COLORLESS GREEN IDEAS
July, 2016
Bulletins of the Serving Library

A VARIABLE PRISM
June 18, 2016
Künstlerhaus Büchsenhausen

LIQUID FABLES
June 15, 2016
mumok

WIE MAN SEHT: A TRIBUTE TO HARUN FAROCKI
January 2–March 28, 2015
Goethe Institut Los Angeles

SCRIM SINEWS
2015
CURA books

THE DEVIL, PROBABLY
January 4–February 11, 2014
Yale Union

EXPLODED VIEW … INTERFACE … LETTER & SPIRIT …
June 26–28, 2013
laxart

ANDERSEN & FISHER
March 30–April 13, 2012
Yale Union

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ABOUT
This site annotates film programs, essays, and book publications undertaken (sometimes in tandem) by Lucas Quigley and Benjamin Tiven. The materials gathered here share a set of core interests: images of the production and distribution of objects and goods; unusual threads within the history of technical image-making; and the social parameters that make these descriptions possible. As materials assemble around these ideas, and ideas assemble around these materials, the possibility of a course begins to manifest.

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bt@virtually-anything.org
lq@virtually-anything.org
"Machines are what make movies. And as Thom Andersen points out …, film – the institution of film, the cinema – is itself a machine, a process of production whose product is none other than its audience, us. If, as I do, you want to take film itself as your subject, I think it’s natural to approach it through equipment, because any single piece of machinery can be made to stand for the entire system of machines and what that system is capable of doing."
—Morgan Fisher

"Only when you describe something can you start speculating about it. If something hasn’t been described and a record of it doesn’t exist – it doesn’t matter what form the description takes: a film, a sociological study, a book, or even just a verbal account – then you can’t refer to it. You have to describe the thing or situation before you can deal with it."
—Thom Andersen

Andersen & Fisher was organized by Lucas Quigley and Robert Snowden for Yale Union.

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SCREENING ROOM
Morgan Fisher

MELTING
Thom Andersen

OLIVIA’S PLACE
Thom Andersen

–– ––––
Thom Andersen

( )
Morgan Fisher

PRODUCTION STILLS
Morgan Fisher

CUE ROLLS
Morgan Fisher

EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER
Thom Andersen

PROTECTIVE COLORATION
Morgan Fisher

STANDARD GAUGE
Morgan Fisher

LOS ANGELES PLAYS ITSELF
Thom Andersen

PROJECTION INSTRUCTIONS
Morgan Fisher

PICTURE AND SOUND RUSHES
Morgan Fisher

PRODUCTION FOOTAGE
Morgan Fisher

THE WILKINSON HOUSEHOLD FIRE ALARM
Morgan Fisher

THE DIRECTOR AND HIS ACTOR LOOK AT FOOTAGE SHOWING PREPARATIONS FOR AN UNMADE FILM (2)
Morgan Fisher

DOCUMENTARY FOOTAGE
Morgan Fisher

PHI PHENOMENON
Morgan Fisher

TURNING OVER
Morgan Fisher

GET OUT OF THE CAR
Thom Andersen

RECONVERSÃO
Thom Andersen

… in which three industrially-determined rectangles attempt to pronounce the nature of their shapes and make a case – with varying degrees of articulation – for three sets of plastic-minded characters, in public, and over time.

… in which three sets of plastic-minded characters attempt to pronounce the nature of their shapes and make a case – with varying degrees of articulation – for three industrially-determined rectangles, in public, and over time.

Exploded View … Interface … Letter & Spirit … was organized by Lucas Quigley and Summer Guthery for laxart.

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EXPLODED VIEW
Alexander Gutke

INTERFACE
Harun Farocki

LETTER & SPIRIT
Dexter Sinister

This film program compiles a series of documentary and essay films that record and describe how material and immaterial goods are produced and distributed. A few were commissioned by companies to represent select interests, but the majority were made by filmmakers with an imperative to record and scrutinize goods as we typically don't see them: in the process of their becoming. Before we see them, commodity objects have traveled through geography, laborers, machinery, political ideologies, and social configurations. They carry forward a (mostly obstructed) history, belonging first to those who produced them, and later to those who will buy, sell, or use them.

The Devil, Probably was organized by Lucas Quigley and Robert Snowden for Yale Union.

