Plastic-mechanic environment - Revision history

Kzxpr at 20:13, 19 April 2020

2020-04-19T20:13:08Z

Kzxpr at 19:53, 19 April 2020

2020-04-19T19:53:35Z

Kzxpr at 14:21, 19 April 2020

2020-04-19T14:21:04Z

Kzxpr at 14:20, 19 April 2020

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Kzxpr: /* Chemical film and photography */

2019-11-04T19:35:00Z

Chemical film and photography

Kzxpr: Created page with "== Chemical film and photography == In 2019, Danish photographer Nicolai Howalt released the book ''Old Tjikko'' which contains 97 photos of the world's oldest tree developed..."

2019-11-04T19:34:25Z

Created page with "== Chemical film and photography == In 2019, Danish photographer Nicolai Howalt released the book ''Old Tjikko'' which contains 97 photos of the world's oldest tree developed..."

New page

== Chemical film and photography ==
In 2019, Danish photographer Nicolai Howalt released the book ''Old Tjikko'' which contains 97 photos of the world's oldest tree developed on different photographic paper of a range of ages and qualities. The work's theme is the materiality of photography and development.

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	However, the plastic processing of the film strip does not have to be solely hands-on manipulation, and for a film strip to be reasonably durable as it passes through the projector, it may be advantageous to use an optical printer to combine images. An in-depth description of the optical printer's design and plastic mechanical operations is provided later.		However, the plastic processing of the film strip does not have to be solely hands-on manipulation, and for a film strip to be reasonably durable as it passes through the projector, it may be advantageous to use an optical printer to combine images. An in-depth description of the optical printer's design and plastic mechanical operations is provided later.

		+	REMEMBER:
		+	* Zoetropen's drum showing small animation loops from paper, and the Mutoscope where the "film" is a kind of book that is flipped in for one .
		+	* Philosophical toys = perception laws

	== Festival for "Small-Gauge Films" ==		== Festival for "Small-Gauge Films" ==

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-The chemical-mechanical environment differs from the earlier film phenomena in that it has a physical film strip that can be held by hand, but which requires a projector to move. This projection consists of a decoding of the film strip signal, where the projector switches between stop / start and open / close, creating a stream of images therewith. If the projector's "gate" is not set correctly, a "frameline" may appear on the canvas, for example. sees the bottom of one image and the top of the next because the projector does not split the strip at the edge of the frame. This mistake has often been played in cartoons (eg Duck Amuck (1953)), but also used as a stylistic tool, eg. in Pat O'Neill's experimental film Horizontal Boundaries (1997).
+The plastic-mechanical environment differs from the earlier film phenomena in that it has a physical film strip that can be held by hand, but which requires an intermittent decoder, for example a projector, to move. This intermittence decodes the film strip signal, e.g. when the projector switches between stop/start and open/close, creating a stream of images therewith. If the projector's "gate" is not set correctly, a "frameline" may appear on the canvas, where one sees the bottom of one image and the top of the next because the projector does not split the strip at the edge of the frame. This mistake has often been played in cartoons (e.g. ''Duck Amuck'' (1953)), but also used as a stylistic tool, e.g. in Pat O'Neill's experimental film ''Horizontal Boundaries'' (1997).
-Likewise, the projector's invisible blink has also been subject to format reflection, e.g. in "flicker movies", where each frame consists of completely homogeneous fields without any image. In the earliest examples, such as Peter Kubelka's Arnulf Rainer (1960), the films (besides "titles") consist only of black and white frames that are grouped and spread across the film strip at varying intervals of time. The effect transforms the film projector into a kind of strobe light.
+The rendering of colors has been crucial to Brakhage because he often processes the film strip directly as a plastic material. He enrolls in a larger tradition of ''direct film'' works whose strategy is to examine the film strip as a physical object and perform plastic operations on it. This involves painting on the film strip (Brakhage's ''The Dante Quartet'' (1987)), scratching the emulsion (Len Lye's ''Free Radicals'' (1958)), sticking objects on the strip (Brakhage's ''Mothlight'' (1963)), cultivating bacteria on the film strip (Stephanie Maxwell), etc.
-A further radical interpretation can also be found in Robert Breer's anti-animations, e.g. Eye Wash (1959), a succession of completely unrelated frames. In these films, the viewer is offered no stable access to the film, which can create an illusion of movement - but conversely, the film also goes so fast that we cannot decode the contents of the individual frame. The result is instead that our eye synthesizes the separate images into an artificial whole, where we experience forms and movements that could not exist in a normal filmed reality.
-Interestingly, the "flicker" films are also clear examples of emulsion films where it is difficult to convert the experience to other formats. First, the black frames that run through a movie projector actually cause the audience to sit in the dark when the emulsion blocks the light - on the other hand, both TV, and video and digital projectors will use dimmed light to depict black, but this approach at the same time compromises the contrast of the images. Second, both the electronic and digital environment use other sampling principles, which means that the films are not loaded frame-by-frame, but scanline-by-scanline (video) or pixel-by-pixel (digital). Unlike a movie projection, where each frame is projected "sharply" at dark intervals, the images slide together in the electronic and digital environment because their displays do not blink, but gradually load the next frame so to speak above the previous one. These conditions can cause greyish shades and breaks in the image (where a line divides the image into black and white). Similar distortions can also occur if interlace and compression are used, which we will see in a little while.
+However, the plastic processing of the film strip does not have to be solely hands-on manipulation, and for a film strip to be reasonably durable as it passes through the projector, it may be advantageous to use an optical printer to combine images. An in-depth description of the optical printer's design and plastic mechanical operations is provided later.

