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Opis: This exhibition offers the viewer new perspectives on this genre, through the landscapes in the work of six women artists. Landscape art is often considered in Romantic terms. Human analogies between the concrete world and the inner world are frequently drawn, and the open space of the land can be seen as a space for imagining, for thinking freely. But these public spaces are also contested sites, layered with histories and the implicit legacies of control, power, occupation and exclusion.
Ključne besede: landscape photography, history of photography, 19th century, 20th century, 21st century, women, gender, Mediterranean, video art, Halida Boughriet, Corinne Silva, Paola Yacoub, Noor Abed, Jananne Al-Ani, Ursula Schulz-Dornburg, Esther Boise Van Deman, migration, capitalism, patriarchy
Objavljeno v RUNG: 13.01.2023; Ogledov: 2574; Prenosov: 0
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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: 2404; Prenosov: 0
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Ključne besede: history of photography, Slovenian photography, stereoscopy, modernism, history of art
Objavljeno v RUNG: 13.01.2023; Ogledov: 2182; Prenosov: 0
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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: 2447; Prenosov: 0
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Opis: Film quality analysis is of more considerable signifcance due to its diversifed applications in various felds of technology. The present work reports the speckle interferometric analysis of the argon pressure-induced surface roughness modifcations of RF sputtered MoO3 flms. The paper suggests a new method of surface quality analysis of thin flms through a parameter δ, which is the diference between the initial and fnal inertia moment values in the study of the thermal-induced dynamic speckle pattern. The limitations of root mean square surface roughness analysis of the atomic force microscopic image of the flms is also exemplifed. The research suggests that argon pressure plays a vital role in the surface property of RF sputtered flms and also that the dynamic speckle analysis can give precise information about the quality of flms. The contour plot of particle displacement vector under thermal stress, suggests the degree of uniformity in the distribution of particles in the flm.
Ključne besede: speckle pattern interferometry, time history of speckle pattern, cross correlation, inertia moment
Objavljeno v RUNG: 04.07.2022; Ogledov: 2504; Prenosov: 0
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