Installation and the Moving Image 9780231850803

Table of contents :
Table of Contents
Acknowledgements
Introduction
Architecture
2. Painting
3. Sculpture
4. Performance
5. Film History
6. Film as Film
7. Structural Film: Detractions and Revisions
8. The Dialectics of Spectatorship
9. Expanded Cinema
10. Sound
11. Video Installation
12. Closing Thoughts
Bibliography
Index

Citation preview

INSTALLATION AND THE MOVING IMAGE

Installation and the Moving Image C AT H E R I N E E L W E S

WALLFLOWER PRESS LONDON & NEW YORK

A Wallflower Press Book Published by Columbia University Press Publishers Since 1893 iÜÊ9œÀŽÊUÊ …ˆV…iÃÌiÀ]Ê7iÃÌÊ-ÕÃÃiÝ cup.columbia.edu Copyright © Catherine Elwes 2015 All rights reserved. Wallflower Press® is a registered trademark of Columbia University Press Cover image: >ۈ`Ê>]Ê1001 TV SetsÊ­ ˜`Ê*ˆiVi®Ê­£™ÇÓqÓä£Ó®°Ê˜ÃÌ>>̈œ˜ÊۈiÜ]Ê
“LˆŽ>Ê*ÎÊ}>iÀÞ] London. Courtesy of the artist. A complete CIP record is available from the Library of Congress ISBN 978-0-231-17450-3 (cloth : alk. paper) ISBN 978-0-231-17451-0 (pbk. : alk. paper) ISBN 978-0-231-85080-3 (e-book)

Columbia University Press books are printed on permanent and durable acid-free paper. This book is printed on paper with recycled content. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1

Contents

Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ix

Introduction

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1

ARCHITECTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 PAINTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 SCULPTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 PERFORMANCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 FILM HISTORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 FILM AS FILM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 STRUCTURAL FILM: DETRACTIONS AND REVISIONS . . . . 8 THE DIALECTICS OF SPECTATORSHIP . . . . . . . . . . . . . . . . . . . 9 EXPANDED CINEMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 SOUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 VIDEO INSTALLATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 CLOSING THOUGHTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

11

1

21 38 53 76 104 129 142 164 207 226 252

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Index

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295

For Willow and Matthew

Acknowledgements >˜Þʈ˜`ˆÛˆ`Õ>Ã]ÊLœÌ…Ê>V>`i“ˆVÃÊ>˜`Ê«À>V̈̈œ˜iÀÃʅ>ÛiÊVœ˜ÌÀˆLÕÌi`Ê̅iˆÀÊ܈Ã`œ“Ê >˜`ÊiÝ«iÀˆi˜ViÊ̜Ê̅iÊ«ÀœiVÌʜvÊ̅ˆÃÊۜÕ“i°ÊÊ>“Ê«>À̈VՏ>ÀÞʈ˜`iLÌi`ÊÌœÊ œˆ˜Ê*iÀÀÞÊ Ü…œÊi`ˆÌi`Ê̅iÊwÀÃÌÊ`À>vÌ]ÊV…>i˜}ˆ˜}ʓÞʓœÀiʜÕ̏>˜`ˆÃ…Ê>ÃÃiÀ̈œ˜ÃÊ>˜`ʘÕ>˜Ving my arguments. A key conversation with David Dibosa helped to formulate a «>˜Ê>ÌÊ>˜Êi>ÀÞÊÃÌ>}iÊ>˜`ÊÕÀÀ>ÞÊ-“ˆÌ…]Êœ…˜Ê/V…>i˜ŽœÊ>˜`Ê/ˆ“Ê-“ˆÌ…Ê}i˜iÀœÕÏÞÊ «ÀœÛˆ`i`ÊiÝ«iÀ̈Ãiʈ˜Ê̅iÊwi`ʜvÊVœ}˜ˆÌˆÛiÊÃVˆi˜ViʜÛiÀÊ>˜ÊiÝÌi˜`i`Ê«iÀˆœ`]Ê܅ˆiÊ Chris Wright clarified key points relating to anthropology. To fill gaps in my knowli`}i]Êʅ>ÛiʜvÌi˜Ê>««i>i`Ê̜Êw“Ê>˜`Êۈ`iœÊ…ˆÃ̜Àˆ>˜ÃÊ>˜`Ê̅iÃiʈ˜VÕ`iÊ̅iʏ>ÌiÊ
°°Ê,iiÃ]Ê-i>˜Ê ÕLˆÌÌ]Ê>˜Ê …ÀˆÃ̈i]Ê*ÀޏiÊ i…À“>˜]Ê >ۈ`Ê ÕÀ̈Ã]ÊÕVÞÊ,iޘœ`Ã]Ê>˜`Ê

Õʈ˜Ê …Õ>Ê܅œÃiÊ`iw˜ˆÌˆœ˜Êœvʜ˜Ìœœ}ÞʈÃÊ«iÀ“>˜i˜ÌÞÊ«>ÃÌi`Ê̜ʓÞÊÜ>°Ê ՘V>˜Ê 7…ˆÌiÊ }i˜iÀœÕÏÞÊ }>ÛiÊ “iÊ >VViÃÃÊ ÌœÊ Õ˜«ÕLˆÃ…i`Ê ÀiÃi>ÀV…]Ê >ÃÊ `ˆ`Ê 7ˆˆ>“Ê ,>L>˜Ê >˜`Ê>ÀˆœÊ-Õ}>˜]Ê܅ˆiÊ >ۈ`Êi˜`ÞÊ«ÀœÛˆ`i`ʓiÊ܈̅ÊÀiVœÀ`ˆ˜}ÃʜvʅˆÃÊ ÊLÀœ>`V>ÃÌðÊ>˜ÞÊiÝV…>˜}iÃÊ܈̅Ê>À̈ÃÌÃʅ>ÛiÊV>Àˆwi`ʈÃÃÕiÃʜvÊ«À>V̈Vi°Ê˜Ê̅ˆÃÊÀiëiVÌ]Ê Ê>“Ê«>À̈VՏ>ÀÞÊ}À>ÌivՏÊ̜Ê̅iʏ>ÌiÊ >ۈ`Ê>]Ê …ÀˆÃÊiˆ}…‡
˜`ÀiÜÃ]Ê-ÌiÛi˜Ê >]Ê

…ÀˆÃÊ7iÃLÞ]Ê
˜˜>LiÊ ˆVœÃœ˜]Ê>ÕÀ>ÊՏÛiÞ]Ê7ˆˆ>“Ê,>L>˜]Ê-ˆ“œ˜Ê*>ޘi]Ê ˆVŽÞÊ >“Þ˜]Ê/œ“Ê-…iÀ“>˜]Ê-ÕÃ>˜Ê œˆ˜Ã]Êi˜Ê7ˆ`iÀÊ>˜`Ê/ˆ“Êi>`°Êʏi>À˜i`Ê>Ê}Ài>ÌÊ`i>Ê from the participants of the AHRC Artists’ Moving Image Research Network events >ÌÊ̅iÊ1˜ˆÛiÀÈÌÞʜvÊ̅iÊ
ÀÌÃÊœ˜`œ˜Ê­1
®]Ê>ÃÊÜiÊ>ÃÊ̅iÊVœ˜ÌÀˆLṎ˜}Ê>Õ̅œÀÃÊ>˜`Ê editors of the Moving Image Review & Art Journal (MIRAJ). My warmest thanks are `ÕiÊÌœÊ ÀˆŽ>Ê >Ãœ“Ê܅œÊ̜œŽÊœÛiÀÊ̅iÊi`ˆÌœÀň«ÊœvÊ̅iʍœÕÀ˜>Ê܅ˆiÊÊÜÀœÌiÊÕ«Ê̅iÊ w˜>Ê`À>vÌʜvÊ̅iÊLœœŽ°Êʅ>ÛiÊi˜œÞi`Ê̅iÊÃÕ««œÀÌʜvÊ̅iÊÀiÃi>ÀV…ÊÌi>“Ê>ÌÊ̅iÊ

7Ê À>`Õ>ÌiÊ -V…œœ]Ê 1
Ê ˆ˜VÕ`ˆ˜}Ê "Àˆ>˜>Ê >``iiÞ]Ê >Vœ“Ê +Ո˜˜]Ê >Ì̅iÜÊ 7…ÞÌi]Ê ->À>…Ê>ÌiÊ7ˆÃœ˜]Ê>ÕÀ>Ê>˜ViiÞ]Ê >ˆÀiÊœŽÀ>ÕiÀ‡>``i˜Ê>˜`Ê7i˜`ÞÊ-…œÀÌ°ÊÞÊ ÀiÃi>ÀV…Ê ÃÌÕ`i˜ÌÃ]Ê >ÌiÊ *iˆ˜}]Ê >̅iÀˆ˜iÊ œ˜}]Ê i˜iۈiÛiÊ Vˆ]Ê >ÞÊ œœ>…>˜Ê >˜`ÊivvÊ>˜}ˆiʅ>Ûiʏi`ʓiÊ̜ʘiÜÊ>Ài>ÃʜvÊÃV…œ>Àň«°Ê9œÀ>“Ê
œ˜Ê>˜`ʅˆÃÊÌi>“Ê >ÌÊ7>yœÜiÀÊ*ÀiÃÃʅ>ÛiÊLii˜ÊVœ˜ÃˆÃÌi˜ÌÞÊi˜VœÕÀ>}ˆ˜}]ʅi«vՏÊ>˜`Ê«>̈i˜Ì°Ê Àˆi˜`ÃÊ ˆ˜VÕ`ˆ˜}Ê ˆ˜>Ê >˜ˆ˜œ]Ê
“ˆŽ>“Ê /œÀi˜]Ê Õ`ˆÌ…Ê ,Õ}}]Ê œ>˜˜>Ê ˆ“œÕÀ]Ê *>ÌÊ >̅iܘ]Ê >̅>Àˆ˜iÊ iޘiÊ >˜`Ê Ì…iÊ >ÌiÊ
˜˜>Ê œÀ«ÕÀ}œ‡ >ۈiÃÊ «ÀœÛˆ`i`Ê

ix

enlightened conversation; Elsa Christie walked and talked; the Yarnells Hill book club }>ÛiʓiÊ«iÀ“ˆÃȜ˜Ê̜ÊÀi>`ÊwV̈œ˜]Ê܅ˆiÊ7ˆœÜÊ>˜`Ê>Ì̅iÜÊ }ˆ˜}Ê«iÀˆœ`ˆV>ÞÊ>œÜi`Ê̅iˆÀʜÛiÀ‡ÜœÕ˜`Ê}À>˜˜ÞÊ̜ʍœˆ˜Êˆ˜Ê̅iˆÀÊ}>“iðÊÞʅi>ÀÌviÌÊ̅>˜ŽÃÊ}œÊ̜Ê1ÜiÊ
VŽiÀ“>˜˜Ê܅œÊ…>ÃÊ«ÀœÛˆ`i`ÊÌiV…˜ˆV>]ʓœÀ>Ê>˜`Êi“œÌˆœ˜>ÊÃÕ««œÀÌÊ̅ÀœÕ}…œÕÌ°Ê ÞÊw˜>Ê̅>˜ŽÃÊ}œÊ̜Ê>Ê̅iÊ>À̈ÃÌÃ]Ê}>iÀˆiÃÊ>˜`ʈ˜`ˆÛˆ`Õ>ÃÊ܅œÊ}i˜iÀœÕÏÞÊ}>ÛiÊ permission for their images to be reproduced in this book.

x

Introduction God keep me from ever completing anything. This whole book is but a draught, nay, but the draught of a draught. Oh Time, Strength, Cash and Patience. iÀ“>˜ÊiÛˆi]ÊMoby Dick]Ê£nx£

PREAMBLE Conventional wisdom postulates that the aim of installation art is to produce in ëiVÌ>̜ÀÃÊ >˜Ê iÝ«>˜`i`Ê Ã«>̈>Ê >Ü>Ài˜iÃÃ]Ê >Ê «…i˜œ“i˜œœ}ˆV>Ê Ãi˜ÃˆÌˆÛˆÌÞÊ ÌœÊ >Ê that is actual and present within a bounded space.1 If artists hope to induce in their >Õ`ˆi˜ViÃÊ>˜Êi“Lœ`ˆi`ʎ˜œÜi`}iʜvÊ̅iˆÀÊÈÌÕ>Ìi`Ê«>ViÊ܈̅ˆ˜Ê>Ê}>iÀÞ]Ê̅i˜Ê̅iÊ medium of the moving image would appear to be the natural enemy of installation. Moving images are moulded to the shape of absent or imaginary beings signalling vÀœ“ÊiÃi܅iÀiʈ˜Ê̈“iÊ>˜`Êë>Vi]ÊvÀœ“Ê>Ê`Ài>“ÊܜÀ`Ê܈̅ʘœÊœLۈœÕÃÊV>ÕÃ>Êˆ˜ŽÊ to the setting in which they are presently manifest. In common with represent䜘>Ê«>ˆ˜Ìˆ˜}]ÊLÕÌÊ܈̅Êi˜…>˜Vi`ÊivviVÌ]Êw“Ê>˜`Êۈ`iœÊV>˜ÊÌÀ>˜Ã«œÀÌÊۈiÜiÀÃÊÌœÊ Ì…>ÌÊwV̈œ˜>Ê`œ“>ˆ˜]ÊȓՏÌ>˜iœÕÏÞÊ`Տˆ˜}Ê̅iˆÀÊ>Ü>Ài˜iÃÃʜvÊ̅iʅiÀi‡>˜`‡˜œÜ°Ê "˜Viʈ““iÀÃi`ʈ˜Ê̅iÊ«…>˜Ì>Ó>}œÀˆ>ʜvÊ̅iʏˆvi‡ˆŽiÊÃÕVViÃȜ˜Êœvʈ“>}iÃ]ÊÜʜvÌi˜ÊÜÀˆÌʏ>À}iʈ˜Ê̅iÊ}>iÀÞÊë>Vi]Ê̅iʅ>«ÌˆVÊ>˜`ÊÛiÃ̈LՏ>ÀÊÃi˜ÃiÃÊ`i`ˆV>Ìi`Ê̜Ê̅iÊ œÀˆi˜Ì>̈œ˜ÊœvÊ̅iÊÃÕLiVÌʈ˜Êë>ViÊ}œÊˆ˜ÌœÊˆ`ˆ˜}ʓœ`i]Ê܅ˆiÊۈȜ˜ÊÌ>ŽiÃÊ̅iʏi>`ʈ˜Ê ̅iÊ>««iÀVi«Ìˆœ˜Êœvʜ˜ÃVÀii˜Ê«iœ«i]ʜLiVÌÃÊ>˜`Ê«>ViðÊœÜiÛiÀÊVœ˜Ûˆ˜Vˆ˜}Ê̅iÃiÊ >««>ÀˆÌˆœ˜Ã]Ê Ì…iÞÊ Ài“>ˆ˜Ê Ì>˜Ì>ˆÃˆ˜}ÞÊ œÕÌÊ œvÊ Ài>V…Ê œvÊ Ì…iÊ Ì>V̈i]Ê }ÕÃÌ>̜ÀÞÊ >˜`Ê œv>V̜ÀÞÊÃi˜ÃiÃÊ>˜`]Ê>ÃÊi˜Ê7ˆ`iÀʅ>ÃÊ«œˆ˜Ìi`ʜÕÌ]ʈ˜Ê̅iʓœÛˆ˜}ʈ“>}iʼ̅iÊVœ˜Ìˆnuity between fictional space and real space is implied but systematically negated’ qÊ̅iÀi]ÊLÕÌʘœÌÊ̅iÀi° 2 Central to the trick of cinematic verisimilitude is the conceal“i˜Ì]ʈ˜Ê>˜`Ê>ÀœÕ˜`Ê̅iʓœÛˆ˜}ʈ“>}i]ʜvÊ̅iÊÌiV…˜ˆV>Ê“i>˜ÃÊ܅iÀiLÞÊ>˜ÊˆÕȜ˜ÊœvÊ reality is created.3 Where an installation ethos might draw attention to the walls and Viˆˆ˜}Ê`iˆ“ˆÌˆ˜}Ê>Ê}>iÀÞÊë>Vi]Ê̅iÊ«ÀœiVÌi`ʈ“>}i]Ê܅ˆiʓœ“i˜Ì>ÀˆÞÊ>vwÀ“ˆ˜}Ê

1

̅iÊ«ÀiÃi˜ViʜvÊ>˜ÞÊ}ˆÛi˜ÊÃÕÀv>ViʈÌÊi˜VœÕ˜ÌiÀÃ]ʘœ˜i̅iiÃÃÊ`ˆÃ܏ÛiÃ]ÊÃV>ÌÌiÀÃÊ >˜`Ê `i“>ÌiÀˆ>ˆÃiÃÊ wÝi`Ê «>À̈̈œ˜ÃÊ >˜`Ê Vœ˜VÀiÌiÊ œLiVÌÃÊ ÜˆÌ…Ê >Ê Ž>iˆ`œÃVœ«iÊ œvÊ VœœÕÀi`ʏˆ}…Ì°Êi>˜Ü…ˆiʜ̅iÀʈ˜>V̈ÛiÊÜ>Ã]Ê>ÀÌiv>VÌÃʜÀÊ«iœ«iÊÀiVi`iʈ˜ÌœÊ«iÀˆ«…eral awareness especially in the darkened spaces favoured by many contemporary “œÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê>À̈ÃÌðÊ/…iÊLՏŽÞÊÌiV…˜œœ}ˆiÃʜvÊ«ÀœiV̜ÀÃ]ʓœ˜ˆÌœÀÃ]Ê 6 Ê«>ÞiÀÃÊ>˜`Êy>̇ÃVÀii˜Ê…œ“iÊۈ`iœÊÃÞÃÌi“ÃÊÌi˜`Ê̜Êv>`iʈ˜ÌœÊ̅iÊL>VŽ}ÀœÕ˜`]Ê upstaged by the lure of glowing emanations from the screen or screens and the µÕ>`À>«…œ˜ˆVʈ˜Û>Ȝ˜ÊœvÊ̅iˆÀÊÜ՘`ÌÀ>VŽÃ°Ê˜Ê̅iʏˆ}…ÌʜvÊ̅iÊ`ˆÛiÀ}i˜ÌʜLiV̈ÛiÃÊ œvʈ˜ÃÌ>>̈œ˜Ê>˜`Ê̅iʓœÛˆ˜}ʈ“>}iÊqÊ̅iÊvœÀ“iÀÊ̜Ê>ÃÃiÀÌʓ>ÌiÀˆ>ÊÀi>ˆÌÞ]Ê̅iʏ>ÌÌiÀÊ to deflect it with fugitive impressions – I find myself wondering whether my attempt to give an account of their frequent co-incidence in galleries will get mired in a struggle to cohere two irreconcilable artistic practices. Happily for the enterprise of this LœœŽ]Ê̅iÊVœ‡i݈ÃÌi˜ViʜvÊ̅iʓˆ“ïVÊi˜ÌiÀ«ÀˆÃiʜvÊ̅iʈ“>}iÊ>˜`Ê̅iÊVœ˜VÀiÌi˜iÃÃÊ œvʈÌÃʓ>ÌiÀˆ>ÊÃÕ««œÀÌ]ÊvÀ>“i`ÊLÞÊ̅iÊۜÕ“iÌÀˆVÃʜvÊ̅iÊ}>iÀÞÊë>Vi]ÊÀi܏ÛiʘœÌÊ ÃœÊ“ÕV…ʈ˜ÌœÊVœ˜ÌÀ>`ˆV̈œ˜Ê>ÃÊ>˜Ê՘vœ`ˆ˜}Ê`ˆ>œ}Õi]ʜ˜iÊ܈̅Ê>ʏœ˜}ʅˆÃ̜ÀÞÊ̅>Ìʅ>ÃÊ }ˆÛi˜ÊÀˆÃiÊ̜ʈ˜˜Õ“iÀ>LiÊ«iÀ“ÕÌ>̈œ˜ÃÊ>˜`Ê>`>«Ì>̈œ˜Ã°Ê
ÃÊÊÅ>Ê>À}Õi]ʓœÛˆ˜}Ê ˆ“>}iʈ˜ÃÌ>>̈œ˜Êi“Lœ`ˆiÃÊ̅iÊ«iÀVi«ÌÕ>Ê`œÕLi˜iÃÃʜvÊ̅iÊëiVÌ>̜À]Ê̅iʅՓ>˜Ê ability to suspend disbelief and entertain two realities simultaneously. Our quotidian iÝ«iÀˆi˜Viʈ˜VÀi>Ș}ÞÊ`i“>˜`ÃʜvÊÕÃʘˆ“LiÊ«iÀVi«ÌÕ>ÊňvÌÃÊLiÌÜii˜Ê>˜ÞʘՓber of remediated realities presented to us in myriad electronic forms. Moving image ˆ˜ÃÌ>>̈œ˜]ʘœÜÊiÛiÀ‡«ÀiÃi˜Ìʈ˜ÊœÕÀÊ}>iÀˆiÃÊ>˜`ʓÕÃiՓÃ]ÊVœ˜Ã̈ÌÕÌiÃÊ>ÊÀiܘ>˜ÌÊ analogue of the increasingly enmeshed conditions of understanding we derive from the modern world. ˜iۈÌ>LÞ]Ê >Ê }>iÀއL>Ãi`Ê «À>V̈Vi]Ê iëiVˆ>ÞÊ œ˜iÊ >ÃÊ …ÞLÀˆ`ˆÃi`Ê >ÃÊ “œÛˆ˜}Ê ˆ“>}iÊ ˆ˜ÃÌ>>̈œ˜]Ê ÜˆÊ iۜŽiÊ Ì…iÊ VÀi>̈ÛiÊ ÌÀ>`ˆÌˆœ˜ÃÊ vÀœ“Ê ܅ˆV…Ê ˆÌÊ ˆÃÊ `iÃVi˜`i`]Ê incorporating both visual arts and mainstream entertainment media with which it shares its technologies. It is this lineage that I shall attempt to trace in the present ۜÕ“i]ʈ܏>̈˜}Ê̅iÊ>˜ÌiVi`i˜ÌÃÊ̜Ê܅ˆV…Ê̅iÊ«À>V̈ViÊV>˜Ê>ÞÊV>ˆ“]ÊLi}ˆ˜˜ˆ˜}ÊÜˆÌ…Ê >ÀV…ˆÌiVÌÕÀi]Ê̅iʓ>ÌiÀˆ>Êi˜Ûiœ«iʜvʈ˜ÃÌ>>̈œ˜]ÊvœœÜi`ÊLÞÊ̅iÊÃÕÀv>Viʈ˜Vˆ`i˜ÌÃÊ >˜`ÊëiVÌ>̜Àˆ>Ê«œÃˆÌˆœ˜ˆ˜}ʜvÊ«>ˆ˜Ìˆ˜}]Ê̅iÊë>̈>]ʜLiV̇Ài>̈œ˜ÊœvÊÃVՏ«ÌÕÀiÊ>˜`Ê the live encounter of performance art. A short detour into film history will estabˆÃ…Ê̅iÊ>À“>ÌÕÀiʜvÊw“Ê>˜`Ê̜ÕV…ÊLÀˆiyÞʜ˜Êi>ÀÞÊiÝ«iÀˆ“i˜Ì>ÊܜÀŽÃÊ̅>Ìʏ>ÞÊ̅iÊ vœÕ˜`>̈œ˜ÃÊvœÀÊ̅iÊiÀ>ʜvʼw“Ê>ÃÊw“½Êˆ˜Ê̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃÊ̅>ÌÊvœœÜðÊ/…iÊ>À}Փi˜ÌÃʜvÊiÝ«iÀˆ“i˜Ì>Êw“½ÃÊ`iÌÀ>V̜ÀÃÊ܈Ê̅i˜ÊLiÊ>ˆÀi`Ê>˜`ÊÊ܈ÊVœÕ˜ÌiÀÊ̅iÃiÊLÞÊ ˆ˜`ˆV>̈˜}Ê̅iʏiÃܘÃÊÜiʓ>ÞÊ`iÀˆÛiÊvÀœ“Êœ««œÃˆÌˆœ˜>Êw“Ê«À>V̈ViÃ]ÊÃÌÀÕVÌÕÀ>É “>ÌiÀˆ>ˆÃÌÊw“]ʈ˜Ê«>À̈VՏ>À°ÊœÜÊÜiÊ«iÀViˆÛiÊ̅iÊVˆ˜i“>̈VÊ>˜`ÊÌiiۈÃÕ>Êˆ“>}iÊ has been central to any discussion of moving image installation and I will consider the various concepts that have addressed the spectatorial position.4Ê Ý«>˜`i`ÊVˆ˜ema rightfully occupies a substantial section of the book with its dramatisation of the filmic event. Before turning to video and its relationship to both the space of the

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INSTALLATION AND THE MOVING IMAGE

}>iÀÞÊ>˜`ÊLÀœ>`V>ÃÌ]ÊÊ`ˆÛiÀÌÊLÀˆiyÞʈ˜ÌœÊ>ÊVœ˜Ãˆ`iÀ>̈œ˜ÊœvÊ ÃœÕ˜`]Ê>ÊVœ“«œ˜i˜ÌÊ œvʈ˜ÃÌ>i`ÊܜÀŽÊ̅>ÌʈÃʜvÌi˜ÊœÛiÀœœŽi`°ÊÊi˜`Ê̅ˆÃÊÌiÝÌÊ܈̅Ê̅iÊ`i>̅Ê>˜`ÊÀiLˆÀÌ…Ê œvÊ >˜>œ}ÕiÊ w“]Ê Ê œvviÀÊ Ãœ“iÊ Ì…œÕ}…ÌÃÊ œ˜Ê ̅iÊ ÀœiÊ œvÊ Ì…iÊ >À̈ÃÌÊ >˜`Ê Ã«iVՏ>ÌiÊ œ˜Ê ܅>ÌÊVœ}˜ˆÌˆÛiÊÃVˆi˜Viʓˆ}…ÌÊLiÊ>LiÊ̜ÊÌiÊÕÃÊ>LœÕÌÊ̅iÊëiVÌ>̜Àˆ>ÊiÝ«iÀˆi˜ViÊÌœÊ supplement the hypothesising of film and video theorists. Woven into this genealogy of moving image installation is a discussion of the «ÀœVi`ÕÀ>]Ê «œˆÌˆV>]Ê Ì…iœÀïV>Ê >˜`Ê ˆ`iœœ}ˆV>Ê «œÃˆÌˆœ˜ÃÊ iëœÕÃi`Ê LÞÊ >À̈ÃÌÃ]Ê concentrating on the period from the mid-twentieth century to the present. I do not >ÌÌi“«ÌÊ>ÊÌiiœœ}ˆV>ÊV>˜œ˜ÊœvʼŽiÞÊܜÀŽÃ½Ê«Àœ}ÀiÃȘ}ÊVœ˜w`i˜ÌÞÊvÀœ“ÊÃÕVViÃÈÛiÊ eras and arriving triumphant at the high renaissance of today’s digital gallery instal>̈œ˜Ã°Ê˜ÃÌi>`]ÊܜÀŽÃÊVœ“iʈ˜ÌœÊvœVÕÃʜ˜Ê̅iÊL>ÈÃʜvÊ̅iˆÀÊ>LˆˆÌÞÊ̜Êi>LœÀ>ÌiÊ̅iÊ ˆÃÃÕiÃÊ̅>ÌÊ>ÀˆÃiÊ>ÌÊi>V…ÊÃÌ>}iʈ˜Ê“ÞʍœÕÀ˜iÞÊ̅ÀœÕ}…Ê̅iʏ>˜`ÃV>«iʜvʈ˜ÃÌ>>̈œ˜Ê and the moving image.

THE OBJECT OF STUDY It is better to open minds than to influence people.

…>˜Ì>Ê
VŽiÀ“>˜]ÊÓääÓ5 A moving image installation invites a viewer physically to enter a work that takes account of the setting of the screened event. An installation might encompass lightˆ˜}]ÊÃi>̈˜}Ê­«iÀ…>«Ã®Ê>˜`Ê̅iÊܜÀŽ½ÃÊÌiV…˜ˆV>Ê«>À>«…iÀ˜>ˆ>ÊqÊ܈ÀiÃ]Êy>ÌÊÃVÀii˜Ã]Ê “œ˜ˆÌœÀÃ]Ê Ã«i>ŽiÀÃ]Ê «>ÞL>VŽÊ “>V…ˆ˜iÃÊ >˜`Ê Vœ“«ÕÌiÀÃ]Ê Liˆ˜}Ê “œÀiÊ œÀÊ iÃÃÊ ˆ˜Ê iۈ`i˜Vi°Ê/…iÃiÊVœÕ`ÊLiÊi˜…>˜Vi`]ʜÀÊ«iÀ…>«ÃÊ`ˆ“ˆ˜ˆÃ…i`ÊLÞÊ>ʓˆÃVi>˜ÞʜvÊ>``ˆÌˆœ˜>ÊœLiVÌÃ]ÊÃÌ>̈Vʈ“>}iÃÊ>˜`ʏˆÛiÊ«iÀvœÀ“iÀÃÊ>Ê`ˆÃ«œÃi`Ê>ÀœÕ˜`Ê>Ê`iˆ“ˆÌi`]Ê >ÀV…ˆÌiVÌÕÀ>Êë>Vi°Ê7…ˆiʈ˜Ã̈ÌṎœ˜>ÊvœÀViÃÊqÊ}>iÀˆiÃ]ÊVÕÀ>̜ÀÃ]Êv՘`iÀÃÊ>˜`Ê̅iÊ >À“ÞÊ œvÊ >˜Vˆ>ÀÞÊ VÀˆÌˆVÃ]Ê Vœ““i˜Ì>̜ÀÃ]Ê >V>`i“ˆVÃÊ >˜`Ê Lœ}}iÀÃÊ q Ê Ê >Ê ˆ˜yiVÌÊ Ì…iÊ ÜœÀŽ]ʈÌʈÃÊ̅iʈ˜`ˆÛˆ`Õ>ÊۈÈ̜ÀÃÊ܅œÊ«>ÃÃÊ̅ÀœÕ}…Ê>˜`ʈ˜ÌiÀ>VÌÊ܈̅Ê̅iʈ˜ÃÌ>>̈œ˜Ê ܅œÊVœ˜ÌÀˆLÕÌiÊ̅iÊw˜>]ÊۈÌ>Êˆ˜}Ài`ˆi˜Ìʈ˜Ê̅iÊVœ˜ÃÌi>̈œ˜ÊœvÊii“i˜ÌÃÊ̅>Ìʓ>ŽiÊ up a moving image installation. Although there are artists who have re-sited moving ˆ“>}iÊi˜ÛˆÀœ˜“i˜ÌÃÊ>˜`ÊiÛi˜ÌÃÊ̜ÊiÝÌiÀ˜>ÊœV>̈œ˜Ã]ʈ˜VÕ`ˆ˜}Ê̅iÊۈÀÌÕ>Êë>ViʜvÊ Ì…iʘÌiÀ˜iÌ]ʓÞÊÃÌÕ`ÞÊ܈ÊLiÊÀiÃÌÀˆVÌi`Ê̜ÊܜÀŽÃʈ˜Ìi˜`i`ÊvœÀÊ«ÕLˆVÊë>ViÃ]ÊiëiVˆ>ÞÊ̅œÃiÊ`iÈ}˜>Ìi`ÊvœÀÊ̅iÊ>««ÀiVˆ>̈œ˜ÊœvÊ>ÀÌ\Ê}>iÀˆiÃ]ÊVˆ˜i“>Ã]Ê>Õ`ˆÌœÀˆ>Ê>˜`Ê museums as well as temporary spaces coded as art venues. These spaces are analœ}œÕÃÊ̜Ê̅iÊÌiÃ̈˜}‡}ÀœÕ˜`ʜvÊ̅iÊLi`Àœœ“]ʏˆÛˆ˜}ÊÀœœ“ÊœÀÊÃÌÕ`ˆœ°Ê
ÃÊ>ÀViÊ*ÀœÕÃÌÊ Ài“>ÀŽi`]Ê}>iÀˆiÃʼÃޓLœˆÃiÊ̅iʈ˜˜iÀÊë>ViÃʈ˜ÌœÊ܅ˆV…Ê̅iÊ>À̈ÃÌÊ܈̅`À>ÜÃÊÌœÊ create the work’.6 It is in the concentrated atmosphere of the gallery that I feel most Žii˜ÞÊ̅iÊ«ÀiÃi˜ViʜvÊ̅iÊ>À̈Ã̽Ãʈ“>}ˆ˜>̈œ˜]ÊΈÊ>˜`ʏ>LœÕÀÊ>˜`ʈÌʈÃÊ̜Ê̅iÊ}>iÀÞÊ that artists who have graduated to feature filmmaking so often return. 7

INTRODUCTION

3

˜Ê ÀiVi˜ÌÊ Þi>ÀÃ]Ê Ì…iÀiÊ …>ÃÊ Lii˜Ê ܓi̅ˆ˜}Ê œvÊ >˜Ê i«ˆ`i“ˆVÊ œvÊ ˆ˜ÃÌ>>̈œ˜ÃÆÊ >Ê …>˜}ʜvÊ«>ˆ˜Ìˆ˜}Ã]Ê`À>܈˜}ÃʜÀÊ«…œÌœ}À>«…ÃʈÃÊÃ>ˆ`Ê̜ÊLiʈ˜ÃÌ>i`]ÊÃVՏ«ÌÕÀiÃÊ̜œÊ >ÀiÊ}ÀœÕ«i`Ê̜ÊVÀi>ÌiÊ>˜Ê¼ˆ˜ÃÌ>>̈œ˜½Ê܅iÀiÊ«ÀiۈœÕÏÞÊ̅iÞʓˆ}…ÌÊȓ«Þʅ>ÛiÊLii˜Ê regarded as propitiously arranged. A bricolage of discarded artefacts presented by the artist Tomoko Takahashi would be similarly classified as installation and the «ÕÀ>ˆÃ“ÊœvÊ̅iÊ`ˆÃVˆ«ˆ˜iʅ>Ãʏi`Ê >ˆÀiÊ ˆÃ…œ«Ê̜Ê`iV>ÀiÊ̅iÊÌiÀ“ʼˆ˜ÃÌ>>̈œ˜½Ê˜œÌÊ ÕÃÌÊ>ÀLˆÌÀ>ÀÞÊLÕÌʼ>“œÃÌÊ̜Ì>Þʓi>˜ˆ˜}iÃý° 8Ê>˜ÞÊ>À̈ÃÌÃ]Ê«iÀ…>«ÃÊ̜œÊ“>˜ÞÊ>À̈ÃÌÃ]Êȓ«ÞÊÌÕÀ˜Ê}>iÀˆiÃʈ˜ÌœÊVˆ˜i“>Ã]Ê܈̅ʫiÀviVÌÊL>VŽœÕÌÊ>˜`Ê՘Vœ“vœÀÌ>LiʜÀÊ Ã«>ÀÃiÊÃi>̈˜}]Ê>˜`ÊV>Ê̅iÊܜÀŽÊ>Êw“ʈ˜ÃÌ>>̈œ˜°Ê ˆVŽÞÊ>“Þ˜Ê…>ÃÊ>À}Õi`Ê̅>ÌÊ Ü…i˜Ê>Ê«ÀœiVÌi`ÊܜÀŽÊÌ>ŽiÃÊ̅iÊëiVÌ>̜ÀʼœÕÌʜvÊ̅iÊ}>iÀÞÊë>ViÊ>˜`ʈ˜ÌœÊ̅iÊ>LÜÀLˆ˜}ÞʈÕȜ˜ˆÃ̈VÊë>ViʜvÊ̅iÊw“½]Ê>˜`Ê܅iÀiʼ˜œÌ…ˆ˜}ÊV>ÕÃiÃÊ̅iÊëiVÌ>̜ÀÊÌœÊ reflect on the relationship between the space of the film and that in which it is beˆ˜}ÊŜܘ½]Ê̅i˜Ê܅>ÌʈÃÊLiˆ˜}Ê܈̘iÃÃi`ʼˆÃʘœÌʈ˜ÃÌ>>̈œ˜]ʈÌʈÃÊVˆ˜i“>½° 9 This does not mean that such a presentation strategy is devoid of interest and many com“i˜Ì>̜ÀÃ]ʘœÌ>LÞÊ>iÛiÊ œ˜˜œÞʅ>ÛiÊÀiyiVÌi`Ê«Àœ`ÕV̈ÛiÞʜ˜Ê̅iÊ«…i˜œ“i˜œ˜Ê œvʼ>À̈ÃÌýÊVˆ˜i“>½]Ê>ÊÜVˆ>Êë>ViÊ̅>ÌÊ}i˜iÀ>ÌiÃÊ>ʼÃi˜ÃiʜvʜܘiÀň«½Êˆ˜Ži`ÊÌœÊ ¼V>ˆ“ÃÊ̅>ÌÊ>Àiʓ>`iÊLÞÊ>À̈ÃÌÃÊÕ«œ˜]Ê>˜`ÊvœÀ]ÊVˆ˜i“>½°10

TERMINOLOGY
Ài>`Þ]Ê Ì…ÀiiÊ `ˆvviÀi˜ÌÊ ÌiÀ“ÃÊ vœÀÊ “ÞÊ œLiVÌÊ œvÊ ÃÌÕ`ÞÊ …>ÛiÊ >ÀˆÃi˜\Ê “œÛˆ˜}Ê ˆ“>}iÊ ˆ˜ÃÌ>>̈œ˜]Êw“ʈ˜ÃÌ>>̈œ˜Ê>˜`Ê>À̈ÃÌýÊVˆ˜i“>Ê̜Ê܅ˆV…ÊÊ܈Ê>ÌiÀÊ>``Êۈ`iœÊˆ˜ÃÌ>>̈œ˜Ê>˜`ÊiÝ«>˜`i`ÊVˆ˜i“>°ÊœÀÊ̅iÊ>˜ˆ“>Ìi`Êii“i˜ÌʜvÊ̅iÊiµÕ>̈œ˜]Ê7ˆˆ>“Ê,>L>˜Ê …>ÃÊÀiÌÕÀ˜i`Ê̜Ê̅iÊ`iÈ}˜>̈œ˜Ê¼“œÌˆœ˜Ê«ˆVÌÕÀi½Ê܈̅ʈÌÃÊÀœœÌÃʈ˜Êw“Ê…ˆÃ̜ÀÞ]ÊiV…œˆ˜}Ê ,>ޓœ˜`Ê iœÕÀ½ÃÊ ¼œÌ…iÀÊ Vˆ˜i“>½°11Ê ˜Ê ˆÌÃÊ ˆ˜ÃÌ>i`Ê Vœ˜`ˆÌˆœ˜]Ê i>˜‡ …ÀˆÃ̜«…iÊ ,œÞœÕÝÊv>ۜÕÀÃÊ̅iÊÌiÀ“Êcinéma d’exposition]Ê܅ˆiÊ ÀˆŽ>Ê >Ãœ“ÊÀiۈÃi`Ê iœÕÀ½ÃÊ Vœ˜Vi«ÌÊ̜ʼœÌ…iÀi`½ÊVˆ˜i“>]ʼ>ÊÈÌiÊ>ÌÊ܅ˆV…Ê̅iÊVˆ˜i“>ʅ>ÃÊLiVœ“iʜ̅iÀÊ̜ʈÌÃiv½°12 >Ãœ“ÊVœ˜w}ÕÀiÃÊ̅iÊ}>iÀÞÊ>ÃÊ>ʏ>LœÀ>̜ÀÞÊvœÀÊw“]Ê>Ê«>Viʈ˜Ê܅ˆV…ʈÌÃÊÜVˆ>]ÊÌiV…nological and aesthetic history can be picked over and recycled. These cinematic ÌiÀ“Ã]ʓœÃ̏ÞÊ}i˜iÀ>Ìi`ÊLÞÊ̅iÊw“ÊÃÌÕ`ˆiÃÊ>À“ÊœvÊ>V>`i“ˆ>]ʈ˜ÛœŽiÊ̅iÊ>ÃÜVˆ>tions we might have with particular films as well as the wider cultural memory that Vˆ˜i“>Ê>˜`ÊVˆ˜i“>‡}œˆ˜}Êi“Lœ`ˆiðÊi>˜Ü…ˆi]ʓœÀiÊiÝ«>˜ÃˆÛiʘœÌˆœ˜ÃʜvÊ̅iÊVˆ˜i“>̈VÊ …>ÛiÊ Vœ“iÊ vÀœ“Ê œÕÌÈ`iÊ Ì…iÊ ÕÀœ‡
“iÀˆV>˜Ê >݈ðÊ
“ÀˆÌÊ >˜}>ÀÊ ˆ˜ÌÀœ`ÕVi`Ê the term pray¸ga]Ê܅ˆV…Ê…iÊÌÀ>˜Ã>ÌiÃÊ>Ãʼ«iÀ«iÌÕ>ÊiÝ«iÀˆ“i˜Ì>̈œ˜½]Ê>Ê՘ˆÛiÀÃ>Ê «ÀœViÃÃÊ̅>ÌÊi݈ÃÌÃʈ˜Ê“>ˆ˜ÃÌÀi>“Êw““>Žˆ˜}ÊܜÀ`܈`iʍÕÃÌÊ>ÃʓÕV…Ê>ÃʈÌÊ`œiÃʈ˜Ê ÜiÃÌiÀ˜ÊiÝ«iÀˆ“i˜Ì>ÊVˆÀVið13Ê>Vœ“Ê/ÕÀÛiÞʘ>ÀÀœÜÃÊ̅iÊ`iw˜ˆÌˆœ˜Ê̜ʼ«ÀœiVÌi`Ê ˆ“>}iʈ˜ÃÌ>>̈œ˜Ã½]Ê̅iÀiLÞÊiÝVÕ`ˆ˜}ÊÃVÀii˜‡L>Ãi`ÊܜÀŽÃÊ>˜`Ê̅iÊVœ˜ÌÀˆLṎœ˜ÊœvÊ >˜>œ}ÕiÊۈ`iœÊ>ÀÌ°Ê
ÃÊ̅iÃiÊiÝ>“«iÃÊ`i“œ˜ÃÌÀ>Ìi]Ê̅iÀiÊ>ÀiÊ>Ãʓ>˜ÞÊÌiÀ“ÃÊvœÀÊ “œÛˆ˜}ʈ“>}iÊ>ÀÌ]ʈ˜Ê>˜`ÊLiޜ˜`Ê̅iÊ}>iÀÞ]Ê>ÃÊ̅iÀiÊ>ÀiʘՈÌÊܜÀ`ÃÊvœÀÊ؜ܰÊ

4

INSTALLATION AND THE MOVING IMAGE

7…ˆiÊ>V>`i“ˆVÃÊÜÀ>˜}iʜÛiÀʘœ“i˜V>ÌÕÀi]Ê̅iÊψ««iÀˆ˜iÃÃʜvÊÌiÀ“ÃÊLiVœ“iÃÊ even more apparent if we consider what contradictory words or phrases are in daily ÕÃ>}i°Ê>ˆ˜ÃÌÀi>“Êw“ʈÃÊÀi}Տ>ÀÞÊiÝ«iÀˆi˜Vi`Ê>ÃÊÌiiۈȜ˜Ê܅ˆiÊۈ`iœÊqÊ>˜>œ}Õi]Ê `ˆ}ˆÌ>]ÊÃÌÀi>“i`ʜÀÊ>ÀV…ˆÛi`ÊqʈÃʜvÌi˜ÊÀiviÀÀi`Ê̜Ê>ÃÊw“°ÊÀ>}“i˜ÌÃʜvʅœ“iÊۈ`iœÊ shot with anything from a Handicam to a mobile phone and uploaded to YouTube are ÌÞ«ˆV>ÞÊ`iÃVÀˆLi`Ê>ÃÊۈ`iœÊVˆ«Ã°Ê˜ÊVœ““œ˜Ê܈̅ʓ>˜ÞÊ>À̈ÃÌýÊܜÀŽÃ]Ê̅iÞʜvÌi˜Ê >`œ«ÌÊ>ÊÀi“i`ˆ>Ìi`]ʅÞLÀˆ`ÊvœÀ“Ê̅>Ìʓˆ}…Ìʈ˜VÕ`iÊÌiiۈȜ˜ÊvœœÌ>}i]Ê«…œÌœ}À>«…Ã]Ê Vœ“«ÕÌiÀ‡}À>«…ˆVÃ]Ê >˜ˆ“>̈œ˜ÃÊ œÀÊ vÀ>}“i˜ÌÃÊ œvÊ >ÀV…ˆÛiÊ w“°Ê
À̈ÃÌÃÊ Ài}Տ>ÀÞÊ Ã>ÞÊ Ì…iÞÊ>Àiʼw“ˆ˜}½Ê܈̅Ê>ʅˆ}…Ê`iw˜ˆÌˆœ˜Ê`ˆ}ˆÌ>Êۈ`iœÊV>“VœÀ`iÀÊ܅ˆiʜ̅iÀÃÊ`iÃVÀˆLiÊ Ì…iˆÀÊ«À>V̈ViÊ>Ãʼ“i`ˆ>Ê>À̽]Ê܅ˆV…ÊV>˜Ê“i>˜Ê“œÀiʜÀʏiÃÃÊ>˜Þ̅ˆ˜}°Ê7…ˆiÊ̅iÊÃ̜«‡ start of the analogue VCR and later digital processing enabled the frame-by-frame vœÀi˜ÃˆVÊ iÝ>“ˆ˜>̈œ˜Ê œvÊ V>ÃÈVÊ “œÛˆiÃ]Ê Ì…iÊ «…œÌœ}À>«…Ê …>ÃÊ LiVœ“iÊ Ì…iÊ LՈ`ˆ˜}Ê LœVŽÊ vœÀÊ `ˆ}ˆÌ>ÞÊ Vœ“«œÃˆÌi`Ê ÜœÀŽÃ]Ê ¼«…œÌœ‡w“Ã½Ê “>`iÊ Õ«Ê œvÊ ˆ˜˜Õ“iÀ>LiÊ Ã̈Ã°Ê ,œLÊ iÀ˜>À`ʓ>ŽiÃʼ̈“i‡>«ÃiÊ«…œÌœ}À>«…Þ½]Ê >ۈ`Ê >iÀLœÕÌʼÃVՏ«ÌÃʈ˜Ê̈“i½Ê>˜`Ê >˜ˆiÊ ÀœœŽÃÊVÀi>ÌiÃʓiÓiÀˆVʼ̈“iÊψViÊw“ý°Êˆ“ʈÃʘœÌʈ˜ÛœÛi`ʈ˜Ê>˜ÞʜvÊ̅iÃiÊ ÜœÀŽÃʘœÀÊiÛi˜Ê¼w“ˆ˜}½Êˆ˜Ê̅iÊVœ˜Ûi˜Ìˆœ˜>ÊÃi˜Ãi°Ê ÞʜܘʫÀiviÀi˜ViʈÃÊvœÀÊ̅iÊ`iÃVÀˆ«ÌœÀʼ“œÛˆ˜}ʈ“>}i½ÊLiV>ÕÃiʈÌÊi“«…>ÈÃiÃÊ the dynamic element of apparent motion that unifies all the work I reference in this ۜÕ“i°Ê ÞÊ ÃÌÀ>Ìi}ÞÊ “ˆ}…ÌÊ Ãii“Ê vœœ…>À`Þ]Ê }ˆÛi˜Ê *iÌiÀÊ ÕLiŽ>½ÃÊ Ài“ˆ˜`iÀÊ Ì…>ÌÊÊ ¼Vˆ˜i“>ʈÃʘœÌʓœÛi“i˜ÌÊ°°°ÊVˆ˜i“>ʈÃÊ>Ê«ÀœiV̈œ˜ÊœvÊÃ̈Ã½]Ê̅iʜ˜ÞʓœÛi“i˜Ìʈ˜ÛœÛi`ÊLiˆ˜}Ê̅iÊÅ՘̈˜}ʜvÊ̅iÊw“ÃÌÀˆ«Ê̅ÀœÕ}…Ê̅iÊ«ÀœiV̜À½ÃÊ}>Ìi°14 In the case œvÊۈ`iœ]ʼ>ÊÃ̈Êˆ“>}iÊ`œiÃʘœÌÊi݈Ã̽]Ê`iV>Ài`Ê ˆÊ6ˆœ>]ʼˆ˜Êv>VÌÊ>ÌÊ>˜ÞÊ}ˆÛi˜Ê“œ“i˜ÌÊ >ÊVœ“«iÌiʈ“>}iÊ`œiÃʘœÌÊi݈ÃÌÊ>ÌÊ>½°15ʘ`ii`]ÊÌiV…˜ˆV>Þ]Ê>Êۈ`iœÊˆÃÊ>ÊÃi˜ÃˆÌˆÃi`]Ê ÃÌ>̈VÊ}Àˆ`ÊÃÕLiVÌÊ̜ÊVœ˜Ìˆ˜ÕœÕÃÊiiVÌÀœ˜ˆVÊÃV>˜˜ˆ˜}°ÊœÜiÛiÀ]ÊÊܜՏ`Ê>À}ÕiÊ̅>ÌÊ Ì…iʈ“«ÀiÃȜ˜ÊœvʓœÛi“i˜Ìʈ˜Êw“Ê>˜`Êۈ`iœ]Ê̅iÊVœ˜Ìˆ˜ÕœÕÃÊyœÜʜvʈ“>}iÀÞÊ̅>ÌÊ registers upon the viewer’s senses is not diminished by the technology’s structural stasis.16 Devices for capturing moving images have been designed to achieve «ÀiVˆÃiÞÊ̅>ÌÊÃi˜Ã>̈œ˜ÊœvÊyÕÝ]Ê܅ˆV…ʈÃÊ܅>ÌÊ>ÌÌÀ>VÌÃÊ>À̈ÃÌÃÊ̜Ê̅iʓi`ˆÕ“°Ê7ˆÌ…Ê ̅iÊ>``ˆÌˆœ˜ÊœvÊÜ՘`]Ê̅iʓœÛˆ˜}ʈ“>}iÊVÀi>ÌiÃÊ>ÃÊVœÃiÊ>˜Ê>««ÀœÝˆ“>̈œ˜Êœvʏˆvi‡ ˆŽi˜iÃÃ]ʜvÊ̅iʜLÃiÀÛ>LiÊܜÀ`Ê>ÃʈÌʈÃÊ«œÃÈLiÊ̜ʓ>˜Õv>VÌÕÀiÊqÊ>ÃÊi˜Ê7ˆ`iÀÊ «ÕÌʈÌ]ʼ À>`Ê*ˆÌÌʈÃÊLÀi>̅ˆ˜}½°17ÊœÀʓi]ʼ“œÛˆ˜}ʈ“>}i½Êˆ“«ˆiÃÊ>ʏ>VŽÊœvÊ`ˆÃVÀˆ“ˆ˜>̈œ˜ÊLiÌÜii˜Ê>À̈ÃÌÊ>˜`ÊÌiV…˜ˆVˆ>˜]ʜvÌi˜Êœ˜iÊ>˜`Ê̅iÊÃ>“iʈ˜`ˆÛˆ`Õ>]Ê>˜`ÊLiÌÜii˜Ê analogue mediums where video was regularly characterised as the poor relation of film – something one might practice en routeÊ̜Êw“]ÊiµÕˆÛ>i˜ÌÊ̜Ê̅iÊÎiÌV…ÊvœÀÊ >ʏ>À}i‡ÃV>iÊ«>ˆ˜Ìˆ˜}°Ê iޜ˜`ʈÌÃÊ`i“œÌˆVÊVÀi`i˜Ìˆ>Ã]ʈÌÃÊLÕÀÀˆ˜}ʜvÊVœ˜Ûi˜Ìˆœ˜>Ê …ˆiÀ>ÀV…ˆiÃÊ >˜`Ê ˆÌÃÊ Ãi˜ÃiÊ œvÊ œVœ“œÌˆœ˜]Ê …ˆÃ̜ÀˆV>Þ]Ê ¼“œÛˆ˜}Ê ˆ“>}i½Ê >ÃœÊ i˜Vœ“«>ÃÃiÃÊ̅iʈ`i>Ê̅>ÌÊw“Ê>˜`Êۈ`iœÊ>À̈ÃÌÃʅ>ÛiÊÈ}˜ˆwV>˜ÌÞÊiÝ«>˜`i`Ê>˜`ÊÀivÀ>“i`Ê the traditions of art as well as those of cinema and broadcast television. 18 For better œÀÊܜÀÃi]ÊÊÅ>ÊÃ̈VŽÊ܈̅ʼ“œÛˆ˜}ʈ“>}i½°

INTRODUCTION

5

THEMATICS AND STAGINGS /…iÊÀ>̈œÊœvÊÃVÀii˜‡L>Ãi`ʜÀÊ«ÀœiVÌi`ʈ“>}iÀÞÊ̜ʓ>ÌiÀˆ>ÊœLiVÌÃÊ`ˆÃ«œÃi`ʈ˜Ê̅iÊ }>iÀÞÊë>ViÊÛ>ÀˆiÃÊ>VÀœÃÃÊ̅iʅˆÃ̜ÀÞʜvʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜°Ê
ÌÊ̈“iÃ]Ê̅iÊ ˆ“>}iÊ …>ÃÊ Lii˜Ê ÃÕLœÀ`ˆ˜>ÌiÊ ÌœÊ Õ˜ÀՏÞÊ VœiV̈œ˜ÃÊ œvÊ vœÕ˜`Ê œLiVÌÃ]Ê œÀ]Ê >ÃÊ ˆ˜Ê ̅iÊ >«œV>Þ«ÌˆVʈ˜ÃÌ>>̈œ˜ÃʜvÊ …ÀˆÃ̜«…Ê À>i}iÀ]ÊÀi`ÕVi`Ê̜Ê>Ê/6ÊÃiÌÊyˆVŽiÀˆ˜}Ê>LiV̏ÞÊ in a corner. The moving image can be fractured in a bricolage of its own technology >ÃʈÌÊÜ>Ãʈ˜Ê̅iʓՏ̈‡“œ˜ˆÌœÀÊܜÀŽÃʜvÊ >“Ê՘iÊ*>ˆŽ]ʜÀʈÌÊV>˜ÊLiÊÕ«ÃÌ>}i`ÊLÞÊ̅iÊ drama of a performative media event choreographed by a contemporary artist such >ÃÊÀi}Ê*œ«i°Ê˜Ê̅iÊ£™™äÃÊ>˜`ʈ˜ÌœÊ̅iʘiÜʓˆi˜˜ˆÕ“]Ê̅iʓ>ÌiÀˆ>ˆÌÞʜvÊw“Ê>˜`Ê Ûˆ`iœÊÜ>Ã]ʈ˜ÊܓiʵÕ>ÀÌiÀÃ]ÊÃÕ««ÀiÃÃi`ʈ˜Êv>ۜÕÀʜvÊ̅iÊÀiˆwV>̈œ˜ÊœvÊVˆ˜i“>̈VÊ>˜`Ê televisual illusionism rendered as ecstatic spectacle. The new millennium has witnessed a resurgence of interest in obsolete analogue technologies that once again «ÕÌÊ̅iÊ>««>À>ÌÕÃʜvÊw“Ê>˜`Êۈ`iœÊVi˜ÌÀiÊÃÌ>}iÆÊvœÀÊiÝ>“«i]Ê,œÃ>Ê >ÀL>½ÃʼÃVՏ«ÌÕÀ>½Êw“Ã]ʈLܘÊ>˜`Ê,iVœ`iÀ½ÃÊv՘iÀi>Ê«ˆiʜvʏœÃÌʓœÛˆiÃ]ʜÀÊ >ۈ`Ê>½ÃÊ}À>ÛiÞ>À`Ê œvÊÌiiۈȜ˜Ã°Ê ˆ}ˆÌ>Ê“i`ˆ>ʅ>ÛiÊë>ܘi`Ê̅iˆÀʜܘÊvœÀ“ÊœvÊÌiV…˜œ‡vïňÓÊ>ÃÊiÝi“«ˆwi`ÊLÞÊ̅iÊ܈â>À`ÀÞʜvÊivvÀiÞÊ-…>ܽÃÊLÀi>̅Ì>Žˆ˜}ʓՏ̈‡ÃVÀii˜ÊܜÀŽÃ°Ê"̅iÀÊ approaches pursue an interactive aesthetic within a single physical space or across “Տ̈«iÊÛi˜ÕiÃÊ>Ãʈ˜Êi>ÀÞÊܜÀŽÊLÞÊ >ۈ`Ê>]Ê >˜ÊÀ>…>“Ê>˜`Ê*iÌiÀÊ >“«ÕÃ]ʜÀÊ “œÀiÊ ÀiVi˜ÌÞÊ ˆ˜Ê ¼Vœ˜ÛˆÛˆ>½Ê ˆ˜ÃÌ>>̈œ˜ÃÊ LÞÊ *ˆ«ˆœÌÌˆÊ ,ˆÃÌÊ œÀÊ iÀ>À`Ê ÞÀ˜i]Ê Ü…ˆiÊ ¼ÕŽiLœÝ½Êۈi܈˜}ʏœÕ˜}iÃÊvœÀÊLÀœÜȘ}ÊۈÈ̜ÀÃÊ>ÀiÊVœ““œ˜°Ê
À̈ÃÌÃÊÃÕV…Ê>ÃÊ
`Àˆ>˜Ê *ˆ«iÀ]Ê -ÌÕ>ÀÌÊ >ÀÅ>]Ê œ…˜Ê
Žœ“vÀ>…Ê >˜`Ê ˆ>‡ˆˆÃ>Ê
…̈>Ê …>ÛiÊ …>À˜iÃÃi`Ê Ûˆ`iœÊ >ÃÊ>Ê`ˆÃVÕÀÈÛiʓi`ˆÕ“]ÊVÀi>̈˜}Ê>˜Ê>Ài˜>ÊvœÀÊÃ̜ÀÞÌiˆ˜}Ê>˜`ʏÞÀˆV>ÊiÝ«œÀ>̈œ˜ÃÊ œvÊÜVˆ>]ÊÀ>Vˆ>Ê>˜`ÊÃiÝÕ>Êˆ`i˜ÌˆÌÞ°Ê"̅iÀÊ>À̈ÃÌÃʈ˜VÕ`ˆ˜}Ê>À̅>Ê,œÃiÀ]Ê>˜Ì>ÃÞÊ >V̜ÀÞ]ʈŽiÊ-ÌÕLLÃÊ>˜`Ê
˜˜Ê7…ˆÌi…ÕÀÃÌʈ˜ÛœŽiÊ̅iÊ>ÃÜVˆ>̈œ˜ÊœvÊۈ`iœÊ܈̅ʈ˜vœÀ“>̈œ˜Ê}>̅iÀˆ˜}]Ê>˜`ʈÌÃʅˆÃ̜ÀˆV>ÊÀi>̈œ˜Ã…ˆ«Ê̜ÊV>“«>ˆ}˜Ê«œˆÌˆVðÊ
À̈ÃÌÃʓ>ÞÊ also reassert a documentary and ethnographic regime in order to highlight a political V>ÕÃi]ʅœÜiÛiÀʜLˆµÕiÞ]ÊvœÀʈ˜ÃÌ>˜Vi]Ê
iÀ˜œÕÌʈŽ]ʈ̜Ê-ÌiÞiÀ]Ê"“>ÀÊ>ÃÌʜÀÊ-Ûi˜Ê
Õ}ÕÃ̈˜i˜°Ê
ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê“>ÞÊLiÊÃÌ>}i`Ê>ÃÊ>Ê`ˆÃµÕˆÃˆÌˆœ˜Êœ˜Ê̅iʘ>ÌÕÀiʜvÊLiˆ˜}]ʜÀÊ>ˆi`Ê̜Êi˜ÛˆÀœ˜“i˜Ì>ˆÃ“]Ê>Ãʈ˜Ê̅iÊܜÀŽÊœvÊ-ˆ“œ˜Ê>ˆÌ…vՏ°Ê
À̈ÃÌÃÊ ˆŽiÊ …ÀˆÃ̈>˜Ê>ÀV>Þʅ>ÛiÊV…>i˜}i`ʜÕÀʘœÌˆœ˜ÊœvÊVˆ˜i“>̈VÊ̈“iÊ>˜`Êë>Vi]Ê܅ˆiÊ œÌ…iÀÃÊÃÕV…Ê>ÃÊÃ>>VÊՏˆi˜Ê…>Ûiʈ˜ÌiÀÀœ}>Ìi`Ê̅iʈ˜Ã̈ÌṎœ˜ÃÊ̅>ÌʅœÃÌÊ̅i“Ê>˜`Ê critiqued the markets that reap the profits – albeit symbolically.19 A moving image installation may give rise to an immersive sensation as in the work of Doug Aitken œÀÊ*ˆ«ˆœÌ̈Ê,ˆÃÌ]Ê«>ވ˜}ʜÕÌÊ̅iÊi݈ÃÌi˜Ìˆ>Ê“œ“i˜ÌʜvÊ̅iÊVˆ˜i“>̈VÊi˜VœÕ˜ÌiÀÊÜˆÌ…Ê iÛiÀÞÊ ÌÀˆVŽÊ ˆ˜Ê ̅iÊ ¼“œÛˆi½Ê Vœ˜ÕÀiÀ½ÃÊ LœœŽ°Ê "̅iÀÃ]Ê ÃÕV…Ê >ÃÊ >Ì̅iÜÊ >À˜iÞ]Ê ->“Ê />ޏœÀ‡7œœ`Ê>˜`Ê >˜`ˆViÊ ÀiˆÌâÊiÝ«œˆÌÊ̅iÊ>ÕÀ>ʜvÊ}>“œÕÀÊ>ÌÌi˜`>˜Ìʜ˜Ê̅iʓœÛˆ˜}Ê image’s family connections to Hollywood. The works themselves often betray the artist’s fascination with the fleeting pleasures of cinematic pictorialism combined with a surprisingly tenacious engage-

6

INSTALLATION AND THE MOVING IMAGE

“i˜ÌÊ܈̅Ê܏ˆ`ʓ>ÌÌiÀ]Ê̅iʼÃÌÕvv½ÊœvÊ̅iʓ>ÌiÀˆ>ÊܜÀ`°Ê/…iÀiʈÃʜvÌi˜Ê>ÊVœ˜VÕÀÀi˜ÌÊ `iÈÀiÊ ÌœÊ `À>“>̈ÃiÊ Ì…iÊ iÝ«iÀˆi˜ViÊ œvÊ Ü>ÌV…ˆ˜}]Ê ÌœÕV…ˆ˜}]Ê Ã“iˆ˜}Ê >˜`Ê }i˜iÀ>ÞÊ ˜i}œÌˆ>̈˜}Ê̅iÊë>ViÃʜvÊ>ÀÌ\ÊÃÌ>̈V]ʓœÛˆ˜}Ê>˜`ʈ˜viÀÀi`°Ê>˜ÞÊi˜ÌiÀÌ>ˆ˜Ê̅iÊ«œÃÈLˆˆÌÞʜvÊ>ÊVœÕ˜ÌiÀ‡VՏÌÕÀ>Ê«À>V̈Vi]ÊLœÀ˜ÊœvÊ̅iÊÀiۜṎœ˜>ÀÞÊÜVˆ>Ê“œÛi“i˜ÌÃÊ œvÊ̅iÊ£™ÈäÃ]Ê̅i“ÃiÛiÃÊ̅iʈ˜…iÀˆÌœÀÃʜvÊÀ>`ˆV>Ê«À>V̈ViÃʈ˜Ê,ÕÃÈ>Ê>˜`Ê ÕÀœ«iÊ earlier in the century. vʜ˜iÊVœ˜VÕÀÃÊ܈̅Ê/…œ“>ÃÊ Ã>iÃÃiÀ½ÃÊV>ˆ“Ê̅>Ìʼ̅iÀiʈÃʘœÊ>ÀÌʜÕÌÈ`iÊV>«ˆÌ>ˆÃ“Ê>˜`ÊÌiV…˜œœ}Þ½]20ʜÀÊ i>˜Êi˜˜ˆ˜}Ê>˜`Ê>À}>ÀiÌ>ÊiÀ˜½ÃÊVœ˜ÛˆV̈œ˜Ê̅>ÌÊ̅iÀiʈÃÊ ¼˜œÊ>Õ̜˜œ“œÕÃÊVÀˆÌˆV>Êë…iÀi½21Ê̅i˜ÊˆÌʈÃÊi>ÃÞÊ̜ʼÃÕVVՓL½Ê̜Ê>ʼ`ivi>̈ÃÌʓœœ`½° 22 œÜiÛiÀ]ʓ>˜ÞÊ>À̈ÃÌÃÊLiˆiÛiÊ̅>ÌʈÌʈÃÊ«œÃÈLiÊ̜ÊVÀˆÌˆµÕiÊ̅iÊÃÞÃÌi“ÊvÀœ“Ê܈̅ˆ˜Ê >˜`]Ê ˆŽiÊ i˜˜ˆ˜}Ê >˜`Ê iÀ˜]Ê `iۈÃiÊ «ÀœiVÌÃÊ Ì…>ÌÊ ¼LÀÕÃ…Ê `ˆÀiV̏ÞÊ >}>ˆ˜ÃÌÊ ˜iœˆLiÀ>Ê power’.23Ê
Ì…œÕ}…Êœ««œÃˆÌˆœ˜>Ê«À>V̈ViÃÊ>ÀiÊVœ“«Àœ“ˆÃi`Ê>ÌÊiÛiÀÞÊÌÕÀ˜]Ê>VVœÀ`ˆ˜}ÊÌœÊ Տˆ>˜Ê
ÃÃ>˜}i]Ê܅i˜ÊˆÌÊVœ“iÃÊ̜Ê̅iÊiÃÌ>LˆÃ…“i˜Ì]ʼ̅iÊV>}iÊV>˜ÊÃ̈ÊLiÊÀ>Ì̏i`½°24 Sean Cubitt has insisted on the continuing potential for moving image to be an˜iÝi`Ê̜Ê>ʼÀi˜iÜi`Ê«œˆÌˆV>Ê>iÃ̅ïVý°25Ê iޜ˜`ÊiÝ«œÃˆ˜}Ê̅iÊiVœœ}ˆV>ÊVœÃÌʜvÊ Ì…iʓ>ÌiÀˆ>ÊÃÕLÃÌÀ>ÌiʜvʈÌÃʜܘÊÌiV…˜œœ}ˆiÃ]ʈÌÊV>˜Ê¼ÀiVœÕ˜ÌÊ̅iÊÌÀ>}i`ÞʜvÊV>«ˆtal’s interference in the processes of inhabiting surfaces and geologies’ and indeed `œVՓi˜ÌÊ̅iʼ՘iÀ>Ãi`ʓi“œÀ޽ʜvÊ̅iÊVœ>ÌiÀ>Ê`>“>}iʈ˜ÊLœÌ…Ê̅iʅՓ>˜Ê>˜`Ê ˜œ˜‡…Õ“>˜Êë…iÀi°Ê/…ˆÃʈ˜ÛˆÌiÃÊ̅iÊÃÕLiVÌÊ̜ÊÌ>ŽiÊÀi뜘ÈLˆˆÌÞÊvœÀÊ̅iÊVœ˜`ˆÌˆœ˜ÊœvÊ Ì…iÊ«>˜iÌÊ>˜`Ê«>ViʈÌÃʼ`ÕÌÞʜÕÌÈ`iʈÌÃivÊ܈̅Ê̅iÊ՘“œÕÀ˜i`Ê>˜`Ê̅iÊiÝVÕ`i`½°26
ÃÊ>ʓi`ˆÕ“Ê̅>ÌÊ>œÜÃʓ>ŽiÀÃÊ̜ʫÀiÃi˜ÌÊ>À}Փi˜ÌÃ]Ê`ˆÃVÕÃȜ˜ÃÊ>˜`Ê«œi“ˆVÃÊ ˆÌÊ܈Ê>Ü>ÞÃÊ>ÌÌÀ>VÌÊ̅œÃiÊ܈̅Ê>Ê«œˆÌˆV>Ê>}i˜`>°Ê˜ÊÌiÀ“ÃʜvÊÀi«ÀiÃi˜Ì>̈œ˜]Ê̅iÊ “œÛˆ˜}ʈ“>}iʓi`ˆ>ÌiÃÊÀi>ˆÌÞ]Ê̅ÕÃÊi˜ÃÕÀˆ˜}Ê̅>ÌÊ̅iʈ“>}iʈÃÊ>Ü>ÞÃʈ˜Vœ“«iÌi]Ê >˜`ʈ˜Ê̅iÊVÀ>VŽÃÊ̅>Ìʜ«i˜ÊÕ«]ʈÌÊV>˜Ê՘`iÀVÕÌÊ`œ“ˆ˜>˜ÌÊÀi>`ˆ˜}ðʜۈ˜}ʈ“>}iÊ installation trades in ambiguity by virtue of its occupation of that liminal space LiÌÜii˜Ê“>ÌiÀˆ>ÊÀi>ˆÌÞÊ>˜`Ê܅>ÌÊÜiÊ՘`iÀÃÌ>˜`Ê̜ÊLiʘœÌ‡Ài>]ÊÞiÌÊ«ÀiÃi˜ÌÊ̜Ê̅iÊ Ãi˜ÃiÃÊ>˜`Ê̅iʈ“>}ˆ˜>̈œ˜°Ê ÞÊÃÌ>}ˆ˜}Ê܅>ÌʈÃÊv>“ˆˆ>Àʈ˜Ê>˜Ê՘iÝ«iVÌi`ÊÃiÌ̈˜}Ê>˜`Ê œvviÀˆ˜}ÊÕ«Ê̅iÊ՘V>˜˜ÞÊvœÀʈ˜Ã«iV̈œ˜Êˆ˜ÊÀi>̈ÛiÊÃ>viÌÞ]ʓœÛˆ˜}ʈ“>}iʈ˜Ê̅iÊ}>iÀÞÊ holds the potential to recalibrate the terms of our engagement with our contemporary environment.

A NOTE ON THE AUTHOR: NAILING MY COLOURS TO THE MAST Þʈ˜ÌÀœ`ÕV̈œ˜ÊÜÊv>Àʅ>ÃÊÎiÌV…i`ʜÕÌÊ̅iʜLiVÌʜvÊÃÌÕ`ÞÊvœÀÊ̅ˆÃÊLœœŽ]ÊLÕÌÊʓÕÃÌÊ now declare my own point of view – or at least those relevant aspects of my mental make-up that undoubtedly colour my approach. My enthusiasm for the current «ÀœiVÌʈÃÊLœÀ˜ÊœvʓÞÊ«À>V̈ViÊ>ÃÊ>˜Ê>À̈ÃÌÊ>˜`Ê«iÀˆœ`ˆVÊVÕÀ>̜À]ÊÃÌÀiÌV…ˆ˜}ÊL>VŽÊÌœÊ the late 1970s. I am also a critic and champion of the work of other film and video

INTRODUCTION

7

«À>V̈̈œ˜iÀÃ]Ê >˜`Ê “>˜ÞÊ œvÊ “ÞÊ iÝV…>˜}iÃÊ ÜˆÌ…Ê >À̈ÃÌÃÊ …>ÛiÊ vœÕ˜`Ê Ì…iˆÀÊ Ü>ÞÊ ˆ˜ÌœÊ print.27Ê>ۈ˜}ÊLii˜Êˆ““iÀÃi`ʈ˜Ê̅ˆÃÊwi`ÊvœÀÊ>Ê}œœ`ÊviÜÊÞi>ÀÃ]ÊÊÌi˜`Ê̜ʫiÀViˆÛiÊ contemporary work through the prism of my very particular (and necessarily incom«iÌi®ÊŽ˜œÜi`}iʜvʓœÛˆ˜}ʈ“>}iʅˆÃ̜ÀˆiÃ]ÊiëiVˆ>ÞÊ̅>ÌʜvÊۈ`iœÊ>ÀÌÊ>˜`ÊܜÀŽÃÊ inflected by feminism and identity politics. 28 I do my best to ascertain in what ways ̅iÊÜVˆ>]Ê«œˆÌˆV>Ê>˜`ÊÌiV…˜œœ}ˆV>Ê«ÀiÃi˜Ìʓˆ}…ÌÊÀiۈÃiÊ>À̈Ã̈VÊÃÌÀ>Ìi}ˆiÃÊʅ>ÛiÊ Ãii˜ÊLivœÀiʈ˜Ê̅iÊVœ˜ÌiÝÌʜvÊ>Ê`ˆvviÀi˜ÌÊiÀ>]Ê>˜`ʈ˜`ii`]ʅœÜÊ̅iÃiʘiÜʈÌiÀ>̈œ˜ÃÊ might change the way I reflect upon the past. I believe that every work encountered contains a potential that rewards thoughtful Vœ˜Ãˆ`iÀ>̈œ˜Ê>˜`ʈ˜ÊëˆÌiʜvÊ̅iÊ`ˆÃVÀi`ˆÌˆ˜}ʜvÊ>Õ̅œÀˆ>Êˆ˜Ìi˜Ìˆœ˜]ÊʘiÛiÀÊ`ˆÃÀi}>À`Ê what artists themselves say about their work. Many of the installations discussed in ̅iÃiÊ«>}iÃÊ>Àiʈ˜VÕ`i`ÊLiV>ÕÃiÊʅ>ÛiÊiÝ«iÀˆi˜Vi`Ê̅i“Ê>ÌÊwÀÃÌʅ>˜`]Ê>˜`]Ê}ˆÛi˜Ê ̅iÊi“«…>ÈÃʈ˜ÃÌ>>̈œ˜Ê>À̈ÃÌÃÊ«>Viʜ˜ÊۈiÜiÀÊ«>À̈Vˆ«>̈œ˜]ÊLiˆ˜}Ê̅iÀiÊ՘`œÕLÌi`ÞÊ«ÀœÛˆ`iÃÊ̅iÊLiÃÌÊ>VViÃÃÊ̜Ê̅iÊܜÀŽ°ÊœÜiÛiÀ]Ê̅iÀiÊ>ÀiʅˆÃ̜ÀˆV>Êˆ˜ÃÌ>>̈œ˜ÃÊ that I have admired and imagined from the fractured remains of their document䜘]Ê>˜`Ê܅œÃiʓi>˜ˆ˜}ÃÊʅ>ÛiÊ>««ÀiVˆ>Ìi`Ê̅ÀœÕ}…Ê̅iʈ˜Ãˆ}…ÌÃʜvʜ̅iÀðÊÊ܈Ê œVV>Ȝ˜>ÞÊ>œÜʓÞʜܘÊi˜Ì…ÕÈ>ÓÃ]Ê>˜`ʘœÊ`œÕLÌÊ«ÀiÕ`ˆViÃ]Ê̜ʈ˜Û>`iÊ̅iÊV>˜Û>ÃʜvÊ̅ˆÃÊLœœŽÊLÕÌÊ>ÌÊ̅iÊÃ>“iÊ̈“i]Êʅœ«iÊ̜ʓ>ˆ˜Ì>ˆ˜Ê̅iÊ܈`iÀÊۈiÜÊ̅>Ìʓ>ÞÊLiÊ œvÊÕÃiÊ̜ÊÃÌÕ`i˜ÌÃ]ÊÀiÃi>ÀV…iÀÃÊ>˜`Êi˜Ì…ÕÈ>ÃÌÃʜvÊ̅iÊwi`° This account of installation and the moving image is presented as a guided tour – “ˆ˜iʈÃʘœÌÊ>Ê`iw˜ˆÌˆÛiʅˆÃ̜ÀÞʘœÀÊ`œÊÊi݅>ÕÃÌÊ̅iÊ«œÌi˜Ìˆ>Ê̅iœÀïV>ÊvÀ>“iܜÀŽÃÊ Ì…>Ìʓˆ}…ÌÊLiÊVœ˜ÃÌÀÕVÌi`Ê>ÀœÕ˜`Ê̅iÊܜÀŽ°Ê
ÃÊLœÌ…Ê>˜Êˆ˜Ãˆ`iÀÊ>˜`Ê>˜ÊœLÃiÀÛiÀ]ÊÊ devote the present volume to a speculative investigation into the mesh of influences that have converged in a field of practice that demonstrates a remarkable ability to beguile even the most media-bombed among us into paying attention.