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IN COMPARISON
Harun Farocki

GENESIS OF A MEAL
Luc Moullet

THE SONG OF STYRENE
Alain Resnais

SLOW GLASS
John Smith

MEAT
Frederick Wiseman

DUST
Hartmut Bitomsky

ABOUT THE HISTORY OF PAPER, PT. 1
Peter and Zsóka Nestler

MINING AND IRONWORKS, PT. 2
Peter and Zsóka Nestler

ABOUT THE ADVENT OF THE PRINTING PRESS
Peter and Zsóka Nestler

THE FORGOTTEN SPACE
Allan Sekula and Noël Burch

RR
James Benning

WEST OF THE TRACKS
Wang Bing

IBM: A SELF PORTRAIT
Albert and David Maysles

TOUJOURS PLUS
Luc Moullet

TOUJOURS MOINS
Luc Moullet

THE DARTY REPORT
Jean-Luc Godard and Anne-Marie Mièville

THE STORE
Frederick Wiseman

AN IMAGE
Harun Farocki

STILL LIFE
Harun Farocki

"In the end, objects bear witness to their producers, who bear something of themselves in the act of production. But the producers do not appear with their objects. When you look at objects, the people who produce them remain unimaginable. The spectator who understands this becomes unimaginable to himself. This is the departure for a new image of man."
—Harun Farocki

Wie Man Seht: A Tribute to Harun Farocki was organized by Lucas Quigley and Daniel Chaffey for Goethe Institut Los Angeles.

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HOW TO LIVE IN THE GERMAN FEDERAL REPUBLIC
Germany, 1990, 79 min.

WAR AT A DISTANCE
Germany, 2003, 54 min.

INEXTINGUISHABLE FIRE
Germany, 1969, 22 min.

VIDEOGRAMS OF A REVOLUTION
Germany, 1992, 66 min.

AN IMAGE
Germany, 1983, 25 min.

STILL LIFE
Germany, 1997, 56 min.

AS YOU SEE
Germany, 1986, 72 min.

IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR
Germany, 1988, 73 min.

WORKERS LEAVING THE FACTORY
Germany, 1995, 36 min.

PRISON IMAGES
Germany, 2000, 60 min.

SECTION/INTERFACE
Germany, 1995, 23 min.

IN COMPARISON
Germany, 2009, 61 min.


Styrofoam seagulls, replicant owls, and explosive donkeys casually amble through this visual primer on some aesthetics, histories, and cinematic legacies of artificial animals. Comprising three commissioned essays and a pool of visual research tracing hidden overlaps between technical and natural forms, Scrim Sinews connects DARPA robotics with the HUAC testimony of Bertolt Brecht, and the chronophotographic gun to the high realism of Pinnochio.

Scrim Sinews was edited by Benjamin Tiven and Per-Oskar Leu, designed by Lucas Quigley, and includes contributions from Homay King, Phillip Glahn, and Jonah Westerman. Published by CURA books, Rome.

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SCRIM SINEWS
Tiven and Leu, eds.


Technological devices are all differently inhabited by their ancestralities, and differently predict their descendants. The films in this program try to stop, frame, or enunciate that very process. The interface between human bodies and cinematographic machines remains a common thread, as it was at film's earliest beginnings.

Liquid Fables was organized by Benjamin Tiven for Museum Moderner Kunst (mumok), Vienna.

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SOVEREIGN SISTERS
The Otolith Group

CHESS STORY
Benjamin Tiven

A THIRD VERSION OF THE IMAGINARY
Benjamin Tiven

FALSE FUTURE
Matthew Buckingham

DONKEY IED EXPLOSION
YouTube

EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER
Thom Andersen

AMERICAN DRONE BIRD CRASHES IN WAZIRISTAN
Geo-TV (Karachi)

TWO DEVICES
Benjamin Tiven

Aerial shots, time-lapse motion studies, frame-by-frame compositing, standardization guidelines: these technical filmmaking imperatives are here converted into techniques of narrative. Each film interweaves one such trope with a history or engagement of some particular building, place, or artifact, such that each narrative demands its particular mode of imaging.

A Variable Prism was organized by Benjamin Tiven for Künstlerhaus Büchsenhausen, Innsbruck. Produced within the frame of Büchsenhausen's International Fellowship Program for Art and Theory.

