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Sometimes the Sense of Time is lost ...

Pardo Gaviria, Paulina.

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Sometimes the Sense of Time is lost or Disturbed while watching Paul Sharits' films.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Sometimes the Sense of Time is lost or Disturbed while watching Paul Sharits' films./
作者:	Pardo Gaviria, Paulina.
面頁冊數:	24 p.
附註:	Source: Masters Abstracts International, Volume: 51-06.
Contained By:	Masters Abstracts International51-06(E).
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1539081
ISBN:	9781303136498

Sometimes the Sense of Time is lost or Disturbed while watching Paul Sharits' films.
Pardo Gaviria, Paulina.

Sometimes the Sense of Time is lost or Disturbed while watching Paul Sharits' films. - 24 p.

Source: Masters Abstracts International, Volume: 51-06.

Thesis (M.A.)--State University of New York at Stony Brook, 2013.

This item must not be sold to any third party vendors.

As a spectator of a film of what has been named by Federico Windhausen the second phase of Paul Sharits' career (1965-1970), one can but focus the attention on the succession of frames of color, the flickering light, on the speed of the filmstrip, on the sound of the projector, and on the flat screen. Any interest in the world outside of the room is unconsciously suspended, and the notion of the time passed is temporarily lost. As explained by Sharits when referring to Eduard Husserl theories, the film is phenomenologically perceived. How can be possible that a film, an artistic expression based on the effects on imagination of the temporal movement of images calls the viewer's attention on the materiality of the film and seems to be external to the linear time? It is my argument that through the visual relation between Paul Sharits' films and the mandala/yantra patterns used in Buddhist rituals, Sharits' films can be approached from the point of view of epistemological theories. As stated by Eduard Conze in respect to Buddhist philosophy, by looking to mandala patterns the viewer can transcend to a meditational stance by suspending the world as a consequence of the non-perception of time.

ISBN: 9781303136498Subjects--Topical Terms:

635474
Art History.

Sometimes the Sense of Time is lost or Disturbed while watching Paul Sharits' films.
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245 1 0 $a Sometimes the Sense of Time is lost or Disturbed while watching Paul Sharits' films.
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500 $a Source: Masters Abstracts International, Volume: 51-06.
500 $a Advisers: Andrew Uroskie; Shoki Goodarzi.
502 $a Thesis (M.A.)--State University of New York at Stony Brook, 2013.
506 $a This item must not be sold to any third party vendors.
520 $a As a spectator of a film of what has been named by Federico Windhausen the second phase of Paul Sharits' career (1965-1970), one can but focus the attention on the succession of frames of color, the flickering light, on the speed of the filmstrip, on the sound of the projector, and on the flat screen. Any interest in the world outside of the room is unconsciously suspended, and the notion of the time passed is temporarily lost. As explained by Sharits when referring to Eduard Husserl theories, the film is phenomenologically perceived. How can be possible that a film, an artistic expression based on the effects on imagination of the temporal movement of images calls the viewer's attention on the materiality of the film and seems to be external to the linear time? It is my argument that through the visual relation between Paul Sharits' films and the mandala/yantra patterns used in Buddhist rituals, Sharits' films can be approached from the point of view of epistemological theories. As stated by Eduard Conze in respect to Buddhist philosophy, by looking to mandala patterns the viewer can transcend to a meditational stance by suspending the world as a consequence of the non-perception of time.
520 $a In my Masters thesis I examine how the used of saturated colors in Sharits' films propose to spectators an unveiled cinema projection by appealing to the same perception of time produced by a mandala. I focus on the visual relations between Sharits' films --Ray Gun Virus (1966), N:O:T:H:I:N:G (1968), and T,O,U,C,H,I,N,G, (1968)-- and mandalas. I connect Buddhist philosophies of perception to the concept of phenomenology proposed by Husserl, relating them to Paul Sharits' writings about his flicker films in order to understand how time is perceived by a spectator of Sharits' films. The transition from a Buddhist to a Western philosophy is detached from Sharits' own text in which these two different references are mentioned with respect to his flicker films, as highly relevant elements of his understanding of cinema. By creating these links between structural films and mandalas, and the Buddhist figures and Husserl's phenomenology concept I intend to show that it is because of their visual similarities with mandalas that Sharits' films suggest a temporality that offers a quintessential example of the cinema apparatus.
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650 4 $a Cinematography. $3 546522
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710 2 $a State University of New York at Stony Brook. $b Art History and Criticism. $3 1678614
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