FAST FORWARD 1 / FAST FORWARD 2 의 차이점
1: more general / 비디오 아트 전반에 대한 전시.
일관된 주제의식은 별로 없었다.
many artists . established artists
out of Blackbox : open된 display
2: focused on individual artists / projects :
형식 / 주제 면에서 globalization
fewer artists with more of their works.
Shipping container : 이것 또한 individualized / closed type of display
이 두 전시의 차이를 보면, 미디어 아트 발전의 역사를 좀 파악할 수 있다.
On the Exhibition at ZKM: Peter Weibel
There are various possibilities of portraying actions or narratives in real time, slow motion or fast forward as well as using multi-channel projections to present complex plots and narrative structures from a variety of viewpoints simultaneously.
The idea of placing 20 shipping containers and showing some of the videos inside them. globalization 형상화한다.
The Dubious Entropy of Video Art : Gregor Jansen
이 글은 좀 어렵다………
이 글에서 Robert Smithson의 site / non-site 개념을 비디오에 적용한다.
이 부분은 Michael Fried의 Theatricality와 연결된다.
Since video art is a time-based medium that is more narrative, stimulating and on the whole emparhetic, it demands a different physical and mental orientation, or even participation on the part of the viewer. It invites him to a form of spectacle that one can refer to as a hot medium in Marshal McLuhan’s sense. Painting, on the other hand, remains cold and thus less attractive, but more imaginative, mediative and possibly more valuable in the mercantile sense. Video is much closer to the scene of a performacne and thus allow us to participate.
The Container Revolution in the Arts? : Stephen Urbanshek
Byung-Chul Han, hyperculturalism, 2005 Berlin paper.
Analog is Dead : Media Art on the highway to a digital future: from electronic trash to data garbage? – Andread Weisser
the current conditions in the digital domain, loss-free copying is possible, and cloning or originals will no longer present a problem.
When the normal resolution for SD(standard definition) television was an aspect ratio of 4:3, … The classical television tube with 4:3 aspect ratio has been replaced by the High Definition (HD) flat screen with its cinematic 16:9 format.
tape-less format이 현재의 대세.
Even in Japan, the even higher resolution Ultra High Definition (UHDTV)system is currently being tested.
In regard to movies, the medium of film is continually losing significance.extinction of the classic film role inevitable.
The same is for video tapes: the tapeless, digital future began with the end of the analog video. Soon, there will only be file-based HD videos in 16:9 format.
이러한 변화는 museum documentation / archiving / distribution /모두에 영향을 미친다.
Editing, processing, copying takes place on computers. For purely software-based formats, on the other hand, hardly any predictions about life expectancy can be made.
The term ‘compression’ instead of ‘reduction’ is often used in this connection. Compression actually involves no loss of information, but rather its condensation, which lessens the file size. Data reduction however is different. In this case, information is discarded and deleted. Born digital actually means born ‘lossy compressed.’
This is what makes the technical mata-date(data about the data) so important when handling file-based works.