Energy and eventhood: the infrastructural set piece

‘Energy and Eventhood’ considers the relationship between infrastructure and the cinematic set piece. It proposes a working definition of the set piece as a distinctly (and perhaps excessively) effortful passage or sequence, and reflects on the tendency for narrative films to incorporate infrastructural sites and structures—such as bridges, dams and pipelines—into such set pieces. A number of writers on infrastructure, as both a cultural phenomenon and a representational object, have noted the aesthetic challenge of rendering it as visible and locatable; this article examines how that difficulty becomes manifest in the infrastructural set piece. It takes as its case studies Unstoppable (2010) and Night Moves (2013), two films noted for their distinctive rhythmic expressiveness, and each one deploying the convention of the set piece in ways which exemplify and reflect on the resistance of infrastructure to narrative containment

Ogni Pensiero Vola: the embodied psyche in Terrence Malick's The Tree of Life

The Tree of Lifetouches on embodiment of the soul in an early sequence covering courtship, marriage and the first pregnancy of a young couple. In a delicate formal scene, Mrs O'Brien, nearing full term, treads gently along a river's edge summoning infant souls luminous in white linen. She opens a minute book of life to one of them, preparing his entry through the iron gates that open on embodied life. Presently, the infant soul rises up from his underwater home beyond the reach of conscious awareness: Mrs O'Brien gives birth to her first son, Jack. This is the boy who will eventually become a middle-aged man in crisis. Ravaged then by grief for his long-dead younger brother and his own inability to live at peace with his family or himself, his memories, visions and reflections accumulate in a way that makes him a suffering Hermes for the early twenty-first century. The initiating episode of the infant's birth complements the embodied and affective experiences of those in the audience who accept the film's sensual invitation to steep themselves in the immense scale of its gorgeous sounds and images. They then discover on the pulse that, more than the history of one Texan family, it attempts nothing less than the necessary re-creation of the godhead for the early twenty-first century. Contrary to the rigid medieval dogmas of so many orthodox religions,The Tree of Lifeassures us not of a changeless eternity but rather the sacred and ceaseless metamorphosis of numinous energy

Irreversible Aging Dynamics and Generic Phase Behavior of Aqueous Suspensions of Laponite

In this work we study the aging behavior of aqueous suspension of Laponite having 2.8 weight % concentration using rheological tools. At various salt concentration all the samples demonstrate orientational order when observed using crossed polarizers. In rheological experiments we observe inherent irreversibility in the aging dynamics which forces the system not to rejuvenate to the same state in the shear melting experiment carried out at a later date since preparation. The extensive rheological experiments carried out as a function of time elapsed since preparation demonstrate the self similar trend in the aging behavior irrespective of the concentration of salt. We observe that the exploration of the low energy states as a function of aging time is only kinetically affected by the presence of salt. We estimate that the energy barrier to attain the low energy states decreases linearly with increase in the concentration of salt. The observed superposition of all the elapsed time and the salt concentration dependent data suggests that the aging that occurs in low salt concentration systems over a very long period is qualitatively similar to the aging behavior observed in systems with high salt concentration over a shorter period.Comment: 27 pages, 8 figures. Langmuir, in pres

Elastically driven, intermittent microscopic dynamics in soft solids

Soft solids with tunable mechanical response are at the core of new material technologies, but a crucial limit for applications is their progressive aging over time, which dramatically affects their functionalities. The generally accepted paradigm is that such aging is gradual and its origin is in slower than exponential microscopic dynamics, akin to the ones in supercooled liquids or glasses. Nevertheless, time- and space-resolved measurements have provided contrasting evidence: dynamics faster than exponential, intermittency, and abrupt structural changes. Here we use 3D computer simulations of a microscopic model to reveal that the timescales governing stress relaxation respectively through thermal fluctuations and elastic recovery are key for the aging dynamics. When thermal fluctuations are too weak, stress heterogeneities frozen-in upon solidification can still partially relax through elastically driven fluctuations. Such fluctuations are intermittent, because of strong correlations that persist over the timescale of experiments or simulations, leading to faster than exponential dynamics.Comment: 7 pages, Supplementary Information include

Dispositifs at Play: Artist's Moving Image in the Gallery

Artists’ moving image work today occupies a key place in contemporary art. This is evident from the sheer amount of moving image media in public galleries and museums, retrospectives, biennales and artist-run initiatives. This chapter focuses on the installation of Australian artists’ moving image production, with an emphasis on installation and the way in which the work meets its audience. It examines the recent work of Brian Fuata, Pia van Gelder, Biljana Jancic and Angelica Mesiti with respect to exhibitions mounted in Sydney from 2012 to 2018. The concept of the dispositif—as a set of interrelated elements of an artwork for spatial display in the gallery—is put to work to confront the heterogeneity of forms, practices and experiences within four specified categories: ‘Document, Signal, Space and Channel’. This research connects the experience of the artists and curators in question, drawing on interviews, and links this with historical and theoretical discourse in relation to moving image (and sound) in the gallery. The chapter aims to show the inventive ways in which contemporary artists rely on inherited twentieth-century traditions of this relatively new (historically speaking) medium and engage with digital media convergence. This research finds Australian artists to be at the cutting edge of the field and provides a foundation to extend this research to the wider Asia Pacific region or international context. This chapter should be of interest to artists, filmmakers, screen and art theorists and creative practice-based researchers working in this domain

Ideologiekritik und/als analyse textuelle

Inspiriert von Linguistik, Literaturwissenschaft und Psychoanalyse versteht die analyse textuelle den Film als ein Geflecht von Zeichen, die es als solche und in ihrer gegenseitigen Bezogenheit zu lesen gilt. Dabei geht es – wie anhand der verschiedenen Exponenten dieser Methode gezeigt werden soll – weniger darum, eine bestimmte, universell gültige Syntax des Films zu bestimmen, als vielmehr darum, den Film als dynamisches Gewebe zu untersuchen, das sich unentwegt selber um- und fortschreibt. Das ideologiekritische Potenzial einer solchen Herangehensweise liegt somit nicht bloß darin, dass Filme als Ausdruck herrschender Ideologien untersucht werden können, sondern auch darin, dass eine solche dynamische Textanalyse an sich die Vorstellung einer positiv zu fixierenden „Wahrheit“ oder „Botschaft“ des Films radikal in Frage stellt