Tuesday, NOV 16 - SITE MODEL

On Tuesday, NOV 16:

Bring site models (PHYSICAL and DIGITAL)

...yes, you can share the site models

Ready for Seoul

http://www.cnngo.com/seoul

Bangkok Marathon (Nov 21) + Fat Fish for Friday (Nov 12) ???

do you want to:

- go out for dinner this Friday Nov 12 at Fat Fish, after studio at 6pm?

   http://hungryinbangkok.blogspot.com/2010/07/fat-fish.html

- join Bangkok Marathon, Sunday Nov 21 at 3am?

   http://www.bkkmarathon.com/eng/index.php

   you need to register for this

let me know

Transforming Time by Sven Lutticken

In response to Fai's post,

this is the article that she read that y'all should read it too:

http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00009

transforming time by SVEN LÜTTICKEN part 2

Deleuze give the idea of movement-image and time-image through many artist which suggest that it's not just only explore in a piece of art but it can show in a cinema work. In transforming time, stated that "libration of time" can be explore to any cinematic time which in the article i study that time can be capture in 2 form: the immobile image and the cinema image which in the still image. Bergsoniam duration show that All layers of time coexist in the virtual state, open to actualization. One can plunge into and access this present past, this eternity. “The appeal to recollection is this jump by which I place myself in the vir- tual, in the past, in a particular region of the past, at a particular level of contraction.”16 In this way, pure recollection becomes recollection- images, which become actualized or embodied. which mean in the movement-image time is flow by the action and effect of that action In the time-image of the nou- velle vague, by contrast, the image becomes erratic(uncertain), liberated(free) from the sensory motor schemata ( the action that suppose to be). Deleuze himself along with Godard talk about Hitchcork movie. Deleuze allegorizes the break between movement-image and time-image by means of paralyzed characters in Hitchcock films. Godard points out that what remains is not the narrative, the classical construction of Hollywood cinema but disjointed moments—mental memory-images.

In the last half of essay talk about the cinema that somehow slow the shoot till it become like a series of stills image which Barthe state that “authentically filmic” cannot be found in moving image and also reading time is free; for film, it is not so, since the image cannot move faster or slower without moving its perceptual figure. My aspect about this article is time is free, time in the movie leave the moment that show the action or emotion of charactor in a slow movement than actual. Time in cinema is like a memory that contain in it. Time was mobile according to Bergson theory it can be short or long and it cant be measure, once you try to measure the time it will be gone. The time which Bergson explaining called "duration" which can only ever be grasped through a simple intuition of the imagination.

transforming time by SVEN LÜTTICKEN part 1

SPECIAL QUOTE

in which the images of cinema are seen not as representations but as “light-matter in movement,” as “events of luminous matter.”

how cinema finally realizes a liberated time-image, Bergsonian duration is defined less by succession than by coexistence.All layers of time coexist in the virtual state, open to actualization. One can plunge into and access this present past, this eternity. “The appeal to recollection is this jump by which I place myself in the vir- tual, in the past, in a particular region of the past, at a particular level of contraction.”16 In this way, pure recollection becomes recollection- images, which become actualized or embodied.

he movement-image is still regulated by the “sensory-motor functions” and dominated by the human body and its motions and affects. In the time-image of the nou- velle vague, by contrast, the image becomes erratic, liberated from the sensory-motor schemata.

Barthes’s counterintuitive argument is that the “authentically filmic” is not in fact to be found in the moving image but in frame enlarge- ments, which offer possibilities for reading films against the grain, disassembling and permuting them, undermining linear narrative— the film’s “logico-temporal order”—and allowing for a different flow of images, for “counter-narratives.”

However, most architectural photographs by Förg are devoid of people, focusing on the modernist and/or fascist architecture itself, in black and white or color. Often, the angles from which the pictures have been taken suggest fleeting glances, a subjective point of view, making the spectator into a cinematic witness.

“our culture offers us two different models for gaining control over time—the immobilization of the image in the museum and the immo- bilization of the viewer in the cinema.

"liberation of time"

Like Cornell, Warhol in his early films suggests that the narrative of the liberation of time might bite its own tail, that the end might be found in the beginning. Deleuze notes that in the time-image “move- ment can tend to zero, the character, or the shot itself, remain immobile; rediscovery of the fixed shot.”