Marcel Duchamp - Anemic Cinema

Walter Ruttmann Ruttmann was born in Frankfurt am Main; he studied architecture and painting and worked as a graphic designer. His film career began in the early 1920s. His first abstract short films, "Lichtspiel: Opus I" (1921) and "Opus II" (1923), were experiments with new forms of film expression, and the influence of these early abstract films can be seen in some of the early work of Oskar Fischinger. Ruttmann and his colleagues of the avant garde movement enriched the language of film as a medium with new form techniques.

Secondary Currents (1983/Peter Rose) More From the retrospective "La Pellicule du Chaos" Secondary Currents (1983/Peter Rose/USA) 16' +++ "I'm an escape artist. I aspire to travel in the fifth dimension, to speakunknown languages, to discover the next stage in the evolution of thought. The Surrealist Object Surrealism was initially practiced in written form as textual production, as a means of freeing the literary mind from “writerly” conventions. Just as Sigmund Freud took dictation, so to speak, writing down what his patients told him, the Surrealists would write down the contents of their minds. If only they could awaken that deep level where the subconscious thoughts dwelled. At first, Surrealists resisted the visual in favor of language.

Man Ray Man Ray (born Emmanuel Radnitzky, August 27, 1890 – November 18, 1976) was an American modernist artist who spent most of his career in Paris, France. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his photography, and he was a renowned fashion and portrait photographer. Ray is also noted for his work with photograms, which he called "rayographs" in reference to himself.[1]

Left and Right: A Non-Euclidean Perspective (Robert Anton Wilson Our esteemed editor, Bob Banner, has invited me to contribute an article on whether my politics are “left” or “right,” evidently because some flatlanders insist on classifying me as Leftist and others, equally Euclidean, argue that I am obviously some variety of Rightist. Naturally, this debate intrigues me. The Poet prayed that some power “would the giftie gie us to see ourselves as others see us”; but every published writer has that dubious privilege. I have been called a “sexist” (by Arlene Meyers) and a “male feminist ... a simpering pussy-whipped wimp” (by L.A.

See The Engineering Behind This Floating, Award-Winning Stone Helical Stair See The Engineering Behind This Floating, Award-Winning Stone Helical Stair Helical staircases are often designed to be show-stoppers, focal points of architectural spaces that are intended to impress. But even compared to its eye-catching peers, this staircase developed by Webb Yates Engineers is unusually audacious. Developed for a residential design by RAL Architects in Formby, UK, each step of the two-story, 4.6-meter diameter helical staircase is composed of an individual block of stone, giving an impression of weightlessness as the structure circles its way up through the building's atrium towards the glazed roof above. For their efforts, Webb Yates recently won the Award for Small Projects at the Institution of Structural Engineers' 2016 Structural Awards, whose judges said that they were "amazed by the grace and audacity" of the design. Read on to find out how Webb Yates achieved this feat of engineering.

René Clair Early life[edit] René Clair was born and grew up in Paris in the district of Les Halles, whose lively and picturesque character made a lasting impression on him.[1] His father was a soap merchant; he had an elder brother, Henri Chomette (born 1896). He attended the Lycée Montaigne and the Lycée Louis-le-Grand. In 1914 he was studying philosophy; his friends at that time included Raymond Payelle who became the actor and writer Philippe Hériat.[2] In 1917, at the age of 18, he served as an ambulance driver in World War I, before being invalided out with a spinal injury. He was deeply affected by the horrors of war that he witnessed and gave expression to this in writing a volume of poetry called La Tête de l'homme (which remained unpublished). Back in Paris after the war, he started a career as a journalist at the left-wing newspaper L'Intransigeant.[3]

Beckett, Samuel: Quad I + II Samuel Beckett«Quad I + II» ‘Quad', the first in a series of minimalist experimental television plays made by Beckett in the 1980s for the broadcaster Süddeutscher Rundfunk, operates with a serial game involving the motional pattern of four actors, but equally accommodating four soloists, six duos, and four trios. Four actors, whose coloured hoods make them identifiable yet anonymous, accomplish a relentless closed-circuit drama. Once inside the square, they are condemned to monotonously and synchronously pace the respectively six steps of the lengthwise and diagonal lines it contains, in part accompanied by varying drumbeat rhythms. The mathematical precision and choreography is made possible by the exactness of the timing. Choreographic variation is confined to the number of performers, and the resultant changes in colour constellations.

Op art Introduction to op art The effects created by op art ranged from the subtle, to the disturbing and disorienting. Op painting used a framework of purely geometric forms as the basis for its effects and also drew on colour theory and the physiology and psychology of perception. Leading figures were Bridget Riley, Jesus Rafael Soto, and Victor Vasarely. Vasarely was one of the originators of op art. Germaine Dulac Germaine Dulac (French: [dylak]; born Charlotte Elisabeth Germaine Saisset-Schneider; 17 November 1882 – 20 July 1942)[1] was a French filmmaker, film theorist, journalist and critic. She was born in Amiens and moved to Paris in early childhood. A few years after her marriage she embarked on a journalistic career in a feminist magazine, and later became interested in film. With the help of her husband and friend she founded a film company and directed a few commercial works before slowly moving into Impressionist and Surrealist territory. She is best known today for her Impressionist film, La Souriante Madame Beudet ("The Smiling Madam Beaudet", 1922/23), and her Surrealist experiment, La Coquille et le Clergyman ("The Seashell and the Clergyman", 1928).

Samuel Beckett - Quadrat 1+2 (1982) Samuel Beckett (1906 - 1989) Runtime: 12 min Language: None Country: West Germany Color: Color Director: Samuel Beckett Description: Cloaked, cowled figures wander in patterns to rhythm instruments. Samuel Beckett's Quad was written in 1981 and first appeared in print in 1984 (Faber and Faber) where the work is described as "[a] piece for four players, light and percussion" and has also been called a "ballet for four people." It resembles something the shape-theatre ensemble Mummenschanz might have conceived, a frantic mime. The only thing in the Beckett canon that is at all similar is the short mime at the beginning of What Where. Luis Buñuel Luis Buñuel Portolés (Spanish pronunciation: [ˈlwiz βuˈɲwel portoˈles]; 22 February 1900 – 29 July 1983) was a filmmaker who worked in Spain, Mexico and France.[2] When Luis Buñuel died at age 83, his obituary in the New York Times called him "an iconoclast, moralist, and revolutionary who was a leader of avant-garde surrealism in his youth and a dominant international movie director half a century later".[3] His first picture—made in the silent era—was called "the most famous short film ever made" by critic Roger Ebert,[4] and his last film—made 48 years later—won him Best Director awards from the National Board of Review and the National Society of Film Critics.[5] Writer Octavio Paz called Buñuel's work "the marriage of the film image to the poetic image, creating a new reality...scandalous and subversive".[6] Early years (1900–1924)[edit] During his student years, Buñuel became an accomplished hypnotist.

Quad (play) - Wikipedia Collected Shorter Plays of Samuel Beckett, Faber and Faber, 1984, p 293 The four series of six stages each produce a total of twenty-four stages suggesting, as in Lessness, the measurement of time. The play is shown as recorded, with no cuts, just one fixed long take. Beckett had originally calculated its length at 25 minutes but, in reality, the whole set was completed in nine-an-a-half minutes. The building blocks of Quad can be found in a number of Beckett’s other works: The following section from Camus’s essay could almost sum up both Quad I and Quad II: