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Faceless machines: early recognition media and entangled bodies : lecture at the "Relatifs" lecture series, Kepler Salon, Johannes Kepler Universität Linz, Österreich, 16. 1. 2024
Eszter Polónyi, 2024, invited lecture at foreign university

Abstract: Eszter Polonyis Vortrag behandelt frühe Systeme automatisierter Identitätserkennung. Einen Fokus bilden Experimente zur Stimmerkennung, wie sie in der Mitte des 20. Jahrhunderts von US-amerikanische Telekommunikationsunternehmen unternommen wurden. Sie geht dabei auch den Verbindungen zur Arbeit mit „noise“ von Medienkünstler*innen nach, darunter Tony Conrad, John Cage und Kurt Kren.
Keywords: media studies, surveillance studies, art history, critical data studies, avant-garde and experimental art
Published in RUNG: 12.02.2024; Views: 520; Downloads: 2
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3.
Between graphic arrangement and film: Thom Andersen’s Flicker
Polonyi Eszter, 2021, published scientific conference contribution abstract

Abstract: When the California-based filmmaker Thom Andersen made his documentary Eadweard Muybridge, Zoopraxographer in 1973-4, he recovered an aspect of Muybridge’s work that most viewers had not seen before. Projected on the screen at the top of the theater, these iconic nineteenth-century chronophotographs were allegedly first seen in movement. Viewers could watch as his half-clad and nude subjects lifted water buckets, walked up and down stairs, ran, stood, heaved, threw, jumped, crawled and kicked. Throughout the film, Andersen shows each action multiple times, so that an athlete, for instance, leaps his hurdle firstly slowly, then at increasing speeds. Almost none of the sequences appear in the tempo in which they might have taken place in front of the camera. And, despite this being omitted from reviews, many of the passages drop to frame rates below the minimum necessary to sustain the illusion of motion, dissolving Muybridge’s images in a pulsing, jagged flicker. If Andersen’s recovery of Muybridge’s image sequences continue to appear spectacular, this is because watching the motion studies suddenly lurch into moving images proves just how little their “movement” can be explained by a history of the “movies.” This paper examines Andersen’s film as a way into an alternate genealogy of the moving image provided through the phenomenon of the flicker. As has become increasingly clear with the publication of a recent anthology of his critical writings (Visible Press, 2017), Andersen was part of a generation of North American filmmaker whose practice and writing resonated with the academic critique of the film apparatus as it began to emerge from France in the 1960s and 1970s. The fixed temporal parameters of film consumption constituted a recurring consideration for Andersen, for whom “clocked” time literalized the destructiveness of capitalism’s “eternal present” (review of Christian Marclay’s The Clock, 2011). His recovery of Muybridge, for which a frame-by-frame projector allows Andersen to reconstruct what were this pre-cinematic recording systems’s famously arbitrary time intervals, is read within the context of such a critique but also of an emerging tradition of expanded cinema practice. To this effect, comparison is made between Andersen’s process and the efforts of Tony Conrad in the 1960s to research the frequencies at which human vision registers photocelluloid film’s flicker. Conrad’s ability to produce the flicker is ensured not by modification of the projector’s microtemporalities, which would have restricted the number of projectors on which he could show his flicker film, but through alterations at the level of the photocelluloid. Both Andersen and Conrad are shown to turn the basic apparatus into a rhythmic instrument by accessing its frame rates through what I argue is a graphic rather than filmic method.
Keywords: History of American cinema, avant-garde art, media archaeology, Eadweard Muybridge, Thom Andersen
Published in RUNG: 13.01.2023; Views: 1088; Downloads: 0
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4.
Principles of Postgrowth in Avant-garde and New Media Art
Kristina Pranjić, Peter Purg, unpublished conference contribution

Keywords: Avant-garde art, new media art, degrowth, post-growth
Published in RUNG: 03.11.2022; Views: 1010; Downloads: 0
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5.
Transgressions and transmissions of the New European Bauhaus
Peter Purg, Kristina Pranjić, 2022, published scientific conference contribution abstract

Keywords: Bauhaus, New European Bauhaus, historical avant-garde, new media art, radical change, degrowth, post-growth
Published in RUNG: 06.09.2022; Views: 1323; Downloads: 0
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6.
Flicker: Thom Andersen Takes Muybridge to the Movies
Eszter Polonyi, 2021, independent scientific component part or a chapter in a monograph

Keywords: film history, media studies, Eadweard Muybridge, chronophotography, North American avant-garde, found footage film, media archaeology
Published in RUNG: 12.12.2020; Views: 2835; Downloads: 0
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7.
Animal-Battle Films and Political Agitation in early-1930s Cinema Theory
Eszter Polonyi, unpublished conference contribution

Keywords: art history, media studies, Central European avant-garde art, biology, critical theory
Published in RUNG: 11.12.2020; Views: 2433; Downloads: 0
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8.
Lautstrom 32 Gal Kirn on Alexander Medvekin
Gal Kirn, radio or television event

Keywords: medvedkin, early avant-garde film, cinema-train, happiness, critique of Stalinism
Published in RUNG: 18.09.2020; Views: 2598; Downloads: 0
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9.
Between Subversion and Critique. New Yugoslav Film
Gal Kirn, vedrana madžar, 2014, professional article

Keywords: 1960s, Žilnik, Pavlović, new Yugoslav film, subversion, critique, new avant-garde, dark aesthetics
Published in RUNG: 18.09.2020; Views: 2492; Downloads: 0
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10.
Revolutionary Cinefication on the Case of Three Soviet Film-Makers
Gal Kirn, invited lecture at foreign university

Keywords: early avant-garde, film in revolution, revolution in film, October, politics and art
Published in RUNG: 25.08.2020; Views: 2627; Downloads: 0
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