Expanded Cinema has been going strong despite the deadlines however, with recent posts on Lutz Mommartz, Hollis Frampton, and Charles and Ray Eames.
Rhizome.org recently featured the project:
November 20, 2006
Repeating Cinema's HistoryThe popularity of online video-sharing sites has led to the ad hoc curation of archives and thematic reblogs of all sort. Recently, curator Joao Ribas started Expanded Cinema, a blog that aggregates web-posted archival videos from the history of avant-garde cinema, including 'experimental film, early video, and sound-based, durational work.' Choice finds include pieces by Martin Arnold, Walerian Borowczyk, Charles and Ray Eames, Harun Farocki, Peter Kubelka, Toshio Matsumoto, and others. Ribas's comments on the videos often include external links to critical essays or other historical details that help frame the work. Quite often, there is a sense of desire to place the work within a timeline of influences, as in the case of 'Le Vol d'Icare' (1974), Georges Schwizgebel's 'pioneering animation,' that 'looks more at home today than it ever did in the early 1970s.' In many of the works, there seems to be a tension between the use of film or video as a means of documentation, and as an art practice of its own. The most interesting piece blur the boundaries, as is the case with the Eameses' 'SX-70' (1972), which also meditates on the formal properties of film and video. Once again, focused internet users are taking art history into their own hands, making 'playlists' that elevate works from the status of hiddenness or obscurity to central in our imaginations--which to say on our desktop. - James Petrie
Milton Friedman's obit in the Guardian: "Milton Friedman, who has died aged 94, was one of the greatest economists of all time. He may come to be included in the same category of pre-eminent figures as Adam Smith, Ricardo, Marx and John Maynard Keynes."
Firbank was never easy to know. He had friends, probably fell in love at least once, but seems temperamentally to have found intimacy very difficult. Because he was so eccentric and so conspicuous, people tended to remember him, his tall, slender, immaculately dressed figure, his extraordinary undulating walk, his use, at various times in his life, of not necessarily discreet make-up. Even his friends could feel embarrassed by him; and his admirers have often been prey to ambivalence, the sense that a distance has to be kept from his queenery, from the intensity of a self that is not merely undisguised but insisted on, languidly and nervously. Firbank’s deepening and somehow inevitable solitude cannot be over-stressed. He has tended to be seen through a haze of miscellaneous anecdote that emphasizes his eccentricity, his curious bons mots, his writhing shyness and his occasional steely boldness.
Firbank achieved his highly complex originality not by expansion but by a drastic compression: instead of putting more and more in, he left almost everything out. The comparison might more tellingly be made, though, with Proust, an artist with whom Firbank has closer affinities of temperament and point of view: where Proust, at just the same time, was expanding the novel to unprecedented length to do justice to his narrator’s</font> complex world and his complex consciousness of it, Firbank had arrived at an aesthetic which required almost everything to be omitted. Where Proust, a fellow observer of upper-class society and sexual ambivalence, worked by the endlessly exploratory and comprehensive sentence, the immense paragraph, the ceaselessly dilated book, Firbank laboured to reduce – not merely to condense but to design by elimination. “I am all design – once I get going”, he wrote. “I think nothing of filing fifty pages down to make a brief, crisp paragraph, or even a row of dots.” He constructed in fragments, juxtaposed without any cushioning or explanatory narrative tissue.