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Long Film for Ambient Light

Anthony McCall
24 hrs

Long Film for Ambient Light

Dispensing with both the strip of film and the projector, the 'film' is based on the architectural framing of time and light. AM

'The work used neither film nor film-projector. Three distinct elements combined to form the 'film', and no single ones of these was regarded as being prior to the other two:

1. A time-schema on the wall, covering fifty days. At the centre, the actual time-period of the presentation was indicated.

2. An altered space. A single electric light hung in the centre of the room at eye-level. The windows were covered with white paper, limiting them to being light-sources during the day and reflective surface during the night (screens).

3. A two-page statement, on the wall, 'Notes on Duration'.

...Art that does not show change within our time-space of attending to it we tend to regard as 'object'. Art that does show change within our time-space of attending to it we tend to regard as 'event'. Art that outlives us we tend to regard as 'eternal'. What is at issue is that we ourselves are the division that cuts across what is essentially a sliding scale of time-bases. A piece of paper on the wall is as much a duration as the projection of a film.

A static thing, in terms of impulses to the brain, is a repetitive event. Whether the locus for consideration is 'static' or 'moving', we deal with time-spans of attention, the engagement of cognition and memory within the context of art-behaviour. Neither objects nor events are for the most part accessible. They are rarely 'on show'. Since they are intentional, meaningful signs, this is of no consequence: once an idea is established 'in mind', it has entered the circuit of (art) ideas, and it won't go away, except through debate within that circuit.'
A.M. Catalogue for The Festival of Expanded Cinema1976.

Altered room with windows, electric light bulb, time schema, statement.
Installation duration. One cycle: 24hours.

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