#kinetiscope

[mokindo]

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#kinetiscope #fidgetspinner (at Archimedes Design)

[rpritchardjournal]

30/01/2019 - What is Film and Video Art?

In This Lecture we looked at the history and invention of photography and film with Nicephore Niepce, Henry Fox Talbot leading to the invention of the Daguerreotype and the birth of photography as we know it today. We looked at the Lumiere Brothers and Thomas Edison’s Kinetiscope, and how image and moving image has always captured audiences and been a source of great entertainment. We considered the work of George Melies as a turning point, where film became experimental as opposed to documentary and observational, and following on from here we looked at how artists took the developing technology and experimented with it- pushing boundaries of how film and video could be used in art. Artists such as Hans Richter, Len Lye and Oskar Fischinger explored new and visually dynamic work, that in turn still influences and informs film and video today. With the invention of magnetic tape and video in 1951, film became more accessible and with this new technology to work with and explore, artists like Nam June Paik and Joan Jonas used the medium in a whole new way.

I enjoyed this introduction to film and video art and what struck me most was the relationship between the technology, the artists who adopted it, how they were then able to push it to it’s limits, which in turn influenced popular culture and the understanding of what film could be used for. The exploration of the developing medium over the 20th century is an inspiring example of how artists can push a test a medium and influence how it develops. Looking at boundary pushing work now like Pierre Huyghe’s Uumwelt, you can see the legacy of film and video art. With new technology being Incorporated into art at a rapid pace, it’s interesting to see how artists in the past embraced and made the most of then new technology, how it’s still informing art today and it encourages me to make the most of new technologies myself.

[vintagegeekculture]

When did the Arcade really become something? Was it before or after the Pinball machines became popular?

Arcades actually go back to the early 1900s in the US, wherethey were called Penny Arcades, and while they had slot machines and pinball,they also had things like love testers and Edison kinetiscopes where you couldwatch a woman take her clothes off.

People are often surprised to hear that the pinball machinedidn’t have flippers until 1947 and they weren’t even at the bottom of theplayfield until the early 1960s. Pinball (at least in the form it currentlyexists) is a lot newer than you think and is barely a decade older than thearrival of video games. The original form of pinball was basically a game ofchance where a ball was dropped only to ding off metal pins at random and falldown holes with different payouts, very much like the modern game of pachinko.

Because Pinball was for gambling, there was a huge moralcrusade against them in the early part of this century. On a personal note, mygrandma used to tell me to stay away from “hooch, wild women, and pinball”(sorry Nani, I failed you on all three).

New York Mayor Fiorello LaGuardia declared war on pinball,and vowed to smash every single pinball machine that existed. Technically,pinball has only been legal in New York City since 1976.

What the Penny Arcades of the turn of the century actually hadto offer wasn’t quite as important as who visited them, who the audiencewas for them: they were designed as cheap entertainment for the huge wave ofAmerican immigrants in big cities who had a little bit of money to spend. Amajor part of the reason movies were always a universal art form accessible toeveryone (as opposed to something like ballet or theater) is that they hadtheir origins with kinetiscope amusements consumed by immigrants in pennyarcades, along with the nickelodeons that showed things like sports reels forboxing matches aimed at working class sports fans.

If I could be allowed a little digression, this is alwayswhy something like “upscale” movie theater chains like the AlamoDrafthouse make my skin crawl. Movies should be for the poor and for everyone,not for people who can shell out $14 for a bad order of hot wings, or amilkshake with wine in it. It’s a sinister sign of how wealth is massivelyconcentrated in our new gilded age that these upscale theater chains target ashrinking percentage of the population with disposable income instead of theimpoverished masses. The selling point of upscale movie theaters is that theyautomatically kick out anyone making noise, too, to create a “genteel” movieexperience free of riff-raff, which I think is the kind of snotty crap a badguy in a Rodney Dangerfield comedy would do. Recently, Alamo made waves forhaving all female showings of Wonder Woman. I have nothing againstthis idea (why would anyone be offended by this when you can see the movie in a thousand places?), but it comes off as phony grandstanding when done by a chain who’ssole reason for existing is delivering an experience forrich people. The living version of this image below: 

Returning to the original point, the key thing to rememberabout video games is this: in the beginning, they didn’t start off in thearcades, but were marketed toward bars and bowling alleys. This is why themarketing for these games in the early days was extremely adult. It kind ofreminds me of how, come 2007 or so, the discussion around the Nintendo Wii wasthat it was a toy that could get you laid. Little by little, video gamesstarted to creep into the arcades.

The tipping point where the momentum shifted toward videogames over pinball in the arcade was definitely Space Invaders in ’78, whichwas so wildly successful it showed that arcade video games were here to stay,and that they were a bigger moneymaker than the pinball machines were. There’sa story that Japan had a shortage of the ¥100 coin because of Space Invaders, which unfortunately is justtoo cool to be true, but it does go to show how it was a new cultural force that came in. 

[ehunterfilmfestivals2020]

20.10.20

Frank Greys talk was specifically about how experiences can either be immersive or cinematic or both. Giving an example of this being seen within physical spaces, using projection and inner spaces. 

These are the notes I gathered from the talk. 

