Christian Van Houten
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Check out the great work from Christian Van Houten on CalArts CommonSpace
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Check out the great work from Christian Van Houten on CalArts CommonSpace
Student
California Institute of the Arts
MA Candidate · Aesthetics and Politics · 2017
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Christian Van Houten History of Experimental Film Response 12 I want to say that Robert Breer’s “69” is a “musical” film, but what is meant by this? First of all, we should say that rhythm is not strictly a property of music; thus, it is more accurate to say that it is a rhythmic film, with its repeated shapes and movements throughout, and then that rhythm is a necessary but insufficient property for music, or any art, since this rhythm must “receive” a medium, a consistency, so as to take on a
Christian Van Houten History of Experimental Film Response 12 I want to say that Robert Breer’s “69” is a “musical” film, but what is meant by this? First of all, we should say that rhythm is not strictly a property of music; thus, it is more accurate to say that it is a rhythmic film, with its repeated shapes and movements throughout, and then that rhythm is a necessary but insufficient property for music, or any art, since this rhythm must “receive” a medium, a consistency, so as to take on a
HEF12.docx
Christian Van Houten HEF12.docx
Christian Van Houten History of Experimental Film Response 10 753 McPherson Street by Kevin Jerome Everson is a short film consisting of essentially three different shots in four main sections. First we see a pair of feet whose two big toes are being tied together. Next are some images of replica Egyptian sarcophaguses. Then, footage of a (dead) body being picked up by a group of men and placed into a vehicle to be taken away. Finally, we return to the first shot of the toes being tied together,
Christian Van Houten History of Experimental Film Response 10 753 McPherson Street by Kevin Jerome Everson is a short film consisting of essentially three different shots in four main sections. First we see a pair of feet whose two big toes are being tied together. Next are some images of replica Egyptian sarcophaguses. Then, footage of a (dead) body being picked up by a group of men and placed into a vehicle to be taken away. Finally, we return to the first shot of the toes being tied together,
HEF10.docx
Christian Van Houten HEF10.docx
Christian Van Houten Contemporary Political Theory Essay 1 In this essay I attempt to disambiguate some of the relations between the meanings of liberalism, neoliberalism, bourgeois, individualism, capitalism, and democracy, with Carl Schmitt’s The Concept of the Political and Deleuze and Guattari’s Anti-Oedipus particularly in mind. With regard to Schmitt, it is interesting to read a so-called right-wing (i.e. Nazi) critique of liberalism when most academic literature today on the subject comes
Christian Van Houten Contemporary Political Theory Essay 1 In this essay I attempt to disambiguate some of the relations between the meanings of liberalism, neoliberalism, bourgeois, individualism, capitalism, and democracy, with Carl Schmitt’s The Concept of the Political and Deleuze and Guattari’s Anti-Oedipus particularly in mind. With regard to Schmitt, it is interesting to read a so-called right-wing (i.e. Nazi) critique of liberalism when most academic literature today on the subject comes
Neo/Liberalism and other Disambiguations
Christian Van Houten Neo/Liberalism and other Disambiguations
Christian Van Houten History of Experimental Film Response 3 Note: This is composed of what I’d written immediately after seeing Maya Deren’s film. I’d afterward read what was in the packet distributed in class, discovering many of the same points were made, so I just want to be clear that this is what I wrote before reading. The use of cuts in A Study of Choreography for Camera is at the cuts of how it was achieved. We immediately notice a difference in Deren’s film from Eisenstein’s, for exam
Christian Van Houten History of Experimental Film Response 3 Note: This is composed of what I’d written immediately after seeing Maya Deren’s film. I’d afterward read what was in the packet distributed in class, discovering many of the same points were made, so I just want to be clear that this is what I wrote before reading. The use of cuts in A Study of Choreography for Camera is at the cuts of how it was achieved. We immediately notice a difference in Deren’s film from Eisenstein’s, for exam
HEF3.docx
Christian Van Houten HEF3.docx
Christian Van Houten History of Experimental Film Response 4 There are two things from Stan Brakhage’s film The Wonder Ring I would like to consider. The first is layers. Specifically, the shots from inside the train looking out the window. Not only do we see what’s through the glass, but we sometimes also see the surface of the window itself, and the reflected image of those inside the train (and it’s plausible that the window reflects the other window, and they bounce back indefinitely). That’
Christian Van Houten History of Experimental Film Response 4 There are two things from Stan Brakhage’s film The Wonder Ring I would like to consider. The first is layers. Specifically, the shots from inside the train looking out the window. Not only do we see what’s through the glass, but we sometimes also see the surface of the window itself, and the reflected image of those inside the train (and it’s plausible that the window reflects the other window, and they bounce back indefinitely). That’
