Expanded Cinema

The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its performance spaces, but rather represented the peak of a spatial expansion that had been gathering pace throughout the twentieth century. As musicians explored their spatial parameters and artists included time in their work, attention was drawn to traditional viewing and listening procedures. Drawing on the theories of László Moholy-Nagy, Siegfried Giedion, Christopher Small and Brian O’Doherty, this chapter compares the conventions of gallery exhibition and display, viewing procedures and audience behaviour with the customs and aesthetics of listening in the traditional concert hall. Performance and installation art, aleatoric music and communal composition are used to propose a theory of spatialised creativity, audience activation and performativity.

The images produced by cameras mounted on the front of projectiles Farocki designates them as operative-images. The operational function of these images is to serve a automated vision machine, programmed for the detection of targets and re-orientation of the route of the missiles. The most important feature of technical images, according to Vilém Flusser, is that they materialize certain concepts about the world, precisely the concepts that guided the construction of devices that shape them. Thus, photography, very unlike automatically record impressions of the physical world, transcodes certain scientific theories into images, or to use Flusser´s own words, turns concepts into scenes. We suggest that the final stage, the perfect crime, of visionic technologies would be the production of synthetic images not intended for biological human eye, as hitherto, but for the artificial vision - vision synthetically prepared by cybernetic ideology of control. Today is impossible to describe the development of the audiovisual without also talking about the development of virtual imagery and its influence on human behavior or without point to the new industrialization of vision and the growth of a big  market for synthetic perception, with all the ethical issues that this entails. Finally, we propose that to understand a significant part of Harun Farocki's late work would also be useful the concept of neural-image as a component of a networked media practice, related to the ubiquity of digital technologies but also with the presence of surveillance devices in our contemporary visual culture.

ISBN: 978-0-9939520-0-5

2014 EBook Proceedings INTERACTIVE NARRATIVES, NEW MEDIA & SOCIAL ENGAGEMENT

An interdisciplinary conference for researchers and practitioners.  How has the digital screen changed our world in general and narrative and visual arts in particular is the broad focus of the second Department of Spanish and Portuguese at the University of Toronto and BRAFFTV Film and Media international Conference. We are interested, for instance, in the evolution of narrative practices from text-based literature to the advent of the digital revolution as storytelling moves from literacy to so-called post-literacy. The prevalence of new interactive digital narrative in all areas from games, to literature, to films, to video art has resulted in new forms of storytelling and, accordingly, provoked new practices of reading that transforms readers/viewers into active collaborators. We are interested in exploring transmedia, intermediality, the role of social media and digital globalization as well as narratives in games and graphic novels. Also, the impact of the digital screen on art and new exhibition practices. Physical public space is increasingly being substituted or augmented by virtual space through digital screens (e.g. video, film, computer). What effect do these new developments have on social space, seen here as encompassing both physical public spaces (streets, hotels, coffee shops) as well as virtual space (YouTube, Vine, Facebook, Twitter, Tumblr, Orkut, etc.)? How do these novel practices effect previously clearly demarcated frontiers between the public and the private? Throughout the world, from Brazil to Turkey to Canada, we have recently witness the influence of social media on political participation. How have these new platforms engendered innovative forms of expression? The Conference aims to bring together researchers, practitioners and theorists for a two-day conference at Victoria College at the University of Toronto on October 24-25. The presented papers will be evaluated for possible inclusion in a special issue of a journal on the proceedings. The following key topics/areas will be emphasized during the conference: 1. Intermediality, Transmedia and Remediation; 2. Expanded Cinema and Digital Screen Aesthetics; 3. Transnational Cinema and International Co-Productions; 4. Digital Animation and Games: Narrative and Interactivity; 5. Snack Media, Mobile Screens, Micro Movie, and Microblogging; 6. Social Media Engagement and New Technologies; 7. Hacktivism and Political Engagement; 8. Digital Art and Literature (eBooks, eReaders).

