Jujube/abstracts-text - Revision history

Jujube: /* Cinematic experience/cinematography */

2020-01-03T09:22:41Z

Cinematic experience/cinematography

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	= Cinematic experience/cinematography =		= Cinematic experience/cinematography =

			== Illuminating Reality: Cinematic Identification Revisited in the Eyes of Buddhist Philosophies ==

			Victor Fan. from the book: The Structures of the Film Experience by Jean-Pierre Meunier: Historical Assessments and Phenomenological Expansions. ed. Julian Hanich, Daniel Fairfax

			Jean-Pierre Meunier proposes identification as an intersubjective process. However, his takes the attitude that the "a permanent and individuated subject has been in operation all along." By looking into Madhyamaka (theory of emptiness) and Yogacara (theory of existence) school of Buddhism, the author explains the interrelationships - "the intersubjectivity of [the process of identification] is driven...by a samskara that crries memories from the past, memories from which the divide between the self and other, the spectator and the image, and the past and the future are all initiated." (245)

			Points:

			- Background: Buddhism is not a form of spiritualism, as recognized in Europe and North America. All schools of Buddhism "reject the notion of the spirit" and Buddhism was "developed out of a philosophical, not religious, discourse in ancient South Asia." Chinese film theory developed from 1860's through the Republic period was based on the re-reading of Buddhist logic, along with comparative studies between Budhism and European Philosophy and the Kyoto School of Philosophy.

			- nirvana: not meaning the abandonment of self and sense-perception for achievement of sunyata (emptiness), but a release from our unawareness that nidanas and sunyata inter-are. It is the awareness of no coming, no going, no birth and no death.

			-"Identification is... a process initiated from an attachment to existence (temporality), and the self." (249) "[I]dentification is an instantiation of attachment, an active ignoring of an assemblage of causalities that gives rise to both the sensory-perceptual body and the image." (250)

			- In Yogacara school of Buddhism, the self is initiated when the six consciousnesses are initiated. The "self" is the summation of the six consciousnesses.

			- images in Yogacara meditation (250)
			* image (milieu) given form by own attachment (parikalpitah-sabhava)
			* imagination (standalone image)
			* misrecognition (substance-image)
			* image initiated out of own nature (nature-image)

			- causalities in Yogacara meditation (251)
			*hetu-pratyaya (immediate and circumstantial causes)
			*samanantara-pratyaya (chronological causes)
			*alambana-pratyaya (encounter between two sense-media)
			*adhipati-pratyaya (assisting causes)

			- seeds in Yogacara theory:
			* storehouse consciousness
			* seeds
			* When seeds are actualized, the first six consiousnesses areise interdependently with the self-consciousness. Each actualization of a seed initiates a series of smrtsis (awarenesses), and a sequence of awarenesses constitutes an image that exists in time.
			* Temporality is not made up of a sequence of awarenesses, but a fabric of interdependently related awarenesses, each producing its own cause-and-effect chain (samskara or force-of-life), and together with it, ignorance (avidya).


	== Is a Museum a Factory? ==		== Is a Museum a Factory? ==

Jujube at 13:39, 2 January 2020

2020-01-02T13:39:36Z

← Older revision		Revision as of 15:39, 2 January 2020
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	Separating from [[Jujube/methods-session-3 \| //synopsis//]], this is a space for abstracts and less wholistic summaries. Included here are texts of tangential interest, of topics too general to apply to my practice and of short bursts of investigation that no longer seem relevant.		Separating from [[Jujube/methods-session-3 \| //synopsis//]], this is a space for abstracts and less wholistic summaries. Included here are texts of tangential interest, of topics too general to apply to my practice and of short bursts of investigation that no longer seem relevant.