NOTES 1Ê

2Ê 3Ê

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/…iÊw“Ê̅iœÀˆÃÌʈV…iiÊ
>Àœ˜Ê…>Ãʈ˜ÛœŽi`Ê̅iÊ`ˆÃ̈˜V̈œ˜ÊLiÌÜii˜Ê̅iʼëiVÌ>̜À½Ê܅œÊˆÃÊ ¼Ì…iÊ«Àœ`ÕVÌʜvÊ̅iʈ`iœœ}ˆV>Ê“>V…ˆ˜>̈œ˜ÃʜvÊVˆ˜i“>½Ê>˜`Ê̅iʼۈiÜiÀ½Ê܅œÊVœ˜Ã̈ÌÕÌiÃÊ >ʏˆÛˆ˜}]ÊLÀi>̅ˆ˜}ʅˆÃ̜ÀˆV>ÊÃÕLiVÌ°ÊœÜiÛiÀ]ÊȘViÊ̅iÀiʈÃÊV…ˆ>Ã̈VÊiÝV…>˜}iÊLiÌÜii˜ÊÊ Ì…iÃiÊÌܜÊVœ˜`ˆÌˆœ˜ÃʜvÊëiVÌ>̜Àň«]Ê>˜`ʜ˜iÊܜՏ`ÊLiʅ>À`Ê«ÕÌÊ̜ÊÃ>ÞÊ܅iÀiʜ˜iÊi˜`ÃÊ >˜`Ê̅iʜ̅iÀÊLi}ˆ˜Ã]Êʅ>ÛiÊÕÃi`Ê̅iÊÌiÀ“Ãʈ˜ÌiÀV…>˜}i>LÞÊ>VVœÀ`ˆ˜}Ê̜Ê̅iÊ`i“>˜`ÃʜvÊ style. See Michele Aaron (2007) Spectatorship: The Power of Looking On. London and New York: Wallflower Press. i˜Ê 7ˆ`iÀ]Ê ¼iÛiÃÊ œvÊ 1˜Ài>ˆÌÞ½]Ê Õ˜«ÕLˆÃ…i`Ê «>«iÀÊ `iˆÛiÀi`Ê >ÌÊ Ì…iÊ Ý«>˜`i`Ê ˆ˜i“>Ê -ޓ«œÃˆÕ“]Ê i˜ÌÀ>Ê->ˆ˜ÌÊ>À̈˜Ã]Êœ˜`œ˜]ÊÓäÊ>ÞÊÓä䙰 iÀi]Êʈ˜VÕ`iÊ̅iÊVœ˜Ûi˜Ìˆœ˜ÃʜvÊV>ÃÈVÊœÞܜœ`Êw““>Žˆ˜}]ʈ˜Ê܅ˆV…Êi`ˆÌˆ˜}ʈÃÊÀi˜‡

INSTALLATION AND THE MOVING IMAGE

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`iÀi`ÊÌÀ>˜Ã«>Ài˜Ì]Ê>V̜ÀÃʈ}˜œÀiÊ̅iÊV>“iÀ>]ÊÜ՘`Ê>˜`Ê«ˆVÌÕÀiÊ>ÀiÊÃޘV…Àœ˜ˆÃi`° /…iÊÌiÀ“ʼÌiiۈÃÕ>½ÊˆÃÊi“«œÞi`ÊLÞÊœ…˜Ê/…œÀ˜Ìœ˜Ê >`ÜiÊˆ˜Ê…ˆÃÊLœœŽÊTelevisuality: Style, Crisis and Authority in American Television (1995). I use this term throughout to mean the language and formal conventions of broadcast television.

…>˜Ì>Ê
VŽiÀ“>˜Êˆ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅ʈV…>iÊ iܓ>˜]Ê/>ÌiÊœ`iÀ˜]Ê>ÀV…ÊÓääÓ° >ÀViÊ*ÀœÕÃÌʵ՜Ìi`ÊLÞÊ/…iœ`œÀÊ7°Ê
`œÀ˜œ]ʈ˜Ê…ˆÃÊiÃÃ>Þʼ6>jÀÞÊ*ÀœÕÃÌÊÕÃiՓ½]ʈ˜ÊPrisms ­Q£™n£RÊ£™nn®]ÊÌÀ>˜Ã°Ê->“ÕiÊ>˜`Ê-…ˆiÀÀÞÊ7iLiÀ°Ê >“LÀˆ`}i]Ê
\Ê/Ê*ÀiÃÃ]Ê«°Ê£Ç™° Ã>>VÊՏˆi˜]Ê-ÌiÛiÊV+Õii˜Ê>˜`Ê->“Ê/>ޏœÀ‡7œœ`ÊÀi}Տ>ÀÞÊÌiÃÌÊ̅iˆÀʈ`i>Ãʈ˜Ê>ʓÕÃiÕ“Ê i˜ÛˆÀœ˜“i˜Ì°Ê Ûi˜Ê /…œ“Ãœ˜Ê >˜`Ê À>ˆ}…i>`]Ê Ü…œÃiÊ ÜœÀŽÊ ˆÃÊ œV>Ìi`Ê œ˜ˆ˜i]Ê ˜œÜÊ Ã…œÜÊ ˆ˜Ê galleries.

>ˆÀiÊ ˆÃ…œ«Ê ­Óääx>®Ê ¼ ÕÌÊ ˆÃÊ ˆÌÊ ˜ÃÌ>>̈œ˜Ê
À̶½]Ê £Ê >˜Õ>ÀÞ]Ê Tate etc.]Ê Î°Ê
Û>ˆ>LiÊ œ˜line: …ÌÌ«\ÉÉÜÜÜ°Ì>Ìi°œÀ}°ÕŽÉVœ˜ÌiÝ̇Vœ““i˜ÌÉ>À̈ViÃɈ̇ˆ˜ÃÌ>>̈œ˜‡>ÀÌ (accessed 5 August 2013). ˆVŽÞÊ>“Þ˜Ê­ÓääӮʼ7…>̽ÃÊÜÀœ˜}Ê܈̅ÊVˆ˜i“>ʈ˜Ê̅iÊ}>iÀÞ½]ÊMIRAJ]Ê£\ÊÓ]Ê«ÊÓÈxÆÊ«°ÊÓÈÈ° Maeve Connolly (2009) The Place of Artists’ Cinema: Space, Site and Screen. Bristol: ˜ÌiiVÌ]Ê«°Ê™°Ê -iiÊ,>ޓœ˜`Ê iœÕÀÊ­Óään®Ê¼"vÊ>˜Ê"̅iÀÊ ˆ˜i“>½]ʈ˜Ê/>˜Þ>Êiˆ}…Ìœ˜Ê­i`°®ÊArt and the Moving Image: A Critical Reader°Êœ˜`œ˜\Ê/>ÌiÉ
vÌiÀ>]Ê««°Ê{äÈqә° -iiÊi>˜‡ …ÀˆÃ̜«…iÊ,œÞœÕÝÊ­£™™n®]ʼ,i“>Žˆ˜}Ê ˆ˜i“>½Êˆ˜Ê>Ài˜ÌiÊ œi“…iÕÛi]Ê>˜`Ê>>«Ê Տ`i“œ˜`]Ê ˆ˜j“>Ê ˆ˜j“>\Ê œ˜Ìi“«œÀ>ÀÞÊ>ÀÌÊ>˜`Ê̅iÊVˆ˜i“>̈VÊiÝ«iÀˆi˜Vi°Ê ˆ˜`…œÛi˜\Ê -Ìi`iˆŽÊ6>˜Ê
LLi“ÕÃiՓ]Ê«°ÊÓ£Ê>˜`ÊÃiiÊ>ÃœÊ ÀˆŽ>Ê >Ãœ“Ê­Óä£Î®ÊExhibiting Cinema in Contemporary Art°Ê
“ÃÌiÀ`>“\Ê
“ÃÌiÀ`>“Ê1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°Ê£È°Ê -iiÊ
“ÀˆÌÊ >˜}>ÀÊ ­ÓääÈ®Ê ¼/…iÊ ˆ˜i“>Ê œvÊ *À>Þ¸}>½Ê ˆ˜Ê À>`Ê Õ̏iÀÊ >˜`Ê >Ài˜Ê ˆÀâ>Ê ­i`Ã®Ê Cinema of Prayoga; Indian Experimental Film & Video 1913–2006°Ê œ˜`œ˜\Ê ˜œ°Ü°…iÀi]Ê pp. 9–26. *iÌiÀÊÕLiŽ>Ê­£™Çä®Ê¼˜ÌiÀۈiÜÊ܈̅Ê*iÌiÀÊÕLiŽ>½]ʈ˜Ê*°Ê
°Ê-ˆÌ˜iÞÊ­i`°®ÊFilm Culture Reader. iÜÊ9œÀŽ\Ê*À>i}iÀ]Ê«°Êә£° ˆÊ6ˆœ>]ÊThe Sound of One Line Scanning (1986). Available online: …ÌÌ«\ÉÉÜÜÜ°ˆi“i`°œÀ}É «ÕLˆV>Vˆœ˜ÃɵÕ>`iÀ˜ÃÉ£ÓÉ/…i¯Óä-œÕ˜`¯Óäœv¯Óä"˜i¯Ó䈘i¯Óä-V>˜˜ˆ˜} Ú ˆ¯Óä Viola.pdf (accessed 10 May 2011). I am grateful to A. L. Rees for bringing this quote to my attention.

œˆ˜Ê*iÀÀÞʅ>ÃÊ>``i`]ʼ9iÃÊqʈ˜Êv>VÌʈÌʈÃÊi˜>Li`ÊLÞʈ̰Ê/…œÃiÊ}>«Ãʈ˜Ê̅iÊw“Ê>˜`Ê̅iÊÃiµÕi˜Vˆ˜}ʜvÊ`ˆÃVÀiÌiʈ“>}iÃ]Ê>˜`Ê̅iÊyœÜʜvʏˆ}…Ìʈ˜Êۈ`iœÊ>ÀiÊ Ì…iÊÌiV…˜ˆV>Ê“i>˜ÃÊ̅>ÌÊ `iˆÛiÀÊ̅iʈ“«ÀiÃȜ˜ÊœvʓœÛi“i˜ÌÊ̜Ê̅iÊۈiÜiÀ½ÆÊi“>ˆÊVœÀÀi뜘`i˜ViÊ܈̅Ê̅iÊ>Õ̅œÀ]Ê 23 May 2014. i˜Ê 7ˆ`iÀÊ Ã«i>Žˆ˜}Ê >ÌÊ …iÃi>Ê œi}iÊ œvÊ
ÀÌÃ]Ê 1˜ˆÛiÀÈÌÞÊ œvÊ Ì…iÊ
ÀÌÃÊ œ˜`œ˜]Ê £nÊ >ÞÊ 2011. The influence of artists can be seen everywhere in the mainstream from the Ariston ad reworking Zbigniew Rybczynski’s Tango (1983) through to the Centre Park commercial L>Ãi`ʜ˜Ê/ˆ“Ê>V“ˆ>˜½ÃÊ̈“iÊψViÊV>“iÀ>ÊÌiV…˜ˆµÕiÊ̜Ê-ÌiÛiÊV+Õii˜½ÃÊÀiVi˜ÌÊ
V>`i“ÞÊ Award-winning successes in commercial filmmaking. Տˆi˜½ÃÊi݅ˆLˆÌˆœ˜ÊPlaytimeÊ­Óä£{®Ê>ÌÊ6ˆV̜Àˆ>ʈÀœÊˆ˜Êœ˜`œ˜Ê>``ÀiÃÃi`ʼ̅iʘÕ>˜Vi`ÊÃÕLiVÌʜvÊw˜>˜Vˆ>ÊV>«ˆÌ>½Ê>˜`ʼˆ˜ÌiÀVœ˜˜iVÌi`ʓ>œÀÊw}ÕÀiÃʈ˜Ê̅iÊܜÀ`ʜvÊ>ÀÌÊ>˜`Êw˜>˜Vi½Ê (Miro gallery publicity).

INTRODUCTION

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ÀÌÊEÊ*œˆÌˆVý]ÊArt Monthly]ÊÎș]Ê«°ÊÓ° -iiÊ œÕˆÃÊ *ÀœÞiVÌÊ ­Óään®Ê ¼>À`̇ i}Àˆ½ÃÊ º “«ˆÀi»\Ê >Ê >À݈ÃÌÊ VÀˆÌˆµÕi½°Ê
Û>ˆ>LiÊ œ˜ˆ˜i\Ê …ÌÌ«\ÉÉÜÜÜ°VœÕ“Lˆ>°i`ÕÉH˜«ÎɓÞ`œVÃɓœ`iÀ˜ˆÃ“É…>À`Ìژi}Àˆ°…Ì“Ê­>VViÃÃi`Ê£nÊ>ÞÊ 2014). i>˜Êi˜˜ˆ˜}Ê>˜`Ê>À}>ÀiÌ>ÊiÀ˜Ê­Óä£Î®Ê¼
ÀÌÊEÊ*œˆÌˆVý]ÊArt Monthly]ÊÎș]Ê«°Ê{°Ê œˆ˜Ê*iÀÀÞÊ …>ÃÊVœ““i˜Ìi`Ê̅>Ìʼ˜œÌÊ>Ê}>iÀˆiÃÊ>ÀiÊ>ˆŽiÆÊޜÕÊV>˜ÊÃ>ÞÊ>˜`Ê`œÊ̅ˆ˜}ÃÊ>ÌÊ̅iÊ-…œÜÀœœ“Ê or Gassworks about the oil economy than you can’t at BP’s Tate’; email correspondence ܈̅Ê̅iÊ>Õ̅œÀ]ÊÓÎÊ>ÞÊÓä£{° Տˆ>˜Ê
ÃÃ>˜}iʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê
“ÞÊœœ`“>˜Ê>˜`Ê->ۜÊ=ˆãiŽÊ>ÌÊ̅iÊ/ÀœÝÞÊ/…i>ÌÀi]Ê œ˜`œ˜]ÊÓÊՏÞÊÓ䣣° -iiÊ -i>˜Ê ÕLˆÌÌÊ ­Óä£{®Ê ¼ˆ“]Ê >˜`ÃV>«iÊ >˜`Ê *œˆÌˆV>Ê
iÃ̅ïVÃ\Ê Deseret½]Ê ŽiޘœÌiÊ >``ÀiÃÃ]Ê -VÀii˜Ê Vœ˜viÀi˜Vi]Ê Ó™Ê ՘iÊ Óä£{°Ê -…œÀÌi˜i`Ê ÛiÀȜ˜Ê >Û>ˆ>LiÊ œ˜ˆ˜i\Ê …ÌÌ«Ã\ÉÉ ÜÜÜ°>V>`i“ˆ>°i`ÕÉÇxÎÇnÈÓɈ“Ú>˜`ÃV>«iÚ>˜`Ú*œˆÌˆV>Ú
iÃ̅ïVsÊ­>VViÃÃi`ÊÇÊՏÞÊ 2014). Ibid. -ii]ÊvœÀÊiÝ>“«i]Ê >̅iÀˆ˜iÊ ÜiÃÊ­Óäää®ÊVideo Loupe: A Collection of Essays By and About the Videomaker and Critic Catherine Elwes°Êœ˜`œ˜\Ê/Ê*ÀiÃÃÆÊÃiiÊ>Ãœ]Ê̅iÊMoving Image Review & Art Journal (MIRAJ) of which I am a founding editor. -ii]ÊvœÀÊiÝ>“«i]Ê >̅iÀˆ˜iÊ ÜiÃÊ­Óääx>®ÊVideo Art: A Guided Tour. London: I.B. Tauris.

INSTALLATION AND THE MOVING IMAGE

CHAPTER ONE

Architecture INSTALLATION: IN THE BEGINNING... The ancestry of installation art has been linked variously to the radical theatre >˜`ÊVÀœÃǓi`ˆ>ÊiÛi˜ÌÃʜvÊ̅iÊ >Յ>ÕÃʈ˜Ê̅iÊ£™ÓäÃÊ>˜`Ê£™ÎäÃ]Ê>˜`ʏ>ÌiÀ]Ê >VŽÊ œÕ˜Ì>ˆ˜Ê œi}iÊ­£™ÎÎq£™xÇ®Ê>˜`]Ê>ÃÊÊÅ>Ê`ˆÃVÕÃÃʈ˜ÊV…>«ÌiÀÊÌܜ]Ê̜Ê̅iÊÌÀië>ÃȘ}ʜvÊ«>ˆ˜Ìˆ˜}ÊLiޜ˜`Ê̅iÊvÀ>“i]ÊvœœÜˆ˜}Ê̅iÊ ÕLˆÃÌÊvÀ>}“i˜Ì>̈œ˜ÊœvÊ«ˆV̜Àˆ>Ê ë>Vi°Ê
˜ÊiÝ«>˜`i`Êwi`ʜvÊ«>ˆ˜Ìˆ˜}ʍœˆ˜i`Ê̅iÊ>̜“ˆÃi`ÊÀi“>ˆ˜ÃʜvÊÃVՏ«ÌÕÀiÊ>˜`Ê Ìœ}i̅iÀÊ̅iÞʓiÌ>“œÀ«…œÃi`ʈ˜ÌœÊÌi“«œÀ>ÀÞÊ>ÀÌÊi˜ÛˆÀœ˜“i˜ÌÃ]Ê>ÃÃi“L>}iÃÊ>˜`Ê …>««i˜ˆ˜}ÃÊLÞÊ̅iʏˆŽiÃʜvÊ
>˜Ê>«ÀœÜ]ÊjˆœÊ"ˆÌˆVˆV>]Ê >ÀœiiÊ-V…˜ii“>˜˜Ê>˜`Ê̅iÊ ÕÝÕÃÊ>À̈ÃÌðÊ>ÀViÊ ÕV…>“«Ê…>ÃÊLii˜ÊVÀi`ˆÌi`Ê܈̅Ê}À>˜Ìˆ˜}Ê >À̈ÃÌÃʏˆVi˜ViÊÌœÊ «ÕÌÊ>˜Þ̅ˆ˜}ʈ˜ÌœÊ>Ê}>iÀÞÊ>˜`ÊV>ÊˆÌÊ>ÀÌ]Ê܅ˆiÊ`iÈ}˜iÀÃʜvÊÌÀ>`iÊv>ˆÀÃÊ>˜`ʘ>̈œ˜>Ê i݅ˆLˆÌˆœ˜ÃÊÜiÀiʜvÌi˜Êˆ˜Ê̅iÊÛ>˜}Õ>À`ʜvÊÌiV…˜œœ}ˆV>Ê>˜`Ê`ˆÃ«>Þʈ˜˜œÛ>̈œ˜°1 A notable landmark in the history of installation art is the 1938 International Surrealist

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…>ÀiÃÊ >˜`Ê ,>ÞÊ >“iÃÊ «ÀœÛˆ`i`Ê w“Ê >˜`Ê Ãˆ`iÃÊ vœÀÊ >Ê “Տ̈“i`ˆ>Ê ¼˜vœÀ“>̈œ˜Ê Machine’ in the IBM pavilion where a domed structure had been erected. Packed into >ʼ«iœ«iÊÜ>½]Ê̅iÊ>Õ`ˆi˜ViÊÜ>ÃʅÞ`À>ՏˆV>ÞʏˆvÌi`ʈ˜ÌœÊ̅iʅiˆ}…ÌÃʜvÊ̅iÊLՈ`ˆ˜}Ê Ü…iÀiÊ Ì…iÞÊ ÜiÀiÊ Vœ˜vÀœ˜Ìi`Ê ÜˆÌ…Ê ¼>Ê L>ÀÀ>}iÊ œvÊ ÛˆÃÕ>Ê ˆ˜vœÀ“>̈œ˜Ê ȓՏÌ>˜iœÕÏÞÊ spread across the various screens’ fitted inside the vaulted roof.2ʘÊ̅iÊ£™ÓäÃ]Ê̅iÊ Vœ˜ÃÌÀÕV̈ۈÃÌÊ ÊˆÃÈÌâŽÞʅ>`Ê>Ài>`ÞÊ`iV>Ài`Ê̅>Ìʼë>ViÊ`œiÃʘœÌÊi݈ÃÌÊvœÀÊ̅iÊ eye only: it is not a picture; one wants to live in it’. 3Ê ÞÊ̅iÊ£™ÈäÃ]ʈ˜ˆ“>ˆÃÌÊ>À̈ÃÌÃÊ ÜiÀiÊ`iÛiœ«ˆ˜}Ê>ʅiˆ}…Ìi˜i`ÊÃi˜ÃˆÌˆÛˆÌÞÊ̜Ê̅iÊë>Viʈ˜Ê܅ˆV…Ê>ÊܜÀŽÊÜ>Ãʈ˜ÃÌ>i`]Ê >˜`Ê>ÃÊ*iÌiÀÊ"ÃLœÀ˜iʅ>ÃʜLÃiÀÛi`]Ê̅iÞʼiÝ«œÀi`Ê>ÊvœÕÀ‡vœ`ÊÀi>̈œ˜>Ê`ޘ>“ˆVÊLiÌÜii˜ÊœLiVÌÃ]Ê̅iˆÀÊÃÕÀÀœÕ˜`ˆ˜}Êë>Vi]ʈÌÃÊ>ÀV…ˆÌiVÌÕÀ>ÊvÀ>“i]Ê>˜`Ê̅iÊLœ`ÞʜvÊ̅iÊ ÛˆiÜiÀ]ʈ˜Ê܅ˆV…Ê>ÀV…ˆÌiVÌÕÀ>ÊvœÀ“ÊÜ>ÃÊ>Ê}ˆÛi˜Ê«>À>“iÌiÀʜvÊ̅iÊiÝiÀVˆÃiÊ­iÛi˜Ê܅i˜Ê violated)’.4Ê/…iÊVœ˜Vi«ÌʜvÊ>˜Êi݅ˆLˆÌˆœ˜ÊˆÌÃivÊ}À>`Õ>ÞÊňvÌi`ÊvÀœ“Ê>ÊVœiV̈œ˜ÊœvÊ discrete artworks to a total proposition and the orchestration of a series of disparate

11

>ÀÌiv>VÌÃʈ˜Ê̅iÊë>ViʜvÊ̅iÊ}>iÀÞÊLiV>“iÊ̅iÊܜÀŽÊˆÌÃiv]Ê̅iʼˆ˜ÃÌ>>̈œ˜½Ê̅ÀœÕ}…Ê which a spectator could drift and with which she could interact. Theodor Adorno drew a parallel between the gallery-goer and Baudelaire’s flâneur]Ê̅iÊVˆÌˆâi˜Ê܅œÊ ˆ˜ÊiˆÃÕÀiʓi>˜`iÀÃÊ̅ÀœÕ}…Ê̅iÊÃÌÀiiÌÃÊ>˜`Ê>ÀV>`iÃʜvÊ̅iÊVˆÌÞ]ÊÃ>“«ˆ˜}ʈÌÃÊۈÃÕ>Ê and auditory delights.5ʘÊ̅iʏ>ÌiÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞ]Ê̅ˆÃÊw}ÕÀiÊV>“iÊ̜Êi«ˆÌœ“ˆÃiÊ Ì…iʘi܏ÞʓœLˆiÊëiVÌ>̜ÀʜvÊw“Ê܅œÊ˜œÜÊVœ˜ÃՓi`Ê̅iʓœÛˆ˜}ʈ“>}i]ʘœÌʈ˜Ê̅iÊ Ài}ˆ“i˜Ìi`Ê>ÀV…ˆÌiVÌÕÀiʜvÊ>ÊVˆ˜i“>]ÊLÕÌʈ˜ÃÌ>i`ʈ˜Ê>ÊÛ>ÀˆiÌÞʜvÊ}>iÀÞÊë>ViÃ°Ê Another ancestral line for installation and the moving image comes down from ̅iÊ ˜ˆ˜iÌii˜Ì…Ê Vi˜ÌÕÀÞÊ >˜`Ê ˆÌÃÊ v>ÃVˆ˜>̈œ˜Ê ÜˆÌ…Ê Ì…iÊ œ«ÌˆV>Ê ̜ÞÃ]Ê “>}ˆVÊ >˜ÌiÀ˜Ê ŜÜÃ]ÊâœiÌÀœ«iÃÊ>˜`Ê`ˆœÀ>“>Ã]Ê̅iÊ«ÀœÌœ‡Vˆ˜i“>̈VÊ}>`}iÌÃÊ̅>Ìʏi`Ê̜Ê̅iʈ˜Ûi˜Ìˆœ˜ÊœvʓœÌˆœ˜Ê«ˆVÌÕÀiÃ°Ê >ÀÞÊw“ʈÌÃiv]Ê>Ê«…i˜œ“i˜œ˜Ê/œ“Ê՘˜ˆ˜}ʅ>ÃÊ`ÕLLi`Ê̅iÊ ¼Vˆ˜i“>ʜvÊ>ÌÌÀ>V̈œ˜Ã½]Êi“iÀ}i`ʈ˜Ê̅iÊVՏÌÕÀiʜvÊŜܓ>˜Ã…ˆ«Ê>ÃÜVˆ>Ìi`Ê܈̅Ê̅iÊ social spaces of fairgrounds and music halls.6 Framed by the industrial revolution qÊ̅iÊ>}iʜvÊÃÌi>“]ÊiiVÌÀˆVˆÌÞ]ʜ«ÌˆVÃÊ>˜`Ê̅iÊ`>}ÕiÀÀiœÌÞ«iÊqʈ“«ÀiÃ>ÀˆœÃ]Êi˜ÌÀipreneurs and pedlars of illusionistic marvels formed an alliance that developed an ˆ“«œÀÌ>˜ÌÊÃÌÀ>˜`ʜvÊ̅iÊVՏÌÕÀiʜvÊw“Êi݅ˆLˆÌˆœ˜]Ê>Ê̜«ˆVÊÊ܈ÊÀiÌÕÀ˜Ê̜ʈ˜ÊV…>«ÌiÀÊ five.

ARCHITECTURAL SPACE 7…i˜Ê ˆ˜ÃÌ>>̈œ˜Ê i“iÀ}i`Ê >ÃÊ >Ê `iw˜i`Ê «À>V̈ViÊ vÀœ“Ê ˆÌÃÊ `ˆÃ«>À>ÌiÊ >˜ÌiVi`i˜ÌÃ]Ê Ì…iÊ>ÀV…ˆÌiVÌÕÀ>ÊÃiÌ̈˜}ÊLiV>“iÊ>ʓ>œÀÊv>V̜Àʈ˜Ê̅iÊVœ˜Vi«Ìˆœ˜Ê>˜`ÊiÝiVṎœ˜ÊœvÊ a work. The gallery determines the installation’s physical possibilities and indeed its limitations in terms of dimension and the likely disposition of elements within ̅iÊë>Vi°Ê/…iÊv>LÀˆVʜvÊ̅iÊLՈ`ˆ˜}Ê܈Êi}ˆÃ>ÌiÊ܅>Ìʓ>ÌiÀˆ>ÃÊV>˜ÊLiÊÕÃi`]Ê̅iÊ Üiˆ}…ÌÃÊ̅>ÌÊV>˜ÊLiÊ>««ˆi`Ê̜Ê̅iÊyœœÀˆ˜}]Ê܅>ÌÊÃÕÀv>ViÃÊ>ÀiÊ>Û>ˆ>LiÊvœÀÊ«ÀœiV̈œ˜]Ê̅iÊ«iÀ“ˆÃÈLiÊÃÌÀÕVÌÕÀiÃÊ̅>ÌÊV>˜ÊLiÊLՈÌʈ˜ÌœÊ̅iÊë>Vi]Ê>ÃÊÜiÊ>Ãʓˆ˜œÀÊ LÕÌʜvÌi˜ÊVÀÕVˆ>Ê`iÌiÀ“ˆ˜>˜ÌÃÊÃÕV…Ê>ÃÊÛi˜Ìˆ>̈œ˜]ʏˆ}…̈˜}Ê>˜`Ê>VViÃðÊ/…iÊ>ÀV…ˆÌiVtural carapace provided by the gallery or museum also imprints on the installation ̅iÊÃÌ>ÌÕÃʈÌÊi˜œÞÃÊ>ÃÊ>ÊVՏÌÕÀ>Êi“«œÀˆÕ“°Ê >ˆÀiÊ ˆÃ…œ«Ê…>ÃÊÃÕ}}iÃÌi`Ê̅>ÌÊܜÀŽÃÊ LÞÊ>À̈ÃÌÃÊÃÕV…Ê">vÕÀÊ ˆ>Ãܘ]Ê
˜ˆÃ…Ê>«œœÀÊ>˜`ʜՈÃiÊ œÕÀ}iœˆÃ]Ê܅i˜Êˆ˜ÃÌ>i`Ê ˆ˜ÊÈ}˜>ÌÕÀiÊLՈ`ˆ˜}ÃʏˆŽiÊ̅iÊÕ}}i˜…iˆ“ÊœÀÊ̅iÊ/ÕÀLˆ˜iÊ>Ê>ÌÊ/>ÌiÊœ`iÀ˜]Ê>˜`Ê ÃÕ««œÀÌi`ÊLÞÊVœÀ«œÀ>̈œ˜ÃÊÃÕV…Ê>ÃÊ1˜ˆiÛiÀ]ÊLiVœ“iʼˆ˜Ã̈ÌṎœ˜>ÞÊ>««ÀœÛi`½°7 The art does as much to glorify the architecture and its civic sponsors as enhance the professional standing of the installation’s creators. Whatever the aesthetic merit of ˆ˜`ˆÛˆ`Õ>ÊܜÀŽÃ]ʈ˜ÃÌ>>̈œ˜Ê>À̈ÃÌÃʅ>Ûiʈ˜VÀi>Ș}ÞÊVœ“iÊ՘`iÀÊ«ÀiÃÃÕÀiÊvÀœ“Ê v՘`iÀÃÊ̜ʓ>݈“ˆÃiʼˆ“«>V̽]Ê}i˜iÀ>Þʈ˜ÌiÀ«ÀiÌi`Ê>ÃÊ«œ«Õ>ÀÊ>««i>°Ê iÛiÀ̅iiÃÃ]Ê̅iÊ«…ÞÈV>Êi˜ÛˆÀœ˜“i˜ÌÊVÀi>Ìi`ÊLÞÊ̅iÊ>ÀV…ˆÌiVÌÕÀi]Ê̅iÊۜÕ“iÌÀˆVÃʜvÊ>Êë>Vi]ʈÃÊ̅iʈ““i`ˆ>ÌiÊVœ˜Ãˆ`iÀ>̈œ˜ÊœvÊ>˜ÞÊ>À̈ÃÌʈ˜ÃÌ>ˆ˜}Ê>ʓœÛˆ˜}Ê

12

INSTALLATION AND THE MOVING IMAGE

ˆ“>}iÊܜÀŽÊˆ˜Ê>ʓÕÃiՓʜÀÊ}>iÀÞ°Ê
ÃÊʅ>ÛiÊÃÕ}}iÃÌi`]Ê̅iʓœÛˆ˜}ʈ“>}iʅ>ÃÊ̅iÊ V>«>VˆÌÞÊ̜ÊLœÌ…ÊÀiˆÌiÀ>ÌiÊ>˜`Ê`ˆÃ܏ÛiÊ̅iÊi݈Ã̈˜}Ê>ÀV…ˆÌiVÌÕÀ>ÊLœÕ˜`>ÀˆiÃʜvÊ>Ê}>lery. Many practitioners throughout the history of installation art have found ways ̜Ê`À>ÜʜÕÌÊ>ëiVÌÃʜvÊ̅iÊë>ViÊ̅>ÌÊÜiÀiʘœÌÊ>««>Ài˜ÌÊ՘`iÀʘœÀ“>ÊVœ˜`ˆÌˆœ˜Ã]ʜÀÊ ˆ˜`ii`ÊÀi˜`iÀÊ̅i“Ê՘V>˜˜Þ]Ê`ˆÃœÀˆi˜Ìˆ˜}ʜÀÊiÛi˜Ê«œÌi˜Ìˆ>ÞÊ`>˜}iÀœÕÃÊ̜ÊۈÈ̜ÀÃ½Ê perceptual and mental apparatus. Turning familiar spaces into halls of mirrors (Yayoi ÕÃ>“>]Ê ,ˆV…>À`Ê 7ˆÃœ˜®]Ê “>}ˆV>Ê V>ÛiÃÊ ­ iÀˆÌ…Ê 7Þ˜Ê Û>˜Ã]Ê
˜˜‡-œwÊ -ˆ`i˜]Ê Ã>>VÊ Տˆi˜®]Ê>ÀV…ˆÛiÃÊ>˜`ʏˆLÀ>ÀˆiÃÊ­ …ÀˆÃ̈>˜Ê œÌ>˜ÃŽˆ]Ê/…i>ÃÌiÀÊ>Ìiî]Ê`>ÀŽi˜i`Ê`՘}iœ˜ÃÊ>˜`ʏ>LÞÀˆ˜Ì…ÃÊ­œ…˜Ê œVŽ]ÊiˆÌ…Ê/Þܘ]ʈŽiÊ iÃœ˜®ÊœÀÊiÛi˜ÊܜÀŽˆ˜}ÊÃÌ>LiÃÊ ­>˜˜ˆÃʜ՘iˆÃ®Ê>ÀiʍÕÃÌÊ>ÊviÜÊÃÌÀ>Ìi}ˆiÃʜvʜVVÕ«>̈œ˜Ê̅>ÌÊ>À̈ÃÌÃÊܜÀŽˆ˜}Ê܈̅Ê>Ê range of mediums have adopted. /…iÀiÊ>ÀiÊ>ÃœÊܜÀŽÃÊ̅>ÌÊ>``ÀiÃÃÊ̅iÊLՈ`ˆ˜}Ê`ˆÀiV̏Þ]ʈÌÃʅˆÃ̜ÀÞ]ʈÌÃÊVÕÀÀi˜ÌÊ affiliations8 or simply its architectural features. In We Have Art so that We Do Not Perish by TruthÊ ­£™™£®]Ê >Àˆi‡œÊ >vœ˜Ì>ˆ˜iÊ Vœ˜ÌÀˆÛi`Ê ÌœÊ Ài˜`iÀÊ Ì…iÊ Þ«ÌœÌ…iŽÊ in Munich transparent by pasting photographs of flames into the recesses of the `œ“i]Ê̅ÕÃÊVÀi>̈˜}Ê̅iʈÕȜ˜ÊœvʏœœŽˆ˜}Ê̅ÀœÕ}…Ê>«iÀÌÕÀiÃʈ˜Ê>ÊLՈ`ˆ˜}Ê̅>ÌʈÃÊLiˆ˜}ÊVœ˜ÃՓi`ÊLÞÊwÀi°Êi˜˜ˆviÀÊ-Ìiˆ˜Ž>“«ÊÌÕÀ˜ÃÊ܈˜`œÜÃÊ>˜`Ê`œœÀÜ>ÞÃʈ˜ÌœÊvÀ>“iÃÊ vœÀÊ>LÃÌÀ>VÌ]ʜ«ÌˆV>ÊܜÀŽÃÊÀi“ˆ˜ˆÃVi˜ÌʜvÊ̅iÊ«>ˆ˜Ìˆ˜}ÃʜvÊ Àˆ`}iÌÊ,ˆiÞÊ>˜`Ê
}˜iÃÊ >À̈˜°Ê iÀÊ «ÕÃ>̈˜}Ê Ûˆ`iœÊ ˆ“>}iÀÞÊ ÃœvÌi˜ÃÊ Ì…iÊ Àˆ}ˆ`Ê ¼“>ÃVՏˆ˜i½Ê }iœ“iÌÀˆiÃÊ œvÊ Ì…iÊë>ViÊ܈̅ÊÀœˆˆ˜}ÊۜÀ̈ViÃʜvʏˆ˜iÊ>˜`ÊVœœÕÀ]ÊÀՓLˆ˜}ʏˆŽiÊܓiÊ>˜>ÀV…ˆVÊvi“ˆnine unconscious threatening the pure classicism of the building.9 In Window Piece ­Óä£Ó®]Ê-ˆ“œ˜Ê*>ޘiÊȓˆ>ÀÞÊ`ÀiÜʜ˜Ê̅iÊÌÀ>`ˆÌˆœ˜ÊœvÊtrompe l’oeil]ÊÜÊLiœÛi`ʜvÊ >ÀœµÕiʈ˜ÌiÀˆœÀÊ`iÈ}˜°ÊiÊ«ÀœiVÌi`Ê>ʓœÃ>ˆVʜvÊϜ܏ÞÊV…>˜}ˆ˜}ÊLœVŽÃʜvÊVœœÕÀ]Ê precisely stitched into the arched panes of a large bay window at the Camden Arts Centre in London. While there was no attempt here to convince the viewer that this electronically-stained glass window was part of Arnold Taylor’s original design for ̅iÊ}>iÀÞʭ̅i˜Ê>ʏˆLÀ>ÀÞ®]Ê̅iÊ«ÀiVˆÃiÞÊ`À>ܘÊLÕÀÃÌÃʜvʓÕÌ>̈˜}ÊVœœÕÀÃʈ˜Ê>˜ÊœÌ…iÀ܈ÃiÊ܅ˆÌiÜ>Åi`Êë>ViÊ`ÀiÜʜÕÌÊ̅iʈ˜ÌÀˆ˜ÃˆVʵÕ>ˆÌˆiÃʜvÊ̅iÊ܈˜`œÜ]Ê̅iÊ܏ˆ`ˆÌÞÊ and gothic symmetries of the Victorian architecture. The work of Payne and Steinkamp depend for their effect on an ambulatory spectator coming upon these architectural transformations as they navigate the space of the gallery. Any built environment facilitates the movement of bodies through ë>Vi]Ê vÀœ“Ê ̅iÊ Ã…œ««ˆ˜}Ê “>ÃÊ >˜`Ê À>ˆÜ>ÞÊ ÃÌ>̈œ˜ÃÊ œvÊ
Õ}j½ÃÊ ¼˜œ˜‡«>ViÃ½Ê ÌœÊ Ì…iÊ manicured parks and bustling streets of the metropolis. City planners do not so much facilitate as orchestrate the circulation of its citizens who are not always the “>ˆ˜ÊLi˜iwVˆ>ÀˆiÃʜvʓœLˆˆÌްʘÊ̅iÊV>ÃiʜvÊ-iVœ˜`Ê “«ˆÀiÊ*>ÀˆÃ]Ê̅iʓœÛi“i˜ÌÊ of troops was the priority driving Haussmann’s plans to open up wide boulevards in the heart of the ancient city. Where the layout of a metropolitan precinct or of an individual building transports the visitor according to a social purpose (retail Vœ˜ÃՓ«Ìˆœ˜Ê>˜`ÊÜVˆ>ÊVœ˜ÌÀœÊLiˆ˜}Ê̅iʓœÃÌÊVœ““œ˜®]Ê>˜Êˆ˜ÃÌ>>̈œ˜Ê«ÀœÛˆ`iÃÊ

ARCHITECTURE

13

Simon Payne, Window Piece (2012), 14 min., site-specific looping video projection. Installation view, Camden Arts Centre, London. Courtesy of the artist.

>ÊVՏÌÕÀ>ÊiÝ«iÀˆi˜ViÊ܈̅ÊÃÕvwVˆi˜ÌÊ>««i>Ê̜ʈ˜`ÕViÊ̅iÊëiVÌ>̜ÀÊ̜ÊÌ>ÀÀÞÊ>܅ˆiÊ >ÌÊ`iÈ}˜>Ìi`Ê«œˆ˜ÌÃʜvʈ˜ÌiÀiÃÌ]Ê>˜`Ê«œÃÈLÞÊÀiÌÕÀ˜Ê>˜œÌ…iÀÊ`>ްʘÊVœ““œ˜ÊÜˆÌ…Ê «i>ÃÕÀiÊ}>À`i˜ÃÊ>˜`ÊÃi>È`iÊ«Àœ“i˜>`iÃ]Ê̅iÊ>iÃ̅ïVÊiÝ«iÀˆi˜Viʜvʈ˜ÃÌ>>̈œ˜Ê >ÀÌʓ>ÞÊÃii“Ê̜ÊVœÕÀÌÊ«ÕÀ«œÃiiÃÃÊ>iÃ̅ïVÃ]Ê>ÃÊ`ˆ`Ê̅iÊvœˆiÃ]ÊvœÕ˜Ì>ˆ˜Ã]ʼ…iwÀiÊ V>ÛiÀ˜Ã½Ê >˜`Ê v>ˆÀÞÊ }ÀœÌ̜ÃÊ œvÊ iˆ}…Ìii˜Ì…‡Ê >˜`Ê ˜ˆ˜iÌii˜Ì…‡Vi˜ÌÕÀÞÊ iÃÌ>ÌiÃ]Ê «>ViÃÊ Ì…>ÌÊ `iˆ}…Ìi`Ê ÛˆÃˆÌœÀÃÊ ÜˆÌ…Ê Ü…>ÌÊ -ˆ“œ˜Ê -V…>“>Ê `iÃVÀˆLi`Ê >ÃÊ Ì…iˆÀÊ ¼Õ˜>«œœ}ïVÊ artificiality’.10Ê œÜiÛiÀ]Ê ˆŽiÊ `i«>À̓i˜ÌÊ Ã̜ÀiÃ]Ê v>ˆÀ}ÀœÕ˜`ÃÊ >˜`Ê >ÀV>`iÃ]Ê >Ê “œÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜]ʈ˜ÊëˆÌiʜvʈÌÃʅˆ}…Ê>ÀÌÊVÀi`i˜Ìˆ>Ã]ÊÕÃÕ>Þʅ>ÃÊ>ÊVœ““iÀVˆ>Ê œLˆ}>̈œ˜Ê̜ʈÌÃʅœÃÌ]Ê܅i̅iÀÊ>Ê«ÀˆÛ>ÌiÊ}>iÀÞʜÀÊ«ÕLˆVʈ˜Ã̈ÌṎœ˜]Ê>˜`Ê܅>ÌiÛiÀÊ VœÕÀÃiʈÃÊV…>ÀÌi`Ê̅ÀœÕ}…Ê̅iÊܜÀŽÊˆÌÃiv]Ê>Ê«>̅Ãʏi>`Ê̅iÊۈÈ̜Àʈ˜iݜÀ>LÞÊ̜ʼi݈ÌÊ Ì…ÀœÕ}…Ê̅iÊ}ˆvÌÊŜ«½°ÊiÀiÊ̅iʓœÀiʓœ`iÃÌÊ«œVŽiÌÊV>˜ÊÃÌÀiÌV…Ê̜Ê>ÊV…i>«ÊÜÕÛi˜ˆÀ]Ê whereas museum functionaries are on hand to transport the serious investor to the ˆ˜˜iÀÊÃ>˜VÌՓʜvÊ̅iÊ`ˆÀiV̜À½ÃʜvwVi]Ê}i˜iÀ>ÞÊi˜œÞˆ˜}Ê̅iÊLiÃÌÊۈiÜʜvÊ̅iÊÀˆÛiÀ°Ê

ARCHITECTURAL MONTAGE Whatever commercial concerns underpin the aesthetic points of interest leading ̅iÊiÞiÊ>˜`ʓˆ˜`Ê̅ÀœÕ}…Ê>Ê}>iÀÞÊë>Vi]Ê̅iÊÌÀ>iV̜ÀÞÊ՘`iÀÌ>Ži˜Ê܈Ê…>ÛiÊLii˜Ê

14

INSTALLATION AND THE MOVING IMAGE

structured by the building itself and here a direct link to film can be established. Sergei Eisenstein identified classical architecture as a precursor to film in its creation of a ¼“œ˜Ì>}i½Êœvʈ“«ÀiÃȜ˜ÃÊ̅>ÌÊÜiÀiÊLœÌ…ÊVˆ˜i“>̈VÊ>˜`Êë>̈>Ê>˜`Ê̅>ÌÊ`i«i˜`i`Ê on an ambulatory viewer.11ʘʅˆÃÊ£™ÎnÊiÃÃ>Þʼœ˜Ì>}iÊ>˜`Ê
ÀV…ˆÌiVÌÕÀi½]Ê ˆÃi˜ÃÌiˆ˜Ê >ÃÃiÀÌÃÊ̅>ÌʼˆÌʈÃʅ>À`Ê̜ʈ“>}ˆ˜iÊ>ʓœ˜Ì>}iÊÃiµÕi˜ViÊvœÀÊ>˜Ê>ÀV…ˆÌiVÌÕÀ>Êi˜Ãi“LiÊ “œÀiÊÃÕL̏ÞÊVœ“«œÃi`]ÊŜÌÊLÞÊŜÌ]Ê̅>˜Ê̅iʜ˜iÊ̅>ÌʜÕÀʏi}ÃÊVÀi>ÌiÊLÞÊÜ>Žˆ˜}Ê among the buildings of the Acropolis’.12 The wanderer stops periodically and takes in >ÊۈiÜ]Ê>˜`Ê̅iÊi˜ÌˆÀiÊiÝ«iÀˆi˜ViʜvÊ̅iÊLՈ`ˆ˜}ÊVœ“«iÝʈÃʓ>`iÊիʜvÊ>˜Ê>VVÀïœ˜Ê œvÊ«iÀëiV̈ÛiÃ]ʼvÀœ“Ê̅iÊ«œˆ˜ÌʜvÊۈiÜʜvÊ>ʓœÛˆ˜}ÊëiVÌ>̜À½Ê܅œÃiÊiÝ«œÀ>̈œ˜ÃÊ were anticipated and artfully engineered by the architects of antiquity. Film has the >LˆˆÌÞÊ ÌœÊ Vœ˜ÕÀiÊ vœÀÊ >˜Ê >Õ`ˆi˜ViÊ Û>ÃÌiÀÊ }iœ}À>«…ˆV>Ê >˜`Ê “œÀiÊ `ˆÛiÀÃiÊ >ÀV…ˆÌiVÌÕÀ>Êë>ViÃÊ̅>˜ÊVœÕ`ÊLiÊiÝ«iÀˆi˜Vi`ʜ˜Ê>ÊȘ}iʜṎ˜}Ê̜Ê̅iÊ
VÀœ«œˆÃ°Ê/…iÃiÊ ¼VÀi>̈ÛiÊ}iœ}À>«…ˆiýÊ>ÀiÊVœ˜ÃÌÀÕVÌi`ʜ˜Êw“ÊœÕÌʜvÊ>ÊVœiV̈œ˜ÊœvÊvÀ>}“i˜Ìi`ÊۈÃtas drawn from any number of different sites (and indeed multiple temporalities).13 Filmmakers sequentially assemble the fragments to create coherent geographical or architectural spaces woven together in the spectatorial imagination through ̅iÊVœ““œ˜Ê}À>““>ÀʜvÊw“]Ê>ÃÊÊ܈Ê`ˆÃVÕÃÃʈ˜ÊV…>«ÌiÀÊwÛi°Ê/œÜ˜Ê«>˜˜iÀÃÊ>˜`Ê >ÀV…ˆÌiVÌÃÊVœ˜ÃÌÀÕVÌÊë>ViÊ̜Êi˜>LiÊ̅iÊ«iÀˆ«>ÌïVÊVˆÌˆâi˜Ê̜Êȓˆ>ÀÞʍÕÝÌ>«œÃiÊ >˜`Ê«ÀœViÃÃÊ`ˆÃ«>À>Ìiʈ“«ÀiÃȜ˜Ã]Ê>˜`Ê̅ˆÃʏi>`ÃʈՏˆ>˜>Ê À՘œÊ̜ÊVœ˜VÕ`i]ʏˆŽiÊ

ˆÃi˜ÃÌiˆ˜]Ê̅>Ìʼw“ʈ˜…iÀˆÌÃÊ̅iÊ«œÃÈLˆˆÌÞʜvÊÃÕV…Ê>ÊëiVÌ>̜Àˆ>ÊۜÞ>}iÊvÀœ“Ê̅iÊ architectural field’.14

ˆÃi˜ÃÌiˆ˜Ê>ÃœÊw˜`ÃÊ̅iÊÃii`Ãʜvʓœ˜Ì>}iʈ˜Ê̅iÊ-Ì>̈œ˜ÃʜvÊ̅iÊ ÀœÃÃ]Ê̅iÊÃiquences of linked paintings or bas-reliefs that commonly line the walls of the nave in >Ê >̅œˆVÊV…ÕÀV…°Ê/…iÃi]ÊiÝ«>ˆ˜ÃÊ ˆÃi˜ÃÌiˆ˜]ÊÀi«ÀiÃi˜Ìʼ̅iÊÌÜiÛiÊÃ̜««ˆ˜}Ê«>ViÃÊ Ì…>Ìʏi}i˜`Ê>ÃVÀˆLiÃÊ̜Ê̅iÊ«ÀœViÃȜ˜Ê̜Êœ}œÌ…>½]Ê̅iÊ`œœÀœÕÃÊÀœÕÌiÊ̅>ÌÊ …ÀˆÃÌÊ ÌœœŽ]ÊV>ÀÀވ˜}ʅˆÃÊVÀœÃÃÊ̜Ê̅iÊ«>ViʜvÊiÝiVṎœ˜°Ê/…iÊ-Ì>̈œ˜ÃʜvÊ̅iÊ ÀœÃÃÊ«ÀœÛˆ`iÊ >ÊVœÃiÀÊ>˜>œ}ÞÊ̜ʈ˜ÃÌ>>̈œ˜Ê̅>˜Ê̅iÞÊ`œÊ̜Êw“Ê>œ˜i]ÊLiV>ÕÃiÊi>V…ʼÃÌ>̈œ˜½ÊˆÃÊ iµÕˆÛ>i˜ÌÊ̜Ê̅iÊi˜VœÕ˜ÌiÀÊ܈̅Ê>ÊÃVÀii˜]Ê܈̅ˆ˜Ê>˜ÊœÛiÀ>ÊˆÌˆ˜iÀ>ÀÞÊ̅>Ìʓ>ÞÊÌ>ŽiÊ in several such screens contained in the forcefield of an architectural space. The ۈiÜiÀʜÀÊ«ˆ}Àˆ“ÊVœ˜ÃÌÀÕVÌÃÊ>ÊÃ̜ÀÞʜÕÌʜvÊ̅ˆÃÊÃiµÕi˜ViʜvÊÃÌ>̈œ˜Ã]Ê>ÌÊi>V…ÊÃ̜«Ê momentarily holding in abeyance attention to the physical space in which they are i˜VœÕ˜ÌiÀi`]ÊÜÊ>ÃÊ̜ʼÀi>`½Ê̅iÊÀi«ÀiÃi˜Ì>̈œ˜ÊœvÊ>Êë>Vi‡iÃi܅iÀiʈ˜Ê…ˆÃ̜ÀˆV>Ê ̈“i°Ê
Ãʈ˜Ê̅iÊ«Àœ}ÀiÃÃʜvÊ>Ê«ˆ}Àˆ“]Ê>ÊۈÈ̜ÀÊ̜Ê>ʓœÛˆ˜}ʈ“>}iÊ>ÀÌʈ˜ÃÌ>>̈œ˜Êi˜>VÌÃÊ>ÊVœ}˜ˆÌˆÛiÊ`œÕLi˜iÃðÊ-…iʅ>ÃÊ̅iÊ>LˆˆÌÞÊ̜ʅœ`ÊÌܜʘ>ÀÀ>̈ÛiÃÊVœ˜VÕÀÀi˜ÌÞ]Ê the fictional or documentary narrative (by no means always a linear one) gradually LՈ`ˆ˜}ÊvÀœ“Ê̅iÊÃVÀii˜‡L>Ãi`ʈ˜vœÀ“>̈œ˜Ê>˜`Ê̅>ÌʜvÊ̅iÊë>ViʈÌÃiv]Ê`À>ܘÊvÀœ“Ê a combination of kinaesthetic information derived from the activity of muscle and œVœ“œÌˆœ˜]Ê>ÃÊÜiÊ>ÃÊ̅iÊ«Àˆ“>ÀÞÊÃi˜ÃiÃʜvÊÈ}…Ì]ÊÓi]ʅi>Àˆ˜}Ê>˜`Ê̜ÕV…°Ê
Ãʈ˜Ê >ÊV…ÕÀV…ÊœÀÊ>ÊÌÀ>`ˆÌˆœ˜>Ê«ˆ}Àˆ“ýÊÜ>ÞÊVÀœÃȘ}Ê>˜Ê>˜Vˆi˜ÌÊVˆÌÞ]Ê̅iÊÌܜʘ>ÀÀ>̈ÛiÃÊ frequently intertwine. The surrounding environment of an installation may reflect

ARCHITECTURE

15

̅iʜ˜ÃVÀii˜ÊiÛi˜ÌÃÊ̅ÀœÕ}…ÊÜ՘`]ʏˆ}…̈˜}ʜÀÊÀi>Ìi`ʓ>ÌiÀˆ>Êii“i˜ÌÃÊ}>̅iÀi`Ê ÜˆÌ…ˆ˜Ê̅iÊi“LÀ>ViʜvÊ̅iÊܜÀŽ°Ê
ÊV…ÕÀV…]Ê܈̅ʈÌÃÊÜ>Àˆ˜}Ê«ˆ>ÀÃÊ>˜`ÊViiÃ̈>ÊÛ>ՏÌÃ]Ê “>ÞÊ>ÃœÊވi`Ê̅iÊÓiÊœvʈ˜Vi˜Ãi]Ê̅iÊÜ՘`ʜvÊ«>ˆ˜V…>˜ÌʜÀʜ̅iÀÊ`iۜ̈œ˜>Êˆ˜`ˆV>̜ÀÃÊ̅>ÌÊ՘`iÀˆ˜iÊ̅iÊÃ>VÀi`ÊÌiÝÌʜvÊ …ÀˆÃ̽ÃÊ«>ÃȜ˜Ê}À>`Õ>ÞÊ>VVÀՈ˜}Ê̅ÀœÕ}…Ê ̅iʼ“œ˜Ì>}i½ÊœvÊÃÕVViÃÈÛiÊ-Ì>̈œ˜ÃʜvÊ̅iÊ ÀœÃðÊ

GALLERY DESIGN The grandeur of a space like the Turbine Hall at Tate Modern in London is nothing if not cathedral-like. Works such as Tacita Dean’s FilmÊ­Óä£Ó®]ʅiÀʓœ˜Õ“i˜ÌÊ̜ÊViÕœˆ`Ê«ÀœiV̈œ˜]Ê>˜`Ê">vÕÀÊ ˆ>Ãܘ½ÃÊThe Weather Project (2004) with its immense œÀ>˜}iʏˆ}…ÌÊÃÕëi˜`i`Ê>ÌÊ̅iÊ>Ì>À‡i˜`ʜvÊ̅iÊ}>iÀÞʏˆŽiÊ>ÊLÕÀ˜ˆ˜}ÊÃ՘]ÊViÀÌ>ˆ˜Þʈ˜`ÕViÊ>ÊvœÀ“Êœvʏˆ}…ÌÊܜÀň«Êˆ˜Ê̅iÊ>ÀÌÊ«ˆ}Àˆ“°ÊœÜiÛiÀ]Ê̅iÊ/ÕÀLˆ˜iÊ>ÊÜ>ÃÊ`iÈ}˜i`Ê for other purposes as were many civic buildings now repurposed as the new cathe`À>ÃʜvÊ>ÀÌ°Ê7…iÀiÊ/>ÌiÊœ`iÀ˜ÊÜ>Ãʜ˜ViÊ>Ê«œÜiÀÊÃÌ>̈œ˜]ʜ̅iÀÊ}>iÀˆiÃÊÃÌ>ÀÌi`ʏˆviÊ >ÃʏˆLÀ>ÀˆiÃ]ʈ˜`ÕÃÌÀˆ>Ê՘ˆÌÃʜÀʫՓ«ˆ˜}ÊÃÌ>̈œ˜Ã°Ê/…iÊ->>ÌV…ˆÊ>iÀÞʈ˜Êœ˜`œ˜ÊÜ>ÃÊ Õ˜ÌˆÊÀiVi˜ÌÞÊ>ʓˆˆÌ>ÀÞÊL>ÀÀ>VŽÃÊ>˜`Ê̅iÊÕÃjiÊ ½"ÀÃ>Þʈ˜Ê*>ÀˆÃ]Ê>ÊÀ>ˆÜ>ÞÊÃÌ>̈œ˜°Ê œÜiÛiÀ]ʓ>˜ÞʓÕÃiՓÃÊ>˜`Ê}>iÀˆiÃÊ>ÀiÊ«ÕÀ«œÃi‡LՈÌÊ>˜`Ê̅iÊVœ˜ÛiÀȜ˜Êœvʜ`iÀÊ buildings into art spaces follows certain principles of gallery design. The layout of a museum and the arrangement of displays encourage optimum circulation of indiۈ`Õ>Ã]Ê܅ˆÃÌÊi˜>Lˆ˜}ÊۈÈ̜ÀÊV…œˆVi]ÊL>Ãi`ʜ˜Ê>ʘՓLiÀʜvÊ>ÌÌÀ>V̈œ˜ÃÊÀi}ˆÃÌiÀˆ˜}Ê in the visual field at any one time. The movement paths are structured by the architecture itself – galleries leading directly into other galleries or radiating from a Vi˜ÌÀ>ÊÀœÌ՘`>°Ê/…iʏ>ޜÕÌʜvʓÕÃiՓÃÊVÀi>ÌiÃʼœÀ`iÀˆ˜iÃýÊ>˜`Êi˜>LiÃʼۈÈ̜ÀÃÊ ÌœÊLiʜLiVÌÃʜvÊi>V…ʜ̅iÀ½Ãʈ˜Ã«iV̈œ˜½]Ê>Êvi>ÌÕÀiʜvÊ}>iÀއ}œˆ˜}Ê̅>ÌÊLiV>“iÊ̅iÊ focus of live relay video installations in the 1970s.15 7…iÀiʘˆ˜iÌii˜Ì…‡Vi˜ÌÕÀÞÊ}>iÀˆiÃÊvœœÜi`Ê>Ê«>À̈̈œ˜i`ʏ>ޜÕÌÊ܈̅Êi݅ˆLˆÌÃÊ isolated in individual rooms and visually inaccessible to the visitor on first entering ̅iÊLՈ`ˆ˜}]Ê>ʘiÜʼœ«i˜Ê«>˜½Ê>iÃ̅ïVÊÜ>ÃÊ>`œ«Ìi`ÊLÞʈiÃÊ6>˜Ê`iÀÊ,œ…iʈ˜Ê…ˆÃÊ design for the New National Gallery in Berlin (1942).16Ê/…ˆÃÊÀ>`ˆV>Êi݅ˆLˆÌˆœ˜ÊVœ˜Vi«ÌÊ did away with a cellular configuration and gave visitors licence to wander at will by means of an almost transparent structure. It provided visual access to the totality œvÊ̅iÊ`ˆÃ«>Þ]Ê>LiˆÌÊ>ÃÊ>ÊÃiÀˆiÃʜvÊ«>À̈>ÊۈiÜðʘÊ̅iÃiÊVˆÀVՓÃÌ>˜ViÃ]Ê̅iÊVÕÀ>̜Àˆ>Êœ}ˆVÊLi…ˆ˜`Ê>Ê«>À̈VՏ>ÀÊÃiÌʜvÊ>ÀÌܜÀŽÃʜÀÊ>ÃÃi“L>}iÃ]Ê>VViÃÃi`ÊÃiµÕi˜Ìˆ>Þ]Ê ÜœÕ`ÊLiʏœÃÌÊ>˜`Êi>V…ÊۈÈ̜ÀÊܜՏ`ʼi`ˆÌ½Ê̅iˆÀʜܘ]Ê«iÀܘ>ˆÃi`ÊÛiÀȜ˜ÊœvÊ̅iÊi݅ˆLˆÌˆœ˜°ÊœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜ÃÊ>ÀiÊȓˆ>ÀÞÊÃÕLiVÌÊ̜Ê̅iÊVœ˜ÌÀ>`ˆV̜ÀÞÊ`iÈÀi]Ê œ˜Ê̅iʜ˜iʅ>˜`]Ê̜ÊVœ˜ÌÀœÊ̅iÊۈiÜiÀ½ÃÊVՓՏ>̈Ûi]ʈ˜ÌiÀ˜>Ê˜>ÀÀ>̈ÛiʜvÊ̅iÊܜÀŽÊ LÞʓi>˜ÃʜvÊ>ʼÃÌ>̈œ˜ÃʜvÊ̅iÊVÀœÃýÊ>««Àœ>V…Ê܈̅Ê̅iÊ«>̅ÃʜvÊiÝ«œÀ>̈œ˜ÊVi>ÀÞÊ `iw˜i`Ê >˜`Ê i˜vœÀVi`]Ê >˜`Ê œ˜Ê ̅iÊ œÌ…iÀ]Ê ÌœÊ Àii>ÃiÊ Ì…iÊ ÛˆiÜiÀÊ ÌœÊ vœœÜÊ Ì…iˆÀÊ œÜ˜]Ê

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INSTALLATION AND THE MOVING IMAGE

Stan Douglas, still from Journey Into Fear, (2001). DVD, 15:22 min. per rotation, 30 dialogue track variations, total running time 7 hours 40 min. Courtesy the artist and David Zwirner, New York.

՘`ˆÀiVÌi`ʈ̈˜iÀ>ÀÞÊ܈̅ˆ˜Ê>˜Êœ«i˜‡«>˜Ê`iÈ}˜°Ê i>ÀÞ]Ê̅iÊvœÀ“iÀÊ>««Àœ>V…ÊܜՏ`Ê VÀi>ÌiÊ>Ê`i}ÀiiʜvÊVœ˜Ìˆ˜ÕˆÌÞÊLiÌÜii˜ÊۈÈ̜ÀÃʈ˜ÊÌiÀ“ÃʜvÊ̅iˆÀÊiÝ«iÀˆi˜ViʜvÊ̅iÊ ÜœÀŽ]Ê>˜`Ê̅iʏ>ÌÌiÀÊܜՏ`Ê}ˆÛiÊÀˆÃiÊ̜Ê>˜Êˆ˜w˜ˆÌiÊÛ>ÀˆiÌÞʜvÊi˜VœÕ˜ÌiÀÃÊ>˜`Ê̅ÕÃÊ>Ê }Ài>ÌiÀÊÀ>˜}iʜvʈ˜ÌiÀ«ÀiÌ>̈œ˜ÃʜvÊ̅iʈ˜ÃÌ>>̈œ˜Ê>ÃÊ>Ê܅œi°Ê/…iÊVœ˜ÌÀœÊ̅>ÌʈÃÊiÝiÀÌi`ʜÛiÀÊ̅iʜÀ`iÀʜvÊi˜VœÕ˜ÌiÀÃʈ˜Ê̅iʼÃÌ>̈œ˜ÃʜvÊ̅iÊVÀœÃýʏ>ޜÕÌÊ>ÃœÊLÀˆ˜}ÃÊ̅iÊ ÜœÀŽÊVœÃiÀÊ̜Ê̅iʘ>ÀÀ>̈ÛiÊVœ˜Ûi˜Ìˆœ˜ÊœvÊVˆ˜i“>]ʜ˜iÊ̅>ÌÊ-Ì>˜Ê œÕ}>ÃÊLœÌ…ÊiۜŽi`Ê and undermined in his installation Journey into Fear (2001). Two large screens dis«>Þi`ÊvœœÌ>}iÊ`i«ˆV̈˜}Ê̅i>ÌÀˆV>ÊÃiÌÃʈ˜Ê܅ˆV…ÊV…>À>VÌiÀÃ]Ê>««>Ài˜ÌÞÊ>ÌÊÃi>ʈ˜Ê>Ê Vœ˜Ì>ˆ˜iÀÊň«]Êi˜}>}i`ʈ˜ÊØ>ÌV…iÃʜvÊVÀޫ̈VÊVœ˜ÛiÀÃ>̈œ˜°Ê/…iÊvÀ>}“i˜ÌÃʜvÊ`ˆ>logue were processed by a computer installed in the gallery resulting in random and ˆ˜w˜ˆÌiÞÊÛ>Àˆ>LiÊVœ“Lˆ˜>̈œ˜ÃʜvÊ̅iÊiÝV…>˜}iðÊ/…iʏ>VŽÊœvʘ>ÀÀ>̈ÛiÊÀi܏Ṏœ˜Ê created a contingent semantic precinct in which the viewer could imaginatively wander like Bruno Ganz’s angel in Wings of DesireÊ­7ˆ“Ê7i˜`iÀÃ]Ê£™nÇ®]Êi>ÛiÃ`Àœ««ˆ˜}Ê œ˜Ê«iœ«i½ÃʓœÃÌʈ˜Ìˆ“>ÌiÊ̅œÕ}…ÌÃÊ܅ˆiÊ̅iÞÊÌÀ>Ûii`Ê̜ÊܜÀŽ°Ê˜ÊLœÌ…ÊV>ÃiÃ]Ê̅iÊ iۜV>̈œ˜ÊœvÊV…>˜ViÊi˜VœÕ˜ÌiÀÃÊ܈̅ʫiœ«i]Ê«>ViÃ]ʜLiVÌÃÊ>˜`ÊÃ̜ÀˆiÃʈÃÊ>˜>œ}œÕÃÊ̜Ê̅iÊiÝ«iÀˆi˜ViʜvÊ̅iÊۈÈ̜ÀÊÜ>˜`iÀˆ˜}Ê̅ÀœÕ}…Ê>Ê}>iÀÞÊë>Vi°Ê Creators of moving image installations have to consider the degree to which they might wish to direct visitors’ movements through the work by means of physical

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L>ÀÀˆiÀÃÊ>˜`Ê̅iÊv՘˜iˆ˜}ʜvÊLœ`ˆiÃÊ`œÜ˜Ê«>ÃÃ>}iÜ>ÞðʘÊ>˜Êœ«i˜‡«>˜Ê`ˆÃ«>Þ]Ê they must also contrive to contain both sound and light spillage between works and anticipate how this contamination might affect the reading of individual works and ̅iÊV…>À>VÌiÀʜvÊ̅iÊi݅ˆLˆÌˆœ˜Ê>ÃÊ>Ê܅œi°Ê/…ˆÃÊ«ÀœLi“ʈÃÊVœ˜Ãˆ`iÀ>LÞÊ>}}À>Û>Ìi`Ê ˆ˜Ê }ÀœÕ«Ê ŜÜÃÊ Ü…i˜Ê ˆ˜>`ÛiÀÌi˜ÌÊ >ÞiÀˆ˜}Ê œvÊ ÃœÕ˜`ÌÀ>VŽÃÊ œVVÕÀÃ]Ê >˜`Ê Ì…iÊ ÜœÀŽÃÊ engage in mutual antagonism.17Ê /…œÃiÊ ÜœÀŽÃÊ Ì…>ÌÊ `i«i˜`Ê œ˜Ê ˜>ÀÀ>̈ÛiÊ ii“i˜ÌÃ]Ê `À>“>̈Ã>̈œ˜ÃʜÀʈ˜ÌiÀۈiÜÃ]ʜÀʓœÀiÊvœÀ“>ÊܜÀŽÃÊÀiµÕˆÀˆ˜}Êȏi˜ViÊ>ÀiÊ«>À̈VՏ>ÀÞÊ ÃÕÃVi«ÌˆLiÊ̜ʏˆ}…ÌÊ>˜`ÊÜ՘`ʈ˜ÌiÀviÀi˜ViÊvÀœ“ʜ̅iÀÊi݅ˆLˆÌÃÊ>˜`Ê>ÃÊ>ÊÀiÃՏÌ]ʓœÀiÊ >˜`ʓœÀiÊVœ˜Ìi“«œÀ>ÀÞÊ«À>V̈̈œ˜iÀÃÊLՈ`ÊLi뜎i]ÊÃi>i`ÊVˆ˜i“>Ãʈ˜Ê}>iÀˆið /…iʘՓLiÀʜvÊv>V̜ÀÃÊ̅>ÌÊV>˜Êˆ“«>VÌʜ˜Ê>ÊܜÀŽÊ>Àiʏi}ˆœ˜]ʘœÌʏi>ÃÌÊ̅iÊ>ÀV…ˆÌiVÌÕÀ>ÊvÀ>“iʈ˜Ê܅ˆV…Ê>ÊܜÀŽÊˆÃÊ«>Vi`°Ê/…ˆÃʅ>Ãʏi`Ê >ۈ`Ê °Ê>“iÃÊ̜ÊÀi“>ÀŽÊ̅>ÌÊ ¼Vœ˜Ìi“«œÀ>ÀÞʓœÛˆ˜}ʈ“>}iÊVՏÌÕÀiʈÃÊÀi>ˆÃi`Ê>ÀV…ˆÌiVÌÕÀ>Þ½°18Ê>“iÃÊ`œiÃʘœÌÊ limit the fusion of architecture and the moving image to the interiors of individual LՈ`ˆ˜}ÃʅœÕȘ}Êw“Ê>˜`Êۈ`iœÊ`ˆÃ«>ÞÃ]ÊLÕÌ]ʅiÊ>À}ÕiÃ]Ê̅ˆÃÊÃÌÀÕVÌÕÀ>Ê>ˆ>˜ViÊV>˜Ê LiÊvœÕ˜`ʼ>“Lˆi˜ÌÞʈ˜Ê̅iÊۈÃÕ>ˆÌÞʜvÊ̅iÊVˆÌÞʈÌÃivÊ܅iÀi]Ê܅i̅iÀÊ̈˜ÞʜÀʅÕ}i]Ê screens are so ubiquitous that together they become almost as seamless as sound’; >VVœÀ`ˆ˜}Ê ÌœÊ >“iÃ]Ê ¼iÛiÀÞ܅iÀiÊ Ì…iÊ >Û>˜Ì‡}>À`iÊ Ì>ŽiÃÊ «>Vi½°19 The modern city has incorporated a network of billboards and digital screens and Tokyo could be seen as the largest video installation in the world.20 Perhaps it is the increasing saturation œvÊ̅iÊLՈÌÊi˜ÛˆÀœ˜“i˜ÌÊ܈̅ÊÃVÀii˜‡L>Ãi`ʓi`ˆ>Ê̅>Ìʓ>ŽiÃʈÌÊÜÊ`ˆvwVՏÌÊ̜ʼÃii½Ê the moving image as anything other than another visual irritant making claims on œÕÀʏiˆÃÕÀiÊ̈“iʈ˜Ê>ÊܜÀ`Ê`œ“ˆ˜>Ìi`ÊLÞʼVœ}˜ˆÌˆÛiÊV>«ˆÌ>ˆÃ“½°21Êœ˜>̅>˜Ê>˜âi˜Ê …>Ãʈ`i˜Ìˆwi`Ê>ÊVœ˜Vœ“ˆÌ>˜ÌÊ`i}À>`>̈œ˜ÊœvÊ>ÀÌÊ>˜`ʏˆÌiÀ>ÌÕÀiʈ˜Ê ¼Ì…iÊ ˆ˜viÀ˜>Ê “>chine of technoconsumerism’.22Ê
˜`ÊÞiÌ]ÊÌiV…˜œœ}ˆV>Ê>`Û>˜Vi“i˜Ìʅ>ÃÊ>ÃœÊLii˜Ê …iÀ>`i`Ê>ÃÊ̅iÊÜÕÀViʜvÊ՘ˆÛiÀÃ>Êi“«œÜiÀ“i˜ÌÊ>˜`Ê̅iʏˆLiÀ>̜ÀʜvÊ«iÀܘ>ÊiÝ«ÀiÃȜ˜°Ê6ˆ“iœ]Ê/܈ÌÌiÀ]ʘÃÌ>}À>“Ê>˜`Ê>ViLœœŽÊ>ÀiÊ>Ü>ÅÊ܈̅Ê̅iÊvÀՈÌÃʜvÊ̅iÊ citizen artists we have all become. I would argue that one of the benefits of moving ˆ“>}iʈ˜ÃÌ>>̈œ˜Ê>ÃÊ>Ê`iˆ“ˆÌi`]ʈ˜`œœÀÊ«…i˜œ“i˜œ˜ÊˆÃÊ̅>ÌʈÌÊi˜>LiÃÊÕÃÊ̜ʼÃii½Ê the medium once again and consider the role of the technologies that support the moving image as both social phenomenon and creative tool. I believe that it is not so much the similarities and reciprocal quotation between life and art that makes art worthy of our attention – it is its separateness.23ÊvÊ>ÀÌʼˆÃʘœÊœ˜}iÀÊ`ˆÃ̈˜VÌÊvÀœ“Ê ̅iÊ«À>݈Ãʜvʏˆvi]ÊLÕÌÊ܅œÞÊ>LÜÀLi`ʈ˜ÊˆÌ½]Ê>À}Õi`Ê*iÌiÀÊ ØÀ}iÀ]ʼˆÌÊ܈ÊœÃiÊ̅iÊV>pacity to criticize it’.24Ê܏>Ìi`ÊvÀœ“Ê̅iÊV>“œÕÀʜvÊ̅iÊVˆÌÞ]ʈÌʈÃÊ«œÃÈLiÊ̜ÊVÀi>ÌiÊ an environment where attention is once again focused on what the moving image V>˜Ê“i>˜]ÊVՏÌÕÀ>Þ]Ê>iÃ̅ïV>ÞÊ>˜`Ê«œˆÌˆV>Þ°Êv]Ê>ÃÊ …ÀˆÃÊ >ÀŽiÊ>˜`ʜ̅iÀÃʅ>ÛiÊ >À}Õi`]Ê̅iÊ}>iÀÞʅ>ÃÊLiVœ“iÊ̅iʏ>LœÀ>̜ÀÞʜvÊ̅iʓœÛˆ˜}ʈ“>}i]ʈÌʈÃÊ«ÀiVˆÃiÞÊ ÜˆÌ…ˆ˜Ê̅iʓi˜Ì>Ê>˜`Ê>ÀV…ˆÌiVÌÕÀ>Êë>ViʜvÊ̅iʓÕÃiՓ]Ê̅iÊ>Ài˜>ʜvʼ«ÕÀi½ÊœÀÊ«iÀ…>«Ãʼˆ“«ÕÀi½ÊVÀˆÌˆV>ÊÀiÃi>ÀV…Ê̅>ÌÊÜiʓ>Þʓi`ˆÌ>Ìiʜ˜Ê̅iʅˆÃ̜ÀÞʜvÊ̅iʓi`ˆÕ“]Ê develop its potential and participate in its future. 25

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œÀÊ>ÊLÀœ>`Ê>VVœÕ˜Ìʜvʈ˜ÃÌ>>̈œ˜½ÃÊ«Ài‡…ˆÃ̜ÀÞ]ÊÃiiÊ >ˆÀiÊ ˆÃ…œ«Ê­ÓääxL®ÊInstallation Art: A Critical History. London: Tate Publishing. -iiÊ i˜Êˆ}…“œÀiÊ­ÓääÎqä{®Ê¼>V…ˆ˜iÊ>}ˆV]Ê Ê>ÌÊ̅iÊ£™È{qÈxÊ iÜÊ9œÀŽÊ7œÀ`½ÃÊ>ˆÀ½]Ê New Formations]Êx£]Ê«°Ê£În°

ÊˆÃÈÌâŽÞÊ­Q£™ÓÎRÊ£™™ä®Ê¼*ÀœÕ˜Ê-«>Vi]Ê̅iÊÀi>ÌÊ iÀˆ˜Ê
ÀÌÊ Ý…ˆLˆÌˆœ˜ÊœvÊ£™Óνʈ˜ÊÀ>˜ŽÊ Lubbers (ed.) El Lissitzky 1890–1941: Architect, Painter, Photographer, Typographer. œ˜`œ˜\ÊÊ
ÀÌÊ >Ì>]Ê«°ÊÎx°Ê *iÌiÀÊ"ÃLœÀ˜iÊ­Óä䣮ʼ˜ÃÌ>>̈œ˜]Ê*iÀvœÀ“>˜Vi]ʜÀÊ7…>̶½]ÊOxford Art Journal]ÊÓ{\Ó]Ê«°Ê£{™° /…iœ`œÀÊ7°Ê
`œÀ˜œÊ­Q£™n£RÊ£™nn®]ʼ6>jÀÞÊ*ÀœÕÃÌÊÕÃiՓ½]Êʈ˜ÊÊPrisms]ÊÌÀ>˜Ã°Ê->“ÕiÊ>˜`Ê -…ˆiÀÀÞÊ7iLiÀ°Ê >“LÀˆ`}i]Ê
\Ê/Ê*ÀiÃÃ]Ê«°Ê£nx° -iiÊ/œ“Ê՘˜ˆ˜}Ê­£™nȮʼ/…iÊ ˆ˜i“>ʜvÊ
ÌÌÀ>V̈œ˜]Ê >ÀÞʈ“]ÊÌÃÊ-«iVÌ>̜ÀÃÊ>˜`Ê̅iÊ
Û>˜Ì‡ >À`i½]ÊWide Angle]Ên\ÊÎÉ{]Ê««°ÊÈÎqÇä° -iiÊ >ˆÀiÊ ˆÃ…œ«Ê­Óääx>®Ê¼ ÕÌʈÃʈÌʘÃÌ>>̈œ˜Ê
À̶½]Ê£Ê>˜Õ>ÀÞ]ÊTate etc. 3. Available online: …ÌÌ«\ÉÉÜÜÜ°Ì>Ìi°œÀ}°ÕŽÉVœ˜ÌiÝ̇Vœ““i˜ÌÉ>À̈ViÃɈ̇ˆ˜ÃÌ>>̈œ˜‡>ÀÌ (accessed 5 August 2013). /…iʼˆLiÀ>ÌiÊ/>Ìi½Ê«ÀœÌiÃÌÃ]ʓ>˜ˆviÃ̈˜}ÊLœÌ…ʈ˜Ãˆ`iÊ>˜`ʜÕÌÈ`iÊ̅iÊ«iÀˆ“iÌiÀʜvÊ̅iÊ/>ÌiÊ ˆÌÃiv]ʅ>ÛiÊÃÞÃÌi“>̈V>ÞÊVÀˆÌˆµÕi`Ê̅iÊv՘`ˆ˜}Ê/>ÌiÊÀiViˆÛiÃÊvÀœ“Ê *]Êv՘`ˆ˜}Ê̅>ÌʈÃÊÃii˜Ê ̜ÊLiÊÌ>ˆ˜Ìi`ÊLÞÊ̅iÊi˜ÛˆÀœ˜“i˜Ì>Ê`ˆÃ>ÃÌiÀÊvœœÜˆ˜}Ê>˜ÊœˆÊ눏Êˆ˜Ê̅iÊՏvʜvÊi݈Vœ°Ê -iiÊi˜˜ˆviÀÊ-Ìiˆ˜Ž>“«½ÃÊÜiLÈÌi\ʅÌÌ«\ÉɍÃÌiˆ˜Ž>“«°Vœ“É Simon Schama (1995) Landscape and Memory°Ê >̅\Ê>À«iÀ œˆ˜Ã]Ê«°Êx{ä° ՘˜ˆ˜}ÊLœÀÀœÜÃÊ ˆÃi˜ÃÌiˆ˜½ÃʘœÌˆœ˜ÊœvÊ>ʼ“œ˜Ì>}iʜvÊ>ÌÌÀ>V̈œ˜Ã½ÊvœÀʅˆÃÊ>˜>ÞÈÃʜvÊi>ÀÞÊ w“ÆÊÃiiÊ/œ“Ê՘˜ˆ˜}Ê­£™nÈ®]ʜ«°ÊVˆÌ°Ê -iÀ}iˆÊ ˆÃi˜ÃÌiˆ˜Ê­Q£™ÎnRÊ£™n™®]ʼœ˜Ì>}iÊ>˜`Ê
ÀV…ˆÌiVÌÕÀi½]ÊAssemblage]Ê£ä]Ê«°ÊΰÊ
Û>ˆ>LiÊ online: …ÌÌ«\ÉÉVœÃ“œ«ˆÃÌ>°wiðܜÀ`«ÀiÃðVœ“ÉÓäänÉ£äÉiˆÃi˜ÃÌiˆ˜Ú“œ˜Ì>}i‡>˜`‡>ÀV…ˆtecture.pdf (accessed 6 September 2013). ¼ Ài>̈ÛiÊ}iœ}À>«…ˆiýʈÃÊ>ÞÊœœ>…>˜½ÃÊÌiÀ“]ʈ˜Ê…iÀÊ՘«ÕLˆÃ…i`Ê̅iÈÃ]ʼ Ài>̈ÛiÊ}iœ}À>phy: mappings of place via time in moving image art’. See Giuliana Bruno (1997) Site-seeing: Architecture and the Moving Image. Available online: …ÌÌ«\ÉÉÜÜÜ°ÞՓ«Õ°Vœ“Éi˜É`œVՓi˜ÌÉۈiÜÉÓΣ{ΙÈÉ}Ոˆ>˜>‡LÀ՘o (accessed 6 September 2013). Tony Bennett (1995) The Birth of the Museum: History, Theory, Politics°Ê "ÝvœÀ`Ê >˜`Ê iÜÊ 9œÀŽ\Ê,œÕ̏i`}i]Ê«°ÊxÓ° -iiÊ«iŽÊ>ޘ>ÀÊ­Óääx®ÊVisibility, movement paths and preferences in open plan museums: An observational and descriptive study of the Ann Arbor Hands-on Museum. Available online: …ÌÌ«\ÉɎ>ޘ>À‡Àœ…œvv°Vœ“É«>«iÀÃɎ>ޘ>ÀÚ-«>Vi-ޘÌ>Ýäx°«`f (accessed 5 September 2013). ˜Ê̅iÊ£™näÃ]ÊÊ̜œŽÊ«>ÀÌʈ˜Ê>ÊŜÜÊ>ÌÊ̅iÊ,ˆÛiÀÈ`iÊ-ÌÕ`ˆœÃʈ˜Êœ˜`œ˜°Ê
ʘՓLiÀʜvʓÞÊVœ‡ i݅ˆLˆÌœÀÃÊÀi}Տ>ÀÞÊÌÕÀ˜i`ÊÕ«Ê̅iÊۜÕ“iʜ˜Ê̅iˆÀÊi݅ˆLˆÌÃÊ܅i˜Ê̅iÊ>Õ̅œÀÃʜvÊÀˆÛ>ÊܜÀŽÃÊ were out at lunch. >ۈ`Ê °Ê>“iÃÊ­Óä䙮ʼ°
°½Ãʈ«ÃÌiÀÊ ˆ˜i“>½]ÊFilm Quarterly]Ê>]Ê«°ÊÈx°Ê Ibid. This is less the case in Europe where restrictions apply to the erection of moving image billboards close to heritage sites.

