{"id":339,"date":"2007-03-11T21:13:30","date_gmt":"2007-03-11T20:13:30","guid":{"rendered":"http:\/\/www.lumen.nu\/rekveld\/wp\/?page_id=339"},"modified":"2009-04-07T22:09:50","modified_gmt":"2009-04-07T21:09:50","slug":"lecture-3-image-as-trace","status":"publish","type":"page","link":"https:\/\/www.joostrekveld.net\/?page_id=339","title":{"rendered":"lecture 4: traces"},"content":{"rendered":"<p>&#8211; shortening of the long now in painting<\/p>\n<p><img decoding=\"async\" alt=\"gozzoli1461.jpg\" id=\"image418\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/gozzoli1461.jpg\" \/><br \/>\n<em> Benozzo Gozzoli, The Dance of Salome (1461-62)<\/em><\/p>\n<p><img decoding=\"async\" alt=\"degas1875.jpg\" id=\"image419\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/degas1875.jpg\" \/><br \/>\n<em> Edgar Degas, Place de la Concorde (1875)<\/em><\/p>\n<p>&#8211; Etienne-Jules Marey and the &#8220;M\u00e9thode Graphique&#8221;<\/p>\n<p><img decoding=\"async\" alt=\"oresme1350.jpg\" id=\"image421\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/oresme1350.jpg\" \/> <img decoding=\"async\" alt=\"marey1866kikker.jpg\" id=\"image422\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/marey1866kikker.jpg\" \/><br \/>\n<em> The first graph in history by Oresmius (ca. 1350), and graph-producing machines by Etienne-Jules Marey (1866)<\/em><\/p>\n<p>&#8211; Etienne-Jules Marey and Chronophotography<\/p>\n<p><img decoding=\"async\" id=\"image423\" alt=\"marey188.jpg\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/marey188.jpg\" \/><br \/>\n<em> Chronophotograph by Marey (ca. 1882)<\/em><\/p>\n<p><img decoding=\"async\" id=\"image424\" alt=\"marey1885.jpg\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/marey1885.jpg\" \/><br \/>\n<em> Chronophotograph by Marey (ca. 1885)<\/em><\/p>\n<p>&#8211; Motion study and the rationalization of work<\/p>\n<p><img decoding=\"async\" alt=\"gilbreth1916brick.jpg\" id=\"image425\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/gilbreth1916brick.jpg\" \/><br \/>\n<em> Chronocyclegraph of bricklaying by Frank Gilbreth (1912)<\/em><\/p>\n<p><img decoding=\"async\" alt=\"gilbreth1918models.jpg\" id=\"image426\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/gilbreth1918models.jpg\" \/><br \/>\n<em> 3D motion models by Frank Gilbreth (1918)<\/em><\/p>\n<p><img decoding=\"async\" id=\"image427\" alt=\"gastev.jpg\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/gastev.jpg\" \/><br \/>\n<em>ideal hammer motion by A.K.Gastev (ca. 1926)<\/em><\/p>\n<p>&#8211; Chronophotography and futurist painting<\/p>\n<p><img decoding=\"async\" id=\"image345\" alt=\"ballabalcony.jpg\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/03\/ballabalcony.jpg\" \/><br \/>\n<em> Giacomo Balla,<font size=\"-1\"> Ragazza che corre al balcone<\/font> (1912)<\/em><\/p>\n<p>&#8211; Philosophical toys and the invention of cinema<\/p>\n<p><img decoding=\"async\" alt=\"phenakistiscope.jpg\" id=\"image428\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/phenakistiscope.jpg\" \/><br \/>\n<em> Phenakistiscope (ca. 1840)<\/em><\/p>\n<p><img decoding=\"async\" alt=\"lumiere1895camera.jpg\" id=\"image429\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/lumiere1895camera.jpg\" \/><br \/>\n<em>the Lumi\u00e8re camera (1895)<\/em><\/p>\n<p>&#8211; a history of scanning<\/p>\n<p><img decoding=\"async\" alt=\"baird1925.jpg\" id=\"image430\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/baird1925.jpg\" \/><br \/>\n<em>J.L.Baird and an experimental scanning device (ca. 1925)<\/em><\/p>\n<p><img decoding=\"async\" alt=\"zworykin1938.jpg\" id=\"image431\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/zworykin1938.jpg\" \/><br \/>\n<em> Zworykin and his vacuum tube (1938)<\/em><\/p>\n<p>&#8211; Bergson, montage and mental imagery<\/p>\n<p><img decoding=\"async\" id=\"image432\" alt=\"romberghalphabet.jpg\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/romberghalphabet.jpg\" \/><br \/>\n<em> memory shortcuts by Romberch (ca. 1520)<\/em><\/p>\n<p><img