In this avant-garde subset of Cinemath, we explore films that have been constructed using mathematical concepts both simple and complex - geometric permutations, musical frameworks, even topography are among the strategies that have been employed to compose and sequence film frames. Filmmakers such as Oskar Fischinger and Walther Ruttmann created some of the earliest avant-garde films by multiplying, dividing, and otherwise transforming abstract images - including spirals, rectangles, and circles - to produce dynamic rhythms and harmonies. Today such visual music and motion are the currency of digital graphics. Anthony McCall's film performances such as Line Describing a Cone create 3-D geometric shapes into which the viewer can literally step. We also explore films by pioneers of machine-generated and computer-produced animation (Norman McLaren, James and John Whitney, Stan Vanderbeek) as well as works by contemporary animators who use the computer to either generate or pattern images (Larry Cuba, Paul Glabicki, James Otis). Peter Kubelka, Taka Iimura, and Standish Lawder use the frame as the unit with which they create editing patterns, while Kurt Kren and Paul Sharits reckon on arithmetic systems to variously calculate compositional or editing patterns. Bette Gordon, Hollis Frampton, and Bruce Elder figure in algorithms, group theory, and set theory to graphically enliven the frame or to structure films. While no mathematical knowledge is required to enjoy these films, we count on you to try to calculate the mathematical systems employed!
-Kathy Geritz
Mathematicians from MSRI will participate in discussion following each program.