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20Ê

>˜ÞÊ>À̈ÃÌÃʅ>ÛiÊ«ÀœiVÌi`ʜ˜ÌœÊ̅iÊiÝÌiÀ˜>ÊÃÕÀv>ViÃÊ œvÊ}>iÀˆiÃ]ʜ˜iʜvÊ̅iʓœÀiÊ>ÀÀiÃ̈˜}ÊiÝ>“«iÃÊLiˆ˜}Ê œÕ}Ê
ˆÌŽi˜½ÃÊSONG 1Ê­Óä£Ó®]ʈ˜Ê܅ˆV…ÊiiÛi˜Ê«ÀœiV̜ÀÃÊÜÀ>««i`Ê the circular Hirshhorn Museum in Washington DC in a mantle of moving images; see Annie i½
Àˆ>ʼ ˆ˜i“>‡ˆ˜‡Ì…i‡ÀœÕ˜`\Ê œÕ}Ê
ˆÌŽi˜½ÃÊSONG 1Ê­Óä£Ó®]Ê̅iʈÀŅœÀ˜ÊÕÃi“Ê>˜`Ê̅iÊ «i>ÃÕÀiÃʜvÊVˆ˜i“>̈VÊ«ÀœiV̈œ˜½]ÊMIRAJ]ÊÎ\ÊÓ]ÊvœÀ̅Vœ“ˆ˜}° 21 See Yann Moulier Boutang (2012) Cognitive Capitalism. Cambridge: Polity Press. 22Ê œ˜>̅>˜Ê >˜âi˜Ê ­Óä£Î®Ê ¼,>}iÊ >}>ˆ˜ÃÌÊ Ì…iÊ “>V…ˆ˜i½]Ê Guardian Review]Ê £{Ê -i«Ìi“LiÀ]Ê pp. 2–4. 23 See also Tom Sherman (2002) Before and after the I-Bomb: An Artist in the Information Environment. Atlanta: The Banff Centre Press. 24Ê *iÌiÀÊ ØÀ}iÀÊ­Q£™Ç{RÊÓääÓ®ÊTheory of the Avant-Garde. Minneapolis: University of Minnesota *ÀiÃÃ]Ê«°Êxä° 25Ê …ÀˆÃÊ >ÀŽiÊ ­Óäää®]Ê ˆ}…ÌÊ ,i>`ˆ˜}ÃÆÊ ˆ“Ê ÀˆÌˆVˆÃ“Ê >˜`Ê -VÀii˜Ê
ÀÌÃ]Ê œ˜`œ˜\Ê 7>yœÜiÀÊ *ÀiÃÃ]Ê«°Ê£Èΰ

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CHAPTER TWO

Painting Painting ... is a creature of duration insofar as the perception of it is something that must be developed. Its emergent properties come out only in the chemical bath, as it were, of sustained attention. >ÀÀÞÊ-V…Ü>LÎÞ]ÊÓä䣰1

APPROACHES TO PAINTED SURFACES v]Ê>ÃÊ ˆÃi˜ÃÌiˆ˜ÊÃÕ}}iÃÌÃ]Êw“Ê>˜`]ÊLÞÊiÝÌi˜Ãˆœ˜]ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê`iÃVi˜`ÃÊ `œÜ˜Êœ˜iʏˆ˜iÊvÀœ“Ê>ÀV…ˆÌiVÌÕÀi]Ê̅i˜Ê>˜œÌ…iÀÊLÀ>˜V…Ê“ÕÃÌʘiViÃÃ>ÀˆÞÊ«ÀœVii`ÊvÀœ“Ê «>ˆ˜Ìˆ˜}]Ê̅>Ìʜ̅iÀʼVÀi>ÌÕÀiʜvÊ`ÕÀ>̈œ˜½°Ê/…iÀiÊ>ÀiʜLۈœÕÃÊVœ˜Ìˆ˜ÕˆÌˆiÃÊ>VÀœÃÃÊLœÌ…Ê practices arising from formal considerations – both moving image and painting organˆÃiÊ«ˆV̜Àˆ>Êii“i˜ÌÃ\ÊÅ>«iÃ]ÊÌiÝÌÕÀiÃ]ÊVœœÕÀÃ]ʏˆ}…ÌÊ>˜`Ê`>ÀŽÊˆ˜ÌœÊÀi>`>LiÊÈ}˜Ã]Ê vœÀÊ̅iʓœÃÌÊ«>ÀÌÊ`iw˜i`ÊLÞÊ>ÊvÀ>“i]ÊȘ}ÞʜÀʈ˜ÊÃiÀˆiðÊ/…iʜÀV…iÃÌÀ>̈œ˜ÊœvÊ̅iÃiÊ Vœ“«œ˜i˜ÌÃÊ `À>ÜÃÊ œ˜Ê Vœ“«œÃˆÌˆœ˜>Ê «Àˆ˜Vˆ«iÃ]Ê vœÀ“ÃÊ œvÊ ÃÌ>}ˆ˜}Ê Ì…>ÌÊ ÜiÀiÊ `iÛiœ«i`ʈ˜Ê«>ˆ˜Ìˆ˜}ÆÊ*>ՏÊ-…>ÀˆÌÃ]ÊvœÀʈ˜ÃÌ>˜ViÊLÀœÕ}…Ìʼ̅iÊ>VÌʜvÊ«ÀiÃi˜Ìˆ˜}Ê>˜`Êۈi܈˜}Ê a film as close as possible to the conditions of hanging and looking at a painting’. 2 The ۈiÜiÀÊVœ“iÃÊ̜ʈ˜ÃÌ>>̈œ˜Ê܈̅Ê>ÊÌÀ>ˆ˜i`ÊiÞiÊvœÀÊ«ˆVÌÕÀiÃ]ʜ˜iÊ̅>ÌÊ̜`>ÞʈÃÊ>ÃœÊ ÜiÊÛiÀÃi`ʈ˜Ê̅iÊ}À>““>ÀʜvÊw“]Êۈ`iœÊ>˜`Ê`ˆ}ˆÌ>Ê“i`ˆ>°Ê-…iÊV>˜Ê>««ÀiVˆ>ÌiʘœÌÊ œ˜ÞÊ̅iʓ>ŽiÀ½ÃÊΈÃʈ˜Ê̅iÊ`i«œÞ“i˜ÌʜvÊvœÀ“ÃÊ>˜`ÊVœœÕÀÃÊ܈̅ˆ˜Ê>ÊȘ}iÊvÀ>“i]Ê but also the artist’s ability to compose pictorial elements across multiple frames. The w““>ŽiÀÊV…œÀiœ}À>«…ÃÊ>˜ˆ“>Ìi`]ʓœÛˆ˜}Ê«>ÀÌÃÊ̅>ÌÊiۜÛiʜÛiÀÊ̈“i]Ê>VVœ“«>˜ˆi`Ê LÞÊ>˜Ê>Õ`ˆœÊÌÀ>VŽÊ̅>Ìʓ>ÞÊÃޘV…Àœ˜ˆÃiÊ̜Ê̅iʈ“>}iÀÞʜÀÊÀ՘ÊVœÕ˜ÌiÀÊ̜ʈÌ]ÊÀiV>ˆLÀ>̈˜}Ê̅iʓi>˜ˆ˜}ʜvÊ̅iÊÃVÀii˜ÊVœ˜Ìi˜Ì°Ê7…iÀiÊw“Ê>˜`Êۈ`iœÊiۜŽiʓœÛi“i˜Ì]Ê >˜`Ê«Àœ`ÕViÊÜ՘`ʈ˜Ê̈“i]ʈ˜ÃÌ>>̈œ˜ÊVœ˜ÌÀˆLÕÌiÃÊ>ÊVœ˜Ãˆ`iÀ>̈œ˜ÊœvʅœÜÊ̅iÊÃVÀii˜Ê image develops a spatial relationship with other entities beyond its own frame. In Vœ““œ˜Ê܈̅Ê>ÊÃÌ>̈Vʈ“>}i]Ê>ʓœÛˆ˜}ʈ“>}i]Ê܅i̅iÀÊVœ˜Ì>ˆ˜i`Ê܈̅ˆ˜Ê̅iÊ`iˆ“ˆÌi`Ê vÀ>“iʜvÊ>ʓœ˜ˆÌœÀÊ܈̅Ê܅>ÌÊ Àˆœ˜ÞÊiÀÊÀiviÀÃÊ̜Ê>ÃʼÃi>i`Êi`}iýʜÀÊ눏ˆ˜}Ê>VÀœÃÃÊ

21

>Êë>Viʜ˜ÌœÊ>ÊÛ>ÀˆiÌÞʜvÊÃÕÀv>ViÃ]Ê>ÀÀiÃÌÃÊ̅iÊۈiÜiÀ°3Ê"˜ViʅiÀʈ˜ÌiÀiÃÌʈÃÊØ>Ài`]Ê Ã…iʈÃÊLi}Ոi`ʈ˜ÌœÊ>˜Êi˜}>}i“i˜ÌÊ܈̅Ê̅iÊܜÀŽ]Ê>˜Êi˜VœÕ˜ÌiÀÊ̅>Ìʓˆ}…ÌÊÜiÊˆ˜clude aesthetic pleasure as well as intellectual stimulation. In order to successfully `iÌ>ˆ˜Ê̅iÊۈiÜiÀ]Ê«…ÞÈV>ÞÊ>˜`Ê«ÃÞV…œœ}ˆV>Þ]Ê̅iÊ>Õ̅œÀʜvÊ>ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê˜ii`ÃÊ̜ÊLiÊLiÃÃi`Ê܈̅Ê>Ê«>ˆ˜ÌiÀ½ÃÊiÞi]Ê>˜Ê>ÀV…ˆÌiV̽ÃÊviiÊvœÀÊë>ViÊ>˜`Ê>Ê Vœ“«œÃiÀ½ÃÊ՘`iÀÃÌ>˜`ˆ˜}ʜvÊ̈“iÊ>˜`ÊÀ…Þ̅“°Ê-œ“iʜvÊ̅iÊ̜œÃʓ>Þʅ>ÛiÊV…>˜}i`]Ê but the basic skills required for an artist working today were well established over five hundred years ago. The difference now is that more of them need to be united ˆ˜Ê>˜Þʈ˜`ˆÛˆ`Õ>Ê«À>V̈̈œ˜iÀ°Ê
ÃÊ-V…Ü>LÎÞÊÃÕ}}iÃÌÃ]ʈ˜ÊLœÌ…Ê«>ˆ˜Ìˆ˜}Ê>˜`ʓœÛˆ˜}Ê image the spectator is required to make a commitment of time so that the deeper resonances of the work might become apparent. Beyond the common artistry that unites painters and those creating moving im>}iʈ˜ÃÌ>>̈œ˜Ã]ÊvÕÀ̅iÀʅœ“œœ}ˆiÃÊV>˜ÊLiÊvœÕ˜`ʈ˜Ê̅iÊÃÌÀÕVÌÕÀˆ˜}ʜvÊëiVÌ>̜Àň«Ê >ÀœÕ˜`Ê>ÊwÝi`Ê«œˆ˜ÌʜvÊۈiÜʈ˜ÊvÀœ˜ÌʜvÊ̅iʈ“>}i]Ê>˜Êœ«iÀ>̈œ˜>ÊLiµÕiÃÌÊvÀœ“ÊV>Ãsical realist painting. 4Ê/…ˆÃÊëiVÌ>̜Àˆ>Ê>˜V…œÀ>}iÊ>ÃÃՓiÃÊ>Ê՘ˆÛiÀÃ>ÊÃÕLiVÌÊ>˜`Ê i˜Ûiœ«ÃÊ̅iÊLi…œ`iÀʈ˜Ê̅iʏœ}ˆVʜvÊ̅iʈÕȜ˜ˆÃ̈VÊë>ViÊ`i«ˆVÌi`]ʜÀ}>˜ˆÃi`ÊLÞÊ̅iÊ ÀՏiÃʜvÊ«iÀëiV̈Ûi]Ê>˜`Ê«ÀœÛˆ`iÃÊ>˜Êˆ`i>]ʈvʘœÌÊi˜ÌˆÀiÞÊÃÌ>Li]ÊÛ>˜Ì>}iÊ«œˆ˜ÌÊvÀœ“Ê where the viewer might seek to decipher the work’s meaning. A. L. Rees has observed that although single-point perspective was dismantled by Cubist painters in the early ÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞÊqÊ>LiˆÌÊvœÀÊ>ÊÃÌ>̈œ˜>ÀÞÊëiVÌ>̜ÀÊqʼ,i˜>ˆÃÃ>˜ViÊ«iÀëiV̈ÛiÊ­œÀÊ some version of it) was directly taken over by the cinema and its apparatus’.5 Once w“ÊÜ>ÃÊÀi‡Vœ˜ÃiVÀ>Ìi`Ê>Ãʈ˜ÃÌ>>̈œ˜Êˆ˜Ê̅iʅ>œÜi`Êë>ViÃʜvÊ}>iÀˆiÃ]ʈÌʜvÌi˜ÊÀiÌ>ˆ˜i`ʈÌÃÊvÀœ˜Ì>]Ê«iÀëiV̈Û>ÊÀœœÌÃʈ˜ÊëˆÌiʜvÊvœÀ>ÞÃʈ˜ÌœÊ̅iÊ`œ“>ˆ˜ÊœvÊ>LÃÌÀ>V̈œ˜Ê >˜`Ê̅iÊ«…i˜œ“i˜œœ}ÞʜvÊÃV>iÊ̅>ÌÊܜՏ`Êi“«…>ÈÃiÊ̅iʈ““iÀÈÛiÊ«…ÞÈV>ÊiÝ«iÀˆi˜ViʜvÊ̅iÊ«ÀœiVÌi`ʈ“>}iʜÛiÀʈÌÃÊÀi«ÀiÃi˜Ì>̈œ˜>ÊÀi>`ˆ˜}ðÊiˆÃÃ>ÊÀœ˜Õ˜`Ê …>ÃÊ`iÃVÀˆLi`Ê̅iÊvÀœ˜Ì>ˆÌÞʜvÊ̅iʓœÛˆ˜}ʈ“>}iÊ>ÃÊÊiµÕˆÛ>i˜ÌÊ̜ʼ̅iÊÛiÀ̈V>Ê«>˜iÊ œvÊ«>ˆ˜Ìˆ˜}½Êˆ˜Ê܅ˆV…ʼ̅iÊۈiÜʜ˜ÌœÊ̅iÊܜÀ`ÊÀi«ÀiÃi˜Ìi`ʈ˜Ê̅iÊ«ˆVÌÕÀiÊvÀ>“iÊVœÀresponds to the erect human posture’.6 It is worth noting Rees’s postscript that ܅ˆiÊ«iÀëiV̈Û>]Ê ÕVÞ`ˆ>˜Êë>ViÊ>``ÀiÃȘ}Ê>ÊÃÌ>˜`ˆ˜}ÊۈiÜiÀÊÜ>ÃÊÀiˆ˜ÃÌ>Ìi`ʈ˜Ê Vˆ˜i“>]Êw“Ê>ÃœÊ>`œ«Ìi`Ê̅iʓˆ“iÈÃʜvÊ«…œÌœ}À>«…ްʘÊ̅iÊ£™ÈäÃÊ>˜`ÊLiޜ˜`]ÊiÝ«iÀˆ“i˜Ì>]Ê>Û>˜Ì‡}>À`iÊw“Ê>˜`Êۈ`iœ“>ŽiÀÃÊ>ÌÌi“«Ìi`Ê̜Ê`ˆÃÀÕ«ÌÊ̅iÊÛiÀˆÃˆ“ˆˆÌÕ`iÊ of the image and what was regarded as the tyranny of perspectival space through ̅iˆÀÊ>`Ûi˜ÌÕÀiÃʈ˜ÌœÊ>LÃÌÀ>V̈œ˜]ÊvÀ>}“i˜Ì>̈œ˜Ê>˜`ÊÀi«ï̈œ˜]Ê>ʅˆÃ̜ÀÞÊ̅>ÌÊ܈ÊLiÊ iÝ«œÀi`ʈ˜Ê`ÕiÊVœÕÀÃi°7ÊœÜiÛiÀ]Ê̅iÊ>««i>ÊœvʈÕȜ˜ˆÃ“Ê«ÀœÛi`Ê>“œÃÌʈÀÀiÈÃ̈LiÊ̜Ê>À̈ÃÌÃÊ>˜`Ê«ˆV̜Àˆ>Ê>««ÀœÝˆ“>̈œ˜ÃʜvÊÀi>ˆÌÞ]Ê>ÃÊÜiÊ>ÃÊ̅iÊVœ˜ÃÌÀÕV̈œ˜ÊœvÊ ˆ“>}ˆ˜>ÀÞÊ Ài>ˆÌˆiÃ]Ê Ài‡œVVÕÀÊ Vœ˜ÃˆÃÌi˜ÌÞÊ Ì…ÀœÕ}…œÕÌÊ Ì…iÊ …ˆÃ̜ÀÞÊ œvÊ “œÛˆ˜}Ê ˆ“>}iÊ ˆ˜ÃÌ>>̈œ˜]Ê ÜˆÌ…Ê Ì…iÊ ÛˆiÜiÀÊ Vœ˜w}ÕÀi`Ê >ÃÊ …œ“œÊ iÀiVÌÕÃ]Ê >˜Ê Õ«Àˆ}…ÌÊ œ˜œœŽiÀÊ ÃÕÀÛiވ˜}Ê̅iÊȓՏ>Ìi`Ê̅Àii‡`ˆ“i˜Ãˆœ˜>ÊÃVi˜iÊvÀœ“Ê>ʼ…œÌÊëœÌ½ÊœÕÌÈ`iÊ̅iÊvÀ>“i°8
Ãʈ˜Ê̅iÊ`ˆÃVÕÃȜ˜ÊœvÊ̅iÊ-Ì>̈œ˜ÃʜvÊ̅iÊ ÀœÃÃ]Ê̅iʈ`i>Êۈi܈˜}Ê«œÃˆÌˆœ˜ÊV>˜Ê be applied sequentially to equivalent images in a string of related displays. This has

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INSTALLATION AND THE MOVING IMAGE

led Briony Fer to propose a midway point between painting and installation in the tradition of the tableau vivant as evoked by Marcel Proust in his 1908–09 essay ¼ i`Àœœ“ý°ÊiÀiÊ̅iʘœÛiˆÃÌÊ`iÃVÀˆLiÃÊ>ʅˆ}…ÞÊVˆ˜i“>̈VÊÜ>Žˆ˜}Ê`Ài>“ʈ˜Ê܅ˆV…Ê …iʈÃÊÜ>Žˆ˜}Ê̅iÊÃÌÀiiÌÃʜvÊ*>ÀˆÃÊ>ÌÊ`ÕΰÊiÊ«iiÀÃ]Êi˜V…>˜Ìi`]ʈ˜ÌœÊ>ÊÃÕVViÃȜ˜Ê œvÊ LÀˆ}…̏ÞÊ ˆÌÊ Üˆ˜`œÜÃÊ ˆ˜Ê ܅ˆV…Ê ¼ˆÛiÃÊ >ÀiÊ «iÀvœÀ“i`Ê °°°Ê «ÀˆÛ>ÌiÊ ÀˆÌÕ>ÃÊ >˜`Ê ˆ˜Ìˆ“>cies have become only spectacle’.9 A visitor to a moving image installation may iÝ«iÀˆi˜ViÊ̅iÊÃ>“iÊ«…ÞÈV>Ê`iÌ>V…“i˜ÌÊvÀœ“Ê̅iÊÃVi˜iÊ̅>ÌÊ*ÀœÕÃÌÊ`iÃVÀˆLiÃ]Ê >˜`ÊÅ>ÀiʅˆÃÊۜÞiÕÀˆÃ̈VÊi˜œÞ“i˜ÌʜvÊëވ˜}ʜ˜ÊœÌ…iÀýʏˆÛiðÊ
˜Ê>ÀÀ>˜}i“i˜ÌʜvÊ “Տ̈«iÊ “œÛˆ˜}Ê ˆ“>}iÊ ¼Üˆ˜`œÜÃ½Ê «ÀœÛˆ`iÃÊ Ì…iÊ LÀœÜȘ}Ê Ã«iVÌ>̜ÀÊ ÜˆÌ…Ê Ì…iÊ Ã>“iÊ “œ“i˜Ì>ÀÞÊ>ÌÌÀ>V̈œ˜ÃÊ>ÃÊ̅iʈÕ“ˆ˜>Ìi`ÊV>Ãi“i˜ÌÃʈ˜Ê*ÀœÕÃ̽ÃÊ`Ài>“]Ê>˜`ʏ>ÌiÀ]Ê Ì…iÊŜ«Ê܈˜`œÜÃʈ˜Ê7>ÌiÀÊ i˜>“ˆ˜½ÃÊArcades Project (1927–40). Such fascination >Ãʓ>ÞÊLiÊiˆVˆÌi`ÊvÀœ“Ê̅iÊۈiÜiÀʈ˜Ê̅iÊV>ÃiʜvÊ>ÀÌÊ`i«i˜`Ã]ÊvœÀÊiÀ]ʜ˜Ê>ÊܜÀŽÊVœ˜Ìˆ˜Õˆ˜}ʼ̜ʫiÀvœÀ“Ê>Ê«ˆV̜Àˆ>Êv՘V̈œ˜½Ê>˜`Ê̅iʏˆ˜ŽÊ̜ʫ>ˆ˜Ìˆ˜}Êۈ>Ê̅iÊtableau vivant]Ê Ài>À̈VՏ>Ìi`ʈ˜Ê̅iÊVœ˜ÌiÝÌʜvʓœÛˆ˜}ʈ“>}iÊÀi“>ˆ˜ÃÊ>ÊÀœLÕÃÌÊvi>ÌÕÀiʜvʈ˜ÃÌ>i`Ê works of art to this day.10 Painting boasts another attribute that touches on this discussion; it embodies an intrinsic spatial dualism in the play between surface and apparent depth. This contradictory reading of surface versus pictorial recession came under scrutiny in ̅iʏ>Ìiʘˆ˜iÌii˜Ì…ÊVi˜ÌÕÀÞÊ܈̅Ê̅iÊ“«ÀiÃȜ˜ˆÃÌÃ]Ê>˜`Ê̅iÊ ÕLˆÃÌÃʈ˜Ê̅iÊÌÜi˜Ìˆi̅]ÊLœÌ…ÊœvÊ܅œ“Ê`À>“>̈Ãi`Ê̅iÊi˜ˆ}“>̈VÊ«…i˜œ“i˜œ˜ÊœvÊ«>ˆ˜Ìʜ˜ÊV>˜Û>ðÊ/…ˆÃÊ i`ʈ˜iݜÀ>LÞÊ̜Ê̅iÊreductio ad absurdum]ʜÀÊ̅iÊՏ̈“>ÌiÊÃÌ>Ìi“i˜Ìʈ˜Ê«>ˆ˜Ìˆ˜}Ê œvÊ>∓ˆÀÊ>iۈV…½ÃÊv>“œÕÃÊBlack Square on White Background (1915). Some hun`Ài`ʜÀÊÜÊÞi>ÀÃʏ>ÌiÀ]Ê̅iÊ«>À>`œÝÊ>ÌÊ̅iʅi>ÀÌʜvÊ«ˆV̜Àˆ>ÊÀi«ÀiÃi˜Ì>̈œ˜ÊV>«ÌˆÛ>Ìi`Ê iÝ«iÀˆ“i˜Ì>Êw“Ê>˜`Êۈ`iœ“>ŽiÀÃʈ˜ÊÀi>̈œ˜Ê̜Ê̅iʓœÛˆ˜}ʈ“>}i]Ê>Ê̜«ˆVÊÊÅ>Ê ÀiÌÕÀ˜Ê̜ʈ˜ÊÃÕLÃiµÕi˜ÌÊV…>«ÌiÀðÊœÀÊ̅iʓœ“i˜Ì]ÊÊ܈ÅÊ̜ÊÀiˆÌiÀ>ÌiÊ܅>ÌÊ,ˆV…>À`Ê 7œ…iˆ“Ê`iÃVÀˆLi`Ê>ÃÊ̅iʼÌܜvœ`ÊiÝ«iÀˆi˜Vi½ÊœvÊ«>ˆ˜Ìˆ˜}]Ê̅iÊȓՏÌ>˜iœÕÃÊ«iÀVi«Ìˆœ˜ÊœvÊÀi>ˆÌÞÊ>˜`ʈÕȜ˜Ê܅ˆV…]ÊvœÀÊ7œ…iˆ“]ʈÃʼ̅iÊVi˜ÌÀiʜvÊ̅iÊ՘`iÀÃÌ>˜`ˆ˜}]Ê and indeed the appreciation of art’.11ÊœÜiÛiÀ]Ê̅iÊL>>˜ViʜvÊÛiÀˆÃˆ“ˆˆÌÕ`iÊ̜ʓ>Ìirialist disruption of functional representation needs to lean in favour of the image for the illusory world represented to be discernible beyond the impasto incidents of ̅iÊÃÕÀv>Vi°Ê/œœÊ“ÕV…Ê«>̈˜>Ê>˜`Ê̅iÊ«ˆVÌÕÀiÊ`ˆÃ>««i>ÀÃ]Ê>ÃʈÃÊi>ȏÞÊ`i“œ˜ÃÌÀ>Ìi`Ê LÞÊÃÌi>`ˆÞÊ>««Àœ>V…ˆ˜}Ê>ʘˆ˜iÌii˜Ì…‡Vi˜ÌÕÀÞÊ“«ÀiÃȜ˜ˆÃÌÊ«>ˆ˜Ìˆ˜}]ÊÃ>ÞÊœ˜i̽ÃÊ Water Lilly PondÊ­£n™™®Êˆ˜Ê̅iÊ >̈œ˜>Ê>iÀÞ]Ê՘̈]ÊÕ«ÊVœÃi]Ê>Ê̅>ÌÊÀi“>ˆ˜ÃʜvʈÌÊ >ÀiÊ«>ÌV…iÃʜvÊ«ˆ}“i˜Ìi`ÊۈÃVœÃˆÌÞ]Ê>ÀÌvՏÞÊVœ˜}i>i`ʜ˜Ê>ÊV>˜Û>ÃÊÃÕÀv>Vi°Ê œÀÊ œÕÀÊ «ÕÀ«œÃiÃ]Ê Ì…iÊ ˆ˜ÌiÀiÃÌÊ œvÊ Ì…iÃiÊ “«ÀiÃȜ˜ˆÃÌÊ «>ˆ˜Ìˆ˜}ÃÊ ˆiÃÊ ÜˆÌ…Ê Ì…iˆÀÊ invitation to abandon the ideal viewing position and approach the picture. Visitors ̜ʫ>ˆ˜Ìˆ˜}Êi݅ˆLˆÌˆœ˜ÃÊÜiÀiÊ>Ài>`ÞÊ>VVÕÃ̜“i`Ê̜ʓœÛˆ˜}ÊvÀiiÞÊ>“œ˜}Ê̅iÊi݅ˆLˆÌÃ]ÊLՈ`ˆ˜}Ê>Ê«iÀܘ>ˆÃi`ʘ>ÀÀ>̈ÛiʜvÊ̅iÊŜÜ]ÊÜÊ̅iÞÊܜՏ`ÊviiÊ˜œÊˆ˜…ˆLˆÌˆœ˜Ê in electing to read the work at any point along a spectrum of legible mimesis at one i˜`]Ê>˜`ÊÕ«‡VœÃiÊÃÕÀv>ViÊÀi>ˆÌÞÊ>ÌÊ̅iʜ̅iÀ°Ê/…ˆÃʓ>˜˜iÀʜvÊÀi>`ˆ˜}Ê«>ˆ˜Ìˆ˜}Ã]Ê̅iÊ

PAINTING

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viewer playing up and down the scale of representation according to her movements ̜Ü>À`ÃÊ œÀÊ >Ü>ÞÊ vÀœ“Ê ̅iÊ V>˜Û>Ã]Ê «Àiw}ÕÀiÃÊ Ì…iÊ “œLˆiÊ Ã«iVÌ>̜ÀÊ œvÊ ˆ˜ÃÌ>>̈œ˜Ê art. An installation that includes the moving image replays the game of oscillating «iÀVi«Ìˆœ˜Ãʈ˜…iÀi˜ÌÊ̜ʫ>ˆ˜Ìˆ˜}]ÊLÕÌʘœÜʈ˜ÊÀi>̈œ˜Ê̜Ê̅iÊÃVÀii˜ÊœÀÊÃVÀii˜Ã°Ê/…iÊ >“LՏ>̜ÀÞÊۈiÜiÀÊV>˜ÊiÝ>“ˆ˜iÊ>ÌÊVœÃiÊÀ>˜}iÊVˆ˜i“>½Ãʓ>ÌiÀˆ>ÊÃÕLÃÌÀ>ÌiÊ>˜`Ê`ˆÃ̈Ê̅iÊw“ˆVʈ“>}iʈ˜ÌœÊˆÌÃÊVœ˜Ã̈ÌÕi˜Ì]Ê>LÃÌÀ>VÌÊ«>ÀÌÃ\Ê̅iÊyˆÌ̈˜}ÊÅ>À`ÃʜvÊVœœÕÀi`Ê ˆ}…ÌÊ̅>ÌÊ>˜ˆ“>ÌiÊ̅iÊÃÕÀv>ViʜvÊ̅iÊÃVÀii˜Êˆ˜Ê>˜>œ}ÕiÊw“Ê>˜`ʈ˜Ê«Ài‡`ˆ}ˆÌ>Êۈ`iœ]Ê the eerily glowing scan lines. There is a crucial technical difference between analogue film and video in that the material secret that is discovered on approaching the film image is revealed as a play of light on the inert surface of the screen. In the case œvÊ>˜>œ}ÕiÊۈ`iœ]Ê̅iʈ“>}iʈÃ]ʜÀÊŜՏ`ÊÊÃ>ÞʼÜ>ý¶]ÊVÀi>Ìi`ʈ˜Ãˆ`iÊ̅iÊÃVÀii˜ÊˆÌÃivÊ >˜`Ê̅iÊV>̅œ`iÊÀ>ÞÊÌÕLiÊLi…ˆ˜`ʈ̰Ê7ˆÌ…ˆ˜Ê>˜Êˆ˜ÃÌ>>̈œ˜]Ê̅iÊÌiV…˜ˆV>Ê>««>À>ÌÕÃʜvÊ film is separate from the image but visible should the viewer choose to turn her head >˜`ʏœV>ÌiÊ̅iÊ«ÀœiV̜ÀÆÊÃÌ>Àˆ˜}ʈ˜ÌœÊ>ʓœ˜ˆÌœÀÊÅiÊi˜VœÕ˜ÌiÀÃÊ̅iʈ“>}i‡}i˜iÀ>̈˜}Ê “>V…ˆ˜iʈÌÃiv]Ê܅œÃiÊܜÀŽˆ˜}Ãʏ>À}iÞÊÀi“>ˆ˜Êˆ˜ÛˆÃˆLi°12 One was left marvelling at the effect of electron beams being rhythmically fired at the phosphor-coated inside ÃÕÀv>ViÊ œvÊ Ì…iÊ }>ÃÃÊ ÃVÀii˜]Ê Ì…iÊ À>«ˆ`Ê ÃV>˜˜ˆ˜}Ê œvÊ Ì…iÊ >ÌiÀ˜>̈˜}Ê ¼wi`Ã½Ê `ˆÃViÀ˜able only as a slight pulsation in the image. Where the film screen is unmasked on VœÃiÊ iÝ>“ˆ˜>̈œ˜]Ê Ì…iÊ Ûˆ`iœÊ ÃVÀii˜Ê œ˜ÞÊ …ˆ˜ÌÃÊ >ÌÊ `ii«iÀÊ iiVÌÀœ˜ˆVÊ “ÞÃÌiÀˆiÃ°Ê ˜Ê ̅iÊ`ˆ}ˆÌ>Ê>}i]Ê܈̅ʘœÃiÊ«ÀiÃÃi`Ê>}>ˆ˜ÃÌÊ̅iÊ`ˆÃ«>Þ]ʈÌʈÃÊ>ÃœÊ«œÃÈLiÊ̜Ê`iÌiVÌÊ Ì…iÊ«ˆÝi>Ìi`Ê>À“>ÌÕÀiʜvÊ̅iʈ“>}i]ʅœÛiÀˆ˜}ʜÛiÀÊ>˜Êˆ˜>V̈ÛiÊ܅ˆÌiÊÃVÀii˜Ê܅i˜Ê «ÀœiVÌi`ÊqÊyˆVŽiÀˆ˜}ʍÕÃÌÊ՘`iÀʜÀÊi“Li``i`ʈ˜Ê̅iÊv>LÀˆVʜvÊ̅iÊ}>ÃÃÞÊv>ViʜvÊ>˜Ê LCD or flat-screen plasma monitor. I will return to this issue of locating the screen in V…>«ÌiÀʘˆ˜i]Ê܅i˜ÊÊ`ˆÃVÕÃÃÊiÝ«>˜`i`ÊVˆ˜i“>]ÊLÕÌÊvœÀÊ̅iʓœ“i˜Ì]ÊÊ܈ÅÊ̜Êi“«…>sise the congruence between the process of inspecting a painting and viewing a film ˆ˜Ê>˜Êˆ˜ÃÌ>>̈œ˜Êi˜ÛˆÀœ˜“i˜Ì°Ê7ˆÌ…ˆ˜Ê>˜Êœ«i˜‡«>˜Ê“œÛˆ˜}ʈ“>}iÊi“«>Vi“i˜Ì]Ê̅iÊ ÛˆiÜiÀ]ʘœÊœ˜}iÀÊÀiÃÌÀˆVÌi`Ê̜Ê>ÊVˆ˜i“>ÊÃi>Ì]ÊV>˜ÊV…œœÃiÊ̜Ê>««Àœ>V…Ê̅iÊÃVÀii˜]Ê «Õ˜}iʈ˜ÌœÊ>ÊۜÀÌiÝʜvÊ>LÃÌÀ>V̈œ˜ÃÊLÞÊ՘`iÀÌ>Žˆ˜}Ê>ÊvœÀi˜ÃˆVÊiÝ>“ˆ˜>̈œ˜ÊœvÊ̅iÊ image or retreat to the ideal viewing position and immerse herself in the filmic illuȜ˜°Ê-…iÊV>˜Ê>ÃœÊ`ÀˆvÌÊLiÌÜii˜Ê̅iÃiÊÌܜʫiÀVi«ÌÕ>ÊÃÌ>ÌiÃ]ÊiÝ«œÀˆ˜}Ê̅iÊ«ˆV̜Àˆ>Ê threshold as she did when contemplating Monet’s Water Lilly Pond on an afternoon spent wandering the venerable halls of the National Gallery.13

THE PROLIFERATION OF PERSPECTIVES: CUBISM 7…i˜Ê ÕLˆÃ“ÊiÀÕ«Ìi`ʜ˜Ê̅iÊVÕëʜvÊ̅iÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞ]Ê>ʘiÜÊ>ëiVÌʜvʓœLˆˆÌÞÊ V>“iÊ̜ʏˆ}…Ì]Ê̅ˆÃÊ̈“iÊ>À̈VՏ>Ìi`Ê܈̅ˆ˜Ê̅iÊë>̈>ˆÃi`Ê`œ“>ˆ˜ÊœvÊ̅iʈ“>}iʈÌÃiv°Ê Pablo Picasso and Georges Braque dismantled the single-point perspective of the High ,i˜>ˆÃÃ>˜ViÊ >˜`Ê VÀi>Ìi`Ê vÀ>VÌÕÀi`]Ê Õ˜ÃÌ>LiÊ ˆ“>}iÃÊ ÃÕ}}iÃ̈˜}Ê “Տ̈«iÊ «œˆ˜ÌÃÊ œvÊ

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INSTALLATION AND THE MOVING IMAGE

ۈiÜ]ÊVՓՏ>̈Ûiʈ“«ÀiÃȜ˜ÃÊÃÕV…Ê>Ãʓˆ}…ÌÊLiÊ}>̅iÀi`ÊLÞÊ>˜Êˆ˜`ˆÛˆ`Õ>ÊVˆÀVՓ>“LՏ>̈˜}Ê>˜ÊœLiVÌʜÀÊiÝ«œÀˆ˜}Ê̅iÊ̜«œ}À>«…ÞʜvÊ>ʏ>˜`ÃV>«i]Ê«ÕLˆVÊLՈ`ˆ˜}]ÊÃÌÕ`ˆœÊœÀÊ domestic space. In Picasso’s collage Bottle of Vieux Marc, Glass, Guitar and Newspaper ­£™£Î®ÊvœÀʈ˜ÃÌ>˜Vi]Êy>ÌÌi˜i`Ê«>À̈>ÊۈiÜÃʜvÊiÛiÀÞ`>ÞʜLiVÌÃÊ>ÀiÊ>ÀÀ>˜}i`ʈ˜ÌœÊ>Ê }À>«…ˆV]ʓՏ̈‡v>ViÌi`Êi˜Ãi“Li°Ê-œ“iʜLiVÌÃ]ʏˆŽiÊ̅iÊ}ՈÌ>ÀÊ>˜`ÊLœÌ̏iʜvÊLÀ>˜`Þ]Ê >ÀiÊ`i«ˆVÌi`Ê܈̅Ê}Ài>ÌÊȓ«ˆVˆÌÞ]ÊVœ˜ÕÀi`ʜÕÌʜvÊ̅iÊÃÜii«ÊœvÊ>ÊȘ}iʏˆ˜i]Ê܅ˆiʜ̅iÀÃÊ>««i>ÀÊ>ÃÊ̅i“ÃiÛiÃ\Ê>ÊÃVÀ>«ÊœvÊÜ>«>«iÀ]Ê>ÊVˆ««ˆ˜}ÊvÀœ“Ê>ʘiÜë>«iÀ]ÊÃÌÕVŽÊ `ˆÀiV̏Þʜ˜ÌœÊ̅iÊ`À>܈˜}°Ê Þʈ“>}ˆ˜>̈ÛiÊiÝÌi˜Ãˆœ˜ÊœvÊ̅iˆÀʈ˜Vœ“«iÌiÊLœÀ`iÀÃ]Ê̅iÃiÊ fragments evoke the whole from which each was torn.14Ê7ˆÌ…ˆ˜Ê̅iÊVÕLˆÃÌÊ>iÃ̅ïV]Ê ÃÕV…Ê}ˆ“«ÃiÃÊ>ÀiÊÀi˜`iÀi`Ê>ÃÊÌܜ‡`ˆ“i˜Ãˆœ˜>]ÊÃV…i“>̈Vʓ>«ÃʜvÊ̅ˆ˜}Ã]Ê«iœ«iÊ >˜`Ê«>ViÃ]Ê>Žˆ˜Ê̜Ê̅iʓi˜Ì>Ê“>«ÃʜvÊÀi>ˆÌÞÊÜiʎ˜ˆÌÊ̜}i̅iÀÊvÀœ“ÊÃiµÕi˜ViÃʜvʜLservations stored in memory. The eye scanning Picasso’s painting moves from one `ˆÃœV>Ìi`ÊÀi«ÀiÃi˜Ì>̈œ˜Ê̜Ê̅iʘiÝÌ]Ê̅iÊLÀ>ˆ˜ÊÃiiŽˆ˜}Ê̜ʓ>ÌV…Ê̅i“Ê̜Ê>˜ÊiµÕˆÛ>i˜ÌÊ ÃiÌʜvÊ>ÃÜVˆ>̈œ˜ÃÊL>Ãi`ʜ˜ÊiÝ«iÀˆi˜Vi°Ê/…iʓi>˜ˆ˜}ʜvÊ̅iÊ«ˆiViʈÃÊVœ˜ÃÌÀÕVÌi`ÊvÀœ“Ê an accretion of such deductions. Implied in these works is a further time and motion iµÕˆÛ>i˜Vi]ʈ˜Ê̅ˆÃÊV>Ãi]ÊLiÌÜii˜Ê̅iÊ̈“iÊÌ>Ži˜ÊLÞÊ̅iÊ«>ˆ˜ÌiÀÊ̜ÊÌÀ>ÛiÊ>ÀœÕ˜`Ê>ÊÃÕLiVÌÊ>ÃÊÅiÊLՈ`ÃÊ>Ê«œÀÌvœˆœÊœvÊۈiÜÃÊ>˜`Ê̅iÊ̈“iÊÀiµÕˆÀi`ÊvœÀÊ>Ê}>iÀއ}œiÀÊ̜ʓ>ŽiÊ the same inventory as she scans the resulting work of art. The sense of treading the Ã>“iÊ«>̅Ê>ÃÊ̅iÊ>Õ̅œÀʜvÊ̅iÊ«ˆiVi]ʜvÊi˜}>}ˆ˜}ʈ˜Ê>Êȓˆ>ÀÊ«ÀœViÃÃʜvÊVœ˜V>Ìi˜>̈˜}Ê >««iÀVi«Ìˆœ˜ÃÊ>˜ÌˆVˆ«>ÌiÃÊ̅iÊV>Ê̜Êi“«>̅Þ]ÊVœ˜˜iV̈ۈÌÞÊ>˜`ÊÜVˆ>ˆÌÞÊÃÌÀÕVÌÕÀˆ˜}Ê many installations that we might encounter today. œÌʜ˜ÞÊÜ>ÃÊVÕLˆÃÌʈVœ˜œ}À>«…ÞÊ«œÀÌÀ>Þi`Ê>ÃÊ>ʓœÃ>ˆVʜvÊ«iÀVi«ÌÃ]ÊvÕÃi`ÊLÞÊ̅iÊ ˆ˜ÌiÀ«ÀïÛiʏœ}ˆVʜvÊ̅iÊLÀ>ˆ˜]ÊLÕÌʈÌÊ>ÃœÊV>“iÊ̜ÊÃޓLœˆÃiÊ̅iÊ`ˆÃœˆ˜Ìi`]Ê>ˆi˜>Ìi`Ê iÝ«iÀˆi˜Viʜvʓœ`iÀ˜Êˆvi]ʓœÃÌʈ˜Ìi˜ÃˆÛiÞÊviÌʈ˜Ê̅iÊv>Ã̇«>Vi`Êi˜ÛˆÀœ˜“i˜ÌʜvÊ̅iÊ ˆ˜`ÕÃÌÀˆ>ˆÃi`ʓiÌÀœ«œˆÃ\Ê̅iÊv>V̜ÀˆiÃ]Ê̅iÊŜ««ˆ˜}Ê>ÀV>`iÃ]Ê̅iÊ`œVŽÃ]ÊÌÀ>ˆ˜Ê˜iÌܜÀŽÃÊ>˜`Ê>“ÕÃi“i˜ÌÊ«>ÀŽÃʜvÊ̅iʓ>V…ˆ˜iÊ>}i°Ê
ÃÊ
°Ê°Ê,iiÃʅ>ÃʜLÃiÀÛi`]ÊVÕLˆÃÌÊ vÀ>}“i˜Ì>̈œ˜Ê¼Ài«>Vi`ÊۈÃÕ>Ê…>À“œ˜ˆiÃÊ܈̅Ê>ÊÃiÀˆiÃʜvÊ>LÀÕ«ÌÊ}>˜ViÃÊ̅>ÌÊÀiV>Ê>˜Ê iÝV…>˜}iʜvʏœœŽÃʜ˜Ê̅iÊÃÌÀii̽°15 Film was thus seen to reflect the cognitive processes involved in vision as well as mirror the fragmentation and destabilisation of sense iÝ«iÀˆi˜Viʈ˜Ê̅iʓœ`iÀ˜ÊVˆÌÞ]Ê>Ài>`ÞÊÈ}˜>i`ʈ˜ÊVÕLˆÃÌÊ«>ˆ˜Ìˆ˜}°16 Where we have Ãii˜Ê ˆÃi˜ÃÌiˆ˜ÊVˆÌiÊ>ÀV…ˆÌiVÌÕÀiÊ>ÃÊ>ʓœ`iÊvœÀʅˆÃʜܘÊ̅iœÀˆiÃʜvʓœ˜Ì>}i]Ê ÕLˆÃ“Ê ˆÃÊ܈`iÞÊLiˆiÛi`Ê̜ʅ>Ûiʓ>`iÊ>˜ÊiµÕ>ÊVœ˜ÌÀˆLṎœ˜]Ê܈̅ʈÌÃʓœ`iÊœvʓi>˜ˆ˜}Ê>À̈VՏ>Ìi`ʈ˜Ê̅iʍÕÝÌ>«œÃˆÌˆœ˜ÊœvÊ`ˆÃVœ˜˜iVÌi`]ÊLÕÌÊ̅i“>̈V>Þʏˆ˜Ži`Ê«iÀëiV̈Ûið17
ÌÊ̅iÊÌÕÀ˜ÊœvÊ̅iÊVi˜ÌÕÀÞ]Ê̅iÊ«ÀœˆviÀ>̈œ˜ÊœvÊȓՏÌ>˜iœÕÃÊۈiÜ«œˆ˜ÌÃʈ˜Ê ÕLˆÃ“Ê>˜`Ê Ì…iÊ«iÀVi«ÌÕ>ÊyÕÝʜvÊ“«ÀiÃȜ˜ˆÃ“ʈ“«ˆi`Ê>Ê«>ÀˆÌÞʜvÊ̅iÊ}>âiʈ˜Ê܅ˆV…Ê>˜Þ‡“>˜ÊœÀÊ woman’s cognitive capabilities was equally valid and this took on particular significance in the politicised environment of the 1960s. The authority of the specialist spectator qÊ̅iÊ>˜Ìˆ>˜ÊVœ˜˜œˆÃÃiÕÀʜvÊ>ÀÌ]Ê̅iÊ«>ÌÀœ˜Ê>˜`Ê̅iÊVœiV̜ÀÊqÊVœÕ`ÊLiÊV…>i˜}i`Ê>ÃÊ ÜiÊ>ÃÊ̅iÊ>ÃÃՓ«Ìˆœ˜ÊœvÊ̅iˆÀÊiÝVÕÈÛiÊ>VViÃÃÊ̜Ê՘ˆÛiÀÃ>Ê…Õ“>˜ÊÌÀÕ̅ðÊ/…iÊ`i“œÌˆVÊ multiplication of gazes resonated with the egalitarian principles of left-leaning ideologies

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circulating throughout the twentieth century while the rendering of dynamic locomotion was fast becoming the formal ambition of artists still engaged in easel art.

FUTURISM AND ITS LEGACY The Italian Futurists in the 1910s and 1920s with their frenetic depictions of movement showed the first signs of artists straining to break out of the frame of painting >˜`Ê Ãˆ“ՏÌ>˜iœÕÏÞÊ iÝ«ÀiÃÃi`Ê Ì…iÊ `iÈÀiÊ ÌœÊ i˜}>}iÊ Ì…iÊ ÛˆiÜiÀÊ ÛˆÃViÀ>ÞÊ ˆ˜Ê ̅iÊ ÜœÀŽÆÊ>ÃÊ
À`i˜}œÊ-œvwVˆÊÜÀœÌiʈ˜Ê£™£ä]ʼ̅iÊëiVÌ>̜ÀÊQ“ÕÃÌRʏˆÛiÊ>ÌÊ̅iÊVi˜ÌÀiʜvÊ the painted action’.18 With an unusual touch of humour in an otherwise proto-fascist ˆ`iœœ}Þ]Ê̅iÊvÕÌÕÀˆÃÌÊ>À̈ÃÌʈ>Vœ“œÊ >>ÊÀi˜`iÀi`Ê>Ê`>V…Ã…Õ˜`½Ãʏi}ÃÊ>ÃÊ>ÊۜÀÌiÝÊ of movements like a canine Catherine wheel in his famous painting Dynamism of a Dog on a LeashÊ­£™£Ó®°Ê/…ˆÃÊ`i«ˆV̈œ˜ÊœvʜÛiÀ>««ˆ˜}]Ê>ÀÀiÃÌi`ÊÃÌ>}iÃʜvʓœÛi“i˜ÌÊ ˜œÌʜ˜ÞÊÀiviÀi˜Vi`Ê̅iÊi>ÀˆiÀÊiÝ«iÀˆ“i˜ÌÃʈ˜Ê“œÌˆœ˜Ê«…œÌœ}À>«…ÞÊVœ˜`ÕVÌi`ÊLÞÊ Eadweard Muybridge – his consecutive images taken in rapid succession by multiple cameras led to the invention of film – but also anticipated the tracer effect that became a staple feature of analogue video editing in the 1980s.19 The revelation of the anatomy of movement also signals a fascination with unseen natural processes in the landscape that artists of the moving image have shared with scientists ever ȘViÊ̅iʈ˜Ûi˜Ìˆœ˜ÊœvÊw“°Ê/…ˆÃÊ`iÈÀiÊ̜Ê܈̘iÃÃÊ̅iʼLÀi>̅ʜvʘ>ÌÕÀi½20 is evident in ̈“i‡>«ÃiÊܜÀŽÃÊLÞÊ>À̈ÃÌÃÊÃÕV…Ê>ÃÊ7ˆˆ>“Ê,>L>˜]Ê …ÀˆÃÊ7iÃLÞÊ>˜`]ʓœÀiÊÀiVi˜ÌÞ]Ê ˜}iʈÃiÊ>˜Ãi˜]Ê “ˆÞÊ,ˆV…>À`ܘÊ>˜`Ê-i“ˆVœ˜`ÕV̜À°21 The atomisation of perception mirroring the frenetic environment of the modern “iÌÀœ«œˆÃ]Ê>˜`ÊiۜŽˆ˜}Ê܅>ÌÊ>ÀÊÀ>ÕÃÃÊV>i`Ê̅iÊ`ˆÃÌÀ>V̈˜}ʼ“iœ`Þʜvʏˆvi½]22 reÃÕÀv>Vi`Ê܈̅ˆ˜Êˆ˜ÃÌ>>̈œ˜Ê>ÀÌ]Ê«>À̈VՏ>ÀÞʈ˜Ê“Տ̈‡“i`ˆ>]ʓՏ̈‡ÃVÀii˜Ê`ˆ}ˆÌ>Ê>˜`Ê ˆ˜ÌiÀ>V̈ÛiÊܜÀŽÃÊ̅>Ì]ʈ˜Ê̅iˆÀÊViiLÀ>̈œ˜ÊœvÊ>˜ÊiÝ«>˜`i`Êwi`ʜvÊVœ˜˜iV̈ۈÌÞ]ʘœÜÊ ÀiVÀi>ÌiÊ̅iʼˆ˜vœÀ“>̈œ˜ÊLœ“LýʜvÊ̅iÊÌÜi˜ÌއwÀÃÌÊVi˜ÌÕÀÞ°23 This engagement with ̅iÊVՏÌÕÀiʜvʓi`ˆ>̈Ãi`ÊëiVÌ>ViÊvœÕ˜`ʈÌÃʓœÃÌÊÀ>`ˆV>ÊiÝ«ÀiÃȜ˜Êˆ˜Ê̅iÊ«ˆÀ>̈˜}Ê >˜`ÊÀi‡«ÀœViÃȘ}ʜvʓ>ˆ˜ÃÌÀi>“Ê“i`ˆ>ʈ“>}iÀÞ]Ê«Ài`œ“ˆ˜>˜ÌÞÊÌiiۈȜ˜ÊvœœÌ>}i]Ê which began in the early 1980s with the American Dara Birnbaum’s purloined clips of ̅iÊ£™Ç™Ê7ˆ˜ÌiÀÊ"Þ“«ˆVÃ]Ê7œ˜`iÀÊ7œ“>˜Ê>˜`Êœ>Ž]Ê̅>Ìʈ˜ÊÌÕÀ˜Êë>ÀŽi`Ê>˜ÊiÝ«œÃˆœ˜Ê œvʼÃVÀ>ÌV…Êۈ`iœ½Êˆ˜Ê̅iÊ1°24 Although many of these early works were single-screen ۈ`iœÃ]Ê̅iÞÊÜiÀiÊܜ˜ÊiÝ«>˜`i`Ê>VÀœÃÃʓՏ̈«iʓœ˜ˆÌœÀÃÊ>˜`]ÊLÞÊÓään]ÊivvÀiÞÊ-…>Ü]Ê iˆÊ ÀœÜ˜]Ê i˜˜ˆÃÊ iÊ>ÛiÀœÊ>˜`Ê*iÌiÀÊ7iˆLiÊ…>`ÊÀiw˜i`Ê̅iÊ>ÀÌʜvÊ>««Àœ«Àˆ>̈œ˜Êˆ˜Ê their immersive T_Visionarium]Ê>˜Êi˜Ûiœ«ˆ˜}ÊVˆÀVՏ>ÀÊÃVÀii˜Êœ˜Ê܅ˆV…Ê̅iÞÊ`ˆÃ«>Þi`Ê>Ê `>Ì>L>ÃiʜvÊܓiÊÓä]äääÊÌiiۈÃÕ>ÊVˆ«Ã°Ê/…iÃiʵ՜Ì>̈œ˜ÃÊvÀœ“Ê̅iʓ>ˆ˜ÃÌÀi>“ÊœÀLˆÌÊ Ì…iÊۈiÜiÀʈ˜Ê}>À>˜`i`ʏ>ÞiÀÃ]ÊVœ˜ÕÀi`ÊÕ«ÊvÀœ“Ê̅iÊ`i«Ì…ÊœvÊ`ˆ}ˆÌ>Êë>ViÊLÞÊ>˜Êœ“˜ˆ«œÌi˜ÌÊۈiÜiÀ°ÊˆÊ i˜˜iÌÌÊiÝ«>ˆ˜ÃÊ̅iÊÌiV…˜ˆV>Êˆ˜ÌiÀ>V̈ۈÌÞʜvÊT_Visionarium\ʼ1Ș}Ê >ÊëiVˆ>Êˆ˜ÌiÀv>ViÊ̅iÊۈiÜiÀÊV>˜ÊÃiiVÌ]ÊÀi‡>ÀÀ>˜}iÊ>˜`ʏˆ˜ŽÊ̅iÃiÊۈ`iœÊVˆ«ÃÊ>ÌÊ܈]Ê

26

INSTALLATION AND THE MOVING IMAGE

Neil Brown, Dennis Del Favero, Jeffrey Shaw, Peter Weibel, T_Visionarium (2008). Courtesy of Jeffrey Shaw.

composing them into combinations based on relations of gesture and movement’.25 Although the work affords no opportunity to change the information being summoned ˆ˜ÌœÊۈiÜ]ʈÌÊ`œiÃÊVÀi>ÌiÊ>Ê̅Àii‡`ˆ“i˜Ãˆœ˜>ÊiµÕˆÛ>i˜ÌʜvÊ̅iʵ՜̈`ˆ>˜ÊLœ“L>À`“i˜ÌÊ

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of competing online attractions. It also evokes the increasingly screen-invaded enviÀœ˜“i˜ÌÊ̅>ÌÊ}ÀiiÌÃÊÕÃÊ܅i˜ÊÜiÊÛi˜ÌÕÀiʜÕÌ`œœÀÃ]ʓœÃÌʜvÊÕÃʘœÜ>`>ÞÃÊۜÕ˜Ì>ÀˆÞÊ carrying hand-held devices so that the umbilical cord linking us to cyberspace at home ˆÃʘiÛiÀÊLÀœŽi˜°Ê7…iÀiÊ̅iÊ ÕLˆÃÌÃÊVœ˜ÕÀi`Ê̅iÊܜÀ`ʜvʼœÀÀˆiÃ]Ê>««Ài˜ÌˆViÃ]ʘ՘ÃÆʏˆviÊ œ˜Ê̅iÊÃÌÀiiÌ]ÊVÀ>ÌiÃʈ˜ÊvÀœ˜ÌʜvÊ̅iÊ}ÀœViÀ½ÃÆʜÀ>˜}iÃ]Ê̜“>̜iÃ]ÊV>LL>}iý]26 the newly “iV…>˜ˆÃi`ÊLÕÃ̏iʜvÊ̅iʓœ`iÀ˜Êˆ˜`ÕÃÌÀˆ>ÊܜÀ`]ÊÊܜՏ`ÊÃÕ}}iÃÌÊ̅>ÌÊVœ˜Ìi“«œÀ>ÀÞÊ artists like Shaw testify to our dimmed awareness of everyday life. We have become disconnected from those with whom we share the city as we increasingly renounce our immediate environment in favour of a portable gateway to our digital universe. *>À>`œÝˆV>Þ]ʈÌʈÃÊ«iÀ…>«Ãʈ˜Ê>ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê̅>ÌÊÜiʓ>ÞÊÀi‡ˆ“>}ˆ˜iÊ̅iÊ Ã«>ViÊÜiʜVVÕ«ÞÊÀi>̈ÛiÊ̜ʜ̅iÀÃ]Ê>˜`ÊÀiVœ˜Ãˆ`iÀÊ̅iʓi`ˆÕ“Ê̅>Ìʅ>ÃÊLiVœ“iÊ>ÃÊ iÃÃi˜Ìˆ>Ê̜ʜÕÀÊÃÕÀۈÛ>Ê>ÃʜÝÞ}i˜]Ê>ÃÊ>ÊÃi«>À>ÌiÊVՏÌÕÀ>Ê>˜`ÊÌiV…˜œœ}ˆV>Êi˜ÌˆÌÞ°Ê

FROM EARLY RENAISSANCE TO THE TWENTY−FIRST CENTURY /…iÊ Ûˆ`iœÊ >À̈ÃÌÊ ˆÊ 6ˆœ>Ê Ài>V…iÃÊ vÕÀ̅iÀÊ L>VŽÊ ˆ˜ÌœÊ >ÀÌÊ …ˆÃ̜ÀÞÊ vœÀÊ ˆ˜Ã«ˆÀ>̈œ˜]Ê Liginning with Giotto di Bondone’s magisterial cycle of frescos depicting the life of -Ì°Ê À>˜VˆÃÊ œvÊ
ÃÈÈ]Ê VÀi>Ìi`Ê Ãœ“ï“iÊ ˆ˜Ê ̅iÊ i>ÀÞÊ £Îääð 27 Giotto is celebrated LÞÊ iˆ˜ÀˆV…Ê 7Ÿvyˆ˜Ê >ÃÊ Ì…iÊ }Ài>ÌÊ ˆ˜˜œÛ>̜ÀÊ Ü…œÊ ¼œœÃi˜i`Ê Ì…iÊ Ìœ˜}ÕiÊ œvÊ >À̽° 28 In …ˆÃÊ«>ˆ˜Ìˆ˜}Ã]ʈœÌ̜Ê>ÌÌi“«Ìi`Ê̜ÊV>«ÌÕÀiʼ̅iÊ܅œiÊÀ>˜}iʜvʅՓ>˜Êˆvi½Ê̅ÀœÕ}…Ê the retelling of biblical stories and the lives of saints in solidly earthly terms. These were instructional paintings designed to educate a largely illiterate population in the Ìi>V…ˆ˜}ÃʜvÊ̅iÊ …ÀˆÃ̈>˜ÊV…ÕÀV…°Ê iˆ˜}ʘ>ÀÀ>̈ÛiÃ]Ê̅iÊvÀiÃVœÃÊ>ÀiʘiViÃÃ>ÀˆÞÊÃiµÕi˜Ìˆ>]Ê}ÀœÕ«i`ʈ˜Ê̅ÀiiÃ]Ê>˜`ʏˆŽiÊ̅iÊ-Ì>̈œ˜ÃʜvÊ̅iÊ ÀœÃÃÊ`ˆÃVÕÃÃi`ʈ˜ÊV…>«ÌiÀÊ œ˜i]Ê̅iÞÊ`i«i˜`ʜ˜Ê>˜Ê>“LՏ>̜ÀÞÊVœ˜}Ài}>̈œ˜]Ê܅œÃiʓi“LiÀÃÊÀi>`Ê̅iÊ«>˜iÃʈ˜Ê a specified order as they trail around the perimeter of the church. As a pre-cinematic ܜÀŽ]Ê Ì…iÊ i˜Ãi“LiÊ œvÊ ˆœÌ̜½ÃÊ «>˜iÃÊ Vœ“Lˆ˜iÃÊ >Ê vÀ>“i‡LއvÀ>“iÊ ˜>ÀÀ>̈ÛiÊ ÜˆÌ…Ê the simultaneous depiction of several events within individual panels – the saint re˜œÕ˜Vˆ˜}ʅˆÃÊܜÀ`ÞÊ}œœ`Ã]ÊÀ>˜VˆÃÊ>««i>Àˆ˜}Ê̜Ê̅iÊÏii«ˆ˜}Ê«œ˜Ìˆvv]Ê̅iʓˆÀ>ViʜvÊ the spring. The buildings Saint Francis inhabits are frequently cut away like partially constructed stage sets and reveal the human drama within. What impresses Viola is ̅iÊVՓՏ>̈ÛiÊivviVÌʜvÊ̅iÊ«>˜iÃ]ʼ̅iÊ̜Ì>ˆÌÞʜvÊ̅iÊܜÀŽ½° 29 Describing it almost as …iʓˆ}…ÌÊ>˜Êˆ˜ÃÌ>>̈œ˜ÊœvʅˆÃʜܘÊܜÀŽ]Ê6ˆœ>ÊVœ˜Ìˆ˜ÕiÃ\ʼޜÕÊ}iÌÊ>LÜÀLi`ʈ˜Êi>V…Ê œvÊ̅iÃiÊ«>˜iÃ]ÊLÕÌÊ̅iÊ«ˆiViʈÃÊ̅iÊi˜ÌˆÀiÊë>Viʈ˜Ê܅ˆV…ÊޜÕÊ>ÀiÊÃÕÀÀœÕ˜`i`ÊLÞʈ“ages’.30 Viola takes up the theme of Renaissance painting’s anticipation of video and installation in his discussion of The Dream of Pope SergiusÊ­V°Ê£{Îä®]Ê>ÊȘ}i‡«>˜iÊ ܜÀŽÊLÞÊ,œ}ˆiÀÊÛ>˜Ê`iÀÊ7iÞ`i˜]Ê܅ˆV…Ê>ÃœÊVœ˜Ì>ˆ˜ÃÊ`ˆÛiÀÃiÊiÛi˜ÌÃÊ̅>ÌÊÃii“Ê̜ÊLiÊ œVVÕÀÀˆ˜}ÊVœ˜VÕÀÀi˜ÌÞ°Ê/…iÊ*œ«iʈÃÊÃii˜Êˆ˜Ê…ˆÃÊLi`V…>“LiÀÊ>Ïii«Ê>˜`]Ê܈̅ˆ˜Ê̅iÊ

28

INSTALLATION AND THE MOVING IMAGE

Bill Viola, The Quintet of the Astonished (2000). Colour video rear projection on screen mounted on wall in dark room. Projected image size: 4 ft 7 in x 7 ft 10 in (1.4 x 2.4 m); room dimensions variable, 15:20 min. Performers: John Malpede, Weba Garretson, Tom Fitzpatrick, John Fleck, Dan Gerrity. Photo: Kira Perov. Courtesy of the artist.

Ã>“iÊ«ˆV̜Àˆ>Êë>Vi]Ê>ÌÊÛ>ÀˆœÕÃÊÃÌ>}iÃʜ˜Ê>ʍœÕÀ˜iÞʅiʈÃÊVœ“«ii`Ê̜ʓ>ŽiÊ>ÌÊ̅iÊ Li…iÃÌʜvÊ>˜Ê>˜}i]ÊÃii˜Ê…œÛiÀˆ˜}Ê>ÌʅˆÃÊLi`È`i°Ê6ˆœ>ÊÀi“>ÀŽÃÊ̅>ÌÊ-iÀ}ˆÕÃÊ>««i>ÀÃÊ to have the power to be in several places at once and that the presence of the angel VÀi>ÌiÃʼyՈ`ˆÌÞÊLiÌÜii˜ÊQÜ>Žˆ˜}Êë>ViRÊ>˜`Ê`Ài>“Êë>Vi]ÊLiÌÜii˜Ê̅iʈ˜˜iÀÊܜÀ`Ê >˜`Ê̅iʜÕÌiÀÊܜÀ`½ÆÊ̅iÊ«>ˆ˜Ìˆ˜}Ê`i“œ˜ÃÌÀ>ÌiÃÊ̅>Ìʼ̅iÊ`ˆÛˆ`ˆ˜}ʏˆ˜iÊLiÌÜii˜Ê̅iÊ ÌܜʈÃÊÛiÀÞÊ«œÀœÕÃ]ÊÛiÀÞÊÌÀ>˜Ã«>Ài˜Ì½° 31
˜`ÀiÜÊÀ>…>“‡ ˆÝœ˜Êˆ`i˜ÌˆwiÃʈ˜Êiœ˜>À`œÊ`>Ê6 ˆ˜Vˆ½ÃÊThe Last Supper (1494–98) >Êȓˆ>ÀÊVœi݈ÃÌi˜ViʜvÊ̅iÊ«…ÞÈV>ÊܜÀ`Ê>˜`Ê6ˆœ>½Ãʈ““>ÌiÀˆ>ÊÀi>“ÊœvÊviiˆ˜}]Ê this time revolving around the emotional charge sparked by a single event – Christ’s «Àœ«…iÃÞÊ̅>Ìʼ ivœÀiÊ̅iÊVœVŽÊVÀœÜÃÊޜÕÊ܈Ê`i˜ÞʓiÊ̅ÀiiÊ̈“iýʭ>Ì̅iÜÊÓÈ\Ê Ó{®°Ê
VVœÀ`ˆ˜}Ê ÌœÊ À>…>“‡ ˆÝœ˜]Ê iœ˜>À`œÊ ˆ˜ÌiÀ«ÀiÌÃÊ Ì…iÊ ˆ“«>VÌÊ œvÊ iÃÕýÃÊ >˜˜œÕ˜Vi“i˜ÌÊ>ÃÊ>ÊÌi“«œÀ>]Ê>“œÃÌÊVˆ˜i“>̈VÊiÛi˜Ì]Ê>Žˆ˜Ê̜Ê>ÊÃ̜˜iÊLiˆ˜}Ê`Àœ««i`Ê ˆ˜Ê>Ê«œœ]Ê܈̅Ê̅iÊ>À̈ÃÌʼÀiVœÀ`ˆ˜}Ê̅iÊi“œÌˆœ˜>ÊÀˆ««iÃÊ«>˜˜ˆ˜}ʜÕ̽Ê>ÃÊ>ÊÃiÀˆiÃʜvÊ reaction shots on the faces of each apostle.32 Their simultaneously occurring gamut œvÊÀi뜘ÃiÃÊLiVœ“i]Ê>ÃÊÀ>…>“‡ ˆÝœ˜ÊÃÕ}}iÃÌÃ]ʼ«>ÀÌʜvÊ>ÊȘ}iÊVÕÀÀi˜ÌʜvÊviiˆ˜}½]Ê “>`iÊիʜvʼÃiÛiÀ>Ê“œ“i˜ÌÃʏ>ˆ`ʜÕÌÊ>ÃʈvÊ̅iÞÊÜiÀiʜ˜i½° 33Ê/…iÊۈiÜiÀ]Ê܅œÃiÊiÞiʈÃÊ `À>ܘÊLÞÊ̅iÊ}À>ۈÌ>̈œ˜>Ê«ÕÊœvÊÃÕVViÃÈÛiÊv>ViÃ]Ê«ÀœÛˆ`iÃÊ̅iÊVœ˜Ìˆ˜ÕˆÌÞʜvÊ̅œÃiÊ “œ“i˜ÌÃÊ>ÃÊÅiʓi˜Ì>ÞÊi`ˆÌÃÊ̜}i̅iÀÊ̅iÊv>Vˆ>ÊiÝ«ÀiÃȜ˜Ãʈ˜ÌœÊ>˜Êi˜ÀˆV…“i˜ÌÊ of a story that for most visitors to Santa Maria della Grazie is already part of their shared repository of sacred narratives. Whether in the church at Assisi or the convent refectory in Milan where The Last SupperÊ Vœ““>˜`ÃÊ Ì…iÊ Ã«>Vi]Ê Ì…iÊ œÃVˆ>̈œ˜Ê LiÌÜii˜Ê `ˆvviÀi˜ÌÊ ÃÌ>ÌiÃÊ œvÊ

PAINTING

29

Vœ˜ÃVˆœÕØiÃÃ]Ê̅iÊVœ}˜ˆÌˆÛiÊ`ˆÃܘ>˜ViÊLiÌÜii˜Ê܅>ÌʈÃÊVœ˜ÕÀi`ÊLÞÊ̅iʈ“>}iÊ>˜`Ê Ü…>ÌÊV>˜ÊLiÊiÝÌiÀ˜>ÞÊ«iÀViˆÛi`ʈÃÊ>ÊVœ˜`ˆÌˆœ˜ÊœvÊۈi܈˜}Ê̅>ÌÊÀiœVVÕÀÃʈ˜Ê6ˆœ>½ÃÊœÜ˜Ê ÜœÀŽÊ>˜`Ê܈̅ˆ˜Ê“œÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Êˆ˜Ê}i˜iÀ>°Ê7iÊ܈ÊÀiÌÕÀ˜Ê̜Ê̅ˆÃÊ̅i“i]Ê LÕÌÊvœÀÊ̅iʓœ“i˜Ì]ÊÊ܈Ê˜œÌiÊ̅>Ìʈ˜Ê“œÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜]Ê>Ãʈ˜Ê>ÊvÀiÃVœÊVÞVi]Ê the spectator drifts between conditions of imaginative transport to a frame-captured ˆÕÜÀÞÊiÃi܅iÀi]Ê>˜`Ê>Ê«…ÞÈV>Êi˜}>}i“i˜ÌÊ܈̅Ê̅iÊë>ViÃʈ˜ÊLiÌÜii˜ÊÃVÀii˜ÃÊ Ì…ÀœÕ}…Ê܅ˆV…ÊÅiʓœÛiÃ]Ê܅iÀiʜ̅iÀʓ>ÌiÀˆ>ÃÊ>˜`ʈ˜`ˆÛˆ`Õ>Ãʓ>ÞÊLiÊi˜VœÕ˜ÌiÀi`°Ê
ÌÊ̅iÊÃ>“iÊ̈“i]Ê>ÃÊÅiÊ«Àœ}ÀiÃÃiÃÊvÀœ“ÊVœ˜Vi˜ÌÀ>̈œ˜ÃʜvÊÃVÀii˜‡L>Ãi`ʈ˜ÌiÀiÃÌÊÌœÊ Ì…iʘiÝÌÊ>ÌÌÀ>V̈œ˜]ÊÅiÊ`iÛiœ«ÃÊ>˜`ʓ>ˆ˜Ì>ˆ˜ÃÊ>˜Êi“Lœ`ˆi`Êë>̈>Ê>Ü>Ài˜iÃÃʜvÊ the architectural envelope in which the work as a whole is contained. The spectator synthesises an accumulation of haptic and spatial information with the successive ˆ“«ÀiÃȜ˜ÃʜvÊi>V…ʈ“>}iÊÃÌ>̈œ˜]Ê>ÃÊÜiÊ>Ãʓ>ÌiÀˆ>Êˆ˜Vˆ`i˜ÌÃʈ˜ÊLiÌÜii˜]Ê>˜`ÊVœ˜structs an interpretation of the work that is acceptable to the rational mind. /…iÊ Vœ˜Ìˆ˜ÕˆÌÞÊ LiÌÜii˜Ê +Õ>ÌÌÀœVi˜ÌœÊ «>ˆ˜Ìˆ˜}Ê >˜`Ê “œÛˆ˜}Ê ˆ“>}iÊ ˆ˜ÃÌ>>̈œ˜Ê …>ÃÊLii˜ÊVœ˜ÃˆÃÌi˜ÌÞÊÀiˆÌiÀ>Ìi`ʈ˜Ê̅iÊܜÀŽÊœvÊ>À̈ÃÌÃʈ˜ÊÀiVi˜ÌÊ`iV>`iÃ]ÊLÕÌʓœÃÌÊ i˜iÀ}ïV>ÞÊLÞÊ6ˆœ>]Ê>Ê«ˆœ˜iiÀʜvÊ
“iÀˆV>˜Êۈ`iœÊ>À̰ʘʅˆÃÊÓää£ÊPassion Series]Ê …iÊvœÀi˜ÃˆV>ÞÊiÝ>“ˆ˜iÃÊ̅iÊÃޘV…Àœ˜œÕÃÊiÀի̈œ˜ÊœvÊi“œÌˆœ˜ÊÕ«œ˜Ê̅iÊ«…ÞȜ}˜œ“ˆiÃʜvʈ˜`ˆÛˆ`Õ>Ã]ÊÌÀˆ}}iÀi`ÊLÞÊ>ÊȘ}iÊ`ˆÃÌÀiÃȘ}]ÊLÕÌÊ՘iÝ«>ˆ˜i`ʜvv‡ÃVÀii˜Ê iÛi˜Ì°Ê “Տ>̈˜}Ê̅iÊÃÕëi˜`i`Ê>˜ˆ“>̈œ˜]Ê̅iÊÃÌ>ÈÃʜvÊiœ˜>À`œ½ÃÊ`ˆÃÌÀiÃÃi`Ê`ˆÃVˆ«iÃ]Ê6ˆœ>Ê«ÀiÃi˜ÌÃÊ>V̜ÀÃʈ˜Ê}ÀœÕ«ÃʜÀʈ˜`ˆÛˆ`Õ>Þʈ˜ÊiÝÌÀi“iÊϜÜʓœÌˆœ˜Ê}œˆ˜}Ê Ì…ÀœÕ}…Ê̅iÊv>Vˆ>Ê>˜`ÊLœ`ˆÞÊVœ˜ÌœÀ̈œ˜ÃÊ̅>ÌÊ`i˜œÌiÊ«ÀœvœÕ˜`Ê}Àˆiv°ÊiÀi]Ê̅iÊ`ˆ}ˆÌ>Ê VœÕ˜ÌiÀ«>ÀÌÃʜvÊiœ˜>À`œ½ÃÊÌÀ>Փ>̈Ãi`Êw}ÕÀiÃÊ>ÀiÊÃÕLiVÌi`Ê̜Ê܅>ÌÊ ˆÛˆ˜`Ê,©ÃÃ>ŽÊ V>i`ʼÌiV…˜ˆµÕiÃʜvÊ`i>Þ½]34Ê>˜`ÊÀi`i«œÞi`Ê>VÀœÃÃÊ>ʘՓLiÀʜvÊÃVÀii˜Ã]ÊÃÕëi˜`i`ʈ˜Ê̅iˆÀʜܘÊ̈“iÊLÕLLiðʈŽiÊ̅iÊ«ÀœÌ>}œ˜ˆÃÌÃʈ˜ÊˆœÌ̜½ÃÊvÀiÃVœÊVÞVi]ʅœÜiÛiÀ]Ê >˜`ʈ˜ÊVœ““œ˜Ê܈̅ʓ>˜ÞÊۈ`iœÊˆ˜ÃÌ>>̈œ˜Ãʈ˜Ê̅iÊ£™™äÃÊ>˜`Êi>ÀÞÊÓäääÃ]Ê̅iʈ˜dividual screens embody different conditions of the same psyche (the figures are largely interchangeable) or stages in the progress of a unified story whether narräÛi]ÊVÀޫ̈VʜÀÊvœÀ“>Êˆ˜Ê˜>ÌÕÀi°Ê˜Ê6ˆœ>½ÃÊCatherine’s RoomÊ­Óä䣮]ÊvœÀʈ˜ÃÌ>˜Vi]Ê>˜Ê episodic work that charts the span of a woman’s life through successive views of …iÀÊܓi܅>ÌÊ-«>ÀÌ>˜ÊLi`Àœœ“]Ê̅iÊVœ˜Ìˆ˜ÕˆÌÞÊLiÌÜii˜ÊvÀiÃVœÊ«>ˆ˜Ìˆ˜}ʜvÊ̅iÊi>ÀÞÊ ,i˜>ˆÃÃ>˜ViÊ>ÃÊiÝi“«ˆwi`ÊLÞÊ̅iʏˆviʜvÊ-Ì°ÊÀ>˜VˆÃÊ>˜`ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê ˆ˜ÊœÕÀʜܘÊiÀ>ÊLiVœ“iÃʈ˜VÀi>Ș}ÞÊ>««>Ài˜Ì°Ê˜ÊLœÌ…]Ê̅iʈ“>}iÃÊ`ˆÃ«œÃi`Ê>ÀœÕ˜`Ê >˜Êi˜VœÃi`Êë>ViÊV>˜ÊLiÊۈiÜi`ÊȓՏÌ>˜iœÕÏÞ]Ê>ÌÊ>Ê}>˜Vi]Ê>ÃÊ>˜ÊivviVÌʜvÊ̅iÊ i˜ÌˆÀiÊܜÀŽÊ“>ÀÀˆi`Ê̜ʈÌÃʅœÕȘ}°Ê/…iÞÊV>˜Ê>ÃœÊLiÊVœ˜ÃՓi`ÊÃiÀˆ>Þ]Ê̅iÊvÀiÃVœÃÊ œÀÊۈ`iœÃÊiÝ>“ˆ˜i`ʜ˜iÊ>vÌiÀÊ̅iʜ̅iÀ]Ê̅iÊۈiÜiÀʓœÛˆ˜}ʈ˜Ê>˜`ʜÕÌʜvÊ̅iʈ“>}ˆ˜>̈ÛiÊܜÀ`Ê`i«ˆVÌi`ʜ˜ÊV>˜Û>Ã]ʜ˜Ê«>ÃÌiÀʜÀʜ˜ÃVÀii˜]Ê܈̅Ê̅iʓi˜Ì>Ê«ˆVÌÕÀiʜvÊ̅iÊ Ü…œiÊ Liˆ˜}Ê ˆ˜VÀi“i˜Ì>ÞÊ Vœ˜ÃÌÀÕVÌi`Ê vÀœ“Ê ˆÌÃÊ Ãi«>À>ÌiÊ ii“i˜ÌÃ]Ê œÛiÀÊ Ìˆ“i°Ê
ÃÊ `ˆÃVÕÃÃi`ʈ˜Ê̅iÊ«ÀiۈœÕÃÊV…>«ÌiÀ]Ê܅i̅iÀʓ>˜ˆviÃ̈˜}Ê>ÃʓՏ̈«iÊÃVÀii˜ÊiÛi˜ÌÃÊ in the case of Catherine’s RoomʜÀÊÃiµÕi˜Ìˆ>ÊÃÌ>̈Vʈ“>}iÃʈ˜ÊˆœÌ̜½ÃÊvÀiÃVœÊVÞVi]Ê Ì…iʈ˜ÃÌ>>̈œ˜ÊœvÊ̅iÃiÊܜÀŽÃ]ÊÃi«>À>Ìi`ÊLÞÊÃiÛiÀ>ÊVi˜ÌÕÀˆiÃʈ˜Ê̈“iÊLÕÌÊLÞÊÛiÀÞÊ

30

INSTALLATION AND THE MOVING IMAGE

Bill Viola, Catherine’s Room (2001). Colour video polyptych on five LCD flat panels mounted on wall 15 x 97 x 2 1/4 in., (38.1 x 246.4 x 5.7 cm), 18:00 min. Performer: Weba Garretson. Photo: Kira Perov. Courtesy of the artist.

