theth of September–with a silence lasting until theth of February,–
and is scheduled to finish in the year. Thus, Cage has made a piece that re-
quires ayear performance. At that speed, it is not perceivable as a combination
of sounds that constitute a rhythm and a melody of any sort. No single person can
hear the whole piece, nor even its beginning and its end. Thus, it is to be experi-
enced first of all on a conceptual level.
. Dziga Vertov,The Writings of Dziga Vertov, Annette Michelson (ed.), transl. Kevin
O’Brien (Berkeley: University of California Press,).
. http://www.stelarc.va.com.au/projects.html# (last accessed May,).
. Ibid.
. Such efforts also take place within medicine directed towards appeasing disability
and revealing functions of the human brain and body. Among the challenges is to
have the brain control artificial limbs like it controls its natural ones.
. Silberman.
. BothThe Curious Case of Benjamin ButtonandAvatar perfected capturing
technologies, enabling actors to be able to control their digital characters more pre-
cisely, and avoid a“botox effect”stemming from a loss of data that might render the
virtual actor somewhat muted. According to Silberman, this may be easier than we
may initially think:“While the topography of the human face is the hardest to simu-
late digitally, it turns out to be one of the easiest to map photogrammetrically. It has
fewer shadows and occlusions than, say, the city of Paris. The language of the face
communicates maximum information through the subtlest inflections. The inter-
faces of our souls are designed to be read in a heartbeat.”Ibid.
. Rosalind Krauss,“Reinventing the medium”,Critical Inquiry,:(Chicago: Univer-
sity of Chicago Press,)–; Arild Fetveit,“Convergence by means of glob-
alized remediation”,Northern LightsVolume()-; Michael Fried,Why
Photography Matters as Art as Never Before. (New Haven: Yale University Press,).
. Carol Vernallis“‘The Most Terrific Sandbox’: Music Video Directors, Style, and the
Question of the Auteur.”Quarterly Review of Film and Video, volume, issue(Oc-
tober).
. Pierre Buffin, co-founder of BUF Compagnie introduces the co-operation onLike a
Rolling Stonein this way:“We had already worked on different projects with
Michel Gondry, such as video-clips like Björk, Lenny Kravitz or Terence Trent D’Ar-
by. During his visits to BUF, we showed him the new tools we were developing and
the new effects they could provide. One day we showed him our tool for modeling
objects from two pictures, based on stereophotogrammetry.”The situation invoked
here–in which the expert maker and the expert user of groundbreaking tools meet
up before the execution of an important task–seems strangely reminiscent of the
congenial meetings between James Bond and Q early in every Bond film. http://
http://www.director-file.com/gondry/stones.html (last accessed August,).
. John Belton,“Painting by the Numbers: The Digital Intermediate”,Film Quarterly,
Vol., No.(Spring).
. Ibid.,.
Mutable Temporality In and Beyond the Music Video 185