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Xcèntric: Spiritual constructions

By Marcos Ortega on Mon, 28/11/2016 - 03:30

A programme of screenings to accompany the exhibition “The Thinking Machine. Ramon Llull and the «ars combinatoria»”

Before artists worked with computers, a series of avant-garde painters such as Oskar Fischinger, Harry Smith and Jordan Belson created a form of non-narrative film that addressed geometry, the possibilities of mathematic combinations, and spirituality. After these visionaries, artists like John Whitney embraced the new synthetic image medium to continue exploring abstract animation. Many artists have followed in their wake, up until the present day.

Dates:
Sunday, December 4, 2016 - 18:30
Venue:
Centre de Cultura Contemporània de Barcelona
Expanded cinema

Youngblood G. 2013. Expanded cinema. Mediaversi. :xvi+388.
Cine expandido

Youngblood G. 2012. Cine expandido. :456pp.
Expanded Cinema

Youngblood G. 1970. Expanded Cinema. :432pp.
“The first book to consider video as an art form, was influential in establishing the field of media arts. In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilising new technology, including film special effects, computer art, video art, multi-media environments and holography.” (Wikipedia)
The Avant-garde Film: A Reader of Theory and Criticism

Sitney P.A, Eisenstein S, Richter H, Epstein J, Dulac G, Artaud A, Cornell J, Deren M, Peterson S, Broughton J et al.. 1978. The Avant-garde Film: A Reader of Theory and Criticism. Anthology film archives. :295pp.
Contents:
Geometry in motion

By Marcos Ortega on Thu, 07/02/2013 - 09:01
Geometry in motion
Wednesday, February 18 2013, 18h
Musée d'art moderne André Malraux
2, boulevard Clemenceau, 76600 Le Havre

A programme in resonance with the coming of the Centre Pompidou Mobile to Le Havre that will present "Circles and Squares," a selection of works about geometric abstraction.

Shortly after painting, cinema takes possession of abstraction in the first decades of the 20th century. After the first works (the chromatic music of the Italian Futurists, the colorful rhythms of Leopold Survage) it is in Germany where the first stream of abstract film develops.

Based on this historical avant-garde, this programme will provide an overview of geometry in motion along with American films and contemporary digital experimentation.

Programme:
- Rhythmus 21 (Hans Richter, 1921-23, 3’20, 16 mm, b&w)
- Symphonie Diagonale (Viking Eggeling, 1921-24, 7’00, 16 mm, b&w)
- Anémic cinéma (Marcel Duchamp, 1925-26, 2’00, 16 mm, b&w)
- Kreise (Oskar Fischinger, 1933, 2’00, 16 mm, colour)
- Squares (Oskar Fischinger, 1934, 5’00, 16 mm, colour)
- Radio dynamics (Oskar Fischinger, 1942, 4’00, 16 mm, colour)
- Matrix III (John Whitney, 1972, 11’00, 16 mm, colour)
- 69 (Robert Breer, 968, 5’00, 16 mm, colour)
- Get Set (Ian Helliwell, 2005, 3’25, video, colour)
- Machination (Lia, 2010, 5’43, video, colour)
- Star light n°5 bis (Cécile Fontaine, 2012, 5’55, video, colour)
Category:
Events
Cine expandido
Este libro se basó en artículos que publiqué entre 1967 y 1970 en The Los Angeles Free Press, el primero y el más influyente de los periódicos underground que florecieron en los Estados Unidos en esa época. Las columnas sobre nuevos medios aparecieron bajo el logo "Cine expandido", un término acuñado entre 1966 por el cineasta experimental y artista pionero de multimedios norteamericano Stan Vanderbeek. Investigué y escribí el resto del libro en 1969 y principios de 1970.

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Category:
Books
Publisher:
EDUNTREF
Avant-Garde 3: Experimental Cinema 1922-1954
From the little theaters of the 1920s to the ad hoc film societies of the 50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and peFrom the little theaters of the 1920s to the ad hoc film societies of the 50s, avant-garde cinema knew no established form and held no predictable position.

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Category:
DVD
Publisher:
Kino Video