본 연구는 비디오 아트를 통해 구현되는 시간 및 그 의미들이 여러가지 방식에 의해 조작되고 변형되는 것을 살펴본다. 특히 슬로모션으로 시간을 연장시킨 작품들을 통해 비디오 아트의 근본 속성으로서의 내재적 시간성이 어떻게 변화를 겪게 되는가를 추적하고, 그것이 인간 주체의 신체 및 지각, 심리적인 변화에 대해 갖게 되는 관계를 다룬다.
본 연구는 비디오 아트를 통해 구현되는 시간 및 그 의미들이 여러가지 방식에 의해 조작되고 변형되는 것을 살펴본다. 특히 슬로모션으로 시간을 연장시킨 작품들을 통해 비디오 아트의 근본 속성으로서의 내재적 시간성이 어떻게 변화를 겪게 되는가를 추적하고, 그것이 인간 주체의 신체 및 지각, 심리적인 변화에 대해 갖게 되는 관계를 다룬다.
This essay treats with video art works that transform and manipulate the time or temporality with various ways especially digital technologies. The works which are treated in this essay are Douglas Gordon"s 〈24 Hour-Psycho〉(1993), Bill Viola"s Passion series, Christian Kessler"s 〈Transverser〉(2000),...
This essay treats with video art works that transform and manipulate the time or temporality with various ways especially digital technologies. The works which are treated in this essay are Douglas Gordon"s 〈24 Hour-Psycho〉(1993), Bill Viola"s Passion series, Christian Kessler"s 〈Transverser〉(2000), Martin Reinhart and Virgil Wiedrich"s 〈TX-Transform〉(2000). Recently many attention has been given to role of video image as privileged mediator of the transition from the cinema to digital. That is the singularity of video images as a kind of mediator between extensive and intensive (or human and machine) time. Originally video is inherent time, many video artists use this factor for re-operating human perception and for generating psychological effects. For example, Scottish artist Douglas Gordon"s appropriation pieces involving digital manipulation of found film footage engage me temporal dimension of cinema through a practice mat is specific to video not only as a technical image medium but as the privileged mode through which images, as the material basis of contemporary perception, are actually lived or experienced. By reproducing Alfred Hitchcock"s film 〈Psycho〉(1960) in extreme slow motion, Gordon"s 〈24 Hour-Psycho〉 makes the viewer disrupt me original narrative of the film to such a degree that memory and perception clash over the reconstruction of the film. The viewer fails to recreate the original story and has a kind of temporal stake-the loss of time, me need for time which is critical to depressed subjectivity. Bill Viola uses a technical capacity intrinsic to cinema, the capacity to shoot at high-speed, extended and transformed by video, in order to contaminate the perceptual present with a non-lived that is not, as in photography or the cinema of time-image, the recurrence of a tertiary past, but rather the material infrastructure of "the enlarged now itself". It is Viola"s insight into the autonomy of emotion from time and thus from any temporal fixation of it in any particular medium that makes his work the exemplar of the medial revolution. Viola"s aesthetic deprivileges the technical frame in favor of the framing activity of a body affectively open to the nonlivable, nonaetual, and imperceptible. This digital aesthetics makes us see that digital image in fact is affection-image.
This essay treats with video art works that transform and manipulate the time or temporality with various ways especially digital technologies. The works which are treated in this essay are Douglas Gordon"s 〈24 Hour-Psycho〉(1993), Bill Viola"s Passion series, Christian Kessler"s 〈Transverser〉(2000), Martin Reinhart and Virgil Wiedrich"s 〈TX-Transform〉(2000). Recently many attention has been given to role of video image as privileged mediator of the transition from the cinema to digital. That is the singularity of video images as a kind of mediator between extensive and intensive (or human and machine) time. Originally video is inherent time, many video artists use this factor for re-operating human perception and for generating psychological effects. For example, Scottish artist Douglas Gordon"s appropriation pieces involving digital manipulation of found film footage engage me temporal dimension of cinema through a practice mat is specific to video not only as a technical image medium but as the privileged mode through which images, as the material basis of contemporary perception, are actually lived or experienced. By reproducing Alfred Hitchcock"s film 〈Psycho〉(1960) in extreme slow motion, Gordon"s 〈24 Hour-Psycho〉 makes the viewer disrupt me original narrative of the film to such a degree that memory and perception clash over the reconstruction of the film. The viewer fails to recreate the original story and has a kind of temporal stake-the loss of time, me need for time which is critical to depressed subjectivity. Bill Viola uses a technical capacity intrinsic to cinema, the capacity to shoot at high-speed, extended and transformed by video, in order to contaminate the perceptual present with a non-lived that is not, as in photography or the cinema of time-image, the recurrence of a tertiary past, but rather the material infrastructure of "the enlarged now itself". It is Viola"s insight into the autonomy of emotion from time and thus from any temporal fixation of it in any particular medium that makes his work the exemplar of the medial revolution. Viola"s aesthetic deprivileges the technical frame in favor of the framing activity of a body affectively open to the nonlivable, nonaetual, and imperceptible. This digital aesthetics makes us see that digital image in fact is affection-image.
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