Perceptual modulations

Perceptual modulations : Reinventing the Spectator – Jonathan Crary


이 글은 Outer and Inner space 전시 도록 글이다.

저자는 기술의 발전에 따른 매체의 변화가 사람의 perception에 영향을 미친다고 본다.
저자가 판단하는 가장 큰 perception에 영향을 준 변화는 TV의 도입이다. (사진 등보다 더 크게)
현재의 rapid media environment change는 Capitalism 구조 안에서 더욱 재촉되고 있고, 사람들은 도태되지 않기 위해 media consumption을 강박적으로 한다. 여기에서 anxiety of replacement가 발생한다. 이 구조는 perception에도 영향을 준다. 이 끊임없이 빠르게 일어나는 shifts와 permutation에 적응하는 방식으로 perception로 변화한다.


Perhaps the single most important turning point in the modernization of perception was the mass diffusion of television following the WW2. dissolved that had been a qualitative distinction between an exterior public sphere and a private/domestic interior space.
Television’s ubiquitous physical proximity and the extended duration of perceptual interface that it eleicited posed the outlines of a quasi-prosthetic relation-of an uncertain permeable borderline between individual consciousness and eletronic stimuli of the cathode-ray tube.
Television came to constitute everyday life itself, to be its ever-present metronome.

decisive changes began in the mid-1970s : globalization and the initial spread of the personal computer as a core product for individual consumption.

mid to late 1970s
were equally important as the start of an inexorable replacement of analog formats by digital ones in photography, film, television, and recorded sound.

the interconnection of emerging global data networks with the digitalization of consumer culture was to culminate in the popularization of the Internet.

the consequences of digital graphic technologies have been manifold.
1) over the last 2 decades, there hash been a progressive depreciation of the reality value of manufactured images of all kinds.
The computer-generated picture has not delivered us into some radically new era of ‘pure simulation’ pr ‘hyper reality’ by Jean Baudrillard and Paul Virilio. Rather the depreciation is a product of a mixed environment in which most images still function as through their referentiality were intact but with a vaguely defined reduction in their truth value.
2) Promiscuous migration of effects and forms between what were once conceived as distinct media.

Vivid demonstration ofo how visual information not only exists independently of any given technological apparatus, but also, within this autonomous state, is continually mutating.

The fantasy is that a wired world will allow the emergnece of new forms of consensus and shared values. But is it also becoming clearer that the plantary circulation of iamges, information, and data all kinds over telecommunication networks in not even remotely leading toward a unified global society but only toward a superficially homogenized consumer environment.
it is within this context that the breakdown of any stable model of medium is particularly relevant.

What is significant is not the so-called content, but the sheer rapidity with which new devices and formats succeed one another. We have become habituated to the idea that switching our attenetion quickly and continually from one thing to another is natural and inevitable.
Capitalism now depends on this intensifying percepetual adaptability and on its own capacity to speed up consumption and circulation by ceaselessly creating new social and emotional needs for images and data. Whatever is currenetly touted as essential to our practical needs is always already disquietingly cloes to the precipice of out-of-date uselessness. Life becomes an anxiety-filled sequence of replacement and upgrades. Perception itself is so closely aligned with these ryhthms that one of its main activities is continually to these shifts and permutations.

Within the current environment, the video image has been displaced from the preeminent cultural position it occupied for several decade, in relation both to individual experience and to the exercise of insitutional power. It is now only one of several important flows of electronic information. The physical interface with TV, video, or computer monitor has mutated and will continue into various hybrids of passivity and interactivity. Obviously, video continues to be a key component of new apparatuses and spaces, but as the artists demonstrate, video is increasingly capable of reinvention and dismantling and can be part fo provisioanl and flexible strategies of creation.
Their radical diversity show show video can now be deployed in terms of its accumulated historical identity and in terms of its mobile adjacency to contemporary representational systems.


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