			= Migritude =

			immigration anger

			acquired tongues

	= Criticizing Photographs: An Introduction to Understanding Images =		= Criticizing Photographs: An Introduction to Understanding Images =

Jujube: /* Empirical/Structuralist */

2019-10-08T06:34:40Z

Empirical/Structuralist

← Older revision		Revision as of 08:34, 8 October 2019
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	TBC TBC TBC		TBC TBC TBC

	= ~~Empirical~~/~~Structuralist~~ =		= Experimental film/fim in labs =

	Film and Music in Laboratory Experiments: Emotion Induction, paper by Âse Innes-ker		Film and Music in Laboratory Experiments: Emotion Induction, paper by Âse Innes-ker

Jujube: /* Haptic aesthetics */

2019-10-03T12:28:32Z

Haptic aesthetics

← Older revision		Revision as of 14:28, 3 October 2019
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	TBC TBC TBC		TBC TBC TBC

			= Empirical/Structuralist =

			Film and Music in Laboratory Experiments: Emotion Induction, paper by Âse Innes-ker

			Visual Responses in Perceptual Cinema, paper by Stephen Salniker

			The first paper overviews ways of using film for emotion researchers in a lab environment. The second paper is a detailed deconstruction of an experimental film, written by the filmmaker.

			The Empirical psychologist and the Structuralist filmmaker share the same sterile, removed language. While verbs such as "elicit", "induce", "produce" emotion or affect hint at a linear, result-oriented way of thinking/knowledge production in the science community, in the context of a filmmaker's analysis, they sound manipulative.

	= Contemporary art (writing) =		= Contemporary art (writing) =

Jujube: /* Chantal Faust: lead session at Transimage Conference , Plymouth UK 2016 */

2019-09-26T14:41:13Z

Chantal Faust: lead session at Transimage Conference , Plymouth UK 2016

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	= Haptic aesthetics =		= Haptic aesthetics =

	==Chantal Faust: lead session at Transimage Conference , Plymouth UK 2016 ==		==Chantal Faust: lead session at Transimage Conference ==

			Plymouth UK 2016

	In this lyrical paper, Faust intends to communicate the relationship between haptics and visual arts. She states that haptics pushes the limits of optics, creates a type of non-visual consumption and fuses time ("the touch of an object can travel through time...")		In this lyrical paper, Faust intends to communicate the relationship between haptics and visual arts. She states that haptics pushes the limits of optics, creates a type of non-visual consumption and fuses time ("the touch of an object can travel through time...")

Jujube: /* Archaic Paradigms of the Screen and Its Images */

2019-09-26T14:40:34Z

Archaic Paradigms of the Screen and Its Images

← Older revision		Revision as of 16:40, 26 September 2019
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	Competition with television provoked the development of scale and shape of the auditorium. 3D, immersive experience, and IMAX are some examples of the developments.		Competition with television provoked the development of scale and shape of the auditorium. 3D, immersive experience, and IMAX are some examples of the developments.

			== The concept of the Mental Screen: The Internalized Screen, the Dream Screen, and the Constructed Screen ==

			Roger Odin

			Definitions of the screen: more or less large physical surface where text, still/animated images, interface controls are displayed. Display modes: projection, transparency slide, scanning, contact.

			'''the internalized screen'''

			What is the cinema space now when people think of cinema? an enclosed space with spectators present, a projection in the dark, surround sound. -- Cinema has become a mental screen. The authors used a few abstractions to differentiate the experience that is cinema (and that is not, or somewhere in between).

			Discursive introducers: mentally enter the cinema space (seeing a movie on TV)

			Pragmatic introducers: devices intending to modify the physical space of the viewing (Dolby sound at home)

			Exclusive rigid connector: cinema experience linked to a specific space and not via TV or phone

			Inclusive rigid connector: one abstract oneself from the physical context

			Flexible connector: home cinema

			Open connector: viewers enjoy what they see without thinking too much

			'''the dream screen'''

			"The dream screen would be an operator that one an hold in one's hand, watch as long as one likes, as many times as one likes, alone or with others, a screen that one can carry around, that one can keep with oneself at all times, an operator allowing for exchange and discussion...passed from hand to hand and that would even allow one, like photography, to send moving images to distant family members or friends." Today, it is the phone.

