著者

吉積 健

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.29, no.3, pp.58, 1978-12-30 (Released:2017-05-22)

---

In 1921, H. Richter and V. Eggeling established the area of abstract film in which, through the mechanism of film, motion became one of the materials. In the trends of American experimental film on and after the World War II, the area was developed by John Whitney, R. Breer, and so on. In this process, however, the mechanism of filming and projection has disclosed the objectiveness. In the latter half of the 1960's, the trends of "film as the subject of film", that is, STRUCTURAL FILM, became conspicuous, whereas P. Sharits examined the essential mechanism of film and denied the otherworldliness completely, in order to achieve the objectiveness. E. Souriau points out that in a technological innovation of art, it is important for us to explore the possibilities to throw the light upon the mechanism of creative conception process, and he supposes that the intervention of the moment of chance and that of combinations is essential to the creative conception process. Under this spposition I'd like to research the possibility of film and video art through the experimental executions of computer film. It is nothing else than the structuralist methodology which A. A. Moles advocates in the information theory of aesthetic perception.