简介
As Hollis Frampton's photographs and celebrated experimental films were testing the boundaries of the camera arts in the 1960s and 1970s, his provocative and highly literate writings were attempting to establish an intellectually resonant form of discourse for these critically underexplored fields. It was a time when artists working in diverse disciplines were beginning to pick up cameras and produce films and videotapes, well before these practices were understood or embraced by institutions of contemporary art. This collection of Frampton's writings presents his critical essays (many written for "Artforum" and "October") along with additional material, including lectures, correspondence, interviews, production notes, and scripts. It replaces--and supersedes--the long-unavailable "Circles of Confusion, " published in 1983. Frampton ranged widely over the visual arts in his writing, and the texts in this collection display his distinctive perspectives on photography, film, video, and the plastic and literary arts. They include critically acclaimed essays on Edward Weston and Eadweard Muybridge as well as appraisals of contemporary photographers; the influential essay "For a Metahistory of Film," along with scripts, textual material, and scores for his films; writings on video that constitute a veritable prehistory of the digital arts; a dialogue with Carl Andre (his friend and former Phillips Andover classmate) from the early 1960s; and two inventive, almost unclassifiable pieces that draw on the writings of Borges, Joyce, and Beckett. "Writing Art series"
目录
Collecting His Thoughts p. ix
Remarks on the Writings of Hollis Frampton
Acknowledgments p. xix
List of Illustrations p. xxi
Photography
Some Propositions on Photography p. 5
Digressions on the Photographic Agony p. 9
Eadweard Muybridge p. 22
Fragments of a Tesseract
Incisions in History / Segments of Eternity p. 33
A Talk on Photography and History p. 51
Time, Space, and Causality
Meditations around Paul Strand p. 58
Impromptus on Edward Weston p. 67
Everything in Its Place
Lecture Notes on Edward Weston p. 88
Erotic Predicaments for Camera p. 89
Fictcryptokrimsographology p. 95
Pictures, Krims's Pictures, Please! p. 100
Notes on Marion Faller's Photographs p. 103
Proposal for Adsvmvs Absvmvs p. 105
Adsvmvs Absvmvs p. 106
Film
A Lecture p. 125
For a Metahistory of Film p. 131
Commonplace Notes and Hypotheses
A Pentagram for Conjuring the Narrative p. 140
Notes on Composing in Film p. 149
Letter to Stan Brakhage p. 157
Letter to Donald Richie p. 159
Letter to the Editor, Artforum p. 163
Film in the House of the Word p. 166
The Invention without a Future p. 171
Interview at the Video Data Bank p. 183
Notes on Filmmakers p. 190
Zorns Lemma: Script and Notations p. 192
(nostalgia): Voice-over Narration for a Film of That Name p. 203
Notes on (nostalgia) p. 224
Envoi p. 225
Statement of Plans for Magellan p. 226
Phrases.Mag p. 230
Talking about Magellan: An Interview p. 232
Text of Intertitles for Gloria! p. 253
Mental Notes p. 255
Video And The Digital Arts
The Withering Away of the State of the Art p. 261
Proposal: Hardware and Software for Computer‑Processed and ‑Generated Video p. 269
About the Digital Arts Lab p. 272
The Other Arts
Letter to Enno Develing p. 279
Preface: 12 Dialogues 1962-1963 p. 285
On Plasticity and Consecutive Matters p. 286
A Note on Robert Huot's Diaries p. 290
Inconclusions for Patrick Clancy p. 292
Comic Relief p. 296
Two Left Feet p. 296
Letter to Macalester College p. 297
Notes: By Any Other Name p. 298
Texts
A Stipulation of Terms from Maternal Hopi p. 303
Mind over Matter p. 308
Index p. 323
Remarks on the Writings of Hollis Frampton
Acknowledgments p. xix
List of Illustrations p. xxi
Photography
Some Propositions on Photography p. 5
Digressions on the Photographic Agony p. 9
Eadweard Muybridge p. 22
Fragments of a Tesseract
Incisions in History / Segments of Eternity p. 33
A Talk on Photography and History p. 51
Time, Space, and Causality
Meditations around Paul Strand p. 58
Impromptus on Edward Weston p. 67
Everything in Its Place
Lecture Notes on Edward Weston p. 88
Erotic Predicaments for Camera p. 89
Fictcryptokrimsographology p. 95
Pictures, Krims's Pictures, Please! p. 100
Notes on Marion Faller's Photographs p. 103
Proposal for Adsvmvs Absvmvs p. 105
Adsvmvs Absvmvs p. 106
Film
A Lecture p. 125
For a Metahistory of Film p. 131
Commonplace Notes and Hypotheses
A Pentagram for Conjuring the Narrative p. 140
Notes on Composing in Film p. 149
Letter to Stan Brakhage p. 157
Letter to Donald Richie p. 159
Letter to the Editor, Artforum p. 163
Film in the House of the Word p. 166
The Invention without a Future p. 171
Interview at the Video Data Bank p. 183
Notes on Filmmakers p. 190
Zorns Lemma: Script and Notations p. 192
(nostalgia): Voice-over Narration for a Film of That Name p. 203
Notes on (nostalgia) p. 224
Envoi p. 225
Statement of Plans for Magellan p. 226
Phrases.Mag p. 230
Talking about Magellan: An Interview p. 232
Text of Intertitles for Gloria! p. 253
Mental Notes p. 255
Video And The Digital Arts
The Withering Away of the State of the Art p. 261
Proposal: Hardware and Software for Computer‑Processed and ‑Generated Video p. 269
About the Digital Arts Lab p. 272
The Other Arts
Letter to Enno Develing p. 279
Preface: 12 Dialogues 1962-1963 p. 285
On Plasticity and Consecutive Matters p. 286
A Note on Robert Huot's Diaries p. 290
Inconclusions for Patrick Clancy p. 292
Comic Relief p. 296
Two Left Feet p. 296
Letter to Macalester College p. 297
Notes: By Any Other Name p. 298
Texts
A Stipulation of Terms from Maternal Hopi p. 303
Mind over Matter p. 308
Index p. 323
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