Cinematic experiences can be seen and used: 

Based on environmental factors

The medium of the film 

To have a sense of storytelling 

Creating physical spaces

An Immersive experience can be seen and used: 

Uses the senses

The space of concept

Artificial surroundings

Can be used as an art form 

Physical Spaces:

 Robert Barkers purpose-built 360-degree panorama 1793 - ‘Paronrama 1793’ - “ Panorama from greek translates to ‘pan’ which is (all) and hormam which is (view).

Louis Daguerre’s Painting ‘Holyrood Chapel’ derived the diorama for this Paris Theatre. Using paintings as visual elements of the story. 

A painting can immersive you in the same way as a cinematic experience. From the environment, structure and narrative colours it holds.

Brighton Aquarim, Eugenis Birch, 1827. The new space at the time, using gaslight and creating theatre elements. 

Projection: 

Projection is possible because of the projector.

The greek art of lights and shadows Athanaive Kircher, 1645

“A cinephile of ingredients for the projection” - A magic lanten. - The magic lantern becomes a storytelling image in 1890.  

Screen X (2015) - A 270-degree panoramic view - the use of five projectors. A multichannel. 

Video and sound installation - Bill Viola - ‘Fire women’ - an non-narrative experience. 

Inner-Space: 

An inner-space experience of ourselves, by ourselves - like reading a book. 

Peep shows

Stereoscope - 1861 - The sterograph (or steroview) 

Kinetiscope, 1894 - A single person 35mm film viewer. 

Moving image at home - 1955 - television

Mobile devices 

Virtually reality.

All of these notes look at how an experience can be manifested in a film festival.

[chrisdeflitchphoto-blog]

Week 8

What were your success and failures?

The last two weeks were focused on forming the display around the record, and getting the materials needed. I felt I was quite successful in executing the idea I had in my head in person, and the materials I selected to expand on my photo will compliment the project as a whole.

What artists are you looking at? How do these relate to the work you are making?

I wasn’t necessary looking at specific artists, but I’ve been looking at technologies that have displayed images for decades. Things like the Kinetiscope, the ViewMaster, and the Zoetrop influenced how I will stage the record, and how the barriers will effect the viewpoint of the image.

[compatiissante]

“he juggles, he pouts about people not choosing his stuff--”

”....oh no, he's adorable.”

[rudimentaryrecollections]

Frankfurt am Main,18-21 August 2017

Just having a look around. The hostel is close to central station and is in the red light district.. I got in too late to join the hostel pub crawl, so I went out for some food. Had my best falafel here and watched a cover band in a public stage area. On my way back I got offered sex by a woman in the street. It's my first red light district so I'm amazed. If only I were wealthy and more debaucherous. "Hallo, sex?" And all I would have had to do is say "Ja" and that's that. But alas, that will never be me.  I said 'Nein'.

Then I got lost and went down a street with lots of pink and red fluorocarbon and neon lights on the balconies of buildings. There were women looking down from them. I have a beer at the hostel then go to sleep.

The best hostel breakfast here. Free because I booked for three nights. There is hummus, five types of breads and cheese and deli meat and fruit and lentil puree and fresh chopped vegetables and the standard affair of spreads and cereals. And it is served from 7am-12pm! The last hostel was 7am-9am.

I go to a film museum that day and spend four hours there. It documents the history of film starting from peep shows and moving through the invention of photography and devices such as a kinetiscope which was a mechanical device for one person to watch a silent film.

I get back to the hostel for happy hour and make some friends who I take to the felafel spot for dinner. We have more drinks back at the hostel. I befriend a Chinese American, Rita who I trade details with. She lives near Nuremberg and offers me a couch to sleep on if I visit. She has a rain jacket that creates makes an interesting black and white silhouette when photographed with a flash.

A crew decides to go out to a karaoke bar. It is midnight and a half hour walk away and I would need another six beers to enjoy and participate in karaoke so I decide to go to bed instead. I sleep for ten hours. The next day it is sunny and I walk. There are exposed pipes all over the city which are painted blue and pink, which I quite like as a scenic feature. Green parks surround the city centre.

Most of Frankfurt's old buildings were destroyed in WW2 so it is a very modern city. It is also wealthy, with lots of banks and corporations having offices here, including the European Central Bank which lends Greece all their money. I walk around the botanic gardens at the university and watch a skate competition for some time. Then I walk to the rebuilt old town which is nothing too special. I walk along the Main River and return to the hostel. From here I go with some of my friends to the Apple Wine festival. Frankfurt is the Apple Wine capital of the world apparently. It tastes like apple cider. I have more beers at the hostel and play pool and go to bed. In the morning Truman, a friend from Newcastle calls and I talk to my old friends from Newcastle which is nice. I kill time in the hostel chatting with some of the friends I had made then catch a bus to Leipzig.

I will be busy and moving quickly over the next two weeks. I go to Leipzig for two nights, then to Prague  for two nights to stay with Rianne. Then I will fly catch a bus to Berlin and fly to Stockholm to meet my friend Liss from Newcastle. I will make my way back to Prague somehow from there.

[cohnphoto]

Masstransiscope by Bill Brand on the Q train out of DeKalb Ave. 1980/2008/2013 #kinetiscope #movingart #subwayculture #streetcells