[Frameworks] The code of

[Amanda Christie]

Hello Anja,

I believe that Brjorn is referring to the title of a film called "The  
Flicker"  made by Tony Conrad in 1965.
This film does use the phenomenon of flicker as you described, but it  
is a specific work of art that Bjorn is referring to.

here is a link to an interview with Tony Conrad about "The Flicker" in  
case you are interested.
http://flicker75.blogspot.com/2008/01/tony-conrad.html

Yes, Paul Sharits' films do use the technique of flicker, but Tony  
Conrad's film is a much more intense approach, as it is pure black and  
white with no representational human forms.

Amanda Dawn Christie
--------------------------------
Master of Fine Arts
www.amandadawnchristie.ca
--------------------------------
506-871-2062
amanda at amandadawnchristie.ca



On 6-Jul-10, at 7:49 AM, anja ross wrote:

> Hi Mister Lundgren,
> Flicker means, one kaderpicture to another (25 frames = 1 sec).  See  
> Paul Sharits films, so and we are still slow with our eyes so that  
> you get the flash by watching.
>
> Best wishes, ANJA C. ROSS
> www.anjaross.blogspot.com (digital without zelluloid)
>
> 2010/7/6 Lundgren <50lundgren at telia.com>
> Hi
>
> Do you happen to have a code to the flicker?
>
> Regards
> Björn Lundgren
> Sweden
>
> ----- Original Message -----
> From: "Tony Conrad" <conrad at buffalo.edu>
> To: "Experimental Film Discussion List" <frameworks at jonasmekasfilms.com 
> >
> Sent: Monday, July 05, 2010 5:20 PM
> Subject: Re: [Frameworks] The code of
>
>
> > Hi---------
> >
> > My "The Flicker" has many of the characteristics mentioned in this
> > discussion.
> > Totally binary in its main content, it is in many respects  
> indestructible.
> > The
> > sound and titles are analog, however. Kubelka's score is more  
> pointilist
> > than
> > mine, which can be deciphered from published illustrations. You  
> might
> > refer to
> > Branden Joseph's wonderful treatment in "Beyond the Dream  
> Syndicate."
> >
> > -----------t0ny
> >
> >
> > On Mon 07/05/10  2:31 AM , Evan Meaney me at evanmeaney.com sent:
> >> Hi Björn:
> >> It's funny, I'm actually teaching a class about codes and sequences
> >> in cinema in the fall, stateside - Kubelka's AR is an important  
> part
> >> of the syllabus. I haven't found a ton of work about the _specific_
> >> code at work in AR but I was lucky enough to see him speak a few
> >> years ago about it. He said that he was interested in having the
> >> exact same amount of light and dark hit the screen over the  
> duration
> >> of the piece. The presence and absence of information equalizing  
> one
> >> another. Ditto for the sound, where the noise ( I forget it if it's
> >> just white noise or something more particular at the moment)
> >> contrasts directly with the silence.
> >> I would love, love, love to see that rock and find out that exact
> >> equation.If someone out there has it, do let us know.
> >> All the best,
> >> Evan
> >> On Jul 4, 2010, at 6:13 PM, Lundgren wrote:
> >> I remeber reading about Peter Kubelka saying something about that
> >> Arnulf
> >> Rainer was the only eternal film, that he would write down the
> >> concept/code/script/equation/whatever on a rock and then when all
> >> other
> >> works of cinema had faded away (by technical death or whatever) his
> >> could
> >> allways be recreated perfectly in its intended form.
> >>
> >> Anyway, what I was interested in was that form. Does anyone know if
> >> he ever
> >> spoke of the "code" or has anyone with access to a film copy been
> >> able to
> >> determine it?
> >>
> >> A secondary question is also this: What is the technical form of  
> the
> >> "soundtrack"?
> >>
> >> ______________
> >> Björn Lundgren
> >> Sweden
> >>
> >> _______________________________________________
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> >>
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> >>
> >>
> >>
> >
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> >
>
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