In Impulsators, Robakowski rejects the narrative film form and the representational function in the spirit of his radical manifestations against the illusory character of traditional film in the 1970s, such as e.g. Test, Test II. Like Impulsators, those non-camera films came into being as a result of perforation of film stock, which thus lets through in a desired way the light from the projector, which is in turn “fixed” on the retina and produces after-images. The movement of the film stock generates lively flicker targeted directly at the viewer’s body, above their imagination. Immersed in the trance rhythm, the impulsator becomes a new psychophysical force.
0.0/10In Impulsators, Robakowski rejects the narrative film form and the representational function in the spirit of his radical manifestations against the illusory character of traditional film in the 1970s, such as e.g. Test, Test II. Like Impulsators, those non-camera films came into being as a result of perforation of film stock, which thus lets through in a desired way the light from the projector, which is in turn “fixed” on the retina and produces after-images. The movement of the film stock generates lively flicker targeted directly at the viewer’s body, above their imagination. Immersed in the trance rhythm, the impulsator becomes a new psychophysical force.
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