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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, predavanje na tuji univerzi

Opis: 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.
Ključne besede: media studies, surveillance studies, art history, critical data studies, avant-garde and experimental art
Objavljeno v RUNG: 12.02.2024; Ogledov: 626; Prenosov: 4
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3.
Between graphic arrangement and film: Thom Andersen’s Flicker
Polonyi 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: 1239; Prenosov: 0
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4.
Principles of Postgrowth in Avant-garde and New Media Art
Kristina Pranjić, Peter Purg, prispevek na konferenci brez natisa

Ključne besede: Avant-garde art, new media art, degrowth, post-growth
Objavljeno v RUNG: 03.11.2022; Ogledov: 1106; Prenosov: 0
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5.
Transgressions and transmissions of the New European Bauhaus
Peter Purg, Kristina Pranjić, 2022, objavljeni povzetek znanstvenega prispevka na konferenci

Ključne besede: Bauhaus, New European Bauhaus, historical avant-garde, new media art, radical change, degrowth, post-growth
Objavljeno v RUNG: 06.09.2022; Ogledov: 1417; Prenosov: 0
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6.
Flicker: Thom Andersen Takes Muybridge to the Movies
Eszter Polonyi, 2021, samostojni znanstveni sestavek ali poglavje v monografski publikaciji

Ključne besede: film history, media studies, Eadweard Muybridge, chronophotography, North American avant-garde, found footage film, media archaeology
Objavljeno v RUNG: 12.12.2020; Ogledov: 2958; Prenosov: 0
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7.
Animal-Battle Films and Political Agitation in early-1930s Cinema Theory
Eszter Polonyi, prispevek na konferenci brez natisa

Ključne besede: art history, media studies, Central European avant-garde art, biology, critical theory
Objavljeno v RUNG: 11.12.2020; Ogledov: 2526; Prenosov: 0
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8.
Lautstrom 32 Gal Kirn on Alexander Medvekin
Gal Kirn, radijski ali tv dogodek

Ključne besede: medvedkin, early avant-garde film, cinema-train, happiness, critique of Stalinism
Objavljeno v RUNG: 18.09.2020; Ogledov: 2679; Prenosov: 0
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9.
Between Subversion and Critique. New Yugoslav Film
Gal Kirn, vedrana madžar, 2014, strokovni članek

Ključne besede: 1960s, Žilnik, Pavlović, new Yugoslav film, subversion, critique, new avant-garde, dark aesthetics
Objavljeno v RUNG: 18.09.2020; Ogledov: 2607; Prenosov: 0
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10.
Revolutionary Cinefication on the Case of Three Soviet Film-Makers
Gal Kirn, predavanje na tuji univerzi

Ključne besede: early avant-garde, film in revolution, revolution in film, October, politics and art
Objavljeno v RUNG: 25.08.2020; Ogledov: 2726; Prenosov: 0
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