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Supplements for Issue 68 "The Moving Image Media Spectrum."
Here is a list of notes and supplements for pieces published in this issue, in the order content was published in the journal.
- For further information about the Fenton photographs, with images of the two photographs, see Altered Images published by the Bronx Documentary Center
- Errol Morris’s essay on the Fenton photographs “Which Came First, the Chicken or the Egg?” is included in his book Believing is Seeing (Observations on the Mysteries of Photography) [The Penguin Press, 2011] Also see a summary of Morris’ research in the New York Times blog Sept 25 2007
- Susan Sontag’s essay on the Fenton photographs “Looking at War: Photography’s view of devastation and death” was first published in the New Yorker December 9th 2002
- It was also quite a dramatic turn away from the previous Biennial curated by the NYC art/fashion collective DIS, which had been roundly criticized for its spectacular shock-tactics and commodity-fetishist vocabulary.
- Kelly has specifically referenced the importance of the 1986 book Showing Our Colors: Afro-German Women Speak Out by Katharina Oguntoye, May Opitz and Dagmar Schultz in its studious examination of 20th century Afro-German history.
- This populist concern apparently extends to their mode of distribution – both artists have made their works freely available through the video-sharing site Vimeo.
- Barbara Wurm: “Vom Wissen (in) der Film-notation Ivan Ladislav Galeta: Auf-Zeichnungen”, Zeitschrift für Medienwissenschaft, Bielefeld, Germany 2011, online https://zfmedienwissenschaft.de/ueber-uns/impressum-und-kontakt (in German, seen 07/01/2018)
- A comment uttered by Galeta in the 2005 interview included in my own film in the context of explaining the concept in his film, “sfaĩra 1985 – 1895” (1984) with a very simple ever-returning motto: “Above, same as beneath!”
- Malcolm Le Grice: “Singing About Wine – thoughts on the work of Ladislav Galeta” in Ivan LadislavGaleta: Point Zero Landscape, Experiments and Research
- This appears to be quite symptomatic for the total lack of knowledge of Easter European art positions outside the mainstream. Paul Pfeiffer’s video work John 3:16 (2000), exactly, yet unknowingly, reproduces Galeta’s genius idea of locking a vividly floating ball into the center of a film frame (and therefore appear as if the world bounces around it) Galeta ’s “Water Pulu” is a water ball, the film was shot in 35mm, therefore containing a cinematic brilliance, and uncanny distortion of reality, whereas Paul Pfeiffer traces in “John 3:16” a basket ball. His image source is Sports TV footage, the zoomed in ball therefore appears very blurry.