El presente Proyecto Final de Master se centra en la ejecución de una instalación audiovisual tomando como eje la temática de la memoria personal y reflexionando sobre los diferentes procesos que participan en su construcción. Debido a la multiplicidad de aristas que presenta esta temática, nos detendremos, sobre todo, en las relaciones multidimensionales (hipertextuales/hipermediales) que efectuamos entre nuestros recuerdos, en las apropiaciones de material externo que incorporamos como propio a nuestro archivo mnémico y en la influencia que imprimen los medios audiovisuales en la construcción de nuestra memoria.

A imagem fluxo e o espectador no espaço institucional da arte

Cristiane Herres Terraza & Lorena TravassosResumo
O artigo dispõe-se a refletir sobre a obra The Clock (2014), de Christian Marcley, em suas possibildades de fruição, como proposição artística que atende à categorização empreendida por Parente (2009) de cinema expandido, considerando a atitude do espectador impelida pelas experiências da flaneurie e da basbaque. Além desses conceitos, tem-se em conta o aporte teórico que trata do cinema lento e do espectador pensativo em relação à provocação primeira da referida obra: o tempo. Palavras Chave: estética da recepção, cinema expandido, espaço institucional da arte.
Palavras-chave: estética da recepção, cinema expandido, espaço institucional da arte.

In this chapter, I will look at expanded cinema performances by three key Japanese avant-garde artists of the 1960-70s, namely Takahiko Iimura, Jōnouchi Motoharu and Terayama Shūji. 1 The chapter will provide examples of their intermedial practice that, on the one hand, reveals the malleability of the medial properties of cinema and performance, yet, on the other hand, draws our attention towards the specifi city of both forms of expression. Framing the discussion within and beyond recent theoretical debates on intermedia, I will argue against Werner Wolf's categories of intermedia, proposing instead that media in expanded cinema is in a state of perpetual negotiation and dialogue with each other and resist such attempts at systematization. Through the analysis of these three Japanese artists' works and by opening up discussions beyond case studies from Europe and North America, this chapter will demonstrate the necessity for and benefi ts of interdisciplinary approaches to boundary-defying artistic practice, whilst contributing to the development of intermedia as a theoretical tool.

La presente investigación busca analizar a través de la antropología visual cómo funcionan las nociones de autoría y colaboración en la producción de documentales interactivos colaborativos. Ya que a diferencia del documental tradicional donde la ruta es preestablecida por el director, la participación del usuario se convierte en el elemento clave que articula todo el sistema. Por tanto, los límites de la autoría y de control sobre el discurso no están claramente delimitados. Para ello me focalizaré en tres actores que se movilizan los unos a los otros, creando un entramado complejo de relaciones: el autor, los sujetos representados y los usuarios. Por medio de estas figuras busco llegar a entender si es posible hablar de autorías compartidas en el documental interactivo y los niveles en los que puede operar.

Cinema apesar da imagem problematiza as telas, justamente as telas, tão presentes e afirmativas de seu formato mais hegemônico. Mas não se trata de lamentar a tela, muito menos a imagem. É o cinema sim, ou os fragmentos de sua constante expansão, flertando com outras possibilidades, esbarrando na vida. É a constatação de que não são mais apenas nas salas escuras, ocupadas por um público que compartilha cumplicidades tácitas, que o cinema acontece.

Há uma sugestão nas entrelinhas, de que libertar a imagem de suas molduras, a faz circular para além das convenções. Mas seria uma suposição simplista. O que aqui se reflete no ler e no imaginar (no fechar dos olhos, talvez) é um alargamento de linguagens, um diálogo geopolítico, a expansão de uma rede, em perspectivas que apontam não apenas para o visual, mas também para o textual, o interativo, o participativo, o sensorial, o portátil, o tempo real, o continuum das imagens.

