Folksonomy | Experimental Filmmakers is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Fri, 17 Mar 2017 09:02:51 +1000 Fri, 17 Mar 2017 09:02:51 +1000 Constellations 2.0 60 Documentary About Avant-Garde Pioneer Tony Conrad Experimental artist Tony Conrad is known for his innovative works in performance art music video and fine art as well as his contribution to arts education as a longtime media professor at The University of Buffalo A former Harvard math student himself Conrad is widely considered to be a pioneer of minimalism media criticism drone pop and noise music thanks to his lifelong dedication to deconstruction abstraction and self-empowerment Erin Dennison cinemathread Fri, 17 Mar 2017 09:02:51 +1000 Silent-era avant-garde artist-filmmakers disrupting the new realities of mass media rather than replicating them Around the time Shub started her documentary experiments 20th century avant-garde artists likewise began using repurposed chunks of mass-produced ephemera Picasso and Braque threw bits of newspaper into paintings Max Ernst cut up Victorian illustrations to create proto-surrealist collages Walter Benjamin T S Eliot and James Joyce pushed the literary practice of quotation into the realm of pastiche Marcel Duchamp pioneered sculptural assemblage with his readymades and photomontage blossomed in the graphic works of John Heartfield Hannah H ouml ch and Alexander Rodchenko These works rearranged reality to suit their artists purposes but unlike the compilation films did not try to hide that manipulation Whether Cubist Dada or Constructivist these artists chose to disrupt the new realities of mass media rather than replicate them savoring the illogic of dreamlike disjunctions and precipitating new ways to see all-too-common images Ed Halter 10 July 2008 Moving Image Source Wed, 15 Feb 2017 12:34:18 +1000 The Cut Ups 1966 by William S Burroughs The savage deconstruction of the relationship between image and reality Yes Hello Look at that picture Does it seem to be persisting Good Thank you Tue, 18 Oct 2016 13:17:34 +1000 Undercurrents grotesque animated body distortions Albert Omoss 2016 Undercurrents experimental animated short film Sun, 12 Jun 2016 14:33:38 +1000 Why Man Creates the great Western progress narrative How unlikely that one of the least definable films from the last half-century would also be one of the most beloved A favorite of classroom AV diversions and an abridged presentation on the very first episode of 60 Minutes helped make it the most viewed educational film of all time I don t know what it all means Saul Bass himself admitted and his Why Man Creates 1968 is far more loose and playful than the rigid thesis its title might imply In fact it is the searching and open-ended nature of the various vignettes that perhaps makes the film resonate so strongly with viewers Though an Oscar 174 -winner for Documentary Short Subject the film is almost entirely invented apart from recollections of old masters like Edison Hemingway and Einstein and brief encounters with scientists striving to innovate for the betterment of mankind Creators invariably encounter problems and have no choice but to persevere in the face of discouragement If the film argues anything it is that the unbridled pursuit of new ideas makes us uniquely human Sean Savage Fri, 29 Jan 2016 10:10:28 +1000 1926 Silhouettenfilm von Lotte Reiniger Musik von Wolfgang Zeller Mit dem Silhouettenfilm Die Abenteuer des Prinzen Achmed schuf Lotte Reiniger 1899 ndash 1981 den ersten langen Animationsfilm der Filmgeschichte und entwickelte Technik sowie Auml sthetik dieses Genres bereits in den 20er Jahren zur k uuml nstlerischen Perfektion Ihr Stil kn uuml pft an die chinesischen Schattenspiele an die sie durch die M ouml glichkeiten des Films erweiterte Zu diesem an sich stummen Film es gibt einige Zwischentitel komponierte Wolfgang Zeller eine Tonspur f uuml r Orchester Fri, 11 Dec 2015 19:46:09 +1000 Six years the dematerialization of the art object from 1966 to 1972 Lippard was a primary critic and theorist of Conceptual art this book however provides not commentary but instead primary documentation It takes the form of an annotated thematic timeline the chapters list books including exhibition catalogs published each year followed by articles statements activities and works arranged by month Photographs illustrate selected works The annotations are for the most part as documentary as possible transcripts excerpts of artists statements etc Lippard s editorial hand is most visible in her inclusions and exclusions less so in her only occasional textual insertions As such the book performs as Lippard had envisioned to expose the chaotic network of ideas in the air in America and abroad between 1966 and 1971 5 Lucy Lippard 1973 Six years the dematerialization of the art object from 1966 to 1972 a cross-reference book of information on some esthetic boundaries New York Praeger Sat, 09 May 2015 22:42:59 +1000 Richard Hamilton British Pop Art Pioneer Hamilton was a member of the Independent Group formed in the 1950s by a group of artists and writers at the Institute of Contemporary Arts whose symposiums contributed to the development of Pop art in Britain He was one of the prime practitioners of the critic Lawrence Alloway s theory of a fine pop art continuum Hamilton interpreted this as meaning that all