dinsdag 14 september 2021

Carolee Schneeman; up to and including her limits (1973/77)


The drawing accumulations which occur during my suspension on the rope are called automatic writing or trance markings. For non-specified durations I turn myself into a randomized drawing machine. The situation seems personal—being nude, my voice on the tapes, my image in the film—but while the figure on the ropes is actual it becomes less “real” than the woman of the film. There is no idea of “performance” whatsoever; while working on the rope I may not know if there are any spectators or none. The movements and gestures which produce the strokes are controlled by the torsion of my body wound in the rope. My only thought is to be an extension of the rope itself. Until discomfort or loss of concentration occurs I let my entire body function as a pencil.

dinsdag 23 maart 2021

Grawlixes and the movies: chilly willy *!@?*W!!@


Tex Avery;  Chilly Willy: the legend of rockabye point (1955)

 grawlixes as silenced or censored curse



grawlixes @grawlixes #grawlix #grawlixes @grawlix grawlix emanata @emanata #emanata  maldiciendo, c @symbolswearing #symbolswearing obscenicons @obscenicons #obscenicons @symbolswearing #symbolswearing  @# $% &*@!!?! @#$@@%%^& **!! ?! (..) %#@#$!! & #$@!!!

maandag 16 november 2020

Eye-Movements and the Aesthetics of Visual Form' G.M.Stratton (1902)

the eye moves far less accurately over an outline than has usually been supposed;
it takes a course which is but a rough approximation of the form which we perceive it.
The eye darts from point to point, interrupting its rapid motion by instants of rest. 
And the path by which the eye passes from one to another of these resting places does not seem to depend very nicely upon the exact form of the line observed. 
The eye may take a short cut that is nearly or quite a straight line while »following« the Segment of a circle, 'as in some portions of Fig. 3. 
Or it may take a graceful swing which is, however, entirely unlike the curve which is the object of perception; as in the final sweep in Fig. 9, where the objective Une and the eye's path bend in the very opposite directions. So that we cannot say that the eye invariably takes the most direct route to its destination — that it moves in straight lines, or on an unchanging axis^), Nor even when taking a curved course does there seem to be any Single and invariable curve that it follows.

(..)For as the higher aesthetic effects depend, as Wundt has said, upon the awakening of intellectual, ethical and religious ideas ; so it is, in a measure, even on the plane of mere abstract line.
A graceful contour, too, arouses intellectual ideas; and if its enjoy- ment does not arise directly from our ethical and religious nature, it at least comes from something akin to this — arises from our sympathy with well-ordered action and from our love of participation in such action — qualities in us that are at the foundation of morality and worship itself.

donderdag 10 september 2020

Grawlixes and the Kuleshov effect

 the Soviet filmmaker Lev Kuleshov conducted an experiment in which he took a shot of an expressionless face and created three different short films, editing the face with a bowl of hot soup, girl in the coffin, or the seductive woman on a couch. 

Even though we know the shot of the actor exactly the same in each scenario, audiences read meaning into the actor’s face by the nature of the shots around it.

here is a variation that tries to show the effect of Grawlixes 

It shows the similarity between Grawlixes and 'affect'

"If emotions are personal experiences, then affects are the forces (perhaps the flows of energy) that precede, produce, and inform such experiences." (steven shaviro)

And according to Silvan Tomkins feedback of the facial response is the experience of affect

and thus in the grawlixes examples above the same affect can evoke different emotions

and the same expression is interpreted differently when connected to different affects




vrijdag 4 september 2020

woensdag 9 oktober 2019

Grawlixes and Art: TAMTAM 1986

TAMTAM; Concrete Poetry
magazine founded by Adriano Spatola and Giulia Niccolai  (italy)

Supplement: No. 46/b
C. Lubrano "Fragments 13+2"

zondag 14 juli 2019

Kurt Cobain Nevermind Grawlixes

Kurt Cobain grawlixes (in Journals (2002))

grawlix, grawlixes, cussing, programming with grawlixes, obscenicons, upfix, swirls, emanata, 

donderdag 27 juni 2019

Yoko Ono (4) a line is an agressive dot

Line Talk
     A line is a:
       sick circle.
       billion lines that are cluttered into a narrow space
       unfolded word
       agressive dot