Se um dos estigmas do cinema são suas crises anunciadas, há outras perspectivas latentes: num cinema como evento, no imbricamento entre processos (técnicos, logísticos, sensíveis), na engenharia de dispositivos, na reinvenção da gestualidade, em uma experiência cotidiana através das imagens — inclusive nas viagens promíscuas que o digital engendra —, que podem permitir ao espectador alguma experiência incomum em nosso momento contemporâneo. E se a disputa pelos modos de ver o mundo é um dos embates sensíveis da atualidade, a iniciativa (este livro e os acontecimentos que o gestaram) nos convence da importância de adensar debates e explicitar articulações, reconhecendo diferentes entendimentos sobre a tela e uma diversidade de expressões para além dela. As muitas ameaças ao cinema parecem fazê-lo cada vez mais onipresente, potente e múltiplo. (Lucas Bambozzi)

The cultural substance and influence that cinema provokes upon society is undoubtedly one medium that is unchallenged in relation to other historical modes of communication and entertainment. The way in which it has evolved through multiple formats and methods to reside in the position it currently operates in can be related to a complex and fascinating history reliant on that of experimental and avant-garde films. The breeding grounds for exploring the components that expand on traditional cinema techniques and narrative characteristics of film, and focus on the notion of film being a medium credible of conveying larger aspects. One format of avant-garde film that can be seen as more of an investigative state of cinema is the notion of expanded cinema and how it works beyond the screen to create an overall experience.

Surveys and contextualizes recent New Zealand artists' cinema by genre including, Landscape, Psychodrama, Identity Politics, Visual Music, Installed & Expanded Cinemas, and Animation. Touches on aspects of Asian and Western philosophy that resonate with cinema, art, perception and consciousness. From Diary of a Viewer, Part Three
Includes updates and revisions covering some work produced after the initial publication of this article in Illusions Magazine.

See also: Before Artists' Cinema

Since the beginning of the 21 st century, Expanded Cinema, a term meant to encompass various non-normative practices of cinema spanning from the mid-1960s to the mid-1970s -multiscreen projections, film/video performances, live projection events, installations, intermedia environments, electronic/computer film -has been given dramatically growing attention both by institutions shaping discourses and exhibitions concerned with new media art and by museums for supporting and developing mainstream contemporary art scenes. While commonly shedding new light on those practices that had long been heterogeneous and thus marginal in the histories of cinema and contemporary art, these two worlds have seemed to spiral closely around each other without ever quite meeting, therefore deepening the schism between two tendencies of Expanded Cinema: the avant-garde cinema and the digitally driven cinematic experimentations. In order to overcome this schism, this paper throws new light on similarities shared by those two tendencies, as the groundwork for a hybrid discourse that offers insights into the impure and dynamic ontology of cinema and the cross-disciplinary approaches to art that have questioned the idea of medium specificity. Here the discourse I propose for elaborating on the commensurability between -and the intersection of -the two tendencies while maintaining their differences is one of "interfacing" that is grounded in two overlapping meanings: interfacing (implying both deconstruction and reassembling) material,

In an attempt to produce critical associations between the fields of cinema, expanded cinema, contemporary art and digital live visuals, this paper investigates characteristics of VJing projection in the work of practitioners who do not engage primarily with this technique. The analysed pieces are the film Chelsea Girls (USA, 1966), by Andy Warhol; the installation series Cosmococas (Brazil, 1973), by Hélio Oiticia and Neville D’Almeida; and the multimedia project The Tulse Luper Suitcases (2003-), by Peter Greenaway. Each of them reorganizes the elements conventionally involved in the exhibition of moving images by either opening them up to contingencies or incorporating the apparatus in particular strategies of meaning and value, therefore challenging the established viewing regimes. With these analyses, I mean to emphasize the role of spatial organization in the experience of time and in the definition of the parameters for the performance of media technology, regardless of the institutional conventions that restrict each field of visual creation. By doing so, I hope to set more rigorous underpinnings to speculate over their future developments and interactions.