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RP 18
Lucy Raven

UNSUPPORTED TRANSIT
Zachary Forwalt

THE LAST TOUR
Marine Hugonnier

THE GENERAL LINE
Oleg Tcherny

"The proliferation of consumer chroma-key technologies – from roll-up backgrounds to YouTube tutorials to smartphone apps to cheap (or cracked) editing software – has boosted the cultural profile of the blank green color field. Its use has trickled down to low-budget commercial advertising, while it has become an icon of self-reflexivity in the finer arts. We now read a green screen as *virtually anything*: not only as a placeholder for a particular image, but also the very notion that an image could be plausibly inserted later. Image production increasingly presupposes post-production, and a green screen both technically enables, and stands in for "pending treatment." Actors on chroma-key backgrounds make only elliptical, partial sense: they're punchlines without jokes."

'Colorless Green Ideas' was written by Lucas Quigley and Benjamin Tiven for issue 11 of Bulletins of the Serving Library.

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COLORLESS GREEN IDEAS
Lucas Benjamin, 2016
(PDF)



SELECTED WRITINGS BY THOM ANDERSEN
(PDF)


SELECTED WRITINGS BY MORGAN FISHER
(PDF)
Exploded View
Alexander Gutke
Sweden; 2005; Kodak carousel slide projector, 81 slides, stand, timer, 55 mm lens



THE GESTURE OF WRITING
Villem Flusser, unpublished typescript
(PDF)
Interface
Harun Farocki
Germany, 1995, 23 min.



WHAT AN EDITING ROOM IS
Harun Farocki, 2001
(PDF)
Letter & Spirit
Dexter Sinister
USA, 2013, digital file, 18.5 min.



A NOTE ON THE TYPE
Dexter Sinister, 2011
(PDF)

LETTER AND SPIRIT
Dexter Sinister, 2012
(PDF)

THE AUTHOR AS PRODUCER
Walter Benjamin, 1934
(PDF)
In Comparison
Harun Farocki
Germany, 2009, 16mm, 61 min.



ON THE MARIONETTE THEATRE
Heinrich von Kleist, 1801
(PDF)

CONSTRUCTION SITES AND IMAGE WALLS
Ute Holl, 2009
(PDF)

TYPOGRAPHY IS A GRID
Anthony Froshaug, 1967
(link)

CARL ANDRE AND FILM
Morgan Fisher, 2005
(link)
Genesis of a Meal
Luc Moullet
France, 1968, 16mm, 115 min.



JANET MALCOLM, THE ART OF NONFICTION NUMBER 4
Interviewed by Katie Roiphe, 2011
(link)

‘FRAMING THE WORLD ECONOMICS IN A TUNA CAN: LUC MOULLET TRACKS GENÈSE D’UN REPAS.’
Audrey Evrard , 2012
(link)

The Song of the Styrene
Alain Resnais
France, 1958, 35mm, 13 min.



PLASTIC
Roland Barthes, 1972
(PDF)

THESE ARE NOT EXERCISES IN STYLE: LE CHANT DU STYRÈNE.
Edward Dimendberg, 2005
(PDF)

NATURE, HUMANISM, AND TRAGEDY
Alain Robbe-Grillet, 1965
(PDF)

Slow Glass
John Smith
UK, 1991, 16mm, 40 min.



THE AUTHOR AS PRODUCER
Walter Benjamin, 1934
(PDF)

WHITE ELEPHANT ART AND TERMITE ART
Manny Farber, 1962
(PDF)
Meat
Frederick Wiseman
USA, 1976, 16mm, 112 min.



FREDERICK WISEMAN: THE TAWDRY GRUESOMNESS OF REALITY
Errol Morris, 2011
(link)

ON EDITING
Frederick Wiseman, 2008
(link)

Dust
Hartmut Bitomsky
Germany, 2007, 35mm, 90 min.



FUN TO IMAGINE: SEEING THINGS
Richard Feynman, 1983
(video)

HARTMUT BITOMSKY'S DUST
Bruce Sterling, 2008
(PDF)

‘PRESS PACK’
Various, 2009
(PDF)

About the History of Paper, pt. 1
Peter and Zsóka Nestler
Sweden, 1972, 16mm, 25 min.

Mining and Ironworks, pt. 2
Peter and Zsóka Nestler
Sweden, 1975, 16mm, 31 min.

About the Advent of the Printing Press
Peter and Zsóka Nestler
Sweden, 1971, 16mm, 24 min.



