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CALCULATED CINEMA |
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NOTIONS OF CALCULUS |
Programme 1 |
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_top |
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A miscellaneous programme conceived as an introduction
to the overall series. It presents a synthetic evolution of computer-assisted
animation: between analogue and digital machinery, abstraction and representation,
geometry and fiction, arithmetic and visual music. It includes a documentary
about the working procedures developed by John Whitney. Other cross-references
are inserted in various forms of animation and arithmetic construction based
on objective images which lead into the content of other programmes. |
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München-Berlin
Wanderung
Wandering from Munich to Berlin |
5 min.,
black and white,
silent |
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Oskar Fischinger, 1927
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Lapis |
10 min.,
colour |
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James Whitney, 1963-66 |
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Catalog |
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7 min.,
colour
Music:Ornette Coleman |
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John Whitney, 1961 |
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Poemfield
5 (Free Fall) |
7 min.,
colour |
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Stan Vanderbeek, 1967 |
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Calculated
Movements |
6 min.,
black and white
Music: Larry Simon / Craig Harris / Rand Weatherwax |
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Larry Cuba, 1985 |
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Experiments
in Motion Graphics |
13 min.,
colour |
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John Whitney, 1967-68 |
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24 Frames
per Second |
12 min. |
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Takahiko Iimura, 1975-78 |
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Terminal
Self |
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7 min.,
colour |
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John Whitney Jr., 1971 |
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approximate
length: 67 min. |
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PICTURE ELEMENTS |
Programme 2 |
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The synthesis and analysis of images through
basic formal elements - dot and line, pixel and grid - and through a range
of procedures that go from hand to machine and optics to digitalisation.
From McLaren's direct film animation methods to the trigonometric functions
of programming languages. Braids that create geometric rhythms, pointillist
mosaics, symmetrical loops, combinations of form and exuberant chromatics.
Closing this programme, the film by Foldès was one of the firsts
to use the computer in order to automate the interpolation procedures of
animated cinema. |
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Lines-Vertical |
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5:30 min., colour (video
copy)
Music: Maurice Blackburn |
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Norman McLaren,
Evelyn Lambart, 1960 |
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Lines-Horizontal |
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5:30 min., colour (video
copy)
Music:
Pete Seeger |
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Norman McLaren,
Evelyn Lambart,1962 |
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Mosaic |
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5:30 min., colour (video
copy)
Music: Norman McLaren |
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Norman McLaren,
Evelyn Lambart, 1965 |
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Trama |
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12 min.,
colour |
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Christian Lebrat, 1980 |
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3/78
(Objects and Transformations) |
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6 min.,
black and white
Music: Kazu Matsui |
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Larry Cuba, 1978 |
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Matrix III |
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11 min.,
colour
Music: Terry Riley |
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John Whitney,
1972 |
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IFS-film |
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4 min. |
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Joost Rekveld, 1991-94 |
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Autour
de la perception |
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16 min.,
colour |
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Pierre Hébert, 1968 |
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Metadata |
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8 min.,
colour |
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Peter Foldès, 1971 |
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approximate length: 77
min. |
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GEOMETRY
AND OSCILLOGRAPHICS |
Programme 3 |
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_top |
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Euclidean and spontaneous drawings, between the
compass and electronics, analogy and algebra, symmetry and the one-off gesture,
the machine and the organic. Hybrid creations that fuse electronics and
photography, calligraphy and electronics, music and optics. Discovery of
the oscilloscope, the graphic tablet and the Totalization technique or "animation
of illusory solids" (introduced by Alexeieff / Parker in an exceptional
series of commercial advertisements). |
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Around is Around |
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10 min.,
colour (video copy) Music: Louis Applebaum |
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Norman McLaren ,
Evelyn Lambart, 1951 |
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Rectangle
et rectangles |
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8 min.,
colour
(video copy)
Music: Normand Roger |
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René Jodoin,
1984 |
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Spirals |
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4 min.,
black and white,
silent |
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Oskar Fischinger, 1926 |
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Symmetricks |
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6 min.,
black and white |
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Stan Vanderbeek,
1971 |
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Euclidean Illusions |
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10 min.,
colour
Music: Max Vanderbeek |
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Stan Vanderbeek, 1980 |
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Mood
Contrasts |
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6:30 min., colour
Music: Rimsky-Korsakov |
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Mary Ellen Bute,
1956 |
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69 |
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8 min. |
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Denys Irving,
1969 |
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Colour Commercials |
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8 min.,
colour |
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Alexandre Alexeieff ,
Claire Parker, 1952-61 |
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Come Closer |
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7 min., colour |
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Hy Hirsh, 1953 |
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approximate length: 68
min. |
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ARITHMETICS
OF FRAMES AND BITS |
Programme 4 |
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_top |
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Here the binary system is mostly translated into
the fundamental contrast between black and white, light and dark. Black
and Light is the title of one of the programme's most amazing films: a very
literal case of film produced with a computer. The radical sobriety of the
metric or arithmetically structured films by Kubelka, Kren and Brand (plus
Iimura on programme one) is situated in contrast to Larry Cuba's hypnotic
geometrical permutations and to the charming digital harmonies to be found
in other programmes. |
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Adebar |
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3 min.,
black and white |
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Peter Kubelka, 1956-57 |
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Schwechater |
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2 min. |
