Fwd: Re: GRGR(26) - Paranoia=Analysis?

[Thomas Colin]

>From: "David Morris" <fqmorris at hotmail.com>
>To: thomas_colin at hotmail.com
>Subject: Re: GRGR(26) - Paranoia=Analysis?
>Date: Fri, 12 May 2000 16:38:50 CDT
>
>
>Muybridge does seem to mesh into this particular passage of GR especially 
>well.  He is credited by some to be the originator of the motion picture: 
>he did project these images in sequence to simulate motion.  Also this text 
>mentions elves walking up these gabled stairsteps, which was one of 
>Muybridge's recurrent motifs.  As for pornography?  Some would say that all 
>those classical nudes over the ages (at least since the Rennaisance) have 
>always been intended to titilate.  In GR "pornography" is an abstract 
>notion not to be confused with the literal, just as "paranoia" does not 
>refer to the mental disease.
>
>More Muybridge:
>Our concept of time and place has been changed by the work of 
>chronophotographers as it has done to those living in that era. 
>Chronophotography is the name Étienne-Jules Marey (1882) uses to describe 
>the time (chronos) photographs of movement sequences. For Marey his 
>chronophotographs are a means to dissect, otherwise invisible stages of 
>movement, for study. This is also true for the other chronophotographers 
>although not always purely scientific.
>
>The chronophotographer has to know all the ins and outs of the 
>photochemical process and the cameras he uses. He sometimes has to rely on 
>instrument makers for the adaptations to the camera and the shutter.
>
>Although Eadweard Muybridge starts as early as 1872 the technical 
>limitations of the wet collodion plate and the conventional shutters makes 
>it difficult to get good results. The wet collodion plate needs an exposure 
>time of several seconds. This is replaced by the dry plates (1880), the 
>more sensitive gelatin bromide emulsion on paperfilm (1888) and finally the 
>celluloid film (1890).
>
>http://web.inter.nl.net/users/anima/chronoph/index.htm
>http://web.inter.nl.net/users/anima/chronoph/first-15/index.htm
>http://web.inter.nl.net/users/anima/chronoph/index.htm
>
>Links:
>http://linder.com/muybridge/muybridge_5.html
>
>
>>From: "Thomas Colin"
>>
>>For those interested in a serious analysis of pornography and pornographic 
>>systems of representation, I warmly recommend *Hard Core: Power, Pleasure, 
>>and the "Frenzy of the Visible,"* by Linda Williams, published by the 
>>university of California at Berkeley press. Amazingly clever and 
>>interesting book. The first part goes back, precisely, to Muybridges's 
>>reels, as a first step towards obsessive-compulsive "frenzy" to find 
>>gratifying pleasure through Films and Stills. When i read that, i couldn't 
>>help thinking P. had this in mind, especially when drawing a parallel 
>>between pornography, calculus, and the trajectory of the rocket.
>>Tom
>>
>>
>>>From: "David Morris" ----------
>>>(567.9)  Like signals sent out for travelers, shape keep repeating for 
>>>him,
>>>Zonal shapes he will allow to enter but won't interpret, not anymore.  
>>>The
>>>most persistent of these [...] are the stairstep gables [...] like 
>>>monuments
>>>to Analysis. [...] [delta]x and [delta]y [...] film and calculus, both
>>>pornographies of flight.
>>>----------
>>>Pornography akin to that by Eadweard Muybridge?
>>>http://masters-of-photography.com/M/muybridge/muybridge_ascending_stairs_full.html
>

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