The experience machine : Stan VanderBeek's Movie-Drome and expanded cinema / Gloria Sutton.
2015
NX460.5.N49 S88 2015eb
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Online Access through The MIT Press Direct
Details
Title
The experience machine : Stan VanderBeek's Movie-Drome and expanded cinema / Gloria Sutton.
Author
Sutton, Gloria, author.
ISBN
9780262324236 (electronic bk.)
0262324237 (electronic bk.)
9780262324229 (electronic bk.)
0262324229 (electronic bk.)
9780262028493
0262028492
0262324237 (electronic bk.)
9780262324229 (electronic bk.)
0262324229 (electronic bk.)
9780262028493
0262028492
Published
Cambridge, Massachusetts ; London, England : The MIT Press, [2015]
Language
English
Description
1 online resource (xiv, 257 pages).
Other Standard Identifiers
40024699053
Call Number
NX460.5.N49 S88 2015eb
Dewey Decimal Classification
709.04/07
Summary
In 1965, the experimental filmmaker Stan VanDerBeek (1927-1984) unveiled his Movie-Drome, made from the repurposed top of a grain silo. VanDerBeek envisioned Movie-Drome as the prototype for a communications system--a global network of Movie-Dromes linked to orbiting satellites that would store and transmit images. With networked two-way communication, Movie-Dromes were meant to ameliorate technology's alienating impulse. In The Experience Machine, Gloria Sutton views VanDerBeek--known mostly for his experimental animated films--as a visual artist committed to the radical aesthetic sensibilities he developed during his studies at Black Mountain College. She argues that VanDerBeek's collaborative multimedia projects of the 1960s and 1970s (sometimes characterized as "Expanded Cinema"), with their emphases on transparency of process and audience engagement, anticipate contemporary art's new media, installation, and participatory practices. VanDerBeek saw Movie-Drome not as pure cinema but as a communication tool, an "experience machine." In her close reading of the work, Sutton argues that Movie-Drome can be understood as a programmable interface. She describes the immersive experience of Movie-Drome, which emphasized multi-sensory experience over the visual; display strategies deployed in the work; the Poemfield computer-generated short films; and VanDerBeek's interest, unique for the time, in telecommunications and computer processing as a future model for art production. Sutton argues that visual art as a direct form of communication is a feedback mechanism, which turns on a set of relations, not a technology.--Publisher website.
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