From: bryan mckay (email suppressed)
Date: Tue Jul 06 2010 - 06:22:17 PDT
This may be a little pedantic, but the afterimage is not "persistence
of vision," it's just an afterimage, which is something in and of
itself. Persistence of vision refers to a theory relating to how
viewers perceive cinematic motion. A theory, I should add, that has
been largely disproved by scientists, despite film theorists still
hanging on to the notion. Experiencing film is a complex cognitive
process, an active process, and not a passive piling on of images in
our retina.
Bryan
On Jul 6, 2010, at 7:21 AM, Amanda Christie wrote:
> 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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