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non-canonical approach

old and/or new media - media archeology

political geography of new/electronic media - west and east

processual, kinetic, time-based, multiple media, eventually often involving computation, margins of contemporary art or film or…

Gary Hill

1. FULL CIRCLE, single chanel video 1978

“This work tries to make manifest the perhaps irreconcilable space between the body as physicality and conceptual models built upon ephemeral, yet also physical, media. What happens is something of a Catch 22: ‘both self-sustaining and self-contradictory, something between paradox and oxymoron, apparently embodying the illusory possible in physical fact’ (Quasha)

2. Around & About 1980 UMATIC,Video (color, sound); 4:45 min.

“In 1979-80, I was teaching in the Media Studies Department at the State University of New York at Buffalo, filling in for Woody and Steina Vasulka, who had left for Santa Fe. Midway in the year I abruptly had to leave my apartment and move into my office—a relatively small space with a desk, a couple of chalkboards, a couch, plus everything I owned, which was mostly media equipment. About all I could do was work, if only to keep from feeling claustrophobic (moving things around seemed to make the space bigger). Around & About came out of a ‘what if’ scenario. What if I were to cut images to every syllable of a spoken text? (A way to keep me busy?) A daunting task in the time of U-matic machines and sloppy controllers. I did it all manually, hitting the edit button for every syllable. With each rewind I would listen and anticipate the coming syllable, learning as I went along to adjust for delayed reaction. I learned quickly—every ‘mistake’ was a step forward and one or more back. Rather quickly I wrote—I could almost say scribbled—a text, driven by a personal relationship breakup, yet, more to the point, directed to an abstract other; that is, someone a viewer could identify with. Rather than separately recording and collecting images, I set the cameras up ‘live’ for each edit/syllable of the entire text, constructing it linearly from beginning to end. I limited myself to images of the room, mostly unmemorable moments of walls, furniture, and whatever else was lying around. It didn’t really matter; it was more about change and keeping the viewer occupied while I spoke. The speech was ‘automating’ the event, making whatever happened happen, at times drawing the view off the screen to the hypothetical space outside the box.”

3.The Psychedelic Gedankenexperiment, 2011 Two projection screens, two HD video projectors, eight specially fabricated foam chairs, four text panels (each 40 h x 71 w inches), four amplified speakers on tripods, 3D glasses, acoustic foam/plywood divider, one computer with two channels of Quicktime playback synchronized by MXP/MSP (2D and 3D HD color video; both with stereo sound)

Steina Steina and Woody Vasulka Selected Treecuts is a formal examination of the distinction between camera-generated and digital images, and a layered juxtaposition of contrasting representations of reality. The methodology of the tape is simple: a zoom lens moves slowly in and out on a group of trees, alternating between digitized and camera-generated, “real” images. The movement in the tape is produced by the automated zoom lens and rotating prism; the images switch rhythmically between camera images and digital images held briefly in computer memory. The contrast between the “real” camera images of trees and the frozen, digital computer images forms an essay in motion and stillness, the organic and the synthetic, tracing a trajectory from the photographic to the electronic.“

Steina Lilith, 1987, Performed Media

Lynn Hershman Leeson Lorna, 1983, Interactive Installation.

Richard Mosse The Impossible Image, 2011, 6 channel film/video & audio installation.

On the margins of art

Bellingcat an example

introduction.txt · Last modified: 2020/02/19 13:49 by eric-rosenzveig