decoding=\"async\" id=\"image433\" alt=\"eisensteindialect.jpg\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/eisensteindialect.jpg\" \/><br \/>\n<em> dialectical montage by Sergei Eisenstein (ca. 1938)<\/em><\/p>\n<p>&#8211; timeslices and timecubes<\/p>\n<p><img decoding=\"async\" alt=\"mcmillan.jpg\" id=\"image434\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/mcmillan.jpg\" \/><br \/>\n<em>time-slice recording by Tim McMillan (1983)<\/em><\/p>\n<p><img decoding=\"async\" alt=\"fishchinger1922wax.jpg\" id=\"image435\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/fishchinger1922wax.jpg\" \/><br \/>\n<em>Oskar Fischinger&#8217;s wax-slicing machine (1922)<\/em><\/p>\n<p><img decoding=\"async\" alt=\"timecube.jpg\" id=\"image436\" src=\"https:\/\/www.joostrekveld.net\/wp\/wp-content\/uploads\/2007\/04\/timecube.jpg\" \/><br \/>\n<em> anonymous timecube imagery (2007)<\/em><\/p>\n<p>further reading:<\/p>\n<ul>\n<li>Marta Braun, &#8220;Picturing Time, The Work of Etienne-Jules Marey&#8221;, University of Chicago Press, 1992.<\/li>\n<li>Siegfried Zielinsky, &#8220;Audiovisions, Cinema and Television as Entr&#8217;actes in History&#8221;, Amsterdam University Press, Amsterdam, 1999.<\/li>\n<\/ul>\n<p>even further reading:<\/p>\n<ul>\n<li>Lew Andrews, &#8220;Story and Space in Renaissance Art, the Rebirth of Continuous Narrative&#8221;, Cambridge University Press, 1998.<\/li>\n<li>Laurent Mannoni, &#8220;Etienne-Jules Marey, La M\u00e9moire d&#8217;Oeil&#8221;, Mazotta, Milano, 1999.<\/li>\n<li>Stephen Kern, &#8220;The Culture of Time and Space, 1880 &#8211; 1918&#8221;, Harvard University Press, 1983.<\/li>\n<li>Peter Weibel, &#8220;Die Beschleunigung der Bilder in der Chronokratie&#8221;, Benteli, Bern, 1987.<\/li>\n<li>Albert Abramson, &#8220;The History of Television, 1880 to 1941&#8221;, McFarland, Jefferson, 1987.<\/li>\n<li>Henri Bergson, &#8220;L&#8217;\u00e9volution cr\u00e9atrice&#8221;, Presses Universitaires de France, Paris, 1941.<\/li>\n<li>Oliver Sacks, &#8220;<a target=\"_blank\" href=\"http:\/\/www.nybooks.com\/articles\/16882\">In The River of Consciousness<\/a>&#8220;, New York Review of Books, vol 51, nr 1, 2004<\/li>\n<li>J\u00f6rg Jochen Berns, &#8220;Film vor dem Film&#8221;, Jonas Verlag, Marburg, 2000.<\/li>\n<li>Tim McMillan&#8217;s company <a target=\"_blank\" href=\"http:\/\/www.timeslicefilms.com\/\">TimeSlice films<\/a><\/li>\n<li>Golan Levin&#8217;s <a target=\"_blank\" href=\"http:\/\/www.flong.com\/writings\/lists\/list_slit_scan.html\">chronology<\/a> of &#8216;slit-scan video&#8217;<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>&#8211; shortening of the long now in painting Benozzo Gozzoli, The Dance of Salome (1461-62) Edgar Degas, Place de la Concorde (1875) &#8211; Etienne-Jules Marey and the &#8220;M\u00e9thode Graphique&#8221; The first graph in history by Oresmius (ca. 1350), and graph-producing machines by Etienne-Jules Marey (1866) &#8211; Etienne-Jules Marey and Chronophotography Chronophotograph by Marey (ca. 1882) &hellip; <a href=\"https:\/\/www.joostrekveld.net\/?page_id=339\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">lecture 4: traces<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":167,"menu_order":6,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-339","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.joostrekveld.net\/index.php?rest_route=\/wp\/v2\/pages\/339","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.joostrekveld.net\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.joostrekveld.net\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.joostrekveld.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.joostrekveld.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=339"}],"version-history":[{"count":0,"href":"https:\/\/www.joostrekveld.net\/index.php?rest_route=\/wp\/v2\/pages\/339\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.joostrekveld.net\/index.php?rest_route=\/wp\/v2\/pages\/167"}],"wp:attachment":[{"href":"https:\/\/www.joostrekveld.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=339"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}