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   movies: AESTHETICS
   movies: NEWS & REVIEWS
   movies: SHOWS & SCREENINGS
   random art notes
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   research: AVANT-GARDE MOVIES
   research: MOTION GRAPHICS
   research: VISUAL MUSIC
   theory: CRITICAL OBSERVATIONS
   theory: DIGITAL CAPITALISM
   theory: GLITCH & POSTDIGITAL
   theory: working notes

 

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"Beyond Spatial Montage" part 4 of 6

story © Michael Betancourt | published November 20, 2014 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: working notes

This theory work will be published as a book-length monograph Beyond Spatial Montage: Windowing, or, the Cinematic Displacement of Time, Motion, and Space by Focal Press.

Part 4 of a 6 Part series proposing an expanded theorization of spatial montage, excerpted from a current book project.

MotionSpace Displacement (Mirroring)

The most easily identified variety of MotionSpace displacement, a tessellated array of (typically) triangular images, is immediately recognizable as being kaleidoscopic. However, any mirroring, even a simple vertical reflection on screen creating a symmetrical pattern would qualify as a MotionSpace displacement. These simple forms are the most common: mirroring is the earliest form of windowing to be developed since the visual structure happens continuously in real time since it does not require the motion picture as technological supportas a result, the first examples of this displacement are pre-cinematic. They appear in the eighteenth and nineteenth centuries as developments in kineto-optical devices (both photography and the motion picture are also examples of these scientific concerns). While a simple split screen (two images) would not be an example of this technique, if it were instead a mirroring of the frame (so long as it was not a superimposition of the frame flipped horizontally or vertically) it would qualify as the simplest variety of MotionSpace displacement. Complex versions with multiple reflections, often resembling a kaleidoscope, are more readily identified versions of this visual displacement.




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"Beyond Spatial Montage" part 3 of 6

story © Michael Betancourt | published November 15, 2014 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: working notes

This theory work will be published as a book-length monograph Beyond Spatial Montage: Windowing, or, the Cinematic Displacement of Time, Motion, and Space by Focal Press.

Part 3 of a 6 Part series proposing an expanded theorization of spatial montage, excerpted from a current book project.

TimeMotion Displacement (Step Printing)

TimeMotion displacement is part of the foundational history of motion pictures. This type of sequential photograph, the chronophotograph, invented by the French scientist Etienne-Jules Marey, is immediately recognizable as representing a temporal shift where an identical, multiple-yet-singular formal structure of displacement is created entirely within a singular full-frame image. This displacement achieves a distinct juxtaposition and fragmentation of time and motion that is different in character and degree from spatial montagethe spatial element extending across the screen, is incidental to the organization as it is motion that characterizes these repetitions. This displacement of the duration across the screen as the individual motion echoes violates the continuous long take in precisely the same way that editing and other forms of montage do, but without breaching the integrity of the individual shot. Superimpositions produced with an optical printer (or using video/digital processing) can produce a visual displacement called step printing that transforms the chronophotograph into a motion picture.




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"Beyond Spatial Montage" part 2 of 6

story © Michael Betancourt | published November 10, 2014 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: working notes

This theory work will be published as a book-length monograph Beyond Spatial Montage: Windowing, or, the Cinematic Displacement of Time, Motion, and Space by Focal Press.

Part 2 of a 6 Part series proposing an expanded theorization of spatial montage, excerpted from a current book project.

​The technologies of compositing and image combination directly contribute to the development of juxtaposed imagery. While the production of composite imagery is evident in the history of motion pictures since the first Trik films were made in the 1890s, the relative rarity of these imageseven within the Trik filmremained relatively constant due to the difficulties of their production. The greatly reduced costs, coupled with relative ease of production with digital video has made the integration of live action, animation and graphic design via compositing a common feature of motion graphics and commercials even though it remains relatively unusual in narrative production.

​The distinction between different potentials within the range of these forms is a function of the on-screen affect of the materials combined. For narratives with live actors and edited sequences of shots, these potentials have a more limited application. The apparent division and fragmentation of the screen into smaller, discrete units in narrative works remains unusual even as similar forms appear more frequently in the commercials and title sequences accompanying these realist fictions.




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"Beyond Spatial Montage" part 1 of 6

story © Michael Betancourt | published November 4, 2014 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: working notes

This theory work will be published as a book-length monograph Beyond Spatial Montage: Windowing, or, the Cinematic Displacement of Time, Motion, and Space by Focal Press.

Part 1 of a 6 Part series proposing an expanded theorization of spatial montage, excerpted from a current book project.

Foundations

Links Between Time, Motion, and Space

​The typical cinematic image (either in long take or montage form) appears in the absence of additional constraints: the pure form of Motion is the long take (undisplaced movement contained by the long take); montage/editing are each a pure form of Temporal displacement, apparent through the ruptures created by the cut; the pure form of Spatial displacement lies with the use of multiple projectiona use that forms a range lying between apparently discrete screens and the composite screen produced by aligning the edges of one projector with another as in cinemascope or Able Gances Napoleon. Distinguishing between time, motion, and space in a theoretically precise manner allows for a more robust theorization of windowing: the distinction between one dimension and another is instantly apparent in the affect resulting from watching the motion picture itself. Each of these dimensions can be readily distinguished from the others through our encounter with it on screen: the affect it has determines its location within this taxonomy.




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Signal Culture Cookbook is now Available

story © Michael Betancourt | published October 27, 2014 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

The Signal Culture Cookbook is now available!

Initial information about the Cookbook can be found here and the e-book can be ordered here in exchange for a $25 contribution (of which $20 is tax deductible). Youll notice on the same page links for purchase of the Experimental Television Center Early Media Instruments 8 DVD set. People may also click a tab to make a donation without receiving anything in return.

I have a short article in this book, so I encourage everyone to buy many copies!