[Frameworks] Lis Rhodes? Dynamo Dresden fan? + synch?

[John Muse]

I agree with you, Mark.  After watching the "Shoot Shoot Shoot" version last night in a hall with a wonderful sound system, I could only think of the fire bombing of Dresden, which is curious because London, obviously, knows these sounds as well.  That Dresden must be the reference; and even if it's not, it should be.  None too subtle either: the score and the parades and swarms and cascades and conspire to put thousands of planes in the sky; some patterns resemble crosshairs, maps, rail lines and spurs, urban spaces.  Fully metaphoric?  No, but forgive me for trying.  A futurist anthem?  Not likely.  And I'm not trying to reduce the work to this reference, to war and bombardment, but this reference matters, as does cinema's role in new modes of visualization, in reconnaissance and damage assessment--think of screening this before Farocki's "Images of the World and the Inscriptions of War."  The impulse to produce the work was materialist, playful, inspired.  The resulting work though has these resonances; the title simply owns up to them, no?

The synch offset: we're all agreed!

j

On Feb 25, 2016, at 7:12 AM, Mark Webber <mark at markwebber.org.uk> wrote:

> I believe the title is also a reference to the bombing of Dresden in World War II, and the qualities of the soundtrack suggest this also. Its remarkable how much this soundtrack varies according to the projector it is shown on. 
> 
> As Nicky Hamlyn stated, the soundtrack was offset after being made to put it in sync with the image during projection. (Light Music was done the same way.)
> 
> It’s remarkable how much these soundtracks vary according to the projector they are shown on.
> 
> Mark
> 
>> Can anyone motivate the title of Lis Rhodes' Dynamo Dresden?  Or is she a fan of https://en.wikipedia.org/wiki/Dynamo_Dresden ?
>> 
>> I was hoping that either the Letratone or the clear leader was manufactured in Dresden.
>> 
>> And she claims that the optical track and the visual track are the same, but it looks like (and sounds like) she offset the optical track (26 frames ahead) so that there would visual and acoustic synch, even though she fabricated the optical track and the visual track in one go.  If you go to http://www.tate.org.uk/whats-on/tate-modern-tanks/display/lis-rhodes-light-music and scroll down to the video, you'll see at 51" prints of the film strip.  Right?  Wrong?
>> 
>> j/PrM
> 
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j/PrM

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john muse
visiting assistant professor of independent college programs
haverford college
http://www.finleymuse.com
http://www.haverford.edu/faculty/jmuse
http://haverford.academia.edu/JohnMuse

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