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


  1. 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.
  2. 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.
  3. This populist concern apparently extends to their mode of distribution – both artists have made their works freely available through the video-sharing site Vimeo.
  1. Barbara Wurm: “Vom Wissen (in) der Film-notation Ivan Ladislav Galeta: Auf-Zeichnungen”, Zeitschrift für Medienwissenschaft, Bielefeld, Germany 2011, online (in German, seen 07/01/2018)
  2. 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!”
  3. Malcolm Le Grice: “Singing About Wine – thoughts on the work of Ladislav Galeta” in Ivan LadislavGaleta: Point Zero Landscape, Experiments and Research
  4. 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.