SAVING THE IMAGE: Issues in the new cinematic aesthetic in video

SAVING THE IMAGE: Issues in the new cinematic aesthetic in video
Chrissie Iles

Photo 2014. 7. 21. 오후 2 37 34

The cybernetic terrain described by Crary, and predicted by McLuhan in the 1960s, has triggered an unprecedented sea change in video installation. This is a result of the widespread use of video projection, which has liberated the video image from the spatial restrictions of the monitor and magnified it 100 times, creating a movie-sized image that relates not to the object, but to the surrounding architectural space. p.130.

The integrating properties of the new electronic media.
The cinematic aesthetic in much current video installation is a hybrid of old and new technology. The relationship of the video image to physical space has changed. p.131.

The sculptural objects by which they were contained, have been replaced by large-scale two-dimensional images that position the viewer in a direct dialogue with architectural space. The multi screen clusters of monitors, frequently in stacks, blocks, or rows, or the often complex constructions that characterized sculptural video installations during 1980s, took the eye away from the mesmerising pull of the single image. The body moved around a more classical Euclidian space, experiencing recognisable boundaries between physical objects, the interiority of the electronic images, and the architectural surroundings, often articulated in theatrically constructed environments. p.132.

A major shift has taken place, away from the object and towards a more internal, psychological experience, in which space is no longer tangible and theatrical, but illusory and filmic. – new aesthetic이라고 말하고 있다. p.132.

The release of the video image from the monitor began to dissolve the space between the viewer and technology. In the resulting heightening of sensory participation, the viewer became an active constituent of the work; indeed, without the viewer, the work would not exist. p.133.

Electronic media create the most all-embracing effect, a kind of total field of awareness, or simultaneity.

In Tony Oursler’s installations, the image has become separated from the monitor or screen. The monitor has disappeared, and the body, symbolised by rag dolls, becomes the screen onto which action is projected. p.135.
The boundary between the physical object and the projected image has disappeared. p.135.

Artists such as Hill, Viola, Thater, and Gordon have all merged real-time video phychology with the dreamlike fantasy psychology of film to create a new cinematic experience of the projected image in space. p.137.

In both form and content, video in now mimicking the qualities that had always pertained exclusively to film. The disappearance of the object from video installation returns the viewer to that state of sensory inclusiveness, in which the possibility of extending consciousness into the technological realm has emerged. p.140.

Art has always been a whole-body, physical experience. … The five senses are not individual things but, integrated with the mind, they form a total system and create this field, and experiential field which is the basis of conscious awareness. This is the only true whole image. p.141. – Bill Viola.


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