Dead Horse. Tim Macmillan 1998. 00000![Dead Horse [link]](https://bibbase.org/img/filetypes/link.svg "link")
Paper abstract bibtex Dead Horse 1998, the video installation by Tim Macmillan, is the most visceral and perfect use of his Time-Slice® technique. At the moment of its execution in an abattoir, a horse is photographed simultaneously by an arcing bank of still cameras. The photos are then ordered into a filmic sequence. The result is a static world traversed by a moving gaze. Although it feels strikingly contemporary, the technology for doing this is as old as cinema, if not older. If Muybridge had fired all his cameras at once and animated the results via his Zoopraxiscope, we might have had a century of Time-Slice. That it appeared only relatively recently is less an anomaly than a sign of the fact that for any image form to come into being it must be first imagined or desired. Imagination and desire are historically grounded. Nobody wanted Time-Slice in 1879. The basic structures of photography and cinema have existed for a long time, but they have proved flexible enough to accommodate ever-newer conceptions of time, space, movement and stillness. That is why they are still with us rather than belonging to the nineteenth century. Macmillan’s video alludes to this historical delay with a clear reference back to the work of Muybridge’s very first studies of horses in motion.
@misc{tim_macmillan_dead_1998,
title = {Dead {Horse}},
url = {http://martinavermorel.wordpress.com/2013/08/07/tim-macmillan-dead-horse/},
abstract = {Dead Horse 1998, the video installation by Tim Macmillan, is the most visceral and perfect use of his Time-Slice® technique. At the moment of its execution in an abattoir, a horse is photographed simultaneously by an arcing bank of still cameras. The photos are then ordered into a filmic sequence. The result is a static world traversed by a moving gaze. Although it feels strikingly contemporary, the technology for doing this is as old as cinema, if not older. If Muybridge had fired all his cameras at once and animated the results via his Zoopraxiscope, we might have had a century of Time-Slice. That it appeared only relatively recently is less an anomaly than a sign of the fact that for any image form to come into being it must be first imagined or desired. Imagination and desire are historically grounded. Nobody wanted Time-Slice in 1879. The basic structures of photography and cinema have existed for a long time, but they have proved flexible enough to accommodate ever-newer conceptions of time, space, movement and stillness. That is why they are still with us rather than belonging to the nineteenth century. Macmillan’s video alludes to this historical delay with a clear reference back to the work of Muybridge’s very first studies of horses in motion.},
author = {{Tim Macmillan}},
year = {1998},
note = {00000}
}
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