ˆÌ̏iʅՓ>˜ÊiۜṎœ˜]Ê>ÀiÊLœÌ…Ê`i«i˜`i˜Ìʜ˜Ê̅iÊ`ˆÃ«œÃˆÌˆœ˜ÊœvÊ̅iÊ>ÀV…ˆÌiVÌÕÀ>Ê environment. The gallery or church will have been designed to lead the visitor ̅ÀœÕ}…Ê>Ê«ÀœÃVÀˆLi`ÊÀœÕÌiÊ>˜`]ʈ˜ÊÜÊ`œˆ˜}]ÊVœ““Õ˜ˆV>ÌiÊ̅iʘ>ÀÀ>̈ÛiÃÊ̅>ÌÊ̅iÊ >À̈ÃÌÃÊ܈Åi`Ê̜ÊVœ˜ÛiÞ°Ê
ÃÊœ…˜Ê7>Ã…Ê…>ÃÊÀi“>ÀŽi`]ÊiÛi˜Ê̅iÊâˆ}â>}}ˆ˜}Ê>ÀÀ>˜}iment of the architecture depicted in van der Weiden’s painting serves to lead the eye >˜`Ê̅iʓˆ˜`Ê̜Ê>Ê`iÌiÀ“ˆ˜i`ÊÀi>`ˆ˜}ʜvÊ̅iʏi}i˜`ʜvÊ*œ«iÊ-iÀ}ˆÕðÊ/…iÊë>Vi]ʅiÊ Ã>ÞÃ]ʼˆÃÊÅ>«i`Ê̜ʓ>ŽiʈÌʅ>««i˜½°35

WORRYING THE EDGES OF THE FRAME: THE RUPTURE 7iʓˆ}…ÌÊ`ˆÃ>}ÀiiÊÜˆÌ…Ê œ˜>`ÊÕ``Ê܅œ]ÊÜÀˆÌˆ˜}ʈ˜Ê£™ÈÈ]Ê`iV>Ài`Ê̅>Ìʈ˜Ê«>ˆ˜Ìˆ˜}]Ê ¼Ì…iÊii“i˜ÌÃʈ˜Ãˆ`iÊ̅iÊÀiVÌ>˜}iÊ>ÀiÊLÀœ>`Ê>˜`Êȓ«iÊ>˜`ÊVœÀÀi뜘`ÊVœÃiÞÊÌœÊ the rectangle. The shapes and surface are only those that can occur plausibly within and on a rectangular plane’.36 The space outside the frame was already implied in the w}ÕÀ>̈ÛiÊ}iÃÌÕÀiÃʜvÊV>ÃÈV>Ê«>ˆ˜Ìˆ˜}]ʏˆŽiÊ̅iÊL>Ài‡LÀi>ÃÌi`ʈLiÀÌÞʈ˜Ê i>VÀœˆÝ½ÃÊ Liberty Leading the People (1830) who holds aloft the French flag and inspires the ÀiۜṎœ˜>ÀÞÊÀ>LLiÊLi…ˆ˜`ʅiÀ]ÊÃÕ}}iÃÌi`ÊLÞÊ̅iÊviÜÊw}ÕÀiÃÊ̅>ÌÊ>Àiʈ““i`ˆ>ÌiÞÊ ÛˆÃˆLi°Ê ÞÊ iÝÌi˜Ãˆœ˜]Ê Ã…iÊ >ÃœÊ Ài>V…iÃÊ œÕÌÊ vÀœ“Ê ̅iÊ «>ˆ˜Ìˆ˜}Ê ÃiiŽˆ˜}Ê ÌœÊ }>Û>˜ˆÃiÊ those surveying her in the gallery. The frame is traversed in the glance that soars to a

PAINTING

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`ˆÃÌ>˜ÌʅœÀˆâœ˜ÊLiޜ˜`Ê̅iÊëiVÌ>̜À]ʏˆŽiÊ >ۈ`½ÃÊVœ˜Ìi“«>̈˜}ʅˆÃÊ«ÀœÃ«iVÌÃʅ>Ûing slain Goliath in Caravaggio’s David with the Head of Goliath (c. 1607). We might also «œˆ˜ÌÊ̜Ê̅iÊ`iۈVi]ʈ˜yÕi˜Vi`ÊLÞÊ«…œÌœ}À>«…Þ]ʜvÊÕȘ}Ê̅iÊvÀ>“iÊ̜Êiˆ`iÊÃiV̈œ˜ÃʜvÊ w}ÕÀiÃʈ˜Ê“«ÀiÃȜ˜ˆÃÌÊ«>ˆ˜Ìˆ˜}]Ê>ÌÊ̅iÊÃ>“iÊ̈“iʈ“«Þˆ˜}Ê̅iÊ܅œi°Ê/…ˆÃʈ˜viÀi˜ViÊ œvÊvœÀ“ÃÊÃÌÀiÌV…ˆ˜}ÊLiޜ˜`Ê̅iÊvÀ>“i]ÊVœÕ`Ê>ÃœÊLiÊvœÕ˜`]Ê>ÃÊÃÕ}}iÃÌi`Ê>LœÛi]ʈ˜Ê̅iÊ «>À̇œLiVÌÃʜvÊVÕLˆÃÌÊVœ>}iÃÊ>˜`Ê̅iÊiۜV>̈œ˜ÃʜvÊëii`ʈ˜ÊvÕÌÕÀˆÃÌÊ«>ˆ˜Ìˆ˜}Êi>ÀˆiÀÊ ˆ˜Ê̅iÊVi˜ÌÕÀÞÊqʼ“œÌˆœ˜Ê«>ˆ˜Ìˆ˜}ýÊ̅>ÌÊÃii“i`Ê>LœÕÌÊ̜ʍՓ«ÊvÀœ“Ê̅iÊvÀ>“i°
ÃÊ Ì…iÊ ÌÜi˜ÌˆiÌ…Ê Vi˜ÌÕÀÞÊ «Àœ}ÀiÃÃi`]Ê Ì…iÊ «>Vˆ˜}Ê œvÊ >Ê vÀ>“iÊ >ÀœÕ˜`Ê >Ê «ˆVÌÕÀiÊ Ãii“i`Ê “œÀiÊ >˜`Ê “œÀiÊ ˆ˜Vˆ`i˜Ì>Ê ˆvÊ ˜œÌÊ i˜ÌˆÀiÞÊ >ÀLˆÌÀ>ÀÞ°Ê >ÌiÀÊ ˆ˜Ê ̅iÊ Vi˜ÌÕÀÞ]Ê «>ˆ˜Ìˆ˜}ÊÃÕLÃ̈ÌÕÌi`Ê̅iÊiÝ«>˜Ãˆœ˜ÊœvÊ«ˆV̜Àˆ>Êë>ViÊ«Ài`ˆV>Ìi`ʜ˜Ê`i«Ì…Ê«iÀVi«Ìˆœ˜Ê܈̅ˆ˜ÊÀi>ˆÃ“Ê̜Ê>ÊÌܜ‡`ˆ“i˜Ãˆœ˜>]ʏ>ÌiÀ>Ê>Õ}“i˜Ì>̈œ˜ÊœvÊë>ViÊVÀi>̈˜}Ê>Ê Žˆ˜`ʜvÊ}À>«…ˆVʏˆ“ˆÌiÃØiÃÃʈ˜Ê̅iÊvÀ>˜ÌˆV]ʎ˜œÌÌi`Ê>LÃÌÀ>V̈œ˜ÃʜvÊ>VŽÃœ˜Ê*œœVŽÊ in the 1950s or the cool repeat patterns of Bridget Riley in the 1960s. In a 1958 ArtNewsÊ>À̈ViÊi˜ÌˆÌi`ʼ/…iÊi}>VÞʜvÊ>VŽÃœ˜Ê*œœVŽ½]Ê
>˜Ê>«ÀœÜÊVœ““i˜Ìi`Ê œ˜Ê̅iʓœ˜Õ“i˜Ì>ÊÈâiʜvÊ*œœVŽ½ÃÊV>˜Û>ÃiÃÊ>˜`ÊVœ˜VÕ`i`Ê̅>Ìʼ̅iÞÊVi>Ãi`ÊÌœÊ become paintings and became environments’. Not only was the size of the work pushing it into the realms of installation but the homogeneity of the abstract mark“>Žˆ˜}ʈ˜Ê̅iÃiʼ>V̈œ˜Ê«>ˆ˜Ìˆ˜}ýÊ̅Ài>Ìi˜i`Ê̜ÊÀi˜`iÀÊ̅iÊvÀ>“iÊÀi`՘`>˜Ì°Ê/…iÊ LœÕ˜`>ÀÞʜvÊ̅iÊ«ˆVÌÕÀiÊVœÕ`]ʈ˜Ê̅iœÀÞ]ÊLiÊ«>Vi`Ê>˜Þ܅iÀi]ÊȘViʜ˜iÊVœÕ`ʈ“>}ˆ˜iÊ̅iÊ«>ÌÌiÀ˜Êˆ˜w˜ˆÌiÞÊÀi«i>̈˜}]Ê>˜`ÊiÝ«>˜`ˆ˜}ÊiÝ«œ˜i˜Ìˆ>Þʏˆ˜Žˆ˜}ʜ˜iÊV>˜Û>ÃÊ to another. This recast each painting as a single frame in an intervallic continuum – like the frames of analogue film divided by moments of blackness that dissolve once the film is in motion. Although the discussion so far has emphasised the continuities between paintˆ˜}Ê>˜`ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜]Ê̅iÀiÊÜ>ÃÊ>ʅˆÃ̜ÀˆV>Ê“œ“i˜ÌʜvÊÀÕ«ÌÕÀiʈ˜Ê܅ˆV…Ê the limitations of painting were held to be inhibiting the progress of modernity in the >ÀÌÃ°Ê ÞÊ̅iÊÌÕÀ˜ÊœvÊ̅iÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞ]ÊܓiÊ«>ˆ˜ÌiÀÃÊÜiÀiÊLiVœ“ˆ˜}ÊvÀÕÃÌÀ>Ìi`Ê ÜˆÌ…Ê̅iʈ˜>LˆˆÌÞʜvÊ̅iÊ«>Ã̈VÊ>ÀÌÃÊ̜Ê`i«ˆVÌÊ܅>ÌÊ7>ÌiÀÊ,ÕÌ̓>˜˜Ê`iÃVÀˆLi`Ê>Ãʼ̅iÊ tempo of our times’.37ÊiÊ>`ۜV>Ìi`Ê̅iÊÀiiV̈œ˜ÊœvÊi>ÃiÊ«>ˆ˜Ìˆ˜}Ê>˜`Ê̅iÊ܅œiÃ>iÊ >`œ«Ìˆœ˜ÊœvÊ̅iʓœÛˆ˜}ʈ“>}i°Ê/…iʘiÜʼ“i`ˆÕ“ÊœvÊ̈“i½Ê˜œÜÊviÊˆ˜ÊÃÌi«Ê܈̅ʓœ`iÀ˜Ê ۈiÜiÀÃÊ܅œ]Ê>ÃÊ,ÕÌ̓>˜˜ÊœLÃiÀÛi`]ÊÜiÀiʼˆ˜VÀi>Ș}ÞÊvœÀVi`Ê̜ÊVœ˜Ãˆ`iÀÊiÛi˜ÌÃʈ˜Ê ̈“i½Ê>˜`ÊVœÕ`ʘœÊœ˜}iÀʼÌ>VŽiÊ̅iÊÀˆ}ˆ`]ÊÀi`ÕVi`Ê̈“iiÃÃÊvœÀ“ÃʜvÊ«>ˆ˜Ìˆ˜}½°38
˜`ÀjÊ >∘]ÊÜÀˆÌˆ˜}ʈ˜Ê̅iÊ£™xäÃ]ÊÜ>ÃÊVœ˜ViÀ˜i`Ê̜Ê`À>ÜÊ>ÌÌi˜Ìˆœ˜Ê̜Ê̅iÊë>̈>Ê benefits of the moving image as well as the temporal when he made a distinction LiÌÜii˜Ê̅iÊÃÌ>ÈÃʜvÊ̅iÊÃiv‡Vœ˜Ì>ˆ˜i`Êë>ViʜvÊ̅iÊV>˜Û>ÃÊ>˜`Ê̅iÊ`ޘ>“ˆV]Ê՘folding territories of film. He observed that the frame of a painting is what he termed ¼Vi˜ÌÀˆ«iÌ>½Ê>˜`Ê`iˆ“ˆÌÃÊ̅iʈ˜ÌiÀ˜>Êë>ViʜvÊ̅iʈ“>}i]Ê܅iÀi>ÃÊ̅iÊvÀ>“iʜvÊw“Ê ˆÃʼVi˜ÌÀˆvÕ}>½]Ê̅iÊi`}iÃÊŜ܈˜}ʼœ˜ÞÊ>Ê«œÀ̈œ˜ÊœvÊÀi>ˆÌÞ½ÆÊë>Viʈ˜Êw“Ê̅iÀivœÀiÊ ¼Ãii“ÃÊ ÌœÊ LiÊ «>ÀÌÊ œvÊ Ãœ“i̅ˆ˜}Ê «Àœœ˜}i`Ê ˆ˜`iw˜ˆÌiÞÊ ˆ˜ÌœÊ ̅iÊ Õ˜ˆÛiÀÃi½]Ê >Ü>ÞÃÊ “œÛˆ˜}Ê œÕÌÊ ˆ˜ÌœÊ >Ê Ã«>ViÊ Liޜ˜`Ê Ì…iÊ vÀ>“i]Ê >Ê «ÀœViÃÃÊ Ì…>ÌÊ >âˆ˜Ê `iÃVÀˆLiÃÊ >ÃÊ

32

INSTALLATION AND THE MOVING IMAGE

¼LœÕ˜`iÃý° 39
Ì…œÕ}…]Ê>ÃÊ>À}Õi`Ê>LœÛi]Ê̅iÀiÊÜiÀiÊ«>ˆ˜ÌiÀÃʏˆŽiÊ*œœVŽÊ܅œÃiÊܜÀŽÊ “ˆ}…ÌʵÕ>ˆvÞÊ>ÃÊVi˜ÌÀˆvÕ}>]Ê̅iÀiÊÜ>ÃʘœÊVœ˜ÌiÃÌÊ܈̅Ê̅iÊ`ޘ>“ˆVʓœÌˆœ˜Êˆ˜Êw“°ÊÊ

i˜ÌÀˆvÕ}>]Ê>LÃÌÀ>VÌÊ«ˆV̜Àˆ>Êë>Viʅ>`Ê>Ài>`Þʓ>`iÊ̅iÊÌÀ>˜ÃˆÌˆœ˜ÊvÀœ“Ê̅iÊV>˜vas to celluloid in works by pioneers of abstract film such as Oskar Fischinger in the 1920s and Len Lye and Mary Ellen Bute in the 1930s. As in the work of the Abstract

Ý«ÀiÃȜ˜ˆÃÌÃʏ>ÌiÀʈ˜Ê̅iÊVi˜ÌÕÀÞ]Ê̅iÊ`i«ˆV̈œ˜ÊœvÊ`i«Ì…Ê}>ÛiÊÜ>ÞÊ̜Ê>ÊViiLÀ>̈œ˜Ê œvʜ«ÌˆV>ÊyÕÝʈ˜Ê>Êy>ÌÌi˜i`Ê«ˆVÌÕÀiÊ«>˜i°Ê/…iÊw“ÊvÀ>“iÊLiV>“iÊ̅iÊÃÌ>}iÊÃiÌÊvœÀÊ the interplay between the dramatis personaeʜvʏˆ˜i]ÊvœÀ“]ÊÌiÝÌÕÀi]ÊVœœÕÀ]ÊÀ…Þ̅“Ê and time rushing through the field of vision into the space of the imagination. Dynamic motion was achieved in classic cinema when the camera itself moved or an animated scene flowed past the stationary lens. The later development of rapˆ`‡wÀiÊi`ˆÌˆ˜}ÊÕ««i`Ê̅iÊ«>Vi]Ê>˜`Ê̜}i̅iÀÊ̅iÃiÊ՘`i˜ˆ>LiÊ>ÃÃiÌÃÊiÝ«>ˆ˜Ê >∘½ÃÊ ˜œ“ˆ˜>̈œ˜ÊœvÊë>̈>ÊiÝ«>˜ÃˆÛi˜iÃÃʈ˜Êw“Ê>ÃʈÌÃʓ>œÀÊVœ˜ÌÀˆLṎœ˜Ê̜ʓœ`iÀ˜ˆÌÞ°Ê œÜiÛiÀ]Ê-Ìi«…i˜Êi>̅Ê>``i`Ê>Ê«ÀœÛˆÃœÊLÞÊi“«…>ÈȘ}Ê̅iʈ“>}ˆ˜>̈ÛiʍœÕÀ˜iÞÊ Õ˜`iÀÌ>Ži˜ÊLÞÊ̅iÊۈiÜiÀʈ˜ÊVˆ˜i“>ÆÊ>ÃʅiÊ>À}ÕiÃ]ʼ܅>ÌʓœÛiÃ]Êw˜>Þ]ʈÃÊ̅iÊëiVÌ>̜À]Ê ˆ““œLˆiÊ ˆ˜Ê vÀœ˜ÌÊ œvÊ Ì…iÊ ÃVÀii˜½Ê >˜`]Ê …iÊ >``Ã]Ê ¼w“Ê ˆÃÊ Ì…iÊ Ài}Տ>̈œ˜Ê œvÊ Ì…>ÌÊ movement’.40 7…i̅iÀÊ«>ވ˜}Ê̜Ê>ÊÃi>Ìi`Ê>Õ`ˆi˜ViʜÀ]ʏ>ÌiÀ]Ê̜Ê>ʓœLˆiÊëiVÌ>̜À]Ê̅iʓœÛˆ˜}Ê ˆ“>}iÊÜ>ÃÊÃii˜Ê̜Ê`ˆÃ«>ViÊ̅iÊ`ˆ˜œÃ>ÕÀʜvÊ«>ˆ˜Ìˆ˜}]Ê>˜`ÊÜ>ÃÊ>˜œˆ˜Ìi`Ê>ÃÊ̅iÊy>}ň«Ê innovation in an age of rapid industrial and scientific progress. It was characterised >ÃÊ̅iÊi“Lœ`ˆ“i˜ÌʜvÊ̅iÊvÀ>}“i˜Ìi`ÊiÝ«iÀˆi˜ViʜvÊVœ˜Ìi“«œÀ>ÀÞÊVˆÌÞʏˆviÊLÕÌÊ>ÃœÊ `ii“i`ÊVœ˜Ãœ˜>˜ÌÊ܈̅Ê̅iʘiÜʓœLˆˆÌÞÊi˜œÞi`ÊLÞÊ̅iʓœ`iÀ˜ÊÌÀ>ÛiiÀ]ÊÃÕÀÛiÞing the unfolding landscape through the frame of the car or railway carriage window. The contemporary tourist reached untold horizons later in the twentieth century through commercial air travel and the lucky few finally broke out of the global frame >Ìœ}i̅iÀÊ>˜`ʏ>՘V…i`ʈ˜ÌœÊœÕÌiÀÊë>Vi]Ê܈̅Ê̅iʓœÛˆ˜}ʈ“>}iÊ>ÃÊ̅iˆÀÊÌÀ>Ûiˆ˜}Ê companion. 41

THE LEGACY OF PAINTING Moving image installations in the last fifty years have constantly reiterated regimes œvÊÀi«ÀiÃi˜Ì>̈œ˜Ê`iÀˆÛi`ÊvÀœ“Ê«>ˆ˜Ìˆ˜}]ÊÌ>Žˆ˜}ʈ˜Ã«ˆÀ>̈œ˜ÊvÀœ“ʈœÌ̜ʈ˜Ê̅iʈ}…Ê ,i˜>ˆÃÃ>˜Vi]Ê̅iÊ
LÃÌÀ>VÌÊ Ý«ÀiÃȜ˜ˆÃ“ÊœvÊ>VŽÃœ˜Ê*œœVŽÊ>ÃÊÜiÊ>ÃÊ̅iÊVœœÕÀÊ wi`ÃʜvÊi˜˜iÌ…Ê œ>˜`Ê>˜`Ê̅iÊ"«Ê
ÀÌʓiÓiÀˆÃ“ÊœvÊ Àˆ`}iÌÊ,ˆiÞ°Ê/…iÊ«ÀiœVVÕ«>tion with frames and framing can be found in the work of early video artists in the £™ÈäÃÊ>˜`Ê£™ÇäÃÊÃÕV…Ê>ÃÊ >ۈ`Ê>]Ê/>“>À>ÊÀˆŽœÀˆ>˜Ê>˜`Ê/œ“Ê-…iÀ“>˜Ê>˜`ʏ>ÌiÀÊ w““>ŽiÀÃÊ ˆŽiÊ *>ÌÀˆVŽÊ iˆiÀÊ >˜`Ê À>˜VˆÃÊ
àÃ°Ê /…iÃiÊ >À̈ÃÌÃÊ Ài˜`iÀÊ ˆ˜Ê Vˆ˜i“>̈VÊ terms the philosopher Heraclitus’s notion of an impermanent world in a state of conÃÌ>˜ÌÊyÕÝ]Ê>ÃÊ̅iÞÊÀiÛi>ÊˆviÊ«>ÃȘ}Ê̅ÀœÕ}…Ê̅iÊwÝi`ÊvÀ>“iʜvÊ>ʏœVŽi`ʜvv]ÊÃÌ>̈VÊ

PAINTING

33

V>“iÀ>]Ê܅ˆV…ʈÌÃivÊÀi«ˆV>ÌiÃÊ̅iÊ«iÀ“i>LiÊLœÀ`iÀÃʜvÊ«>ˆ˜Ìˆ˜}°Ê ÀÕViÊ >Փ>˜½ÃÊ Stamping the StudioÊ­£™ÈÇqÈn®ÊˆÃÊiÝi“«>ÀÞʈ˜Ê̅ˆÃÊÀiëiVÌ°Ê/…iÊܜÀŽÊˆÃÊ>ÊÀi>‡Ìˆ“iÊ record of the artist’s restless pacing around his studio. Adopting a format later taken up by Samuel Beckett in QuadÊ ­ Ê /iiۈȜ˜]Ê £™nÓ®]Ê >Փ>˜]Ê Ã…œÌÊ vÀœ“Ê >LœÛi]Ê ÌÀ>ViÃÊ>Ê«>̅Ê̅>ÌÊvœœÜÃÊiÝ>V̏ÞÊ̅iÊLœÕ˜`>ÀÞʜvÊ̅iÊ«…ÞÈV>Êë>ViʅiʈÃÊ«>ÌÀœˆ˜}]ʈÌÃivÊۈÃÕ>ÞÊiµÕˆÛ>i˜ÌÊ̜Ê̅iÊvÀ>“iÊ>˜`Ê̅iʓœ˜ˆÌœÀʜ˜Ê܅ˆV…Ê̅iÊܜÀŽÊÜ>ÃÊ originally displayed – a paced-out frame within a frame within a frame. 7iʅ>ÛiÊ>Ài>`ÞÊiÃÌ>LˆÃ…i`Ê̅>ÌÊ}ÀœÕ«ÃʜvÊ«>ˆ˜Ìˆ˜}Ã]ʈ˜Ê̅iÊvœÀ“ÊœvÊvÀiÃVœiÃ]Ê tableaux vivants]Êtrompe l’oeil architectural features and devotional Stations of the

ÀœÃÃ]ʈ˜Ê̅iˆÀÊë>̈>ˆÃi`Ê>˜`Ê̅i“>̈VÊVœ˜˜iV̈ۈÌÞ]Ê>V̈Û>ÌiÊ̅iÊë>ViÊLiÌÜii˜Ê vÀ>“iÃ]Ê LœÌ…Ê >VÌÕ>Ê >˜`Ê ˆ“>}ˆ˜i`]Ê >ÃÊ “ÕV…Ê >ÃÊ Ì…iÞÊ Vœ>iÃViÊ Vœ˜Vi˜ÌÀ>̈œ˜ÃÊ œvÊ “i>˜ˆ˜}Ê ÜˆÌ…ˆ˜Ê ̅iˆÀÊ «ÀœÛˆÃˆœ˜>Ê LœÀ`iÀÃ°Ê ˜Ê ̅iÃiÊ }ÀœÕ«ˆ˜}Ã]Ê Ì…iÞÊ ˆ˜ÃVÀˆLiÊ >Ê «iÀ>“LՏ>̈˜}ÊëiVÌ>̜ÀÊ܅œÃiÊiÝ«iÀˆi˜ViʜvÊ̅iÊܜÀŽÊ܈ÊLiÊLՈÌÊvÀœ“Ê>ÊVœ“Lˆ˜>̈œ˜Ê of contemplative interludes before individual images and an accumulating sense œvÊ̅iÊ܅œiÊ`iÀˆÛi`ÊvÀœ“ʏœVœ“œÌˆœ˜°Ê˜Ê̅iʏ>ÃÌÊVi˜ÌÕÀÞ]Ê̅iÀiÊV>˜ÊLiÊvœÕ˜`Ê>˜ÞÊ number of precedents in which painters choose to display work in the form of instal>̈œ˜Ã]ÊvœÀÊ̅iÊLi˜iwÌʜvʓœLˆiÊëiVÌ>̜ÀÃÆÊvœÀʈ˜ÃÌ>˜Vi]ÊÀˆ`>Ê>…œ½ÃÊ>Ê >Ã>Ê
âÕÊ ˆ˜Êi݈VœÊ ˆÌÞ]Ê̅iʅœÕÃiÊ̅>ÌÊÜ>Ã]Ê՘̈Ê…iÀÊ`i>̅ʈ˜Ê£™x{]Ê>ÃʓÕV…Ê>˜Êˆ˜ÃÌ>>̈œ˜Ê œvʅiÀÊܜÀŽÊ>ÃʈÌÊÜ>ÃÊ>ʏˆÛˆ˜}Êë>Vi°Ê7À>««i`ʈ˜Ê>ÊVœL>ÌÊLÕiÊiÝÌiÀˆœÀ]Ê̅iʅœÕÃiÊi“Li`ÃʅiÀÊ«>ˆ˜Ìˆ˜}Ãʈ˜Ê̅iÊVœ˜ÌiÝÌʜvʅiÀʏˆviÊ>˜`]ʏˆŽiÊ >ÀL>À>Êi«ÜœÀ̅½Ãʅœ“iʈ˜Ê -Ì°ÊÛiÃ]Êi“«…>ÈÃiÃÊVÀi>̈ۈÌÞÊ>ÃÊ«ÀœViÃðÊ/…iÊLÕȘiÃÃʜvʓ>Žˆ˜}Ê>˜`Ê̅ˆ˜Žˆ˜}Ê>ÀiÊ iۈ`i˜ÌʘœÌʜ˜Þʈ˜Ê̅iÊ̜œÃʜvÊ>…œ½ÃÊÌÀ>`i]ʏivÌÊ>ÃÊ̅iÞÊÜiÀiÊvœÕ˜`Ê>vÌiÀʅiÀÊ`i>̅]Ê LÕÌÊ ˆ˜Ê …iÀÊ }>À`i˜Ã]Ê …iÀÊ «…œÌœ}À>«…ÃÊ >˜`Ê iÌÌiÀÃÊ >˜`Ê Ì…iÊ i݈V>˜]Ê «Ài‡ˆÃ«>˜ˆVÊ art that she collected with her husband Diego Rivera. This aspiration to a domestic Gesamtkunstwerk is also discernible in the work of the contemporary Cuban >À̈ÃÌÊœÃjÊÕÃÌiÀ]Ê܅œÊ`iV>Ài`Ê̅>ÌʅiÊ܈Åi`Ê̜ʏˆÛiʼ܈̅ˆ˜Ê̅iÊ>À̽ʅiʓ>ŽiÃʈ˜Ê such profusion. Using the proceeds from the international sale of his paintings and ViÀ>“ˆVÃ]ÊÕÃÌiÀʈÃÊ}À>`Õ>ÞÊi˜VÀÕÃ̈˜}ʘœÌʜ˜ÞʅˆÃʜܘʅœÕÃiÊ܈̅ʅˆÃÊy>“LœÞ>˜Ì]Ê >Õ`ˆ‡Ê >˜`Ê *ˆV>Ã܇ˆ˜yÕi˜Vi`Ê “œÃ>ˆVÃÊ LÕÌÊ >ÃœÊ ̅œÃiÊ œvÊ …ˆÃÊ ˜iˆ}…LœÕÀÃÊ ˆ˜Ê >ˆ“>˜ˆÌ>Ã]Ê>ÊÃÕLÕÀLʜvÊ>Û>˜>°Ê ÛiÀÞÊ>Û>ˆ>LiÊÃÕÀv>ViʘœÜÊvi>ÌÕÀiÃÊVœœÕÀvՏʓÕÀ>ÃÊ`i«ˆV̈˜}Ê̅iÊyœÀ>Ê>˜`Êv>՘>ʜvÊ̅iʈÏ>˜`Ê>ÃÊÜiÊ>ÃʏœV>Ê“ÕÈVˆ>˜Ã]ÊwÅiÀ“i˜]Ê “iÀ“>ˆ`ÃÊ >˜`Ê ->˜ÌiÀ‰>Ê Ã>ˆ˜ÌðÊ
Ê LiÌÌiÀ‡Ž˜œÜ˜Ê iÝ>“«iÊ ÜœÕ`Ê LiÊ >ÀŽÊ ,œÌ…Žœ½ÃÊ £™x™Ê -i>}À>“Ê «>ˆ˜Ìˆ˜}Ã]Ê ˜œÜÊ …œÕÃi`Ê >ÌÊ />ÌiÊ œ`iÀ˜Ê ˆ˜Ê œ˜`œ˜°Ê ,œÌ…ŽœÊ >ÃœÊ Ài}>À`i`ʅˆÃÊ«>ˆ˜Ìˆ˜}ÃÊ>ÃʓÕÀ>Ã]Ê`ˆÃ«>ÞÃÊ̅>ÌÊܜՏ`]Ê>ÃÊœ˜>̅>˜Êœ˜iÃʜLÃiÀÛi`]Ê ¼Ã…>«iÊ>˜ÊiÝ«iÀˆi˜ViʜvÊë>ViÊ̅ÀœÕ}…Ê>À̽°42 The monumentality of the canvases VÀi>ÌiÃÊ >˜Ê ˆ˜Ìi}À>Ìi`Ê i˜ÛˆÀœ˜“i˜ÌÊ ˆ˜Ê ܅ˆV…Ê ,œÌ…Žœ½ÃÊ `œÕÀ]Ê >«œV>Þ«ÌˆVÊ ÛˆÃˆœ˜ÃÊ ˆ˜Ê œVi>˜ˆVÊLÀœÜ˜ÃÊ>˜`ʓ>Àœœ˜ÃÊi˜}>}iʈ˜Ê>ʎˆ˜`ʜvÊÃޘV…Àœ˜ˆÃi`ÊۈÃÕ>ÊV…œÀÕÃÊ̅>Ì]Ê >LiˆÌʈ˜Ê>Ê`ˆvviÀi˜ÌʎiÞ]ÊÀiÃÕÀv>ViÃʈ˜Ê“œÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜ÃÊLÞÊ>À̈ÃÌÃÊvÀœ“Ê ˆÊ 6ˆœ>Ê̜Ê-…ˆÀˆ˜Ê iÅ>Ì]ÊvÀœ“Ê,œLiÀÌÊ >…i˜Ê̜Ê>˜œ˜Ê`iÊ œiÀ°Ê/…iÊ«ˆV̜Àˆ>ÊÌÀ>`ˆÌˆœ˜ÃʜvÊ «>ˆ˜Ìˆ˜}ÆÊ̅iÊ>À̈VՏ>̈œ˜ÃʜvÊë>ViÊ܈̅ˆ˜Ê>˜`ÊLiޜ˜`Ê̅iÊvÀ>“i]Ê̅iÊ«>ÞʜvÊÃÕÀv>ViÊ

34

INSTALLATION AND THE MOVING IMAGE

José Fuster, mosaic wall works (2008), Jaimanitas district, Havana, Cuba. Photo: Uwe Ackermann.

>˜`Ê`i«Ì…]Ê̅iÊ>``ÀiÃÃÊ̜Ê>Ê}À>∘}ÊëiVÌ>̜À]Ê̅iÊÃÌޏˆÃ̈VÊÀ>˜}iÊvÀœ“ÊÀi>ˆÃ“Ê̜Ê̅iÊ “œÃÌÊÃÕLˆ“iʜvÊ>LÃÌÀ>V̈œ˜Ã]ÊvÀœ“Ê«ÀiÌ̈˜iÃÃÊ̜Ê̅iÊi“LÀ>ViʜvÊ̅iÊ>LiVÌ]Ê܈Ê>Ê resurface in myriad guises throughout this discussion of installation and the movˆ˜}ʈ“>}i°Ê/…iʘiÜÊ`ޘ>“ˆV]Ê>˜ˆ“>Ìi`ÊvœÀ“Êœvʈ˜ÃÌ>i`Ê«ˆVÌÕÀiÃÊ`œiÃʘœÌÊÜʓÕV…Ê V>˜˜ˆL>ˆÃiÊ̅iʅˆÃ̜ÀÞʜvÊ«>ˆ˜Ìˆ˜}Ê>ÃÊÀi`ˆÃVœÛiÀʈÌÃÊ«œÌi˜Ìˆ>Êˆ˜Ê̅iÊVœ˜ÌiÝÌʜvʘiÜÊ technologies and new audiences already predisposed to the apprehension of seriaˆÃi`]Êi˜vÀ>“i`ÊۈÃÕ>ÊÀi«ÀiÃi˜Ì>̈œ˜ÃÊqÊÌ>Ži˜Êœ˜Ê̅iʅœœv°

NOTES 1Ê 2Ê

3Ê 4

>ÀÀÞÊ-V…Ü>LÎÞÊ­Óä䣮ʼ-…ˆÀiÞÊ7ˆˆÌ>Ã>œ\Ê/…iʘivv>LˆˆÌÞÊ vviV̽]ÊV>Ì>œ}ÕiÊiÃÃ>Þ]Ê*œÜiÀÊ *>˜Ì]Ê/œÀœ˜Ìœ]Ê«°Ê££° *>ՏÊ-…>ÀˆÌÃʵ՜Ìi`ÊLÞÊ ÀÕViÊi˜Žˆ˜ÃÊ­Óä䙮ʼ"ÕÌʜvÊ̅iÊ >ÀŽ½]ÊArtforum]ÊÃՓ“iÀÆʅÌÌ«\ÉÉ ÜÜÜ°“ÕÌÕ>>ÀÌ°Vœ“É"«i˜
À̈ViÉ"Õ̇œv‡Ì…i‡ >ÀŽÉn™Î ÎÈn än
™ÈCÊ­>VViÃÃi`ÊÇÊՏÞÊ 2014). -iiÊ Àˆœ˜ÞÊiÀÊ­Óä䣮ʼ/…iÊ-œ“˜>“LՏˆÃ̽ÃÊ-̜ÀÞ\ʘÃÌ>>̈œ˜Ê>˜`Ê̅iÊ/>Li>Õ½]ÊOxford Art Journal]ÊëiVˆ>ÊˆÃÃÕiʼ"˜Ê˜ÃÌ>>̈œ˜½]ÊÓ{\ÊÓ]Ê««°ÊÇxq™Î° I am aware of those forms of painting that inscribe an ambulatory spectator such as fresVœÃ]Ê܅ˆV…ÊÊ`ˆÃVÕÃÃʈ˜Ê`ÕiÊVœÕÀÃi]Ê>˜`Ê̅iÊ-Ì>̈œ˜ÃʜvÊ̅iÊ ÀœÃÃÊÀiviÀi˜Vi`ʈ˜ÊV…>«ÌiÀʜ˜i°

PAINTING

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36


°Ê°Ê,iiÃÆÊi“>ˆÊVœÀÀi뜘`i˜ViÊ܈̅Ê̅iÊ>Õ̅œÀ]ʙÊՏÞÊÓääÈ° -iiÊiˆÃÃ>ÊÀœ˜Õ˜`Ê­Óä£Ó®Ê¼"LÃiÀÛ>̈œ˜>Êˆ“\Ê
`“ˆ˜ˆÃÌÀ>̈œ˜ÊœvÊ-œVˆ>Ê,i>ˆÌÞ½]ÊMIRAJ]Ê £\ÊÓ]Ê«°Ê£Çΰ -ii]ÊV…>«ÌiÀÃÊÈÝ]ʘˆ˜iÊ>˜`ÊiiÛi˜Êˆ˜Ê̅ˆÃÊۜÕ“i° œÀÊ>Ê`ˆÃVÕÃȜ˜ÊœvÊVˆ˜i“>̈VʈÕȜ˜ˆÃ“Ê>˜`Ê>˜Ìˆ‡ˆÕȜ˜ˆÃ“]ÊÃiiÊœ˜>̅>˜Ê7>iÞÊ­Óä£{®Ê ¼ Ý«iÀˆ“i˜Ì>ÊVˆ˜i“>½ÃʈÕÈÛiʈÕȜ˜½]ÊMIRAJ]ÊÓ\ÊÓ]Ê««°ÊÓΙqxä° >ÀViÊ*ÀœÕÃÌʵ՜Ìi`ʈ˜Ê Àˆœ˜ÞÊiÀÊ­Óä䣮]ʜ«°ÊVˆÌ°]Ê«°ÊÇÇ° Ibid. p. 79. ,ˆV…>À`Ê7œ…iˆ“ʵ՜Ìi`ʈ˜ÊÀ>…>“iÊ7iˆ˜LÀi˜Ê­Óä£Ó®Ê¼ œœÕÀi`Ê«>«iÀʈ˜Ê“œ˜Õ“i˜ÌÊÛ>iÞ\Ê Vœ˜ÌÀ>`ˆV̈œ˜Ã]ÊÀiܘ>˜ViÃ]Ê>˜`Ê«ÕÀ>ˆÌˆiÃʈ˜Ê̅iÊ>ÀÌʜvÊ*>ÌÊ"½ iˆ½]ÊMIRAJ]Ê£\ÊÓ]Ê«°Ê£x™° /…iÊiÝÌiÀ˜>Ê«>À>«…iÀ˜>ˆ>ʜvÊ>ʓœ˜ˆÌœÀʈÃʜvÌi˜Êœ˜Ê`ˆÃ«>ÞÊqÊ̅iÊÌ>˜}iʜvÊ܈ÀiÃ]ʓՏ̈‡«Õ}ÃÊ >˜`ʓˆÝiÀÃÊqÊLÕÌʈÌÃʈ˜ÌiÀ˜>ÊܜÀŽˆ˜}ÃÊÀi“>ˆ˜ÊÛiˆi`°Ê I am not suggesting that this spectator-led play between surface and depth makes a viewer ˆ˜…iÀi˜ÌÞʓœÀiʼ>V̈Ûi½°Ê˜Êv>VÌ]ÊviÜÊ>`ՏÌÃÊ}œÊÕ«Ê̜Ê̅iÊÃVÀii˜Ê>˜`ÊÜ>ÌV…Ê̅iÊ`œÌÃÊ̅iÊÜ>ÞÊ children do. My interest is in the structural equivalence between Impressionist painting >˜`Ê«ÀœiVÌi`Êw“Ê̅>ÌÊܜՏ`Ê>œÜÊvœÀÊÃÕV…Ê>˜Êˆ˜ÛiÃ̈}>̈œ˜° /…ˆÃÊiÝ«>˜Ãˆœ˜ÊœvÊۜÕ“iÊLÞʈ˜viÀi˜ViÊVœÕ`ÊÜiÊLiÊÀi>`Ê>ÃÊ>˜ÊiµÕˆÛ>i˜Ìʜvʜvv‡ÃVÀii˜Ê ë>Vi]Ê>Ê̅i“iÊÊÅ>ÊÀiÌÕÀ˜Ê̜ʏ>ÌiÀʈ˜Ê̅ˆÃÊV…>«ÌiÀÊ>˜`Ê>}>ˆ˜Êˆ˜ÊV…>«ÌiÀʘˆ˜i° A. L. Rees (2000) A History of Experimental Film and Video°Êœ˜`œ˜\Ê ÀˆÌˆÃ…ʈ“ʘÃ̈ÌÕÌi]Ê p. 23. Rees also credits the Cubists for inspiring the development of Russian revolutionary w“]Ê܈̅ʈÌÃÊÃÕ``i˜ÊV…>˜}iÃʜvÊۈiÜÊ­Õ“«ÊVÕÌîÊ>˜`ʓœLˆiÊV>“iÀ>° -ii]ÊvœÀʈ˜ÃÌ>˜Vi]ʈÀˆ>“Ê>˜Ãi˜Ê­Óä£Ó®ÊCinema and Experience; Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno°Ê iÀŽiiÞ]Ê
\Ê1˜ˆÛiÀÈÌÞʜvÊ >ˆvœÀ˜ˆ>Ê*ÀiÃÃ°Ê The pioneering film director D. W. Griffith was influenced by the way Charles Dickens broke Õ«Ê>ÊÃ̜ÀÞ]ʼňv̈˜}ÊvÀœ“Êœ˜iÊ}ÀœÕ«ÊœvÊ«iœ«iÊ̜Ê>˜œÌ…iÀ½]Ê>˜`Ê̅ˆÃʼ˜i>À˜iÃÃÊ̜Ê̅iÊV…>À>VÌiÀˆÃ̈VÃʜvÊVˆ˜i“>ʈ˜ÊQ̅iRʓi̅œ`ýʜvÊ«>À>iÊÃ̜ÀÞÌiˆ˜}]Ê>VVœÀ`ˆ˜}ÊÌœÊ ˆÃi˜ÃÌiˆ˜]Ê was another powerful source for the development of montage. See Sergei Eisenstein (1944) Dickens, Griffith, and the Film Today. Available online: …ÌÌ«\ÉÉw“>`>«Ì>̈œ˜°µÜÀˆÌˆ˜}°µV°V՘ްi`ÕÉvˆiÃÉÓä£ÓÉänÉ ˆÃi˜ÃÌiˆ˜‡ ˆVŽi˜Ã‡ÀˆvvˆÌ…‡>˜`‡Ì…i‡ˆ“‡/œ`>Þ°«`f (accessed 30 September 2014). Ardengo Soffici quoted by RoseLee Goldberg (1979) Performance: Live Art from 1909 to the Present°Êœ˜`œ˜\Ê/…>“iÃÊEÊÕ`ܘ]Ê«°Ê£ä°
˜œÌ…iÀÊ >˜ÌiVi`i˜ÌÊ vœÀÊ Ì…iÊ ÌÀ>ViÀÊ ivviVÌÊ V>˜Ê LiÊ vœÕ˜`Ê ˆ˜Ê ̅iÊ “Տ̈«iÊ iÝ«œÃÕÀiÃÊ œvÊ Ì…iÊ ¼V…Àœ˜œ«…œÌœ}À>«…iÀ½Ê ̈i˜˜iÊՏiÃÊ>ÀiÞÊ­£nÎäq£™ä{®°Ê

“ˆÞÊ,ˆV…>À`ܘ½ÃÊÌiÀ“]ÊÕÃi`ʈ˜Ê>Ê`ˆÃVÕÃȜ˜ÊœvʅiÀÊܜÀŽÊ`ÕÀˆ˜}Ê̅iÊFiguring Landscapes ̜ÕÀ]Ê1]ÊÀi>˜`]Ê
ÕÃÌÀ>ˆ>Ê­ÓäänqÓä£ä®ÆʅÌÌ«\ÉÉÜÜÜ°ÃÌÕ`ÞVœiV̈œ˜°Vœ°ÕŽÉw}ÕÀˆ˜}>˜`Ãcapes (aVViÃÃi`ÊÇÊՏÞÊÓä£{®° œÀÊ>˜Êˆ˜Ãˆ}…ÌvՏÊ>VVœÕ˜ÌʜvÊ-i“ˆVœ˜`ÕV̜À½ÃÊܜÀŽÃÊÃiiʈÞÊÕÃL>˜`ÃÊ­Óä£Î®Ê¼/…iʓiÌ>‡ «…ÞÈVÃʜvÊ`>Ì>\Ê*…ˆœÃœ«…ˆV>ÊÃVˆi˜Viʈ˜Ê-i“ˆVœ˜`ÕV̜À½ÃÊ>˜ˆ“>Ìi`Êۈ`iœÃ½]ÊMIRAJ]ÊÓ\ÊÓ]Ê ««°Ê£™nqÓ£Ó°Ê,iVi˜ÌÊÞi>ÀÃʅ>ÛiÊ>ÃœÊ܈̘iÃÃi`Ê>˜ÊiÝ«œÃˆœ˜ÊœvÊ̈“i‡>«ÃiÊw““>Žˆ˜}ʈ˜Ê galleries and online. >ÀÊÀ>ÕÃÃʈ˜Ê…ˆÃÊ£™£äÊiÃÃ>Þʼiˆ˜iÊ>˜`Ê̅iÊ œ˜ÃiµÕi˜Viý]ʵ՜Ìi`ʈ˜Êœ˜>̅>˜Ê>˜âi˜Ê ­Óä£Î®Ê¼,>}iÊ>}>ˆ˜ÃÌÊ̅iʓ>V…ˆ˜i½]ÊGuardian Review]Ê£{Ê-i«Ìi“LiÀ]Ê«°ÊÓ° A term Tom Sherman uses throughout Before and after the I-Bomb: An Artist in the

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Information Environment. Atlanta: The Banff Centre Press (2002). See Catherine Elwes (2005) Video Art: A Guided Tour°Êœ˜`œ˜\Ê° °Ê/>ÕÀˆÃ]Ê««°Ê™Èq££È°ÊÊ܈Ê return to this topic in chapter eleven. ˆÊ i˜˜iÌÌÊ­Óään®ÊT_Visionarium: A User’s Guide]ÊÀi«Àœ`ÕVi`ʜ˜ˆ˜i\ʅÌÌ«\ÉÉÜÜÜ°ˆVˆ˜i“>° ՘ÃÜ°i`Õ°>ÕÉ«ÀœiVÌÃÉÌÚۈȜ˜>ÀˆÕm (accessed 10 September 2013). Heinrich Böll ([1961] 2011) Billiards at Half Past Nine]Ê ÌÀ>˜Ã°Ê *>ÌÀˆVŽÊ œÜiÃ°Ê œ˜`œ˜\Ê >Àޜ˜Ê œÞ>ÀÃ]Ê«°ÊÈ° /…iÀiʈÃÊܓiÊ`ˆÃ«ÕÌiÊ>“œ˜}ÊÃV…œ>ÀÃÊ>ÃÊ̜Ê̅iÊ>VVÕÀ>VÞʜvÊ̅iÊ>ÌÌÀˆLṎœ˜Ê̜ʈœÌ̜]ÊLÕÌÊ this need not detain us here. Heinrich Wolfflin ([1952] 1968) Classic Art]ÊÌÀ>˜Ã°Ê*iÌiÀÊ>˜`ʈ˜`>ÊÕÀÀ>Þ°Êœ˜`œ˜\Ê*…>ˆ`œ˜]Ê p. 3. ˆÊ6ˆœ>Ê­Óääήʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Êœ…˜Ê7>Ã…]ÊThe Eye of the HeartÊ­>ÀŽÊˆ`i]Ê`ˆÀiV̜À®]Ê Ê{°Ê Ibid. Ibid.
˜`ÀiÜÊÀ>…>“‡ ˆÝœ˜Ê­£™™™®ÊJourney of the Magus]ÊxÊ iVi“LiÀ°Ê
Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉ ÜÜÜ°LLV°Vœ°ÕŽÉ«Àœ}À>““iÃÉ«ä䅘ÈÝÎÊ­>VViÃÃi`Ê£ÎÊ
Õ}ÕÃÌÊÓä£Î®° Ibid. -iiÊ ˆÛˆ˜`Ê,©ÃÃ>ŽÊ­Ó䣣®Ê¼/…iÊ-̈ÉœÛˆ˜}ʈi`\Ê
˜Ê˜ÌÀœ`ÕV̈œ˜½]ʈ˜Ê ˆÛˆ˜`Ê,©ÃÃ>ŽÊ­i`°®Ê Between Stillness and Motion: Film, Photography, Algorithms. Amsterdam: Amsterdam 1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê««°Ê££qÓÈ°Ê œ…˜Ê 7>Ã…]Ê `ˆÀiV̜ÀÊ œvÊ Ì…iÊ *>ÕÊ iÌÌÞÊ ÕÃiÕ“Ê ­ÀïÀi`Ê Óäää®]Ê ˆ˜Ê Vœ˜ÛiÀÃ>̈œ˜Ê ÜˆÌ…Ê ˆÊ 6ˆœ>]Ê>ÃÊ>LœÛi° œ˜>`Ê Õ``Ê µÕœÌi`Ê LÞÊ ˆV…>iÊ Àˆi`Ê ­Q£™ÈÇRÊ £™™n®Ê Art and Objecthood: Essays and Reviews. Chicago: University of Chicago Press. Walter Ruttmann (c°Ê£™£™É£™Óä]Ê£™n™®Ê¼>iÀiˆÊ“ˆÌʘ«>ՏÊœiÀ}i˜Ê­i`°®ÊWalter Ruttmann. Eine Dokumentation°Ê iÀˆ˜\Ài՘`iÊ`iÀÊ`iÕÌÃV…i˜Êˆ˜i“>̅iŽ]Ê«°ÊÇ{° Ibid.
˜`ÀjÊ >∘ʭQ£™x™RÊ£™Èn®Ê¼*>ˆ˜Ìˆ˜}Ê>˜`Ê ˆ˜i“>½]ʈ˜ÊWhat is Cinema: Volume One]ÊÌÀ>˜Ã°Ê Õ}…ÊÀ>Þ°Ê iÀŽiiÞ]Ê
\Ê1˜ˆÛiÀÈÌÞʜvÊ >ˆvœÀ˜ˆ>Ê*ÀiÃÃ]Ê«°Ê£È{° -Ìi«…i˜Êi>̅ʭ£™n£®Ê¼ >ÀÀ>̈ÛiÊ-«>Vi½]ʈ˜ÊQuestions of Cinema°Êœ˜`œ˜\Ê>V“ˆ>˜]Ê«°ÊxÎ°Ê Available online: …ÌÌ«\ÉÉÃVÀii˜°œÝvœÀ`œÕÀ˜>Ã°œÀ}ÉVœ˜Ìi˜ÌÉ£ÇÉÎÉÈn°iÝÌÀ>VÌÊ­>VViÃÃi`Ê£™Ê December 2013). 7…œÊ V>˜Ê vœÀ}iÌÊ Ì…iÊ vœœÌ>}iÊ œvÊ Ì…œÃiÊ wÀÃÌÊ Õ˜}>ˆ˜ÞÊ ÃÌi«ÃÊ Ì>Ži˜Ê LÞÊ >ÃÌÀœ˜>ÕÌÃÊ ˆ˜Ê £™È™]ÊÊ Li>“i`Ê̜ʜÕÀÊi>À̅ÞÊÌiiۈȜ˜ÊÃiÌö œ˜>̅>˜Êœ˜iÃÊ­Óä£Ó®Ê¼/>ÌiÊœ`iÀ˜½ÃÊÀi…>˜}ÊV>˜˜œÌÊ`ˆ“ˆ˜ˆÃ…Ê̅iʓ>iÃÌÞʜvÊ>ÀŽÊ,œÌ…Žœ½ÆÊ posted online 22 August: …ÌÌ«\ÉÉÜÜܰ̅i}Õ>À`ˆ>˜°Vœ“É>ÀÌ>˜``iÈ}˜Éœ˜>̅>˜œ˜iÃLœ} ÉÓä£ÓÉ>Õ}ÉÓÓÉÌ>Ìi‡“œ`iÀ˜‡“>ÀŽ‡ÀœÌ…Žo (accessed 26 September 2013).

PAINTING

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CHAPTER THREE

Sculpture ...useless three-dimensional things. ,œLiÀÌÊœÀÀˆÃ]Ê£™ÈÈ A ship in a bottle, a building within a building. *…ޏˆ`>Ê >ÀœÜ]ÊÓä£ä

THE DEMISE OF SCULPTURE "ÛiÀÊ Ì…iÊ «>ÃÌÊ Vi˜ÌÕÀÞ]Ê Ì…iÊ ˆ˜Ìi}ÀˆÌÞÊ œvÊ >ÀV…ˆÌiVÌÕÀiÊ …>ÃÊ Lii˜Ê LœÌ…Ê >vwÀ“i`Ê >˜`Ê Vœ“«Àœ“ˆÃi`ÊLÞÊ̅iÊ>LˆˆÌÞʜvÊ«ÀœiVÌi`ʏˆ}…ÌÊ̜Ê`ˆÃ܏ÛiÊÜ>ÃÊ>˜`ÊÀÕ«ÌÕÀiÊë>̈>Ê Vœ˜Ìˆ˜ÕˆÌÞ°Ê
ÌÊ̅iÊÃ>“iÊ̈“i]ÊÃVՏ«ÌÕÀi]Ê̅>Ìʜ̅iÀÊi˜}ˆ˜iiÀʜvÊ܏ˆ`ʓ>ÌÌiÀ]ʅ>ÃÊLiVœ“iÊ`ii«ÞÊi˜“iÅi`ʈ˜Ê“œÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜°Ê˜ÊˆÌÃÊi>ÀÞÊ`>ÞÃ]ʈ˜ÃÌ>>̈œ˜Ê “ˆ}…ÌÊ >««i>ÀÊ ÌœÊ …>ÛiÊ i˜œÞi`Ê Ãœ“iÊ Vœ˜}ÀÕi˜ViÊ ÜˆÌ…Ê i“i˜ÌÊ Àii˜LiÀ}½ÃÊ “œ`iÀ˜ˆÃÌÊ `i“>˜`Ê vœÀÊ ÃVՏ«ÌÕÀiÊ ÌœÊ ¼>ۜˆ`Ê `i«i˜`i˜ViÊ Õ«œ˜Ê >˜ÞÊ œÀ`iÀÊ œvÊ iÝ«iÀˆi˜ViÊ not given in the most essentially construed nature of its medium’.1 This state of “>ÌiÀˆ>ˆÃÌÊ}À>ViÊÜ>ÃÊ̜ÊLiÊ>V…ˆiÛi`]ÊÃ>ˆ`ÊÀii˜LiÀ}]ʜ˜ÞÊLÞÊ>À̈ÃÌÃÊV>Ìi}œÀˆV>ÞÊ ¼Ài˜œÕ˜Vˆ˜}ʈÕȜ˜½°Ê-ÌÀÕVÌÕÀ>Êw““>ŽiÀÃÊ>˜`Êۈ`iœÊ>À̈ÃÌÃʈ˜Ê̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃÊ `ˆ`ʈ˜`ii`ʏ>՘V…Ê̅iˆÀʜܘÊLÀ>˜`ʜvʼÌÀÕ̅Ê̜ʓ>ÌiÀˆ>Ã½]Ê>ÃÊÜiÊ܈ÊÃiiʈ˜ÊV…>«ÌiÀÊÃˆÝ°Ê /…iÞÊ`iÌiÀ“ˆ˜i`Ê̜ÊiÝ«œÃiÊ̅iʓiV…>˜ˆÃ“ÃʜvʈÕȜ˜ˆÃ“Ê̅>ÌÊÃÕÃÌ>ˆ˜i`ÊÀi>ˆÃ“Ê >˜`ʘ>ÀÀ>̈Ûiʓœ`iðÊœÜiÛiÀ]ʈ˜ÊëˆÌiʜvÊ̅iˆÀÊivvœÀÌÃÊ̜ʫÀiÃi˜ÌÊ̅iÊÌiV…˜œœ}ˆiÃÊ œvÊ “œÛˆ˜}Ê ˆ“>}iÊ ¼ÃœiÞÊ ˆ˜Ê ÌiÀ“ÃÊ œvÊ Ì…iˆÀÊ Ãi«>À>ÌiÊ >˜`Ê ˆÀÀi`ÕVˆLiÊ ÃiÛiý] 2 even the most abstract of structural films could not reform patterns of light genetically «Ài`ˆÃ«œÃi`Ê̜ʓ>õÕiÀ>`iÊ>ÃÊ>˜œÌ…iÀÊÀi>ˆÌްʘÊÃVÀii˜ÊÀiˆ>˜Ìʈ˜ÃÌ>>̈œ˜Ã]Ê̅iÊ Vi˜ÌÀ>ÊÌi˜iÌʜvʓœ`iÀ˜ˆÃÌÊÃVՏ«ÌÕÀi]Ê̅iʈ˜ÛœV>̈œ˜Ê¼ÌœÊLiʈÌÃiv½ÊVœÕ`Ê̅iÀivœÀiʘœÊ longer be sustained to the level required by the Greenbergian ethos.

38

The imperfect adaptation of modernist sculptural precepts by the moving image vœÀ“i`Ê«>ÀÌʜvÊ̅iÊ}À>`Õ>ÊiÀœÃˆœ˜ÊœvÊ̅iÊV>Ìi}œÀÞʜvʼÃVՏ«ÌÕÀi½Ê̅>Ìʅ>`ÊLii˜Ê՘der way since the 1920s. The Russian Suprematist El Lissitzky created his series of Proun Rooms (1923) in which splintered paintings were straining to escape into the Vœ˜`ˆÌˆœ˜ÊœvÊÃVՏ«ÌÕÀiÊ­œÀ]Ê«œÃÈLÞ]ÊÃVՏ«ÌÕÀiÃÊÜiÀiÊvÀ>}“i˜Ìˆ˜}Ê>˜`ʏi>«ˆ˜}Ê̜Ê̅iÊ walls for safety) perfectly illustrating Phyllida Barlow’s concept of contemporary ÃVՏ«ÌÕÀiÊ>ÃʼÜ>ÃÊ̅>ÌÊVœ“iÊ>Ü>ÞÊvÀœ“ÊÜ>Ã½°3ʘÊ̅iʓœ`iÀ˜ˆÃÌÊ«iÀˆœ`]Ê̅iÊܜÀŽÊ œvÊ ,œLiÀÌÊ ,>ÕÃV…i˜LiÀ}Ê >˜`Ê œÃi«…Ê iÕÞÃÊ iÝi“«ˆwi`Ê ÃVՏ«ÌÕÀiÊ LÀi>Žˆ˜}Ê œÕÌÊ œvÊ its conventional boundaries and distributing its constituent elements across a galiÀÞÊë>ViÊÜÊ̅>ÌÊ̅iÊۈiÜiÀÊÜ>ÃʘœÌÊÜʓÕV…Ê>««Ài…i˜`ˆ˜}Ê>Ê`ˆÃVÀiÌiʜLiVÌÊvÀœ“Ê >ÊvÀœ˜Ì>Ê«œÃˆÌˆœ˜ÊœÕÌÈ`iÊ>ÃÊÌÀ>Ûiˆ˜}ʈ˜Ãˆ`iÊ̅iÊܜÀŽÊˆÌÃiv°Ê
iÝÊ*œÌÌÃʅ>Ãʏˆ˜Ži`Ê Ì…iÊë>̈>ÊiÝ«>˜Ãˆœ˜ÊœvÊÃVՏ«ÌÕÀiÊ̜Ê>Ê`iÈÀiʜ˜Ê̅iÊ«>ÀÌʜvÊ>À̈ÃÌÃʼ̜Ê}iÌÊ>Ü>ÞÊvÀœ“Ê «ÕÀiÊÃVՏ«ÌÕÀiÊ°°°Ê̜ÊLiÊ>LiÊ̜ÊiÝ«œˆÌÊ̅iÊ«œÜiÀvՏÊۈÃÕ>ÊivviVÌÃʜvʈ˜Ìˆ“>ÌiÊi˜}Տv“i˜ÌÊ`iÛiœ«i`ʈ˜ÊVˆ˜i“>Ê>˜`ÊViÀÌ>ˆ˜Ê«>ˆ˜Ìˆ˜}ʈ˜ÃÌ>>̈œ˜Ã½] 4 an ambition that was Ài>ˆÃi`Ê܅i˜ÊœLiVÌÃÊÜiÀiÊVœ“Lˆ˜i`Ê܈̅Ê̅iÊ`i“>ÌiÀˆ>ˆÃi`ʓi`ˆÕ“ÊœvÊw“Ê>˜`Ê Ûˆ`iœ°Ê˜Ê̅iÊ£™ÈäÃ]Ê̅iʓˆ˜ˆ“>ˆÃÌÊÃVՏ«ÌœÀÊ œ˜>`ÊÕ``Ê>ÃœÊV…>i˜}i`Ê̅iʈ“«iÀˆ>Ê Ș}Տ>ÀˆÌÞÊ œvÊ Ì…iÊ …>˜`VÀ>vÌi`Ê œLiVÌÊ LÞÊ i݅ˆLˆÌˆ˜}Ê “Տ̈«iÃÊ œvÊ ˜i>À‡ˆ`i˜ÌˆV>Ê ÀiVÌ>˜}Տ>ÀÊLœÝiÃʈ˜ÊÀi}ˆ“i˜Ìi`ÊVœ˜w}ÕÀ>̈œ˜ÃÊ̅ÀœÕ}…Ê܅ˆV…Ê̅iÊۈiÜiÀÊÜ>ÃÊvÀiiÊ to roam. These works no longer proffered an internal argument of meaning created LÞÊ Vi˜ÌÀˆ«iÌ>Ê vœÀ“>Ê ˆ˜Vˆ`i˜ÌÃÊ ÜˆÌ…ˆ˜Ê ˆÌÃÊ LœÀ`iÀÃ]Ê LÕÌ]Ê >ÃÊ ,œLiÀÌÊ œÀÀˆÃÊ …>ÃÊ œLÃiÀÛi`]Ê̅iÞÊLiV>“iʼ>Êv՘V̈œ˜ÊœvÊë>Vi]ʏˆ}…ÌÊ>˜`Ê̅iÊۈiÜiÀ½ÃÊwi`ʜvÊۈȜ˜½Ê>˜`Ê>ÃÊ >ÊÀiÃՏÌ]Ê̅iÊÃVՏ«ÌÕÀ>ÊœLiVÌʅ>`ÊLiVœ“iʼiÃÃÊÃiv‡ˆ“«œÀÌ>˜Ì½°5 vÊ>ÊÃVՏ«ÌÕÀiÊÜ>ÃÊ>˜ÊœLiVÌʏˆŽiÊ>˜Þʜ̅iÀ]ÊLÞÊ̅iÊÃ>“iÊ̜Ži˜ÊVœÕ`Ê>˜ÞʜLiVÌÊ LiÊ>ÊÃVՏ«ÌÕÀi¶Ê/…ˆÃʵÕiÃ̈œ˜ÊÜ>ÃÊv>“œÕÏÞÊ>˜ÃÜiÀi`ÊLÞÊ>ÀViÊ ÕV…>“«]Ê܅œÊˆ˜Ê £™£ÇÊÃÕL“ˆÌÌi`Ê>ÊÕÀˆ˜>Ê̜Ê>˜Êœ«i˜ÊŜÜ]ÊÀi˜>“i`ʈÌÊFountain]ÊÈ}˜i`ʈÌʼ,°ÊÕÌÌ½Ê and convinced the world that it was art.6 If the urinal destroyed (momentarily) the VÀ>vÌÊL>ÃiʜvÊÃVՏ«ÌÕÀiÊ>˜`ÊV…>i˜}i`ʘœÌˆœ˜ÃʜvÊ>Õ̅i˜ÌˆVˆÌÞ]ʈÌÊ>ÃœÊ…iÀ>`i`Ê̅iÊ iVˆ«ÃiʜvÊ>˜ÞÊiÝ«ÀiÃÈÛiÊVœ“«œ˜i˜ÌÊ̅>Ìʓˆ}…ÌÊÀiÛi>Ê̅iÊÃÕLiV̈ۈÌÞʜvÊ̅iÊ>À̈ÃÌ]Ê>˜ÊiÛ>VÕ>̈œ˜ÊœvÊi“œÌˆÛiÊVœ˜Ìi˜ÌÊ̅>ÌÊiÃÌ>LˆÃ…i`Ê>Ê«Àœ…ˆLˆÌˆœ˜Ê>`…iÀi`Ê̜ÊLÞÊ Ì…iÊ}i˜iÀ>̈œ˜ÃʜvÊVœ˜Vi«ÌÕ>Ê>À̈ÃÌÃÊ̅>ÌÊvœœÜi`°Ê
ÃÊ ÕV…>“«Ê…ˆ“ÃivÊ`iV>Ài`]Ê >LiˆÌÊܓi܅>ÌÊ`ˆÃˆ˜}i˜ÕœÕÏÞ]ʼ̅iÊV…œˆViʜvÊÀi>`ޓ>`iÃʈÃÊ>Ü>ÞÃÊL>Ãi`ʜ˜ÊۈÃÕ>Êˆ˜`ˆvviÀi˜ViÊ>˜`]Ê>ÌÊ̅iÊÃ>“iÊ̈“i]ʜ˜Ê̅iÊ̜Ì>Ê>LÃi˜ViʜvÊ}œœ`ʜÀÊL>`ÊÌ>ÃÌi½°7 "vÊVœÕÀÃi]Ê̅iÊÕÀˆ˜>ÊÜ>ÃÊV>ÀivՏÞÊV…œÃi˜ÊvœÀʈÌÃÊ>LˆˆÌÞÊ̜Êépater la bourgeoisie]Ê>˜`Ê ˆÌÃÊÃÕVViÃÜÀÃ]ʈ˜Ê>ÊÃÌÀˆV̏Þʏˆ“ˆÌi`Êi`ˆÌˆœ˜Ê>Õ̅œÀˆÃi`ÊLÞÊ̅iÊ>À̈ÃÌʭ̅iʜÀˆ}ˆ˜>ÊÜ>ÃÊ œÃÌ®Ê ÃÕLÃiµÕi˜ÌÞÊ LiV>“iÊ VœiVÌ>LiÊ œLiVÌÃÊ œvÊ ˆ““i˜ÃiÊ Û>Õi° 8Ê œÜiÛiÀ]Ê Ì…iÊ «Àˆ˜Vˆ«iʜvÊ̅iÊvœÕ˜`ʜLiVÌ]Êi˜>V̈˜}Ê>Êdétournement]Ê>ÊÌÀ>˜ÃvœÀ“>̈œ˜ÊœvʈÌÃʜÀˆ}ˆ˜>Ê«ÕÀ«œÃiÊ>˜`ʓi>˜ˆ˜}]ÊÜ>ÃʘœÜÊwÀ“ÞÊiÃÌ>LˆÃ…i`ʈ˜Ê…ˆ}…ÊVՏÌÕÀiÊ>˜`ÊLiV>“iÊ Ì…iʅ>“>ÀŽÊœvÊ̅iÊ«œÃ̓œ`iÀ˜ÊVՏÌÕÀiʜvÊ>««Àœ«Àˆ>̈œ˜]ÊÃ>“«ˆ˜}Ê>˜`ʵ՜Ì>̈œ˜°Ê The artistry involved was no longer located in the sculptor’s skilful manipulation of materials but was transposed to the strategic public placement of the repurposed

SCULPTURE

39

>ÀÌiv>VÌ]Ê܅œÃiʜÀˆ}ˆ˜>ÊVÀi>̜ÀÊÜ>ÃÊÀ>ÀiÞÊVÀi`ˆÌi`°Ê
ÊvœÕ˜`ʜLiVÌÊܜÀŽÊ˜iViÃÈtates a declaration of the artist’s authorship and the communication of his or her Vœ˜Vi«ÌÕ>Êˆ˜Ìi˜Ì]Ê>˜`ʜ˜Ê̅iÊLÀœ>`V>Ã̈˜}ʜvÊ̅iʜLiV̽ÃÊi݈ÃÌi˜ViÊLÞÊ܅>ÌiÛiÀÊ “i>˜ÃÊ>ÌʈÌÃÊ«Àœ“œÌiÀýÊ`ˆÃ«œÃ>°Ê
˜`ÞÊ7>À…œ½Ãʓ>˜ÌÀ>]ÊÜÊLiœÛi`ʜvʓ>ÀŽiÌiiÀÃ]Ê Ì…>Ìʼ}œœ`ÊLÕȘiÃÃʈÃÊ̅iÊLiÃÌÊ>À̽ʓ>ÀŽÃÊ̅iÊÌÀ>˜ÃˆÌˆœ˜ÊœvÊÃVՏ«ÌÕÀiÊvÀœ“Ê>˜Ê>ÌÌÀˆLÕÌ>LiÊ>ÀÌiv>VÌʜvʈ˜ÌÀˆ˜ÃˆVÊiÝ«ÀiÃÈÛiÊ>˜`Ê>À̈Ã̈VÊÛ>ÕiÊ̜Ê>Ê«Àœ«Êˆ˜Ê̅iÊ«Àœ“œÌˆœ˜ÊœvÊ >˜Êˆ`i>Ê­>˜`ʈÌÃÊ«Àœ}i˜ˆÌœÀ®Êˆ˜Ê܅ˆV…Ê̅iʜLiVÌÊLiVœ“iÃʜvÊÃiVœ˜`>ÀÞʈ“«œÀÌ>˜ViʈvÊ not entirely incidental to the work as a whole. 9

