My work with movies has gradually developed towards shorter and shorter pieces, but not out of some need to purify and reduce the excess materials in my work. Instead it was the inevitable result of considering the question of duration versus the viewing habits almost all of us have when confronted by popular culture. I gradually reduced the length of my movies from a desire to explore issues closely related to duration.
Much of what follows, while directed towards Movies, is equally applicable to Statics. 'Real time' is the key to distinguishing statics (movies) which move very slowly from actual movies-as-such. Many things move/change, but not in a fashion we can actually perceive.
a priori expressions are limited to the physical materials*; in extreme forms it is
hoped to produce a phenomenological experience of the physical presence of the
material as a material
(*note link to Marxist theory, Greenbergian modernism)
technological potentials IMAGE
of moving images CAMERA
(movies) describing BASE
areas of technological EDITING
advancement PROJECTION
SCREEN
SOUND
technological potentials always determine aesthetics
in materials-oriented formalism; this is why development
and expansion of materials is so important to that formalism
understanding this formalism is a necessary condition for
escaping from it
[this list of seven categories is sufficient to cover all formal
development of movies and statics in any support system,
whether film, television, computer or any other medium as
yet undeveloped.]
the speed at which an image changes conditions our experience
of it as a temporal object: we can only see things in real time*
to perceive changes happening in real time (life) we must produce movies which
condense the real time into a sped-up version for gradual changes (real time) to
become visible to us in real time
[* which is to say the speed at which we as humans live and interact]
while all motion is an effect of a strobing light, the strobe movie is a movie
where the image is actually printed onto the screen (rather than being a
separate object) and the light source is simply a strobe
physical design of image used is a significant factor in the
activation through strobing
[Statics Folio 3: Village to City is a collection of strobe movies]
large-scale prints lit by strobe light, tuned to the most effective frame rate
(will be some variability from person to person)
best effects produced when light is above rather than below the image
(angle of reflection = angle of inflection)
