From: Amanda Christie (email suppressed)
Date: Tue Jul 06 2010 - 04:21:55 PDT
Hello Anja,
my apologies... when i used the word "intense" I was referring to the
intensity of the flicker effect on the human brain in terms of it's
power to cause psychological effects (similar to the hallucinogenic
results of a dream machine)... not to emotional or aesthetic
intensity....
I don't argue with you... the after image left behind is what is
called "persistence of vision" and it is very real and very
beautiful. And I do like Paul Sharits' films very much as well.
I was simply trying to clear up what appeared to be some confusion,
and alas, I seem to have created even more.
that still image on the blog post is not from Tony Conrad's "The
Flicker"....
Have a good day,
Amanda Dawn Christie
--------------------------------
Master of Fine Arts
www.amandadawnchristie.ca
--------------------------------
506-871-2062
email suppressed
On 6-Jul-10, at 8:14 AM, anja ross wrote:
> Hello Amanda,
> I quote you:
> Yes, Paul Sharits' films do use the technique of flicker, but Tony
> Conrad's film is a much more intense approach (THIS IS THE QUESTION
> OF PERCEPTION AND TASTE), as it is pure black and white with no
> representational human forms. you receive the after image, the
> intense image, if you combine white frames and black frames with an
> image inbetween. So what.
> Honestly I do not know Tony Conrads flicker, but the Still itself is
> beautyful on the blog perhaps he should do something on paper.
>
> Faithfully and a good daqy, Anja
>
>
> 2010/7/6 Amanda Christie <email suppressed>
> Hello Anja,
>
> I believe that Brjorn is referring to the title of a film called
> "The Flicker" made by Tony Conrad in 1965.
> This film does use the phenomenon of flicker as you described, but
> it is a specific work of art that Bjorn is referring to.
>
> here is a link to an interview with Tony Conrad about "The Flicker"
> in case you are interested.
> http://flicker75.blogspot.com/2008/01/tony-conrad.html
>
> Yes, Paul Sharits' films do use the technique of flicker, but Tony
> Conrad's film is a much more intense approach, as it is pure black
> and white with no representational human forms.
>
> Amanda Dawn Christie
> --------------------------------
> Master of Fine Arts
> www.amandadawnchristie.ca
> --------------------------------
> 506-871-2062
> email suppressed
>
>
>
> On 6-Jul-10, at 7:49 AM, anja ross wrote:
>
>> Hi Mister Lundgren,
>> Flicker means, one kaderpicture to another (25 frames = 1 sec).
>> See Paul Sharits films, so and we are still slow with our eyes so
>> that you get the flash by watching.
>>
>> Best wishes, ANJA C. ROSS
>> www.anjaross.blogspot.com (digital without zelluloid)
>>
>> 2010/7/6 Lundgren <email suppressed>
>> Hi
>>
>> Do you happen to have a code to the flicker?
>>
>> Regards
>> Björn Lundgren
>> Sweden
>>
>> ----- Original Message -----
>> From: "Tony Conrad" <email suppressed>
>> To: "Experimental Film Discussion List" <email suppressed
>> >
>> Sent: Monday, July 05, 2010 5:20 PM
>> Subject: Re: [Frameworks] The code of
>>
>>
>> > Hi---------
>> >
>> > My "The Flicker" has many of the characteristics mentioned in this
>> > discussion.
>> > Totally binary in its main content, it is in many respects
>> indestructible.
>> > The
>> > sound and titles are analog, however. Kubelka's score is more
>> pointilist
>> > than
>> > mine, which can be deciphered from published illustrations. You
>> might
>> > refer to
>> > Branden Joseph's wonderful treatment in "Beyond the Dream
>> Syndicate."
>> >
>> > -----------t0ny
>> >
>> >
>> > On Mon 07/05/10 2:31 AM , Evan Meaney email suppressed sent:
>> >> Hi Björn:
>> >> It's funny, I'm actually teaching a class about codes and
>> sequences
>> >> in cinema in the fall, stateside - Kubelka's AR is an important
>> part
>> >> of the syllabus. I haven't found a ton of work about the
>> _specific_
>> >> code at work in AR but I was lucky enough to see him speak a few
>> >> years ago about it. He said that he was interested in having the
>> >> exact same amount of light and dark hit the screen over the
>> duration
>> >> of the piece. The presence and absence of information equalizing
>> one
>> >> another. Ditto for the sound, where the noise ( I forget it if
>> it's
>> >> just white noise or something more particular at the moment)
>> >> contrasts directly with the silence.
>> >> I would love, love, love to see that rock and find out that exact
>> >> equation.If someone out there has it, do let us know.
>> >> All the best,
>> >> Evan
>> >> On Jul 4, 2010, at 6:13 PM, Lundgren wrote:
>> >> I remeber reading about Peter Kubelka saying something about that
>> >> Arnulf
>> >> Rainer was the only eternal film, that he would write down the
>> >> concept/code/script/equation/whatever on a rock and then when all
>> >> other
>> >> works of cinema had faded away (by technical death or whatever)
>> his
>> >> could
>> >> allways be recreated perfectly in its intended form.
>> >>
>> >> Anyway, what I was interested in was that form. Does anyone know
>> if
>> >> he ever
>> >> spoke of the "code" or has anyone with access to a film copy been
>> >> able to
>> >> determine it?
>> >>
>> >> A secondary question is also this: What is the technical form of
>> the
>> >> "soundtrack"?
>> >>
>> >> ______________
>> >> Björn Lundgren
>> >> Sweden
>> >>
>> >> _______________________________________________
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>> >>
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>> >>
>> >>
>> >>
>> >
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