APPROPRIATION, HYBRIDISATION AND THE ‘POST−MEDIUM CONDITION’ ,i>`ޓ>`iÃʈ˜Ê̅iÊiÝ«>˜`i`Êwi`ʜvÊÃVՏ«ÌÕÀi]Ê܅i̅iÀÊȘ}ÞʜÀʈ˜Ê“Տ̈«iÃ]ÊV…>i˜}i`Ê̅iÊ>Õ̜˜œ“ÞʜvÊ̅iÊ՘ˆµÕiÊÃVՏ«ÌÕÀ>ÊœLiVÌʈ˜Ê̅iÊi>ÀÞÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞ°Ê ˜Ê̅iÊVœÕ˜ÌiÀ‡VՏÌÕÀ>ÊviÀ“i˜ÌʜvÊ̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃ]Ê>˜ÊœÀ}ÞʜvʓˆÃVi}i˜>̈œ˜Ê was unleashed in the arts whereby the traditional divisions between painting and ÃVՏ«ÌÕÀi]Ê̅i>ÌÀiÊ>˜`Êw“]ʓÕÈVÊ>˜`Ê`>˜ViÊLi}>˜Ê̜ÊLÀi>ŽÊ`œÜ˜Êˆ˜Ê>Ê}i˜iÀ>ÊœÛiÀ…>ՏʜvÊiÃÌ>LˆÃ…i`ÊV>Ìi}œÀˆiÃÊ>˜`ʅˆiÀ>ÀV…ˆiðÊ
Ãʈ˜`ˆV>Ìi`ʈ˜Ê“Þʈ˜ÌÀœ`ÕV̈œ˜]Ê̅iÊ avant-garde artists of the 1960s took the discrete artistic conventions with which ̅iÊ ÜœÀ`Ê Ü>ÃÊ v>“ˆˆ>ÀÊ >˜`Ê ÀiVœ“Lˆ˜i`Ê Ì…i“Ê ˆ˜ÌœÊ …ÞLÀˆ`ˆÃi`Ê …>««i˜ˆ˜}Ã]Ê >ÃÃi“L>}iÃÊ>˜`Êi˜ÛˆÀœ˜“i˜ÌÃÊëÀˆ˜Ži`Ê܈̅Ê̅iÊv>ˆÀÞÊ`ÕÃÌʜvÊV…>˜Vi]Ê뜘Ì>˜iˆÌÞÊ>˜`Ê >Õ`ˆi˜ViÊ«>À̈Vˆ«>̈œ˜°Ê/…iÀiʈÃÊ>Ê`ˆÃ̈˜V̈œ˜Ê̜ÊLiʓ>`iÊLiÌÜii˜ÊܜÀŽÃÊ̅>ÌʍÕÝÌ>«œÃiÊii“i˜ÌÃʜvÊ`ˆvviÀi˜ÌÊ`ˆÃVˆ«ˆ˜iÃʈ˜ÊÃÕÀ«ÀˆÃˆ˜}ÊÜ>ÞÃÊ̅>Ìʘœ˜i̅iiÃÃʓ>ˆ˜Ì>ˆ˜]Ê ˆvÊ ˜œÌÊ Àiˆ˜vœÀVi]Ê Ì…iÊ `ˆÃ̈˜V̈œ˜ÃÊ LiÌÜii˜Ê ̅i“Ê >˜`Ê Ì…œÃiÊ ˆ˜Ê ܅ˆV…]Ê >ÃÊ w““>ŽiÀÊ ˆV…>iÊ -˜œÜÊ Vœ““i˜Ìi`]Ê ÜiÊ ÜˆÌ˜iÃÃÊ ¼œ˜iÊ “i`ˆÕ“Ê i>̈˜}Ê >˜œÌ…iÀÊ “i`ˆÕ“½°10 In ̅iÊ£™ÈäÃ]Ê«À>V̈̈œ˜iÀÃÊÃÕV…Ê>ÃÊ-Ì>˜Ê6>˜ iÀ iiŽÊÜÕ}…ÌÊ̜ÊiÀ>`ˆV>ÌiÊ̅iÊ`ˆÛˆÃˆœ˜ÃÊ between artistic disciplines – in his case by combining all the currently available ¼iÝ«iÀˆi˜Viʓ>V…ˆ˜iýʈ˜ÌœÊ}œL>Þ‡˜iÌܜÀŽi`ʓi`ˆ>ÊiÝÌÀ>Û>}>˜â>ÃÊ̅>ÌʅiÊV>i`Ê Ì…iʼVՏÌÕÀ>Êˆ˜ÌiÀVœ“½°ÊˆÃÊ>ˆ“]ÊÜÀœÌiÊ>ÀŽÊ >À̏iÌÌ]ÊÜ>ÃÊ̜ʼˆ˜Ûi˜ÌÊ>˜`Ê̜ʫÀœ`ÕViÊ collaboratively communication forms for a new society’.11 The sculptural aspects of the work were subservient to VanDerBeek’s utopian vision of social cohesion based on a common pictorial language. 7…i˜Ê >ÀÌÊ «Õ˜`ˆÌÃÊ Ì…ÀœÕ}…Ê ̅iÊ >}iÃÊ …>ÛiÊ «ÀœV>ˆ“i`Ê Ì…iÊ `i>Ì…Ê œvÊ >Ê “i`ˆÕ“]Ê Ì…iÊÀiÃÕÀÀiV̈œ˜ÊˆÃʘiÛiÀÊv>ÀÊLi…ˆ˜`]Ê>LiˆÌʈ˜Ê>Ê`ˆvviÀi˜ÌÊ}ՈÃi°Ê>˜`“>`iʜÀÊ>À̈Ã̇ `iÈ}˜i`Ê ÃVՏ«ÌÕÀ>Ê Vœ“«œ˜i˜ÌÃÊ …>ÛiÊ Ài}Տ>ÀÞÊ Ài>««i>Ài`Ê ˆ˜Ê …ÞLÀˆÃi`]Ê ˆ˜ÃÌ>i`Ê ÜœÀŽÃÊ vÀœ“Ê ˆŽiÊ iiÞ½ÃÊ «Õ˜ŽÊ 9Ê ÃÌ>}iÊ ÃiÌÃÊ ÌœÊ Ì…iÊ Ìi“«œÀ>ÀÞÊ ÃÌÀÕVÌÕÀiÃÊ “>`iÊ out of anything from breezeblocks to everyday tables and chairs that feature in the «iÀvœÀ“>˜ViÃʜvÊ-Ì>̈œ˜ÊœÕÃiÊ"«iÀ>°Êi“ˆ˜ˆÃÌÃÊÀiˆ˜ÌÀœ`ÕVi`Ê̅iʘœÌˆœ˜Êœvʼœ“iÊÊ “>`i]ʽ“Ê>vÀ>ˆ`½12 in their radical reinvention of craft and recent performance works

40

INSTALLATION AND THE MOVING IMAGE

LÞʏœÀi˜ViÊ*i>ŽÊˆ˜VÕ`iÊLœÌ…ÊvœÕ˜`ʜLiVÌÃÊ>˜`ÊÃVՏ«ÌÕÀ>Ê>ÃÃi“L>}iðÊ/œÊ`iÃVÀˆLiÊ >˜ÞÊVœ“«œ˜i˜ÌʜvÊ̅iÃiÊv>LÀˆV>̈œ˜ÃÊ>ÃʼÃVՏ«ÌÕÀiýʓˆ}…ÌÊLiÊ>ʓˆÃ˜œ“iÀÊ«>À̈VՏ>ÀÞÊ܅i˜Ê̅iÞÊ>ÀiÊÃÕLiVÌi`Ê̜Êi˜vœÀVi`ÊVœ‡…>LˆÌ>̈œ˜Ê܈̅ʏˆÛiÊ«iÀvœÀ“iÀÃ]ÊÜ՘`]Ê ˆ}…Ì]ʓœÛˆ˜}ʈ“>}iÊ>˜`ɜÀÊ՘«Ài`ˆVÌ>Liʈ˜ÌiÀ>V̈œ˜ÃÊ܈̅Ê>˜Ê՘Ài…i>ÀÃi`Ê«ÕLˆV°Ê The special status of a sculptural artefact is also hard to maintain when it finds itÃivÊÀÕLLˆ˜}ÊÕ«Ê>}>ˆ˜ÃÌÊ>˜Ê>ÃÜÀ̓i˜ÌʜvÊiÛiÀÞ`>ÞʜLiVÌÃÊ}ˆÛi˜ÊiµÕ>ÊÜiˆ}…ÌÊ>˜`Ê importance in the level playing field of installation. The contemporary artist Tomoko Takahashi seems to have dispensed entirely with the category of sculpture with her Ì>˜}i`Ê>ÃÃi“L>}iÃʓ>`iÊիʜvÊ̅iÊ`iÌÀˆÌÕÃʜvÊVœ˜ÃՓiÀÊVՏÌÕÀi]ʏˆLiÀ>Ìi`ÊvÀœ“Ê ܅>ÌÊ7>ÌiÀÊ i˜>“ˆ˜ÊV>i`ʼ̅iÊLœ˜`>}iʜvÊṎˆÌÞ½° 13 Takahashi’s work comes from a long lineage of art bricolageÊLi}ˆ˜˜ˆ˜}Ê܈̅ÊÕÀÌÊ-V…܈ÌÌiÀýʈ“«ÀœÛˆÃi`Ê`œ“iÃ̈VÊ environments. In his MerzbauÊ­£™ÓÎqÎή]ʅiÊÌÀ>˜ÃvœÀ“i`Ê̅iÊÀœœ“ÃʜvʅˆÃÊ>˜œÛiÀÊ …œÕÃiʈ˜ÌœÊVÕLˆÃÌʓi“œÀˆ>ÃÊ̜ʅˆÃÊvÀˆi˜`ÃÊ̅>Ìʈ˜VÕ`i`ÊiÝ>“«iÃʜvÊ̅iˆÀÊܜÀŽÊ>˜`Ê ˆÌi“ÃʜvÊ̅iˆÀÊLiœ˜}ˆ˜}Ã]ÊÀi«iÌiÊ܈̅ʓi>˜V…œˆVÊ>ÃÜVˆ>̈œ˜Ã°Ê
˜œÌ…iÀÊ>˜ÌiVi`i˜ÌÊV>˜ÊLiÊvœÕ˜`ʈ˜Ê̅iʼ/Àœ«ˆV?ˆ>½Êˆ˜ÃÌ>>̈œ˜ÃÊ>Õ̅œÀi`ÊLÞÊjˆœÊ"ˆÌˆVˆV>Ê܅œ]Ê>ÃÊ>Ê }iÃÌÕÀiʜvÊÀiÈÃÌ>˜ViÊ̜Ê̅iÊ À>∏ˆ>˜Ê“ˆˆÌ>ÀÞÊ`ˆVÌ>̜Àň«ÊœvÊ̅iÊ£™ÈäÃ]ÊÀiVÀi>Ìi`Ê the favelas (shanty towns) of Rio and invited the populace to come in and play. Some vœÀÌÞÊÞi>ÀÃʏ>ÌiÀ]Ê/>Ž>…>ňÊ`iÈ}˜i`ʅiÀÊCrash Course (2006) at the Mead Gallery ˆŽiÊ>Ê̅Àii‡`ˆ“i˜Ãˆœ˜>]ÊÜ>Ž‡ˆ˜Ê*œœVŽÊvi>ÌÕÀˆ˜}ÊܜÀ˜ÊœÕÌÊVœ“«ÕÌiÀÃ]Ê̜À˜ÊLœœŽÃ]Ê

Tomoko Takahashi, Crash Course (2006), Mead Gallery, Warwick University. Photo: Nicolas Whybrow from ‘One Thing and Another’ in Body, Space & Technology, 10. Available online: http://people.brunel.ac.uk/bst/vol0602/nicolaswhybrow/home.html

SCULPTURE

41

LÀœŽi˜ÊVœVŽÃÊ>˜`ʏ>“«Ã]Ê}ÕÌÌi`ʓœ˜ˆÌœÀÃÊqÊ̅iÊ`ˆÃV>À`i`Ê«>À>«…iÀ˜>ˆ>ʜvÊ>˜Êˆ˜Ã̈tute of learning. The scattered and entwined debris of modern university life formed an apparently random arrangement spreading virally throughout the space with no œ˜iʜLiVÌʈ܏>Ìi`ÊvœÀÊëiVˆ>Ê>ÌÌi˜Ìˆœ˜°ÊvÊ̅iÀiÊi݈ÃÌi`ʈ˜Ê̅iʈ˜ÃÌ>>̈œ˜Ê>˜ÊˆÌi“Ê ̅>ÌÊ̅iÊ>À̈ÃÌʅ>`ʓ>`iʅiÀÃiv]ʈÌÊÜ>Ãʈ“«œÃÈLiÊ̜Ê`iÌiVÌʈ˜Ê̅iÊ՘Ži“«Ìʼ}>À`i˜ÊœvÊÃÌÕvv½Ê̅>ÌÊ/>Ž>…>ňÊVՏi`ÊvÀœ“Ê̅iÊÃ̜ÀiÃ]ÊVœÀÀˆ`œÀÃÊ>˜`ÊΈ«ÃʜvÊ7>À܈VŽÊ University. ˜Ê £™™™]Ê ,œÃ>ˆ˜`Ê À>ÕÃÃÊ Vœˆ˜i`Ê Ì…iÊ ÌiÀ“Ê ¼«œÃ̇“i`ˆÕ“Ê Vœ˜`ˆÌˆœ˜½Ê ÌœÊ `i˜œÌiÊ the melting pot into which the distinctiveness of sculpture along with that of the œÌ…iÀÊ «>Ã̈VÊ >ÀÌÃÊ …>`Ê Lii˜Ê }À>`Õ>ÞÊ ˆµÕiwi`°Ê -Üii«ˆ˜}Ê ÃVՏ«ÌÕÀi]Ê «>ˆ˜Ìˆ˜}]Ê w“Ê >˜`Êۈ`iœÊˆ˜ÌœÊ…iÀʘœÜʘiÕÌÀ>ÊÀi«œÃˆÌœÀÞʜvÊVÀi>̈ÛiÊ>V̈ۈÌÞ]Ê>Ê«ÀiۈœÕÏÞʈ`i˜Ìˆw>Liʓi`ˆÕ“‡Ã«iVˆwVÊ«À>V̈ViÃÊÜiÀiÊ̅œÀœÕ}…ÞʼÌÕÀ˜i`Ê°°°Êˆ˜Ãˆ`iʜÕ̽Ê>˜`ÊÃVՏ«ÌÕÀi]Ê ˆŽiÊ«>ˆ˜Ìˆ˜}]ÊVœÕ`ʘœÊœ˜}iÀÊÃÌ>˜`Ê>œ˜iÊ>ÃÊ>Ê>Õ̜˜œ“œÕÃÊ`ˆÃVˆ«ˆ˜i°Ê
VVœÀ`ˆ˜}ÊÌœÊ À>ÕÃÃ]Ê ÌÀ>`ˆÌˆœ˜>Ê «À>V̈ViÃÊ ÜiÀiÊ ¼i“«Ìˆi`Ê ˆ˜ÌœÊ ̅iÊ }i˜iÀˆVÊ V>Ìi}œÀÞÊ œvÊ
ÀÌ\Ê >À̇ >̇>À}i]Ê œÀÊ >À̇ˆ˜‡}i˜iÀ>½°14Ê ˜Ê `ÕiÊ VœÕÀÃi]Ê ÜiÊ ÜˆÊ ÀiÌÕÀ˜Ê ÌœÊ Ì…iÊ ˆÃÃÕiÊ œvÊ “i`ˆÕ“Ê ëiVˆwVˆÌÞÊ ˆ˜Ê ̅iÊ Vœ˜Ìi“«œÀ>ÀÞÊ wi`]Ê LÕÌÊ ˜œÌiÊ …iÀiÊ Ì…>ÌÊ À>ÕÃýÃÊ Vœ˜Vi«ÌÊ œvÊ Ì…iÊ «œÃ̇“i`ˆÕ“ÊÀiˆÌiÀ>ÌiÃÊ̅iÊi>ÀÞÊÌÜi˜Ìˆi̅‡Vi˜ÌÕÀÞÊÀÕ«ÌÕÀiʈ˜Ã̈}>Ìi`ÊLÞÊ ÕLˆÃ“]Ê Dada and Surrealism whereby conventional association of materials with particular >À̈Ã̈VÊ«ÀœViÃÃiÃÊÜiÀiÊ`ˆÃ“>˜Ìi`\Ê«>ˆ˜ÌÊ>˜`ÊV>˜Û>ÃÊiµÕ>̈˜}Ê̜ʫ>ˆ˜Ìˆ˜}]Êܜœ`]Ê ÃÌiiÊ>˜`ÊÃ̜˜iÊ̜ÊÃVՏ«ÌÕÀi°Ê
ÃÊÕÀÌÊ-V…܈ÌÌiÀÃÊ`iV>Ài`ʈ˜Ê£™£™]ʼÊ>“Ê>Ê«>ˆ˜ÌiÀÊ>˜`Ê I nail my pictures together’.15 If the separate status of sculpture was systematically undermined by the combined efforts of artists in the early years of the last century backed up by theorists ˆ˜Ê“œÀiÊÀiVi˜ÌÊ̈“iÃ]ʈÌÊÜ>ÃÊ`iÛ>Õi`ÊiÛi˜ÊvÕÀ̅iÀÊ܅i˜Ê>Û>˜Ì‡}>À`iÊw“Ê>˜`Êۈ`iœÊ i“iÀ}i`ʈ˜Ê̅iÊiÝ«iÀˆ“i˜Ì>ÊviÀ“i˜ÌʜvÊ̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃ°Ê ÞÊ}ˆÛˆ˜}ÊÅiÌiÀÊÌœÊ “œÛˆ˜}ʈ“>}iÊ«À>V̈ViÃ]ʈ˜ÃÌ>>̈œ˜Ê>ÀÌÊ>VµÕˆÀi`ÊLÞÊ>ÃÜVˆ>̈œ˜Ê>Ê>À݈Ã̇ˆ˜yiVÌi`Ê «œˆÌˆVÃÊ̅>ÌÊÀiiVÌi`Ê̅iÊVÀi>̈œ˜ÊœvÊ՘ˆµÕiʜLiVÌÃÊ̜ÊLiÊLœÕ}…ÌÊ>˜`Ê܏`ʈ˜Ê܅>ÌÊ radical practitioners regarded as an indefensible capitalist art market. By the £™ÇäÃ]Ê>Ê«iÀˆœ`Ê`œ“ˆ˜>Ìi`ÊLÞÊ>À̈ÃÌÊVœiV̈ÛiÃʈ˜ÊLœÌ…Ê ÕÀœ«iÊ>˜`Ê œÀ̅Ê
“iÀˆV>]Ê Ì…ˆÃÊVÀˆÌˆµÕiʜvÊ>ÀÌÊ>ÃÊ>ʏÕÝÕÀÞÊVœ““œ`ˆÌÞÊ«ÀœÛˆ`i`ʜ˜iʜvÊ̅iʓœÌˆÛ>̈œ˜ÃÊvœÀÊ̅œÃiÊ who embraced analogue video;16 a videotape could be infinitely reproduced and had a scarcity value of close to nil.17ʘÊ̅iÊ1]Êۈ`iœ“>ŽiÀÃÊÃÕV…Ê>ÃÊ >ۈ`Ê>]Ê/>“>À>Ê ÀˆŽœÀˆ>˜]Ê/ˆ˜>Êi>˜iÊ>˜`Ê/œ˜ÞÊ-ˆ˜`i˜Ê`iÌiÀ“ˆ˜i`Ê̜Ê>ۜˆ`Ê̅iÊ«Àœ`ÕV̈œ˜ÊœvÊ>˜Þthing that might resemble the collectable bronzes by Edgar Degas or Henry Weekes ̅>ÌÊ i˜ÀˆV…Ê œÕÀÊ ˜>̈œ˜>Ê “ÕÃiՓÃ]Ê ˜œÀÊ `ˆ`Ê Ì…iÞÊ ÜˆÃ…Ê ÌœÊ i“Տ>ÌiÊ Ì…iÊ “>œÀÊ «ÕLˆVÊ sculptures that grace our city squares.18 Artists now created installations in which >˜ÞÊ ÃVՏ«ÌÕÀ>Ê ÃÌÀÕVÌÕÀiÃÊ ÜiÀiÊ Ìi“«œÀ>ÀÞ]Ê `ˆÃ«œÃ>LiÊ >˜`Ê Vœ˜Ã̈ÌṎÛiÞÊ Õ˜VœiVÌ>Li]Ê>˜Ê>Ì̈ÌÕ`iÊ̅>ÌÊÃÕÀۈÛiÃʈ˜Ê̅iÊÕ«‡VÞVi`ÊÌÀ>Åʈ˜ÃÌ>>̈œ˜ÃʜvÊ>À̈ÃÌÃʏˆŽiÊ />Ž>…>ňÊ܅œ]ʜ˜Ê̅iʏ>ÃÌÊ`>ÞʜvʅiÀÊi݅ˆLˆÌˆœ˜Ã]ʈ˜ÛˆÌiÃÊ̅iÊ«ÕLˆVÊ̜ÊÀi“œÛiÊ>˜ÞÊ œLiVÌÃÊ̅>ÌÊÌ>ŽiÊ̅iˆÀÊv>˜VÞ°Ê

42

INSTALLATION AND THE MOVING IMAGE

OBJECTS IN SPACE Our discussion so far has encompassed the apparent demise of freestanding sculpÌÕÀiʈ˜Ê̅iÊ«œÃ̇Ü>À]Ê«œÃ̓œ`iÀ˜ÊiÀ>]Ê>˜`Ê̅iÊVœ˜Vœ“ˆÌ>˜ÌÊÃÕÀۈÛ>ÊœvÊ>ÊÃVՏ«ÌÕÀ>Ê Ãi˜ÃˆLˆˆÌÞÊ>˜`ʈÌÃʓ>ÌiÀˆ>Ê«À>V̈ViÃ]Ê>LiˆÌÊÌÀ>˜ÃvœÀ“i`Ê>˜`ÊiÝ«>˜`i`ʈ˜Ê̅iÊVœ˜ÌiÝÌʜvʈ˜ÃÌ>>̈œ˜Ê>ÀÌ°ÊÌÊ܈ÊLiVœ“iÊVi>ÀÊ̅>ÌÊ̅iʓ>˜ˆ«Õ>̈œ˜Êœvʓ>ÌiÀˆ>ÃÊ>˜`Ê «ÀœViÃÃiÃÊ>˜`Ê̅iÊÀi‡ÃˆÌˆ˜}ʜvʘœ˜‡>ÀÌʜLiVÌÃÊ̜Ê>Ê}>iÀÞÊÃiÌ̈˜}ÊLÞʓœÛˆ˜}ʈ“>}iÊ «À>V̈̈œ˜iÀÃÊ ÀiˆÌiÀ>ÌiÃÊ ÃVՏ«ÌÕÀ>Ê ÌÀ>`ˆÌˆœ˜Ã°Ê ÕÃÌÊ >ÃÊ ÃVՏ«ÌœÀÃÊ Vœ˜Ãˆ`iÀÊ Ì…iÊ i“«>Vi“i˜ÌÊ œvÊ >Ê ÃVՏ«ÌÕÀi]Ê “œÛˆ˜}Ê ˆ“>}iÊ >À̈ÃÌÃÊ ˜œÜÊ >ÌÌ>V…i`Ê >Ê ˜iÜÊ ˆ“«œÀÌ>˜ViÊ ÌœÊ̅iÊ>VÌÕ>Êë>ViʜvÊ«ÀœiV̈œ˜Ê>˜`Ê̅iÊVœ˜w}ÕÀ>̈œ˜Êœvʓœ˜ˆÌœÀðÊ>˜ÞÊw“Ê>˜`Ê video-makers would have agreed with Robert Morris who in 1966 declared that ÃVՏ«ÌÕÀiÊÜ>ÃʘœÌʈ˜Ê̅iʼ«ˆœÕýÊLÕȘiÃÃʜvÊ}ˆÛˆ˜}ÊիʈÕȜ˜ˆÃ“Ê>Ãʅ>`ÊLii˜Ê`icreed by Greenberg because it had always been an essentially tactile medium and `i>ÌÊ ˆ˜Ê ¼Ì…iÊ ÃVՏ«ÌÕÀ>Ê v>VÌÃÊ œvÊ Ã«>Vi]Ê ˆ}…Ì]Ê >˜`Ê “>ÌiÀˆ>Ã½]Ê ii“i˜ÌÃÊ Ì…>ÌÊ …>ÛiÊ ¼>Ü>ÞÃÊ v՘V̈œ˜i`Ê “>ÌiÀˆ>ÞÊ >˜`Ê ˆÌiÀ>Þ½°19Ê
ÃÊ Ãœˆ`Ê “>ÌÌiÀ]Ê ÃVՏ«ÌÕÀiÊ ÃÌ>ŽiÃÊ >Ê «…ÞÈV>ÊV>ˆ“Êœ˜Êë>Vi]Ê>˜`Ê>VVœÀ`ˆ˜}Ê̜ÊœÀÀˆÃ]ʈÌÊňvÌÃÊvœVÕÃÊvÀœ“Ê̅iÊiÝ«ÀiÃÈÛiÊ «œÌi˜Ìˆ>ÊœvÊÀi«ÀiÃi˜Ì>̈œ˜>ÊœLiVÌÃÊ̜Ê̅iʈ“«>VÌʜvÊ̅iÊë>ViÊ>˜`Ê«ÀiÛ>ˆˆ˜}ʏˆ}…ÌÊ conditions on the work.20 The sculptural structures in turn reiterate the physical «Àœ«iÀ̈iÃʜvÊ̅iÊ}>iÀÞ]ÊÃiÌ̈˜}ÊÕ«Ê>ʎˆ˜`ʜvÊVÞLiÀ˜ïVÊiÝV…>˜}iÊLiÌÜii˜ÊVÀ>vÌi`Ê “>ÌÌiÀÊ>˜`Ê>ÀV…ˆÌiVÌÕÀ>Êë>Vi°Ê
VVœÀ`ˆ˜}Ê̜Ê
iÝÊ*œÌÌÃ]Ê̅iÊÃÌ>}ˆ˜}ʜvÊ>ÊÃVՏ«ÌÕÀ>Ê œLiVÌʈ˜Ê>Ê`i“>ÀV>Ìi`Êë>ViÊÃiÌÃʜvvʼµÕˆÌiÊ՘ÃÌ>LiʜÃVˆ>̈œ˜ÃÊLiÌÜii˜Ê>ÊVi˜tring and a dispersal of looking’.21Ê9iÌÊ̅iÊÃVՏ«ÌÕÀ>ÊœLiVÌÊV>˜ÊÃiÀÛiÊ̜Ê>À̈VՏ>ÌiÊ and reinforce the visitor’s apprehension of the gallery dimensions principally by being physically welded to a given coordinate in the space – even kinetic sculptures >Àiʜ˜ÞÊ>Ê}iÃÌÕÀˆ˜}ÊiÝÌi˜Ãˆœ˜ÊœvÊ̅iˆÀÊwÝi`ÊÃÕ««œÀÌðÊ
ÃÊ,œLiÀÌÊœÀÀˆÃʜLÃiÀÛi`]Ê ¼œ˜iʜvÊ̅iÊVœ˜`ˆÌˆœ˜Ãʜvʎ˜œÜˆ˜}Ê>˜ÊœLiVÌʈÃÊÃÕ««ˆi`ÊLÞÊ̅iÊÃi˜Ãˆ˜}ʜvÊ̅iÊ}À>ۈtational force acting upon it in actual space’.22 These located anchorages form part œvÊ̅iʈ˜vœÀ“>̈œ˜ÊÜiÊ«ÀœViÃÃÊ̜ʜÀˆi˜ÌʜÕÀÃiÛiÃʈ˜Êë>Vi]Ê>˜`Ê̅iÊ`>Ì>ÊÜiÊVœiVÌÊ about the work simultaneously serves to develop a mental map of the architectural i˜ÛˆÀœ˜“i˜ÌÊ >ÃÊ >Ê Ü…œi°Ê "vÊ VœÕÀÃi]Ê Ãœ“iÊ >À̈ÃÌÃÊ ÃiiŽÊ ÌœÊ “>Î]Ê œLˆÌiÀ>ÌiÊ œÀÊ Ài‡ `iw˜iÊ̅iÊv>“ˆˆ>Àʏˆ˜i>“i˜ÌÃʜvÊ̅iÊë>ViÊ`ˆÃ̜À̈˜}Ê«iÀVi«Ìˆœ˜ÃʜvÊÃV>i]Ê`i«Ì…Ê >˜`ÊiiÛ>̈œ˜°ÊœÀʈ˜ÃÌ>˜Vi]ʈ˜Ê£™ÈÓ]Ê̅iÊ-Ìi`iˆŽÊVÀi>Ìi`Ê>Ê`ˆÃœÀˆi˜Ìˆ˜}ʓ>âiÊvœÀÊ̅iÊ }ÀœÕ«Êi݅ˆLˆÌˆœ˜ÊDylaby°Ê,iVi˜ÌʼwV̈œ˜>Ê>ÀV…ˆÌiVÌÕÀi½ÊLÞʈŽiÊ iÃœ˜ÊVœ˜ÃˆÃÌÃʜvÊ Àœœ“ÃÊ܈̅ˆ˜ÊÀœœ“Ã]Ê܅ˆiÊ …ÀˆÃ̜«…Ê ØV…iÊ«ÀiÃi˜ÌÃÊ̅iÊۈÈ̜ÀÊ܈̅Ê>ʏ>LÞÀˆ˜Ì…ÊœvÊ Lilliputian chambers secreted into the gallery space through which the spectator is ÀiµÕˆÀi`Ê̜ÊVÀ>܏°Êœ…˜Ê œVŽ½ÃÊÓää{ÊKlütterkammer at the ICA in London presented >Êȓˆ>ÀÊV…>i˜}i°Ê6ˆÃˆÌœÀÃÊVˆ“Li`Ê̅ÀœÕ}…Ê>ʼVœ˜vÕȘ}ÊÅ>˜ÌÞʜvÊܜœ`i˜ÊÌ՘˜iÃ½Ê ܅iÀiÊܜÀŽÃÊLÞÊi>ÀÞÊۈ`iœÊ>À̈ÃÌÃÊÃÕV…Ê>ÃÊ >ÃÊ>˜Ê
`iÀÊ>˜`Ê6ˆÌœÊ
VVœ˜VˆÊVœÕ`ÊLiÊ i˜VœÕ˜ÌiÀi`Ê>œ˜}Ê܈̅Ê`ÕÃÌ]Ê`iLÀˆÃÊ>˜`ʜLÃÌ>ViÃʜvÊiÛiÀÞʎˆ˜`°23 These post-apoc>Þ«ÌˆVʈ˜ÌiÀˆœÀÃʈ˜viÀÊ̅iÊ`>ÀŽÊ«iÀÈÃÌi˜ViʜvÊ>ÊÌÀ>Փ>̈Vʓi“œÀÞ]Ê̅iÊ`ˆÃœV>̈œ˜ÊœvÊ

SCULPTURE

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a dream or the surreal shape-shifting of Alice in Wonderland. The works are rendered ˆ˜Ê̅iʏ>˜}Õ>}iʜvÊVˆ˜i“>Ê܈̅ʈÌÃÊ>LÀÕ«ÌÊV…>˜}iÃʈ˜Ê«œˆ˜ÌʜvÊۈiÜ]ÊÃV>iÊ>˜`Ê>“Lˆi˜Vi]Ê̅iÊۈÃÕ>ÊiÝ«iÀˆi˜ViÊvÀ>“i`ÊLÞÊ`œœÀÜ>ÞÃ]Ê܈˜`œÜÃÊ>˜`ÊVœÀÀˆ`œÀð ˜Ê̅iÃiÊ̜Ì>ÊÌÀ>˜ÃvœÀ“>̈œ˜ÃʜvÊ̅iÊi݅ˆLˆÌˆœ˜Êë>Vi]Ê̅iʜÕÌiÀÊÅiÊœvÊ̅iÊ}>lery is lost and the viewer has no recourse to previous knowledge of the building to …i«Ê…iÀʘi}œÌˆ>ÌiÊ̅iÊܜÀŽ°ÊœÜiÛiÀ]Ê>ÃÊʅ>ÛiÊÃÕ}}iÃÌi`]ʈ˜Ê̅iʓœÀiÊv>“ˆˆ>ÀÊVˆÀVՓÃÌ>˜ViÊ œvÊ >Ê Ãˆ˜}iÊ ÃVՏ«ÌÕÀ>Ê œLiVÌÊ œÀÊ >Ê }ÀœÕ«ˆ˜}Ê œvÊ ÃÌÀÕVÌÕÀiÃÊ ˆ˜ÃÌ>i`Ê ˆ˜Ê >˜Ê œÌ…iÀ܈ÃiÊi“«ÌÞÊë>Vi]Ê̅iʎ˜œÜi`}iʜvÊ̅iÊiÃÃi˜Ìˆ>Ê`ˆ“i˜Ãˆœ˜ÃʜvÊ̅iÊ}>iÀÞÊ܈Ê ˜œÌÊLiÊ>ÌiÀi`Ê>˜`Ê܈]ʜ˜Ê̅iÊ܅œi]ÊLiÊi˜…>˜Vi`ÊLÞÊ̅iÊÀiviÀi˜ViÊ«œˆ˜ÌÃÊ«ÀœÛˆ`i`Ê LÞʜLiVÌðÊœÜiÛiÀ]ÊÃVՏ«ÌÕÀ>Êˆ˜ÃÌ>>̈œ˜Ãʅ>ÛiÊ̅iÊV>«>VˆÌÞÊ̜ÊÀiw˜iÊ̅iÊë>̈>Ê template of the gallery as each new work draws out different features of the interior that may have been previously overlooked. While the actual dimensions of the space >ÀiÊ՘`iÀÃ̜œ`Ê̜ÊÀi“>ˆ˜ÊVœ˜ÃÌ>˜ÌÊ>˜`Ê>Àiʅi`Ê>ÃÊ>ÊLÕi«Àˆ˜Ìʈ˜Ê̅iʈ“>}ˆ˜>̈œ˜]Ê`ˆvviÀi˜ÌÊ i݅ˆLˆÌˆœ˜ÃÊ Ài˜`iÀÊ Ì…iÊ Ã«>ViÊ ˆÌÃivÊ “>i>LiÊ >˜`Ê V…>˜}i>LiÊ ÌœÊ «iÀVi«Ìˆœ˜°Ê A series of kaleidoscopic impressions of the gallery may form akin to the impact on >Êv>“ˆˆ>Àʏ>˜`ÃV>«iʜvÊV…>˜}ˆ˜}ʏˆ}…ÌÊ>˜`ÊÜi>̅iÀÊVœ˜`ˆÌˆœ˜ÃÊ>ÃÊ̅iÊÃi>ܘÃÊÌÕÀ˜]Ê which nonetheless combine to create a stable topographic armature for the view.

THE NATURE OF THE BEAST vÊ>ÊÃVՏ«ÌÕÀ>ÊœLiVÌÊV>˜ÊÀi}ˆÃÌiÀʈ“«ÀiÃȜ˜ÃʜvÊV…>˜}iʈ˜Ê܅>ÌÊ>ÊۈiÜiÀʎ˜œÜÃÊÌœÊ LiÊ>ÊVœ˜ÃÌ>˜ÌÊ>ÀV…ˆÌiVÌÕÀ>Êˆ˜ÌiÀˆœÀ]Ê܅>ÌÊ`œiÃÊ>ÊÃVՏ«ÌÕÀ>Ê«ÀiÃi˜ViÊ>VÌÕ>ÞÊi˜Ì>ˆ¶Ê
˜ÞʜLiVÌÊVÀi>ÌiÃÊ>˜Êˆ˜ÌiÀÀի̈œ˜ÊœvÊë>Vi]Ê>˜ÊœL`ÕÀ>ÌiÊVœ˜Vi˜ÌÀ>̈œ˜Êœvʓ>ÌÌiÀÊ̅>ÌÊ Vœ˜ÃՓiÃÊ̅iÊ>Û>ˆ>LiÊyœœÀ]ÊÜ>ÃÊ>˜`Ê>ˆÀ]Ê>˜`ÊÃiÌÃÊÕ«Ê>˜Êˆ˜ÌiÀÀœ}>̜ÀÞÊÀi>̈œ˜Ã…ˆ«Ê with whatever or whoever else enters its orbit. It activates the spaces between itself >˜`ʜ̅iÀʜLiVÌÃ]ʈ˜VÕ`ˆ˜}Ê«iœ«i]Ê̅ÕÃÊiÃÌ>LˆÃ…ˆ˜}Ê̅iÊ«œÃÈLˆˆÌÞʜvÊ>ʅˆiÀ>ÀV…ÞÊ qÊ`iÌiÀ“ˆ˜ˆ˜}Ê܅œ]ʜÀÊ܅>Ì]ʈÃÊLˆ}}iÀ]ʓœÀiÊÀiw˜i`]ʓœÀiÊÈ}˜ˆwV>˜Ì°Ê7…ˆiÊi˜>V̈˜}Ê >ÊÌiÀÀˆÌœÀˆ>ÊœVVÕ«>̈œ˜ÊœvÊë>Vi]Ê>Ê}>iÀÞÊ>ÀÌiv>VÌÊ«ÀœV>ˆ“ÃʈÌÃÊÃÌ>ÌÕÃÊ>ÃÊ>ÀÌÊ>˜`Ê commands of the audience adrift in the gallery the appropriate aesthetic response. These anticipated readings will be determined by the arguments of the work’s basic attributes. The marble flesh of Rodin’s The Kiss (1889) orchestrates an appreciation of spectral sensuality; the uncompromising monumentality of Richard Serra’s steel FulcrumÊ­£™nÇ®ÊiˆVˆÌÃÊ>ÜiÆÊ>˜`ÊjÀiÌÊ"««i˜…iˆ“½ÃÊÃÕÀÀi>ÊObject (Le déjeuner en fourrure®Ê­£™ÎÈ®]Ê>ÊÌi>Vիʈ˜Vœ˜}À՜ÕÏÞÊVœÛiÀi`ʈ˜Ê}>âiiÊvÕÀ]ÊÌi>ÃiÃʜÕÌÊ՘i>ÃÞÊ >Õ}…ÌiÀÊ>ÃÊ̅iÊۈiÜiÀÊÃÌÀÕ}}iÃÊ̜ÊÀi܏ÛiʈÌÃʓˆÝi`ʓiÃÃ>}iðÊ-VՏ«ÌÕÀ>ÊœLiVÌÃÊ …>ˆÊ >˜`Ê ˆ˜ÌiÀ«i>ÌiÊ Ì…iÊ “œÛˆ˜}Ê Ì>À}iÌÊ Ì…>ÌÊ ˆÃÊ Ì…iÊ }>iÀއ}œiÀÊ >˜`Ê `iw˜iÊ Ì…iÊ iÝV…>˜}iÊ̅>ÌÊÌ>ŽiÃÊ«>ViÊ>ÃÊ>˜Ê>ÀÌÊiÝ«iÀˆi˜Vi°Ê/…iʜLiV̽ÃÊ>LˆˆÌÞÊ̜ÊØ>ÀiÊ̅iÊiÞiʜvÊ Ì…iÊLi…œ`iÀʈÃÊÃÌÀÕVÌÕÀi`ÊLÞÊ܅>ÌÊ>“iÃÊ Žˆ˜Ãʅ>ÃÊ`iÃVÀˆLi`Ê>ÃÊ̅iʼ̅Ài>`ÃʜvÊ`isire’ that bind us to the world of things. 24Ê-VՏ«ÌÕÀiʈÃÊÜVˆ>]Ê`ˆ>œ}ˆVÊ>˜`]Ê`i«i˜`ˆ˜}Ê

44

INSTALLATION AND THE MOVING IMAGE

œ˜ÊˆÌÃÊÃÌ>ÌÕÃ]ʈÌʓ>ÞÊ܈i`Ê̅iÊ>Õ̅œÀˆÌÞʜvÊ>ʼ“>ÃÌiÀ«ˆiVi½Êi>À˜ˆ˜}ʈÌÊ>Ê«>Viʈ˜Ê̅iÊ «>˜Ì…iœ˜ÊœvÊ>ÀÌʅˆÃ̜ÀˆV>Ê“>ÀÛiÃ°ÊÌʓ>Þ]ʏˆŽiÊ ÕV…>“«½ÃÊÕÀˆ˜>]ÊÃiiŽÊ̜Ê`iÀ>ˆÊ̅iÊ i݈Ã̈˜}ÊÌÀ>iV̜ÀÞʜvÊÃVՏ«ÌÕÀiÊ>˜`ÊÃi˜`ʈÌʜvvʈ˜Ê˜iÜÊ`ˆÀiV̈œ˜ÃʜÀʈ˜`ii`]Ê>ÃÊÜiÊ …>ÛiÊÃii˜]Ê>ÌÌi“«ÌÊ̜ÊÀi˜`iÀÊ̅iÊV>Ìi}œÀÞʜvʼÃVՏ«ÌÕÀi½ÊˆÌÃivÊÀi`՘`>˜Ì]Ê̅iÀiLÞÊ achieving greatness through notoriety. /…iÊ …Õ“>˜Ê Lœ`ÞÊ ˆÃÊ Ì…iÊ ii“i˜Ì>ÀÞÊ LՈ`ˆ˜}Ê LœVŽÊ œvÊ >Ê ÃVՏ«ÌÕÀi°Ê ˜ˆÌˆ>Þ]Ê ÜiÊ ÃV>˜Ê>Ê܏ˆ`ʜLiVÌÊvœÀʈÌÃÊ`i}ÀiiʜvÊVœÀÀi뜘`i˜ViÊ܈̅Ê̅iʅՓ>˜ÊvœÀ“]ʈÌÃÊÃV>iÊ >˜`ÊÅ>«iÊ>˜`Ê«œÌi˜Ìˆ>ÊvœÀÊ>V̈œ˜°Ê¼˜Ê`>ˆÞʏˆvi]½ÊœLÃiÀÛi`Ê Žˆ˜Ã]ʼ>ÃÊi>V…ʘiÜÊÃVi˜iÊ «ÀiÃi˜ÌÃʈÌÃiv]ÊÜiÊÌi˜`Ê̜ʏœœŽÊwÀÃÌÊ>ÌÊLœ`ˆiÃÊ>˜`ʜ˜ÞÊ>vÌiÀÜ>À`ʏiÌʜÕÀÊiÞiÃÊÌ>Žiʈ˜Ê whatever else is there.’25 Eye-tracking studies have found that the gaze is drawn to v>ViÃʈ˜Ê«ÀiviÀi˜ViÊiÛi˜Ê̜ʓœÌˆœ˜]ÊLÕÌÊ̅iʈ˜ˆÌˆ>ÊV>VՏ>̈œ˜ÃÊÜiʓ>Žiʜ˜Êi˜VœÕ˜ÌiÀˆ˜}Ê >˜Ê iÝÌiÀ˜>Ê «…i˜œ“i˜œ˜Ê Ì>ŽiÊ ˆ˜Ê ̅iÊ Ü…œiÊ >˜`Ê >ÀiÊ “>`iÊ ˆ˜ÃÌ>˜Ì>˜iœÕÃÞ°Ê 7iÊ>ÎʜÕÀÃiÛiÃ]ʈÃÊ̅iÊ«ÀiÃi˜Ìˆ˜}Êi˜ÌˆÌÞʅՓ>˜Ê>˜`Ê>ˆÛi]Ê>˜`ʈvÊÜ]ʈÃʈÌÊLˆ}}iÀÊ œÀÊÓ>iÀÊ̅>˜ÊÊ>“]Êޜ՘}iÀʜÀʜ`iÀ]Ê`iÈÀ>LiʜÀÊ`>˜}iÀœÕÃ]ÊvÀˆi˜`ʜÀÊvœi¶Ê/…ˆÃÊ instinctive cognitive processing for the classification of a mass in space informs Anthony McCall’s conscious application of the dimensions of the body as the baÈVÊ՘ˆÌʜvʓi>ÃÕÀi“i˜Ìʈ˜Ê…ˆÃʼ܏ˆ`ʏˆ}…̽ÊÃVՏ«ÌÕÀiðÊV >Ê“>ŽiÃÊȓ«iÊVœ˜ˆV>Ê Å>«iÃʜÕÌʜvÊ«ÀœiVÌi`ʏˆ}…ÌʜÀˆ}ˆ˜>̈˜}ʜ˜Êw“ÊœÀʏ>ÌÌiÀÞÊ}i˜iÀ>Ìi`Ê`ˆ}ˆÌ>ÞÊÜˆÌ…Ê >˜ˆ“>̈œ˜ÊÜvÌÜ>Ài°Ê/…iÃiÊ}…œÃ̏ÞÊÅ>«iÃÊ>ÀiÊ«ÀœiVÌi`Ê̅ÀœÕ}…ÊӜŽiʜÀÊ`ÀÞʈViÊÌœÊ give them the semblance of solidity and spectators move freely through the vaporœÕÃʏˆ}…ÌÊLi>“ðʘÊ>˜Ê>À̈Viʈ˜Ê̅iʍœÕÀ˜>ÊOctober]ÊV >ÊVœ˜wÀ“i`Ê̅>Ìʼ̅iÊLœ`ÞÊ ˆÃÊ̅iʈ“«œÀÌ>˜Ìʓi>ÃÕÀi°Ê-Ì>˜`ˆ˜}ʈ˜Ãˆ`iÊ̅iÊVœ˜iʘi>ÀʈÌÃÊL>ÃiÊ>ÌÊ̅iÊÜ>]Ê܅iÀiÊ ˆÌʈÃÊ>ÌʈÌÃÊÌ>iÃÌÊ`ˆ“i˜Ãˆœ˜]Ê̅iÊLœ`ÞÊŜՏ`ÊLiÊVœ“«iÌiÞÊÃÕLÃՓi`Ê܈̅ˆ˜ÊˆÌ°Ê7ˆÌ…Ê outstretched arms it should not be quite possible to touch the upper surface.’26

CHOREOGRAPHING THE VIEWER It is clear that McCall’s light installations were designed to establish what Daniel ˆiÀÊ`iÃVÀˆLi`Ê>Ãʼ«>À̈VՏ>ÀÊ«>ÌÌiÀ˜ÃʜvÊ`ˆÀiVÌi`Ê>ÌÌi˜Ìˆœ˜½]27 and indeed the dispoÈ̈œ˜ÊœvÊ̅iÊ«ÀœiVÌi`Êii“i˜ÌÃʈ˜Ê̅iÊܜÀŽÊ}œÛiÀ˜Ê̅iÊÌÀ>VŽÃʜvʓœÛi“i˜ÌÃÊ̅ÀœÕ}…Ê ̅iʏˆ}…ÌÊLi>“ÃÊ>˜`Ê`iˆ“ˆÌÊ̅iÊ«œÌi˜Ìˆ>ÊœvÊ«…ÞÈV>Êˆ˜ÌiÀ>V̈œ˜°Ê˜Ê̅ˆÃÊÀiëiVÌ]Ê̅iÊ “œÛˆ˜}Ê ˆ“>}iÊ ˆ˜ÃÌ>>̈œ˜Ê Å>ÀiÃÊ ÜˆÌ…Ê >ÀV…ˆÌiVÌÕÀi]Ê }>iÀÞÊ `iÈ}˜Ê >˜`Ê ÃVՏ«ÌÕÀiÊ Ì…iʈ“«iÀ>̈ÛiÊ̜Ê}Ո`iÊ̅iÊۈÈ̜ÀÊ̅ÀœÕ}…Ê>ʏ>À}iÞÊ«Ài‡`iÌiÀ“ˆ˜i`ʈ̈˜iÀ>ÀÞ]Ê܅>ÌÊ Ì…iÊÃVՏ«ÌœÀÊ*…ޏˆ`>Ê >ÀœÜÊV>Ãʼ>ÊV…œÀiœ}À>«…ÞÊvœÀÊ̅iÊۈiÜiÀ½°28 The sculptors of antiquity and the classical period understood that the viewer constructs a mental im>}iʜvÊ̅iʜLiVÌÊ«>À̏ÞÊ̅ÀœÕ}…Ê…>«ÌˆVʓi“œÀÞÊqÊ>ÃʈՏˆ>˜>Ê À՘œÊVœ˜Ìi˜`Ã]ʼ̜ÕV…Ê teaches the eyes to see beyond themselves’ – and partly from overlapping points of ۈiÜ]Ê}>̅iÀi`Ê>ÃÊÅiÊVˆÀVՓ>“LՏ>ÌiÃÊ̅iÊܜÀŽ° 29Ê/…ˆÃʍœÕÀ˜iÞʓˆÀÀœÀÃÊ̅>ÌʜvÊ̅iÊ sculptor who took equivalent turns around the model to gather the data she needed

SCULPTURE

45

̜Êv>ňœ˜Ê>ʅՓ>˜ÊˆŽi˜iÃÃʈ˜ÊÃ̜˜i]Êܜœ`ʜÀÊV>Þ°Ê/…iÊVœ˜ÌœÕÀÃʜvÊ̅iÊÃVՏ«ÌÕÀiÊ >ÀiʘœÌ]ʈ˜Ê̅ˆÃÊÃi˜Ãi]ÊwÝi`Ê>˜`ÊVœ˜ÃÌ>˜ÌÞʓÕÌ>Ìi]ÊiÝ«>˜`ˆ˜}Ê>˜`ÊVœ˜ÌÀ>V̈˜}Ê>VVœÀ`ˆ˜}Ê̜Ê܅iÀiÊÜiÊÃÌ>˜`ʈ˜ÊÀi>̈œ˜Ê̜Ê̅iʜLiVÌ°Ê
ÃÊ,œLiÀÌÊœÀÀˆÃÊ«œˆ˜Ìi`ʜÕÌ]ʈ˜Ê common with the changes we might perceive in an architectural space under differi˜ÌʜVVÕ«>̈œ˜]ʈÌʈÃÊ̅iÊVœ˜Vi«ÌʜvÊ̅iʜÛiÀ>ÊÅ>«iʜvÊ̅iÊÃVՏ«ÌÕÀi]Ê̅iʼŽ˜œÜ˜Ê Vœ˜ÃÌ>˜Ì½Ê­œÀÊiÛi˜Ê̅iÊ*>̜˜ˆVʈ`i>ÊÅ>«i®]Ê̅>Ìʓ>ŽiÃÊ̅iÊV…>˜}iÃÊ«iÀVi«ÌˆLi° 30 Although the sculptor endeavours to fashion the work so that we might pause at «Ài‡`iÌiÀ“ˆ˜i`Ê«œˆ˜ÌÃ]Ê̜Ê>««ÀiVˆ>ÌiÊ܅>ÌÊ >ÀœÜÊ`iÃVÀˆLiÃÊ>ÃÊ̅iʼ}>“œÕÀÊŜÌÃ½Ê – for instance the frontal aspect of Rodin’s The Kiss – the sculptor cannot legislate vœÀÊۈÈ̜ÀÃÊ}œˆ˜}ʜvvÊ«ˆÃÌi°ÊvʏˆŽiÊ >ÀœÜÊ>ÊۈiÜiÀÊ>L>˜`œ˜ÃÊ̅iʼV>ÃÈVÊۈiÜýÊ>˜`Ê œœŽÃÊvœÀʼ̅iʓœÃÌÊ>܎Ü>À`Ê«>ViÊ̜ÊۈiÜʈ̽]Ê̅iÊܜÀŽÊÌ>ŽiÃʜ˜Ê>ʼLˆâ>ÀÀiÊÅ>«i½Ê̅>ÌÊ Ì…iÊÃVՏ«ÌœÀÊ`ˆ`ʘœÌʈ˜Ìi˜`°Ê/…iÊ>VŽ˜œÜi`}i“i˜ÌÊ̅>ÌÊ̅iÀiÊ>ÀiʘœÊwÝi`Ê«œˆ˜ÌÃʜvÊ ÛˆiÜʈ˜Ê̅iÊ>««iÀVi«Ìˆœ˜ÊœvÊ>˜ÊœLiVÌʈÃÊ>ÊvœÕ˜`>̈œ˜>Ê«Àˆ˜Vˆ«iʜvÊÌÜi˜Ìˆi̅‡Vi˜ÌÕÀÞÊ ÃVՏ«ÌÕÀi°Ê >ÀœÜʅ>ÃÊÃ>ˆ`ʜvÊ*ˆV>ÃܽÃÊiÝÌÀÕ`i`ÊVÕLˆÃÌÊVœ>}iÊGlass of Absynthe ­£™Ó£®Ê̅>ÌʈÌÊÃiÌÃÊ̅iÊÌiÀ“Ãʜvʓœ`iÀ˜ÊÃVՏ«ÌÕÀiÊLÞʼ>Έ˜}ÊÕÃÊ̜ÊÜ>ŽÊ>ÀœÕ˜`ʈÌÊ°°°Ê and guess where one facet meets the other’. 31ʘÊVœ““œ˜Ê܈̅Ê>ÀV…ˆÌiVÌÕÀ>Êë>Vi]Ê ÜˆÌ…ÊÀiˆ}ˆœÕÃʜLÃiÀÛ>˜ViÃÊ>˜`ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ã]ʼ>˜Ê>V̈œ˜ÊVœ“«iÌiÃÊ̅iÊ work’.32Ê-VՏ«ÌÕÀi]Ê̅i˜]ʈÃÊ̅iʜÕÌVœ“iʜvÊ>ÊÃÌ>LiÊ>ÀÀ>˜}i“i˜ÌʜvÊ«…ÞÈV>Êii“i˜ÌÃÊ – whether static or looping through a predetermined set of kinetic movements. It is «iÀViˆÛi`Ê̜Êi“Lœ`ÞÊ>˜Ê>iÃ̅ïV]ÊVœ˜Vi«ÌÕ>Ê>˜`ʅˆÃ̜ÀˆV>ÊÈ}˜ˆwV>˜Vi°ÊÌÊ>ÃÃiÀÌÃÊ its presence in relation to a mobile viewer whose orientation in space is dependent œ˜Ê ̅iÊ Ãˆ“ՏÌ>˜iœÕÃÊ Ài}ˆÃÌÀ>̈œ˜Ê œvÊ Ì…iÊ œLiVÌÊ Ài>̈ÛiÊ ÌœÊ …ˆÃɅiÀÊ œÜ˜Ê Lœ`ÞÊ >˜`Ê Ì…iÊiÝÌi˜ÃˆÛiÊ«ÀiVˆ˜VÌʈ˜Ê܅ˆV…]Ê̜}i̅iÀ]ÊLœÌ…ÊÃVՏ«ÌÕÀiÊ>˜`ÊۈiÜiÀÊ>ÀiÊi˜VœÃi`°Ê œÜiÛiÀÊ “ÕV…Ê ̅iÊ >VÌÕ>Ê ÃÌ>ÌÕÃÊ œvÊ >˜Ê ˆ˜`ˆÛˆ`Õ>Ê œLiVÌÊ >ÃÊ ¼ÃVՏ«ÌÕÀi½Ê “>ÞÊ …>ÛiÊ Lii˜Ê iÀœ`i`Ê ˆ˜Ê “œ`iÀ˜Ê ¼«œÃ̇“i`ˆÕ“½Ê >ÀÌÊ «À>V̈ViÃ]Ê Ì…iÊ Vœ˜ÃÌi>̈œ˜Ê œvÊ «…ÞÈV>Ê >˜`Ê«iÀVi«ÌÕ>Êœ«iÀ>̈œ˜ÃÊ̜Ê܅ˆV…Ê>ÀÌiv>VÌÃ]ÊȘ}ÞʜÀÊVœiV̈ÛiÞÊ}ˆÛiÊÀˆÃiʅ>ÛiÊ not substantially changed in the last hundred years. The concept of sculpture has Ài“>ˆ˜i`Ê iÝÌÀ>œÀ`ˆ˜>ÀˆÞÊ Ìi˜>VˆœÕÃÊ ˆ˜Ê ̅iÊ >À̈Ã̈VÊ ˆ“>}ˆ˜>̈œ˜]Ê ÌœÊ Ì…iÊ «œˆ˜ÌÊ Ü…iÀiÊ Ìœ`>Þ]Ê>Ì…œÕ}…Ê“œÃÌÊ>ÀÌÊ«Àœ«œÃˆÌˆœ˜ÃÊ>ÀiÊV>ÃÈwi`ʈ˜Ê̅iÊV>ÌV…‡>ÊV>Ìi}œÀÞʜvʼˆ˜ÃÌ>>̈œ˜½]Ê̅iˆÀÊvœÀ“Տ>̈œ˜Ê>˜`ÊiÝiVṎœ˜ÊˆÃʈ˜Û>Àˆ>LÞÊ`iÃVÀˆLi`Ê>ÃÊÃVՏ«ÌÕÀ>°Ê

EVERYTHING IS SCULPTURE Video was too much a point in the space. Remember, the convention of the time was monitor and not video projection. Video was too much SCULPTURE. 6ˆÌœÊ
VVœ˜Vˆ]ÊÓääÎÊ /…ÀœÕ}…œÕÌÊ̅iʓœ`iÀ˜Ê«iÀˆœ`Ê>˜`ʈ˜ÌœÊ̅iʘiÜʓˆi˜˜ˆÕ“]ÊÃÕVViÃȜ˜ÃʜvÊ`ˆÃ«>À>ÌiÊ “>ÌiÀˆ>ÃÊ >˜`Ê >À̈Ã̈VÊ «À>V̈ViÃÊ …>ÛiÊ Lii˜Ê ˜œ“ˆ˜>Ìi`]Ê >ÌÊ `ˆvviÀi˜ÌÊ Ìˆ“iÃ]Ê >ÃÊ

46

INSTALLATION AND THE MOVING IMAGE

¼ÃVՏ«ÌÕÀ>½]ʈ˜VÕ`ˆ˜}Ê«>ˆ˜Ìˆ˜}ʈÌÃiv°Ê>∓ˆÀÊ>iۈV…½ÃÊV>˜Û>ÃÊ Black Square on a White BackgroundÊ­£™£x®Ê>V…ˆiÛi`Ê̅iʈ˜ÌÀ>˜Ãˆ}i˜ÌÊ܏ˆ`ˆÌÞʜvÊ>˜ÊœLiVÌʈ˜Êë>Vi°Ê *…ޏˆ`>Ê >ÀœÜÊ`iV>Ài`Ê̅>ÌÊë>ViʈÌÃivʼˆÃÊ>Ê«…ÞÈV>Ê“>ÌiÀˆ>½ÊˆŽiÊ>˜Þʜ̅iÀÊ>ÌÊ Ì…iÊ`ˆÃ«œÃ>ÊœvÊ̅iÊÃVՏ«ÌœÀ]33 while David Hall has often asserted that in his video ܜÀŽÃ]ʅiʈÃÊÃVՏ«Ìˆ˜}ʈ˜Ê̈“i° Chris Meigh-Andrews discovered a similar conviction ˆ˜ÊˆV…>iÊ-˜œÜÊ܅i˜Ê…iÊ>Îi`Ê̅iÊw““>ŽiÀÊ܅i̅iÀʼ`ÕÀ>̈œ˜ÊÜ>ÃÊiµÕˆÛ>i˜ÌÊÌœÊ mass in sculpture’; Snow acknowledged that La Région CentraleÊ ­£™Ç£®]Ê …ˆÃÊ ÎÈä‡ `i}ÀiiÊw“ÊŜÌʈ˜Ê>ÊÀ>ÜÊ+ÕiLiVʏ>˜`ÃV>«i]Ê>ÊܜÀŽÊ̅>ÌÊVœVŽÃÊÕ«Ê̅ÀiiʅœÕÀÃʜvÊ ÃVÀii˜Ê̈“i]ÊܜՏ`ÊLiÊVœ˜Ãˆ`iÀi`ʼˆ˜ÊViÀÌ>ˆ˜ÊVˆÀVՓÃÌ>˜ViÃÊ>ʏœ˜}Ê̈“i½°34 He agreed ̅>ÌÊvœÀʅˆ“]Ê̈“iʈÃÊ̅iÊiµÕˆÛ>i˜ÌʜvÊÜiˆ}…Ìʈ˜ÊÃVՏ«ÌÕÀiÊ>˜`ʈ˜Ê…ˆÃÊw“Ã]ʅiʼ“>ŽiÃÊ >ÊÅ>«iʈ˜Ê̈“i½]Ê>ÊÅ>«iÊ̅>ÌʈÃÊ̜ÊLiÊÀiVœ˜Ã̈ÌÕÌi`ʈ˜Ê̅iÊ̈“iÊ✘iʜvÊ̅iÊۈiÜiÀ°Ê
VVœÀ`ˆ˜}ÊÌœÊ >˜ˆiÊ ˆÀ˜L>Փ]Êw“Ê>˜`Êۈ`iœÊ>À̈ÃÌÃʼˆ˜ÃÌ>Ê̈“iʈ˜Êë>Vi½]Êi˜`œÜˆ˜}Ê Ìi“«œÀ>ˆÌÞÊ܈̅Ê>ʓ>ÌiÀˆ>Ê«ÀiÃi˜Vi]Ê>˜`ÊiÛi˜Ê˜>ÀÀ>̈Ûiʅ>ÃÊÌ>Ži˜Êœ˜Ê̅iÊ܏ˆ`ˆÌÞʜvÊ sculpture.35 Neville Wakefield has argued that in Matthew Barney’s Cremaster cycle œvÊÃÕÀÀi>Ê˜iœ‡vi>ÌÕÀiÊw“Ã]ʼV…>À>VÌiÀ]ÊvœÀÊ >À˜iÞʈÃÊÃVՏ«ÌÕÀ>Ê“>ÌiÀˆ>½°36
ÃÊÜiʅ>ÛiÊÃii˜]ʈ˜Ê̅iÊ£™ÇäÃÊ
˜Ì…œ˜ÞÊV >ÊÃVՏ«Ìi`Ê܈̅Ê̅iÊ«ÀœiV̈œ˜ÊLi>“Ê VÀi>̈˜}Ê >Ê ÃiÀˆiÃÊ œvÊ ¼Ãœˆ`Ê ˆ}…ÌÊ w“ý]Ê >ÃÊ `ˆ`Ê ˆÃÊ ,…œ`iÃ]Ê ˆVŽÞÊ >“Þ˜Ê >˜`Ê “>˜ÞÊ œÌ…iÀÊiÝ«>˜`i`ÊVˆ˜i“>Ê«À>V̈̈œ˜iÀÃÊ>ÃÊÊ܈Ê`ˆÃVÕÃÃʈ˜ÊV…>«ÌiÀʘˆ˜i°ÊœÛˆ˜}ʈ“>}iÊ >À̈ÃÌýÊÕÃiʜvÊÜ՘`ÊÌ>ŽiÃʜ˜Ê>Êȓˆ>ÀÊ̅ˆVŽ˜iÃÃ]ÊëÀi>`ˆ˜}Ê̅ÀœÕ}…Ê>˜`ʜVVիވ˜}Ê Ã«>Vi]ÊÃÕ}}iÃ̈˜}ÊiÝ«>˜ÃiÃÊ>˜`ÊVœ˜`ˆÌˆœ˜ÃʜÕÌÈ`iÊ̅iÊwi`ʜvÊۈȜ˜Ê>˜`Ê܅i˜Êi“«œÞˆ˜}Ê̅iÊ}>iÀÞÊ>ÃÊ>˜ÊiV…œÊV…>“LiÀ]ÊÀiˆÌiÀ>̈˜}Ê̅iÊVœ˜ÌœÕÀÃʜvÊ̅iÊ>Ài>ʈ˜Ê܅ˆV…Ê the viewer is located. The absence of sound takes on an equal atmospheric mass. 7…i˜ÊÃÕÀÀœÕ˜`i`ÊLÞÊ܅>ÌÊ-ÌiÛiÊV+Õii˜ÊV>Ãʼ>ÊV>ÕÃÌÀœ«…œLˆVÊȏi˜Viʈ˜Ê܅ˆV…Ê ޜÕÊV>˜Ê…i>ÀÊޜÕÀʜܘÊLÀi>̅ˆ˜}½]37ÊÜiÊÌ՘iʈ˜Ê̜Ê̅iÊÀՓLˆ˜}ÃʜvÊ̅iÊLœ`Þ]Ê̅>ÌÊ yiÅÞÊÜ՘`LœÝ°Ê/…iÊÜiˆ}…ÌʜvÊÜ՘`ʈÃÊVœ˜ÃÌ>˜ÌÞÊÈ}˜>i`ʈ˜Ê̅iÊÌiÀ“ÃÊ>À̈ÃÌÃÊ ÕÃiÊ̜Ê`iÃVÀˆLiÊ̅iÊ>VœÕÃ̈VÊ՘ˆÛiÀÃi\ʼ«ˆiýʭ …ÀˆÃ̈>˜Ê>ÀV>Þ®]ʼ>ÊVˆÌÞÊȘŽˆ˜}ʈ˜ÌœÊ Ü>ÌiÀ½Ê­ …>˜Ì>Ê
VŽiÀ“>˜®]Ê>˜`]Ê>ÃÊ>˜Ê>`Õ˜VÌÊ̜Ê̅iʅՓ>˜ÊvÀ>“i]ʼ>Ê«Àœ`ÕV̈œ˜ÊœvÊ the body’ (Lorna Simpson). Marcel Duchamp wrote a musical score in 1934 entitled Sculpture Musicale]Ê Ü…ˆV…Ê œ…˜Ê >}iÊ `iÃVÀˆLi`Ê >ÃÊ ¼`ˆvviÀi˜ÌÊ ÃœÕ˜`ÃÊ Vœ“ˆ˜}Ê vÀœ“Ê different places and producing a sculpture which is sonorous and which remains’.38 9iÌÊvœÀÊ>ÊˆÌÃÊÀiÛiÀLiÀ>̈˜}Ê«ÀiÃi˜ViÊ>˜`ÊÃVՏ«ÌÕÀ>Ê«œÌi˜Ìˆ>]ÊÜ՘`ʅ>Ãʈ˜`iw˜>LiÊ LœÀ`iÀÃÊ>˜`]Ê>ÃÊœ…˜Ê >}iÊ>``i`]ʼˆÌ½ÃʏiÃÃʏˆŽiÊ>˜ÊœLiVÌÊ>˜`ʓœÀiʏˆŽiÊ̅iÊÜi>̅iÀ°Ê ˜Ê>˜ÊœLiVÌÊޜÕÊV>˜ÊÌiÊ܅iÀiÊ̅iÊLœÕ˜`>ÀˆiÃÊ>ÀiÊLÕÌʈ˜ÊÜi>̅iÀʈ̽Ãʈ“«œÃÈLiÊÌœÊ say when something begins or ends’.39 Sounds and filmic images may be fugitive entities and yet they are endowed with ÃVՏ«ÌÕÀ>Ê>ÌÌÀˆLÕÌiðÊ
ÃÊiÝ«iÀˆ“i˜Ì>Êw“Ê>˜`Êۈ`iœÊ“ˆ}À>Ìi`ʈ˜ÌœÊ̅iÊë…iÀiʜvʈ˜ÃÌ>>̈œ˜Êˆ˜Ê̅iÊi>ÀÞÊ£™ÈäÃ]Ê̅iÞÊLÀœÕ}…ÌÊ܈̅Ê̅i“Ê“œÀiÊVœ˜Ûi˜Ìˆœ˜>ÞÊÃVՏ«ÌÕÀ>Ê i˜ÌˆÌˆiÃ]Ê̅iʜLiVÌÃʜvÊ̅iˆÀʜܘÊVœ˜ÃÌÀÕV̈œ˜°Ê7…i˜Ê̅œÃiÊ>À̈ÃÌÃÊvœœÜˆ˜}Ê>ʓ>ÌiÀˆ>ˆÃÌʜÀÊÃÌÀÕVÌÕÀ>ˆÃÌÊ`œVÌÀˆ˜iÊiÝ>“ˆ˜i`Ê̅iÊ>««>À>ÌÕÃÊ>˜`Ê«ÀœViÃÃiÃÊ̅>ÌÊVÀi>Ìi`Ê Ì…iʈ“>}i]Ê̅iÞÊvœÕ˜`ʜLiVÌÃʜvÊiÛiÀÞʎˆ˜`]ÊV>“iÀ>Ã]Ê«ÀœiV̜ÀÃ]ÊÃVÀii˜Ã]ʓœ˜ˆÌœÀÃ]Ê

SCULPTURE

47

܈ÀiÃ]ÊVœÕ«ˆ˜}Ê`iۈViÃÊ>˜`Êi`ˆÌˆ˜}ʓ>V…ˆ˜iÃ]ÊV…i“ˆV>ÊL>̅ÃÊ>˜`ÊiÛi˜ÌÕ>Þ]ÊVœ“«ÕÌiÀÃ°Ê >“Ê՘iÊ*>ˆŽÊˆ˜Ê̅iÊ1-
Ê>˜`Ê >ۈ`Ê>Ê>˜`Ê/ˆ˜>Êi>˜iʈ˜Ê̅iÊ1ÊÕÃi`Êۈ`iœÊ “œ˜ˆÌœÀÃʏˆŽiÊLՈ`ˆ˜}ÊLœVŽÃ]ÊÌiV…˜œœ}ˆV>ÊÛiÀȜ˜ÃʜvÊÕ``½Ãʈ`i˜ÌˆV>Ê“Տ̈«iÃ]Ê stacked up into monumental media sculptures. Where the slowly evolving effects of >“Lˆi˜Ìʏˆ}…Ìʜ˜Ê«œˆÃ…i`ʓiÌ>ÊÃÕÀv>ViÃʅ>`Êi˜ÌÀ>˜Vi`Ê̅iÊ`iۜÌiiʜvÊÕ``½Ãʓˆ˜ˆ“>ˆÃÌÊ LœÝiÃ]Ê Ì…iÊ Ûˆ`iœÊ ÃVՏ«ÌœÀÃÊ œvviÀi`Ê viLÀˆiÊ iiVÌÀœ˜ˆVÊ ˆ“>}iÃÊ >˜ˆ“>̈˜}Ê Ì…iÊ }>ÃÃÞÊv>ViÃʜvÊVÕLœˆ`ʓœ˜ˆÌœÀðÊ
ÃÊ̅iÊw“Ê…ˆÃ̜Àˆ>˜Ê >ۈ`Ê ÕÀ̈Ãʅ>ÃÊ«œˆ˜Ìi`ʜÕÌ]Ê ¼ÌiiۈȜ˜Ê…>ÃÊLiVœ“iʍÕÃÌÊ܅>ÌÊ >ۈ`Ê>Ê>Ü>ÞÃÊÃ>ˆ`ʈÌÊÜ>Ã]Ê>˜ÊœLiV̽]ÊLÕÌʈ˜Ê̅iÊ `ˆ}ˆÌ>Ê>}i]ʼˆÌʈÃÊ>˜Ê…ˆÃ̜ÀˆVʜLiVÌÊwÀ“ÞÊÃÌÕVŽÊˆ˜Ê̅iÊ«>Ã̽°40 7…iÀiÊi>˜i]Ê*>ˆŽÊ>˜`Ê>ÊLՈÌʓœ`Տ>Àʓœ˜Õ“i˜ÌÃÊ̜ÊÌiiۈȜ˜]Êw““>ŽiÀÃÊ such as Guy Sherwin and Atom Egoyan have played with the mechanical toys of proiV̜ÀÃÊ>˜`ÊÜ՘`ÊÃÞÃÌi“Ã]Ê>˜`ÊV…iiÀvՏÞʏœœ«i`Êw“ÃÌÀˆ«ÃÊ>VÀœÃÃÊ}>iÀˆiÃÊë>ViÃÊ like so much bunting on Labour Day.41Ê,œLiÀÌÊ-“ˆÌ…Ãœ˜ÊV>ˆ“i`Ê̅>ÌÊiÛi˜Ê¼>ÊÃiÌʜvÊ }>˜ViÃÊVœÕ`ÊLiÊ>ÃÊ܏ˆ`Ê>ÃÊ>˜ÞÊ̅ˆ˜}ʜÀÊ«>Vi½°ÊˆÃʼ>ÀÌʜvʏœœŽˆ˜}½ÊÜ>ÃÊ>ÃœÊ>ÊV…>i˜}iÊ̜Ê̅iÊVՏÌÕÀ>ÊiÃÌ>LˆÃ…“i˜ÌÊ̅>ÌÊÛ>Õi`ʜ˜ÞÊ>ÀÌʜLiVÌÃÊ>˜`ʅiÊ`iV>Ài`Ê̅>ÌÊ ¼Ì…iÊi݈ÃÌi˜ViʜvÊ̅iÊ>À̈ÃÌʈ˜Ê̈“iʈÃÊܜÀ̅Ê>ÃʓÕV…Ê>ÃÊ>˜ÞÊw˜ˆÃ…i`ʜLiV̽°42

SPECULATIVE REALISM, ANIMISM AND THE JOYS OF TECHNOLOGICAL TOYS /…iÊw˜>Êii“i˜Ìʈ˜Ê̅iʘiÜʏi݈Vœ˜ÊœvÊL>Ãiʓ>ÌÌiÀÊVœ““>˜`iiÀi`ÊLÞʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê“ÕÃÌÊLiÊ̅iÊLœ`ˆiÃÊ>˜`Ê«iÀVi«ÌÕ>Ê>««>À>ÌÕÃʜvÊëiVÌ>̜ÀÃÊ>˜`]Ê>ÃÊ ʅ>ÛiÊ>À}Õi`]Ê̅iÃiʓœÛi>LiʜLiVÌÃÊV>˜ÊLiʓ>˜ˆ«Õ>Ìi`ʏˆŽiÊ>˜Þʜ̅iÀʓ>ÌiÀˆ>Êˆ˜Ê ̅iÊ̅Àii‡`ˆ“i˜Ãˆœ˜>Êë>ViʜvÊ>Ê}>iÀÞ°Ê
VVœÀ`ˆ˜}Ê̜Ê̅iʜLiV̇œÀˆi˜Ìi`Ê«…ˆœÃœ«…ÞʜvÊÀ>…>“Ê>À“>˜Ê>˜`Ê̅iÊ-«iVՏ>̈ÛiÊ,i>ˆÃÌÃ]Ê>ÃÊëiVÌ>̜ÀÃʜÀÊVˆÌˆâi˜Ã]ÊÜiÊ >ÀiÊ>ÊœLiVÌÃÊ܈̅ˆ˜Ê>ʏiÛiÊ«>ވ˜}Êwi`ʜvÊ̅ˆ˜}Ã]Ê«ÀœViÃÃiÃÊ>˜`ʈ˜Ã̈ÌṎœ˜ÃÊVœ˜Ã̈ÌÕÌi`Ê>ÃʵÕ>˜Ìˆw>LiÊi˜ÌˆÌˆiÃʈ˜Ê܅ˆV…ʘœÊœ˜iʼœLiV̽ÊÌ>ŽiÃʜ˜Ê“œÀiÊÈ}˜ˆwV>˜ViÊ Ì…>˜Ê>˜Þʜ̅iÀ°Ê"˜iʜvÊ̅iʓ>œÀÊ`iÌÀ>V̜ÀÃʜvÊ̅ˆÃÊ>««Àœ>V…ʈÃÊ>ÕÀ>ÊVi>˜‡iÀÀˆÃÊ who has lamented the suppression of difference and the loss of human agency im«ˆi`Ê ˆ˜Ê -«iVՏ>̈ÛiÊ ,i>ˆÃ“]Ê ˜œÌÊ ÌœÊ “i˜Ìˆœ˜Ê ̅iÊ iˆÃˆœ˜Ê œvÊ Ì…iÊ µÕiÃ̈œ˜Ê œvÊ i̅ˆV>Ê Ài뜘ÈLˆˆÌÞ°ÊVi>˜‡iÀÀˆÃÊVœ˜VÕ`iÃÊ̅>ÌʼœLiVÌÃÊ`œ˜½ÌÊV>Ài°Ê >ÀiʈÃÊ̅iÊÀi뜘ÈLˆˆÌÞÊ œvÊ …Õ“>˜Ã½]Ê >Ê Ài뜘ÈLˆˆÌÞÊ Ì…>ÌÊ ÜiÊ V>˜˜œÌÊ >˜`Ê Ã…œÕ`Ê ˜œÌÊ Ài˜œÕ˜Vi° 43 œÌ܈̅ÃÌ>˜`ˆ˜}]ÊÅiÊ>VŽ˜œÜi`}iÃÊ̅iÊÀiÌÕÀ˜ÊœvÊ>ʘiÜʼÀi>ˆÃ“½Êˆ˜ÊVœ˜Ìi“«œÀ>ÀÞÊ >ÀÌÊ Ì…>ÌÊ ˆ˜Ê Vœ˜ÌÀ>`ˆÃ̈˜V̈œ˜Ê ÌœÊ >˜Ì½ÃÊ `i>ˆÃÌÊ «…ˆœÃœ«…ÞÊ i˜`œÜÃÊ Ì…iÊ œLiVÌÊ ÜˆÌ…Ê >Ê«Ài‡i݈ÃÌi˜ViÊ̅>ÌʈÃʈ˜`i«i˜`i˜ÌʜvʅՓ>˜ÊVœ}˜ˆÌˆœ˜°Ê7iÊ>ÀiÊiÛi˜Ê܈̘iÃȘ}Ê>Ê Ài˜iÜ>Êœvʈ˜ÌiÀiÃÌʈ˜Ê>˜ˆ“ˆÃ“]Ê܅iÀiLÞ]ʈ˜Ê̅iÊܜÀ`ÃʜvÊ*…ޏˆ`>Ê >ÀœÜ]ʼ>˜ÊœLiVÌÊ emerges as a sentient thing in its own right’. 44 The artist Eulalia Valldosera has pointi`ʜÕÌÊ̅iÊ«iÀÈÃÌi˜ViʜvÊ>˜ˆ“ˆÃ“ʼˆ˜ÊV…ˆ`Ài˜½ÃÊw“Ã]ʈ˜Ê̅iÊ>˜ˆ“ˆÃ“ÊœvÊ>˜ˆ“>̈œ˜Ã½Ê LÕÌ]ÊÅiÊ>À}ÕiÃ]ʜÕÀÊLiˆivʈ˜Ê̅iʼˆ˜˜iÀʏˆviʜvʜLiVÌýʅ>ÃÊLii˜Ê¼Àii}>Ìi`Ê°°°Ê̜Ê̅iÊ

48

INSTALLATION AND THE MOVING IMAGE

՘Vœ˜ÃVˆœÕý]ÊvÀœ“Ê܅iÀiÊÅiÊ>˜`Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ>ÀVÕÃÊ œ>ÌiÃÊ>˜`ÊÕ`ˆÌ…Êœ«vÊ>ÀiÊ seeking to recall it.45 /…ˆÃʘiÜʏˆVi˜ViÊ̜Êi˜}>}iÊ܈̅ʜLiVÌÃ]Ê̜Êi“LÀ>ViÊ̅iʓÞ̅ˆV>Ê>˜`ʅˆÃ̜Àˆcal significance of sculptural artefacts appears to legitimise trends that have been evolving in the field of moving image installation for many years. Madeleine Hooykaas and Elsa Stansfield began working in the 1970s and since then have combined the “œÛˆ˜}ʈ“>}iÊ܈̅ÊÃ̜˜iÊ>˜`ʓiÌ>ÊÃÌÀÕVÌÕÀiÃ]ÊÜ>ÌiÀ]ÊÜi>̅iÀÊÛ>˜iÃÊ>˜`ÊL>˜ŽÃʜvÊ autumn leaves blown in by the wind in their elegant meditations on the relationship LiÌÜii˜Ê>ÀÌÊ>˜`ÊÃVˆi˜Vi]ʘ>ÌÕÀiÊ>˜`ÊÌiV…˜œœ}Þ°46 Tony Oursler has traumatised his >Õ`ˆi˜ViÃÊLÞÊ«ÀœiV̈˜}ÊÃVÀi>“ˆ˜}Êv>ViÃʜ˜ÌœÊVÀÕ`iÞ‡“>`iÊÀ>}Ê`œÃÊÌÀ>««i`Ê՘`iÀÊ overturned furniture; Annabel Nicolson has run a strip of film through a sewing machine and Tony Conrad has gleefully stir-fried film stock with an egg. There is a sense ˆ˜Ê܅ˆV…Ê̅iÊÃVՏ«ÌÕÀ>ÊÜ>ÃÊÀiۈÌ>ˆÃi`ʈ˜ÊˆÌÃʘiÜÊÀi>̈œ˜Ã…ˆ«Ê܈̅Ê̅iʓœÛˆ˜}ʈ“>}i]Ê >ÊÃi˜Ìˆ“i˜ÌÊ̅>Ìʓˆ}…ÌÊLiÊiÝÌÀ>VÌi`ÊvÀœ“Ê>ÊvœœÌ˜œÌiÊ̜Ê,œÃ>ˆ˜`ÊÀ>ÕÃýÃÊ̅iœÀÞʜvÊ Ì…iʼ«œÃ̇“i`ˆÕ“ÊVœ˜`ˆÌˆœ˜½°Ê
Ì…œÕ}…ÊÀ>ÕÃÃÊÀiiVÌi`ʓi`ˆÕ“ÊëiVˆwVˆÌÞÊ>˜`Ê`imoted the paraphernalia of the moving image to a mere material support to the image >˜`Ê̅iʈ`i>ÃʈÌÊi˜V>«ÃՏ>ÌiÃ]ÊÅiʅ>ÃÊȘViÊVœ˜Vi`i`Ê̅>Ìʼ܅i˜Ê>ÊvœÀ“Êv>Ãʈ˜ÌœÊ œL܏iÃVi˜Vi]Ê>˜ÊiۜV>̈œ˜ÊœvÊ̅iÊÕ̜«ˆ>˜Êˆ`i>ÃÊ̅>ÌÊ̅iÊvœÀ“Ê…i`ʈ˜Ê«Àœ“ˆÃiÊ>ÌʈÌÃÊ >`Ûi˜ÌÊÀi‡i“iÀ}iÃ]ÊvÀii`ÊvÀœ“Ê̅iÊÌiV…˜œœ}ˆV>ÊViÊÜi½Àiʈ˜½° 47 In the case of early ۈ`iœ]ʓÕV…ÊœvÊ̅>ÌÊÕ̜«ˆ>˜ˆÃ“ÊÜ>ÃÊ«ÀœvœÕ˜`ÞÊVœ˜˜iVÌi`Ê̜Ê̅iÊÜVˆ>Ê>˜`Ê«œˆÌˆV>Ê «œÌi˜Ìˆ>Ê̅>ÌÊ̅iʓi`ˆÕ“Ê“ˆ}…ÌÊ`iˆÛiÀ°ÊœÜiÛiÀ]ÊÜiʓˆ}…ÌÊ>ÃœÊÃ>ÞÊ̅>ÌÊ̅iʈ˜ÌiÀ>V̈œ˜ÊœvÊ̅iʓœÛˆ˜}ʈ“>}iÊ܈̅Ê̅iÊ՘iµÕˆÛœV>Ê¼œLiV̘iÃýʜvʓ>ÌiÀˆ>Ê>ÀÌiv>VÌÃÊ Àii>ÃiÃ]ʜÀÊ«iÀ…>«ÃÊȓ«ÞÊ`À>“>̈ÃiÃÊ̅iʅՓ>˜Êˆ“«ÕÃiʜvÊVÀi>̈ۈÌްʈÀÃ̏Þ]ÊÜiÊ ÜˆÌ˜iÃÃÊ̅iÊÜi>ۈ˜}ʜvÊ`Ài>“Ãʈ˜Ê̅iʓœÛˆ˜}ʈ“>}i]Ê̅iÊ«ÀœiV̈œ˜Êœvʈ`i>ÊÃÌ>ÌiÃÊ >˜`Êë>ViÃÊLœÌ…ʈ˜ÌiÀˆœÀÊ>˜`ÊiÝÌiÀˆœÀÊ̜Ê̅iÊ«ÃÞV…i°Ê-iVœ˜`Þ]ÊÜiÊV>˜Ê`iÌiVÌ]ʈ˜Ê̅iÊ “>˜ˆ«Õ>̈œ˜ÊœvÊÃVՏ«ÌÕÀ>Êii“i˜ÌÃ]Ê̅iÊi˜`ÕÀˆ˜}ÊVœ“«ÕÃˆœ˜Ê̅>ÌÊ>À̈ÃÌÃʅ>ÛiÊÌœÊ “>ŽiÊ̅ˆ˜}Ã]Ê̜ÊiÝ«iÀˆ“i˜ÌÊ܈̅ʘiÜʓ>ÌiÀˆ>Ã]Ê̜Ê}iÌÊ̅iˆÀʅ>˜`ÃÊ`ˆÀÌÞ°Ê I fondly recall observing male colleagues relishing the ludic pleasures of inventˆ˜}Ê՘œÀ̅œ`œÝÊÌiV…˜ˆV>ÊVœ˜w}ÕÀ>̈œ˜ÃʜvÊ>˜>œ}ÕiÊw“Ê>˜`Êۈ`iœÊ“>V…ˆ˜iÃ]Ê̜Ê̅iÊ «œˆ˜ÌʜvÊv՘V̈œ˜>ÊVœ>«ÃiÆÊ-ÌiÛiʈÌ̓>˜Ê>ÌÊ̅iÊ,ˆÛiÀÈ`iÊ-ÌÕ`ˆœÃʈ˜Ê̅iʏ>ÌiÊ£™näÃ]Ê ÃˆÌ̈˜}ÊVœ˜Ìi˜Ìi`Þʈ˜Ê>ÊÌ>˜}iʜvÊ܈ÀiÃ]ÊÌÀ>˜ÃvœÀ“iÀÃÊ>˜`ÊÃVÀii˜ÃÊ«Õ}}ˆ˜}ÊV>LiÃÊ ˆ˜ÌœÊ…>v‡`ˆÃÃiVÌi`Êۈ`iœÊ`iVŽÃÆÊ-ÌiÛiÊ>ÀÀiÀÊ>ÌÊ̅iÊœ`iÀ˜Ê
ÀÌÊ"ÝvœÀ`ʈ˜Ê̅iÊ£™™äÃÊ V…iiÀvՏÞÊ>`ۈȘ}ʅˆÃÊ>Õ`ˆi˜ViÊ̅>ÌʈvÊÜiÊÜ>˜Ìi`Ê̜Ê>ۜˆ`Ê`iV>«ˆÌ>̈œ˜]ÊÜiÊŜՏ`Ê ˜œÌʅiÈÌ>ÌiÊ̜Ê`ÕVŽÊˆ˜Ê̅iÊiÛi˜ÌʜvÊ̅iÊ눘˜ˆ˜}Ê«ÀœiV̜Àʈ˜Ê…ˆÃÊAgainst the Steady Stare (1988) flying off its housing; David Dye at Tate Modern recreating in 2009 his 1973 film event Western Reversal in which he manipulates a simple arrangement œvÊV>ÀÊ܈˜}ʓˆÀÀœÀÃ]ÊÀivÀ>V̈˜}Ê>ÊVœÜLœÞʓœÛˆiʈ˜ÌœÊ>ÊVœ˜ÃÌi>̈œ˜ÊœvÊÃÌ>ÀÀÞÊvÀ>}ments. 48Ê/…iÊ«i>ÃÕÀiÊLiˆ˜}ÊÌ>Ži˜Êˆ˜ÊiÝ«œÀˆ˜}Ê܅>ÌÊȓ«iʜLiVÌÃÊ>˜`ʓ>V…ˆ˜iÃÊ VœÕ`Ê`œÊ̜ʏˆ}…ÌÊÜ>ÃÊ«>«>Li°Ê
ÌÊܓiÊ«ÃÞV…ˆVʏiÛi]Ê̅iÊ>ÀÌiv>VÌÃÊ܈̅Ê܅ˆV…Ê>À̈ÃÌÃÊ ˆ˜ÌiÀ>VÌ]Ê LœÌ…Ê “>˜Õv>VÌÕÀi`Ê >˜`Ê vœÕ˜`]Ê “>ÞÊ ÜiÊ v՘V̈œ˜Ê >ÃÊ ÌÀ>˜ÃˆÌˆœ˜>Ê œLiVÌÃÊ

SCULPTURE

49

>˜`ÊÃiÀÛiÊ>˜Ê>ÀV…>ˆVʘii`Ê̜ÊÃޓLœˆÃiʓ>ÌiÀ˜>ÊœÃðÊœÜiÛiÀ]Ê̜ÞÃÊvœÀÊ̅iÊLœÞÃÊ qÊ>˜`Ê}ˆÀÃÊqʈ˜Ê̅iÊVœ˜ÌiÝÌʜvÊ>ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê>ÀiÊ>ÃœÊ̅iÊiÝÌiÀ˜>Ê“>˜ˆviÃÌ>̈œ˜ÃʜvʅՓ>˜Êi˜`i>ۜÕÀ°Ê
ÌÊ̅iÊȓ«iÃÌʏiÛi]Ê̅iÞÊi˜>LiÊÕÃÊ̜ʏi>ÛiÊ>ʓ>ÀŽ°Ê ˜Ê̅iÊVœ˜ÌiÝÌʜvÊÃ̜ÀÞÌiˆ˜}]Ê7>ÌiÀÊ i˜>“ˆ˜ÊœLÃiÀÛi`Ê̅>ÌÊ̅iÊVœ˜Ìi˜ÌʜvÊ>ÊÌ>i]Ê ¼Ì…iÊ̅ˆ˜}½ÊˆÃʼQÃ՘ŽRʈ˜ÌœÊ̅iʏˆviʜvÊ̅iÊÃ̜ÀÞÌiiÀ½Ê>˜`ʅˆÃÊÌÀ>ViÃʼVˆ˜}Ê̜Ê̅iÊÃ̜ÀÞÊ the way the handprints of the potter cling to the clay vessel’. 49 Whether motivated LÞÊ̅iÊi݈ÃÌi˜Ìˆ>Ê«i>ÃÕÀiÃʜvÊܜÀŽˆ˜}Ê܈̅ʓ>ÌiÀˆ>ÃʜÀÊ>Ê`iÈÀiÊvœÀʈ““œÀÌ>ˆÌÞ]Ê>À̈ÃÌÃÊ܈Ê>Ü>ÞÃÊÃVՏ«Ìʈ˜Ê̈“iÊ>˜`Êë>Vi]Êܜœ`Ê>˜`ʓiÌ>]ÊVœÌ…Ê>˜`Ê>ÅiÃ]ÊiiVÌÀœ˜ˆVÊ Ãˆ}˜>Ã]ʏˆ}…ÌÊ>˜`Ê>ˆÀ°Ê
Ãʈ˜Ê>ÀÌ]ʜÕÀʏˆÛiÃÊ>ÀiÊ`œ“ˆ˜>Ìi`ÊLÞÊi˜VœÕ˜ÌiÀÃÊ܈̅ʓ>ÌiÀˆ>Ã]Ê with people and things and these relationships can be restaged and renegotiated ˆ˜Ê̅iÊÃVՏ«ÌÕÀ>ÊVœ˜ÌiÝÌʜvʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜]Ê܅iÀiÊ̅iÊVœ˜Ûi˜Ìˆœ˜ÃÊ>˜`Ê sanctions of everyday life have loosened their grip.