My thesis project explores how cinematic space can be articulated within an acoustemological framework. Re-situating cinema within a sonic – rather than a visual – ontology affords a capacity for privileging sensory and sensual forms of mediation that have been for the most part subsumed by the dominance of the image. Transmissions from the Technological Sublime is an audio-visual work comprising seven audio channels (comprising six regular speakers arranged in a hexagonal array and one subwoofer) as well as a durational, large-scale, 3D animated video projection employing an extra-wide aspect ratio of 16:3.
This project draws upon an expanded notion of sound as a medium that is not only vibratory but also anamnetic, encompassing the immaterial as well as the tactile and manifesting itself as topological, temporal and subjective. It also approaches the idea of space as a site that embraces the cognitive and cultural, and that can thus be similarly apprehended as both imaginary and substantive. Building upon a broadened approach to field-recording as a central research methodology and deploying the affective and tactile capacities of sound to bring a fictional, animated environment to life, the project seeks to engender an awareness of space that is vibratory, textural and evolving, rather than merely perspectival or fixed.

We could argue that artist Sondra Perry offers another type of modern exhibition space to display her moving images—from the black box of the cinema theater, the white cube of the museum or the gallery, to now “the blue room.” For Perry’s exhibitions at The Kitchen in New York City (November 2~December 10, 2016) and at the Squeaky Wheel Film & Media Art Center in Buffalo, NY (January 20~April 1, 2017), the walls of the gallery are painted a bright, matte shade of blue—precisely, chroma-key blue—citing a post-production technique primarily for removing and replacing a blue or green screen with a different background. The reference to the chroma-key blue of digital world-making speaks to fantasies of space travel: the possibility of positioning a subject against any background, in any place, every place, particularly amidst the darkness of the night sky or deep space. The blue screen, because of its low-luminosity, functions as an especially effective placeholder for the black void of outer space, its infinite nothingness....However, the possibilities of the blue room (or green room) technique depend upon the sharpness of the contrast between the subject in the foreground and the background, that is, upon the subject’s capacity to separate and define itself as a figure against the ground. Subject versus Background. Figure versus Ground. Light versus Dark. White versus Black (Blue)…What then of subjectivities—and bodies—that do not seem to possess the stabilized configuration of an “I”? What then for the figure that is diffuse, disaporic, both one and many, localized in neither a body or an identity? What then of the flesh?

Interaktywność, w wypadku sztuki rozumiana jako otwarcie dzieła na ingerencje odbiorców, prowadzące do przeobrażenia tradycyjnego, obiektywnie istniejącego i a priori ukształtowanego artefaktu w indywidualizowane w doświadczeniu odbiorczym wydarzenie 1 , pojawiła się w zauważalny sposób 2 w twórczości artystycznej już w latach pięćdziesiątych i sześćdziesiątych ubiegłego wieku 3 . Rzeczywisty rozkwit odnotowała ona jednak dopiero w kolejnych dekadach, za sprawą rozwoju technologii cyfrowej. Jej wzrastająca obecność we wszystkich sferach praktyk twórczych miała konsekwencje nie tylko dla dynamiki i skali rozwoju sztuki interaktywnej. Nadała także interaktywności nowy wymiar, nowe możliwości i jakości oraz wprowadziła ostatecznie sztukę interaktywną do kręgu najbardziej cenionych i najszerzej dyskutowanych zjawisk artystycznych ostatniej dekady minionego stulecia. Obecnie status interaktywności w sztuce powoli ulega zmianie; przestaje być ona pożądana dla niej samej czy też ze względu na właściwości bezpośrednio z nią powiązane (na przykład dotyczące konstrukcji interfejsu, struktury doświadczenia komunikacyjnego czy architektury informacji), lecz zaczyna być podporządkowywana podejmowanej problematyce, wykorzystywana przez artystów w różnych nowych dla niej celach, także takich, w ramach których jest sprowadzana do roli narzędzia dla aktywności wykraczających poza dotychczasowe granice twórczości artystycznej (na przykład: ekologicznych, politycznych, poznawczych). Uzyskiwane w ten sposób efekty przesłaniają niekiedy (i przenoszą na drugi plan) interaktywność dzieła, kierując zarazem uwagę odbiorcy ku podejmowanej problematyce (także niekoniecznie wyłaniającej się z interaktywności). Za przykład może posłużyć Image Fulgurator (2008) Juliusa DVD bądź interfejsem komputerowym, a nie z filmem. W innym rozdziale Cinema in the Digital Age, poświęconym problematyce nielinearności, tytułowe zagadnienie, powiązane w swej naturze z interaktywnością, zostało z kolei sprowadzone jedynie do rozważań nad nielinearnym montażem (autorskim), z pominięciem zagadnień nielinearnego odbioru 12 .

