Il Sun Moon - Atmospheric Frame (Page 2)

Il Sun Moon

Close-up and Cinema

Main Reference: Mary Ann Doane, ‘The Close-up: Scale and Detail in the Cinema’, Differences, 14.3 (2003), 89–111 https://doi.org/10.1215/10407391-14-3-89. Tags: #cinema #Montage #Eisenstein #Epstein Reference at the front from Main reference, at the end from second reference 90 엡스테인 * 가장 오래된 필름 이론중의 하나인

Deleuze and Diagram in the Architectural Point of View

Deleuze and Diagram in the Architectural Point of View

Reference: Ben van Berkel and Caroline Bos, ‘Diagrams: Interactive Instruments in Operation’, in This Is Not Architecture: Media Constructions (London; New York: Routledge, 2002) * Architecture still articulates its concepts, design decisions, and processes almost exclusively through posteriori rationalisations. * The compulsive force of legitimising arguments still dominates contemporary debate, * Since architecture

Where is My World?

In my childhood, computer game was a fixed space, without time or location. There was an event, and game items, but it was a fixed spacetime. During the game, I was able to divide the space inside the computer and the real physical space. As much physical time was frozen,

SEEABLE RELATIONSHIP. SAYABLE CONNECTION #04: In Search of Lost Time

This post is not organised writing or essay, but the fragmented thought. In the Dream and In-between Once the dream was known as the future to come. It shows the messages from the ancestors to warn the dangers or fortunes. Or, it was a desire that is suppressed long time,

Merleau-Ponty (1948) - the World of Perception & the World of Science

2020 So Far So Far

It is surprising in both ways, one is it is already July, and the other is it is yet July. It is not unusual that contradictory two emotions floating around me. Still, I would like to say, this time, more than before, too many emotions and thinking is messing around

The Place of Artists’ Cinema

Reference: Maeve Connolly, The Place of Artists’ Cinema: Space, Site and Screen (Bristol: Intellect, 2009) Chapter 5 165 * Recent years have seen a new wave of artists directing feature films devised for theatrical exhibition. Profiling ‘Hollywood’s New Wave’ in 2006, Linda Yablonsky claims that ‘more and more artists are

Media-archaeology and Artist: Rear‐View Mirror

202003290348 — Media-archaeology and Artist: Rear‐View Mirror Reference: Erkki Huhtamo, ‘Art in the Rear‐View Mirror: The Media‐Archaeological Tradition in Art’, in A Companion to Digital Art, ed. by Christiane Paul (Chichester, West Sussex ; Malden, MA: John Wiley & Sons Inc, 2016), 69- 일반학자들과 미디어 고고학과의 관계 69 * Devices

Position of the Memories and Knowledge

What is the purpose of the photography? Depending on the profession or the situation, or even the devices. It can be various. Most of the time, especially with my phone , I take photos to remember the moment that I was there, or I found something to remain as a resource.

Journey to the Seaside and honest back story of my work

What is the nature of making art? If it is not simply about fashioning forms and colours, then it has to do with the production of meaning…If you begin there you realize that potentially everything is material for art, because at some point it has to have an aspect

Seeable Relationship. Sayable connection. #03

This post is not organised writing or essay, but the fragmented thought. Previous Were we to attempt to see the intervals between things as themselves things, the appearance of the world would be just as noticeably changed Merleau-Ponty, Maurice, and Donald A. Landes, Phenomenology of Perception (Abingdon, Oxon ; New York:

Seeable Relationship. Sayable connection. #02

This post is not organised writing or essay, but a fragmented thought. #01 From the last posting, I think it is worth continuing the topic. Although I am interested in the topic of the moment of becoming ‘seeable’ or the after a moment of affection (I guess I should read

Seeable Relationship. Sayable connection. #01

When I first saw him. The seeing is not about the biological vision, but a moment of recognition about a person, as in front of you or in the same space. It can be anywhere–a first meeting, or a date, or in a party. This visibility can be triggered

I shout a cry

I’m listening to music. What else I can do? In this time, in this mood. I cannot read anymore, I cannot watch anything. I won’t call it depression or sorrow, whatever makes me sound like weak or stupid. I know I am already self-indulgent, but if you want

Pneumatic disappearance

Why do I like moving image? Is it because it makes me less lonely? or it makes me hard to think anything else than images? When looking back at my work at BA and MA, most of them were cute drawings or pseudo infographics (well, if I can go back

Cringing

Desired Desires

I just suddenly started writing and didn’t notice this long… just wrote anything without conclusion…Sometimes I feel that the connotation of ‘desire’ is, even in Art institutions, inevitably connected with negativity. In many time, desire to live, to be loved, to be happy, and beauty–either sexually or

Processing: Pixels to Sound

Peter Wollen’s Relationship Between Photography and Time

Photography is like a point, Film like a line. — Peter Wollen Photography near-zero duration and located in an ever-receding ‘then’. At the same time, the spectator’s ‘now’, the moment of looking at the image, has no fixed duration. Roland Barthes Barthes’ antipathy towards the cinema, which is because his

Wheeling Motion and Memory

Reference: Bruno, G. (2003) ‘Collection and Recollection: On Film Itineraries and Museum Walks’, in Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson. Amsterdam: Amsterdam University Press (Film culture in transition). Theories 13세기 부터 유행한 기억술은 기본적으로 수집(collection)과 재수집(recollection 회상)을 통해 공간을 맵핑하는 것과 연결

Annette Michelson's Camera Obscura, Camera Lucida

Reference: Turvey, M. (2003) ‘Introduction’, in Michelson, A., Allen, R., and Turvey, M. (eds) Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson. Amsterdam: Amsterdam University Press (Film culture in transition). Summary: 60년대 중반에 이르러 데리다가 미국에 유입되었고 이러한 흐름은 프랑스의 68의 흐름과 더불어 ‘resistance to semantic function’ 새롭게

Indexicality

Walter Benjamin and Archival Cultural Theory

* Benjamin’s cultural theory is significantly oriented toward the avant-garde as the corollary(필연적 결과적) to the implicit (내제하는) dangers of the society of the spectacle. * @Guy_Debord와 이 사상을 공유한다. -> an insistence on dismantling the society of the spectacle) @Benjamin’s understanding of the urgency of his

Archiveology

Design – Directed, Controlled, and Persuasive

The frame started its history accompanied by the image. It shifted its form from the spatial environment, virtual image, spatial object, and once again into the spatial and time-based environment. In cinema, it is possible to speak a message through the narrative or by an actor’s line. The narrative