Performing the technical image

de Bruyn, Dirk 2011, Performing the technical image, in Animating Time-Space Symposium, [University of Waikato], [Waikato, N.Z.], pp. [unknown]-[unknown].

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Title Performing the technical image
Author(s) de Bruyn, Dirk
Conference name Animating Time-Space Symposium (2011 : Waikato, N.Z.)
Conference location Waikato, N.Z.
Conference dates 30 Sep - 2 Oct, 2011
Title of proceedings Animating Time-Space Symposium
Editor(s) [Unknown]
Publication date 2011
Conference series Animating Time-Space Symposium
Start page [unknown]
End page [unknown]
Total pages [unknown]
Publisher [University of Waikato]
Place of publication [Waikato, N.Z.]
Keyword(s) animation
digital technology
Summary The recent public multi-screen performance of formalist experimental animation by film artists such as Guy Sherwin, Bruce McLure and Greg Pope respond to the immediacy and speed of new digital technologies, the rise of Vilem Flusser’s ‘technical image’ and the consequent disappearance of reflective space identified by Prensky, Kroker, Virilio and Postman. Flusser’s ‘technical images’, benefiting from the digital’s painterly hyper-malleability structure and content, signifier and signified, so much the subject of Peter Gidal’s arguments in support of his concept of ‘materialist film’ in the 1970’s.  In the digital those formal editing strategies used to create the ‘technical image’ within analogue image construction that traditionally took place in the artist’s studio within the camers and optical printer are now executed inside the computer, having migrated into the post-production process.  Within the work of these artist’s recent multi-screen presentations these manipulations are now-elusively experienced in live ephemeral performance, re-forming and laying bare those processes that have been rendered invisible in digital technology.  The significance of this work partly lies in its ability to communicate historical information a-historically. Guy Sherwin and Lynn Loo’s method in their play with 16mm film flashes and after-images and Sherwin’s mirror performance further reproduces Goethe’s method from his Theory of Colours (1840). Greg Pope’s scratch performances re-enact the operation of Konrad Zuse’s 1930’s computing machine. Affinities are drawn between Bruce McLure’s immersive overpowering sonic and flicker performances with Edwin Land’s 1960’s experiments on colour constancy on which Land’s Retinex Theory of colour is based.
Language eng
Field of Research 190201 Cinema Studies
Socio Economic Objective 950204 The Media
HERDC Research category E2 Full written paper - non-refereed / Abstract reviewed
HERDC collection year 2011
Persistent URL http://hdl.handle.net/10536/DRO/DU:30045004

Document type: Conference Paper
Collection: School of Communication and Creative Arts
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