As Hollis Frampton’s images and celebrated experimental movies have been checking out the limits of the digicam arts within the Sixties and Nineteen Seventies, his provocative and hugely literate writings have been trying to determine an intellectually resonant kind of discourse for those significantly underexplored fields. It used to be a time while artists operating in varied disciplines have been starting to choose up cameras and bring movies and videotapes, good earlier than those practices have been understood or embraced by way of associations of up to date paintings. This choice of Frampton’s writings provides his serious essays (many written for Artforum and October) in addition to extra fabric, together with lectures, correspondence, interviews, construction notes, and scripts. It supersedes Circles of misunderstanding, released in 1983.
Frampton ranged commonly over the visible arts in his writing, and the texts during this assortment show his specified views on images, movie, video, and the plastic and literary arts. They comprise severely acclaimed essays on Edward Weston and Eadweard Muybridge in addition to value determinations of up to date photographers; the influential essay “For a Metahistory of Film,” besides scripts, textual fabric, and rankings for his movies; writings on video that represent a veritable prehistory of the electronic arts; a discussion with Carl Andre (his buddy and previous Phillips Andover classmate) from the early Sixties; and artistic, nearly unclassifiable items that draw at the writings of Borges, Joyce, and Beckett.
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A photographic print is not, after all, a unique object but only a member of a potentially inﬁnite class of “related” interpretations of a negative.
Qvs. hfut! bt! efßojujwf; Muybridge’s photographs laid bare all the mistakes that sculptors and painters had made in their renderings of the various postures of the horse. 29 They showed how inventive the eye is, or rather how much the sight elaborates on the data it gives us as the positive and impersonal result of observation. Between the state of vision as mere patches of color and as things or objects, a whole series of mysterious operations takes place, reducing to order as best it can the incoherence of raw perceptions, resolving contradictions, bringing to bear judgments formed since early infancy, imposing continuity, connection, and the systems of change which we group under the labels of space, time, matter, and movement.