music, I wasn't really thinking
>
> "sensory overload", just "unpleasant experience". Even multiple
>
> screen performances don't seem like "sensory overload" to me, but
>
> just what they are supposed to be. I was hoping for a definition of
>
> "sensory overload" that wouldn't need to include "handpainted" films
>
> almost by definition. In other words, once I accepted the hand
>
> painted film, or films where every frame is really (or really
>
> really) different it seems there can no longer be anything called
>
> "sensory overload". By "handpainted" I mean the one's where there is
>
> not so much figurative continuous action between frames like
>
> animation or clearly comprehensible anthropomorphic dancing blobs
>
> etc. As someone who digs "experimental filmmaking" and phenomena of
>
> nature, (pre and post psychedelic) I am not sure there is such a
>
> thing as "sensory overload".
>
>
>
> Myron Ort
>
>
>
>
>
> On Jan 17, 2010, at 4:14 PM, Jack Sargeant wrote:
>
>
>
> > Although outside the period of the original question
> perhaps Balch
> > & Burroughs' The Cut Ups could be considered an example
> of sensory
> > overload.
>
> > But, of course the very notion of overload would be a
> personal
> > experience.
>
> >
>
> > Jack
>
> >
>
> >
>
> > On 5 Dec 2009, at 04:04, Myron Ort wrote:
>
> >
>
> >> Now that I think of it, I don't think I have ever
> experienced
> >> anything I would call "sensory overload" as pertaining
> to a film
> >> experience. Could someone define this genre for me.
> What are the
> >> characteristics?
>
> >>
>
> >> Thanks.
>
> >>
>
> >> Myron Ort
>
> >>
>
> >>
>
> >> On Dec 3, 2009, at 4:05 PM, Mark Toscano wrote:
>
> >>
>
> >>> Howdy all -
>
> >>>
>
> >>> I've been working out a possible program (or two) of
> films that
> >>> demonstrate the idea of "sensory overload", and
> although I have a
> >>> bunch of titles in mind already, I'd love to get more
>
> >>> suggestions, especially of work from the past 10-15
> years or so.
> >>> Shorts are preferable, as it's meant to be a diverse,
> mixed
> >>> program of numerous artists from different eras.
>
> >>>
>
> >>> thanks much for any suggestions -
>
> >>>
>
> >>> Mark T
>
> >>>
>
> >>>
>
> >>>
>
> >>>
>
> >>>
>
> >>>
>
> >>>
>
> >>>
> __________________________________________________________________
> >>> For info on FrameWorks, contact Pip Chodorov at (address suppressed)
> om>.
> >>>
>
> >>
>
> >>
>
> >>
> __________________________________________________________________
> >> For info on FrameWorks, contact Pip Chodorov at (address suppressed)
> om>.
> >
>
> >
>
> >
> __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at (address suppressed)
> om>.
> >
>
>
>
>
>
> __________________________________________________________________
>
> For info on FrameWorks, contact Pip Chodorov at (address suppressed)
> om>.
>
>
>
>
>
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.