Sergei Eisenstein (1898 1948) proposed a series of techniques in his montage theory that provide a complete system for motion pictures. As optical sound became the dominant technology, his theories became concerned with the organization and relationship between sound and image. Concerned more with the editing of sequences than the graphic animation of imagery, montage nevertheless does have a direct relevance to the synchronization of sound and image. Eisenstein proposed a special type of montage form, chromo-phonic montage. This conception emerges from his critical engagement with the color-sound relationships surveyed in his article The Synchronization of the Senses, a fact that reflects the pervasive influence of synaesthesia on art before World War II.
Marcel Duchamp (1887 1968) produced only one film, Anmic Cinma (1926). It shares some of the concerns with creating an abstract visual language, but stands apart from the translation of the implied movement shown in abstract painting to the apparent motion of cinema. This film, shot by Man Ray, creates a visual comparison between a series of risqu French puns and a number of kinetic optical illusions that oscillate between convex and concave when spun. The relationship between the visual and verbal elements of this film is intricate; the complexity of meaning contained by this formulation is belied by the simplicity of the film itself. Understanding it requires a consideration of how this film and its subjects can be related to the rest of Duchamps oeuvre. This process reveals the abstract language Duchamp proposed in this film and his other works.
On The Money with Peter Hebert features an interview with critical theorist Michael Betancourt. The discussion focuses on the development of capitalism and its many discontents. Ideal program for anyone with an interest in learning more about fiat currency, financialization of the economy, and the Federal Reserve. The title is: "Hebert Interviews Michael Betancourt, A Critical Theorist Takes on Capitalism (Part 1)"
Rentier currencymoney that comes into existence not as a representation of past productive value, but by as a debt (loaned or borrowed)enjoys an illusory foundation precisely in that within capitalist economies the demand for escalating value masks the rentier paradox: that the debt posed by the rentier claim inherently always corresponds to a larger value than there are values for (re)payment.
