SYNTHESIS TEST

This is the page aimed to bring ideas and processes developed during my research into a synthesis.

How to grasp and represent the continuous flow of reality?

How to make a still image with a moving image camera? How do we experience time and space with the resulted image?

How to animate the inanimate? How do stillness and mouvement coexiste in images?

TEXT ON METHODS

THE PHOTO-FILMIC GESTURE: strip-photography and the fluidity of reality

What have you been making?

General introduction

(what) In the last seven months I’ve been making color photographs using the whole surface of 35mm film rolls. (how)To expose the whole film strip in a single gesture, I am rewinding or pulling the film in front of the lens with the shutter open. (why) Since the beginning of my study, I am interested in the fluidity of reality and the potential of photographic and cinematographic processes to record such characteristic.

How did you do it? (method)

Describe your research: What/How/Why + References + Historical / Theoretical framework

Relation to previous practice

Identify developing practices and theoretical approaches over the last year. This can be very practical: new working methods, new skills &c; describe what such new skills afford.

What do you want to make next?

How does your proposed future research connect to previous projects you have done? Here you can use the descriptions you made during the Methods seminar or make new descriptions

Why do you want to make it?

Relation to a larger context Meaning practices or ideas that go beyond the scope of your personal work. Write briefly about other projects or theoretical material which share an affinity with your work. At this juncture, it's simply about showing an awareness of a broader context, which you will later build upon as your research progresses.

References

A list of references (Remember that dictionaries, encyclopedias and wikipedia are not references to be listed. These are starting points which should lead to more substantial texts and practices.) As with your previous essays, the references need to be formatted according to the Harvard method.)

Artists Reference:

Chris WELSBY Wang XIMENG, Zhang DAQUIAN Chinese scroll painting David CLAERBOUT

Bibliography:

ON GESTURE:

V. FLUSSER, Gestures, Minnesota University Press, 1991

A. KENDON, Gestures: visible action as utterance, 2004

G. AGAMBEN, Notes on gestures, 2000

M.T. VARRO, 116-27 BC

ON PERSPECTIVE:

C.W. TYLER, C.C. CHEN, Chinese Perspective as a Rational System(...), Taiwan National University & Smith-Kettlewell Eye Research Institute, ?? Visual Literacy A spectrum of Visual Learning

M. VANVOLSEM, The Art of Strip Photography, Leuven University Press, 2011 (to check)

J-L. BAUDRY, Ideological Effects of the Basic Cinematographic Apparatus, Uni.Cal.Press, 1974

V. FLUSSER, Towards of Philosophy of Photography, 1983

L. MULVEY, Death 24x times per second, Reaktion Books Ltd., 2006

C. RONDEAU, David Claerbout: l’oeil infini, Noeme, 2013

M. BARNIER & L. JULLIER, Une breve histoire du cinema, Pluriel, 2017

(5 desirs of cinema: 1/Fix the imprint of the objects of the world, 2/Put movement in the images, 3/Fix the trace of the movement of the objects of the world, 4/ Project the images on a screen, 5/ Give a paying show (public)

R. ARNHEIM, Art and Visual Perception, Uni. Cali. Press, Revised Ed., 1974

H. BERGSON, Creative Evolution (cinematic, memory)

R. BOGUE, Deleuze on cinema, Routledge, 2003

Z. BAUMAN, Liquid Modernity, 2000

M. BERMAN, All That Is Solid Melts Into Air, 1983

K. MARX & F.ENGELS (on capitalism, modernity, melting the solids quote (manifeste p.c))

HERACLITUS (on change, flux, opposites)

W. SCHIVELBUSH, The Railway Journey: The Industrialization and Perception of Time and Space, Univ. Cali. Press, 1986

M. MERLAU-PONTY, Phenomenologie de la perception, Gallimard, NRF, 1945

M.HALBWACHS, On collective memory, Uni. Chicago Press, 1992