[Frameworks] Is there any editing pattern on "Critical Mass" by Hollis Frampton?

[Jorge Lorenzo Flores Garza]

I just tried this software!  It is really interesting!!

> Date: Wed, 22 Apr 2015 17:01:49 -0400
> From: director at lift.on.ca
> To: frameworks at jonasmekasfilms.com
> Subject: Re: [Frameworks] Is there any editing pattern on "Critical Mass" by Hollis Frampton?
> 
> Barbara Lattanzi created a software that mimicked the editing structure of
> Critical Mass:
> http://www.wildernesspuppets.net/yarns/hfcriticalmass/main.html
> 
> I'm not sure if she based in on the actual "source code" of the original
> film or just made a representation of the experience.
> 
> C
> 
> 
> >> Watching the film one could assumed Frampton followed a random process
> >> but i'm not sure about it.
> >
> > It's not random at all. IIRC, both the length of all the cuts and the
> > advance between cuts are numbers of frames with some 'significance', e.g.
> > I think the shots may all be ~ 40 frames / 1 foot. Frampton worked with
> > algorithms, not randomness, but as a form of 'poetry'. Thus, a certain
> > percentage of the 'art' is rooted in the nature of the algorithm, which is
> > derived in part from certain non-obvious poetic associations...
> >
> > ...
> >
> > For another example: I can't recall reading anything about (nostalgia)
> > that references the length of the shots. So one time I screened it for
> > class, I timed them roughly with simple stopwatch. My conclusion: each
> > shot is a 100 ft. load (I didn't examine close enough to see if they were
> > loaded on daylight spools, with the light leaks at the ends then cut off,
> > or loaded/unloaded on cores in absolute darkness minus just threading
> > leader, etc.).
> >
> > This is not only a sort of obvious and convenient practical way to do the
> > film, it also has resonances with the subject matter of Frampton giving up
> > one art form and adopting another, memory and loss, etc. The prints burn
> > on the hotplate until the film runs out. Any camera only holds so much,
> > for so long. Etc.
> >
> > ...
> >
> > Also of note: working by hand in 'analog' media, Frampton was not
> > ultra-picky about hitting any of his patterns EXACTLY all the time. Things
> > will be off a frame or two here or there (and no matter how you load them,
> > different 100 ft. loads of 16mm stock will yield slightly different
> > lengths of usable footage). Apparently, this was not just the result of
> > pragmatic 'accident' either, and Frampton introduced some of the minute
> > deviations intentionally, perhaps keeping his 'human' hand in the game
> > (?).
> >
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> 
> 
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