Surface and Projection is an investigation of the cinema event, defined as image, projection, space and audience. The project interrogates the place where cinema occurs for the viewer, starting with the special viewing conditions for film watching and the accepted roles they create for the film maker, the exhibitor and the spectator.

The artworks in Surface and Projection have been a series of reassemblages of the elements of the cinematic event. The film installation Moving Still Life is the key work.

The report starts by defining the event of cinema, drawing on French film theorist Jean-Louis Baudry’s 1970 essay Ideological Effects of the Basic Cinematic Apparatus. As Moving Still Life took shape, identifying its art and film historical contexts became part of the wider investigation of the cinematic event. Section 2 teases out resonances with Italian Arte Povera and outlines a brief history of super 8 art film making in Australia. It links these to the specific material grounds of Moving Still Life. Art in the public domain is discussed as the art work was initially conceived as an installation for outdoor public spaces.

Section 3 discusses expanded cinema, a primary art historical context. There is a general survey of this early intermedia form as it developed in the US and Europe and its presence in Australia.

While I make a case for the four elements that comprise the cinematic event, I expand upon the development of the artwork, where image became a dominant strand of its own. A specific form of film making evolved, focusing on the layered image. The final sections of the report, ‘Image’ and ‘Sequence’,  focus on this image work, drawing on Umberto Eco’s 1960 essay The Open Work and American art writer Rosalind Krauss’ writing on installation and post-medium artwork. The deconstructive ethos of the project leads to an analysis of the frame within the sequence and the attacks on the frame made by Moving Still Life and my image work in general. The analysis of sequence within moving images, draws on a seminal 1945 essay by American writer Joseph Frank, Spatial Form in Literature. This builds to a discussion of new media, interrogating its claim for interactivity in moving images, an impossibility while the frame remains the primary unit.

La realización de contenidos audiovisuales desde la mirada del cine y el audiovisual colombiano hace posible que los individuos puedan expresar y conservar su cultura, su memoria, su tradición oral y su identidad. Cuando estas manifestaciones audiovisuales se limitan en términos técnicos y conceptuales hace difìcil el tratar de representar simbólicamente la cosmovisión de los pueblos indígenas.

Hablar en Colombia de un cine expandido orientado al desarrollo de contenidos narrativos audiovisuales en el contexto indígena Colombiano implica entender dos instancias importantes. La primera reflexión debe darse en términos estilísticos ¿cómo integrar formas de representación foráneas a las formas de mirar la imagen desde la narrativa indígena?, la segunda reflexión se se enfoca a manera conceptual ¿cómo convertir en imagen procesos culturales enraizados en la abstracción de la cosmovisión indígena?.

Esta investigación centra su atención en las etnias y cabildos indígenas, enfatizando en la Comunidad Muisca Chibcha ubicada en Bogotá, quien aceptó iniciar la primera fase del proceso permitiendo experimentar desde el fenómeno audiovisual expandido categorías propias de lo ritualístico y la memoria ancestral. Así mismo potencializar a través de lo visual, lo sonoro, lo  interactivo y lo experiencial las percepciones del espectador y representar, re-conceptualizar  y configurar su mirada. 