HEF4.docx
Christian Van Houten HEF4.docx
Christian Van Houten There are many things one could say about A Movie by Bruce Conner, such as the relation between the title and the content of a movie literally composed of several movies, but I will focus instead on three related elements that came to mind while watching. One is particular to the film and the other two more general to the construction and experience of film, based on what is done here. The first is the sequencing images from disparate sources in a found footage film, specif
Christian Van Houten There are many things one could say about A Movie by Bruce Conner, such as the relation between the title and the content of a movie literally composed of several movies, but I will focus instead on three related elements that came to mind while watching. One is particular to the film and the other two more general to the construction and experience of film, based on what is done here. The first is the sequencing images from disparate sources in a found footage film, specif
HEF5.docx
Christian Van Houten HEF5.docx
Christian Van Houten History of Experimental Film Response 7 Take the 5:10 to Dreamland, Bruce Conner. Immediately called to mind is 3:10 to Yuma, which refers to a train line. Already, then, we know that we’re going somewhere in the film. Indeed, the object – a white flower petal? – propelled upward by the radiator appears to transform into a kind of space rocket. And we get scientific diagrams and other objects that reinforce this possibility. Then, the “rocket”, having undergone yet another t
Christian Van Houten History of Experimental Film Response 7 Take the 5:10 to Dreamland, Bruce Conner. Immediately called to mind is 3:10 to Yuma, which refers to a train line. Already, then, we know that we’re going somewhere in the film. Indeed, the object – a white flower petal? – propelled upward by the radiator appears to transform into a kind of space rocket. And we get scientific diagrams and other objects that reinforce this possibility. Then, the “rocket”, having undergone yet another t
HEF7.docx
Christian Van Houten HEF7.docx
Christian Van Houten History of Experimental Film Response 8 Bridges-Go-Round and The Wonder Ring, both films of urban structures, have many similarities. However, what constitutes the films’ vast differences is how these similarities – and the interrelations between these elements – are foregrounded. The similarities, generally speaking, are of: color, shape, space, and texture. There are actually few colors, numerically, in Bridges-Go-Round, but they take a prominent role because of the large,
Christian Van Houten History of Experimental Film Response 8 Bridges-Go-Round and The Wonder Ring, both films of urban structures, have many similarities. However, what constitutes the films’ vast differences is how these similarities – and the interrelations between these elements – are foregrounded. The similarities, generally speaking, are of: color, shape, space, and texture. There are actually few colors, numerically, in Bridges-Go-Round, but they take a prominent role because of the large,
History of Experimental Film Response 8.docx
Christian Van Houten History of Experimental Film Response 8.docx
Christian Van Houten History of Experimental Film Response 9 Earthly Possessions (The Looking Glass Trilogy, Part III) by Pelle Lowe. “When the world leaves you”, words spoken in the film, would be an apt description for both what seems to go on in it as well as the experiencing of it. The quality of the Super 8 itself has a lot to do with this otherworldliness: namely, the sonic distortions and the off-white color values that feel like parchment. Though much of the film takes place in interior
Christian Van Houten History of Experimental Film Response 9 Earthly Possessions (The Looking Glass Trilogy, Part III) by Pelle Lowe. “When the world leaves you”, words spoken in the film, would be an apt description for both what seems to go on in it as well as the experiencing of it. The quality of the Super 8 itself has a lot to do with this otherworldliness: namely, the sonic distortions and the off-white color values that feel like parchment. Though much of the film takes place in interior
History of Experimental Film Response 9.docx
Christian Van Houten History of Experimental Film Response 9.docx
Sound and Image Final Project
Christian Van Houten Sound and Image Final Project
LEONARDO DICAPRIO SPRITE PHARMA ILLUMINATI
Christian Van Houten LEONARDO DICAPRIO SPRITE PHARMA ILLUMINATI
(f)uneREAL
Christian Van Houten (f)uneREAL
Music and the Sublime: Aesthetics, Phenomenology, and Lacanian Psychoanalysis Christian Van Houten Advisor: Dr. Christopher Latiolais Kalamazoo College Department of Philosophy A paper submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts at Kalamazoo College. 2015
Music and the Sublime: Aesthetics, Phenomenology, and Lacanian Psychoanalysis Christian Van Houten Advisor: Dr. Christopher Latiolais Kalamazoo College Department of Philosophy A paper submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts at Kalamazoo College. 2015
Christian Van Houten SIP.pdf
Christian Van Houten Christian Van Houten SIP.pdf
Variations in the Star Spangled Banner
1 track
Christian Van Houten Variations in the Star Spangled Banner
Video Therzzzpy
Christian Van Houten Video Therzzzpy