AN ARCHEOLOGY AND FUTURE OF MOVING PICTURES
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| Gert Aerdse | |
Jiři Hoskovec | ||
| Jaroslav Anděl | |
Christian Huebler | ||
| Roy Ascott | |
Prof. Erkki Huhtamo | ||
| Guy van Belle | |
Ryszard W. Kluszczynski | ||
| Michael Bielicky | |
Richard Kriesche | ||
| Bohuslav Blažek | |
Werner Nekes | ||
| Wolfgang Bock | |
Miklos Peternak | ||
| Dieter Daniels | |
Rolf Pixley | ||
| Erik Davis | |
Liz Rymland | ||
| Doc. Jiři Fiala | |
Claudia Schmacke | ||
| Richard Grusin | |
Barbara Maria Stafford | ||
| Tom Gunning | |
Mirek Vodrážka | ||
| Ivan M. Havel | Siegfried Zielinski |
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Prof. Erkki Huhtamo |
University of California |
erhuhta@ucla.edu |
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| The Avantgarde goes to (Pre-)cinema:
remarks about the role of optical devices in early 20th century avantgarde
art Avantgarde artists of the early 20th century repeatedly referred in their works to devices now often known as "pre-cinematic". Max Ernst recycled the zoetrope and Marey's "Station physiologique" in his collages. Oscar Fischinger made abstract animations for the Mutoscope. Coloured light projections were associated with the magic lantern show, and particularly one of its highlights, the Chromatrope. Marcel Duchamp not only engaged in a dialogue with Marey's version of chronophotography, but re-invented himself as a "precision oculist", re-enacting the trajectory of the physiological optics in the 19th century. Significantly, he finished his career by re-inventing the peepshow with Etant donnés (1945-1966). References to "pre-cinema" were not just passive reflections, but led to active experimentation with technology, anticipating media art. The relationship between avantgarde art and pre-cinematic technology has so far gone largely unscrutinized. This lecture provides a starting point for a critical re-assessment of this relationship.
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