Entender las potencialidades del cine expandido y seguidamente ponerlas en práctica dirigida a comunidades indígenas, no sólo permite una resignificación de su ancestralidad, sino que además posibilita la recomposición y visibilización de las mismas al ser confrontadas en paralelo con colectivos exógeno a ellas, presentándose una sola realidad bajo dos contextos sociales distintos que en definitiva contribuye a la creación, a un estado del arte que empieza a consolidarse y a una conservación del patrimonio fílmico Colombiano que integra y conserva la memoria ancestral y cultural indígena como también la producción y consumo de contenidos de un nuevo cine en Colombia.

Expanded Sexual Response (ESR) is a recently defined phenomenon. It is defined as "being able to attain long lasting and/or prolonged and/or multiple and/or sustained orgasms and/or status orgasmus that lasted longer and more intense than the classical orgasm patterns defined in the literature". During our detailed preliminary survey to investigate the claimed ESR phenomenon in some particular women, we also investigated the subjective feelings and altered states of consciousness (ASC) during very intense and prolonged orgasms in the women with ESR. During our preliminary survey 72 types of different subjective feelings and ASC patterns were described in the 47 women with ESR. Among these were: depersonalization; out of body experience; flying; dying feeling (petit morte)

The article tackles the current debate dealing with the possibilities of expansion of contemporary cinema, trying to provide theoretical tools in order to build a framework that considers the delicate relationship among space, image, and cinematic experience. Moving from the issue of medium specificity, the author identifies some possible contributions from Cultural, Media and Visual Studies with the aim of formalizing some key-concept for the study of contemporary (post-)cinematic forms.

Contemporary viewers’ reception of moving image based performances is undoubtedly affected by traditional cinematic experience [which refers to a dark, sound insulated room with fixed seats and a rectangular screen]. Since the beginning of the 20th century artists have explored the creative possibilities of the cinematic medium and attempted to re-invent its projection space. At night, the urban fabric may be used as a locus for image-based performances and thus transform into an ephemeral cinema space. The performances only survive in the viewers' memory, as the spaces will quickly regain their previous use. This new type of "projection space" may be public (squares, parks, disused industrial buildings), private (houses, art spaces, dance clubs), or semi - private (terraces, communal gardens). Through public art, urban voids become a center of social and cultural interaction. Viewers are not fixed in their seats, as in a typical cinematic space. They are dispersed and interact visually, being fully aware of each other's presence. The artwork itself may be interactive, in an attempt to increase the viewer's engagement. The accessibility of a public space is  a paramount concern, as it broadens the number of people who can participate. This paper will explore, through a series of historical and contemporary case studies, the effect of image-based events in changing people's familiar relations with urban space, focusing on the role of new media technology in facilitating common experiences and encouraging people to express themselves in a public context.

Taking as a point of departure the 1970s’ concept of the ‘dispositif’, this article seeks to redefine it in the context of experimental cinematic practices which reject the usual tools of filmmaking, or, more precisely, replace them by ‘retrograde’ technical means (such as handmade techniques, camera-less films, etc.). Instead of adhering to the classical notion of dispositif, which privileges the screening situation, I rather suggest that we envisage a dispositif of production, involving the spatial relationship between the body of the artist, the ‘pro-filmic’ event and his/her material at the very moment of production, and that informs the practices of cinematic retrograde technicity.

This paper deals with the spatial properties of the cinematic, television or computer screen in multimedia installations. We will attempt to illustrate the way that the screen surface is transformed from flat and frontal to a three dimensional space of visualization, through a series of case-studies dating from the interwar avant-garde movements to contemporary multimedia installations. Artistic experimentations, in particular the expansion and multiplication of screen space and the encouragement of audience participation, assisted by the evolution of technology from analog to digital, marked the introduction of immersive environments and interactive relations between spectator and image. In digital culture, the screen functions as a communication space for events and scenarios. Moreover, contemporary multimedia installations use the strong illusionary powers of the moving image and the notion of interactivity in an attempt to converge all modalities of perception in a conjoined space-time of real and virtual formations, creating an immersive narrative space with various levels of embodiment. Architectural design thus becomes an integral part of an installation, both in terms of virtual and physical space.

