By Gabrielle Jennings, Kate Mondloch
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En el presente libro, obra provocativa y con múltiples derivaciones, Arnheim afirma que todo pensamiento (y no sólo el pensamiento relacionado con el arte u otras experiencias visuales) es de naturaleza fundamentalmente perceptual, y que l. a. vieja dicotomía entre visión y pensamiento, entre percepción y razonamiento, es falsa y desorientadora.
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The images look like neon and are clearly not of this world—meaning electronically generated, wholly nonrepresentational. Becker recalls, “The music, only used in the broadcast, was played and composed as a solo piece by cellist Joy Hall. It was quite experimental containing fragments of harmonies and a mixture of noise effects she created on the cello. 22 The piece is an early example of a generation of experimental works made in conjunction with technicians working Jennings • 9 in the bowels of television studios.
Est magazines and journals, including Women’s Wear Daily and The New York Review of Books in the United States and Exchange and Mart in the United Kingdom; art magazines, such as Artforum, Art International, Museum News, and Art News; advertisements in public buses; billboards both in cities (St. Margaret’s Bay Road, Halifax, Nova Scotia; Solferino Square, Turin, Italy; Colorado Boulevard, Pasadena, California; various locations in Bern, Switzerland) and in rural areas (Portales, New Mexico, fig.
Instead, cascading, fragmentary images of color and light filter through scenes from the artist’s life; the editing and camera movement, through a new and radical appropriation of filmic space, form a constant inquiry into liberating the film from the narrative constraints of shot-to-shot continuity and a single vantage point. Brakhage urges the liberation of the camera from the linear language of narrative to an intense, personal space of evolving forms created from light and color and mediated by “metaphors on vision,” the title of his manifesto published in 1963 by the journal Film Culture.