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Peter Kubelka, 1957-58 |
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Arnulf Rainer |
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6:30 min., black and white |
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Peter Kubelka, 1958-60 |
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Black and Light |
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8 min.,
black and white |
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Pierre Rovère,
1974 |
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Two Space |
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8 min.,
black and white |
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Larry Cuba, 1979 |
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3/60
BŠume in Herbst
3/60 Trees in Autumn |
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5 min.,
black and white |
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Kurt Kren, 1960 |
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31/75 Asyl |
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8:30 min., colour,
silent |
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Kurt Kren, 1975 |
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Moment |
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26 min., |
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Bill Brand, 1972
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approximate length: 68
min. |
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LUMIGRAPHY,
CROMOPHONY AND ABSTRONICS |
Programme 5 |
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_top |
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The Whitney brothers' early exercises in "audiovisual
music" are compared with other works by four generations of artists, all
of which belong to an artistic tradition of light and movement, colour and
sound. An art with multiple manifestations in kinetic and light sculpture,
new instruments of projection and visual music, procedures for the synthesis
of sound and images, and from abstract cinema to electronic media. |
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Opus I (Lichtspiel) |
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8 min. |
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Walter Ruttmann, 1920
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Lichtspiel:
Schwarz-Weiss-Grau |
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5:30 min., black and white,
silent |
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Làszlo Moholy-Nagy,
1930 |
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Polka Graph |
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4 min. |
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Mary Ellen Bute, 1952 |
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Gyromorphosis |
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7 min.,
colour |
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Hy Hirsh, 1956 |
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Film Exercise 1 |
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5 min.,
colour |
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James & John Whitney, 1943 |
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Film Exercises 2-3 |
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4 min.,
colour |
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James & John Whitney,
1944 |
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Film Exercises 4-5 |
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12 min.,
colour |
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James & John Whitney, 1945 |
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Abstronics |
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5:30 min. |
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Mary Ellen Bute, 1954 |
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#3 |
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4 min.,
colour,
silent |
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Joost Rekveld, 1994 |
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Collideoscope |
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6 min. |
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Stan Vanderbeek, 1968
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approximate length: 61
min. |
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MACHINE
LANGUAGE AND PERMUTATIONS |
Programme 6 |
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_top |
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Computer language goes in search of the human
being's natural language and other mechanical inventions incorporating random
functions, permutation algorithms, procedures for the analysis and sequential
composition of images and text. The films on this programme combine texts
and picture elements of differing nature (from abstraction to representation),
operating permutations and dealing with semantic issues. All of these filmmakers
have gone through different techniques in their filmographies, with and
without the assistance of computers and data processing machines. |
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Filmblock I
(random/text I/ text II/ go/ orange) |
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16 min.,
black and white |
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Marc Adrian, 1962-64 |
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Poemfield 2 |
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6 min.,
colour |
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Stan Vanderbeek, 1971 |
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Word Movie/Fluxfilm
29 |
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4 min. |
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Paul Sharits, 1966
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Threshold |
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10 min.,
colour |
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Malcolm Le Grice, 1972 |
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Film-Wipe-Film |
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28 min. |
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Paul Glabicki,
1983 |
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Moe's Field |
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10 min.,
colour |
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Robert Darroll, 1993-96 |
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approximate length: 73
min. |
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COSMIC
ARABESQUES |
Programme 7 |
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_top |
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The perfect geometry of the circle (mandala)
is one of the shapes that runs throughout this programme: from Belson's
cosmological visions to Emshwiller's solar disc and Vegter's nocturne. From
Fischinger to the Whitney brothers, Belson, Stehura, etc., ancestral Oriental
philosophies and their symbolic graphics and rituals blend with the impact
of science and contemporary thought (from the theory of relativity to cybernetics),
poetry with world prose, and mathematics with the meditation machine (the
yantra). After all, Yin and Yang already described the binary system a long,
long time ago. |
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Yantra |
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(8 min.) |
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James Whitney, 1950-57 |
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Radio Dynamics |
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(4 min.) |
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Oskar Fischinger,
1943 |
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Cibernetik 5.3
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(8 min.) |
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John Stehura, 1961-65
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Piece Mandala/End
War |
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(5 min.) |
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Paul Sharits, 1966 |
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Cycles |
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(10 min.) |
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Jordan Belson ,
Stephen Beck, 1974 |
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Celery Stalks at
Midnight |
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(3 min.) |
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John Whitney, 1952
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Arabesque |
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(8 min.) |
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John Whitney, 1975
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Sunstone |
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(3 min.) |
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Ed Emshwiller,
1979 |
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Nachtlicht |
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(13 min.) |
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Bart Vegter, 1993 |
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approximate length: 62
min. |
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