Keywords. Interactivity, Multimedia Installations, Expanded Cinema, Immersion

The series Breaking Bad (USA, 2008, developed by Vince Gilligan) is one of the most successful examples of the new 'author's television' and is characterized by exceptionally tight and well-written scripts. Actions and events in this show never happen 'for just any reason'. They always have reasons and consequences, often becoming clear only several episodes or even entire seasons later. The wealth of narrative detail, the references, the metaphorical language of film, and the many symbolic activations of film-aesthetic design techniques unite the explicit action with deeper levels of meaning. They create subtexts that might elude perception on the first or only viewing of the show. They reward active 'aesthetic seeing' and repeated viewing of the series with ever new discoveries.

Book:
In time for the B3 Moving Image Biennial, the B3 Reader will be released in late October 2013. The publication, edited by Bernd Kracke and Marc Ries, and with contributions by international authors, examines the expansion of new narrative formats in different media and media convergences. The B3 Reader exemplarily represents those positions, which have paved the way for »Expanded Narration« within specific historical configurations, generating and disseminating it today in different media and art systems, and analysing and negotiating it.

With texts by: Hans Ulrich Reck, Holger Kube Ventura, Christian Janecke, Erkki Huhtamo, Sabine Breitsameter, Martin Seel, Juliane Rebentisch, Winfried Pauleit and Sabine Nessel, Vinzenz Hediger, Martin Gessmann, Alain Bieber, Christine Lang, Markus Kuhn, Ramon Reichert, Stefan Günzel, Michel Reilhac, Alan Shapiro, Usha Reber, Bernd Kracke, Marc Ries, Marcel Schwierin, Rotraut Pape, Eva Paulitsch and Uta Weyrich, Steffen Huck, Diana Iljine and Sir Peter Jonas, Linda Breitlauf, Claudia Söller-Eckert, Ferdinand Schmatz, Norman Hildebrandt and Jonas Englert, Jos Diegel.

In: Kracke, Bernd; Ries, Marc (Hg.): B3 Reader. Expanded Narration. Das neue Erzählen, transcript, Bielefeld 2013

La escenografía digital agrupa un conjunto de técnicas y tecnologías que permiten contar con una solución adaptable a una variedad de puestas escenográficas únicas, reales o virtuales, con características de portabilidad sin precedentes, funcionando como complemento a la iluminación y a la escenografía tradicional, creando una herramienta innovadora para un nuevo tipo de narrativas adaptadas a la multiplicidad de medios de la época.
Usada en escenarios creados íntegramente en el espacio virtual ( video juegos, realidad virtual ), o parcialmente ( cine digital con pantallas verdes ) o trabajando en vivo sobre el espacio real ( puestas de teatro, operas o parques temáticos ), la escenografía digital es un acercamiento que permite traer a la realidad escenas que antes solo podían ser imaginadas.

A brief overview of landscape in New Zealand experimental film 1970 to 2015. Includes reference to recent Maori moving image making and possible future conceptions of landscape.                              Abridged and updated version of an article originally published in Illusions Magazine #41. Back issues of Illusions can be ordered from PO Box 6476, Marion Square, Wellington, New Zealand.

Lee Hangjun is arguably the only practitioner of South Korean avant-garde cinema since the 2000s whose works have increasingly gained attention not only at the local level but also in international experimental film cultures and contemporary art venues. His multiprojection films have been handled and distributed by Light Cone. His works—based on the various artisanal
methods of expanded cinema, including manual and chemical processing of film stocks, improvisational realtime manipulation of projectors or filmstrips, and collaborations with avant-garde musicians—have been
presented in Korea, Canada, the UK, France, and Belgium. These numerous presentations during the last few years have not simply included venues for the screening of avant-garde films but also galleries. Given that they are intended to highlight the presence of the cinematic apparatus, spectators, and the projectionist within different contexts of performance and viewing,
Lee’s projects are also seen as pertaining to expanded cinema’s prolonged association with “liveness, ‘immediacy,’ an emphasis on ‘primary experience,’ and the directness of viewing.”

