Roads to Recursion. Some historiographical remarks on a core category of Media Art
Contenido principal del artículo
Resumen
In this paper, the general arena between analogue and digital media art is explored with special respect to the concept of the ‘newness’ of media. The first part confirms the Closed Circuit as an ‘open system’ related to its right to an evolution towards increasing complexity without the reciprocal playing-off of self-referential ‘life’ against ‘hetero-referential’ technique. The second part refers to the continuity of research undertaken in media, art and art-history and discussion in related fields while the concepts of ‘new’ media have repeatedly admitted the Closed Circuit as a core category in ‘New’ Media Art. The third part introduces one content-related categorization of Closed Circuit video installations which has been regarded as representative for the general ‘fields of inquiry’ of both analogue and digital media art.
Descargas
Detalles del artículo
Esta obra está bajo una licencia de Creative Commons Reconocimiento 4.0 Internacional.
Citas
Albert Abramson, Electronic Motion Pictures: A History of the Television Camera. (New York: Arno Press 1974 [1st. ed. 1955]), 200.
Marie-Luise Angerer, “I am suffering from a spatial hangover. Körper-Erfahrungen im NeuenMedienKunst-Kontext, in Peter Gendolla et al., Formen interaktiver Medienkunst (Frankfurt am Main: Suhrkamp 2001), 177.
"Art and the Moving Image, 1963-1986" (exib.-cat. Museo Nacional Centro de Reina Sofia 2006).
Eugeni Bonet, “Closed-Circuit Installations, Video Objects or Video Sculptures, Video Environments, Multi-Channel Installations, Video Performances…”, in Vídeo, El temps i l’espai, Sèries Informatives 2 (Barcelona: Collegi d’arquitectes de Catalunya, Institut Alemany de Barcelona 1980), 29.
Horst Bredekamp, “Tastende Closed Circuits”, in: CeBIT 1995 exhibition catalogue (Berlin: Triad 1995), 7-8.
Søren Brier. Cybersemiotics. Why Information is not enough (Toronto / Buffalo / London: University of Toronto Press 2008) and Jesper Hoffmeyer, “God, Matter, and Information”, in Information and the Nature of Reality: From Physics to Metaphysics, ed. Niels Henrik Gregersen and Paul Davis (Cambridge: University of Cambrige Press), 185-204.
Söke Dinkla, Pioniere Interaktiver Kunst von 1970 bis heute (Ostfildern: Cantz 1997), 10. (translation from German: Helen Shiner).
Söke Dinkla, „Das flottierende Werk. Zum Entstehen einer neuen künstlerischen Organisationsform“, in Peter Gendolla et al., Formen interaktiver Medienkunst (Frankfurt am Main: Suhrkamp 2001), 87.
Thomas Donga, “Glossary” in Der elektronische Raum. 15 Positionen zur Medienkunst. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn (Ostfildern: Cantz 1998), 227.
Juan Downey, “Feedback (About the Basic Text)”, in Vídeo, El temps i l’espai, Sèries Informatives 2 (Barcelona: Collegi d’arquitectes de Catalunya, Institut Alemany de Barcelona 1980), 5.
Rudolf Frieling, „Kontext Video Kunst“, in Dieter Daniels and Rudolf Frieling, Medien Kunst Interaktion. Die 80er und 90er Jahre in Deutschland (Vienna / New York: Springer 1999), 12.
John G. Hanhardt, „Theater der Erinnerung: Film und Video in einem Zeitalter der Neuen Medien“, in: Artintact 4. CD-rom Magazin interaktiver Kunst ZKM, Karlsruhe (Ostfildern: Cantz 1997), 15.
Wulf Herzogenrath, Mehr als Malerei. Vom Bauhaus zur Video-Skulptur (Regensburg; Lindinger + Schmid 1994), 11.
Annette Hünnekens, Der bewegte Betrachter, Theorien der interaktiven Medienkunst (Cologne: Wienand 1997), 22.
Kathy Rae Huffman, “Video, networks, and Architecture. Some Physical Realities of Electronic Space”, in Electronic Culture. Technology and Visual Representation, ed.
Slavko Kacunko, „Das (Medien-)Kunstwerk im Fokus der Genie-,Werk-, Rezeptions- und Interaktionsästhetik“, in Werke im Wandel. Zeitgenössische Kunstzwischen Werk und Wirkung, ed. Lars Blunck (Munich: Silke Schreiber 2005), 125-152
Slavko Kacunko, Closed Circuit Videoinstallationen. Ein Leitfaden zur Geschichte und Theorie der Medienkunst mit Bausteinen eines Künstlerlexikons” (Berlin: Logos 2004, in German)
Wolf Kahlen, „FERNSEHEN oder Das Kissen unter den Ellbogen im Fenster und VIDEO oder Wie man Brillen putzt“, in Vídeo, El temps i l’espai, Sèries Informatives 2 (Barcelona: Collegi d’arquitectes de Catalunya, Institut Alemany de Barcelona 1980), 11.
Allan Kaprow, “Video Art: Old wine, New Bottle”, in Art Forum (New York 1974), 95.
Heinrich Klotz, Kunst der Gegenwart. Museum für Neue Kunst: ZKM, Karlsruhe (Munich / New York: Prestel 1997), 22.
Lev Manovich, “Database as a Genre of New Media” (conference paper), in “Chips and Bits”-Symposium, UCLA School of Film and Television, May 1997
Lev Manovich, conference paper at “Computing Culture: Defining New Media Genres", Center for Computing in the Arts, University of California in San Diego, May 1998
Lev Manovich, The Language of New Media (Cambridge, Mass. / London: The MIT Press 2001), 103.
Stuart Marshall, “Video Art, The Imaginary and the Parole Vide”, in Studio International. Journal of Modern art (may/june, New York 1976), 243. The text has appeared under the same title also in: New Artists Video. A Critical Anthology, ed. Gregory Battcock (New York: A Dutton Paperback 1978).
Margaret Morse, Virtualities. Television, Media Art, and Cyberculture (Bloomington / Indianapolis: Indiana University Press 1998), 6-7.
“Mind Frames - Media Study at Buffalo 1973-1990” (exib.-cat. ZKM Karlsruhe 2007)
David Ross, “Video: the Success of its Failure”, in 3e biennale de Lyon (exhibition catalogue Paris 1995), 433.
Michael Rush, New Media in Late 20th-Century Art (London: Thames & Hudson 1999), 83-84.
Itsuo Sakane, “Introduction” in: Wonderland of Science Art – Invitation to Interactive Art (Kanagawa: Kanagawa International Art & Science Exhibition 1989), 4.
Jens Schröter and Alexander Böhnke (eds.), Analog, Digital : Opposition oder Kontinuum?: zur Theorie und Geschichte einer Unterscheidung (Bielefeld: Transcript 2004).
Hans-Peter Schwarz, “Glossary” in: Medien-Kunst-Geschichte. Medienmuseum ZKM, Karlsruhe, ed. Hans-Peter Schwarz (Munich/New York: Prestel 1997), 187.
Victoria Vesna (ed.), Database Aesthetics: Art in the Age of Information Overflow (Minneapolis, MN: University of Minnesota Press 2007).
Jud Yalkut, an unpublished manuscript (archive of the artist, Dayton, OH 1974), 3.
Gene Youngblood, Expanded Cinema (New York: Dutton 1970), 337/339.