Performing the technical image

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.

Glass : re-materializing the digital screen

Glass has a long history of manipulating light. Though lost to digital media and discernible in experimental film practice a physical relationship to light still operates in glass art.In our digitally dominated situation, glass's materiality, luminosity and malleability positions this medium uniquely to comment on both digital media's strengths and absences.

Blind alleys, blinding and blinded aliens : mapping the outer limits of the technical image

Marcia Jane's installation work is situated along a historic line of critical enquiry traceable back to Goethe. her energy field series re-tools for digital use the formal erasures of sturcturalist film, where the relationship between the signifier and the signified are inverted.

BlackBox4

I recognise John Wolseley’s method of interrogating the Australian landscape in Dunes Climbing a Mountain and South Flank of the Dune in my own re-animations of the landscape around Sea Lake. When such looking is directed at technology’s core rather than Nature, its noise produces ‘The Great Lalula’ (after Friedrich Kittler).

Telescope

Telescope is a feature length time lapse of reflections, changes in sunlight of my backyard, assembled over 20 years. Telescope starts in Super 8 and ends with digital video, shot mostly while the family were themselves at work, somewhere else. It is an emptied landscape. When people think of Australia they imagine open space and bush. But really most Australians inhabit or were born in suburban spaces, often with backyards with fences, big enough for fruit trees, lawns and clotheslines. I consider this a place of absence that speaks to many things that our culture avoids.The backyard as emblem of a White Australia that hit its highpoint in the 1950s, for example. Australia is a migrant culture settled by waves of newcomers escaping, running away from somewhere else, leaving to forget. Another story concerns the continued invisibility of the indigenous people. When the British first planted the Union Jack on Australian soil and said "there is nothing here" they set up a tradition of denial as our founding principle. This still plagues us. What is festering in Australian backyards are these denials and erasures that I try to bring out in the soundtrack, that plays like the radio that meanders through a lazy Sunday afternoon. Such sounds try to tell stories of absence, of occupation, and of a nostalgia for an Australia that no longer exists, but still palpably reverberates around the suburban backyard.

2 or 3 things I remember or should have known about him

Optic Antics celebrates the work of Film Artist Ken Jacobs’ substantial and ongoing materialist practice, straddling more than 50 years, complicit in the 60s explosion of experimental film and now witnessing and commenting on the digital onslaught. This practice includes 16mm films that are recognized as foundation works for an experimental artist based cinema, celebrated and ongoing film performances and a renewed digital practice that re-animates historic 3-D images in flicker form.

Frames

'The film is a mixture of flickery, letraset, light, scratching and hand-drawn colour. So rapid is the movement that it makes you wonder at times if you are looking at an image or its afterimage. Could a film like Frames be damaging to your retinam or neurological functions? if you sat in front of this type of film long enough, would it send you on a trip? Could it awaken a patient out of a coma? After a confronting seven minutes I felt exhausted and slightly frazzled. Such is the power of the film' Glen Hannah in Filmviews Number 130 p28 1986