NOTES 1Ê

i“i˜ÌÊÀii˜LiÀ}Ê­£™È£®Ê¼/…iÊ iÜÊ-VՏ«ÌÕÀi½]ʈ˜ÊArt and Culture°Ê œÃ̜˜\Ê i>Vœ˜]Ê«°Ê£Î™° Ibid. 3Ê *…ޏˆ``>Ê >ÀœÜÊëi>Žˆ˜}Ê>ÌÊ …iÃi>Ê œi}iʜvÊ
ÀÌÊEÊ iÈ}˜]ÊÎäÊ՘iÊÓä£ä° 4Ê
iÝÊ *œÌÌÃÊ ­Óää£®Ê ¼˜ÃÌ>>̈œ˜Ê >˜`Ê -VՏ«ÌÕÀi½]Ê Oxford Art Journal]Ê Ã«iVˆ>Ê ˆÃÃÕiÊ ¼"˜Ê ˜ÃÌ>>̈œ˜½]ÊÓ{\ÊÓ]Ê«°Ê£™° 5Ê ,œLiÀÌÊœÀÀˆÃÊ­£™ÈÈL®Ê¼ œÌiÃʜ˜Ê-VՏ«ÌÕÀiÊ*>ÀÌʽ]ÊArtforum]Ê"V̜LiÀ]Ê«°ÊÓÎ{°Ê 6 The idea for the urinal is said to have been suggested to Duchamp by one of his female col>LœÀ>̜ÀðÊœÀÊ̅iÊ£™£ÇÊ-œVˆiÌÞʜvʘ`i«i˜`i˜ÌÊ
À̈ÃÌÃÊi݅ˆLˆÌˆœ˜]Ê̅iÊܜÀŽÊÜ>ÃÊVœÛiÀi`Ê Õ«ÊLÞÊ̅iʜÀ}>˜ˆÃiÀðʘʫÀœÌiÃÌ]Ê ÕV…>“«ÊÀiÈ}˜i`ʅˆÃÊ«œÃˆÌˆœ˜Ê>ÃÊLœ>À`ʓi“LiÀʜvÊ̅iÊ Society. Various luminaries of the art world took up his cause and an art legend was born. 7 Marcel Duchamp quoted in Pierre Cabanne (1987) Dialogues with Marcel Duchamp. New 9œÀŽ\Ê >Ê >«œÊ*ÀiÃÃ]Ê«°Ê{n° 8Ê ˜Ê£™™™]Ê>˜ÊœvwVˆ>ÊÀi«ˆV>ÊÜ>ÃÊ܏`Ê>ÌÊ-œÌ…iLÞ½ÃÊvœÀÊf£°n“° 9Ê ¼>Žˆ˜}ʓœ˜iÞʈÃÊ>ÀÌÊ>˜`ÊܜÀŽˆ˜}ʈÃÊ>ÀÌÊ>˜`Ê}œœ`ÊLÕȘiÃÃʈÃÊ̅iÊLiÃÌÊ>À̽]Ê
˜`ÞÊ7>À…œÊ (1975) The Philosophy of Andy Warhol (From A to B and Back Again). New York: Harcourt À>ViÊœÛ>˜œÛˆV…]Ê«°Ê™Ó° 10Ê ˆV…>iÊ -˜œÜÊ ˆ˜Ê Vœ˜ÛiÀÃ>̈œ˜Ê ÜˆÌ…Ê ˆÃ>LiÌÌ>Ê >LÀˆâˆÊ >˜`Ê …ÀˆÃÊ iˆ}…‡
˜`ÀiÜÃ]Ê Ê -œÕ̅L>˜Ž]Êœ˜`œ˜]Ê iVi“LiÀÊÓään° 11Ê >ÀŽÊ >À̏iÌÌÊ­Ó䣣®Ê¼-œVˆ>ˆ“>}iÃ̈VÃÊ>˜`Ê̅iÊ6ˆÃÕ>Ê
Vի՘VÌÕÀiʜvÊ-Ì>˜Ê6>˜ iÀ iiŽ½ÃÊ

Ý«>˜`i`Ê ˆ˜i“>½]ʈ˜Ê
°Ê°Ê,iiÃ]Ê Õ˜V>˜Ê7…ˆÌi]Ê-ÌiÛi˜Ê >Ê>˜`Ê >ۈ`Ê ÕÀ̈ÃÊ­i`îÊExpanded Cinema: Art Performance Film°Êœ˜`œ˜\Ê/>ÌiÊ*ÕLˆÃ…ˆ˜}]Ê«°Êxx° 12Ê >ÌiÊ7>ŽiÀ½ÃÊÌiÀ“Ê̜Ê`iÃVÀˆLiʅiÀÊ«œÃÌ>Ê>ÀÌÊܜÀŽÃÊ`ˆÃ«>Þi`Ê>ÌÊ̅iÊi݅ˆLˆÌˆœ˜ÊFeministo: Portrait of the Artist as a Housewife (1975–77). See also Rozsika Parker ([1984] 2010) The Subversive Stitch: Embroidery and the Making of the Feminine (2nd Edn). London: I.B. Tauris. 2

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7>ÌiÀÊ i˜>“ˆ˜ÊµÕœÌi`ÊLÞÊ,œÃ>ˆ˜`ÊÀ>ÕÃÃÊ­£™™™®ÊA Voyage on the North Sea: Art in the Age of the Post-Medium Condition°Ê iÜÊ9œÀŽ\Ê/…>“iÃÊEÊÕ`ܘ]Ê«°ÊÎn° ,œÃ>ˆ˜`ÊÀ>ÕÃÃ]ʈLˆ`°Ê«°£ä° ÕÀÌÊ-V…܈ÌÌiÀÃÊÌ>Žˆ˜}Ê̜Ê/ÀˆÃÌ>˜Ê/â>À>]ʵ՜Ìi`ÊLÞÊ>ˆŽ>Ê*œ>VŽÊ­Ó䣣®Êˆ˜Ê…iÀÊÀiۈiÜʜvÊ ¼ÕÀÌÊ-V…܈ÌÌiÀÃ\Ê œœÀÊ>˜`Ê œ>}i½Ê>ÌÊ*Àˆ˜Vi̜˜Ê1˜ˆÛiÀÈÌÞÊ
ÀÌÊÕÃiՓ]ÊNew York Observer]Ê May. /…iʏÕÝÕÃʓ>˜ˆviÃ̜]Ê`À>ܘÊÕ«ÊLÞÊiœÀ}iÊ>VˆÕ˜>Ã]Ê`iV>Ài`ʈÌÃʈ˜Ìi˜Ìˆœ˜Ê̜ʼ«ÕÀ}iÊ̅iÊ ÜœÀ`Ê œvÊ LœÕÀ}iœˆÃÊ ÃˆVŽ˜iÃÃ]Ê ºˆ˜ÌiiVÌÕ>»]Ê «ÀœviÃȜ˜>Ê EÊ Vœ““iÀVˆ>ˆâi`Ê VՏÌÕÀi½°Ê iÊ >ÃœÊÜÀœÌi]ʼÕÝÕÃʈÃÊ`iw˜ˆÌiÞÊ>}>ˆ˜ÃÌÊQ̅iRÊ>À̇œLiVÌÊ>ÃÊQ>Rʘœ˜‡v՘V̈œ˜>ÊVœ““œ`ˆÌÞÊ – to be sold and to make [a] livelihood for an artist’; quoted in Clive Phillpot (2013) Fluxus: Magazines, Manifestos, Multum in Parvo. Available online: …ÌÌ«\ÉÉ}iœÀ}i“>VˆÕ˜>ðVœ“ÉVÛÉ manifesto-iÉÊ­>VViÃÃi`Ê£xÊՏÞÊÓä£{®° >iÀˆiÃ]Ê “ÕÃiՓÃÊ >˜`Ê «ÀˆÛ>ÌiÊ VœiV̜ÀÃÊ …>ÛiÊ Ãˆ˜ViÊ vœÕ˜`Ê Ü>ÞÃÊ ÀœÕ˜`Ê Ì…iÊ «ÀœLi“Ê œvÊ creating scarcity value in an ephemeral medium by commissioning artists to make limited i`ˆÌˆœ˜ÃʜvÊ̅iˆÀÊܜÀŽ°Ê˜Ê̅iÊV>ÃiʜvÊ >ۈ`Ê>]ʅiÊÜ>Ãʈ˜ÛˆÌi`Ê̜ÊÈ}˜Ê̅iÊV>ÃÃiÌÌiÃʜvÊVœpies of his analogue video works for the Tate collection. "vÊVœÕÀÃi]Ê >ۈ`Ê>Ê…>ÃʘœÜÊ܏`ʅˆÃÊi>ÀÞÊܜÀŽÃÊ̜Ê̅iÊ/>ÌiÊ>˜`]ʈ˜Ê̅iÊ1-
]ʓ>˜ÞÊ«ˆœ˜iiÀˆ˜}ÊܜÀŽÃʜ˜Êۈ`iœÊvœÀ“Ê«>ÀÌʜvÊ̅iÊiÝÌi˜ÃˆÛiÊÀ>“ˆV…Ê œiV̈œ˜°Ê ˆÊ6ˆœ>ʅ>ÃÊVÀi>Ìi`Ê>Ê permanent video work for St. Paul’s Cathedral in London. ,œLiÀÌÊœÀÀˆÃÊ­£™ÈÈ>®]ʼ œÌiÃʜ˜Ê-VՏ«ÌÕÀiÊ*>ÀÌʽ]ÊArtforum]ÊiLÀÕ>ÀÞ]Ê«°ÊÓÓÎ°Ê ,œLiÀÌÊœÀÀˆÃÊ­£™ÈÈL®]ʼ œÌiÃʜ˜Ê-VՏ«ÌÕÀiÊ*>ÀÌʽ]ÊArtforum]Ê"V̜LiÀ]Ê«°ÊÓÎΰ
iÝÊ*œÌÌÃÊ­Óä䣮]ʜ«°ÊVˆÌ°]Ê«°Ên° ,œLiÀÌÊœÀÀˆÃÊ­£™ÈÈ>®]ʜ«°ÊVˆÌ°]Ê«°ÊÓÓ{°
`Àˆ>˜Ê -i>ÀiÊ ­Óää{®Ê ¼/՘˜iÊ ۈȜ˜>ÀÞ½]Ê The Guardian]Ê ÓnÊ -i«Ìi“LiÀ°Ê
Û>ˆ>LiÊ œ˜ˆ˜i\Ê …ÌÌ«\ÉÉÜÜܰ̅i}Õ>À`ˆ>˜°Vœ“ÉVՏÌÕÀiÉÓää{ÉÃi«ÉÓnÉ1 (accessed 10 October 2013). >“iÃÊ Žˆ˜ÃÊ­£™™È®ÊThe Object Stares Back°Ê iÜÊ9œÀŽ\Ê-ˆ“œ˜ÊEÊ-V…ÕÃÌiÀ]Ê«°Ê£Ó° Lˆ`]Ê«°Ê£Î°
˜Ì…œ˜ÞÊV >Ê­Óääήʼˆ˜iÊ iÃVÀˆLˆ˜}Ê>Ê œ˜iÊ>˜`Ê,i>Ìi`ʈ“ý]ÊOctober]ÊÊ£äÎ]Ê«°Ê{È° >˜ˆiÊˆiÀÊ­Óään®Ê¼7>À…œÊ>˜`Ê-œ˜Ã½]ÊArt Monthly]ÊÎÓ£]Ê«°ÊÈ° *…ޏˆ``>Ê >ÀœÜ]Ê>ÃÊ>LœÛi° Giuliana Bruno (2002) Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: 6iÀÜ]Ê«°ÊÓx£° ,œLiÀÌÊœÀÀˆÃÊ­£™ÈÈ>®]ʜ«°ÊVˆÌ°]Ê«°ÊÓÎ{° *…ޏˆ``>Ê >ÀœÜ]Ê>ÃÊ>LœÛi° *…ޏˆ``>Ê >ÀœÜ]Ê>ÃÊ>LœÛi° *…ޏˆ``>Ê >ÀœÜ]Ê>ÃÊ>LœÛi° ˆV…>iÊ-˜œÜʈ˜ÊVœ˜ÛiÀÃ>̈œ˜ÊÜˆÌ…Ê ˆÃ>LiÌÌ>Ê>LÀˆâˆÊ>˜`Ê …ÀˆÃÊiˆ}…‡
˜`ÀiÜÃ]Ê>ÃÊ>LœÛi° >˜ˆiÊ ˆÀ˜L>Փʵ՜Ìi`ÊLÞÊ>ÌiÊœ˜`œV…Ê­Óä£ä®ÊScreens: Viewing Media Installation Art. ˆ˜˜i>«œˆÃ\Ê1˜ˆÛiÀÈÌÞʜvʈ˜˜iÜÌ>Ê*ÀiÃÃ]Ê«°Ê{ä° Neville Wakefield quoted by Nicolas de Oliveira (2003) Installation Art in the New Millennium: The Empire of the Senses. œ˜`œ˜\Ê/…>“iÃÊEÊÕ`ܘ]Ê«°ÊÓÇ°Ê -ÌiÛiÊ V+Õii˜Ê ˆ˜Ê Vœ˜ÛiÀÃ>̈œ˜Ê ÜˆÌ…Ê *>ÌÀˆVˆ>Ê ˆVŽiÀÃÊ ­£™™Ç®Ê Art Monthly]Ê ÓäÓ°Ê
Û>ˆ>LiÊ online: …ÌÌ«\ÉÉÜÜÜ°>À̓œ˜Ì…Þ°Vœ°ÕŽÉ“>}>∘iÉÈÌiÉ>À̈ViÉÃÌiÛi‡“VµÕii˜‡ˆ˜ÌiÀۈiÜi`‡ Lއ«>ÌÀˆVˆ>‡LˆVŽiÀÇ`iV‡>˜‡™È‡™7 (accessed 14 October 2013).

SCULPTURE

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Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉÜÜܰޜÕÌÕLi°Vœ“ÉÜ>ÌV…¶Ûr< «8ۈ`Ê ÕÀ̈Ãʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê̅iÊ>Õ̅œÀÊܓï“iʈ˜ÊÓää{]Êܓi܅iÀiʈ˜Êœ˜`œ˜° In SteenbecketÊ ­ÓääÓ®Ê ­ÕÃiÕ“Ê œvÊ >˜Žˆ˜`]Ê œ˜`œ˜®]Ê LÞÊ “i>˜ÃÊ œvÊ À՘˜iÀÃÊ >˜`Ê «ÕiÞÃÊ ÌÀ>˜Ã«œÀ̈˜}ÊÓ]äääÊviiÌʜvÊw“]Ê }œÞ>˜ÊVÀi>Ìi`Ê>ÊyœœÀ‡Ìœ‡Viˆˆ˜}ÊÜiLʜvÊViÕœˆ`ÊÃÌÀi>“ÃÊ feeding a Steenbeck editing console glowing in the darkened recesses of the space. ,œLiÀÌÊ-“ˆÌ…Ãœ˜ÊµÕœÌi`ʈ˜Ê>VŽÊ °Ê>“Ê­i`°®Ê­£™™È®ÊRobert Smithson: The Collected Writing. iÀŽiiÞ]Ê
\Ê1˜ˆÛiÀÈÌÞʜvÊ >ˆvœÀ˜ˆ>Ê*ÀiÃÃ]Ê«°Ê££Ó°Ê >ÕÀ>ÊVi>˜‡iÀÀˆÃÊ­Óä£Î®Ê¼˜`ˆvviÀi˜ÌÊ"LiVÌý]ÊArt Monthly]ÊÎÈn]Ê
Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉ ÜÜÜ°>À̓œ˜Ì…Þ°Vœ°ÕŽÉ“>}>∘iÉÈÌiÉ>À̈ViɈ˜`ˆvviÀi˜Ì‡œLiVÌÇLއ>ÕÀ>‡“Vi>˜‡viÀÀˆÃ‡ ÕÞ‡>Õ}ÕÃ̇Óä£ÎÊ­>VViÃÃi`Ê£ÓÊ iVi“LiÀÊÓä£{®° *…ޏˆ``>Ê >ÀœÜ]Ê>ÃÊ>LœÛi°

Տ>ˆ>Ê 6>`œÃiÀ>Ê ­ՏÞÊ Óä£Ó®Ê ˆ˜Ê Vœ˜ÛiÀÃ>̈œ˜Ê ÜˆÌ…Ê ,>ޓœ˜`Ê iœÕÀÊ >ÌÊ >ÀœÉiÌV…iÀÊ >iÀÞ]Êœ˜`œ˜° œÀÊ>ʓœÀiÊVœ“«Ài…i˜ÃˆÛiÊ`ˆÃVÕÃȜ˜ÊœvÊ-Ì>˜Ãwi`Ê>˜`ÊœœÞŽ>>ýÃÊܜÀŽ]ÊÃiiÊ >̅iÀˆ˜iÊ

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ÀÌÊ œvÊ -Ì>˜Ãwi`ÉœœÞŽ>>ÃÊ vÀœ“Ê ˆvviÀi˜ÌÊ *iÀëiV̈Ûiý]ÊMIRAJ]ÊÓ\Ê£]Ê««°Ê£Ó{qÎä° ,œÃ>ˆ˜`Ê À>ÕÃÃÊ ­Óääx®Ê ëi>Žˆ˜}Ê ÌœÊ ÃÌÕ`i˜ÌÃ]Ê Ài«œÀÌi`Ê LÞÊ Տˆ>Ê …>˜}°Ê
Û>ˆ>LiÊ œ˜ˆ˜i\Ê …ÌÌ«\ÉÉÜÜÜ°VœÕ“Lˆ>°i`ÕÉHÃvÓÓÓäÉ/…ˆ˜}ÉÜiL‡Vœ˜Ìi˜ÌÉ*>}iÃÉ>˜>œ}È}˜>°…Ì“l. (accessed 2 October 2013). I will discuss both these works in greater detail in chapter nine. 7>ÌiÀÊ i˜>“ˆ˜Ê­Q£™ÎÈRÊ£™Çήʼ/…iÊ-̜ÀÞÌiiÀ½]ʈ˜ÊIlluminations]Êi`°Ê>˜˜>…Ê
Ài˜`Ì]ÊÌÀ>˜Ã°Ê >ÀÀÞÊÃ}œÜ\Êœ˜Ì>˜>É œˆ˜Ã]Ê«°Ê™£ÆÊ«°™Ó°

INSTALLATION AND THE MOVING IMAGE

CHAPTER FOUR

Performance The spectator is overwhelmed with changing recognitions, carried emotionally by a flux of evocative actions and led or held by the specific time sequence, which marks the duration of a performance.

>ÀœiiÊ-V…˜ii“>˜˜]Ê£™Ç™

PERFORMANCE ART, ICONOCLASM AND THE REITERATION OF ROLES Installation art of every kind emphasises the role of the public as both participants >˜`ʈ˜vœÀ“i`ÊVœ˜ÃՓiÀÃʜvÊ>ÀÌ°Ê*iÀvœÀ“>˜ViÊ>ÀÌ]Ê܅ˆÃÌÊȓˆ>ÀÞÊi“«…>ÈȘ}ÊVœ>LœÀ>̈Ûiʈ˜ÌiÀ>V̈œ˜Ê܈̅Ê>Õ`ˆi˜ViÃ]ʈ˜Êv>VÌÊÀiˆ˜ÃÌ>ÌiÃÊ̅iÊ>À̈ÃÌ]ʜÀʅiÀÊÃÕÀÀœ}>ÌiÃ]Ê as the embodied focus of aesthetic meaning. The artist becomes the unequivocal «ÀiÃi˜ViÊ̅>Ìʅ>ˆÃÊ̅iÊ>ÃÃi“Li`ÊVœ“«>˜ÞÊ>˜`Ê`i“>˜`ÃÊ>ʅՓ>˜]ÊÀi>̈œ˜>ÊÀi뜘Ãi°Ê *iÀvœÀ“>˜ViÊ >ÀÌÊ Ã…>ÀiÃÊ ÜˆÌ…Ê Ì…i>ÌÀiÊ Ì…iÊ ˆÛi˜iÃÃÊ œvÊ Ì…ˆÃÊ i˜VœÕ˜ÌiÀ]Ê LÕÌÊ Ü…i˜ÊˆÌÊi“iÀ}i`Ê>ÃÊ>ʓœÀiʜÀʏiÃÃÊ`ˆÃVÀiÌiÊ«À>V̈Viʈ˜Ê̅iÊi>ÀÞÊ£™ÈäÃ]ʈÌÊLÀœŽiÊÜˆÌ…Ê Ì…i>ÌÀˆV>ÊÌÀ>`ˆÌˆœ˜°ÊÌÊLi}>˜ÊLÞʍiÌ̈ܘˆ˜}Ê̅iÊ«ÀœÃVi˜ˆÕ“Ê>ÀV…Ê̅>Ìʅ>`Ê«ÀœÛˆ`i`Ê a comfortable separation between the audience and the raised spectacle on stage. ˜Ê }>iÀˆiÃ]Ê ˜œÌ…ˆ˜}Ê ˜œÜÊ Ã̜œ`Ê LiÌÜii˜Ê ۈiÜiÀÊ >˜`Ê «iÀvœÀ“iÀ­Ã®ÆÊ LœÌ…Ê œVVÕ«ˆi`Ê Ì…iÊÃ>“iÊ>Ài˜>]Ê>ÊV…>À}i`Êë>Viʈ˜Ê܅ˆV…Ê>Õ`ˆi˜ViÃÊÜiÀiÊ̜ÊLiʼœÛiÀ܅i“i`½ÊLÞÊ -V…˜ii“>˜˜½ÃʼyÕÝʜvÊiۜV>̈ÛiÊ>V̈œ˜Ã½°Ê
Ì…œÕ}…ÊëiVÌ>̜ÀÃÊ܈Ê«ˆ˜Ê̅i“ÃiÛiÃÊ >}>ˆ˜ÃÌÊÜ>ÃÊ̜Ê>ۜˆ`ÊLiˆ˜}Ê`À>ܘʈ˜ÌœÊ̅iÊ>V̈œ˜]ʈ˜Ê«Àˆ˜Vˆ«i]Ê̅iÀiÊ>ÀiʘœÊÀՏiÃÊ legislating where the audience should stand (seating is rare) and what they might do in response to a performance. The activation of the audience in performance was followed by the second break ܈̅Ê̅i>ÌÀi\Ê̅iÊ>L>˜`œ˜“i˜ÌʜvÊÃVÀˆ«ÌÃ]Ê܅ˆiÊ>ÃœÊÀi˜œÕ˜Vˆ˜}Ê̅iʈ“«iÀܘ>̈œ˜Ê œvÊwV̈œ˜>ÊV…>À>VÌiÀÃÊLÞÊ>V̜Àðʼ*iÀvœÀ“>˜ViʈÃÊÃii˜Ê>Ãʺ`œˆ˜}»½]ÊÜÀœÌiÊ->ÞÊ*œÌÌiÀÆÊ ˆÌʈÃʼ>˜Ê>V̈ۈÌÞ]Ê܅ˆV…ʈÃÊLiˆ˜}ÊÜ>ÌV…i`]ÊÀ>̅iÀÊ̅>˜Ê>Ê«>ÀÌÊLiˆ˜}Ê«>Þi`½°1 The artist

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˜œÜÊi“Lœ`ˆi`ʜ˜ÞÊ>ÊۈȜ˜Êœvʅˆ“ÊœÀʅiÀÃiv]ÊvÀii`ÊvÀœ“Ê>˜ÞÊiÝÌiÀ˜>ÞÊ«ÀœÃVÀˆLi`Ê ÌiÝÌ°Ê/…iÊ«iÀvœÀ“iÀÊÜ>ÃÊ}Ո`i`ÊLÞÊ>ÊÃiÀˆiÃʜvÊÃiv‡}i˜iÀ>Ìi`ʈ˜ÃÌÀÕV̈œ˜ÃʜÀʈ˜Ìi˜Ìˆœ˜ÃÊÃÕ««œÀÌi`ÊLÞÊ>Ê«Ài‡`iÌiÀ“ˆ˜i`ÊVœiV̈œ˜Êœvʓ>ÌiÀˆ>ÃÊqÊyœÕÀ]ʓˆŽÊ>˜`ÊÀœÌ̈˜}Ê vœœ`ʈ˜Ê̅iÊV>ÃiʜvÊ-ÌÕ>ÀÌÊ ÀˆÃiÞʈ˜Ê̅iÊ1]ʓÕÈV>Êˆ˜ÃÌÀՓi˜ÌÃ]ʏˆ}…ÌÃÊ>˜`Êw“Ê«ÀœiV̈œ˜Ãʈ˜Ê̅iÊV>ÃiʜvÊ>ÕÀˆiÊ
˜`iÀܘʈ˜Ê̅iÊ1-
]Ê>˜`ʎ˜ˆÛiÃ]ÊwÀiÊ>˜`Ê>ʅ>˜`}՘ʈ˜Ê that of the Serbian Marina Abramovim. Chance played a large part in the outcome of the work with the most unpredictable variable being the audience itself. Artists such as Abramovim]ʈ˜>Ê*>˜iʈ˜ÊÀ>˜ViÊ>˜`Ê>ˆ˜Ê,œLiÀÌܘʈ˜Ê̅iÊ1ÊÌiÃÌi`Ê̅iʏˆ“ˆÌÃÊ of the audience’s ability to witness self-harm. In the case of Abramovim’s Rhythm 5 ­£™Ç{®]ʜ˜ÞÊ܅i˜Ê̅iÊ>À̈ÃÌÊ«>ÃÃi`ʜÕÌʈ˜Ê>ÊVˆÀViʜvÊy>“iÃÊ>˜`ÊӜŽiÊ`ˆ`Ê>Ê`œV̜ÀÊ break out of the conventional detachment of the spectator and galvanise the audii˜Viʈ˜ÌœÊ>ÊÀiÃVÕiÊ«>ÀÌÞ]ʓÕV…Ê̜Ê̅iÊ>˜˜œÞ>˜ViʜvÊ̅iÊ«iÀvœÀ“iÀ° *iÀvœÀ“>˜ViÊ>ÀÌʓ>Þʅ>ÛiÊÀiiVÌi`ʓ>˜ÞʜvÊ̅iÊ«ÀiVi«ÌÃʜvÊV>ÃÈV>Ê̅i>ÌÀiÊLÕÌÊ it did not dissolve the theatrical. Michael Fried condemned the theatricality of minimalist sculpture in his famous essay Art and ObjecthoodÊ­£™ÈÇ®]Ê>ÊÌiÝÌÊ̅>ÌÊ}À>««i`Ê with the radical shifts in the definitions of what constituted art in the last century. œ`iÀ˜ˆÃÌÊÃVՏ«ÌœÀÃÊÃÕV…Ê>ÃÊ œ˜>`ÊÕ``Ê>˜`Ê,œLiÀÌÊœÀÀˆÃʅ>`ʈ˜ÃˆÃÌi`ʜ˜Ê̅iÊ՘>`œÀ˜i`ʼœLiV̅œœ`½ÊœvÊ̅iˆÀÊܜÀŽ]Ê܅ˆV…]Ê`iV>Ài`ÊÀˆi`ʼ>“œÕ˜ÌÃÊ̜ʘœÌ…ˆ˜}ʜ̅iÀÊ than a plea for a new genre of theatre’. 2 He located this undesirable theatricality in the inscription of the putative viewer as the final term coalescing the drama and œ}ˆVʜvÊ̅iÊ«ˆiVi]Ê>ÊÃÌÀÕVÌÕÀˆ˜}Ê«Àˆ˜Vˆ«iÊ̅>ÌÊ«ÀœÛi`ÊvœÕ˜`>̈œ˜>Êˆ˜Ê̅iÊiۜṎœ˜ÊœvÊ ˆ˜ÃÌ>>̈œ˜Ê>À̰ʘÊ̅iÊ£™xäÃ]Ê̅iÊ«iÀvœÀ“>˜ViÊ>˜`ʈ˜ÃÌ>>̈œ˜Ê>À̈ÃÌÊ
>˜Ê>«ÀœÜÊ …>`Ê>ÃœÊÌ>Ži˜Ê>Ê`ˆ“ÊۈiÜʜvÊ̅iÊ̅i>ÌÀˆV>ÊLiV>ÕÃi]Ê>VVœÀ`ˆ˜}ÊÌœÊ Àˆœ˜ÞÊiÀ]ʈÌʼ«Àisupposed a separation of an audience in visual theatre where he wanted to create ̜Ì>Ê>LÜÀ«Ìˆœ˜½]3Ê>˜Ê>“LˆÌˆœ˜Ê>«ÀœÜÊÅ>Ài`Ê܈̅ʓ>˜ÞÊw“Ê>˜`ʈ˜ÃÌ>>̈œ˜Ê>À̈ÃÌÃÊ̅>ÌÊvœœÜi`°Ê/…iÊÀi>ˆÌÞʈÃÊ̅>Ì]ʅœÜiÛiÀÊi˜À>«ÌÕÀi`Ê>ÊëiVÌ>̜Àʓ>ÞÊLiVœ“iÊ `ÕÀˆ˜}Ê>Ê«iÀvœÀ“>˜Vi]Ê̅iÊܜÀŽÊˆÌÃivʈÃÊ«Ài`ˆV>Ìi`ʜ˜Ê̅iÊ>œV>̈œ˜Êœvʈ˜ÌiÀÀi>Ìi`Ê LÕÌÊVi>ÀÞÊ>ÃÈ}˜i`ÊÀœiÃÊvœÀÊۈiÜiÀÃÊ>˜`Ê̅iÊ«iÀvœÀ“iÀÃ]ʜLiVÌÃ]Êi˜ÛˆÀœ˜“i˜ÌʜÀÊ “Տ̈‡“i`ˆ>ÊëiVÌ>ViÊLiˆ˜}ÊۈiÜi`°ÊvÊ>˜Ê>Õ`ˆi˜Viʓi“LiÀ]ʜÀʈ˜`ii`Ê>˜œÌ…iÀÊ«iÀvœÀ“>˜ViÊ>À̈ÃÌ]Ê>ÌÌi“«ÌÃÊ̜Ê̅i“ÃiÛiÃÊ`ˆÀiVÌÊ̅iʜÕÌVœ“iʜvÊ>ʏˆÛiÊiÛi˜Ì]Ê̅iÞÊ>ÀiÊ met with considerable resistance. 4 ˜ÊëˆÌiʜvÊ̅iÊÀ…i̜ÀˆVʜvʈ˜ÌiÀ>V̈ۈÌÞÊ`iÀˆÛi`ÊvÀœ“Ê«iÀvœÀ“>˜Vi]Ê̅iÊÃi}Ài}>tion of viewers persists in moving image installation and spectators then as now >ÀiʘiÛiÀʈ˜Ê`œÕLÌÊ̅>ÌÊ̅iÞÊ>ÀiÊVœ˜ÃՓiÀÃ]ʘœÌÊ«Àœ`ÕViÀÃʜvÊ̅iÊ>ÀÌ°Ê/…ˆÃÊ`œiÃʘœÌÊ fundamentally change even when a spectator is wrapped in an overwhelmingly immersive installation such as Gary Hill’s ViewerÊ­£™™È®°Ê"˜Êi˜ÌiÀˆ˜}Ê>Ê«ˆÌV…‡`>ÀŽÊë>Vi]Ê Ì…iÊۈiÜiÀʈÃÊVœ˜vÀœ˜Ìi`Ê܈̅Ê>Ê«>˜œÀ>“ˆVÊ`ˆÃ«>ÞʜvÊ«ÀœiV̈œ˜Ã]Êi>V…Êœ˜iÊ`i«ˆVÌing an immigrant worker simply staring out of the frame. These classical portraits create in the viewer the unsettling impression of being followed by their eyes. The w}ÕÀiÃÊ>««i>ÀÊ>Ê̅iʓœÀiÊ«ÀiÃi˜ÌÊvœÀÊ̅iʈ˜ÛˆÃˆLiʍœˆ˜ÃÊLiÌÜii˜ÊÃVÀii˜ÃÊ>˜`Ê̅iÊ

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INSTALLATION AND THE MOVING IMAGE

Willow Egling joining in Tino Sehgal’s performance These Associations (2012), Tate Modern, London. Photo: Catherine Elwes.

blurring of demarcation lines separating screens and floor. The illusion of actuality is i˜…>˜Vi`ÊLÞÊ̅iÊψ}…ÌʓœÛi“i˜ÌÃÊ>˜`ÊňvÌÃʈ˜Ê«œÃˆÌˆœ˜Ê̅>ÌÊ̅iÊÃVÀii˜‡ÃÕLiVÌÃÊ inadvertently betray while the viewed watch the viewers watching. This high-resolution verisimilitude does not mean that the visitor to the installation loses the ability to distinguish between who is corporeally in the space and what is only a video simu>̈œ˜°Ê
ÃÊʅ>ÛiÊi“«…>ÈÃi`]ʈ˜ÃÌ>>̈œ˜Ê“œLˆˆÃiÃÊ܅>ÌÊ
˜`ÀiÜÊ1ÀœÃŽˆiÊV>ÃÊ̅iÊ ¼`œÕLiÊ Vœ˜ÃVˆœÕØiÃÃ½Ê œvÊ Ì…iÊ Ã«iVÌ>̜À]Ê Ì…iÊ >LˆˆÌÞÊ ÌœÊ œÃVˆ>ÌiÊ LiÌÜii˜Ê `ˆvviÀi˜ÌÊ “œ`iÃʜvÊVœ}˜ˆÌˆœ˜]ÊLiÌÜii˜ÊÀi>`ˆ˜}Ê̅iÊVœ˜Ìi˜ÌʜvʈÕȜ˜ˆÃ̈VÊÈ}˜Ãʭ܅ˆÃÌʓ>ˆ˜Ì>ˆ˜ˆ˜}Ê>˜Ê>Ü>Ài˜iÃÃʜvÊ̅iÊÃÌÀÕVÌÕÀiÃʜvÊÀi«ÀiÃi˜Ì>̈œ˜Ê̅>ÌÊ«Àœ`ÕViÊ̅i“®]Ê>˜`Ê the apprehension of spatial realities in which the image is manifest. 5 By the same ̜Ži˜]ÊëiVÌ>̜Àˆ>Êˆ““iÀȜ˜Êˆ˜Ê̅iÊܜÀŽÊ`œiÃʘœÌÊ̅ÀœÜʈ˜ÌœÊ`œÕLÌÊ̅iÊ>Õ̅œÀň«Ê of the piece and the gallery-goer always knows her place. ÕV…ʏˆÛiÊ>ÀÌÊ>˜`ʈ˜ÃÌ>>̈œ˜ÊˆÃʜÀ}>˜ˆÃi`Ê>ÀœÕ˜`Ê̅iÊ«>À̈Vˆ«>̈œ˜ÊœvÊëiVÌ>̜ÀÃ]Ê Ài}>À`i`Ê>ÃÊ«iÀvœÀ“>̈ÛiÊii“i˜ÌÃʈ˜Ê̅iˆÀʜܘÊÀˆ}…Ì]Ê܈̅Ê̅iˆÀÊÃi˜ÃiÃÊ«Àˆ“i`Ê>˜`Ê Ì…iˆÀÊVÀˆÌˆV>Êv>VՏ̈iÃÊi˜}>}i`°ÊœÜiÛiÀ]Ê̅iʅՓ>˜ÊiÝVi«Ìˆœ˜>ˆÃ“ÊœvÊ̅iÊÃÕLiVÌ]Ê>ÃÊ LœÌ…Ê>À̈ÃÌÊ>˜`ÊVœ˜ÃՓiÀʜvÊ>ÀÌ]ʅ>ÃÊLii˜ÊV…>i˜}i`Ê܈̅ˆ˜Ê̅iÊÀiVi˜ÌÊ«…ˆœÃœ«…ˆiÃÊ of speculative realism.6Ê
ÃÊÜiʅ>ÛiÊÃii˜]ÊÀ>…>“Ê>À“>˜Ê…>ÃÊ>À}Õi`Ê̅>ÌÊ̅iÀiʈÃÊ an ontological equivalence between a mere substance and a sentient being both of ܅ˆV…Ê…iÊVœ˜ÃÌÀÕiÃÊ>ÃʜLiVÌÃ]Ê«>Vi`ʼœ˜Ê̅iÊÃ>“iÊvœœÌˆ˜}½° 7 Within a performance œÀʈ˜ÃÌ>>̈œ˜]Ê̅ˆÃÊܜՏ`ÊÃÕ}}iÃÌÊ>ÊVœÀÀi>̈œ˜ÊLiÌÜii˜Ê̅iÊÃÌ>ÌÕÃʜvÊ>˜ˆ“>ÌiÊ>˜`Ê ˆ˜>˜ˆ“>ÌiÊi˜ÌˆÌˆiÃÊÅ>Àˆ˜}Ê>Êë>Vi]Ê«œÌi˜Ìˆ>ÞÊ՘`iÀ“ˆ˜ˆ˜}Ê̅iʈ“«œÀÌ>˜Viʏ>ÌÌiÀÞÊ«>Vi`ʜ˜Ê̅iÊëiVÌ>̜ÀÊ>˜`Ê̅iʼÃÕLiVÌÊ«œÃˆÌˆœ˜½°Ê7iÊ܈ÊÀiÌÕÀ˜Ê̜Ê̅ˆÃʈÃÃÕiʈ˜Ê

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V…>«ÌiÀÊiˆ}…Ì°ÊœÀÊ̅iʓœ“i˜Ì]ʅœÜiÛiÀ]ÊÊ܈Ê˜œÌiÊ̅>ÌÊ܅ˆiʜLiV̇œÀˆi˜Ìi`Ê«…ˆœÃœ«…ÞʜÛiÀœœŽÃÊÜVˆ>ÊÀi>ˆÌˆiÃÊ>˜`ʓˆ}…Ì]Ê>ÃÊ°Ê°Ê …>ÀiÃܜÀ̅ÊÃÕ}}iÃÌi`]ÊVœ˜Ã̈ÌÕÌiÊ >˜Ê>ÌÌi“«ÌÊ̜ÊÀi`ÕViÊ̅iÊëiVÌ>̜ÀÊ̜ʼ̅iÊ`i>`ʈ˜`ˆvviÀi˜ViʜvÊ̅ˆ˜}ý]Ê̅iʏiÛiˆ˜}Ê out of the human and non-human resonates with performance art’s attempts to vœÀ}iÊ>Ê`i“œVÀ>̈VÊë>Viʜvʓi>˜ˆ˜}vՏÊVՏÌÕÀ>ÊiÝV…>˜}i° 8 That same impetus was ÀivœÀ“Տ>Ìi`ÊLÞÊ ˆVœ>ÃÊ œÕÀÀˆ>Õ`Ê܅œÊˆ˜Ê£™™nʏ>՘V…i`ʼ,i>̈œ˜>Ê
iÃ̅ïVýʈ˜Ê>Ê book of the same name.9 Bourriaud advocated a social practice in which audiences >˜`ÊVœ““Õ˜ˆÌˆiÃʈ˜ÌiÀ>VÌÊ܈̅Ê>˜`Ê܈̅ˆ˜Ê̅iÊܜÀŽ°Ê˜Ê̅iœÀÞ]Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ,ˆÀŽÀˆÌÊ /ˆÀ>Û>˜ˆ>ʭ܅œÊVœœŽÃÊvœÀʅˆÃÊ«ÕLˆV®Ê>˜`ÊiÀi“ÞÊ iiÀʭ܅œÊœÀ}>˜ˆÃiÃʓ>ÃÃÊiÛi˜ÌÃ®Ê Vi`iÊVœ˜ÌÀœÊ̜Ê̅iÊ«>À̈Vˆ«>˜ÌðʘʫÀ>V̈Vi]ʅœÜiÛiÀ]Ê̅iÃiÊiÛi˜ÌÃÊ>ÀiÊV>ÀivՏÞʜÀchestrated by the galleries while the artist retains sole authorship of the work and œ˜ÞÊÅiÊi˜œÞÃÊ̅iÊw˜>˜Vˆ>ÊÀiÜ>À`ÃÊ>˜`ÊV>ÀiiÀÊLi˜iwÌðÊœ˜}ÊLivœÀiÊ œÕÀÀˆ>Õ`Ê Û>œÀˆÃi`ÊÜVˆ>ÊœÀV…iÃÌÀ>̈œ˜Ê>ÃÊ>ÀÌ]Ê܈̅ʫiœ«iÊ`i«œÞi`ʓÕV…ʏˆŽiÊ̅iʜLiVÌÃʈ˜Ê >À“>˜½Ãʅœ“œ}i˜ˆÃi`Ê՘ˆÛiÀÃi]Ê«À>V̈̈œ˜iÀÃʈ˜Ê̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃÊÜiÀiÊi“broiled in what Loraine Leeson and Peter Dunn simply called community art. Unlike >À}i‡ÃV>iÊÃÌ>}i`ÊëiVÌ>ViÃÊLÞ]ÊÃ>Þ]ÊÀ>˜VˆÃÊ
àÃ]10 their initiatives were designed to engage directly with political issues allied to campaigns driven by local communities – the closure of hospitals or the privatisation of the London Docklands. Their purpose was to create works that functioned as a catalyst for social change.11 Artists such as Peter Dunn and Loraine Leeson strove to minimise the distinction between the convenor of a work and its participants and embraced what the scientist Andrew *ˆVŽiÀˆ˜}Ê՘`iÀÃÌ>˜`ÃÊ>ÃÊ̅iÊVœ˜`ˆÌˆœ˜ÊœvÊi݈ÃÌi˜ViÆÊ>ÊÀiVˆ«ÀœV>Ê¼`>˜ViʜvÊ>}i˜VÞ½Ê LiÌÜii˜ÊÃÕLiVÌð12 Where Pickering’s cybernetic perspective suggests the possiLˆˆÌÞʜvÊ>ʏiÛiÊ«>ވ˜}Êwi`]Ê«iÀvœÀ“>˜ViÊ>ÀÌÊÀiÌ>ˆ˜i`Ê̅iÊÃi«>À>ÌiʼëiVˆ>˜iÃýʜvÊ Ì…iÊ>À̈ÃÌ]Ê>˜Êˆ˜`ˆÛˆ`Õ>Ê܅œÊÃÌÀœÛiÊÛ>ˆ>˜ÌÞÊ̜Ê՘À>ÛiÊ̅iÊÀՏiÃʜvÊ̅i>ÌÀiÊ>˜`ÊV…>lenge conventions of acceptable behaviour in the hallowed spaces of art galleries and museums.

PERFORMANCE ART − PRE−HISTORY No more painters, no more musicians, no more sculptors, no more religions, no more republicans ... no more of these idiocies, Nothing Nothing Nothing. œÕˆÃÊ
À>}œ˜]Ê£™Óä Taunting the bourgeoisie was already a favourite sport of the Dadaist Cabaret Voltaire founded in 1916 by Hugo Ball and Emmy Hennings. Launching their movement ˆ˜Ê ÌÀˆV>Ê ÌÀ>`ˆÌˆœ˜ÃÊ LÞÊ ÃÌ>}ˆ˜}Ê Üˆ`Ê iÛi˜ˆ˜}ÃÊ Ì…>ÌÊ ˆ˜ÛœÛi`Ê >Ê …i>`ÞÊ “ˆÝÊ œvÊ «œiÌÀÞ]Ê `>˜Vi]Ê «Õ««iÌÀÞÊ >˜`Ê “ÕÈV]Ê ÜˆÌ…Ê >Ê >V̈˜}Ê >Ãʈ“«ÀiÃ>Àˆœ°Ê >Ê>ÃœÊëiVˆ>ˆÃi`ʈ˜Ê«ÀœÛœŽˆ˜}ʅˆÃÊ>Õ`ˆi˜ViÃÊ܈̅ʼÜ՘`Ê«œi“ý]Ê

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INSTALLATION AND THE MOVING IMAGE

performances in which he chanted declarative gibberish dressed in a cardboard ÃՈ̰Ê"˜ÞÊ܅i˜Ê…iÊ>V…ˆiÛi`Ê܅>ÌÊi>˜Ê
À«Ê`iÃVÀˆLi`Ê>Ãʼ̜Ì>Ê«>˜`i“œ˜ˆÕ“½Ê`ˆ`Ê >Ê pronounce the evening a success.13 Dada’s anarchic provocations took many forms ˆ˜VÕ`ˆ˜}ÊÕÀˆ˜>̈œ˜Ê>˜`ʓ>ÃÌÕÀL>̈œ˜Êœ˜ÃÌ>}iÊ­À>˜ŽÊ7i`iŽˆ˜`®]Ê>˜Ê>VÌÊÀi«ÀˆÃi`ÊLÞÊ Vito Acconci in his video performance Seedbed in 1972.14 À>܈˜}ʈ˜Ã«ˆÀ>̈œ˜ÊvÀœ“ÊV>L>ÀiÌ]Ê̅iÊVˆÀVÕÃÊ>˜`ÊÛ>ÀˆiÌÞÊ̅i>ÌÀi]Ê̅iÊi>ÀÞÊ«>ÀÌÊ of the twentieth century saw the spread across Europe of a theatre of institutional iconoclasm and physical shock. The Futurist Filippo Marinetti was determined to ¼`iÃÌÀœÞÊ̅iÊ-œi“˜]Ê̅iÊ->VÀi`]Ê̅iÊ-iÀˆœÕÃ]Ê>˜`Ê̅iÊ-ÕLˆ“iʈ˜Ê
À̽°15 He showed his disdain for the establishment in 1914 when an enemy missile narrowly missed the Basilica in Venice. Marinetti contrived to drop leaflets over the city rousing the «œ«Õ>ViÊ̜ʼ
Ü>Žit½ÊLiV>ÕÃiʼ̅iÊi˜i“ÞʈÃÊ>ÌÌi“«Ìˆ˜}Ê̜Ê`iÃÌÀœÞÊ̅iʓœ˜Õ“i˜ÌÃ]Ê Ü…ˆV…Ê ˆÌÊ ˆÃÊ œÕÀÊ œÜ˜Ê «>ÌÀˆœÌˆVÊ «ÀˆÛˆi}iÊ ÌœÊ `i“œˆÃ…t½16 The artist used a variety of methods to dislodge what he saw as a backward-looking conservatism prevalent ˆ˜ÊÌ>Þ°Êœ˜}ÊLivœÀiÊœ…˜Ê >}iÊÌ՘i`ʈ˜Ê̜Ê̅iÊÜ՘`ÃʜvÊ̅iÊiÛiÀÞ`>Þ]Ê>Àˆ˜iÌÌˆÊ VÀi>Ìi`Ê܅>ÌʅiÊV>i`ʼ ÀՈ̈Ó½]Ê«iÀvœÀ“>˜ViÃʘœÌi`ÊvœÀÊ̅iˆÀÊV…œÀÕÃiÃʜvʼÌÞ«iÜÀˆÌiÀÃ]ʎiÌ̏i`ÀՓÃ]ÊÀ>Ì̏iÃÊ>˜`ÊÃ>ÕVi«>˜Êˆ`ý°17 The Dadaists and Futurists were ˜œÌÊ>œ˜i°Ê˜Ê̅iÊ£™ÓäÃ]Ê̅iÊ-ÕÀÀi>ˆÃÌÃʈ˜Ê*>ÀˆÃÊ>ÌÌ>VŽi`Ê̅iÊÀi>ˆÃ“ÊœvÊ̅i>ÌÀiÊÜˆÌ…Ê >Õ̜“>̈VÊ ÜÀˆÌˆ˜}]Ê Ãˆi˜ÌÊ Ài>`ˆ˜}Ê >˜`Ê `Ài>“Ê ˆ“>}iÀÞ]Ê >˜`Ê ˆŽiÊ >Àˆ˜iÌ̈]Ê œÀV…iÃÌÀ>Ìi`Ê Ì…iÊ “>V…ˆ˜iÃÊ œvÊ “œ`iÀ˜ˆÌÞ]Ê ˆ˜Ê ̅iˆÀÊ V>ÃiÊ vÀiµÕi˜ÌÞÊ >VVœ“«>˜ˆi`Ê LÞÊ Ì…iÊ “ÕÈVʜvÊ̅iʼ«…œ˜œ“iÌÀˆVˆ>˜½]Ê ÀˆŽÊ->̈i°Ê˜Ê£™Ó£Ê>Ê >`>ˆÃÌʜṎ˜}ÊÜ>ÃʜÀ}>˜ˆÃi`Ê LÞÊ/ÀˆÃÌ>˜Ê/â>À>]Ê*>ÕÊ Õ>À`]ʜՈÃÊ
À>}œ˜Ê>˜`ʜ̅iÀÃÊ܅œÃiʜLiV̈ÛiÊÜ>ÃÊ̜ÊÀi«>ViÊ ¼ˆ˜Vœ“«iÌi˜ÌÊ >˜`Ê ÃÕëiVÌÊ }Ո`iÃ½Ê >˜`Ê Ã…i«…iÀ`Ê ÛˆÃˆÌœÀÃÊ >ÀœÕ˜`Ê >Ê `iÀiˆVÌÊ V…ÕÀV…]Ê>˜`ʜ̅iÀÊLՈ`ˆ˜}ÃÊ̅>Ìʅ>`ʼ˜œÊÀi>ܘÊvœÀÊi݈Ã̈˜}½°18Ê"˜Ê̅iÊ`>Þ]Ê̅iʅi>Ûi˜Ãʜ«i˜i`Ê>˜`Ê`iÌiÀÀi`ÊLÞÊ̅iÊÀ>ˆ˜]ÊviÜÊ«iœ«iÊÌÕÀ˜i`ÊÕ«°ÊœÜiÛiÀ]Ê̅iÊܜÀŽÊw˜`ÃÊ ˆÌÃÊiV…œiÃʈ˜Ê̅iÊ£™ÈäÃʈ˜ÌiÀ˜>̈œ˜>Ê>ÀÌÊ}ÀœÕ«ÊÕÝÕÃ]ÊiÝi“«ˆwi`ÊLÞÊ9œŽœÊ"˜œ½ÃÊ ÜÀˆÌÌi˜Ê}Ո`iÃÊ̅>Ìʈ˜ÛˆÌi`ÊۈiÜiÀ‡«>À̈Vˆ«>˜ÌÃÊ̜ÊiÝ«iÀˆi˜ViʜÛiÀœœŽi`Ê>ëiVÌÃÊ œvÊ iÜÊ9œÀŽÊœÀÊi˜…>˜ViÊ̅iˆÀÊÜ>˜`iÀˆ˜}ÊLÞÊvœœÜˆ˜}Ê`ˆÀiV̈ÛiÃÊÃÕV…Ê>Ã]ʼÜ>ŽÊ>Ê over the city with an empty baby carriage’ (1961). The performance was realised by whoever carried out the instruction. The Dadaist guided tours also presage the ܜÀŽÊœvÊ>˜iÌÊ >À`ˆvv]Ê܅œÃiÊThe Missing Voice (Case Study B) (1999) provided a «Ài‡ÀiVœÀ`i`ʼ>Õ`ˆœÊÜ>Ž½Êœ˜Ê>Ê ˆÃV“>˜]Ê܅ˆV…ÊÌÀ>˜Ã«œÀÌi`Ê̅iÊ«>À̈Vˆ«>˜ÌÊ̅ÀœÕ}…Ê ̅iÊ7…ˆÌiV…>«iÊ>Ài>ʜvÊœ˜`œ˜]Ê>˜`Ê`iˆÛiÀi`Ê̅iÊ`>ÀŽÊ…ˆÃ̜ÀÞʜvÊ̅iÊÃÌÀiiÌÃÊ>œ˜}Ê the way through binaural headphones.19 /iV…˜œœ}ÞÊ Ü>ÃÊ i“LÀ>Vi`Ê i>ÀÞÊ œ˜Ê ˆ˜Ê «iÀvœÀ“>˜ViÊ >ÀÌ]Ê ˜œÌ>LÞÊ LÞÊ Ì…iÊ Ì>ˆ>˜Ê ÕÌÕÀˆÃÌÃÊ vœÀÊ Ü…œ“Ê “œ`iÀ˜ˆÌÞÊ ÀiÈ`i`Ê ˆ˜Ê ̅iÊ “>V…ˆ˜iÃÊ œvÊ ˆ˜`ÕÃÌÀÞ]Ê À>`ˆœÊ >˜`Ê LÀœ>`V>Ã̈˜}]Ê >˜`Ê ˆ˜`ii`Ê Ì…iÊ “iV…>˜ˆVÃÊ Ü>À°20Ê ˜Ê £™ä™]Ê Ì…iÊ ÕÌÕÀˆÃÌÊ >˜ˆviÃÌœÊ «ÀœV>ˆ“i`ʼ7iÊ܈Ê}œÀˆvÞÊÜ>À]Ê̅iʜ˜ÞÊÌÀÕiʅÞ}ˆi˜iʜvÊ̅iÊܜÀ`ÊqʓˆˆÌ>ÀˆÃ“]Ê«>ÌÀˆœÌˆÃ“]Ê̅iÊ`iÃÌÀÕV̈ÛiÊ}iÃÌÕÀiʜvÊ̅iÊ>˜>ÀV…ˆÃÌ]Ê̅iÊLi>ṎvՏʈ`i>ÃÊ܅ˆV…ÊŽˆÊ>˜`Ê the scorn of women.’21 A more benign use of technology could be found in Valentine

PERFORMANCE

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`iÊ->ˆ˜Ì‡*œˆ˜Ì½ÃÊ«iÀvœÀ“>˜ViðÊ
Õ̅œÀʜvÊ̅iÊ£™£Îʼ>˜ˆviÃ̜ʜvÊÕÃ̽Ê̅iÊ>À̈ÃÌÊ«ÀœiVÌi`ÊVœœÕÀi`ʏˆ}…ÌÃÊ>˜`ʓ>̅i“>̈V>ÊÃޓLœÃʜ˜ÌœÊÜ>ÃÊÃÕÀÀœÕ˜`ˆ˜}ʅiÀÊ`>˜ViÊ «iÀvœÀ“>˜ViÃ]Ê>VVœ“«>˜ˆi`ÊLÞÊÀiVˆÌ>̈œ˜ÃʜvʅiÀʏœÛiÊ«œiÌÀÞ°Ê/…iʘiÜÊÌiV…˜œœ}ÞÊ œvÊw“ÊÜ>ÃÊ>ÃœÊ“>ÀÅ>i`Ê̜Ê̅iÊÕÌÕÀˆÃÌÊV>ÕÃi]ʜ˜iÊ̅>ÌÊV…>“«ˆœ˜i`ÊȓՏÌ>˜iˆÌÞ]Ê뜘Ì>˜iˆÌÞÊ>˜`ÊÀ>˜`œ“]Ê>i>̜ÀÞʈ˜ÌiÀÛi˜Ìˆœ˜Ã°Ê
À˜>`œÊˆ˜˜>½ÃÊ>LÃÕÀ`ˆÃÌÊw“Ê Vita Futurista (1916) (now lost) featured such curiosities as Giacomo Balla making œÛiÊ̜Ê>ÊV…>ˆÀÊ>˜`Ê>Àˆ˜iÌ̈Êi˜}>}i`ʈ˜Ê>ÊLœÝˆ˜}ʓ>ÌV…°Ê/…iÃiÊ`ˆÃVœ˜˜iVÌi`]ÊÃÕÀÀi>Ê scenarios were combined with early but astonishingly sophisticated special effects VÀi>Ìi`ÊLÞÊ̅iÊÕÃiʜvÊ돈ÌÊÃVÀii˜]Ê`œÕLiÊiÝ«œÃÕÀi]ÊVœœÕÀÊ̈˜Ìˆ˜}Ê>˜`Ê`ˆÃ̜À̈˜}ʓˆÀÀœÀÃÊ>Êˆ˜Ìi˜`i`Ê̜ÊÃÕ}}iÃÌÊ̅iÊÌÕÀLՏi˜ÌÊÃÌ>ÌiÃʜvʓˆ˜`ÊiÝ«iÀˆi˜Vi`ÊLÞÊ̅iÊÛ>ÀˆœÕÃÊ members of the group. -ÕÀÀi>ˆÃÌÊ«iÀvœÀ“>˜ViÃʜvÌi˜Êˆ˜VœÀ«œÀ>Ìi`Ê̅iÊÃVÀii˜ˆ˜}ʜvÊw“Ã]ÊÃÕV…Ê>ÃÊ,i˜jÊ Clair’s Entr’acteÊ­£™Ó{®]ÊÀiۈۈ˜}Ê>˜Êi>ÀˆiÀÊÌÀ>`ˆÌˆœ˜Êˆ˜Ê܅ˆV…Êv>ˆÀ}ÀœÕ˜`Êi˜ÌiÀÌ>ˆ˜ments and vaudeville included short filmic interludes between live acts. Clair’s film features farcical scenes of a funeral procession in which the mourners leap like }>âiiÃ]Ê>˜Êˆ˜Vœ˜}À՜ÕÃÊëiVÌ>ViÊ̅>ÌÊLÀˆ˜}ÃÊ̜ʓˆ˜`Ê
˜`ÀiÜÊŸÌ̈˜}½ÃÊȓˆ>ÀÞÊ absurdist performance in his film Klipperty Klöpp (1984) in which he impersonates a demented horse. Clair’s film also boasts a bearded Picabia in a tutu and Duchamp and Man Ray engaged in a game of chess. It ends with the cast breaking through the paper onto which the credits are inscribed. The footage then reverses to reinstate ̅iÊ̜À˜Ê̈̏i]Ê>ÊÌÀˆVŽÊ̅>ÌÊÜ>Ãʏ>ÌiÀÊi>LœÀ>Ìi`ÊLÞÊ*iÌiÀÊ >“«ÕÃʈ˜ÊThree Transitions ­£™Çή]Ê>Êۈ`iœÊˆ˜Ê܅ˆV…Ê…iÊVœ˜ÌÀˆÛi`Ê̜ÊVÕÌÊ̅ÀœÕ}…Ê…ˆÃʜܘÊL>VŽÊ>˜`ÊLiÊÀiLœÀ˜ÊLÞÊ stepping through the tear in his body. 22
Ê`ˆvviÀi˜ÌÊÌÀ>iV̜ÀÞÊV>˜ÊLiÊÌÀ>Vi`ÊvÀœ“Ê̅iÊ,ÕÃÈ>˜ÊÕÌÕÀˆÃÌÃÊ܅œÊ`iÛiœ«i`Ê a deliberately populist brand of performance designed to reach wider non-art audii˜ViÃÊ܈̅Ê̅iʜLiV̈ÛiʜvÊi`ÕV>̈˜}Ê̅iÊ«ÀœiÌ>Àˆ>Ìʈ˜Ê̅iÊ}œÀˆiÃʜvÊ̅iÊ œÃ…iۈŽÊ revolution. They staged spectacular reconstructions of momentous events includˆ˜}]ʈ˜Ê£™Óä]Ê̅iÊÃ̜À“ˆ˜}ʜvÊ̅iÊ7ˆ˜ÌiÀÊ*>>ViÊ܈̅Ê̅iʅi«ÊœvÊ>ÊwÛi‡…Õ˜`Ài`‡ÃÌÀœ˜}Ê œÀV…iÃÌÀ>]Ê>ÊL>ÌÌ>ˆœ˜ÊœvÊ܏`ˆiÀÃÊ>˜`Ê̅œÕÃ>˜`ÃʜvÊVˆÌˆâi˜Ãʓ>˜ÞʜvÊ܅œ“Ê…>`Ê«>Àticipated in the original 1917 rebellion.23 Commemorative performances staged vœÀÊ̅iÊV>“iÀ>ʈ˜VÕ`iÊiÀi“ÞÊ iiÀÊ>˜`ʈŽiʈ}}ˆÃ½ÃÊBattle of OrgreaveÊ­Óä䣮]Ê a re-enactment of the violent confrontation between miners and police during the ˆ˜iÀýÊ-ÌÀˆŽiʈ˜Ê ÀˆÌ>ˆ˜Êˆ˜Ê£™n{°Ê
}>ˆ˜]ÊܓiʜvÊ̅iʜÀˆ}ˆ˜>Ê«ÀœÌ>}œ˜ˆÃÌÃÊ̜œŽÊ«>ÀÌʈ˜Ê the restaged event. Deirdre Heddon has proposed the Suffragettes as the prototypical political pervœÀ“iÀÃÊ܈̅Ê̅iˆÀÊܓï“iÇiÝÌÀi“iÊ«ÕLˆVÊ«ÀœÌiÃÌÃÊiÝi“«ˆwi`ÊLÞÊ “ˆÞÊ7ˆ`ˆ˜}Ê >ۈܘÊ܅œÊ`iV>Ài`]ʼ ii`ÃʘœÌÊ7œÀ`ýÊ>˜`ʅÕÀi`ʅiÀÃivÊ՘`iÀÊ̅iʈ˜}½ÃʅœÀÃiÊ on Derby day in 1913. Heddon cites as an early form of body art the self-mutilation œvÊ œ˜ÃÌ>˜ViÊÞÌ̜˜]Ê܅œ]Ê܅ˆÃÌʈ˜Ê«ÀˆÃœ˜Êˆ˜Ê£™ä™Ê>ÌÌi“«Ìi`Ê̜ÊV>ÀÛiÊ̅iÊܜÀ`ÃÊ ¼6œÌiÃÊvœÀÊ7œ“i˜½Êœ˜ÌœÊ…iÀÊLœ`ÞÊ܈̅Ê>ʘii`i°24 These anarchic acts may well have

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Andrew Kötting, Klipperty Klöpp (1984). Film still courtesy of the artist.

influenced artists and the thread of self-harm in art draws down through the years to Antonin Artaud and his 1920s Theatre of Cruelty and the blood and guts gallery «iÀvœÀ“>˜ViÃʜvÊ̅iÊ6ˆi˜˜iÃiÊ
ŽÌˆœ˜ˆÃÌÃʈ˜Ê̅iÊ£™ÈäÃ]Ê܅œÊÅ>Ài`Ê
ÀÌ>Õ`½ÃÊ`iÌiÀ“ˆ˜>̈œ˜Ê̜ÊvœÀViÊLœÕÀ}iœˆÃÊÜVˆiÌÞÊ̜Êv>ViʈÌÃÊ}Àˆ““iÀÊÌÀÕ̅ðÊ/…iÊ
ŽÌˆœ˜ˆÃÌÃÊiÝ«œÀi`Ê Ì…iÊiÝÌÀi“iÃʜvʅՓ>˜ÊiÝ«iÀˆi˜ViÊ܈̅Ê̅iʈ˜Ìi˜Ìˆœ˜Êœvʈ˜`ÕVˆ˜}ÊV>̅>À̈VÊÀi>V̈œ˜ÃÊ ˆ˜Ê̅iˆÀÊ>Õ`ˆi˜ViÃ°Ê >̅>ÀÈÃ]Ê̅iÞÊLiˆiÛi`]ÊVœÕ`ÊLÞ«>ÃÃÊ̅iÊVœ˜ÃÌÀˆV̈˜}Ê>˜`Ê`i>`ening effects on the human psyche of bourgeois social convention. According to iœÀ}iÃÊ >Ì>ˆi]Ê̅iÊLœ`Þʈ˜ÊiÝÌÀi“ˆÃÊÜ>ÃÊV>«>LiʜvÊ`ˆÃ܏ۈ˜}ÊÜVˆ>Ê`ˆÛˆÃˆœ˜ÃÊ>˜`]Ê …iʜLÃiÀÛi`]ʼ…Õ“>˜ÊLiˆ˜}ÃÊ>ÀiʘiÛiÀÊ՘ˆÌi`Ê܈̅Êi>V…ʜ̅iÀÊiÝVi«ÌÊ̅ÀœÕ}…ÊÌi>ÀÃÊ and wounds’.25Êœ«ˆ˜}Ê«iÀ…>«ÃÊ̜ÊiˆVˆÌÊ>Êȓˆ>ÀÊi}>ˆÌ>Àˆ>˜Êi“«>̅Þ]ʈ˜Ê̅iÊ£™ÇäÃÊ and 1980s Marina Abramovim also toyed with the limits of human endurance and ÜÕ}…ÌʜÕÌʅiÀÊ«iÀܘ>Ê«>ˆ˜Ê̅ÀiŜ`Ãʈ˜Ê…iÀʼÀˆ˜}ÃʜvÊwÀi½Ê«iÀvœÀ“>˜Viʓi˜Ìˆœ˜i`Ê >LœÛiÊ>ÃÊÜiÊ>ÃÊܜÀŽÃʈ˜ÛœÛˆ˜}ʅޫiÀÛi˜Ìˆ>̈œ˜]ÊÃÌ>ÀÛ>̈œ˜Ê>˜`Ê`ÀÕ}‡ˆ˜`ÕVi`ÊV>Ì>̜˜ˆVÊÃÌ>ÌiðÊ-…iÊÜ>Ãʍœˆ˜i`ʈ˜Ê̅ˆÃÊÃiv‡“Ṏ>̈œ˜Êi˜ÌiÀ«ÀˆÃiÊLÞÊ̅iÊ À>∏ˆ>˜Ê>À̈ÃÌÊ Leticia Parente who in Marca Registrada/TrademarkÊ­£™Ç{®]ÊÃiÜi`ʼ>`iʈ˜Ê À>∏½Ê ˆ˜ÌœÊ̅iÊ܏iʜvʅiÀÊvœœÌ] 26 and Gina Pane whose Psychic Action (1974) was a ritual œvʓœÕÀ˜ˆ˜}ÊvœÀÊ̅iÊ`i>̅ʜvʅiÀʓœÌ…iÀ]Ê>ÊViÀi“œ˜ÞÊ̅>Ìʈ˜ÛœÛi`Ê̅iÊ>À̈ÃÌÊVÕÌting herself with razor blades.27ʘÊ̅iÊ1]Ê-œ˜ˆ>ʘœÝÊ>ÃœÊÀiV>i`Ê̅iÊ-ÕvvÀ>}iÌÌi½ÃÊ traumatic protests in her performance Echoes from the NorthÊ­£™Çnqnä®]Ê>ÊܜÀŽÊˆ˜Ê which the artist lacerated her legs as she walked through fields of barbed wire as a