← Older revision		Revision as of 14:21, 19 April 2020
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		+	The chemical-mechanical environment differs from the earlier film phenomena in that it has a physical film strip that can be held by hand, but which requires a projector to move. This projection consists of a decoding of the film strip signal, where the projector switches between stop / start and open / close, creating a stream of images therewith. If the projector's "gate" is not set correctly, a "frameline" may appear on the canvas, for example. sees the bottom of one image and the top of the next because the projector does not split the strip at the edge of the frame. This mistake has often been played in cartoons (eg Duck Amuck (1953)), but also used as a stylistic tool, eg. in Pat O'Neill's experimental film Horizontal Boundaries (1997).
		+
		+
		+
		+
		+
		+	Likewise, the projector's invisible blink has also been subject to format reflection, e.g. in "flicker movies", where each frame consists of completely homogeneous fields without any image. In the earliest examples, such as Peter Kubelka's Arnulf Rainer (1960), the films (besides "titles") consist only of black and white frames that are grouped and spread across the film strip at varying intervals of time. The effect transforms the film projector into a kind of strobe light.
		+	A further radical interpretation can also be found in Robert Breer's anti-animations, e.g. Eye Wash (1959), a succession of completely unrelated frames. In these films, the viewer is offered no stable access to the film, which can create an illusion of movement - but conversely, the film also goes so fast that we cannot decode the contents of the individual frame. The result is instead that our eye synthesizes the separate images into an artificial whole, where we experience forms and movements that could not exist in a normal filmed reality.
		+	Interestingly, the "flicker" films are also clear examples of emulsion films where it is difficult to convert the experience to other formats. First, the black frames that run through a movie projector actually cause the audience to sit in the dark when the emulsion blocks the light - on the other hand, both TV, and video and digital projectors will use dimmed light to depict black, but this approach at the same time compromises the contrast of the images. Second, both the electronic and digital environment use other sampling principles, which means that the films are not loaded frame-by-frame, but scanline-by-scanline (video) or pixel-by-pixel (digital). Unlike a movie projection, where each frame is projected "sharply" at dark intervals, the images slide together in the electronic and digital environment because their displays do not blink, but gradually load the next frame so to speak above the previous one. These conditions can cause greyish shades and breaks in the image (where a line divides the image into black and white). Similar distortions can also occur if interlace and compression are used, which we will see in a little while.
		+	It is among other things these matters that are highlighted when the Puritans of the environment discuss formats. Famous avant-garde filmmaker Stan Brakhage has called video and digital renditions of "pudding" for the above reasons compared to the sharp projector's sharp projector. He also criticized the fact that the colors of the other two environments depend to a great extent on how each screen or projector is set with brightness, contrast, white balance, etc. On the other hand, the film projector guarantees that the colors are reproduced exactly as the artist has mixed them on the film strip.
		+	The rendering of colors has been crucial to Brakhage because he often processes the film strip directly as a plastic material. He enrolls in a larger tradition of direct film works whose strategy is to examine the film strip as a physical object and perform plastic operations on it. It involves painting on the film strip (Brakhages The Dante Quartet (1987)), scratching the emulsion (Len Lyes Free Radicals (1958)), sticking objects on the strip (Brakhages Mothlight (1963)), cultivating bacteria on the film strip (Stephanie Maxwell), etc.
		+	However, the plastic processing of the film strip does not have to be solely clip-on adhesive, and if the strip is to be reasonably durable as it passes through the projector, it may be advantageous to use an optical printer to combine images. An in-depth description of the optical printer's design and plastic machining capabilities is provided later.
		+
		+
	== Festival for "Small-Gauge Films" ==		== Festival for "Small-Gauge Films" ==
	See http://the8fest.com/		See http://the8fest.com/

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		+	== Festival for "Small-Gauge Films" ==
		+	See http://the8fest.com/
		+
		+	== Phyto ==
		+	Recipes for gardening film emulsion stuff dark room fever:
		+	http://artsoftheworkingclass.org/text/bringing-the-garden-into-the-darkroom
		+
	== Chemical film and photography ==		== Chemical film and photography ==
	In 2019, Danish photographer Nicolai Howalt released the book ''Old Tjikko'' which contains 97 photos of the world's oldest tree developed on different photographic paper of a range of ages and qualities. The work's theme is the materiality of photography and development. Howalt was interviewed by Mette Sandbye in Deadline (DR2) on 3rd of the November 2019.		In 2019, Danish photographer Nicolai Howalt released the book ''Old Tjikko'' which contains 97 photos of the world's oldest tree developed on different photographic paper of a range of ages and qualities. The work's theme is the materiality of photography and development. Howalt was interviewed by Mette Sandbye in Deadline (DR2) on 3rd of the November 2019.

← Older revision		Revision as of 19:35, 4 November 2019
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	== Chemical film and photography ==		== Chemical film and photography ==
−	In 2019, Danish photographer Nicolai Howalt released the book ''Old Tjikko'' which contains 97 photos of the world's oldest tree developed on different photographic paper of a range of ages and qualities. The work's theme is the materiality of photography and development.	+	In 2019, Danish photographer Nicolai Howalt released the book ''Old Tjikko'' which contains 97 photos of the world's oldest tree developed on different photographic paper of a range of ages and qualities. The work's theme is the materiality of photography and development. Howalt was interviewed by Mette Sandbye in Deadline (DR2) on 3rd of the November 2019.