building a process based upon rejection blurs actions — makes it difficult to fit your own way into your own confused critical viewscape.
follow the bouncing thought:
no ready profile to make negative means
he can’t do it, so
he must try another route.
even though, digital is too easy.
In the Blur World “anybody becomes a fine art photographer” using digital, since it is too easy to make pictures. While also being too frustrating for him to make an inverted negative on his own. Sadly, for him, it seems he wasn’t shown how to invert —
His problem is his own until he tells you what to do. And he does. As they grow, they reduce knowledge and awareness (narrowing towards nothing — pure noise).
the difference between the frame and the frame strip — the tripod and a track — standing and walking. Everyone makes a movie as they drive. No single frame holds onto your mind. Driving, I see patterns against other patterns. The fence framing makes the scenic live.
Time is one of the strands of exposure. Short, long. Too much, too little. How we make an emulsion respond to light is a judgement made over time. The table of elements for camera craftsmen is exceedingly small — few basic means of achieving a life.
// Maya Deren. Titarenko. Slow cinema
Maya Deren (1917 – 1961). “was one of the most important avant-garde filmmakers of her time for her use of experimental editing techniques and her fascination with ecstatic religious dances. Deren earned an MA in English literature from Smith in 1939 before joining choreographer Katherine Dunham’s tour. “
“The still photograph is concerned with the isolation of the moment. The moment is stayed, composed within a stable frame. Films are concerned with the way in which a moment passes and becomes the next. This metamorphosis cannot be composed within the frame, but only through frames, from one frame to the next.” — Maya Deren
NOTES:
Brakhage, Stan. “Maya Deren.” In Film at Wit’s End: Eight Avant-Garde Filmmakers (1989): 91–112.
Clark, VeVe, Millicent Hudson, and Catrina Neiman. The Legend of Maya Deren (1984).
Deren, Maya. Papers. Department of Special Collections, Mugar Memorial Library, Boston University. NAW modern.
Obituary. NYTimes, October 14, 1961, 23:4.
Renan, Sheldon. An Introduction to the American Underground Film (1967).
Sadoul, Georges. Dictionary of Film Makers (1972).
“.. Proust taught me that the only way to communicate and to share what I was feeling with others is the use of the metaphor…” Titarenko
the City as Novel.. short
“slow cinema” concept.
Arnheim R. (1993) From Pleasure to Contemplation. The Journal of Aesthetics and Art Criticism 51: 195-197.
Bíro Y (2008) Turbulence and flow in film – The rhythmic design. Bloomington: Indiana University Press.
Boer J (2015) As slow as possible: An enquiry into the redeeming power of boredom for slow film viewers. Unpublished Paper, University of Groningen, Netherlands.
Doane MA (2002) The emergence of cinematic time – Modernity, contingency, the archive. Cambridge: Harvard University Press.
Flanagan M (2012) Slow Cinema: temporality and style in contemporary art and experimental Film. PhD thesis, University of Exeter, UK.
Margulies I (1996) Nothing happens – Chantal Akerman’s hyperrealist everyday. Durham, London: Duke University Press.
Wollen P (2000) Time in video and film art. In: Capellazzo A (ed) Making time: considering time as a material in contemporary video and film. Palm Beach, Fla.: Palm Beach Institute of Contemporary Art, pp.7-13.
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