PERFORMANCE

59

}iÃÌÕÀiʜvÊ܏ˆ`>ÀˆÌÞÊ܈̅Ê̅iÊܜ“i˜ÊœvÊ œÀ̅iÀ˜ÊÀi>˜`Ê`ÕÀˆ˜}Ê̅iʼ/ÀœÕLiý]Ê̅iÊ war of attrition between Protestants and Catholics. 28 Individual demonstrations of grief and political anger such as those enacted by *>˜i]Ê *>Ài˜ÌiÊ >˜`Ê ˜œÝÊ >˜`Ê “>ÞÊ Ã̈Ê œVVÕÀ]Ê LÕÌÊ Ì…iÞÊ }i˜iÀ>ÞÊ “>˜ˆviÃÌÊ œÕÌÈ`iÊ }>iÀÞÊë>ViðÊœÀʈ˜ÃÌ>˜Vi]ʈ˜ÊÓääÎ]Ê̅iÊœ˜`œ˜iÀÊ>ÀŽÊVœÜ>˜Ê­Ì…iʼ
À̈ÃÌÊ/>ÝˆÊ Driver’) pushed a peanut from New Cross to No. 10 Downing Street using only his nose as a protest against the introduction of student fees.29 Such individual performative gestures are less prevalent nowadays and social and political issues from climate change through corporate corruption to intrusive government surveillance tend to be addressed collectively by named organisations operating outside the galiÀÞÊÃÞÃÌi“°Ê˜Ê̅ˆÃÊVœ˜ÌiÝÌ]Ê>ÀÌʈÃʏiÃÃÊ>Ê«œˆ˜ÌʜvÊÀiviÀi˜ViÊvœÀÊy>ÅʓœLʜÀʜ˜ˆ˜iÊ ˆ˜ˆÌˆ>̈ÛiÃ]Ê̅>˜ÊˆÃÊ>`ÛiÀ̈Ș}Ê>˜`ʜ̅iÀÊvœÀ“ÃʜvÊ«œ«Õ>ÀÊVՏÌÕÀi° 30Ê>̅iÀÃ{ÕÃ̈ViÊ tap into the fashion for dressing up as superheroes to highlight the plight of divorced “i˜Ê܅œÊ>ÀiÊ`i˜ˆi`Ê>VViÃÃÊ̜Ê̅iˆÀÊV…ˆ`Ài˜Æʈ˜ÊVˆÌˆiÃÊ>VÀœÃÃÊ̅iÊ}œLi]Ê̅iÊ"VVÕ«ÞÊ œÛi“i˜ÌÊ ÕÃiÊ >À}iÞÊ ˜œ˜‡Ûˆœi˜Ì]Ê V>À˜ˆÛ>iõÕiÊ i˜V>“«“i˜ÌÃÊ ÌœÊ «ÀœÌiÃÌÊ Ì…iÊ iÝViÃÃiÃʜvÊV>«ˆÌ>ˆÃ“°Ê/…iÃiÊVœ˜Ìi“«œÀ>ÀÞÊ«ÀœÌiÃÌʓœÛi“i˜ÌÃʓ>ÞÊÜiÊLiÊ̅iÊ ˆ˜…iÀˆÌœÀÃʜvʼ>}ˆÌ‡«Àœ«½Ê“>˜ˆviÃÌ>̈œ˜ÃʜÀˆ}ˆ˜>̈˜}Ê܈̅Ê̅iÊi>ÀÞÊ,ÕÃÈ>˜ÊÀiۜṎœ˜>ÀˆiÃ]ÊLÕÌÊ̅iˆÀÊ>VÌÃʜvÊVˆÛˆÊ`ˆÃœLi`ˆi˜ViʜÜiÊ>Ìʏi>ÃÌÊ>ÃʓÕV…Ê̜Ê̅iʓœÀiÊÀiVi˜ÌÊ ˆ˜ˆÌˆ>̈ÛiÃʜvÊ̅iÊܜ“i˜Ê>ÌÊÀii˜…>“Ê œ““œ˜Êˆ˜Ê̅iÊ1]Ê܅œÃiʏœ˜}‡ÌiÀ“ÊœVVÕ«>tion of the American airbase’s perimeter fence protested the presence of nuclear weapons held there in the early 1980s. 31 It is perhaps the Bauhaus performances of the early 1920s that most directly resonate with the gallery-based installation with which we have become familiar in the postmodern and contemporary eras. Walter Gropius opened the Weimar Bauhaus in 1919 with the intention of creating a fertile collegiate environment in which all the >ÀÌÃÊÜiÀiÊi˜VœÕÀ>}i`Ê̜ÊVœ‡“ˆ˜}i°ÊˆŽiÊ̅iÊÌ>ˆ>˜ÊÕÌÕÀˆÃÌÃ]Ê >Յ>ÕÃʓi“LiÀÃÊViebrated the creative reciprocity of art and technology in an age of optimism about the benefits to humanity of science and engineering. Oskar Schlemmer developed highly mechanistic dance performances that deployed the body caught up in a web of geometric lines that together reiterated the dimensions of the space in which the performers were in play. In Schlemmer’s Slat DanceÊ­£™ÓÇ®Ê̅iÊ«iÀvœÀ“iÀ½ÃÊ>À“Ã]Ê legs and shoulders were fitted with long poles protruding from the body like over}ÀœÜ˜Ê돈˜ÌÃ]Ê`iۈViÃÊ̅>ÌÊLœÌ…ÊÀi`ÕVi`Ê̅iÊw}ÕÀiÊ̜Ê>˜Ê>Õ̜“>̜˜Ê>˜`Ê`À>“>̈Ãi`Ê the kinetic energy of human musculature – with an additional frisson of bondage in ̅iÊ ÀiÃÌÀˆV̈œ˜Ê œvÊ “œÛi“i˜ÌÊ Ì…iÊ VœÃÌՓiÃÊ ˆ“«œÃi`°Ê /…ˆÃÊ ÕÃiÊ œvÊ Lœ`ÞÊ iÝÌi˜Ãˆœ˜ÃÊ reappeared in the 1970s in the performance and video works of Rebecca Horn. In Finger GlovesÊ­£™ÇÓ®]ÊÅiÊÃÌÀ>««i`ʏœ˜}ÊÃ̈VŽÃÊ̜ʅiÀÊw˜}iÀÃ]ʈ˜Vœ˜}À՜ÕÃÊ«ÀœÃ̅ïVÃÊ Ì…>ÌÊ i˜>Li`Ê …iÀÊ ÌœÊ >VViÃÃÊ œLiVÌÃÊ >˜`Ê ÃÕÀv>ViÃÊ ˜œÀ“>ÞÊ Liޜ˜`Ê …iÀÊ Ài>V…]Ê while simultaneously reducing the sensory capacity of her touch. In Roi Vaara’s Towards the SkyÊ ­£™™{®]Ê œÀ˜½ÃÊ Lœ`ÞÊ iÝÌi˜Ãˆœ˜ÃÊ ÜiÀiÊ ˜œÜÊ Ài«>Vi`Ê LÞÊ >Ê ÀœÜÊ œvÊ

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wooden struts assembled in a series of precariously balanced A-frames that togethiÀʅi`Ê̅iÊ>À̈Ã̽ÃÊLœ`ÞÊ>ÊLÀi>̅Ê>Ü>ÞÊvÀœ“Ê̅iÊViˆˆ˜}]Ê«ÀœÛˆ`ˆ˜}Ê>ʓi>˜ÃÊ܅iÀiLÞÊ a spectator could precisely gauge the distance between floor and ceiling. The body as an instrument of measurement in the built environment brings us back to the ˆ}…ÌÊ«ÀœiV̈œ˜ÃʜvÊV >]ÊܜÀŽÃÊ̅>ÌÊ`ˆÀiV̏Þʈ“«ˆV>ÌiÊ̅iÊëiVÌ>̜Àˆ>ÊLœ`ÞÊ>ÃÊ̅iÊ iÃÃi˜Ìˆ>ÊLՈ`ˆ˜}ÊLœVŽ]Ê̅iʅՓ>˜Ê«Àœ«œÀ̈œ˜Ê>ÀœÕ˜`Ê܅ˆV…Ê>Êˆ˜ÃÌ>>̈œ˜Ê>À̈ÃÌÃÊ animate the volumetrics of architectural space. Artists and viewers are bonded by ̅iˆÀÊVœ““œ˜Ê“œÀÌ>ÊvÀ>“iÃ]ÊLÞÊ̅iÊiµÕˆÛ>i˜ViʜvÊ̅iˆÀÊÃi˜ÃœÀÞÊ>««>À>ÌÕÃ]Ê܅ˆV…Ê delivers to them what Schlemmer called Raumempfindung]ʼ>ÊÃi˜Ã>̈œ˜ÊœvÊë>Vi½] 32 >˜Ê>Õ`ˆi˜ViÊiÝ«iÀˆi˜ViÊ܏ˆVˆÌi`ÊLÞÊLœÌ…Ê«iÀvœÀ“>˜ViÊ>˜`ʈ˜ÃÌ>>̈œ˜Ê>ÀÌ°

PERFORMANCE IN THE 1960S AND BEYOND Performance is like a force of nature that doesn’t have a name. Lucas Samaras (2002) It might seem from the account so far that much of what came to define performance in the 1960s had already been laid down by the pioneers of live art in the early «>ÀÌʜvÊ̅iÊVi˜ÌÕÀÞ]Ê«Ài`œ“ˆ˜>˜ÌÞʈ˜Ê ÕÀœ«i°Ê˜Ê̅iʏ>ÌiÊ£™xäÃÊ̅iÊ
“iÀˆV>˜Ê>À̈ÃÌÊ
>˜Ê>«ÀœÜÊÜ>ÃÊ>Ài>`ÞÊ«À>V̈Vˆ˜}Ê>˜ÊiÝ«>˜`i`ÊvœÀ“ÊœvÊÃVՏ«ÌÕÀiʅiÊV>i`ʼ>ÃÃi“L>}i½Ê>˜`ʅiÊܜ˜Êˆ˜ÌÀœ`ÕVi`Ê«>À̈Vˆ«>̜ÀÞÊii“i˜ÌÃʈ˜Êœ˜i‡œvvÊiÛi˜ÌÃ]Ê܅ˆV…Ê …iʘœÜÊV…ÀˆÃÌi˜i`ʼ…>««i˜ˆ˜}ý]Ê>ÊÌiÀ“Ê>ÃœÊv>ۜÕÀi`ÊLÞʏÕÝÕÃÊ>˜`Ê̅iÊ>«>˜iÃiÊ ÕÌ>ˆÊ}ÀœÕ«°Ê>«ÀœÜ½Ãʅ>««i˜ˆ˜}Ãʈ˜VÕ`i`Ê̈}…̏ÞʼÃVœÀi`½Ê>V̈ۈ̈iÃÊvœÀÊëiVÌ>̜ÀÃÊ >˜`ʅˆÃÊÃÌ>Ìi`Ê>ˆ“ÊÜ>ÃÊ̅iʼˆ˜Ìi}À>̈œ˜ÊœvÊ>Êii“i˜ÌÃÊqÊi˜ÛˆÀœ˜“i˜Ì]ÊVœ˜ÃÌÀÕVÌi`Ê ÃiV̈œ˜Ã]Ê̈“i]Êë>Vi]Ê>˜`Ê«iœ«i½° 33ʼ>««i˜ˆ˜}½Ê>ÃÊ>ÊÀÕLÀˆVʏ>ÌiÀÊ>ÌÌÀ>VÌi`Ê̜ʈÌÃivÊ >˜Êˆ˜`iˆLiÊ>ÃÜVˆ>̈œ˜Êœvʅˆ««Þ`œ“]Ê>˜`ÊÜ>ÃÊÀi«>Vi`Ê܈̅ʼ«iÀvœÀ“>˜Vi½Ê܅ˆiʼˆÛiÊ >À̽ÊÜ>ÃÊ>ÊÌiÀ“ÊœvÌi˜Ê>`œ«Ìi`ʈ˜Ê̅iÊ1ÊLiV>ÕÃiʜvʈÌÃÊ>LˆˆÌÞÊ̜Êi˜Vœ“«>ÃÃÊ>“œÃÌÊ >˜Þ̅ˆ˜}Ê>˜Ê>À̈ÃÌʓˆ}…ÌÊ`œÊˆ˜ÊvÀœ˜Ìʜv]Ê>˜`Ê܈̅]Ê>ʏˆÛiÊ>Õ`ˆi˜Vi°Ê One of the changes that took place in the early 1960s was the recognition of «iÀvœÀ“>˜ViÊ>ÃÊ>ÊÃi«>À>ÌiÊV>Ìi}œÀÞʜvÊ>ÀÌÊ«À>V̈Vi]Ê>LiˆÌÊÃÕLÈÃ̈˜}ʜ˜Ê̅iʓ>À}ˆ˜ÃʜvÊVՏÌÕÀ>Êˆvi°Ê >ÃÈVÊ£™ÈäÃÊ«iÀvœÀ“>˜ViÊ>ÀÌÊÜ>ÃÊ>ˆi`Ê̜ÊVœÕ˜ÌiÀ‡VՏÌÕÀ>]Ê ÃœVˆ>ˆÃÌÊ«Àˆ˜Vˆ«iÃÊ>˜`]ʏˆŽiʓÕV…Êۈ`iœÊ>ÀÌʜvÊ̅iÊÃ>“iÊ«iÀˆœ`]ʈÌÊ«Àœ`ÕVi`ʘœÊ>ÀÌʜLiVÌÃÊ̜Êvii`Ê̅iÊVœ““iÀVˆ>Êˆ˜ÌiÀiÃÌÃʜvÊ>ÊV>«ˆÌ>ˆÃÌÊ>ÀÌʓ>ÀŽiÌ°Ê >ÀÞÊ«iÀvœÀ“>˜ViÊ >``ÀiÃÃi`Ê ¼ˆÃÃÕiÃÊ œvÊ «>À̈Vˆ«>̈œ˜]Ê Ãiv‡`iÌiÀ“ˆ˜>̈œ˜]Ê VՏÌÕÀ>Ê >Õ̜˜œ“ÞÊ >˜`Ê >Õ̅i˜ÌˆVˆÌÞ½]Ê ÜÀœÌiÊ iˆÀ`ÀiÊ i``œ˜]Ê >˜`Ê v՘V̈œ˜i`]Ê ¼Liޜ˜`Ê Ì…iÊ i˜Ì܈˜i`Ê Ài>V…Ê œvÊ state and market’. 34 One of the rallying cries for performance art in the 1960s and 1970s was the vÕȜ˜ÊœvʏˆviÊ>˜`Ê>ÀÌ°Ê>«ÀœÜÊ`iV>Ài`Ê̅>Ìʼ̅iʏˆ˜iÊLiÌÜii˜Ê>ÀÌÊ>˜`ʏˆviÊŜՏ`ÊLiÊ Ži«ÌÊ >ÃÊ yՈ`]Ê >˜`Ê «iÀ…>«ÃÊ ˆ˜`ˆÃ̈˜VÌ]Ê >ÃÊ «œÃÈLi½° 35Ê ˜Ê £™ÇäÃÊ 1]Ê Ì…iÊ ÀˆÌˆÃ…Ê `՜Ê

PERFORMANCE

61

ˆLiÀÌÊ>˜`ÊiœÀ}iÊ«>ˆ˜Ìi`Ê̅i“ÃiÛiÃÊȏÛiÀ]ÊVˆ“Li`ʜ˜ÌœÊ}>iÀÞÊ«ˆ˜Ì…ÃÊ>˜`ÊÃ>˜}Ê Ì…iÊ œ`Ê Ü>À̈“iÊ `ˆÌÌÞÊ ¼1˜`iÀ˜i>Ì…Ê Ì…iÊ
ÀV…iÃ½Ê Ü…ˆÃÌÊ «ÀœV>ˆ“ˆ˜}Ê Ì…i“ÃiÛiÃÊ ¼ˆÛˆ˜}ÊÃVՏ«ÌÕÀiý°Ê
VÀœÃÃÊ̅iÊ«œ˜`]ʈ˜Ê̅iÊÃ>“iÊ«iÀˆœ`]ÊÕ`ÞÊ …ˆV>}œÊ>˜`Ê>Ê}ÀœÕ«ÊœvÊ ÞœÕ˜}Êܜ“i˜Ê>ÌÊÀi؜ÊÃÌ>ÌiÊVœi}iÊ`Õ}Ê`ii«Êˆ˜ÌœÊ̅iˆÀʜܘÊiÝ«iÀˆi˜ViÊ>˜`ÊÜÕ}…ÌÊ ÌœÊ¼œ«i˜ÊÕ«Ê̅iˆÀÊ܅œiÊÀ>˜}iʜvÊi“œÌˆœ˜ÃÊvœÀÊVÀi>̈ÛiÊܜÀŽ½°36 They dissolved the

>ÀÌiÈ>˜Ê돈ÌÊLiÌÜii˜Ê̅iʈ˜ÌiiVÌÊ>˜`Êi“Lœ`ˆi`]ʈ˜Ã̈˜VÌÕ>ÊÀi뜘ÃiÃʈ˜ÊܜÀŽÃÊ Ì…>ÌÊ>ÌÌi“«Ìi`Ê̜ʼˆ˜ŽÊ̅iÊ«ÕLˆVÊ܈̅Ê̅iÊ«ÀˆÛ>Ìiʈ˜ÊœÕÀÊÃV…ˆâœˆ`ÊܜÀ`]Ê̜Êi“LÀ>ViÊ the whole of life’. 37ÊœÜiÛiÀ]Ê>ÃÊʅ>ÛiÊ>À}Õi`ÊLivœÀi]ʏˆviÊ>˜`Ê>ÀÌÊ`ˆ`ʘœÌʏœÃiÊ̅iˆÀÊ`ˆÃtinctive domains and performance artists maintained the requisite critical distance ̅>ÌÊi˜>Li`Ê̅i“Ê̜Ê`iÛiœ«Ê̅iˆÀÊVœ““i˜Ì>ÀÞʜ˜ÊÜVˆ>ÊÀi>ˆÌˆiÃ]ÊiëiVˆ>Þ]ʈ˜Ê̅iÊ V>ÃiʜvÊ …ˆV>}œ]ʜ˜Ê̅iʜ««ÀiÃȜ˜ÊœvÊܜ“i˜° ˜Ê̅iÃiÊiÝ>“«iÃʜvÊi>ÀÞÊ«iÀvœÀ“>˜Vi]Ê̅iʏˆÛˆ˜}ÊLœ`ÞʜvÊ̅iÊ>À̈ÃÌÊÜ>ÃÊ`iÈ}nated the fulcrum of meaning in the work in tension with the embodied presence of ̅iÊ>Õ`ˆi˜Vi°Ê7ˆÌ…ʏˆÌ̏iʜÀʘœÊ`ˆÀiV̈ÛiÊÀi}>À`ˆ˜}Ê܅iÀiÊ̜ÊÃÌ>˜`Ê>˜`ÊÈÌ]ʜÀʈ˜`ii`ʅœÜÊ ÌœÊLi…>Ûi]ʓi“LiÀÃʜvÊ̅iÊ>Õ`ˆi˜ViÊiÝ«iÀˆi˜ViÊ>ʅiˆ}…Ìi˜i`Ê>Ü>Ài˜iÃÃʘœÌʜ˜ÞʜvÊ Ì…iÊ>À̈Ã̇ˆ˜‡«iÀvœÀ“>˜Vi]ÊLÕÌÊ>ÃœÊœvʜ˜iÊ>˜œÌ…iÀ]ÊVÀi>̈˜}Ê>ÊV…>À}i`Ê>̓œÃ«…iÀiʜvÊ “Տ̈«iÊVœ˜˜iV̈ۈ̈iðÊ
ÃÊ>ޏiÞÊ iܓ>˜Êœ˜ViÊÀi“>ÀŽi`]ʼ̅iÊ>Õ`ˆi˜ViÊ«iÀvœÀ“Ê themselves; there is a camouflaged performance by the audience’.38 The open structure of a performance has occasionally led to life spilling unchecked into art. I have already footnoted my granddaughter’s gentle intervention into a recent work by Tino -i…}>]ÊLÕÌÊVÀœÃȘ}Ê̅iÊLœÕ˜`>ÀÞÊLiÌÜii˜Ê«iÀvœÀ“iÀÊ>˜`Ê>Õ`ˆi˜Vi]ÊLiÌÜii˜ÊˆviÊ and art was not always so civilised. Sometime in the late 1970s at the Air gallery in œ˜`œ˜]Ê>˜ÊiÛi˜ˆ˜}ʜvÊÃVÀii˜ˆ˜}ÃʅœÃÌi`ÊLÞÊœ˜`œ˜Ê6ˆ`iœÊ
ÀÌÃÊÜ>Ãʈ˜ÌiÀÀÕ«Ìi`ÊLÞÊ >˜Ê>ÌiÀV>̈œ˜Ê̅>ÌÊiÀÕ«Ìi`Ê>ÌÊ̅iÊL>VŽÊœvÊ̅iÊ>Õ`ˆi˜Vi°Êiۈ˜Ê
̅iÀ̜˜]Ê܅œÊܜÀŽi`Ê ˆ˜ÊLœÌ…Êۈ`iœÊ>˜`Ê«iÀvœÀ“>˜Vi]Ê̜œŽÊiÝVi«Ìˆœ˜Ê̜Ê̅iÊiÛi˜ˆ˜}½ÃÊ«ÀœVii`ˆ˜}ÃÊ>˜`Ê>vÌiÀÊ>ʅi>Ìi`ÊiÝV…>˜}iÊÜˆÌ…Ê >ۈ`Ê>]Ê>ÊVœÕ«iʜvʫ՘V…iÃÊÜiÀiÊ̅ÀœÜ˜ÊÀiÃՏ̈˜}ʈ˜Ê >Êw}…ÌÊ̅>ÌÊÌÕÀ˜i`Ê>ÊÃVÀii˜ˆ˜}ʈ˜ÌœÊ>Ê«iÀvœÀ“>˜ViʜvÊiÝVi«Ìˆœ˜>ÊÛiÀˆÃˆ“ˆˆÌÕ`i°Ê/…iÊ audience was left wondering whether they were witnessing a performance by the fulminating Atherton or an alarming slice of real life. 39 More personally disturbing to me was the reaction of an audience to my performance Each Fine Strand (1978) at ̅iÊ >Ãi“i˜Ìʈ˜Ê iÜV>Ã̏i°Ê
˜ÊiÝ«œÃˆœ˜ÊœvÊV>ÃÃÊÌi˜Ãˆœ˜ÃÊLÀœŽiʜÛiÀʓÞʅi>`Ê>ÃÊ ÊÜ>ÃÊ«iÌi`Ê܈̅ÊLiiÀÊV>˜ÃÊ>˜`Ê̜`Ê̜ÊÌ>ŽiʓÞÃivÊ>˜`ʓÞʼ̜vv½Ê>VVi˜ÌÊL>VŽÊ`œÜ˜Ê South. 40 Although the Futurists would have approved of such enthusiastic audience «>À̈Vˆ«>̈œ˜]Ê̅iʏ>ÃÌÊiÝ>“«iÊ`œiÃÊ«œˆ˜ÌÊ̜Ê̅iʈ˜…iÀi˜ÌÊ`>˜}iÀÃʜvÊ«iÀvœÀ“>˜ViÊ vœÀÊ Üœ“i˜°Ê /…iÊ Ì…i“iÊ œvÊ Ûˆœi˜ViÊ ÌœÊ Üœ“i˜Ê Ü>ÃÊ `iˆLiÀ>ÌiÞÊ iÝ«œÀi`Ê LÞÊ >Àˆ˜>Ê AbramovimÊ>ÃÊÜiÊ9œŽœÊ"˜œ]Ê܅œÊˆ˜ÊCut Piece (1964) invited members of the audience to cut away her clothes with a pair of scissors (with the risk that they might also begin cutting her flesh).41 Ê /…iÊ ˆ˜ÛœÛi“i˜ÌÊ œvÊ Üœ“i˜Ê ˆ˜Ê «iÀvœÀ“>˜ViÊ >ÀÌÊ Ü>ÃÊ ˆ˜iÝÌÀˆV>LÞÊ ˆ˜Ži`Ê ÌœÊ Ì…iÊ vi“ˆ˜ˆÃÌʓœÛi“i˜ÌÊyœÕÀˆÃ…ˆ˜}ʈ˜Ê ÕÀœ«iÊ>˜`Ê œÀ̅Ê
“iÀˆV>ʈ˜Ê̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃ]Ê

62

INSTALLATION AND THE MOVING IMAGE

}Ո`i`ÊLÞʈÌÃÊvœÕ˜`>̈œ˜>Ê>݈œ“]ʼ̅iÊ«iÀܘ>ÊˆÃÊ«œˆÌˆV>½°Ê/…iÊ«ÀœÃ«iVÌʜvÊ>Êܜ“>˜Ê performing in public inevitably awakened associations with the early history of theatre in which actresses were regarded as little more than prostitutes. 42 The theme œvÊvi“ˆ˜ˆÃ“Ê܈ÊVÀœ«ÊÕ«Ê>}>ˆ˜Êˆ˜ÊV…>«ÌiÀÊÈÝ]ÊLÕÌʈ˜Ê̅iÊVœ˜ÌiÝÌʜvÊ«iÀvœÀ“>˜Vi]Ê̅iÊ ŽiÞʜLiV̈ÛiÊÜ>ÃÊ̜ÊÀivÕÃiÊ̅iÊ`Õ>Êˆ˜ÃՏÌʜvÊLiˆ˜}ÊÀii}>Ìi`ÊiˆÌ…iÀÊ̜Ê̅iÊV>Ìi}œÀÞÊ œvÊÃÌ>}i‡LœÕ˜`Ê>VÌÀiÃÃÉ܅œÀi]Êv>˜˜ˆ˜}Ê̅iÊÃiÝÕ>Ê`iÈÀiÃʜvÊ̅i>ÌÀiÊ>Õ`ˆi˜ViÃ]ʜÀÊ “œ`iÉ“ÕÃi]ÊvÀœâi˜Êˆ˜ÊܓiÊ܈Ìˆ˜}Ê«œÃiÊ̜ʫÀœÛˆ`iʈ˜Ã«ˆÀ>̈œ˜ÊvœÀÊ>ʓ>iÊ>À̈ÃÌ°Ê
ÃÊ
`iiʈÃÌiÀÊ>˜`Ê ˆÊœ˜iÃʅ>ÛiʜLÃiÀÛi`]Êܜ“i˜Ê¼ÜiÀiÊw˜>ÞÊ`i“>˜`ˆ˜}Ê̜ʫÕLˆVÞÊ play their own parts’. 43 The process of emancipation was by no means straightforÜ>À`ÆÊ̅i˜]Ê>ÃʘœÜ]Êܜ“i˜½ÃʏˆÛiÃÊÜiÀiÊ`œ“ˆ˜>Ìi`ÊLÞÊ̅iʈ˜Õ˜V̈œ˜Ê̜ÊLiÊVœ˜ÃÌ>˜ÌÞÊ œ˜ÊŜܰÊœÜÊVœÕ`ÊiÝ«œÃˆ˜}ʅiÀÃivÊ̜ʫÕLˆVÊ}>âiÊÀiÛiÀÃiÊ̅iÊ`i“>˜`ÃʜvÊ«>ÌÀˆ>ÀV…Þʜ˜Ê>Êܜ“>˜Ê̜ʫiÀvœÀ“Êœ˜ÞÊÃ>˜V̈œ˜i`ʓœ`iÃʜvÊvi“ˆ˜ˆ˜ˆÌÞ¶Ê/…iÊÃÌÀ>Ìi}ÞÊ artists like Chicago adopted was to counter the repressive stereotypes promulgated ˆ˜ÊÀiˆ}ˆœ˜]Ê>ÀÌÊ>˜`Ê̅iʓi`ˆ>Ê܈̅Ê՘>`œÀ˜i`ʘ>ÀÀ>̈ÛiÃʜvÊ̅iˆÀʜܘÊ`>ˆÞÊÌÀˆLՏ>̈œ˜Ã]Ê>˜`Ê̅ÕÃÊÃiiŽÊ̜ÊÀi`iw˜iÊvœÀÊܜ“i˜Ê>Ê«ÕLˆVÊۈÈLˆˆÌÞÊqʜ˜Ê̅iˆÀʜܘÊÌiÀ“Ã°Ê *iÀvœÀ“>˜ViÊ i˜ÌÊ ˆÌÃivÊ ÌœÊ Ì…iÊ ˆ˜ÌiÀiÃÌÃÊ œvÊ œÌ…iÀÊ `ˆÃi˜vÀ>˜V…ˆÃi`Ê ¼“ˆ˜œÀˆÌÞ½ÊÊ }ÀœÕ«ÃÊ܅œÃiÊLœ`ˆiÃÊÜiÀiʓ>ÀŽi`Ê>ÃÊ`ˆvviÀi˜Ì\ÊL>VŽÊ>˜`Ê
È>̈VÊ>À̈ÃÌÃ]Ê}>ÞÊ>˜`Ê disabled practitioners all of whom sought to contend with both the personal and political consequences resulting from the negative mis-reading of their physical ap«i>À>˜Vi°Ê/…iʘœÌˆœ˜Êœvʼ«iÀvœÀ“>̈ۈÌÞ½]ʜ˜ViÊÃii˜ÊLÞÊVœ““i˜Ì>̜ÀÃÊÃÕV…Ê>ÃÊ*i}}ÞÊ *…i>˜Ê>˜`ÊÕ`ˆÌ…Ê Õ̏iÀÊ>ÃÊ>ʏˆLiÀ>̈˜}ÊvœÀVi]Êi˜>Lˆ˜}ʈ˜`ˆÛˆ`Õ>Ê>}i˜VÞ]ʘœÜ>`>ÞÃÊ is turning into a new kind of societal pressure.44 Reality TV has rendered performance >ÊVœ“«ÕÃœÀÞÊvœÀ“ÊœvÊÜVˆ>Ê>˜`Ê«ÀœviÃȜ˜>Êi˜}>}i“i˜ÌÊVÀi>̈˜}Ê>Ê«œÃ̓œ`iÀ˜]Ê Baudrillardian nightmare in which surface is the only graspable reality. 45 Social me`ˆ>Ê ÕÃiÀÃÊ Ãˆ“ˆ>ÀÞÊ «ÀœiVÌÊ }Àœœ“i`Ê ÛiÀȜ˜ÃÊ œvÊ Ì…i“ÃiÛiÃÊ Vœ˜vœÀ“ˆ˜}Ê ÌœÊ ÃœVˆ>Ê iÝ«iVÌ>̈œ˜Ã°Ê >̅iÀˆ˜iÊœ˜}ʅ>ÃÊ«œˆ˜Ìi`ʜÕÌÊ̅>Ìʼ̅iÊiÝViÃÈÛiʈ“>}ˆ˜}ʜvÊ>ʘ>ÀÀœÜÊ range of feminine attributes actually works to make women invisible’. 46 Where young ܜ“i˜ÊÛ>˜ˆÃ…Ê՘`iÀÊ̅iÊÃiÝÕ>ˆÃi`ÊV…>À>VÌiÀˆÃ̈VÃʜvÊVՏÌÕÀ>Êvi“ˆ˜ˆ˜ˆÌÞ]Ê̅œÃiÊ܅œÊ cannot or will not conform struggle to be seen and heard. Nina Power has argued ̅>ÌÊ̅iÊÀiµÕˆÀi“i˜ÌÃÊvœÀÊܜ“i˜Êˆ˜Ê«>À̈VՏ>ÀÊ̜ʫiÀvœÀ“Ê>˜Ê>VVœ““œ`>̈˜}]ÊiÛiÀ‡ V…iiÀvՏʼÌi>“Ê«>ÞiÀ½ÊLÀ>˜`ʜvÊvi“ˆ˜ˆÃi`ÊÜVˆ>Êˆ˜ÌiÀVœÕÀÃiʅ>ÃÊLiVœ“iʓ>˜`>̜ÀÞÊ vœÀÊÃiVÕÀˆ˜}Ê>˜`ʎii«ˆ˜}Ê>ʍœL° 47Ê/…ˆÃʅ>Ãʏi`Ê̜Ê܅>ÌÊ*œÜiÀÊV>ÃÊ̅iʼÃiÝÕ>ˆÃ>̈œ˜ÊœvÊ Ì…iÊiVœ˜œ“޽ʈ˜Ê܅ˆV…ÊÌi“«œÀ>ÀÞ]ʼyi݈Li½]ʏœÜ‡«>ˆ`ÊܜÀŽˆ˜}ÊVœ˜`ˆÌˆœ˜ÃÊÌÀ>`ˆÌˆœ˜>ÞÊ reserved for women are rolled out across the board. With the uncertainties of the VÕÀÀi˜ÌÊiVœ˜œ“ˆVÊVˆ“>ÌiÊ>ÊÜÕÀViʜvÊVœ˜ÃÌ>˜ÌÊ>˜ÝˆiÌÞ]Ê̅œÃiʈ˜ÊܜÀŽÊ˜œÌʜ˜ÞÊ>ëˆÀiÊ ÌœÊ܈˜Êi“«œÞiiʜvÊ̅iʓœ˜Ì…ÊLÕÌ]Ê>À}ÕiÃÊ*œÜiÀ]Ê̅iÞÊ>ÃœÊ>œÜÊ̅iˆÀÊ«ÀˆÛ>ÌiʏˆÛiÃÊ to be appropriated by their employers. Employees voluntarily enter into a process of Vœ˜ÃÌ>˜ÌÊÃiv‡`ˆÃVœÃÕÀi]Ê«œÃ̈˜}ʓi`ˆ>}i˜ˆVʼÃiwiýʭޜ՘}]ÊÃiÝÞ]ÊÃÕVViÃÃvՏ®Êœ˜Ê >ViLœœŽ]Ê>˜`Ê`>ˆÞÊ«…œÌœ‡`ˆ>ÀˆiÃʜ˜Ê˜ÃÌ>}À>“°Ê/…iÞÊ܈ÊVœ˜Ìˆ˜ÕiÊ̜ʫiÀvœÀ“Ê̅iÊ Vœ“«>˜ÞÊi̅œÃʜ˜ÊœÌ…iÀÊ«ÕLˆVÊ«œÀÌ>ÃÊÞiÌÊ̜ÊLiʈ˜Ûi˜Ìi`]ʈ˜Ê>Ê}ÀœÌiõÕiÊ`ˆÃ̜À̈œ˜Ê

PERFORMANCE

63

œvÊ̅iÊvi“ˆ˜ˆÃÌÊ«Àˆ˜Vˆ«iʜvʼ̅iÊ«iÀܘ>ÊˆÃÊ«œˆÌˆV>½°Ê/…ˆÃÊ«iÀ«iÌÕ>Ê«iÀvœÀ“>˜ViʜvÊ social conformity feeds on our latent narcissism and seeps into all aspects of life in ܅ˆV…]Ê>ÃÊ*œÜiÀʜLÃiÀÛiÃ]ʜ˜iʈÃÊVœ“«ii`Ê̜ÊLiʼVœ˜ÃÌ>˜ÌÞÊ>`ÛiÀ̈Ș}ʜ˜iÃivÊ>ÃÊ >ÊÃiÝÕ>ˆÃi`ÊLiˆ˜}]Ê«ÀiÃi˜Ì>Li]ʘiÌܜÀŽˆ˜}]ÊÃiˆ˜}ʜ˜iÃiv½°48 Contemporary performance has now been overtaken by the regimented perfor“>̈ۈÌÞÊÃÌÀÕVÌÕÀˆ˜}ÊÜVˆ>Ê>˜`ÊVœÀ«œÀ>Ìiʏˆvi]Ê>˜`Ê>ÃÊ>ÀŽÊ,>Ûi˜…ˆÊ…>ÃʜLÃiÀÛi`]Ê ¼Ì…iÀiʈÃʜvÌi˜Ê>ÊÃi˜ÃiÊ̅>ÌÊÜiÊ>ÀiÊ>Ê«>ÀÌʜvÊ>Ê«iÀvœÀ“>˜ViʜÛiÀÊ܅ˆV…ÊÜiʅ>ÛiʏˆÌ̏iÊ control’.49Ê
ÃÊ Ê Ã…>Ê >À}ÕiÊ LiœÜ]Ê Ì…iÊ >ÀÌÊ “>ÀŽiÌÊ “>ŽiÃÊ ˜œÊ iÃÃÊ i݈}i˜ÌÊ `i“>˜`ÃÊ œvÊ«À>V̈̈œ˜iÀÃÊ܅œÊ>ÀiÊÀiµÕˆÀi`Ê̜Êi˜…>˜ViÊ̅iˆÀÊi݅ˆLˆÌˆœ˜ÃÊ܈̅ÊV…œÀiœ}À>«…i`Ê «ÕLˆVÊ>««i>À>˜ViÃÆʅœÜiÛiÀ]ÊÊLiˆiÛiÊ̅>ÌʈÌʈÃÊÃ̈Ê«œÃÈLiÊvœÀÊ«iÀvœÀ“>˜ViÊ>ÀÌÊ ÌœÊÀiÃÕÀÀiVÌÊܓi̅ˆ˜}ʜvʈÌÃÊÀ>`ˆV>]ʜ««œÃˆÌˆœ˜>ÊÀœœÌÃÊ>˜`Ê`iÛiœ«ÊˆÌÃÊV>«>VˆÌÞÊÌœÊ ¼ÀiVœ˜w}ÕÀiÊ̅iÊۈÈLiÊ>˜`Ê՘ÃiÌ̏i`Ê̅iÊÃii“ˆ˜}ÞÊ}ˆÛi˜½°50 Performance can apply >˜Ê>iÃ̅ïVÊ>˜`ÊÃi˜ÃœÀÞÊV…>À}iÊ̜ʵ՜̈`ˆ>˜Êi݈ÃÌi˜Vi]Ê>˜`ÊV…>i˜}iÊ̅iÊ«œˆÌˆV>Ê establishment as has been demonstrated by artists working both inside the Euro
“iÀˆV>˜Ê>݈ÃÊ>˜`ÊLiޜ˜`ʈ˜Ê ÕL>]ÊœÀœVVœÊ>˜`Ê …ˆ˜>°51ÊœÀÊ>Ê>À̈ÃÌÃ]Ê«iÀvœÀ“>˜ViÊ i˜>LiÃÊ̅i“Ê̜ÊV>ÀÛiʜÕÌÊ>Êë>ViÊ>˜`Ê>Ê̈“iʈ˜Ê܅ˆV…]ÊvœÀÊ>Ê܅ˆiÊ>Ìʏi>ÃÌ]Ê̅iÞʅœ`Ê Ì…iÊii“i˜ÌʜvÊÃÕÀ«ÀˆÃiÊ>˜`ÊiÝ«iÀˆi˜Vi]ÊLÀˆiyÞ]Ê̅iÊviiˆ˜}ÊqʅœÜiÛiÀʈÕÜÀÞÊqʜvÊ being in control.52

THE LEGACY OF PERFORMANCE Performance art flourished throughout the 1980s then somewhat fell out of favour ˆ˜Ê̅iÊ£™™äÃ]ʈ˜Ê̅iÊ1ÊLiˆ˜}ʜÛiÀÌ>Ži˜ÊLÞÊ̅iÊ¼Þ >½Ê«…i˜œ“i˜œ˜Ê̅>ÌÊÜ>ÃÊvœÕ˜`i`Ê œ˜Ê̅iÊ«>Ã̈VÊ>ÀÌðÊ
Ì…œÕ}…Ê/À>ViÞÊ “ˆ˜]ʜ˜iʜvÊ̅iʏi>`ˆ˜}ʏˆ}…ÌÃʜvÊ̅iʼ-i˜Ã>̈œ˜½Ê }i˜iÀ>̈œ˜]Ê “>ˆ˜Ì>ˆ˜i`Ê >Ê ˆ˜ŽÊ ÌœÊ Ì…iÊ vi“ˆ˜ˆÃÌÊ ˆ˜ÃˆÃÌi˜ViÊ œ˜Ê «iÀܘ>Ê Vœ˜Ìi˜Ì]Ê Ã…iÊ simultaneously divested it of its political relevance.53 Together with the likes of >“ˆi˜Ê ˆÀÃÌ]Ê >ÀVÕÃÊ >ÀÛiÞÊ >˜`Ê Ì…iÊ …>«“>˜Ê LÀœÌ…iÀÃ]Ê “ˆ˜Ê ÅÀÕ}}i`Ê œvvÊ Ì…iÊ squeamishness towards the art market that had driven the previous generation ˆ˜ÌœÊ >À̈ÃÌÃ½Ê VœiV̈ÛiÃÊ >˜`Ê >ÌiÀ˜>̈Ûi]Ê >À̈Ã̇ÀÕ˜Ê Ûi˜ÕiðÊ
ÃÊ Ì…iÊ VˆÌÞÊ œvÊ œ˜`œ˜Ê LiV>“iÊÀˆV…Êœ˜Ê`iÀi}Տ>̈œ˜]Ê̅iÊÞ >ÃÊ«Àœ`ÕVi`ÊۈÃÕ>ÞÊV>«ÌˆÛ>̈˜}Ê>˜`ʜvÌi˜ÊÃi˜Ã>̈œ˜>ˆÃÌʜLiVÌÃÊvœÀÊÃ>iÊ̜Ê̅œÃiÊ܅œÊVœÕ`Ê«>Þ°Ê/…iÊVœ““iÀVˆ>Ê}>iÀˆiÃÊ܅œÊ …>`ÊÃÌÀÕ}}i`Ê̜ÊÌÀ>`iʈ˜Ê̅iÊÀiÈ`ÕiÃʜvÊ̅iÊ`i“>ÌiÀˆ>ˆÃi`]Êi«…i“iÀ>Ê“i`ˆÕ“ÊœvÊ «iÀvœÀ“>˜Vi]ʜ˜ViÊ>}>ˆ˜ÊÀiœˆVi`ʈ˜Ê̅iÊ>VVՓՏ>̈œ˜Êœvʓ>ÀŽiÌ>LiÊ>ÀÌʜLiVÌÃÊ>˜`Ê business boomed.54 ˜ÌœÊ̅iʘiÜʓˆi˜˜ˆÕ“]Ê̅iÊ}>iÀˆiÃʅ>ÛiÊwi`Ê܈̅ʫ>ˆ˜Ìˆ˜}]ÊÃVՏ«ÌÕÀi]Êۈ`iœÊ and photography dominated by a postmodern sensibility of pastiche and quotation. œÜiÛiÀ]ʈ˜Ê̅iʏ>ÃÌÊ`iV>`iʜÀÊÜ]Ê>ÊÀiÃÕÀ}i˜ViʜvÊ«iÀvœÀ“>˜ViÊ>ÀÌʅ>ÃÊÀiۈÛi`Ê܅>ÌÊ iˆÀ`ÀiÊi``œ˜Ê`iw˜i`Ê>Ãʼ>˜Ê>iÃ̅ïVÃʜvÊ̅iÊ«ÀiÃi˜Ìʓœ“i˜Ì½°55Ê
“iˆ>Êœ˜iÃÊ >ÌÌÀˆLÕÌiÃÊ Ì…iÊ ˜iÜÊ i˜Ì…ÕÈ>Ã“Ê vœÀÊ >Ê ̅ˆ˜}ÃÊ ˆÛiÊ ÌœÊ ¼i«œV…>Ê iÛi˜ÌÃ½Ê ÃÕV…Ê >ÃÊ Ì…iÊ

64

INSTALLATION AND THE MOVING IMAGE

6iÛiÌÊ,iۜṎœ˜Ê>˜`ʙɣ£]ʅˆÃ̜ÀˆV>Ê“ˆiÃ̜˜iÃÊ̅>ÌÊ>Àiʏi>`ˆ˜}Ê̜Ê>ʵÕiÃ̈œ˜ˆ˜}ʜvÊ political realities through performance.56 A number of commentators have recently questioned whether art actions might offer resistance to the local and global workˆ˜}ÃʜvÊ«œÜiÀ]Ê܅i̅iÀʘiœ‡ˆLiÀ>ÊœÀÊ>Õ̜VÀ>̈V°Ê-Ûi˜ÊØÌ̈VŽi˜Ê«œÃÌՏ>ÌiÃÊ̅>ÌÊ>Ê performance by a currently fashionable artist such as Tino Sehgal is sold as a serۈViʏˆŽiÊ>˜Þʜ̅iÀÊVœ““œ`ˆÌÞʈ˜Ê̅iʼiÝ«iÀˆi˜ViÊiVœ˜œ“Þ½° 57 This creates an echo ̜Ê̅iÊ«iÀÈÃÌi˜ÌÊLiˆiv]ʜÕ̏ˆ˜i`Ê>LœÛi]Ê̅>ÌʘœÌ܈̅ÃÌ>˜`ˆ˜}Ê̅iÊVœ˜ÃÌ>˜ÌÊi“«…>ÈÃʜ˜Ê>««i>À>˜Viʈ˜Ê̅iʓi`ˆ>]Ê«iÀvœÀ“>˜ViÊ>ÀÌÊV>˜ÊVˆÀVՓÛi˜ÌÊ̅iÊ«Àœ`ÕV̈œ˜ÊœvÊ Vœ““œ`ˆÌˆiðʘÊ̅iʏ>ÌiÊ£™ÇäÃÊ>˜`Êi>ÀÞÊ£™näÃ]ʅ>ۈ˜}ʘœLÞÊÀivÕÃi`Ê̜ʓ>˜Õv>VÌÕÀiÊ>ÀÌʜLiVÌÃ]Ê>À̈ÃÌÃÊ`iV>Ài`Ê̅i“ÃiÛiÃʼVՏÌÕÀ>ÊܜÀŽiÀý]ÊÃiˆ˜}Ê̅iˆÀʏ>LœÕÀÊ by the hour like any member of the working classes.58 Most performance artists were half-hearted about the production of documentation and some followed Peggy *…i>˜½Ãʈ˜Õ˜V̈œ˜Ê̜ÊÀi˜œÕ˜ViÊi˜ÌˆÀiÞÊ̅iÊ>VVՓՏ>̈œ˜ÊœvÊۈ`iœÊ>˜`Ê«…œÌœ}À>«…ˆVÊ records of live work.59 Tino Sehgal similarly abhors documentation and is said to prohibit any images of his performances being published. The fact that such a posʈÃÊ՘Ìi˜>LiʈÃÊ>ÌÌiÃÌi`ÊLÞÊ̅iÊ/>ÌiÊÜiLÈÌi]Ê܅ˆV…ʈÃÊ>Ü>ÅÊ܈̅ʫ…œÌœ}À>«…ÃÊ œvÊ-i…}>½ÃÊܜÀŽÊ>˜`ʈ˜`ii`ÊÌ>ÃÌivՏÊØ>«ÃʜvÊ̅iÊ>À̈ÃÌʅˆ“Ãiv°ÊØÌ̈VŽi˜Ê“>ŽiÃÊ the astute observation that Sehgal’s self-effacing stance in fact serves to fan the y>“iÃʜvÊVœ““iÀViÊLÞÊÀ>VŽˆ˜}ÊիʘœÌœÀˆiÌÞÊ̅ÀœÕ}…Ê܅>ÌʅiÊV>Ãʼ̅iʓÞÃ̈µÕiÊ of absence’.60 High-profile performance events provide relatively cheap publicity for V>ŇÃÌÀ>««i`Ê «ÕLˆVÊ ˆ˜Ã̈ÌṎœ˜Ã]Ê Ü…ˆV…Ê “ˆ}…ÌÊ ˆ˜`ii`Ê ÌœÊ >VVœÕ˜ÌÊ vœÀÊ Ì…iˆÀÊ ÀiVi˜ÌÊ successes within the international museum and gallery network. 61 ˆŽiÊ ˆ˜ÃÌ>>̈œ˜]Ê «iÀvœÀ“>˜ViÊ ˆÃÊ }i˜iÀ>ÞÊ >Û>ˆ>LiÊ œ˜ÞÊ >ÃÊ >Ê Ã…œÀÌÊ ÀÕ˜Ê œvÊ i«…i“iÀ>ÊiÝ«iÀˆi˜ViðÊ
Ê«iÀvœÀ“>˜ViÊV>˜Êܓï“iÃÊLiÊÀiÃÌÀˆVÌi`Ê̜Ê>ʜ˜i‡œvvÊ>ÀÌÊ “>˜ˆviÃÌ>̈œ˜]Ê܈̘iÃÃi`ÊLÞÊ>ÊÓ>Ê}>̅iÀˆ˜}ʜvʈ˜`ˆÛˆ`Õ>Ã]ʘiÛiÀÊ̜ÊLiÊÀi«i>Ìi`°Ê Live art is therefore wholly dependent on an industrial process of promotion that begins with a gestation period as the gallery or museum’s publicity department dripfeeds to the media and the blogosphere tantalising glimpses of the main event to come. The performance itself is formulated at least in part to enhance its ability to «Àœ`ÕViʼ“i`ˆ>}i˜ˆV½Ê`œVՓi˜Ì>̈œ˜° 62 The video and photographic documentation ܈Ê˜œÌʜ˜ÞÊ«ÀœÛiÊ̅>ÌÊ̅iÊiÛi˜Ìʅ>ÃÊÌ>Ži˜Ê«>Vi]ÊLÕÌʈÌÊ܈Ê«ÀœÛˆ`iÊ̅iÊvœ``iÀÊvœÀÊ Ì…iÊܜÀŽ½ÃÊV>ÀivՏÞʜÀV…iÃÌÀ>Ìi`Ê>vÌiÀˆvi°Ê
ʏi}ˆœ˜ÊœvÊ>ÀÌʫ՘`ˆÌÃ]ÊViiLÀˆÌÞÊVÕÀ>̜ÀÃ]Ê ÌÜiiÌiÀÃ]ÊVÀˆÌˆVÃÊ>˜`Êi>À˜iÃÌÊÃV…œ>ÀÃÊ>ÀiʓœLˆˆÃi`Ê̜ʫ>À̈Vˆ«>Ìiʈ˜Ê>˜Vˆ>ÀÞÊiÛi˜ÌÃ\Ê Vœ˜viÀi˜ViÃ]ÊܜÀŽÃ…œ«ÃÊ>˜`Ê+E
Êi˜VœÕ˜ÌiÀÃÊ܈̅Ê̅iÊ>À̈ÃÌ°Ê iޜ˜`Ê̅>Ì]ÊVÀˆÌˆV>Ê >««À>ˆÃ>Êˆ˜ÊÀiۈiÜÃ]ʈ˜ÌiÀۈiÜÃ]ÊLœ}ÃÊ>˜`Ê>V>`i“ˆVÊ«>«iÀÃÊiÝÌi˜`Ê̅iʈ“«>VÌʜvÊ̅iÊ work and labour to confirm its place in the art historical canon. Although video records œvÊ «iÀvœÀ“>˜ViÃÊ …>ÛiÊ «ÀœÛi`Ê «œœÀÊ ˆ“ˆÌ>̈œ˜ÃÊ œvÊ Ì…iÊ œÀˆ}ˆ˜>Ê iÛi˜Ì]Ê “>˜ÞÊ «…œÌœ‡ }À>«…ˆVʈ“>}iÃʅ>ÛiÊLiVœ“iʓÞ̅ˆVʜLiVÌÃʈ˜Ê̅iˆÀʜܘÊÀˆ}…Ì]ʅi«ˆ˜}Ê̜ÊÃiVÕÀiÊ the progress of their creators’ careers and legacy. These emblematic black and white images may have provided the fillip for the rash of re-enactments of key

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historical performances witnessed in recent years. The documentation is the main «œˆ˜ÌʜvÊÀiviÀi˜ViÊvœÀÊ̅iÃiÊÀi‡ˆ“>}ˆ˜ˆ˜}ÃÊÀ>̅iÀÊ̅>˜Ê̅iʏˆÛi`ÊiÛi˜ÌÊ>ÃʈÌÊi݈ÃÌÃ]Ê atomised and scattered across the fading memories of the few individuals who were there at the time.

INSTALLATION AND PERFORMANCE Beyond a common dependence on documentation and institutional support through «Àœ“œÌˆœ˜Ê>˜`ÊVÀˆÌˆV>ÊÀiۈiÜ]Ê܅>ÌÊ`œiÃÊ«iÀvœÀ“>˜ViÊ>ÀÌÊLiµÕi>̅Ê̜ʓœÛˆ˜}ʈ“>}iÊ ˆ˜ÃÌ>>̈œ˜¶ÊˆÀÃ̏Þ]Ê̅iʘœÌˆœ˜Ê̅>ÌÊ>ÊÌi“«œÀ>ÀÞÊ>ÃÃi“L>}iʜvʅՓ>˜]ÊÌiV…˜œœ}ˆV>Ê>˜`ʓ>ÌiÀˆ>Êi˜ÌˆÌˆiÃÊVœ˜w}ÕÀi`Ê>ÃÊ>ÀÌʈÃÊ>ÃœÊ>˜ÊiÛi˜Ì]Ê>ÊvÕ}ˆÌˆÛiʓ>˜ˆviÃÌ>̈œ˜Ê ܈̅ʘœÊ¼œÀˆ}ˆ˜>½ÊœÀʓ>ÃÌiÀÊVœ«ÞÊi“iÀ}ˆ˜}ÊvÀœ“Ê̅iÊvÀ>ÞÊ̅>ÌÊV>˜ÊLiÊÃÕL“ˆÌÌi`ÊÌœÊ `iw˜ˆÌˆÛiÊVÀˆÌˆV>ÊiÝ>“ˆ˜>̈œ˜° 63ʘÊëˆÌiʜvÊ̅iÊivvœÀÌÃʜvÊVÀˆÌˆVÃÊ̜ʓœÕ`ʜ«ˆ˜ˆœ˜]ʈÌÊ is difficult to reach a consensus around the meaning and cultural value of an ephemeral artwork that may have several iterations. The escape from absolute definition œvÊ>ʏˆÛiÊiÛi˜Ì]Ê̅iÊv՘`>“i˜Ì>ÊVœ˜Ìˆ˜}i˜VÞʜvÊ«iÀvœÀ“>˜ViÊ>ÀÌʅ>ÃÊLii˜Ê>ÃÜVˆated with a worldview derived from the Greek philosopher Heraclitus. According to Õ}…Ê/Ài`i˜˜ˆVŽ]ÊiÀ>VˆÌÕÃÊv>“œÕÏÞÊÀiiVÌi`Ê̅iʘœÌˆœ˜ÊœvÊ>ÊÃÌ>Li]ÊiÌiÀ˜>Ê՘ˆÛiÀÃiÊVœ˜VÕ`ˆ˜}Ê̅>ÌÊÜiÊi݈ÃÌʈ˜Ê>ÊVœ˜Ìˆ˜Õ>ÊÃÌ>ÌiʜvÊyÕÝ]Ê>ÊVœ˜`ˆÌˆœ˜ÊL>Ãi`ʜ˜Ê¼Ì…iÊ ˆ“«iÀ“>˜i˜ViʜvÊiÛiÀÞ̅ˆ˜}ʈ˜Ê̅iÊܜÀ`Ê>ÀœÕ˜`ÊÕÃ]Ê>˜`Ê̅iʈ“«œÃÈLˆˆÌÞʜvÊknowing anything that is changing all the time even as you think of it’. 64 Gilles Deleuze LiˆiÛi`Ê̅>ÌÊëiVÌ>̜ÀÃÊÜiÀiÊV>ÃÌÊL>VŽÊˆ˜ÌœÊ̅iÃiʈ˜iݜÀ>LiÊ̈`iÃʜvʓÕÌ>̈œ˜]Ê̅iÊ ¼“Տ̈«iʓœÛˆ˜}Ê՘ˆÛiÀÃi½Ê܅i˜ÊiÝ«œÃi`Ê̜Êw“ÃÊÃÕV…Ê>ÃÊ âˆ}>Ê6iÀ̜۽ÃÊMan with a Movie Camera (1929).65Ê Ã«œÕȘ}Ê̅ˆÃÊ̅i“iʜvÊÌÀ>˜Ãˆi˜ViÊ>˜`Ê՘}À>ë>LˆˆÌÞ]Ê>˜`Ê appropriating for the performing art Heraclitus’s famous aphorism that a man cannot ÃÌi«ÊÌ܈Viʈ˜ÌœÊ̅iÊÃ>“iÊÀˆÛiÀ]Ê
˜Ìœ˜ˆ˜Ê
ÀÌ>Õ`ʓ>`iÊ>Êȓˆ>ÀʜLÃiÀÛ>̈œ˜\ʼ>Ê}iÃÌÕÀi]Ê œ˜ViÊ “>`i]Ê V>˜Ê ˜iÛiÀÊ LiÊ “>`iÊ Ì…iÊ Ã>“iÊ Ì܈Vi½°66Ê >V…ʈÌiÀ>̈œ˜]Êi>V…Êi˜VœÕ˜ÌiÀÊ with a performance is unique because of the deliberate use of aleatory elements ˆ˜VÕ`ˆ˜}ʓ>ÌiÀˆ>ÃÊ̅>ÌÊ>ÀiÊyՈ`ʜÀÊVœ˜Ã̈ÌṎœ˜>ÞÊ՘ÃÌ>Li]Ê>˜`ʈ˜ÌiÀ>V̈ÛiÊÌiV…˜œœ}ˆiÃÊ̅>ÌÊ`i«i˜`ʜ˜Ê՘`ˆÀiVÌi`Ê>Õ`ˆi˜ViÊ«>À̈Vˆ«>̈œ˜°Ê
ÃÊ>Ài>`ÞÊÃÌ>Ìi`]Ê̅iÊ ÕÌˆ“>ÌiÊÛ>Àˆ>Liʈ˜Ê̅iÊ«ˆiViʈÃÊ̅iÊۈiÜiÀ]Ê>˜Êˆ˜`ˆÛˆ`Õ>Ê܈̅Ê՘«Ài`ˆVÌ>LiÊëiVˆwVˆÌˆiÃʜvÊ}i˜`iÀ]Ê>}i]ʅi>Ì…]Êi̅˜ˆVˆÌÞ]ÊVՏÌÕÀ>Ê…ˆÃ̜ÀÞ]ʓi“œÀÞÊ>˜`ÊÌi“«iÀ>“i˜Ì°Ê /…ˆÃʓi>˜ÃÊ̅>ÌÊ>˜Ê>À̈ÃÌÊV>˜ÊiÝ«iVÌÊ>Ê܈`iÊÛ>Àˆ>̈œ˜Êˆ˜Ê…œÜÊÜiʓˆ}…ÌÊiÝ«iÀˆi˜ViÊ >˜`ʈ˜ÌiÀ«ÀiÌÊ>˜Êˆ˜ÃÌ>>̈œ˜ÊœÀÊ>Ê«iÀvœÀ“>˜ViÆÊ̅iʏœœÃiÀÊ̅iÊvÀ>“iʜvÊ̅iÊܜÀŽ]Ê̅iÊ more likely that people come away with very different accounts of what they saw >˜`ʅi>À`°Ê
ÃÊ Àˆ>˜Ê>ÃÃՓˆÊÀi“>ÀŽi`]ʼ>Ê̅ˆ˜}ʅ>ÃÊ>Ãʓ>˜Þʓi>˜ˆ˜}ÃÊ>ÃÊ̅iÀiÊ>ÀiÊ vœÀViÃÊV>«>LiʜvÊÃiˆâˆ˜}ʈ̽]Ê>˜`]ÊÊܜՏ`Ê>``]Ê>Ãʓ>˜ÞÊ«œˆ˜ÌÃʜvÊۈiÜÊqÊÃÌ>˜`ˆ˜}]Ê sitting and sprawling – from which to formulate those readings. 67 The same is true ܅i˜Ê>ÊëiVÌ>̜ÀʈÃʜvviÀi`Ê̅iÊvÀii`œ“Ê̜ÊiÝ«œÀiʏ>LÞÀˆ˜Ì…ˆ˜iÊÀœÕÌiÃÊÌÀ>ÛiÀȘ}Ê>˜Ê

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INSTALLATION AND THE MOVING IMAGE

ˆ˜ÃÌ>>̈œ˜]Ê«>̅Ü>ÞÃÊ̅>Ìʓˆ}…ÌÊi˜VœÕÀ>}iÊ>“Lˆ˜}ʜÀÊÀ>Vˆ˜}]ʜÀÊܜÀŽÃÊ̅>ÌʜLˆ}iÊ visitors to climb or crawl through narrow spaces. Spectatorial attention cannot be }Õ>À>˜Ìii`°Ê"˜iÊV>˜ÊV…œœÃiÊ̜ÊvœVÕÃʜ˜Ê̅iÊܜÀŽ]ʜÀʅ>vÊ>ÌÌi˜`Ê܅ˆÃÌÊV…>Ì̈˜}Ê̜Ê>Ê friend and simultaneously checking social media on an iPhone; one can listen with iÞiÃʜ«i˜ÊœÀÊVœÃi`]ʜÀÊ܈̅Êi>À«…œ˜iÃÊV>“«i`Ê̜ʜ˜i½Ãʅi>`ÊÃÌÀi>“ˆ˜}Ê̅iÊVÕÀÀi˜ÌÊ «>ޏˆÃÌÆʜ˜iÊV>˜ÊÜ>ÌV…Ê܈̅œÕÌʏˆÃÌi˜ˆ˜}°Ê"vÊVœÕÀÃi]ʓ>˜Þʈ˜ÃÌ>>̈œ˜Ã]Ê«>À̈VՏ>ÀÞÊ those that involve pre-recorded film and video do not vary much from venue to venÕi]Ê>˜`ÊviÜÊV>˜ÊLiÊV>ÃÈwi`Ê>ÃÊÈÌi‡Ã«iVˆwV°ÊœÜiÛiÀ]Ê̅iÊ«Àˆ˜Vˆ«iÊÃ̈Ê…œ`ÃÊ̅>ÌÊ `ˆvviÀi˜ViÃÊ܈Êˆ˜`ii`ʜVVÕÀ]ʈ˜`ˆÛˆ`Õ>ÊÛiÀȜ˜ÃʜvʓՏ̈‡ÃVÀii˜ÊܜÀŽÃÊ>Àiʼi`ˆÌi`½Ê LÞÊi>V…ÊëiVÌ>̜À]ʜ˜Ê̅iʓœÛi]Ê>˜`Ê>˜ÞʏˆÛi]ÊÀi>‡Ìˆ“iʓi`ˆ>ʈ˜ÌiÀ>V̈œ˜Ê܈̅Ê>Õ`ˆences can produce surprisingly divergent responses in different users.68 /…ˆÃÊ LÀˆ˜}ÃÊ ÕÃÊ ÌœÊ Ì…iÊ ÃiVœ˜`Ê LiµÕiÃÌÊ «iÀvœÀ“>˜ViÊ “>ŽiÃÊ ÌœÊ ˆ˜ÃÌ>>̈œ˜]Ê Ì…iÊ ¼ˆÛi˜iÃýʜvÊ̅iÊi˜VœÕ˜ÌiÀÊ܈̅Ê̅iÊܜÀŽ]Ê>Ì̜˜½Ãʼ>iÃ̅ïVÃʜvÊ̅iÊ«ÀiÃi˜Ìʓœ“i˜Ì½°Ê/…iʘœÌˆœ˜ÃʜvʏˆÛi˜iÃÃÊ>˜`ÊÀi>Ê̈“i]Ê܅i˜ÊÌÀ>˜Ã«œÃi`Ê̜ʈ˜ÃÌ>>̈œ˜]Ê«>ViÊ Ì…iÊi“«…>ÈÃʜ˜Ê>ÊÃiÀˆiÃʜvÊÌÀˆ>˜}Տ>Ìi`ÊÀi>̈œ˜Ã…ˆ«ÃÊLiÌÜii˜Ê>Õ`ˆi˜ViÃ]Ê>ÀÌiv>VÌÃÊ and their creators. The ensemble of elements in an installation is embraced by an arV…ˆÌiVÌÕÀ>]ÊÜVˆ>Ê>˜`ʈ˜Ã̈ÌṎœ˜>ÊVœ˜ÌiÝÌÊ̅>ÌÊ>ÃœÊ«Àœ“œÌiÃÊ>ʅiˆ}…Ìi˜i`ÊÃi˜ÃiÊ œvʼ˜œÜ½°Ê/…iÊVœ˜Ìˆ˜ÕœÕÃÊ«ÀiÃi˜ÌʜvÊ«iÀvœÀ“>˜ViÊȓˆ>ÀÞÊÅ>`œÜÃÊ̅iÊ«ÀœÃVÀˆLi`Ê duration of an installation – book-ended by the arrival and departure of the specÌ>̜À°Ê/…iÊܜÀŽÊˆÃÊÃiÌÊ>«>ÀÌÊvÀœ“Ê`>ˆÞʏˆvi]Ê>˜`Ê܈̅ˆ˜Ê̅iʅ>œÜi`Êi˜V>ÛiʜvÊ̅iÊ }>iÀÞÊë>Vi]ʈ˜ÃÌ>>̈œ˜ÊVÀi>ÌiÃÊ>ʅˆ>ÌÕÃʈ˜Ê܅ˆV…ʈÌÊÃޘV…Àœ˜ˆÃiÃÊ̅iÊÌi“«œÀ>ˆÌÞÊ œvÊ̅iÊܜÀŽÊ>˜`Ê̅>ÌʜvÊ̅iÊëiVÌ>̜À°Ê/…iÊi“«…>ÈÃʈÃʘœÌʜ˜Ê>ʏˆÌiÀ>]ʅœÀœœ}ˆV>Ê Ìi“«œÀ>ˆÌÞ]ÊLÕÌʜ˜Ê̅iʵÕ>ˆÌÞʜvÊiÝ«iÀˆi˜Vi`Ê̈“i°Ê
“iˆ>Êœ˜iÃʅ>ÃÊ>À}Õi`Ê̅>ÌÊ «iÀvœÀ“>˜ViÊ ˆÃÊ >˜Ê >ÀÌÊ vœÀ“Ê ¼Ì…>ÌÊ Li}ÃÊ vœÀÊ >Ê `ÕÀ>̈œ˜>Ê i˜}>}i“i˜ÌÊ œÛiÀÊ Ìˆ“i½°69 ˜ÃÌ>>̈œ˜ÊÀiµÕˆÀiÃÊ>Êȓˆ>ÀÊ}ˆvÌʜvÊ>ÌÌi˜ÌˆÛi˜iÃÃ]ʅœÜiÛiÀÊ̅iÊiÝÌi˜ÌʜvÊ̅>ÌÊVœ“mitment is self-programmed and spectators are not compelled to stay beyond their natural inclination.70 There are durational works in film and video that also demand a ÃÕLÃÌ>˜Ìˆ>Ê>œV>̈œ˜ÊœvÊ̈“i]Ê>Ì…œÕ}…Ê>ÃÊ*>“i>Ê°Êiiʅ>ÃʜLÃiÀÛi`]ʈ˜Ê̅iÊV>ÃiÊ of Warhol’s EmpireÊ­£™È{®]ÊÀ՘˜ˆ˜}Ê̜Êiˆ}…ÌʅœÕÀÃ]Ê̅iÊܜÀŽÊˆÃʼLiÃÌÊ«>Þi`ʜÕÌʈ˜Ê the mind’s eye than actually burned – and interminably so – on the retina’.71 There Ài“>ˆ˜Ã]ʅœÜiÛiÀ]Ê>ÊÃi˜ÃiʜvÊ>ÊÅ>Ài`ʍœÕÀ˜iÞʈ˜Ê̅iÊVœ˜ÌiÝÌʜvÊ>˜Êˆ˜ÃÌ>>̈œ˜]ʜ˜iÊ that is heightened by the introduction of moving image elements that themselves V>Ê̜ʜÀ`iÀÊ̅iÊëiVÌ>̜À]Êi“«œÞˆ˜}Êv>“ˆˆ>ÀÊVˆ˜i“>̈VÊ>˜`ÊÌiiۈÃÕ>Ê“œ`iÃʜvÊ>``ÀiÃÃ]Ê̜Ê܅ˆV…ÊÜiʅ>LˆÌÕ>ÞÊ>ÌÌi˜`°Ê Performance art’s final bequest is the direct address of an artist to a live audii˜Vi]Ê>ÊVœ˜w}ÕÀ>̈œ˜Ê̅>ÌÊÀiÃÕÀv>ViÃʈ˜Ê̅iÊVœ““Õ˜ˆÌÞʜvÊ>``ÀiÃÃʜvÊÌiiۈȜ˜]Ê>˜`Ê ˆ˜Ê̅iÊ`iV>À>̈Ûiʓœ`iÊvÀiµÕi˜ÌÞÊ>`œ«Ìi`ÊLÞÊۈ`iœÊˆ˜ÃÌ>>̈œ˜]Ê«>À̈VՏ>ÀÞʈ˜Ê̅iÊ i>ÀÞÊÞi>ÀðÊ/…iÊ>À̈ÃÌʜÀʜ̅iÀÊ«iÀvœÀ“iÀÃÊ«>ÞÊ̜Ê̅iÊV>“iÀ>]Ê«ÀœiV̈˜}Ê̅iˆÀʓiÃÃ>}iÊvÀœ“Ê̅iÊV>«ÌˆÛˆÌÞʜvÊ̅iʼLœÝ½]Ê̅iÊۈ`iœÊ“œ˜ˆÌœÀÃ]Ê܅iÀi]Ê>VVœÀ`ˆ˜}Ê̜Ê,œLiÀÌÊ,°Ê ,ˆiÞ]Ê̅iÞÊ>ÃœÊiÝ«ÀiÃÃʼ̅iÊLœ`Þ½ÃÊVœ˜w˜i“i˜Ìʈ˜ÊÀi>̈œ˜Ê̜Ê̈“i½°72Ê ÀÕViÊ >Փ>˜]Ê

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܅œÊ…>ÃʜvÌi˜ÊÌÀ>««i`ʅˆÃʈ“>}iʈ˜ÊÀi«ï̈Ûi]ÊVœ“«ÕÃˆÛiÊ>V̈œ˜Ã]ʅ>ÃÊ>``ÀiÃÃi`Ê his audiences in a number of guises including his clown persona. Vito Acconci has ÕÃi`Ê«iÀvœÀ“>˜ViÊ̜ÊV>“iÀ>Ê>ÃÊ>ÊvœÀ“Êœvʈ˜ÃՏÌ]ʏiiÀˆ˜}Ê>ÌÊvi“>iÊëiVÌ>̜ÀÃÊvÀœ“Ê>Ê “œ˜ˆÌœÀÊ«>Vi`ʜ˜Ê̅iÊyœœÀÊ>˜`ʈ˜yˆV̈˜}ʜ˜Ê̅i“ÊÛiÀL>Êˆ˜ÃՏÌÃ]Ê܅>ÌÊÕ`ˆÌ…Ê Õ̏iÀÊ `iÃVÀˆLi`Ê>Ãʼˆ˜}ՈÃ̈VÊ«>ˆ˜½°73Êi>˜Ü…ˆiÊiۈ˜Ê
̅iÀ̜˜Ê…>À>˜}Õi`ÊÌiiۈȜ˜Ê>Õ`ˆi˜ViÃ]Ê>˜Ê œÕÀ˜Ê>˜`Êœ…˜Ê-“ˆÌ…Ê`iÛiœ«i`Ê̅iˆÀʜܘÊÜÀÞÊVœ““i˜Ì>ÀˆiÃʜ˜Êœ˜`œ˜Ê life and Martha Rosler gave her fans a tour of her kitchen utensils. 74 I will return to ̅ˆÃÊ̅i“iʈ˜ÊÀi>̈œ˜Ê̜Êۈ`iœÊ>ÀÌ]ÊLÕÌʈ˜Ê̅iÊVœ˜ÌiÝÌʜvʏˆÛiÊ>ÀÌÊVœ˜VÕ`iÊ̅>Ìʈ˜Ê̅iÊ >}iʜvÊۈ`iœÊ`ˆ>ÀˆiÃ]ÊLœ}ÃÊ>˜`ÊÜiLV>“ÊÈÌiÃ]ʈ˜`ˆÛˆ`Õ>ÃÊV>˜Ê˜œÜÊLÀœ>`V>ÃÌÊ̜Ê̅iÊ world – anyone can be an online performance star. 7…iÀiʈ˜ÃÌ>>̈œ˜Ê`iۈ>ÌiÃÊvÀœ“Ê«iÀvœÀ“>˜Vi]ʈÌʈÃʈ˜Ê̅iÊvÀiµÕi˜ÌÊÀi“œÛ>ÊœvÊ Ì…iÊ>À̈Ã̽ÃÊ«iÀܘÊvÀœ“Ê̅iʏˆ“iˆ}…Ì]Ê̜ÊLiÊÀi«>Vi`ÊiˆÌ…iÀÊLÞÊ>Ê«Ài‡ÀiVœÀ`i`ʈ“>}iʜ˜ÃVÀii˜ÊœÀÊLÞÊ>˜ÞʘՓLiÀʜvÊÃi˜Ìˆi˜ÌʜÀʈ˜>˜ˆ“>ÌiÊÃÕÀÀœ}>Ìiðʘʣ™È™]Ê>˜˜ˆÃÊ œÕ˜iˆÃÊwi`Ê>Ê}>iÀÞÊ܈̅ÊÌi̅iÀi`ʅœÀÃiÃ]ʘœÌ…ˆ˜}ʈvʘœÌÊ>ÊÃޓLœÊœvÊ«œÌi˜VÞ]Ê >˜`ʈ˜Ê£™™£]Ê >“ˆi˜ÊˆÀÃÌÊi݅ˆLˆÌi`Ê>Ê«ˆVŽi`ÊÅ>ÀŽ]Ê«iÀ…>«ÃÊ>ÊÀiviÀi˜ViÊ̜ʅˆÃÊLÕÈness acumen.75ÊœÀiÊVœ˜ÌÀœÛiÀÈ>Þ]ʈ˜Ê£™™nqÓäää]Ê6>˜iÃÃ>Ê iiVÀœvÌÊ>ÃÃi“Li`Ê a roomful of pencil-thin models each standing naked but for a pair of Gucci high heels >˜`ʈ`i˜ÌˆV>Ê܈}°Ê iiVÀœvÌʅiÀÃivÊ`iÃVÀˆLi`Ê̅iÃiÊ«ÀœÝˆiÃÊ>ÃÊÃiv‡«œÀÌÀ>ˆÌÃ]ʈ“>}iÃÊ Ì…>Ì]Ê>ÃÊ,œLiÀÌ>Ê-“ˆÌ…ÊÀi“>ÀŽi`]ÊÜiÀiÊÀi˜`iÀi`ʼˆ˜ÊÀi>Ê̈“iÊ>˜`ÊÀi>ÊyiŽ°76 They ÃiÀÛi`Ê>ÃÊ>Ê«>ÃëœÀÌÊvœÀÊ̅iÊ>À̈ÃÌÊ̜Ê̅iÊܜÀ`ʜvʅˆ}…Ê>ÀÌÊ>˜`Êv>ňœ˜]Ê>˜`ÊÊܜՏ`Ê ÃÕ}}iÃÌ]Ê Ì…iÞÊ i“Lœ`ˆi`Ê iiVÀœv̽ÃÊ œÜ˜Ê ÃÌÀÕ}}iÊ ÜˆÌ…Ê …iÀÊ Üiˆ}…Ì]Ê “>˜ˆviÃÌÊ >ÃÊ >˜Ê ¼iÝiÀVˆÃiÊLՏˆ“ˆ>½Êi>̈˜}Ê`ˆÃœÀ`iÀ°77ʘÊ̅iÊV>ÃiʜvʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜]ʓ>˜ÞÊ >À̈ÃÌÃÊÀiÌÀi>Ìi`Ê̜Ê>ÊȓՏ>Ìi`Ê«ÀiÃi˜Vi]Ê̅iˆÀʏˆŽi˜iÃÃiÃÊi“L>“i`ʈ˜Ê̅iÊ>“LiÀÊ œvÊw“ÊœÀÊۈ`iœÊÌiV…˜œœ}Þ°Ê
À̈ÃÌÃÊÃÕV…Ê>Ãʈˆ>˜Ê7i>Àˆ˜}]Êœ…˜Ê-“ˆÌ…]Ê>˜Ê œÕÀ˜]Ê Vera Frenkel and Laure Prouvost leave only their disembodied voices and have sacÀˆwVi`Ê̅iÊ«…ÞÈV>ÊˆÛi˜iÃÃÊ̅>ÌÊ«ÀœÛi`ʈÀÀiÈÃ̈LiÊ̜ʜ՘iˆÃ]Ê iiVÀœvÌÊ>˜`ʈÀÃÌÊ (albeit deputised to surrogates).
˜Êˆ˜ÌiÀˆ“Ê«…>Ãi]ÊvœÀ“ˆ˜}Ê>ÊLÀˆ`}iÊLiÌÜii˜Ê̅iÊi˜Ã…Àˆ˜ˆ˜}ʜvÊ̅iʏˆÛiÊ«ÀiÃi˜ViÊ œvÊ̅iÊ>À̈ÃÌʈ˜Ê«iÀvœÀ“>˜ViÊ>˜`Ê̅iÊÀiÌÀi>Ìʈ˜ÌœÊ“>˜ˆviÃÌ>̈œ˜ÃʜvÊ̅iÊÃivÊLÞÊ«ÀœÝÞÊ can be found among those in the 1970s who combined their personal appearance ܈̅Ê̅iˆÀÊȓՏ>Ìi`ʈ“>}iÃʜ˜ÃVÀii˜°Ê
À̈ÃÌÃÊÃÕV…Ê>ÃÊiۈ˜Ê
̅iÀ̜˜]Êœ˜>Ê>̜Փ]Ê /ˆ˜>Êi>˜i]Ê-Ìiˆ˜>Ê6>ÃՏŽ>]Ê,œÃiʈ˜˜‡iViÞÊ>˜`Ê,œÃiÊ>ÀÀ>À`Ê«>Þi`ʜ˜Ê̅iÊÌÀ>˜Ã>V̈œ˜Ê LiÌÜii˜Ê ̅iˆÀÊ “i`ˆ>̈Ãi`]Ê iiVÌÀœ˜ˆVÊ «iÀܘˆwV>̈œ˜Ã]Ê «Ài‡ÀiVœÀ`i`Ê œÀÊ Ûˆ>Ê >ʏˆÛiÊvii`]ÊLœÌ…Ê>Õ`ˆœÊ>˜`Êۈ`iœ]Ê>˜`Ê̅iˆÀÊi“Lœ`ˆi`]ÊyiŇ>˜`‡Lœœ`ʓ>ÌiÀˆ>ˆÃ>tion in the scheduled performance itself. In Beyond Still LifeÊ­£™nä®]Ê,œÃiÊ>ÀÀ>À`Ê sent in heralds of her impending arrival in the shape of a plaster cast of her head >˜`ÊŜՏ`iÀÃ]Ê>Ê`i>`ÊLˆÀ`]Ê>ÊLœœŽÊ>˜`ÊiÛi˜ÌÕ>ÞʅiÀÊ`ˆÃi“Lœ`ˆi`ÊۜˆViÊ`iÃVÀˆLˆ˜}Ê Ì…iÊÃi>Ìi`Ê>Õ`ˆi˜Vi]ÊÀi˜`iÀˆ˜}ÊÕÃʈ˜‡Ài«ÀiÃi˜Ì>̈œ˜]ʜÕÀʼ˜œÜɜÕÀÊ«ÀiÃi˜Ì]Ê>Ài>`ÞÊ ˆ˜Ê ̅iÊ «>Ã̽]Ê >ÃÊ />“Ê ˆiÃÊ Ài“>ÀŽi`°78Ê 7…i˜Ê >ÀÀ>À`Ê w˜>ÞÊ >««i>Ài`]Ê Ã…iÊ “œÛi`Ê >“œ˜}Ê Ì…iÊ œLiVÌÃÊ Ã«i>Žˆ˜}Ê œvÊ Ì…iˆÀÊ «iÀܘ>Ê È}˜ˆwV>˜ViÊ ÌœÊ …iÀÊ >˜`Ê «iÀˆœ`ˆV>ÞÊ