			'''the constructed screen/screen as a frame'''

			frame = a will to communicate

			transform the world into an aesthetic space

	== Digital Cinematography: Evolution of Craft or Revolution in Production? ==		== Digital Cinematography: Evolution of Craft or Revolution in Production? ==

Jujube: /* The concept of the Mental Screen: The Internalized Screen, the Dream Screen, and the Constructed Screen */

2019-09-26T14:40:25Z

The concept of the Mental Screen: The Internalized Screen, the Dream Screen, and the Constructed Screen

← Older revision		Revision as of 16:40, 26 September 2019
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	narrative, poetry (emotions), memory		narrative, poetry (emotions), memory

	~~== The concept of the Mental Screen: The Internalized Screen, the Dream Screen, and the Constructed Screen ==~~

	~~Roger Odin~~

	~~Definitions of the screen: more or less large physical surface where text, still/animated images, interface controls are displayed. Display modes: projection, transparency slide, scanning, contact.~~

	~~'''the internalized screen'''~~

	What is the cinema space now when people think of cinema? an enclosed space with spectators present, a projection in the dark, surround sound. -- Cinema has become a mental screen. The authors used a few abstractions to differentiate the experience that is cinema (and that is not, or somewhere in between).

	~~Discursive introducers: mentally enter the cinema space (seeing a movie on TV)~~

	~~Pragmatic introducers: devices intending to modify the physical space of the viewing (Dolby sound at home)~~

	~~Exclusive rigid connector: cinema experience linked to a specific space and not via TV or phone~~

	~~Inclusive rigid connector: one abstract oneself from the physical context~~

	~~Flexible connector: home cinema~~

	~~Open connector: viewers enjoy what they see without thinking too much~~

	~~'''the dream screen'''~~

	"The dream screen would be an operator that one an hold in one's hand, watch as long as one likes, as many times as one likes, alone or with others, a screen that one can carry around, that one can keep with oneself at all times, an operator allowing for exchange and discussion...passed from hand to hand and that would even allow one, like photography, to send moving images to distant family members or friends." Today, it is the phone.

	~~'''the constructed screen/screen as a frame'''~~

	~~frame = a will to communicate~~

	~~transform the world into an aesthetic space~~

	= Haptic aesthetics =		= Haptic aesthetics =

Jujube: /* Cinematography / Editing */

2019-09-26T14:40:14Z

Cinematography / Editing

← Older revision		Revision as of 16:40, 26 September 2019
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	Competition with television provoked the development of scale and shape of the auditorium. 3D, immersive experience, and IMAX are some examples of the developments.		Competition with television provoked the development of scale and shape of the auditorium. 3D, immersive experience, and IMAX are some examples of the developments.

	~~= Cinematography / Editing =~~

	== Digital Cinematography: Evolution of Craft or Revolution in Production? ==		== Digital Cinematography: Evolution of Craft or Revolution in Production? ==

Jujube: /* Cinematic experience */

2019-09-26T14:40:03Z

Cinematic experience

← Older revision		Revision as of 16:40, 26 September 2019
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	''To speak of reality becoming a spectacle is a breathtaking provincialism. It universalizes the viewing habits of a small, educated population living in the rich part of the world, where news has been converted into entertainment... It assumes that everyone is a spectator. It suggests, perversely, unseriously, that there is no real suffering in the world. But it is absurd to identify "the world" with those zones in the rich countries where people have the dubious privilege of being spectators, or of declining to be spectators, of other people's pain, just as it is absurd to generalize about the ability to respond to the sufferings of others on the basis of the mind-set of those consumers of news who know nothing at first hand about war and terror. There are hundreds of millions of television watchers who are far from inured to what they see on television. They do not have the luxury of patronizing reality.''		''To speak of reality becoming a spectacle is a breathtaking provincialism. It universalizes the viewing habits of a small, educated population living in the rich part of the world, where news has been converted into entertainment... It assumes that everyone is a spectator. It suggests, perversely, unseriously, that there is no real suffering in the world. But it is absurd to identify "the world" with those zones in the rich countries where people have the dubious privilege of being spectators, or of declining to be spectators, of other people's pain, just as it is absurd to generalize about the ability to respond to the sufferings of others on the basis of the mind-set of those consumers of news who know nothing at first hand about war and terror. There are hundreds of millions of television watchers who are far from inured to what they see on television. They do not have the luxury of patronizing reality.''

