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iguanodon:

(nostalgia) - Hollis Frampton, 1971
this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides
iguanodon:

(nostalgia) - Hollis Frampton, 1971
this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides
iguanodon:

(nostalgia) - Hollis Frampton, 1971
this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides
iguanodon:

(nostalgia) - Hollis Frampton, 1971
this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides

iguanodon:

(nostalgia) - Hollis Frampton, 1971

this is a great way to demonstrate the limitations and alternate dynamics of these sorts of film screen-grab series that i like so much on tumblr. Frampton’s work in (nostalgia), in a performative sense, is completely dependent on the delayed narrative soundtrack that alludes to the images which are to follow the ones on screen. so by removing that performative context and placing the images by themselves the images regain their own temporality. in many ways these tumblr posts recreate the memories one might have of a film, but in this case you can see more easliy how those synthesised memories (whether real or not) do not correspond directly with the filmic text but rather the more singular narrative logic of the images themselves. this picture of Frank Stella then gains a different value, becoming almost a visual pun, and refusing nostalgia outright through its own destruction  without the personal contextualization that Frampton provides

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