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The document discusses the author's research interests in experimental cinema that began in the mid-1970s. Their attention was drawn to the mechanisms of movie projectors and intermittent projection. This led them to question what occurs in a viewer's mind during the dark moments between illuminated frames. Their investigations into visual perception and neuroscience suggested that cinema modeled basic brain processes underlying conscious experience. The author began creating short silent films that explored non-realistic arrangements of images to fuse frames into continuously evolving motion through flicker, creating ambiguous visual experiences that forced conscious and pre-conscious perception together. This interest in perceptual and optical possibilities has remained consistent in their filmmaking career.
The document discusses the author's research interests in experimental cinema that began in the mid-1970s. Their attention was drawn to the mechanisms of movie projectors and intermittent projection. This led them to question what occurs in a viewer's mind during the dark moments between illuminated frames. Their investigations into visual perception and neuroscience suggested that cinema modeled basic brain processes underlying conscious experience. The author began creating short silent films that explored non-realistic arrangements of images to fuse frames into continuously evolving motion through flicker, creating ambiguous visual experiences that forced conscious and pre-conscious perception together. This interest in perceptual and optical possibilities has remained consistent in their filmmaking career.
The document discusses the author's research interests in experimental cinema that began in the mid-1970s. Their attention was drawn to the mechanisms of movie projectors and intermittent projection. This led them to question what occurs in a viewer's mind during the dark moments between illuminated frames. Their investigations into visual perception and neuroscience suggested that cinema modeled basic brain processes underlying conscious experience. The author began creating short silent films that explored non-realistic arrangements of images to fuse frames into continuously evolving motion through flicker, creating ambiguous visual experiences that forced conscious and pre-conscious perception together. This interest in perceptual and optical possibilities has remained consistent in their filmmaking career.
The most formative development in the evolution of my research occurred in the mid 1970s when I first began to think deeply about the mechanisms and technology of motion pictures. My attention was particularly drawn to the movie projector and the nature of intermittent projection. The so-called illusion of motion in cinema is generated out of a mechanical process in which individual frames (still pictures) are pulled into the projector gate and held for 1/48th of a second while the beam of projector light passes through them out on to the screen. A rotating shutter then passes in front of the light, blocking the light for another 1/48th of a second. It is during this brief moment of darkness that the frame in the gate can be pulled out and the next frame pulled in without the audience seeing the change. This is precisely where the magic of cinema pulls its machine-based sleight of hand. The aspect of this sequence that suddenly seemed ripe with implications for me was the realization that the duration of the dark moment was of equal duration to the time the screen was illuminated. This meant that a viewer watching a one-hour movie was actually sitting in total darkness for half an hour. The question that seized my interest then and has preoccupied me ever since was, what is happening in the viewers mind during the dark half of the movie? Pursuing this question led me into a study of visual perception and on to the more general question of how the brain constructs our moment-to-moment visual experience of the world, whether those experiences be motion picture images bouncing off of silver screens or the more fundamental ability to construct a three-dimensional visual world out of the two-dimensional, upside down images that form on the retinas of the eyes. How are we able to coordinate our eyes and hands to be able to tie our shoes in the morning or drive our cars at high speeds amidst packs of other fast-moving cars? These investigations into perception and neuroscience led me to the general notion that cinema, as a technology, modeled in a material and accessible form, many of the most basic brain processes that underlie conscious experience. My interest in the ontology of cinema was not just a curiosity as to how the movies worked. What really interested me was how this technology might be harnessed to purposes other than realism or naturalism. I had a strong intuition that streams of individual images passing through movie projectors could do things other than recreate the appearance of some activity that occurred in front of a movie camera lens at some other time and some other place. Beginning in the mid-seventies, I began making short, silent 16 mm films that explored arrangements of images along the film strip that were not based on the continuity laid down by movie cameras. These films were fast moving works that attempted to work with the projectors inherent flicker to fuse small numbers of individual frames into continuously evolving motion pictures. My primary interest in all these films was to create perceptually ambiguous visual experiences that would force the conscious mind and the pre-conscious mind (where perceptual decision making occurs at speeds faster than thought) to move towards each other. This was not to be a cinema of ideas but rather one of direct experiences. This interest in the perceptual and optical possibilities of cinema has remained consistent throughout my filmmaking career.