Christian Marclay in the New Yorker

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Great longread in the New Yorker this week about Christian Marclay's The Clock. Although I agree with Kenneth Goldsmith that the piece could benefit from greater discussion of the copyright issues he faced; the story behind how it was made is very compelling. It starts describing his move from New York, which meant leaving behind a larger apartment and boxes and boxes of bric-à-brac. In London his desktop became his studio:

Given his space constraints in London, Marclay decided that his first project would involve immaterial material—that is, digital media. Instead of wielding an X-Acto knife, he’d use Final Cut Pro. As he told me recently, sitting at his desk in Clerkenwell, “All I needed was this table and a computer” ....

“The Clock” is far too long to be presented on a DVD. The work is a computer program—coded by Mick Grierson, a professor at Goldsmiths College, in London—that, when booted, launches into whichever clip matches the time, down to the microsecond. The system, which archives the video and audio tracks separately, requires setup, and Marclay and a White Cube technician, Scott Martin, were present at virtually every city where the piece had been shown. (As carefully tended as the system is, mishaps can occur: at the Pompidou, “The Clock” mysteriously fell a few minutes en retard.)

If you're wondering why they aren't renting out bigger theaters for screenings, it's because the intimacy and the sound quality is so essential to the experience. The strength of The Clock lies in its uncanny intimacy, the ability to create a shared experience — a moment in time — between screen and audience. When you are stuggling to stay away at 4 am in the theater, the actors in the film clips are also yawning and sleepy-eyed ...

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Phenakistoscope, Hypnoscope, Centograph, Animatoscope, Chronophotographoscope, Variscope, Criterioscope, Vitropticon, Vivrescope, Xograph...

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Matthew Battles at Hilobrow uncovers this 1898 New York Times piece listing and considering potential emerging moving image technologies:

Battles comments, "It’s a vibrant bestiary of images, actions, and ideals: time, light, vitality, movement, judgment, change, vision, epiphany, and the animal world. Although the writer of this piece talks about a single machine, these weren’t all names for the same thing; moving pictures emerged in a radiant bouquet of formats, modes of presentation, and proprietary media. The names are evocative of another time—and taken together, they express a condition familiar to us all."

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A Two-Minute Visual History of the Spacewalk (Video)

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The Atlantic's Kasia Cieplak-Mayr von Baldegg created this visual history of the spacewalk using archival footage from NASA and the Internet Archive.

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