Visual scenarios

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Visual scenarios-from self-observation to media reflection on an increasingly fragmented society
: Sabine Himmelsbach

이 글은 Fast forward 1, 2003의 도록 글이다.

대략적인 video art의 변천사를 다루고 있다.
1970s
structuralist

1980s
New narrative, large projection의 등장 –> Black box의 등장. video sculpture의 등장 : 이것은 동시대 Expanded cinema의 영향.
백남준 / Peter Weibel이 late 1970에 시작. 백남준의 Fish files on the sky 참고. (최초의 video sculpture)
후세들이 video installation pioneer 시작 : Bill Viola, Gary Hill
multi-channel video installation

1990s
multi-channel video installation이 지속적으로 강세
Doug Aitken / Sam Taylor Wood 등.
동시에 mass media의 강세 : 매스미디어 컬처 급부상 –> narrative가 중요해 진다. 작가들 작업에도 반영된다.
visual reference들이 급증한다. –> 작가들이 작업에서 found footage 사용한다. : Douglas Gordan 24-hour pshcho

동시에 MTV의 등장 : video 문화 영향 급증. –> 이미지의 파편화. narrative 파괴. 이미지 범람. 차용 증가.
Pipilotti Rist 등.

2000s
computer 매체의 급부상.
computer generated image / data-generated image / 여기에서 narrative는 어떻게 되는 것인가??
동시에 영상매체들이 감상이 개인화 된다. private.

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whoose digital images determine out perception of a world that is increasingly interconnected and imparted by the media.

초기 비디오아트
thematized the inherent possibilities of the medium and attempted to decipher the new visual language. physical experience of the medium and to the questioning one’s own self before the camera.
formal qualities of new medium.
irritates the viewer’s perception and question the way he sees.
백남준 Porta Pak video SONY,k Wolf Vostell, Fluxus group/
documentations of performance
Jean Baudrillard
1960s : availability of technology and harware, but was also the logical result of the growing medialization of society, which had radically changed the way that people percieve the world.
Marshall McLuhan : extensions of man. machines for seeing modify perception.
Paul Virilio : appearance replace reality.
ARTISTS : Bruce Nauman / Joan Jonas / John Baldessari / Vito Acconci

1970s
professional editing equipment also became commercially affordable. 기술성장. 보급 가능해짐.
Steina and Woody Vasulka가 최초로 non-camera based 영상 작업 선보임.
That’s when we realized that there didn’t have to be a camera- a voltage, a frequency could create an image.
폐쇄회로 작업 : closed circuit. self reference
feedback technology는 주요한 특성. The viewer faces himself 최초로 아트에서 가능해짐.
Rosalid Krauss는 이를 두고 비디오를 Narcissism적인 매체라고 이야기했다.
Dan graham / Peter Weibel / Bruce Nauman

p.435.

1980 비디오아트
involving the space itself.
Expanded cinema- Expanded Video
1980s the emphasis was on the development of a new narrative structure and image language.
large-format video projections use the theatrical space of the black box. video sculpture.
The development of spatial productions in video art takes up the experiments and trends of the Expanded Cinema. The films of the Expanded Cinema were process-oriented and anti-illusionist and thereby provide an antithesis to mainstream Hollywood cinema and its desire for perfect illusion.
The enlargement of the screen in the room or in the division of the screen into several screens, attempts were made at disrupting the conventional fixed ordering between viewer and screen.
백남준 Fish filed on the sky (1976)
“To overcome the square box, the hierachical space of traditional painting and sculpture, because of theses affinities between video and painting and plastic works, many artists work with video (installation etc.) to realize plastic art and painting in the traditional sense.”

The video installation is freed from ridigly being projected on a screen and is spread over multiple screens in differentiated spatial projections and thereby creates the complexity of an increasingly fragmented perception and experience of the world.
Bill Viola / Gary Hill

1990 비디오아트
multimedia and multiperspective productions.
camera has become an extended, narrative, technical eye.
Video installation trends were explored further in the video installations of the 1990s.
Enables the viewer to experience the work in a spatial-temporal way.

Media Refelction and cultural sampling
The 1990s were characterized by an increasing analysis of the narrative structures and aesthetics of film and TV. strategy of resuing material. Douglas Gordon. / Stan Douglas / Paul Pfeiffer
TV등 대중매체의 영향이다 : McLuhan – fragmented modern world.
MTV : acceleration of images / cuts and breaks in the narrative structure. undeinable recycling of images and social ideas.

FAST FORWARD
we are accelerated viewers. increasingly complex modifications in our environment. massive media presence.
Visual reality is increasingly generated on the computer. Computers generate images and learn to analyze and interpret images.
Jonathan Crary : Techniques of the Observer.
describes the abstaction of the visual, how computer-guided seeing has changed the way we see.

Video art becomes media arts, whose material is digitally edited afterwards on the computer or entirely generated on one. The forms of distribution will also changed. The private aesthetic of the video…
Video-based works are also increasingly gaining in importance in the art world. 2002 Documenta 11 which featured a large number of media arts.
The political has shifted to the personal. The personal narrative.
As psychosocial studies, video works pose questions of time, transitoriness, and memory, in the play with the narrative codes.
The video medium has fundamentally changed the way we films. 자기 재입이 더 크다.

2000 비디오아트
the emergence of participative or interactive environments will not be taken up nor will the development of immersive, virtual spaces.

Video artists make use of visual images from the most diverse cultures to use a contemporary medium to thematize the global village in which we live and to generate personal stories. They question the media images that have become common property and expose the fictiveness of these images. ..

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