Apollo 11 (1969)
- feel of liveness, but nothing is happening
- interesting to consider in light of Warhol’s long films (Sleep, Empire 1963 etc)
- synchronized viewing – a planetary media situation
What kinds of perceptual experiences emerge during the viewing of long durations in which nothing seems to be happening?
Gillette & Schneider—Wipe Cycle (1969)
- multiple times coexisting: mixes live CCTV feeds with manufactured (network television) time and prerecorded tapes
- visitors become part of the information
Oswald Store—November 22 1963 12:30 5:30 PM CST ABC WFAA CBS NBC (JFK) (1971)
- synchronization of three streams of live coverage following the shooting of John F. Kennedy (1963)
- the “tactility of time”: the perception of time passing is modulated by anticipation, dread, trauma, inertia: it becomes akin to a physical substance
Wolfgang Staehle—untitled (9/11) (2001): When art and event intersect.
Ferguson split-screens (2015)
SPATIAL TIME = CLOCK time = QUANTITATIVE, MEASURABLE, HOMOGENEOUS, REGULAR. Think of temporal divisions (seconds, milliseconds, any division) like pearls on a string—each one occupying a discrete position, a separation that makes COMPARISON and ANALYSIS possible.
RATIONAL / ADMINISTRATED TIME: Melting of bells in Revolutionary France
—->COORDINATION, SYNCHRONIZATION (trains!), TRANSPORT, TRADE
e.g. the spatialized timelines of non-linear editing systems
DIVIDING TIME—Etienne-Jules Marey chronophotography – Muybridge
Time and Motion Studies (Fordism)
Q: Do you regularly wake up just before your alarm? (clock time is already ALIEN TIME)
DURATION = QUALITATIVE, CONTINUOUS, FLUX, NON-MEASURABLE, PROCESS, grasped through INTUITION.
Lived, experienced, embodied time.
Time stretches and compacts itself as a result of the interaction of external stimuli with internal states. As we have all experienced, time passes differently when in action than in repose.
In Bergson’s conception of time, nothing retains self-identity over time. Life is change itself. Due to the continuous INTERPENETRATION of temporal layers, it is impossible to nail down (spatialize) the boundaries of any particular duration.
MOVEMENT IMAGE vs. TIME IMAGE (Deleuze)
Christian Marclay—The Clock (2010)
another kind of real-time – clock time mirrored on screen through fictional materials
PARADOX: Submitting cinematic time to regulatory clock time.
Bruce Nauman—Elke, Allowing the Floor to Rise Up over Her, Face Up (1973) (TIME)
documenting processes, inertial activities where nothing is happening
the affordability of video makes conceptual experimentation possible
Bruce Nauman—Stamping in the Studio (1969) (MOVEMENT)
documenting a process / notebook
duration of shot = length of tape (1 hour) (materially constrained, like the Lumière’s early films)
Terry Fox—Children’s Tapes (1974)
INHUMAN TIME: DILATION
How does the perception of inhuman time warp the brain?
Douglas Gordon—24-hr psycho (1993)
appropriation: warps preexisting expectations – narrative dissolves in visual minutiae
Douglas Gordon – 5-Year Drive By (1995) = The Searchers stretched to the actual duration of the narrative (5 years it took for the protagonist to find his daughter).
Sharon Lockhart—Lunch Break (2008)
materiality of video becomes manifest
distance between still image and moving image — re. persistence of vision
each frame copied 8 times (from 24 frames/second to 3 frames/second), making the film essentially a succession of stills, with digitally smoothed over transitions between each “frame”: 14400 frames
Television Recuperation Unit (TRU)—ATPM TEST (1980s, realized 2016)
stretching time without altering pitch
NTSC (30 fps) —> PAL (25 fps) = 4% speedup
see also Drunk Trump compilation (2016)
INHUMAN TIME: COMPRESSION
Bill Viola—Ancient of Days (1979-81)
Multiple times coexisting: superimposed rates of change.
The Matrix: Bullet Time
A move from temporal to spatial logic.
Digitization collapses sound and visual material into information, with plastic potential.
stills converted into movie frames: the filmmakers are able, as Alexander Galloway puts it, “to freeze and rotate a scene within the stream of time,” and to view the scene, at each moment, from any desired angle
BUT, the bullet time of this scene is still inscribed into a linear, temporal narrative
Massive Attack / Édouard Salier—Splitting the Atom (2010)
doesn’t employ montage (moving the camera and fixing the world – the entire space is given in advance)
like the smooth space of the computer game in some way – though the music temporalizes it
Tony Scott—Domino (Bullet Time)
CSI “Demo” Time
The Pirate Cinema (Torrent Time)
the time of High Frequency Trading, algorithmic processes operating at speeds beyond human grasp
Find an example online of an event captured by a phone which “changes the media story,” by giving the lie to an “official” media account.
1. Download Periscope. Create a Periscope account.
2. Pair up with a classmate. One of you will broadcast, and one of you will follow.
3. Choose a location somewhere in the Goldfarb building.
4. The broadcaster will lead the follower around. Both will be in close physical proximity. The broadcaster will attempt to spatially disorient the follower making it difficult to move through the “physical” space. The broadcaster will speak instructions as to how & where to move while consistently altering the orientation of the camera.
5. (Think of this as an example of being led around while blindfolded).
6. The follower will only use the phone screen as visual reference. Try and block out your peripheral vision as much as possible.
7. The follower will listen to the phone feed over headphones, blocking out as much as possible the sounds in the physical space.
8. Switch roles.
9. Return to classroom for discussion.
cf. Vito Acconci—Security Zone (1970)
1. FEEDBACK EXERCISE
a) Consider the many possible areas of human experience in which the concept of feedback has relevance. Make a list.
b) Describe a potential video project you might realize involving feedback (on multiple levels) and its creative uses.
2. Think of an everyday action that you have experience with that takes 30 seconds to accomplish.
3. As always, bring your phones and laptops…