IMAGINED COMMUNITIES
Benedict Andersen, 1983
(PDF)

SOCIALISM: A LIFE CYCLE
Regis Debray, 2007
(PDF)

The Forgotten Space
Allan Sekula and Noël Burch
USA, 2010, Video, 112 min.

RR
James Benning
USA, 2007, 16mm, 111 min.

West of the Tracks
Wang Bing
China, 2003, Video, 551 min.

IBM: A Self Portrait
Albert and David Maysles
USA, 1964, 16mm, 35 min.

Luc Moullet
Toujours Plus
France, 1993, DVD, 14 min.



Toujours Moins
Luc Moullet
France, 2010, DVD, 24 min.

The Darty Report
Jean-Luc Godard and Anne-Marie Miéville
France, 1989, Video, 50 min.

The Store
Frederick Wiseman
USA, 1983, 16mm, 118 min.

An Image
Harun Farocki
Germany, 1983, 16mm, 25 min.

Still Life
Harun Farocki
Germany, 1997, video, 56 min.



SOURCES 2012–1870
Benjamin Tiven, 2015
(PDF)


THE LION IN THE ASS'S SKIN
Homay King, 2015
(PDF)


THE DONKEY, THE APPARATUS, AND A POLITICS OF HISTORY
Philip Glahn, 2015
(PDF)


UNSUPPORTED TRANSIT
Jonah Westerman, 2015
(PDF)
January 9, 1944–July, 30 2014



WRITINGS
Harun Farocki, 2001 (PDF)
Sovereign Sisters
The Otolith Group
UK, 2015, HD Video, 7 min.

Chess Story
Benjamin Tiven
Germany, 2010, HD Video, 11 min.



LASKER'S CHESS PRIMER
Emanuel Lasker, 1934
(PDF)
A Third Version of the Imaginary
Benjamin Tiven
Nairobi, 2012, HD Video, 12 min.



EVERYDAY STATIC TRANSMISSIONS
Benjamin Tiven with Brian Larkin and Tavia Nyong'o, 2014
(link)
False Future
Matthew Buckingham
UK/USA, 2007, 16mm, 10 min.



LE PRINCE/BUCKINGHAM: VANISHING ACT AND ETERNAL RETURN, OR HIDE AND SEEK?
Tom Gunning, 2007
(PDF)

TRAFFIC CROSSING LEEDS BRIDGE
Louis Le Prince, 1888
(video)
Using Animals as Bomb
cyclicattack
Uploaded on Aug 19, 2006
Eadweard Muybridge, Zoopraxographer
Thom Andersen
USA, 1975/2015, 16mm, 59 min.



GIGANTIC IDEAS
John Erland, 2004
(PDF)
American Drone Bird Crashes in Waziristan
Geo-TV (Karachi)
2011



TRANSLATION
(PDF)
Two Devices
Benjamin Tiven
USA, 2014, HD Video, 2014



SMARTBIRD
Festo, 2011
(PDF)

RP 18
Lucy Raven
USA, 2012, Randomized digital projection transferred to HD video, 4 min.

Unsupported Transit
Zachary Formwalt
USA, 2011, HD video, 14:30 min.



UNSUPPORTED TRANSIT
Zachary Formwalt, 2015
(PDF)

OMA PRESENTATION OF THE SHENZEN STOCK EXCHANGE
OMA, 2012
(link)

STILL MOVING IN SHENZHEN: STILL MOVING IN SHENZHEN: GRAVITY, THE STOCK EXCHANGE, AND THE RETURN OF THE WORKER IN ZACHARY FORMWALT’S UNSUPPORTED TRANSIT
Evgenia Giannouri, 2011
(PDF)
The Last Tour
Marine Hugonnier
England, 2004, Super 16mm transferred to DV, 14 min.



… TO TIRELESSLY TOUCH WITH MY GAZE THE DISTANCE FROM ME AT WHICH THE OTHER BEGINS: MARINE HUGONNIER’S JOURNEYS
Michael Newman, 2006
(PDF)

The General Line
Oleg Tcherny
Italy, 2010, HD video, 12 min.



JUDGEMENT DAY
Giorgio Agamben, 2010
(PDF)

THE FOURTH DIMENSION IN CINEMA
Sergei Eisenstein, 1929
(PDF)

ON THE USES AND DISADVANTAGES OF LIVING AMONG SPECTERS
Giorgio Agamben, 2015
(PDF)