time image
TRANSCRIPT
moving imagestime, image, sequence
independent production
moving images don’t really move
still images aren’t really motionless
Dziga VertovMan with a Movie Camera (1929)
The photograph as an instant: Henri Cartier-Bresson, Derriere la gare Saint-Lazare 1932
The photograph as duration: Louis Daguerre, Boulevard du Temple 1838 (10 min exposure)
The photograph as duration: MA Media Practice & Culture students yesterday (10 sec exposure)
The photograph as duration: MA Media Practice & Culture students yesterday (10 sec exposure)
The photograph as duration: MA Media Practice & Culture students yesterday (10 sec exposure)
The photograph as duration: MA Media Practice & Culture students yesterday (4 sec exposure)
The photograph as duration: MA Media Practice & Culture students yesterday (4 sec exposure)
The photograph as duration: from analogue shutters to digital scanning
The photograph as duration: from analogue shutters to digital scanning
The photograph as duration: from analogue shutters to digital scanning
paintings as duration: mythical time / composite timeBrueghel the Elder The Fall of Icarus, c.1558
paintings as duration: mythical time / composite timeLorenzo Monaco Incidents in the Life of St Benedict, c.1408
digital photography: mythical time / composite timeJeff Wall A Sudden Gust of Wind (after Hokusai), 1993
Hokusai A Sudden Gust of Wind, c.1830
moving images don’t move: Lumiere brothers Demolition of a Wall, c.1895
praxinoscope
chronophotography
Étienne-Jules Marey (1830-1904)
Eadweard Muybridge (1830 – 1904)
Chronophotography (chronos = time)Eadweard Muybridge, c. 1878
Cinema is ‘truth, 24 times a second’Jean-Luc Godard
animated & looped time: ’43rd World Stare-out Championships’, Big Train, 1990s
animation & capture time: John Chorlton video for The Delgados, 1998
actual moving images: mechanical animation (Abbey House Museum, Kirkstall, Leeds)
actual moving images: mechanical animation (Abbey House Museum, Kirkstall, Leeds)
actual moving images: mechanical animation (Abbey House Museum, Kirkstall, Leeds)
actual moving images: mechanical animation (Abbey House Museum, Kirkstall, Leeds)
Camera obscura
mechanical vision, time & modernity
Dziga VertovMan with a Movie Camera (1929)
Walter Benjamin 'The work of art in the age of mechanical reproduction’ (1933)
By close-ups of the things around us, by focusing on hidden details of
familiar objects, by exploring common place milieus under the ingenious
guidance of the camera, the film, on the one hand, extends our
comprehension of the necessities which rule our lives; on the other hand,
it manages to assure us of an immense and unexpected field of action.
Our taverns and our metropolitan streets, our offices and furnished
rooms, our railroad stations and our factories appeared to have us locked
up hopelessly. Then came the film and burst this prison-world asunder by
the dynamite of the tenth of a second, so that now, in the midst of its far-
flung ruins and debris, we calmly and adventurously go travelling. With
the close-up, space expands; with slow motion, movement is extended.
The enlargement of a snapshot does not simply render more precise
what in any case was visible, though unclear: it reveals entirely new
structural formations of the subject.
By close-ups of the things around us, by focusing on hidden details of
familiar objects, by exploring common place milieus under the ingenious
guidance of the camera, the film, on the one hand, extends our
comprehension of the necessities which rule our lives; on the other hand,
it manages to assure us of an immense and unexpected field of action.
Our taverns and our metropolitan streets, our offices and furnished
rooms, our railroad stations and our factories appeared to have us locked
up hopelessly. Then came the film and burst this prison-world asunder by
the dynamite of the tenth of a second, so that now, in the midst of its far-
flung ruins and debris, we calmly and adventurously go travelling. With
the close-up, space expands; with slow motion, movement is extended.
The enlargement of a snapshot does not simply render more precise
what in any case was visible, though unclear: it reveals entirely new
structural formations of the subject.
Evidently a different nature opens itself to the camera than opens to the
naked eye — if only because an unconsciously penetrated space is
substituted for a space consciously explored by man. Even if one has a
general knowledge of the way people walk, one knows nothing of a
person's posture during the fractional second of a stride. The act of
reaching for a lighter or a spoon is familiar routine, yet we hardly know
what really goes on between hand and metal, not to mention how this
fluctuates with our moods. Here the camera intervenes with the resources
of its lowerings and liftings, its interruptions and isolations, it extensions
and accelerations, its enlargements and reductions. The camera
introduces us to unconscious optics as does psychoanalysis to
unconscious impulses.
Evidently a different nature opens itself to the camera than opens to the
naked eye — if only because an unconsciously penetrated space is
substituted for a space consciously explored by man. Even if one has a
general knowledge of the way people walk, one knows nothing of a
person's posture during the fractional second of a stride. The act of
reaching for a lighter or a spoon is familiar routine, yet we hardly know
what really goes on between hand and metal, not to mention how this
fluctuates with our moods. Here the camera intervenes with the resources
of its lowerings and liftings, its interruptions and isolations, it extensions
and accelerations, its enlargements and reductions. The camera
introduces us to unconscious optics as does psychoanalysis to
unconscious impulses.
interactive time
Myst 1993
the perpetual present of Doom 1993 -
Jesper Juul: "Introduction to Game Time". In First Person: New Media as Story, Performance, and Game, edited by Noah Wardrip-Fruin and Pat Harrigan, 131-142. Cambridge, Massachusetts: MIT Press, 2004. http://www.jesperjuul.net/text/t imetoplay/
time-lines
iMovie
Premiere
Premiere
convergence of still and moving images in digital culture: slideshows, timelines,
webcams, cameraphones, sequencesÉ.
Premiere
This project has been an automated powerpoint, a photoviewer slideshow, animated in Flash, and –
here – edited as a video in PremiereÉ.
Premiere
Out of timeÉ.