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3. Between graphic arrangement and film: Thom Andersen’s FlickerPolonyi Eszter, 2021, objavljeni povzetek znanstvenega prispevka na konferenci Opis: 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.
Ključne besede: History of American cinema, avant-garde art, media archaeology, Eadweard Muybridge, Thom Andersen
Objavljeno v RUNG: 13.01.2023; Ogledov: 667; Prenosov: 0
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4. The ‘Physiognomic Fallacy:’ An Archaeology of the Photographic Identity DocumentPolonyi Eszter, prispevek na konferenci brez natisa Opis: In an era of allegedly total surveillance (Goh, Galloway), possession of a biometric identity document can still result in being denied one’s identity or being mistaken for someone else. States have been outsourcing the processes of civic management and local governance to artificial intelligence corporations with increasing intensity since the pandemic despite awareness of systematic errors committed by facial recognition software, a “coded” bias (Kantayya, Buolamwini) that risks the further effacing an already marginalized population of non-white and non-gender conforming subjects. The project this paper is based on returns to the time it first became standard practice to validate state-issued ID documents using facial analysis in Europe of the 1920s and 1930s. While at this time images derived from human heads in photographic albums, personality tests and facial atlases purportedly aimed to record personality and character, they nonetheless often instructed their readers to locate these in parts of images that remain disconnected from the head, such as hands and feet, hair, clothing or in the subject’s immediate environment. Drawing on the concept of conjectural knowledge (Ginzburg), embodiment or tact (Balazs) and the optical unconscious (Benjamin), the project seeks to locate the “physiognomic fallacy” (Gray) in early attempts at humanizing machine vision.
Ključne besede: History of art, critical theory, surveillance studies
Objavljeno v RUNG: 13.01.2023; Ogledov: 598; Prenosov: 0
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6. Mobility Media: an Archaeology of Identity Photography through Science, Art and Visual CultureEszter Polonyi, predavanje na tuji univerzi Opis: In an era of total surveillance, being in possession of a biometric ID document can still result in denial of one’s basic civil protections and human rights. The discovery of systematic errors in state-implemented facial recognition programs—such as in recognizing faces of color (Joy Buolamwini)—suggests the failure of current practices of global intelligence and mobility. This paper offers an archaeological investigation of the contemporary photo ID document. Returning to its invention in the 1920s, it examines the issues of conjectural knowledge (Carl Ginzburg), embodiment or tact (Béla Balázs) and the optical unconscious (Walter Benjamin) behind early “physiognomic” media.
Ključne besede: History of Science, History of Visual Culture, History of Art, History of Photography, Migration
Objavljeno v RUNG: 13.01.2023; Ogledov: 598; Prenosov: 0
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7. Red modernism : the films of Miklos Jansco2022, radijska ali televizijska oddaja, podkast, intervju, novinarska konferenca Opis: One of the most acclaimed Eastern European directors of the late 1960s, Miklos Jancsó became known for his abstract long-take style which explored the intersections of power, politics, history, and myth. (“Radical form in the service of radical content,” as the Village Voice film critic, James Hoberman, put it back then.) Now that the Beacon Cinema in Columbia City is hosting a retrospective of six of his films (including Red Psalm, which won him the best director prize at the 1972 Cannes Film Festival), Red May has invited three film scholars--Eszter Polonyi, Zoran Samardzija, and Steven Shaviro—to discuss Jancsó’s boldly stylized film language with Tommy Swenson, Film Curator of the Beacon Cinema
Ključne besede: Film history, East-Central cinemas, political cinema, art history
Objavljeno v RUNG: 31.05.2022; Ogledov: 1238; Prenosov: 4
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9. Mobility Media: an Archaeology of Identity Photography through Science, Art and Visual CultureEszter Polonyi, prispevek na konferenci brez natisa Opis: n an era of total surveillance, being in possession of a biometric ID document can still result in denial of one’s basic civil protections and human rights. The discovery of systematic errors in state-implemented facial recognition programs—such as in recognizing faces of color (Joy Buolamwini)—suggests the failure of current practices of global intelligence and mobility. This paper offers an archaeological investigation of the contemporary photo ID document. Returning to its invention in the 1920s, it examines the issues of conjectural knowledge (Carl Ginzburg), embodiment or tact (Béla Balázs) and the optical unconscious (Walter Benjamin) behind early “physiognomic” media.
Ključne besede: history of photography, surveillance studies, digital humanities, art history
Objavljeno v RUNG: 31.05.2022; Ogledov: 999; Prenosov: 0
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10. Hackers and Coders versus Viewers: The Stakes of Photography in an Era of Image Massification : Tomáš Dvořák and Jussi Parikka, eds., Photography Off the Scale: Technologies and Theories of the Mass Image (Edinburgh: Edinburgh University Press, 2021).Eszter Polonyi, 2021, pregledni znanstveni članek Opis: The book Photography Off the Scale: Technologies and Theories of the Mass Image is, first of all, about quantities. Those with memories of pre-smartphone years may suspect that the images of this world have increased in number. Perhaps fewer, however, are aware of just how much. Among the first things we learn in this book is that, in 2018, over 30 million images were uploaded to Twitter, 52 million to Instagram, and 350 million to Facebook — daily (25). For someone who makes a handful of uploads a week, this was news. Who could possibly be looking at them? It turns out, no one. Even if everyone on Earth spent eight hours scrolling through images, they would not all get seen (25). The quantities are just too large. This book claims that the now unconscionable scale at which images circulate and are produced is because they are actually no longer tailored to the human. Interrogating an optics of “ec- centric metrics” (Dvořák), the book tackles one of the liveliest issues in image studies, media studies, and art history today — machine vision, or the vision of the human eye as it is extended by technical apparatuses. It is this seeing “by other means” that the book alleges has thrown the number of images “off the scale.”
Ključne besede: history of photography, digital humanities, art history
Objavljeno v RUNG: 30.05.2022; Ogledov: 1151; Prenosov: 0
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