art is equal - there was no hierarchy of value Elvis was to one side of a long line while Picasso was strung out on the other side TV is neither less nor more legitimate an influence than for example is New York Abstract Expressionism Hamilton p 31 Terry Riggs December 1997 Tate Richard Hamilton 1956 Just what is it that makes today s homes so different so appealing Sun, 15 Mar 2015 17:46:49 +1000 Zbigniew Rybczynski New Book The screen is divided into nine different squares Each representing one place The uniting element of all the actions is a book passed from one hand to the other All stories run parallel as if in realtime yet linked in a linear way at the same time through the narrative of the action Fig 1 Zbigniew Rybczy amp 324 ski 1975 Nowa Ksi amp 261 amp 380 ka New Book 35mm short film 10 26 SMFF Se ndash Ma ndash For Lodz Poland Wed, 10 Dec 2014 23:42:51 +1000 Daniel Crooks digital divisionism and image transposition Mon, 08 Dec 2014 01:12:26 +1000 About Two squares In 6 constructions A Suprematist Tale Suprematicheskii Skaz Pro Dva Kvadrata v Shesti Postroikakh This short book intended for children of all ages is perhaps the best ndash known work of El Lissitzky 1890 ndash 1941 Lissitzky was a Russian artist architect designer typographer and photographer who was active in the avante garde movement that flourished in Soviet Russia and in Germany until the dominance of Soviet Realism by 1930 put a stop to its revolutionary activity He directly influenced the typographical and display advertising innovations of the Bauhaus and de Stijl This book entirely integrates modern typographical effects as Lissitzky intended with his illustrations in the Suprematist style The original book About Two Squares was printed by letterpress even the slanted text and illustrations It was first produced constructed in 1920 at the Soviet art institute UNOVIS in Vitebsk and around April 1922 printed by Sycthian Press Berlin by Haberland Printers Leipzig in paperback with 50 hardbound copies autographed and numbered as the copyright page states Sat, 13 Sep 2014 13:56:53 +1000 MoMA Geometry of Motion 1920s 1970s Geometry of Motion 1920s 1970s March 19 ndash July 28 2008 The Yoshiko and Akio Morita Media Gallery second floor The Museum of Modern Art This exhibition considers the transformation of the art object from static image to light projection within two distinct artistic lineages the unconventional optical techniques and social analyses of the 1920s Neue Optik or New Vision generation of artists among them L aacute szl oacute Moholy ndash Nagy Hans Richter and Marcel Duchamp and the situational aesthetics advanced by Gordon Matta ndash Clark Robert Smithson and Anthony McCall in the 1970s Drawing attention to the conditions and complexities of perception ndash both within the framework of institutional display and in other surroundings ndash these artists have redefined the social potential of visual agency Fri, 12 Sep 2014 18:52:37 +1000 Norman McLaren s SYNCHROMY 1971 Here are pyrotechnics of the keyboard but with only a camera to play the tune To make this film Norman McLaren employed novel optical techniques to compose the piano rhythms of the sound track These he then moved in multicolor onto the picture area of the screen so that in effect you see what you hear It is synchronization of image and sound in the truest sense of the word National Film Board of Canada Fig 1 Director Norman McLaren Year 1971 Time 7 mins Music Norman McLaren Mon, 17 Feb 2014 22:09:07 +1000 Pierre H eacute bert Around Perception 1968 Around Perception is a groundbreaking experiment on computer ndash based animation consisting of 11 audiovisual events designed to baffle cognition and unrest comfortable notions of reality Unlike most of his later films H eacute bert chose not to collaborate with top ndash notch experimental musicians and created the soundtrack himself In this he followed a method also used by Norman McLaren to scratch sound directly onto the film itself The relation between sound and picture however is not as symbiotic as in McLaren s Synchromy although there are organic reactions between the two domains one is not a direct translation of the other This of course need not be seen as a weakness Indeed with its fast ndash paced changes of color and geometrical patterns and the employment of Columbia ndash like richly crafted electronic tones Around Perception works as a tremendously hallucinatory exercise in trompe l oeil and l oreille techniques Or as stated by H eacute bert himself at the beginning of the film an exercise for the mind and against the mind The Sound of Eye Fig 1 Around Perception Director Pierre H eacute bert Year 1968 Time 16 mins Music Pierre H eacute bert Thu, 06 Feb 2014 20:12:42 +1000 100 Years of Design Manifestos Since the days of radical printer ndash pamphleteers design and designers have a long history of fighting for what s right and working to transform society The rise of the literary form of the manifesto also parallels the rise of modernity and the spread of letterpress printing The original list was largely drawn from Mario Piazza s presentation at the Pi ugrave Design Pu ograve conference in Florence though I ve edited and added to it I ve also incorporated links where I was able to find them John Emerson 22 July 2009 Social Design Notes Thu, 30 Jan 2014 20:23:46 +1000