Read "Reanimator; embodied history, and the post-cinema trace in Ken Jacobs' temporal composites" by Jeffrey Skuller.
Page 225: pre-wwII USA animation politically challenges form but not in post war.
Page 227: (Jacobs) creates an experience of historical knowledge as something that is constantly in transformation, rather than as a static artifact from the past"
Page 228-229, with failure of A/G to transform society, "how do we get there from here?" is replaced with "how did we end up here?".
Page 229, "contemporary artists ... exploring anachronistic materials ... is what Walter Benjamin called brooding".
Discussion of found film and rationalization/theory continues.
Page 231-232, Jacob's customized flicker projector "the nervous system" described
Page 234, composite digital images called "digital temporal composite".
Page 237, "In many ways, the emergence of digital technology returns us to individualized spectatorship of the peep show device, each person now peering into his individual screen".
Page 225: pre-wwII USA animation politically challenges form but not in post war.
Page 227: (Jacobs) creates an experience of historical knowledge as something that is constantly in transformation, rather than as a static artifact from the past"
Page 228-229, with failure of A/G to transform society, "how do we get there from here?" is replaced with "how did we end up here?".
Page 229, "contemporary artists ... exploring anachronistic materials ... is what Walter Benjamin called brooding".
Discussion of found film and rationalization/theory continues.
Page 231-232, Jacob's customized flicker projector "the nervous system" described
Page 234, composite digital images called "digital temporal composite".
Page 237, "In many ways, the emergence of digital technology returns us to individualized spectatorship of the peep show device, each person now peering into his individual screen".
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