	= Cinematic experience =		= Cinematic experience/cinematography =

	== Is a Museum a Factory? ==		== Is a Museum a Factory? ==

Jujube: /* The Cinematic */

2019-09-26T14:37:05Z

The Cinematic

← Older revision		Revision as of 16:37, 26 September 2019
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	transform the world into an aesthetic space		transform the world into an aesthetic space

	~~= The Cinematic =~~

	~~== Agnès Varda ==~~

	Agnès Varda, response to "3 Questions sur: Photo et Cinéma', in ''Photogénies'', no.5, ed. Raymond Bellour, Sylain Roumette, Catherine Sentis (Paris: Centre National de la Photographic, April 1984) n.p. Translated by Ian Farr, 2006

	''Photography never ceases to instruct me when making films. <span style="background:#DED9E2;">And cinema reminds me at every instant that it films motion for nothing, since every image becomes a memory, and all memories congeal and set.</span> In all photography there's the suspension of movement, which in the end is the refusal of movement. There motion is in vain. In all film there's the desire to capture the motion of life, to refuse immobility. But in film the still image is in vain, like the foreboding of a car breakdown, like watching out for death.''

	~~== Gilles Deleuze ==~~

	~~Gilles Deleuze, Beyond the Movement-Image//1985. Cinema 2: The Time-Image (london: Athlone Press, 1989) 16-18~~

	''The vase in Late Spring is interposed between the daughter's half smile and the beginning of her tears. There is becoming, change, passage. But the form of what changes does not itself change, does not pass on. This is time, time itself, 'a little time in its pure state': a direct time-image, which gives what changes the unchanging form in which the change is produced. The night that changes into day, or the reverse, recalls a still life on which light falls, either fading or getting strong (That Night's Wife, Passing Fancy, 1930). <span style="background:#DED9E2;">The still life is time, for everything that changes is in time, but time does not itself change, it could itself change only in another time, indefinitely. At the point where the cinematographic image most directly confronts the photo, it also becomes most radically distinct from it. Ozu's still lifes endure, have a duration, over ten seconds of the vase: this duration of the vase is precisely the representation of that which endures, through the succession of changing states...</span> It is in this way that nature or stasis was defined, according to Schrader, as the form that links the everyday in 'something unified and permanent'. There is no need at all to call on a transcendence. In everyday banality, the action-image and even the movement-image tend to disappear in favour of pure optical situations, but these reveal connections of a new type, which are no longer sensory-motor and which bring the emancipated senses into direct ration with time and thought. This is the very special extension of the opsign [pure optical image]: to make time and thought perceptible, to make them visible and of sound...'' <----- still image here directly contrasts that in Varda's view, but it makes sense, how still life (shots of objects) can convey a passage of time, though not always

	~~== Peter Wollen ==~~

	~~Peter Wollen, 'Fire and Ice', in ''Photographies'', no.4 (Paris, April 1984) 118-20.~~

	''The lover of photography is fascinated both by the instant and by the past. The moment captured in the image is of near-zero duration and location in an ever-receding 'then'. At the same time, the spectator's 'now', the moment of looking at the image , has no fixed duration. It can be extended as long as fascination lasts and endlessly reiterated as long as curiosity returns. This contrasts sharply with film, where the sequence of images is presented to the spectator with a predetermined duration and, in general, is only available at a fixed programme time.''

	~~...~~

	''Photography appeared as a spatial rather than temporal art, vertical rather than horizontal (simultaneity of features rather than consecutiveness) and one which allowed the spectator time to veer away on a train of thought, circle back, traverse and criss-cross the image. <span style="background:#DED9E2;">Time, for Barthes, should be the prerogative of the reader/spectator: a free rewriting time rather than an imposed reading time.</span>''

	= Haptic aesthetics =		= Haptic aesthetics =