The notion of "expanded cinema" leads toward a consideration of beauty and the sublime via Kant, Burke and Lyotard in the search for an understanding of what might truly be considered to expand cinematic horizons. To this end, Lars Von Trier's "The Element Of Crime" is examined through a close reading in an attempt to explicate how we might approach the sublime in cinema.

Alcoz, Albert, Radicales libres. 50 películas esenciales del cine experimental. Barcelona: Editorial UOC, 2019.

http://www.editorialuoc.cat/radicales-libres

Colección: Filmografías esenciales

Transcurriendo en paralelo a las rupturas estéticas de las vanguardias artísticas de principios del siglo XX, el cine experimental investiga el potencial del medio cinematográfico a través de sus posibilidades formales y su trasfondo crítico. Estas prácticas fílmicas interrogan las imágenes y los sonidos tecnológicos vindicando un espíritu autodidacta, narraciones atípicas, formulaciones abstractas y temporalidades inusitadas. Radicales libres analiza cincuenta obras fundamentales que constatan el desarrollo de la experimentación desde la década de los años 20 hasta la actualidad. De la sinestesia de la música visual a la transgresión del surrealismo; del vigor autobiográfico del «cine lírico» al reciclaje matérico del found footage; del minimalismo del structural film a la irradiación del expanded cinema; del discurso metafílmico del cine-ensayo a la pausa del documental contemplativo y del elogio fotoquímico del celuloide al cine de artistas en el cubo blanco. Libertad y radicalidad fundamentadas de modo cinemático.

Proyecto aplicado que ha producido una pieza de cine de exposición que reconfigura su narrativa mediante una programación con Pure Data basada en random, además se muestran la soluciones expositivas que tiene. Se complementa con un desarrollo teórico que busca solucionar el problema del
loop en este tipo de obras mediante el Random Cinema
LINK http://mariscus.es/WORKS/El-Cadencioso-Movimiento-de-los-Vagos

Malgré la réévaluation récente du cinéma élargi, les expérimentations qui ont vu le jour au Japon durant les années 1960 et le début des années 1970 continuent à être marginalisées. Il n'est bien évidemment pas question ici de nier l'influence des expérimentateurs nord-américains sur leurs homologues outre-Atlantique au Japon ; les présentations en multiprojection de l'Exposition Universelle de Montréal en 1967 1 ont en effet exercé un impact indéniable sur Awazu Kiyoshi 2 et Matsumoto Toshio, tous deux artistes influents de leur génération, le premier en tant que graphiste et le second en tant que réalisateur d'avant-garde, qui devinrent des figures de proue dans l'essor du cinéma élargi au Japon. À la fin des années 1960, on assiste à la propagation explosive du cinéma élargi en tant que forme d'expression, encore qu'il ne s'en tînt pas à ce stade-là, se développant dans plusieurs directions, bien au-delà de ce qu'avaient pu voir les artistes japonais à l'Exposition de Montréal. Il paraît pertinent, aujourd'hui plus que jamais, alors que la recension du cinéma élargi est en cours de constitution, de prendre en compte la diversité des expérimentations qui eurent lieu dans le cadre du cinéma élargi au Japon durant ses années de formation, afin de relativiser l'hypothèse selon laquelle son évolution fut un privilège euro-américain -hypothèse que certaines études récentes seraient à mon sens sur le point d'accréditer.

This chapter of my book "Performative Monuments" (2014) starts with a short introduction to the scene around the Viennese Actionists, to then look closely on the work of VALIE EXPORT, in particular as she relates to film, speech, performative force. The focus is on the audience and media theory around 1970, and leads me from EXPORT's Tapp- und Tastkino (Touch Cinema), and the series of Body Configurations to her architectural works (monuments, art spaces) and the competition for a Holocaust memorial in Vienna. The chapter before this one discusses VALIE EXPORT's Genital Panic.