Etiquetas: John Whitney

Contenido etiquetado

  • Expanded Cinema Program 2: Cosmic Consciousness & Cybernetic Cinema

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    In our second program focusing on Gene Youngblood’s 1970 book Expanded Cinema, Lightstruck will focus on artists who – through their visionary use of incredible machines both homemade and hi-tech – produced works that sought to extend and externalize human consciousness in a cinematic form uniting mind, heart, spirit, and soul.

    Fechas: 

    Jueves, Junio 26, 2025 - 20:00

    Local: 

    2220 Arts + Archives - Los Angeles, Estados Unidos

  • Scratch Projection: Absolute Abstraction - Five American Artists

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    SCRATCH PROJECTION / January 16th, 8:30pm, Luminor Hotel de Ville Paris
    Guest program by Mark Toscano, in his presence

    This program focuses on five American artists who developed eclectic practices devoted to abstraction, inspired by diverse references including hard-edge abstract painting, cellular formations, optical/neural connections, and Islamic geometrical patterns.

    Fechas: 

    Martes, Enero 16, 2024 - 20:30

    Local: 

    Luminor Hôtel de Ville - Paris, Francia

  • Xcèntric: Construcciones espirituales

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    Samadhi (Jordan Belson, 1967)

    Un programa de proyecciones en paralelo a la exposición “La máquina de pensar. Ramon Llull y el «ars combinatoria»”

    Antes de que los artistas trabajasen con ordenadores, una serie de pintores de vanguardia, como Oskar Fischinger, Harry Smith y Jordan Belson, crearon un cine no narrativo que tenía en cuenta la geometría, las posibilidades de combinaciones matemáticas y también la espiritualidad. Tras estos visionarios, otros artistas como John Whitney abrazaron el nuevo medio de la imagen sintética para seguir indagando en la animación abstracta. Muchos otros autores y autoras han seguido su estela hasta nuestros días.

    Fechas: 

    Domingo, Diciembre 4, 2016 - 18:30

    Local: 

    Centre de Cultura Contemporània de Barcelona - Barcelona, España

  • 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)

  • Geometry in motion

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    Radio dynamics (Oskar Fischinger, 1942)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)

    Categoría: 

  • 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.

    Valoración: 

    Promedio: 3.7 (6 votos)

    Categoría: 

    Editor: 

  • 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.

    Valoración: 

    Promedio: 3.1 (14 votos)

    Categoría: 

    Editor: 

Etiquetas relacionadas

Paul Morrissey Philip Makanna videotronic Buckminster Fuller James Whitney John Stehura Scott Bartlett James Seawright John Schofill John McHale Will Hindle Otto Piene John Whitney Jr. Ronald Nameth John Cage Jordan Belson Nam June Paik Stan VanDerBeek Oskar Fischinger Harry Smith Pat O'Neill Michael Snow Carolee Schneemann expanded cinema Stan Brakhage

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