68

INSTALLATION AND THE MOVING IMAGE

Rose Garrard, Beyond Still Life (1980), video performance. Courtesy of the artist.

positioning herself so that a live video camera relayed her image to a monitor. By “i>˜ÃÊ œvÊ ÃÕ«iÀˆ“«œÃˆÌˆœ˜]Ê ¼…iÀÊ ˆ“>}iÊ “iÀ}i`Ê ÜˆÌ…Ê …iÀÊ Ài«ˆV>Ê °°°Ê ̅iÊ Ài>Ê Ü>ÃÊ iÝchanged for the copy’.79Ê7…ˆiÊ>Ìʜ˜iʏiÛi]Ê̅iÊܜÀŽÊÜ>ÃÊ>ʓi`ˆÌ>̈œ˜Êœ˜ÊÃ̈Êˆvi]ʜ˜Ê >˜œÌ…iÀ]Ê>ÀÀ>À`½ÃÊ«iÀvœÀ“>˜Viʓ>ÀŽi`Ê̅iʓœ“i˜ÌʜvÊÌÀ>˜ÃˆÌˆœ˜ÊvÀœ“ʏˆÛiÊ>V̈œ˜ÃÊ ÌœÊ«Ài‡ÀiVœÀ`i`Ê«iÀvœÀ“>˜ViÊ̜ÊV>“iÀ>]ʘœÜÊVœ““œ˜ÞÊ>ÃÜVˆ>Ìi`Ê܈̅ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜°Ê
ÌÊ̅iÊÃ>“iÊ̈“i]Ê>ÀÀ>À`ÊÀ>ˆÃi`ʵÕiÃ̈œ˜ÃÊ>LœÕÌÊvi“>iʈ`i˜ÌˆÌÞ]Ê `i“œ˜ÃÌÀ>̈˜}Ê̅iÊ돈Ì̈˜}ʜvʅiÀÊÃÕLiV̈ۈÌÞʈ˜ÌœÊ…iÀÊi“Lœ`ˆi`]ÊÃÕLiV̈ÛiÊÃi˜ÃiÊ of self – so impossible to disavow as she stood before us – and her regulated and Vœ““œ`ˆwi`Êi݈ÃÌi˜ViÊ>ÃÊ>ʓi`ˆ>Ìi`ʈ“>}iʜ˜ÃVÀii˜°Ê7…iÀiÊ̅iʏˆÛiÊ«iÀvœÀ“>˜ViÊ …>`Ê}ˆÛi˜Ê>ÀÀ>À`ÊVœ˜ÌÀœÊœÛiÀÊ̅iÊÌiÀ“ÃʜvʅiÀÊۈÈLˆˆÌÞ]Ê̅iœÀïV>ÞÊ̅iÊۈ`iœÊˆ“>}iÊVœÕ`ʘœÜÊLiÊÀi«Àœ`ÕVi`]ÊÀiVœ˜ÌiÝÌÕ>ˆÃi`]ÊÃiÝÕ>ˆÃi`]Ê`ˆÃ̜ÀÌi`Ê>˜`Ê܏`ÊLÞÊ whoever might acquire it. ˜Ãœv>ÀÊ>ÃÊ>˜Ê>À̈ÃÌʓ>ŽiÃʅˆ“ÊœÀʅiÀÃivÊ>˜ÊœLiVÌʜvÊ>ÌÌi˜Ìˆœ˜]Ê̅iÀiʓÕÃÌÊLiÊ some degree of amour propreÊ>ÌÊ«>Þ]ÊiÛi˜ÊˆvʈÌʈÃÊȓ«ÞÊ̅iÊVœ˜w`i˜Vi]ʜÀÊ̅iʅÕLÀˆÃÊ

PERFORMANCE

69

required for an individual to communicate their thoughts to an audience. As men̈œ˜i`]Ê̅>ÌÊVœ˜w`i˜Viʅ>ÃÊÃii˜Êܓi̅ˆ˜}ʜvÊ>ÊÀiۈÛ>Êˆ˜ÊÀiVi˜ÌÊÞi>ÀÃ]Ê܈̅Ê̅iÊ galleries awash with a new wave of performance artists promulgating their views œ˜Ê̅iÊܜÀ`ÊÜiʏˆÛiʈ˜°ÊœÜiÛiÀ]Ê«iÀvœÀ“>˜ViÊ«iÀÈÃÌi`ʈ˜Ê̅iÊܜÀ`ʜvÊiÝ«iÀˆ“i˜Ì>Êw“Ê̅ÀœÕ}…œÕÌÊ̅iÊ£™ÈäÃ]Ê£™ÇäÃÊ>˜`ÊLiޜ˜`°Ê/…iʏˆÛiÊ«ÀiÃi˜ViʜvÊ̅iÊ>À̈ÃÌÊ Ü>ÃÊ̜ÊLiÊvœÕ˜`Êi˜Ã…Àˆ˜i`ʈ˜Ê…ÞLÀˆ`]ÊÈÌÕ>Ìi`ÊܜÀŽÃÊ̅>ÌÊV>“iÊ̜ÊLiʎ˜œÜ˜Ê>ÃʼiÝ«>˜`i`ÊVˆ˜i“>½]Ê>ÊÌi˜`i˜VÞÊ̅>ÌʈÃÊ>À}Õ>LÞÊ̅iÊwÀÃÌʓ>˜ˆviÃÌ>̈œ˜ÊœvʓœÛˆ˜}ʈ“>}iÊ ˆ˜ÃÌ>>̈œ˜°Ê/…ˆÃÊÀˆV…ÊÛiˆ˜ÊœvÊܜÀŽÊ܈ÊvœÀ“Ê̅iÊÃÕLÃÌ>˜ViʜvÊV…>«ÌiÀʘˆ˜i]ÊLÕÌÊÊ܈Ê i˜`ʅiÀiÊLÞʘœÌˆ˜}Ê̅>ÌÊ̅iÊLœ`Þʈ˜ÊiÝ«>˜`i`ÊVˆ˜i“>ÊÜ>ÃʘœÌÊÜʓÕV…Ê>ÊÛi…ˆViÊ vœÀÊ̅iÊiÝ«ÀiÃȜ˜ÊœvÊ̅iÊ>À̈Ã̽ÃÊ«iÀܘ>ˆÌÞʜÀÊÃÕLiV̈ۈÌÞÊqÊvœÀʈ˜ÃÌ>˜Vi]ÊLiÌÀ>ވ˜}Ê>Ê«i˜V…>˜ÌÊvœÀÊ܅>ÌÊ Àˆ>˜Ê >̏ˆ˜ÊV>i`ʼ̅iÊ>L˜œÀ“>]Ê̅iʓˆÃ`ˆÀiVÌi`Ê>˜`Ê̅iÊ misspelled’80 – as an instrument for both the celebration and materialist deconstruc̈œ˜ÊœvÊ̅iÊw“ˆVÊ>««>À>ÌÕðÊ/œÊ̅ˆÃÊi˜`]Ê>Vœ“ÊiÊÀˆViʈ˜ÌiÀÀÕ«Ìi`Ê̅iÊ«ÀœiV̈œ˜Ê Li>“]Ê ˆVŽÞÊ>“Þ˜Ê“>˜ˆ«Õ>Ìi`ʓՏ̈«iÊ«ÀœiV̜ÀÃÊ`ÕÀˆ˜}ʅˆÃÊÃVÀii˜ˆ˜}ÃÊ>˜`]ʏˆŽiÊ ,œÃiÊ>ÀÀ>À`]Ê>˜`Ê >˜ÊÀ>…>“ʈ˜Ê̅iÊ1-
]Êœ˜>Ê>̜ՓÊÌÀ>ˆ˜i`Ê>ÊV>“iÀ>ʜ˜ÊLœÌ…Ê herself and the audience uniting the whole assembly in the perpetual feedback of a VœÃi`‡VˆÀVՈÌÊۈ`iœÊÃÞÃÌi“°Ê˜ÊLœÌ…ÊiÝ«>˜`i`ÊVˆ˜i“>Ê>˜`Êۈ`iœÊ«iÀvœÀ“>˜Vi]Ê̅iÊ ÌiV…˜œœ}ÞʈÃÊLÀœÕ}…ÌʜÕÌʜvÊ̅iÊÅ>`œÜÃÊ>˜`ʓœÛi`ÊVi˜ÌÀiÊÃÌ>}i]ʈÌÃÊ«Àœ«iÀ̈iÃÊ̅iÊ >V̜ÀÃʈ˜Ê>ʘiÜÊ«ÕLˆVÊ«iÀvœÀ“>˜ViʜvÊVˆ˜i“>Ê>˜`ÊÌiiۈȜ˜°Ê/…iÊLœ`ÞʜvÊ̅iÊ>À̈ÃÌ]Ê ˆŽiÊ̅iÊw“ÊÃÌÀˆ«]Ê«ÀœiV̈œ˜ÊLi>“]Êۈ`iœÊV>“iÀ>Ê>˜`ʓœ˜ˆÌœÀ]ÊÜ>ÃʘœÜÊ«>Vi`Ê>ÌÊ̅iÊ ÃiÀۈViʜvÊ܅>ÌÊÕ`ˆÌ…Ê Õ̏iÀÊV>i`Ê«iÀvœÀ“>̈ÛiʼÀiÈ}˜ˆwV>̈œ˜½]Ê̅iʼÌÀœÕLˆ˜}½ÊœvÊ iÃÌ>LˆÃ…i`ʈ`i˜ÌˆÌˆiÃÊ>˜`ÊLiˆivÊÃÞÃÌi“Ã]Ê܈̅Ê̅iÊ>Õ`ˆi˜ViÊ>ÃÊLœÌ…Ê܈̘iÃÃÊ>˜`Ê co-conspirator.81

NOTES 1Ê 2Ê 3Ê 4

70

->ÞÊ*œÌÌiÀÊ­£™nä®Ê¼"˜Ê-…œÜý]Êi݅ˆLˆÌˆœ˜ÊV>Ì>œ}ÕiÊvœÀÊAbout Time: Video, Performance and Installation by 21 Women Artists]ʘÃ̈ÌÕÌiʜvÊ œ˜Ìi“«œÀ>ÀÞÊ
ÀÌÃ]Êœ˜`œ˜]Ê՘«>}ˆ˜>Ìi`°Ê ˆV…>iÊ Àˆi`Ê ­Q£™ÈÇRÊ £™™n®]Ê ¼
ÀÌÊ >˜`Ê "LiV̅œœ`½]Ê ˆ˜Ê Art and Objecthood: Essays and Reviews°Ê …ˆV>}œ\Ê1˜ˆÛiÀÈÌÞʜvÊ …ˆV>}œÊ*ÀiÃÃ]Ê«°Ê£xΰ Àˆœ˜ÞÊ iÀÊ ­Óää£®Ê ¼/…iÊ -œ“˜>“LՏˆÃ̽ÃÊ -̜ÀÞ\Ê ˜ÃÌ>>̈œ˜Ê >˜`Ê Ì…iÊ />Li>Õ½]Ê Oxford Art Journal]ÊëiVˆ>ÊˆÃÃÕiʼ"˜Ê˜ÃÌ>>̈œ˜½]ÊÓ{\ÊÓ]Ê«°Ênä°Ê My then three-year-old granddaughter Willow Egling decided to participate in a work by Tino Sehgal in the Turbine Hall at Tate Modern in 2012. She pushed her buggy up the slope of the Hall in slow time to match the regimented movements of the performers. The embarrass“i˜ÌʜvÊ̅iʅˆÀi`ÊÌÀœÕ«iÊÜ>ÃÊ«>«>Li°Ê/…iÀiÊÜ>ÃÊ>˜ÊiÝVi«Ìˆœ˜ÊqÊ>ʓ>˜ÊV>i`ʼ/ˆ“½Êˆ}˜œÀi`Ê …ˆÃʈ˜ÃÌÀÕV̈œ˜ÃÊ̜ʏˆ“ˆÌʈ˜ÌiÀ>V̈œ˜Ê܈̅Ê>Õ`ˆi˜ViÃÊ̜Ê̅iÊ`iˆÛiÀÞʜvÊLÀˆiv]Ê«Ài‡ÃVÀˆ«Ìi`ʘ>ÀÀ>̈ÛiÃ]Ê>˜`ʓ>`iÊÀœœ“ÊvœÀÊ7ˆœÜÊ̜ÊÜ>ŽÊµÕˆȉÞÊLiÈ`iʅˆ“°Ê

INSTALLATION AND THE MOVING IMAGE

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˜`ÀiÜÊ*ˆVŽiÀˆ˜}]ÊÊÕÃiÊ̅iÊÌiÀ“ʼ…Õ“>˜ÊiÝVi«Ìˆœ˜>ˆÃ“½Ê̜Ê`i˜œÌiÊ̅iÊëiVˆ>Ê ÃÌ>ÌÕÃʜvʅՓ>˜ÊLiˆ˜}ÃÊÀi>̈ÛiÊ̜ʼ̅iÊÀiÃÌʜvÊVÀi>̈œ˜½°Ê-iiÊAgainst Human Exceptionalism]Ê >ÊÌ>ŽÊ}ˆÛi˜Ê>Ìʼ7…>ÌÊ`œiÃʈÌʓi>˜Ê̜ÊLiʅՓ>˜¶½ÊܜÀŽÃ…œ«]Ê1˜ˆÛiÀÈÌÞʜvÊ ÝiÌiÀ]ÊÓään°Ê Available online: …ÌÌ«Ã\ÉɜÀi°iÝiÌiÀ°>V°ÕŽÉÀi«œÃˆÌœÀÞÉLˆÌÃÌÀi>“É…>˜`iÉ£ääÎÈÉ£nnÇÎÉ 8/,ÜÀŽÃ…«‡Óxä£än°«`v¶ÃiµÕi˜Vir1Ê­>VViÃÃi`Ê£xÊՏÞÊÓä£{®°Ê See Graham Harman (2002) Tool-Being: Heidegger and the Metaphysics of Objects. Chicago: Open Court. Underlying the theories of Cognitive Capitalism and Speculative Realism is a generalised concern about environmental damage wreaked by society in the grip of late V>«ˆÌ>ˆÃ“°ÊœÜiÛiÀ]Ê̅iÊvœÀ“Տ>̈œ˜Êˆ}˜œÀiÃÊÜVˆ>Êˆ˜iµÕ>ˆÌˆiÃÊ>VÀœÃÃÊ}i˜`iÀ]ÊV>ÃÃÊ>˜`Ê À>Vi°Ê -iiÊ -Ûi˜>Ê Àœ“LiÀ}Ê ­Óä£Î®Ê ¼/…iÊ
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iÃ̅ïVÃÊ œvÊ "LiVÌÃÊ >˜`Ê 7œÀ`ÃÊ iޜ˜`½]ÊMute]ÊÓxÊՏްÊ
Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉÜÜÜ°“iÌ>“ÕÌi°œÀ}Éi`ˆÌœÀˆ>É>À̈ViÃÉ>˜Ìˆ‡ «œˆÌˆV>‡>iÃ̅ïVǜLiVÌÇ>˜`‡ÜœÀ`ÇLiޜ˜dÊ­>VViÃÃi`Ê£xÊՏÞÊÓä£{®° °Ê°Ê …>ÀiÃܜÀ̅ʭÓä£{®Ê¼-ÕLiVÌÊÛÊ"LiVÌý]ÊArt Monthly]ÊÎÇ{]Ê«°Ê{°
˜ÊiÃÃ>Þʜ˜ÊÀi>̈œ˜>Ê>iÃ̅ïVÃÊwÀÃÌÊ>««i>Ài`ʈ˜Ê̅iÊV>Ì>œ}ÕiÊvœÀÊ̅iÊi݅ˆLˆÌˆœ˜ÊTraffic (1996).
àýÃÊWhen Faith Moves Mountains (2002) involved a line of five hundred anonymous volunteers shovelling a Peruvian sand dune 10cm from its original position. ˜Ê̅iʏ>ÌiÊ£™ÇäÃ]Ê*iÌiÀÊ Õ˜˜Ê>˜`ÊœÀ>ˆ˜iÊiiܘʓ>`iÊVœ>LœÀ>̈ÛiÊۈ`iœÌ>«iÃʈ˜ÊÃÕ««œÀÌÊ œvÊ̅iÊV>“«>ˆ}˜Ê̜ÊÃ>ÛiÊ̅iÊ i̅˜>ÊÀii˜ÊœÃ«ˆÌ>Êˆ˜Ê >ÃÌÊœ˜`œ˜]Ê܅ˆV…ÊÜ>ÃÊ̅Ài>Ìi˜i`Ê ÜˆÌ…Ê VœÃÕÀiÊ LÞÊ >Ê >LœÕÀÊ }œÛiÀ˜“i˜Ì°Ê >˜ÞÊ œÌ…iÀÊ Vœ““Õ˜ˆÌÞÊ «ÀœiVÌÃÊ vœœÜi`°Ê œÀÊ >Ê `ˆÃVÕÃȜ˜Ê œvÊ Ì…iˆÀÊ VÀi>̈ÛiÊ ÃÌÀ>Ìi}ˆiÃ]Ê ÃiiÊ *iÌiÀÊ Õ˜˜Ê >˜`Ê œÀ>ˆ˜iÊ iiÜ˜Ê ­£™™Ç®Ê ¼/…iÊ
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ÃÜVˆ>̈œ˜]Ê-«Àˆ˜}]Ê««°ÊÓÈqÎÇ°Ê ˜Ê̅iÊ£™™äÃ]Ê̅iÊVÕÀ>̜ÀÊ>ÀÞÊ>˜iÊ>VœLýʼ ՏÌÕÀiʈ˜Ê
V̈œ˜½Êˆ˜ˆÌˆ>̈ÛiÊÜ>ÃÊVi˜ÌÀ>Ê̜Ê̅iÊ continuation of politically engaged art in the USA. *ˆVŽiÀˆ˜}ÊiÝÌi˜`ÃʅˆÃÊVÞLiÀ˜ïVʓœ`iÊ̜ʈ˜VÕ`iÊ̅iʼ«iÀvœÀ“>̈ÛiÊ>˜`Ê>`>«ÌˆÛiʈ˜ÌiÀ>Vtions’ of people and materials with their environment; see Against Human Exceptionalism]Ê op. cit. See also Andrew Pickering (2010) The Cybernetic Brain: Sketches of Another Future. Chicago: University of Chicago Press. His thinking has influenced the new materialism in cultural theory. i>˜Ê
À«ÊµÕœÌi`ÊLÞÊ,œÃiiiÊœ`LiÀ}Ê­£™Ç™®ÊPerformance: Live Art 1909 to the Present. œ˜`œ˜\Ê/…>“iÃÊEÊÕ`ܘʫ°ÊΙ°
VVœ˜VˆÊ«i>ÃÕÀi`ʅˆ“ÃivÊ՘`iÀÊ>Êv>ÃiÊyœœÀÊ܅ˆiʅˆÃÊÃiÝÕ>Êv>˜Ì>ÈiÃÊÜiÀiÊLÀœ>`V>ÃÌÊ̜ÊÊ the gallery visitors by means of loudspeakers. >Àˆ˜iÌ̈ʵ՜Ìi`ÊLÞÊ,œÃiiiÊœ`LiÀ}Ê­£™Ç™®]ʜ«°ÊVˆÌ°]Ê«°Ê£Î°Ê >Àˆ˜iÌ̈ʵ՜Ìi`ÊLÞÊ>˜ÊœÀÀˆÃÊ­£™™Î®ÊVenice°Êœ˜`œ˜\Ê>LiÀÊEÊ>LiÀ]Ê«°ÊÓ{{° ,ˆV…>À`ÊÕiÃi˜LiVŽÊµÕœÌi`ÊLÞÊ,œÃiiiÊœ`LiÀ}Ê­£™Ç™®]ʜ«°ÊVˆÌ°]Ê«°Ê£Î°Ê -iiÊœ`LiÀ}]ʜ«°VˆÌ°Ê«°ÊxÈ°Ê I will return to this work in chapter ten. >Àˆ˜iÌ̈ÊvœÕ˜`i`Ê̅iÊÕÌÕÀˆÃÌÊ,>`ˆœ«…œ˜ˆVÊ/…i>ÌÀi]Ê܅ˆV…Ê«Àœ«œÃi`ʼ>ʘiÜÊ>ÀÌÊ̅>ÌÊLi}ˆ˜ÃÊ Ü…iÀiÊ̅i>ÌÀi]ÊVˆ˜i“>̜}À>«…ÞÊ>˜`ʘ>ÀÀ>̈œ˜ÊÃ̜«½°Ê/…iÊÕÌÕÀˆÃÌÃÊÜiÀiʈ˜ÌiÀiÃÌi`ʈ˜ÊÃÌ>̈VÊ ˜œˆÃi]Ê>˜`ʼ̅iÊ}iœ“iÌÀˆVÊVœ˜ÃÌÀÕV̈œ˜ÊœvÊȏi˜Vi½Ê­œ`LiÀ}°Êœ«°ÊVˆÌ°]Ê«°ÊÓ£®°ÊÌʈÃÊÃÕÀ«ÀˆÃˆ˜}Ê that artists have engaged so little with the medium of radio in the ensuing decades.

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The Futurist Manifesto is available online: …ÌÌ«\ÉÉÛÃiÀÛiÀ£°VÃVðÃ>°Õ“ˆV…°i`ÕÉHVÀÅ>ˆâˆÉ /{*ÉvÕÌÕÀˆÃ̇“>˜ˆviÃ̜°…Ì“l (accessed 28 October 2013).

>“«ÕÃÊÕÃi`ÊÌܜÊV>“iÀ>ÃÊ̜ʫÀœiVÌÊ̅iʏˆÛiʈ“>}iʜvʅˆÃÊL>VŽÊœ˜ÌœÊ̅iÊÃÕÀv>ViÊ̅ÀœÕ}…Ê which he was cutting. The video can be viewed online: …ÌÌ«\ÉÉۈ“iœ°Vœ“É£nÓÓnx{Î (accessed 28 October 2013). I will return to this work in chapter nine. /…iÊ w““>ŽiÀÊ -iÀ}iˆÊ ˆÃi˜ÃÌiˆ˜Ê >ÌiÀÊ ÀiVÀi>Ìi`Ê Ì…iÃiÊ «iÀvœÀ“>˜ViÃÊ ˆ˜Ê …ˆÃÊ -œÛˆiÌÊ i«ˆV]Ê October 1917 (Ten Days That Shook the World) (1928). iˆÀ`ÀiÊi``œ˜Ê­Óä£Ó®Ê¼/…iÊ*œˆÌˆVÃʜvʈÛiÊ
À̽]ʈ˜Ê iˆÀ`ÀiÊi``œ˜Ê>˜`Êi˜˜ˆiʏiˆ˜Ê­i`Ã®Ê Histories & Practices of Live Art°Ê >Ș}Ã̜Ži\Ê*>}À>ÛiÊ>V“ˆ>˜]Ê«°Ê£n{° Georges Bataille quoted in Denis Hollier ([1974] 1992) Against Architecture: The Writings of Georges Bataille°Ê >“LÀˆ`}i]Ê
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ÀÌÊ ˆ˜Ê À>âˆÊ ˆ˜Ê ̅iÊ £™Çäý]ÊMIRAJ]Ê£\Ê£]Ê««°Êx™qÈÇ° œÀÊ>ÊvՏiÀÊ`ˆÃVÕÃȜ˜ÊœvÊi>ÀÞÊ«iÀvœÀ“>˜ViÊ>ÀÌÊLÞÊܜ“i˜]ÊÃiiÊ >̅iÀˆ˜iÊ ÜiÃÊ­Q£™nxRÊ Óäää®Ê ¼œ>̈˜}Ê i“ˆ˜ˆ˜ˆÌÞÊ qÊ
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ÀÌÊ LÞÊ 7œ“i˜½]Ê ˆ˜Ê Video Loupe: A Collection of Essays By and About the Videomaker and Critic Catherine Elwes°Êœ˜`œ˜\Ê/Ê *ÀiÃÃ]Ê««°ÊÇ£qn{° The notion that these deliberate performances of self-harm by women bring under conÌÀœÊ̅iÊۈœi˜ViÊ̅>ÌʈÃÊ`œ˜iÊ̜Ê>Êܜ“i˜ÊÃÕLiVÌi`Ê̜ʫ>ÌÀˆ>ÀV…>ÊÜVˆ>ÊÃÞÃÌi“ÃʘiÛiÀÊ µÕˆÌiÊVœ˜Ûˆ˜ViðÊ7…i˜Êv>Vi`Ê܈̅ÊÀ>Ü]Ê`ˆÃÌÀiÃȘ}Ê}iÃÌÕÀiÃÊÃÕV…Ê>ÃÊ̅iÃi]ʜ˜iÊLiVœ“iÃÊ aware of how difficult it is for women to effectively protect themselves against the random violence of individuals as well as organised male aggression in the guise of military might. 7…ˆiÊÀi‡ÜœÀŽˆ˜}Ê̅ˆÃÊÃiV̈œ˜]ʈÌÊÜ>ÃÊ>˜˜œÕ˜Vi`Ê̅>Ìʈ˜Ê ˆ}iÀˆ>ʜÛiÀÊÌܜʅ՘`Ài`Ê}ˆÀÃʅ>`Ê Lii˜ÊŽˆ`˜>««i`ÊvÀœ“Ê̅iˆÀÊÃV…œœÊLÞÊ̅iʓˆˆÌ>˜ÌÊÏ>“ˆVÊ}ÀœÕ«Ê œŽœÊ>À>“]Ê܅œÃiʘ>“iÊ Vœ˜`i“˜ÃÊ7iÃÌiÀ˜Êi`ÕV>̈œ˜]Ê«>À̈VՏ>ÀÞÊvœÀÊܜ“i˜°Ê
ÌÊ̅iÊ̈“iʜvÊ}œˆ˜}Ê̜ʫÀiÃÃ]Ê>ÀœÕ˜`Ê ÃˆÝÌÞʜvÊ̅iÊV…ˆ`Ài˜Ê>ÀiÊÀi«œÀÌi`Ê̜ʅ>ÛiÊiÃV>«i`ÆÊ̅iʜ̅iÀÃÊ>ÀiÊÃ̈ÊLiˆ˜}ʅi`ÊV>«ÌˆÛi° /…iÊvœœÜˆ˜}ÊÞi>À]ÊÃÌÕ`i˜ÌÊviiÃÊÀœÃiÊ̜ÊËÎ]äääÊ>ÊÞi>À]Ê>ʓœ`iÃÌÊÀˆÃiÊLÞÊ̜`>Þ½ÃÊÃÌ>˜`>À`Ã°Ê McGowan left a request at Downing Street that the peanut be accepted in lieu of his student debt; see …ÌÌ«\ÉÉÜÜÜ°“>ÀŽ“V}œÜ>˜°œÀ}É (accessed 3 March 2014). ˜ÊÓ䣣]Ê̅iʼ
ÀÌʘœÌÊ"ˆ½Ê>˜Ìˆ‡ *Ê«ÀœÌiÃ̜ÀÃÊ«iÀvœÀ“i`Ê>ʼÏii«œÛiÀ½Êˆ˜Ê̅iÊ/ÕÀLˆ˜iÊ>Ê>ÌÊ Tate Modern to draw attention to BP’s sponsorship of the gallery and its whitewashing œvÊ̅iÊi˜ÛˆÀœ˜“i˜Ì>Ê`ˆÃ>ÃÌiÀÊvœœÜˆ˜}Ê̅iÊՏvʜvÊi݈VœÊœˆÊ눏ÊvœÀÊ܅ˆV…Ê *ÊÜ>Ãʅi`Ê responsible. All contemporary political initiatives use social media and the Internet to promote their ac̈ۈ̈iÃ]ʘœ˜iʓœÀiÊÜÊ̅>˜Ê܅i˜Ê«i>VivՏʫÀœÌiÃÌÊiÀÕ«ÌÃʈ˜ÌœÊœÕÌÀˆ}…ÌÊÀiۜṎœ˜Ê>Ãʅ>ÃÊ Lii˜Ê̅iÊV>Ãiʈ˜Ê̅iÊ܇V>i`ʼ
À>LÊ-«Àˆ˜}½Êˆ˜Ê/՘ˆÃˆ>]Ê }Þ«Ì]Ê-ÞÀˆ>Ê>˜`ʈLÞ>ʈ˜ÊÀiVi˜ÌÊÞi>ÀÃ]Ê >˜`ʈ˜Ê̅iÊ1ŽÀ>ˆ˜i]ÊiÛi˜ÌÃÊ̅>Ìʅ>ÛiÊÞiÌÊ̜ÊLiÊÀi«ÀœViÃÃi`Ê>ÃÊ>ÀÌʈ˜Ê>Ê}>iÀÞÊVœ˜ÌiÝÌ°Ê "Î>ÀÊ-V…i““iÀʵ՜Ìi`ÊLÞÊ,œÃiiiÊœ`LiÀ}]ʜ«°VˆÌ°]Ê«°Èn°
>˜Ê >«ÀœÜÊ ­£™ÈÈ®Ê Assemblage, Environments, and Happenings. New York: Harry N. Abrams; quoted on UBUWEB: HISTORIAL: …ÌÌ«\ÉÉÜÜÜ°ÕLÕ°Vœ“É…ˆÃ̜ÀˆV>ÉŽ>«ÀœÜɈ˜`iÝ° html (accessed 3 November 2013). iˆÀ`ÀiÊi``œ˜]ʜ«°ÊVˆÌ°]Ê«°Ê£n£°Ê ii`iÃÃÊ̜ÊÃ>Þ]ʘiˆÌ…iÀÊ«iÀvœÀ“>˜ViʘœÀʈ˜ÃÌ>>̈œ˜Ê>À̈ÃÌÃÊ>V…ˆiÛi`ÊvՏÊˆ˜`i«i˜`i˜ViÊvÀœ“ÊÃÌ>ÌiʜÀÊ«ÀˆÛ>ÌiÊ뜘ÜÀň«]Ê>˜`ÊȘViÊ̅iÊ£™™äÃÊ “œÃÌÊ>À̈ÃÌÃʅ>ÛiÊi“LÀ>Vi`Ê̅iÊ>ÀÌʓ>ÀŽiÌ°ÊÃ>>VÊՏˆi˜½ÃÊ«…œÌœ}À>«…ÃÊ>ÃÜVˆ>Ìi`Ê܈̅ʅˆÃÊ

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Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉÜiL°“ˆÌ°i`ÕɍÃV…iˆLÉ*ÕLˆVÉ«iÀvœÀ“>˜Vi“i`ˆ>Ɏ>«ÀœÜÚ>ÃÃi“L>}ið«df (accessed 3 November 2013). Õ`ÞÊ …ˆV>}œÊ­£™ÇÇ®ÊThrough the Flower°Ê iÜÊ9œÀŽ\Ê
˜V…œÀÊ œœŽÃ]Ê«°Ê™Ó°Ê-iiÊ>ÃœÊˆÊˆi`ÃÊ (ed.) (2011) Entering the Picture: Judy Chicago, The Fresno Feminist Art Program, and the Collective Visions of Women Artists°Ê iÜÊ 9œÀŽ\Ê ,œÕ̏i`}i°Ê >ÀˆiÀÊ ˆ˜Ê ̅iÊ Vi˜ÌÕÀÞ]Ê "Î>ÀÊ Schlemmer asserted that his painting and drawing represented the intellectual side of his «À>V̈ViÊ܅ˆiÊ̅iÊ«iÀvœÀ“>˜ViÊܜÀŽÊiÝ«ÀiÃÃi`Ê̅iÊ ˆœ˜ÞÈ>˜]Ê«i>ÃÕÀ>LiÊ>˜`ÊÃi˜ÃÕ>Ê >ëiVÌʜvʅˆÃÊܜÀŽ°Ê-iiÊœ`LiÀ}]ʜ«°ÊVˆÌ°]Ê«°ÊÈÇ°Ê Õ`ÞÊ …ˆV>}œ]ʈLˆ`°Ê >ޏiÞÊ iܓ>˜Êëi>Žˆ˜}Ê>ÌÊ,ÕΈ˜Ê-V…œœÊœvÊ
ÀÌ]Ê"ÝvœÀ`]ÊÓÊ iVi“LiÀ]ÊÓää{° David Hall assures me that Atherton’s outburst was a completely unscheduled part of the «Àœ}À>““i°ÊiÊ«ÀœÛˆ`iÃÊܓiÊ`iÌ>ˆ\ʼÊÀi“i“LiÀÊV…>i˜}ˆ˜}ʅˆ“ÊœÕÌÈ`iʘiÝÌÊ̜Ê>ÊÀˆVŽiÌÞÊ table where we’d provided glasses of wine (suggesting it must indeed have been the openˆ˜}ʘˆ}…Ìʈ˜Ê£™Çn®°Ê7…œÊÃÌÀÕVŽÊœÕÌÊwÀÃÌÊÊV>˜½ÌÊÀi“i“LiÀ]ÊLÕÌÊÊ`œÊÀi“i“LiÀʅˆ“ÊÀiiˆ˜}Ê L>VŽÜ>À`Ãʜ˜ÌœÊ̅iÊÌ>LiÊÅ>ÌÌiÀˆ˜}ÊiÛiÀÞ̅ˆ˜}Ê°°°ÊV>˜½ÌÊÀi“i“LiÀʓœÀiÊiÝVi«ÌÊ̅>ÌÊÜi½ÛiÊ }œÌÊ>œ˜}Êw˜iÊiÛiÀÊȘVi½ÆÊi“>ˆÊVœÀÀi뜘`i˜ViÊÜˆÌ…Ê >ۈ`Ê>]ÊÎÊ œÛi“LiÀÊÓä£Î° 7…i˜ÊÊÀi«ÀˆÃi`Ê̅iÊܜÀŽÊ>ÌÊ̅iÊ
]ʈ˜Ê£™Ç™]Ê>Ê`À՘Ži˜Ê“>˜ÊLi}>˜Ê̜ÊŜÕÌÊÃi݈ÃÌÊ>LÕÃiÊ>ÌÊ me until he was forcibly removed from the gallery. Although the performance was at least in part a gesture of passive protest against the ÀՓLˆ˜}ÃÊ œvÊ ˆ˜ÌiÀ˜>̈œ˜>Ê >}}ÀiÃȜ˜Ê ˆ˜Ê ̅iÊ “ˆ`‡£™ÈäÃ]Ê >ÃÊ ÜˆÌ…Ê -œ˜ˆ>Ê ˜œÝ½ÃÊ ÜœÀŽ]Ê Ì…iÊ overriding impression of the performance as it struck me at the time was of a tense evocation of the diurnal threat of violence that is a feature of so many women’s lives the world over. ˜Ê£™£Î]ʓÞÊ}À>˜`“œÌ…iÀÊ œÀœÌ…ÞÊ°Ê/ˆiÞÊ>L>˜`œ˜i`Ê̅iÊÃÌ>}iÊvœœÜˆ˜}Ê>˜ÊœvviÀʜvʓ>ÀÀˆ>}iÊvÀœ“Ê>ʓÕV…Êœ`iÀʼÃÌ>}i‡`œœÀÊœ…˜˜Þ½]Ê>˜`Ê>ÊÛiˆÊÜ>ÃʵՈVŽÞÊ`À>ܘʜÛiÀʅiÀÊi>ÀÞÊ career as an actress. We can find no records of her appearances in London theatres at the turn of the century.
`iiʈÃÌiÀÊ>˜`Ê ˆÊœ˜iÃÊ­£™Ç™®Ê¼ ÛiÀÞLœ`ÞÊ7>˜ÌÃÊÌœÊ iÊ̅iʈÀ½]ʈ˜Ê
°Ê
°Ê Àœ˜Ãœ˜Ê>˜`Ê Peggy Gale (eds) Performance by Artists°Ê /œÀœ˜Ìœ\Ê
ÀÌÊ iÌÀœ«œi]Ê «°Ê Ó{È°Ê -iiÊ >ÃœÊ œˆÀ>Ê Roth (ed.) The Amazing Decade: Women and Performance Art in America 1970–1980. Los Angeles: Astro Artz. /…iÊÀiÃi>ÀV…iÀÊ
“ÞÊ/œLˆ˜Ê…>ÃʓœÛi`Ê>Ü>ÞÊvÀœ“ÊiÝV>Û>̈˜}Ê`iVˆÃˆÛi]Ê«iÀvœÀ“>̈ÛiÊܜÀŽÃÊ LÞÊܜ“i˜]ÊÃÕV…Ê>ÃÊ >ÀœiiÊ-V…˜ii“>˜˜½ÃÊInterior ScrollÊ­£™Çx®]ʈ˜Êv>ۜÕÀʜvÊVœ““Õ˜ˆÌއ L>Ãi`]Ê`ˆÃ«iÀÃi`ÊܜÀŽÃ°Ê-…iÊvœVÕÃiÃʜ˜Êˆ˜ˆÌˆ>̈ÛiÃʏˆŽiÊ>ÌiÊ7>ŽiÀ½ÃÊFeministo (1974) in ܅ˆV…Ê >Ê VœiV̈ÛiÊ œvÊ Üœ“i˜Ê iÝV…>˜}i`Ê «œÃÌ>Ê ܜÀŽÃ]Ê ¼Õ˜Ìi̅iÀi`Ê vÀœ“Ê œV>ˆÌÞ½]Ê «ˆiViÃÊ Ì…>ÌʼvœÀ“i`ÊÜVˆ>ÊÀi>̈œ˜ÃÊÀ>̅iÀÊ̅>˜Êˆ˜ÌiÀÛi˜ˆ˜}ʈ˜ÊLÕÀi>ÕVÀ>VÞ½°Ê
“ÞÊ/œLˆ˜ÊÜ>ÃÊëi>Žˆ˜}Ê>LœÕÌʅiÀÊ`œV̜Àˆ>ÊÀiÃi>ÀV…Ê>ÌÊ̅iÊ >ۈ`Ê,œLiÀÌÃÊ
ÀÌʜ՘`>̈œ˜]Êœ˜`œ˜Êœ˜ÊxÊ>Þ]Ê 2014. Speakers included Lisa Tickner and Catherine Elwes. -iiÊi>˜Ê >Õ`Àˆ>À`Ê­Q£™n£RÊ£™™{ÊQӘ`Êi`˜®ÊSimulacra and Simulation. Michigan: University of Michigan Press.

PERFORMANCE

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>̅iÀˆ˜iÊœ˜}]Ê`œV̜À>Ê̅iÈÃ]ÊA Feminist Dialogue with the Camera]ÊvœÀ̅Vœ“ˆ˜}°Êœ˜}Ê draws on Why Feminism Matters: Feminism Lost and FoundÊ ­Óää™®Ê LÞÊ >Ì…Ê >˜`Ê -œ«…ˆiÊ 7œœ`Ü>À`Ê܅œÊi“«…>ÈÃiÊ̅iʼÃ>“i˜iÃýʜvÊVՏÌÕÀ>ÊÀi«ÀiÃi˜Ì>̈œ˜ÃʜvÊܜ“i˜° See Nina Power (2009) One-dimentional Woman. Hampshire: Zer0 Books. ˆ˜>Ê *œÜiÀÊ Ã«i>Žˆ˜}Ê >ÌÊ Ì…iÊ œÕÓ>˜Ê œœŽÃ…œ«]Ê œ˜`œ˜]Ê ÈÊ >ÀV…Ê Óä£ä\Ê …ÌÌ«\ÉÉÜÜÜ° ޜÕÌÕLi°Vœ“ÉÜ>ÌV…¶Ûr‡Ãޏ> /VˆY (accessed 3 November 2013). >ÀŽÊ,>Ûi˜…ˆÊ­ÓääǮʼ
ÊܜÀ`ʜvÊëiVÌ>Vi½]ÊThe Guardian]ÊÓäÊ"V̜LiÀ]Ê«°Ê£Î° iˆÀ`ÀiÊi``œ˜]ʜ«°ÊVˆÌ°]Ê«°Ê£nΰ -iiÊ/…œ“>ÃÊ°Ê iÀ}…ÕˆÃÊ­ÓääÈ®ÊPerformance Art in China°Êœ˜}Êœ˜}\Ê/ˆ“i✘iÊn° ʜ˜ViÊ>Îi`Ê̅iÊ>À̈ÃÌÊ>ˆ˜Ê,œLiÀÌܘÊ܅Þʅiʓ>`iÊ«iÀvœÀ“>˜ViÃ]Ê>˜`ʅiÊ>˜ÃÜiÀi`Ê̅>ÌÊ it was the only time he ever felt in control of his otherwise chaotic life. I will discuss artists’ investment in moving image installation at greater length in chapter twelve. /…iʼ-i˜Ã>̈œ˜½Êi݅ˆLˆÌˆœ˜Ê̜œŽÊ«>ViÊ>ÌÊ̅iÊ,œÞ>Ê
V>`i“ÞʜvÊ
ÀÌÃʈ˜Êœ˜`œ˜]Ê-i«Ìi“LiÀq iVi“LiÀÊ£™™Ç]Ê>˜`ÊVœ˜Vi˜ÌÀ>Ìi`ʜ˜Ê̅iÊܜÀŽÊœvÊ>À̈ÃÌÃʅi`ʈ˜Ê̅iÊVœiV̈œ˜ÊœvÊ …>ÀiÃÊ Saatchi. "˜Ê «iÀvœÀ“>˜ViÊ >ÃÊ >Ê `i“>ÌiÀˆ>ˆÃi`Ê >ÀÌÊ vœÀ“]Ê ÃiiÊ ÕVÞÊ ˆ««>À`Ê ­£™™Ç®Ê Six Years: The Dematerialization of the Art Object from 1966 to 1972°Ê iÀŽiiÞ]Ê
\Ê1˜ˆÛiÀÈÌÞʜvÊ >ˆvœÀ˜ˆ>Ê Press. ˆiÀ`ÀiÊi``œ˜]ʜ«°VˆÌ°]Ê«°Ê£Çx°
“iˆ>Êœ˜iÃÊ­Óä£Ó®Ê¼/…iÊ œÜÊ>˜`Ê̅iÊ>ÃÊ ii˜\Ê*>À>`œÝiÃʜvʈÛiÊ
ÀÌʈ˜ÊˆÃ̜ÀÞ½]ʈ˜Ê
“iˆ>Ê œ˜iÃÊ­i`°®ÊPerform Repeat Record: Live Art in History°Ê ÀˆÃ̜\ʘÌiiVÌ]Ê«°Ê£Î° -Ûi˜ÊØÌ̈VŽi˜Ê­Óä£Ó®Ê¼*Àœ}ÀiÃÈÛiÊ-ÌÀˆ«Ìi>Ãi½Êˆ˜Ê
“iˆ>Êœ˜iÃÊ­i`°®ÊPerform Repeat Record: Live Art in History°Ê ÀˆÃ̜\ʘÌiiVÌ]Ê«°Ê£n™°ÊØÌ̈VŽi˜ÊˆÃÊÀiviÀÀˆ˜}Ê̜ÊœÃi«…Ê*ˆ˜iÊ>˜`Ê>“iÃÊ Gilmore’s book The Experience Economy; Every Work is Theatre and Every Business a Stage ­£™™™®]Ê܅ˆV…ÊV…>ÀÌÃÊ̅iÊňvÌʈ˜Ê>ÌiÊ >«ˆÌ>ˆÃ“ÊvÀœ“Ê̅iÊ«Àœ`ÕV̈œ˜ÊœvÊ}œœ`ÃÊ̜Ê̅iÊÃiˆ˜}Ê œvÊiÝ«iÀˆi˜Við My memory suggests that the going rate for a performance at the Filmmakers’ Co-op or ̅iÊÕÈVˆ>˜ÃÊ œ‡œ«Êˆ˜Êœ˜`œ˜Êˆ˜Ê£™näÊÜ>ÃÊËÇäÊ܅i˜Êv՘`i`ÊLÞÊ̅iÊÀi>ÌiÀÊœ˜`œ˜Ê
ÀÌÃÊ
ÃÜVˆ>̈œ˜°Êʅ>ÛiÊ̜Ê>``Ê̅>Ìʈ˜ÊëˆÌiʜvʜÕÀÊÜVˆ>ˆÃÌʏi>˜ˆ˜}Ã]ÊÛiÀÞÊviÜʜvÊÕÃÊÜiÀiÊvÀœ“Ê working-class backgrounds. /…œÃiÊ܅œÊ…>`Ê>˜ÞÊÃi˜Ãi]ʏˆŽiÊ-ÌÕ>ÀÌÊ ÀˆÃiÞ]Ê«Àœ`ÕVi`ÊiݵՈÈÌiÊ«…œÌœ}À>«…ÃÊ>˜`Êۈ`iœÃÊ of their work. For more on Phelan’s condemnation of performance documentation see Peggy Phelan (1993) Unmarked: The Politics of Performance°Êœ˜`œ˜\Ê,œÕ̏i`}i]Ê«°ÊÓ°Ê -Ûi˜ÊØÌ̈VŽi˜]ʜ«°ÊVˆÌ°Ê«°Ê£™Ó°

œˆ˜Ê*iÀÀÞʅ>ÃÊ«œˆ˜Ìi`ʜÕÌÊ̅iÊ>`Û>˜Ì>}iÃÊvœÀÊ}>iÀˆiÃʜvʼV…i>«½Ê«iÀvœÀ“>˜ViÃÊÀi>̈ÛiÊ to the high costs of shows of painting and sculpture. Live events often involve cheap or ՘«>ˆ`ʏ>LœÕÀÊ>˜`]ÊvœÀÊ>ʓœ`iÃÌʜÕ̏>Þ]ʼ>ÌÌÀ>VÌÊ>Ê}Ài>ÌÊ`i>Êœvʓi`ˆ>Ê>˜`ÊÜVˆ>Ê“i`ˆ>Ê>ÌÌi˜Ìˆœ˜½ÆÊi“>ˆÊVœÀÀi뜘`i˜ViÊ܈̅Ê̅iÊ>Õ̅œÀ]ÊÓäÊ>ÞÊÓä£{° -Ûi˜ÊØÌ̈VŽi˜½Ãʘiœœ}ˆÃ“]Ê>ÃÊv>ÀÊ>ÃÊÊV>˜Ê}>̅iÀ°
ÃʘœÌi`Êi>ÀˆiÀʈ˜ÊÀi>̈œ˜Ê̜ÊÃ>>VÊՏˆi˜]Ê>À̈ÃÌÃʅ>ÛiÊ}œÌÊÀœÕ˜`Ê̅ˆÃÊ«ÀœLi“ÊLÞÊ«Àœ`ÕVˆ˜}Ê …ˆ}…‡}œÃÃÊÃ̈ÃʜvÊ̅iˆÀÊܜÀŽÊ̅>ÌÊLiVœ“iÊiÝ«i˜ÃˆÛiÊÜÕÛi˜ˆÀÃʜvÊ̅iÊiÛi˜Ì° Õ}…Ê/Ài`i˜˜ˆVŽÊ­i`°ÊEÊÌÀ>˜Ã°®Ê­£™x™®ÊPlato: The Last Days of Socrates°Êœ˜`œ˜]Ê*i˜}Ո˜]ÊÊ p. 14. -iiÊ œ…˜Ê ,>V…“>˜Ê ­Óää™®Ê ¼ iiÕâi½ÃÊ /ˆ“i]Ê œÀÊ œÜÊ Ì…iÊ ˆ˜i“>̈VÊ …>˜}iÃÊ "ÕÀÊ `i>ÃÊ œvÊ

INSTALLATION AND THE MOVING IMAGE

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À̽]ʈ˜Ê >ۈ`Ê,œ`œÜˆVŽÊ­i`°®ÊAfterimages of Gilles Deleuze’s Film Philosophy. Minneapolis: 1˜ˆÛiÀÈÌÞʜvʈ˜˜iÜÌ>Ê*ÀiÃÃ]Ê«°ÊÓn™° Antonin Artaud (1938) The Theatre and its Double°Ê iÜÊ9œÀŽ\ÊÀœÛiÊ>˜`Ê7iˆ˜`i˜vi`]Ê«°ÊÇx° Brian Massumi (2008) A User’s Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari°Ê >“LÀˆ`}i]Ê
\Ê/Ê*ÀiÃÃ]Ê«°£ä° ʅ>ÛiÊLii˜ÊÃÌÀÕVŽÊLÞÊ̅iÊ`ˆÃ«>ÀˆÌÞÊLiÌÜii˜Ê̅iÊiÝ«iÀˆi˜ViʜvÊ«iÀvœÀ“iÀÃÊ>˜`Ê̅>ÌʜvÊ>˜Ê >Õ`ˆi˜Vi°ÊœÀʓi]Ê̅iÊÀi‡i˜>V̓i˜ÌʜvÊ >ÀœiiÊ-V…˜ii“>˜˜½ÃÊMeat Joy at the Whitechapel >iÀÞÊ­Q£™È{RÊÓääӮʜÛiÀÊ܅ˆV…Ê̅iÊ>À̈ÃÌʅiÀÃivÊ«ÀiÈ`i`ÊÜ>ÃÊ>Ê}œÀˆœÕÃ]ÊLÕÌÊv>ˆ˜ÌÞÊ>LÃÕÀ`ʓ>ŇիʜvÊV…ˆVŽi˜Ã]ʜvv>Ê>˜`ÊLˆŽˆ˜ˆ‡V>`Êޜ՘}ÃÌiÀðÊ
Ê«Àœ“ˆ˜i˜ÌÊVÀˆÌˆVʈ˜Ê̅iÊÀœÜÊ behind me muttered the insult that Schneemann looked like a listed building. The young «>À̈Vˆ«>˜ÌÃ]ʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê̅iÊ>À̈ÃÌÊ>˜`Ê̅iÊ>Õ`ˆi˜ViÊ>vÌiÀÊ̅iÊ«iÀvœÀ“>˜Vi]ÊVi>ÀÞʅ>`Ê>ÊÛiÀÞÊ`ˆvviÀi˜ÌÊ>˜`ʘœÌ>LÞʓœÀiÊ«œÃˆÌˆÛiÊiÝ«iÀˆi˜ViʜvÊ̅iÊiÛi˜Ì°Ê
“iˆ>Êœ˜iÃÊ­Óä£Ó®]ʜ«°ÊVˆÌ°]Ê«°Ê££° Leaving an installation does not constitute a public enactment of disapproval as would Ü>Žˆ˜}Ê œÕÌÊ LivœÀiÊ Ì…iÊ i˜`Ê œvÊ >Ê «iÀvœÀ“>˜Vi]Ê iVÌÕÀiÊ œÀÊ w“Ê ÃVÀii˜ˆ˜}°Ê /…iÀiÊ ÜiÀi]Ê œvÊ VœÕÀÃi]ʓ>˜ÞÊ«iÀvœÀ“>˜ViÃÊ̅>Ìʏ>ÃÌi`Ê`>ÞÃÊ>˜`ÊiÛi˜Ê“œ˜Ì…Ã]Ê>˜`ʘœ‡œ˜iÊÜ>ÃÊiÝ«iVÌed to witness every minute. Not even the artist stayed the whole course. Stuart Brisley admitted to me that in 180 Hours Work for Two PeopleÊ­£™Çn®]ʅˆÃÊÃiÛi˜‡`>ÞÊVœ˜Ìˆ˜ÕœÕÃÊ «iÀvœÀ“>˜ViÊ>ÌÊ̅iÊ
 Ê}>iÀÞʈ˜Êœ˜`œ˜]Ê܅i˜Ê̅ˆ˜}ÃÊÜiÀiʵՈiÌ]ʅiÊÜi˜Ìʅœ“iÊvœÀÊ>ʅœÌÊ meal. Pamela M. Lee (2006) Chronophobia: On Time in the Art of the 1960s°Ê >“LÀˆ`}i]Ê
\Ê/Ê *ÀiÃÃ]Ê«°ÊÓnÎ°Ê ,œLiÀÌÊ,°Ê,ˆiÞÊ­£™™™®Ê¼/ˆ“i]Ê*iÀVi«Ìˆœ˜Ê>˜`Ê-ˆ}…̽]ʈ˜ÊSeeing TimeÊV>Ì>œ}Õi]Ê->˜ÊÀ>˜VˆÃVœÊ ÕÃiՓʜvÊœ`iÀ˜Ê
ÀÌ]Ê«°Ê£™° -iiÊ Õ`ˆÌ…Ê Õ̏iÀÊ ­£™™Ç®Ê Excitable Speech: A Politics of the Performative. New York: ,œÕ̏i`}i]Ê«°Êx° See Catherine Elwes (2005) Video Art: A Guided Tour°Êœ˜`œ˜\Ê° °Ê/>ÕÀˆÃ]Ê«°Ê{ÓÆÊ«°Ê£{Ó° ˜ÊÓää™]Ê >“ˆi˜ÊˆÀÃÌÊ̜œŽÊi}>Ê>V̈œ˜Ê>}>ˆ˜ÃÌÊ >ÀÌÀ>ˆ˜]Ê>ʣLJÞi>À‡œ`Ê}À>vẅÊ>À̈ÃÌÊ܅œÊ made collages based on Hirst’s For the Love of God]Ê>Ê`ˆ>“œ˜`‡i˜VÀÕÃÌi`ʅi>`Ê̅>ÌÊÃÕ««œÃi`ÞÊ Ãœ`Ê vœÀÊ ËxäÊ “ˆˆœ˜°Ê œÀVi`Ê ÌœÊ ÃÕÀÀi˜`iÀÊ Ì…iÊ ÜœÀŽ]Ê >ÀÌÀ>ˆ˜Ê «ÀœVii`i`Ê ÌœÊ ÃÌi>Ê some pencils from Hirst’s Tate Britain installation Pharmacy and threatened to sharpen the pencils into oblivion if his collages were not returned to him. ,œLiÀÌ>Ê-“ˆÌ…Ê­£™™n®Ê¼ ÀˆÌˆV½ÃÊ œÌiLœœŽ\Ê-Ì>˜`ˆ˜}Ê>˜`Ê-Ì>Àˆ˜}]Ê9iÌÊ
ˆ“ˆ˜}ÊvœÀÊ “«œÜiÀ“i˜Ì½]Ê The New York Times]ÊÈÊ>Þ° -iiÊ ˆVŽÊœ…˜Ã̜˜iÊ­Óääx®Ê¼ >ÀiÊÌœÊ >Ài½]ÊThe Observer]Ê£ÎÊ>ÀV…°Ê
Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉ ÜÜܰ̅i}Õ>À`ˆ>˜°Vœ“É>ÀÌ>˜``iÈ}˜ÉÓääxɓ>ÀÉ£ÎÉ>ÀtÊ­>VViÃÃi`ÊәÊՏÞÊÓä£{®° />“ʈiÃÊ­£™nä®Ê¼,œÃiÊ>ÀÀ>À`ʺ iޜ˜`Ê-̈Êˆvi»½]ÊPSʓ>}>∘i]ÊÈ]Ê«°Ê™° Ibid. Àˆ>˜Ê >̏ˆ˜Ê ëi>Žˆ˜}Ê >LœÕÌÊ …ˆÃÊ ÜœÀŽÊ >ÌÊ Ì…iÊ ,ÕΈ˜Ê -V…œœÊ œvÊ
ÀÌ]Ê "ÝvœÀ`]Ê ÓÊ iVi“LiÀÊ 2004. Õ`ˆÌ…Ê Õ̏iÀÊ­£™™Ç®]ʜ«°ÊVˆÌ°]Ê«°Ê£{°

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CHAPTER FIVE

Film History SHADOWS ON THE WALL, PROTO CINEMA AND THE CINEMA OF ATTRACTIONS 1 The crystal ball was the first vision machine. i˜˜i̅Ê
˜}iÀ]ÊÓääÈÊ The great work of light is the shadow.
̅>˜>ÈÕÃʈÀV…iÀ]Ê£Èä{ It is only necessary to live half a century to become aware of the rise and fall of hemlines and the eternal re-cycling of human ideas and passions. This is not to suggest ̅>ÌÊ̈“iÊÃÌ>˜`ÃÊÃ̈Ê܈̅ˆ˜Ê̈}…ÌÊVˆÀViÃʜvÊÀiVÕÀÀi˜Vi]Ê>˜`Ê̅iÀiʈÃʘœÊ`i˜Þˆ˜}Ê̅iÊ LÀi>̅Ì>Žˆ˜}ÊÌiV…˜œœ}ˆV>Ê>`Û>˜ViÃʜvÊ̅iʏ>ÃÌÊ`iV>`iðÊœÜiÛiÀ]Ê>ÊLÀˆivʍœÕÀ˜iÞÊ through the history of film reveals many elements that might well have been cast off ˆ˜Ê̅iÊ`ˆ}ˆÌ>Ê>}iÊLÕÌʈ˜ÃÌi>`Ê«ÀiÛ>ˆi`Ê>˜`ÊÀiÃÕÀv>Vi`]ÊÀivÀiÅi`ʈ˜Ê̅iÊܜÀŽÊœvÊVœ˜Ìi“«œÀ>ÀÞÊ>À̈ÃÌÃ]ÊiëiVˆ>ÞÊ܅i˜ÊÌ>Žˆ˜}Ê̅iÊvœÀ“ÊœvʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜°Ê7iÊ ÜˆÊÃiiV̈ÛiÞÊÀiۈÈÌÊw“½Ãʏ>LÞÀˆ˜Ì…ˆ˜iʅˆÃ̜ÀÞ]ʜ˜iÊ̅>ÌʈÃʓ>ÀŽi`ÊLÞÊ̅iʈ˜ÌiÀ“ˆÌtent presence of artists whose own evolution coils around that of the mainstream in >ÊVՏÌÕÀ>Ê`œÕLiʅiˆÝ° 7iʓˆ}…ÌÊLi}ˆ˜ÊœÕÀʍœÕÀ˜iÞÊ܈̅Ê*>̜½ÃÊV>Ûi]Ê>À}Õ>LÞÊ>˜Êi>ÀÞʈ˜ÃÌ>˜ViʜvÊw“Ê LÕÌÊ>Ãœ]Ê>˜`Ê«iÀ…>«ÃʓœÀiÊ«>ÕÈLÞ]Ê̅iÊwÀÃÌʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê>LiˆÌʈ˜Ê the form of an apologue (moral fable). In his Allegory of the Cave]ÊvÀœ“Ê œœŽÊ6ʜvÊ The RepublicÊ­VˆÀV>ÊÎnäÊ ®]Ê*>̜ʈ“>}ˆ˜iÃÊ>ÊVœ˜ÛiÀÃ>̈œ˜ÊLiÌÜii˜Ê̅iÊ}Ài>ÌÊ«…ˆlosopher Socrates and his pupil Glaucon. Socrates describes a dark cave in which “>˜>Vi`Ê«ÀˆÃœ˜iÀÃ]ÊVÕÌʜvvÊvÀœ“Ê̅iÊܜÀ`ʜÕÌÈ`i]Ê>ÀiÊÌÕÀ˜i`Ê̜Êv>ViÊ>ÊL>ÀiÊÜ>°Ê
Ê fire burns above the entrance to the cave and a walkway allows humanity and its artefacts to pass through casting a procession of shadows onto the wall the prisoners

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>ÀiÊVœ˜`i“˜i`ÊvœÀiÛiÀÊ̜ÊVœ˜Ìi“«>Ìi°Ê iˆ˜}ʈ˜`i݈V>Êˆ“>}iÃ]Ê̅iÊÅ>`œÜÃʓœÛiÊ in synchrony with the sounds made by the flow of individuals thus heightening the impression that the shadows are alive. Socrates asks Glaucon to imagine that the «ÀˆÃœ˜iÀÃÊ>ÀiÊ̅i˜Êi`ʜÕÌʜvÊ̅iÊV>ÛiÊ>˜`ÊiÝ«œÃi`Ê̜Ê̅iÊLÀˆ}…Ìʏˆ}…ÌʜvÊ`>Þ°Ê/…iÊ Li`>ââi`ʓi˜ÊܜՏ`ʘœÌÊÀiVœ}˜ˆÃiÊÀi>ˆÌÞÊLiV>ÕÃiʼ̜Ê̅i“Ê°°°Ê̅iÊÌÀÕ̅ÊܜՏ`ÊLiÊ ˆÌiÀ>ÞʘœÌ…ˆ˜}ÊLÕÌÊ̅iÊÅ>`œÜÃʜvÊ̅iʈ“>}iýÊ>˜`ÊvœÀÊ>Ê̈“i]Ê̅iʅ>«iÃÃÊ«ÀˆÃœ˜iÀÃÊ would only perceive the shadows of men and trees as real’. 2 Plato’s story is a parable œvÊ>ʍœÕÀ˜iÞÊ>Ü>ÞÊvÀœ“Ê̅iÊܜÀ`ʜvʎ˜œÜi`}iÊL>Ãi`ʜ˜Ê̅iÊÃi˜ÃiÃʈ˜ÌœÊ̅iʏˆ}…ÌÊ of higher intellectual enlightenment and goodness. Sean Cubitt nominates Plato’s Ã̜ÀÞÊ>Ãʼ>Ê«ÀiVÕÀÜÀʜvÊiÛiÀÞÊ̅iœÀÞʜvÊVˆ˜i“>Ê>˜`Êۈ`iœÊ>ÃÊv>ÃiÊVœ˜ÃVˆœÕØiÃý]3 ܅ˆiÊ Õ˜V>˜Ê7…ˆÌiÊëiVˆwiÃÊi>˜Ê >Õ`Àˆ>À`½ÃʘœÌˆœ˜ÊœvÊ̅iÊȓՏ>VÀՓÊ>ÃÊ>Ê`ˆÀiVÌÊ`iÃVi˜`i˜ÌʜvÊ̅iÊÅ>`œÜÞÊV>Ûi]ʜ˜iʈ˜Ê܅ˆV…ʼ̅iÊVœ«ÞÊLiVœ“iÃʓœÀiÊÀi>Ê than its original and images show us only themselves and not the world around us’. 4 7…iÀiÊi>˜‡œÕˆÃÊ >Õ`ÀÞʅˆ}…ˆ}…Ìi`Ê̅iÊÃÌÀÕVÌÕÀ>Ê…œ“œœ}ÞÊLiÌÜii˜Ê*>̜½ÃÊV>ÛiÊ >˜`Ê Vˆ˜i“>Ê ¼ˆ˜Ê ܅ˆV…Ê ̅iÊ V>“iÀ>]Ê Ì…iÊ `>ÀŽi˜i`Ê V…>“LiÀ]Ê ˆÃÊ i˜VœÃi`Ê ˆ˜Ê >˜œÌ…iÀÊ `>ÀŽi˜i`ÊV…>“LiÀ]Ê̅iÊ«ÀœiV̈œ˜Ê…>½]5 the allegory also evokes the power of filmic representation and the progressive displacement of reality by the world of idealised Vˆ˜i“>̈VÊ ˆÕȜ˜ÃÊ ˆ˜Ê ̅iÊ ÌÜi˜ÌˆiÌ…Ê Vi˜ÌÕÀÞÊ >˜`Ê Liޜ˜`]Ê >Ê Ì…i“iÊ Ì…>ÌÊ Õ˜`iÀ«ˆ˜ÃÊ much of the discussion of moving image installation throughout this book. The world of illusions began deep in human history with shadow plays and pup«iÌÀÞ]Ê >˜`Ê Ž˜œÜi`}iÊ œvÊ œ«ÌˆVÃÊ «Àœ`ÕVi`Ê Ì…iÊ V>“iÀ>Ê œLÃVÕÀ>]Ê >Ê `iۈViÊ Ì…>ÌÊ …>`Ê been in circulation since the time of the ancient Chinese. The camera obscura was Àiw˜i`ʈ˜Ê̅iÊiÀ>ʜvÊ
ÀˆÃ̜̏i]ʘi>ÀÞÊvœÕÀʅ՘`Ài`ÊÞi>ÀÃÊLivœÀiÊ …ÀˆÃÌÊ>˜`ʈ˜Ê̅iÊwÀÃÌÊ Vi˜ÌÕÀÞÊ
]ÊLÞÊ̅iÊÏ>“ˆVʈ˜Ûi˜ÌœÀÊ
…>âi˜°Ê/…iʈ“>}ˆ˜}Ê`iۈViÊV…>˜}i`ʏˆÌ̏iʜÛiÀÊ Ìˆ“i\Ê>ÊLœÝʜÀÊ`>ÀŽi˜i`ÊV…>“LiÀÊ}>ÛiÊÕ«Ê>˜Êˆ“>}iʜvʏˆviʜÕÌÈ`iÊLÞÊVœ˜Vi˜ÌÀ>̈˜}Ê ˆ}…ÌÊ̅ÀœÕ}…Ê>ÊÓ>Ê>«iÀÌÕÀi]ʏ>ÌiÀÊvœVÕÃi`ʈ˜Ê>ʏi˜Ã]Ê>˜`Ê`ˆÀiV̈˜}ʈÌÊ̜Ê>˜Êœ««œÃˆ˜}Ê ÃÕÀv>Vi°Ê˜ˆÌˆ>Þ]Ê̅iʈ“>}iÊV>“iʜÕÌÊիÈ`iÊ`œÜ˜Ê>˜`ʈÌÊÜ>ÃʘœÌÊ՘̈Ê̅iÊiˆ}…Ìii˜Ì…Ê century that a mirror was used to invert the image into a more conventional orient䜘°Ê ÞʘœÜ]Ê*>̜½ÃÊÅ>`œÜÃÊÜiÀiÊi˜`œÜi`Ê܈̅ʏˆ}…ÌÊ>˜`ÊVœœÕÀ]Ê>˜`ÊVÀi>Ìi`Ê>˜Ê instantaneous image of reality that served both as an aid to painters in the early and high Renaissance and as a source of fascination and delight for avid enthusiasts of optical curiosities.6 The period of the Enlightenment in the eighteenth century saw the scientific achievements of man challenge the primacy of a Christian God and the study of œ«ÌˆVÃÊÜ>Ãʈ˜ÃÌÀՓi˜Ì>Êˆ˜Êňv̈˜}Ê̅iÊi“«…>ÈÃÊ>Ü>ÞÊvÀœ“Ê̅iʼ`iÕȜ˜Ã½ÊœvÊv>ˆÌ…Ê ̜Ê̅iʈÕ“ˆ˜>̈œ˜ÊœvÊi“«ˆÀˆV>Êiۈ`i˜Vi°Ê ˆÌˆ˜}Ê …>ÀiÃÊÕÃÃiÀ]ÊÕVÞÊ,iޘœ`Ãʅ>ÃÊ >À}Õi`Ê̅>Ìʈ˜ÊëˆÌiʜvÊ ˜ˆ}…Ìi˜“i˜ÌÊÀ>̈œ˜>ˆÃ“]Ê>˜`Ê̅iÊ>ÃÜVˆ>̈œ˜ÊœvÊ̅iÊ«…œÌœ}À>«…ˆVʈ“>}iÊ܈̅ÊÃVˆi˜ÌˆwVÊ`ˆÃVœÛiÀÞ]ʈÌʘiÛiÀʏœÃÌʈÌÃÊVœ˜˜iV̈œ˜Ê܈̅Ê`>ÀŽ˜iÃÃ]Ê with shadow and the human capacity for depravity.7Ê/œ“Ê՘˜ˆ˜}ÊVœ˜VÕÀÃ]ʘœÌˆ˜}Ê that early optical devices enabled a narcotic fascination with the grotesque. Such

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Plato: Allegory of the Cave. Drawing: Markus Maurer (1996), Wikimedia Commons. Available online: http://commons.wikimedia.org/wiki/File:Plato_-_Allegory_of_the_Cave.png.

՘i>À̅ÞÊVÕÀˆœÃˆÌˆiÃÊÜiÀiÊ>ÃÜVˆ>Ìi`ʓœÀiÊ܈̅Ê̅iÊ
Õ}ÕÃ̈˜ˆ>˜Ê¼ÕÃÌʜvÊ̅iÊiÞiÃ½Ê than the contemplation of transcendent beauty.8Ê ˜Ê ̅iÊ i>ÀÞÊ ÌÜi˜ÌˆiÌ…Ê Vi˜ÌÕÀÞ]Ê i>˜Ê «ÃÌiˆ˜Ê `iÛiœ«i`Ê …ˆÃÊ Ì…iœÀÞÊ œvÊ photogénieÊ ˆ˜Ê Ài>̈œ˜Ê ÌœÊ w“]Ê Ü…ˆV…Ê …iÊ `iÃVÀˆLi`Ê>Ãʼ>˜ÞÊ>ëiVÌʜvÊ̅ˆ˜}Ã]ÊLiˆ˜}Ã]ʜÀÊÜՏÃÊ܅œÃiʓœÀ>ÊV…>À>VÌiÀʈÃÊi˜…>˜Vi`Ê

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INSTALLATION AND THE MOVING IMAGE

Gill Eatherley, Aperture Sweep (1973), performed at Filmaktion, The Tanks, Tate Modern in 2012. Courtesy of the artist. Photograph © Tate.

by filmic reproduction’.9Ê,>V…iÊœœÀiʅ>ÃÊiÝ«>˜`i`Ê̅iʘœÌˆœ˜Ê̜ÊiÝ«ÀiÃÃiÊ>˜Ê¼ÕÀ}iÊ towards contact with the radically other’. 10 This referred not only to the strangeness œvÊ̅iÊÀi“œÌiÊ Ài̜˜ÊÏ>˜`ÃÊ «ÃÌiˆ˜ÊV>«ÌÕÀi`ʈ˜Ê…ˆÃÊw“ÃÊLÕÌÊ>ÃœÊ̜ÊVˆ˜i“>ʈÌÃiv]Ê ¼vœÀʈÌʈÃÊVˆ˜i“>Ê̅>ÌʈÃÊ>ˆi˜Ê>˜`ʓ>}ˆV>½°11 ˜Ê̅iʈ``iÊ
}iÃ]Ê̅iÊV>“iÀ>ʜLÃVÕÀ>Ê>˜`ʓ>}ˆVʏ>˜ÌiÀ˜ÃÊÜiÀiÊ>ÃÜVˆ>Ìi`ÊÜˆÌ…Ê Ì…iÊ«À>V̈ViÃʜvÊ`>ÀŽÊ“>}ˆVÊ>˜`Ê̅iʜVVՏÌÊܜÀ`ʜvÊ`i“œ˜ÃÊ>˜`Ê}…œÃÌðÊÀœ˜ˆV>Þ]ʈÌÊ Ü>ÃÊ>ÊÃiÛi˜Ìii˜Ì…‡Vi˜ÌÕÀÞʓœ˜Ž]Ê
̅>˜>ÈÕÃʈÀV…iÀ]Ê܅œÊˆÃÊVÀi`ˆÌi`Ê܈̅ʈ˜Ûi˜Ìˆ˜}Ê̅iÊwÀÃÌʓ>}ˆVʏ>˜ÌiÀ˜°ÊˆÀV…iÀÊ`ˆÃVœÛiÀi`Ê̅>ÌÊ>ÊV>˜`iÊVœ˜Ì>ˆ˜i`ʈ˜Ê>ÊLœÝ]ʈÌÃÊ ˆ}…ÌÊ Vœ˜`i˜Ãi`Ê >˜`Ê `ˆÀiVÌi`Ê Ì…ÀœÕ}…Ê >Ê i˜ÃÊ >˜`Ê vÀœ“Ê ̅iÀiÊ «ÀœiVÌi`Ê Ì…ÀœÕ}…Ê >Ê «>ˆ˜Ìi`Ê}>ÃÃÊ«>Ìi]ÊVœÕ`Ê«Àœ`ÕViʏœœ“ˆ˜}ʈ“>}iÃʜ˜Ê>Êv>Vˆ˜}ÊÃÕÀv>Vi°Ê ÞÊÀ>ˆÃˆ˜}Ê Ã«iVÌÀiÃʓiV…>˜ˆV>Þ]ʅiʅœ«i`Ê̜Ê`ˆÃ«ÀœÛiÊ̅iÊi>ÀÞÊ …ÀˆÃ̈>˜ÊLiˆivʈ˜ÊëˆÀˆÌðÊ
ÃÊ ,iޘœ`ÃÊiÝ«>ˆ˜Ã]ʼ>ÊÅ>`œÜʈÃÊ>˜Êˆ˜`i݈V>Êˆ“«Àˆ˜ÌʜvÊ>ʏˆÛˆ˜}Ê«ÀiÃi˜Vi½12 or indeed >Ê«>«iÀÊVÕÌʜÕÌ]Ê>˜`ʘœÌ]Ê>ÃʈÀV…iÀÊ܈Åi`Ê̜Ê`i“œ˜ÃÌÀ>Ìi]Ê̅iÊܜÀŽÊœvÊ̅iÊÃÕ«iÀnatural. ˜Ê£™™Ó]Ê>ÀÞʈÊÀiŽˆ˜`i`Ê̅iÊi>ÀÞÊ>ÃÜVˆ>̈œ˜ÊœvÊ«…œÌœ}À>«…ˆVʈ“>}ˆ˜}Ê with phantasmagoria in his interactive video installation Tall Ships°Ê…œÃ̏Þ]Ê>ÌÌi˜Õated figures were summoned from the darkness by ambulating spectators breaking ˆ˜vÀ>‡Ài`Ê Li>“ÃÊ }Õ>À`ˆ˜}Ê >Ê ÃiÀˆiÃÊ œvÊ ÃVÀii˜Ã°Ê *iÀ…>«ÃÊ ˆŽiÊ ˆÀV…iÀ½ÃÊ `i“œ˜ÃÌÀ>̈œ˜Ã]ʈ½ÃÊÃi«ÕV…À>ÊȓՏ>̈œ˜ÃʜvÊ̅iÊëˆÀˆÌÊܜÀ`Ê`ˆ`Ê>ÃʓÕV…Ê̜ʫÀœ“œÌiÊ>ÊLiˆivÊ ˆ˜Ê̅iÊi݈ÃÌi˜ViʜvÊ̅iÊÃÕ«iÀ˜>ÌÕÀ>]Ê܅>ÌÊ,iޘœ`ÃÊV>ÃÊ>ʼÃÌ>ÌÕÃʜvʜ̅iÀ˜iÃý13 as it did to disprove it. The science of optics has successfully re-animated the hallucinatory world of ̅iÊ«>À>˜œÀ“>]ÊLœÌ…Ê>ÌÊ̅iÊ`>ܘʜvÊVˆ˜i“>Ê>˜`ʈ˜Ê̅iÊ>˜>œ}ÕiÊ«…>ÃiʜvÊw“Ê>˜`Ê

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video.14Ê >ÀÞÊL>VŽÊ>˜`Ê܅ˆÌiÊۈ`iœÊˆ˜Ê«>À̈VՏ>À]Ê܈̅ʈÌÃÊiV̜«>ӈVÊvœÀ“ÃÊLii`ˆ˜}ʈ˜ÌœÊ̅iÊÃÕÀÀœÕ˜`ˆ˜}Ê`>ÀŽ˜iÃÃʅ>`Ê̅iÊ՘ˆµÕiÊ>LˆˆÌÞÊ̜ÊVœ˜ÕÀiÊ̅iÊ}…œÃÌʈ˜Ê̅iÊ “>V…ˆ˜i]ʘœÌʏi>ÃÌʈ˜Êˆ½ÃÊi>ÀÞÊܜÀŽÃ]ʈ˜Ê܅ˆV…ÊÃÕ«ˆ˜i]ʓœ˜œV…Àœ“iÊLœ`ˆiÃÊ«>iÞÊ ˆ˜…>LˆÌi`Ê>ÊÀœÜʜvÊv՘iÀi>Ê“œ˜ˆÌœÀðÊ,iޘœ`Ãʅ>Ãʈ`i˜Ìˆwi`Ê>Êȓˆ>ÀʼëiVÌÀ>ÊÀiturn’ in the work of artist-filmmakers of the 1960s and 1970s such as Malcolm Le ÀˆVi]ÊÕÞÊ-…iÀ܈˜Ê>˜`ʈÊ >̅iÀiÞ°Ê,iޘœ`ÃÊ>««ˆiÃÊ̅ˆÃÊ̅iœÀÞÊÌœÊ >̅iÀiÞ½ÃÊ Aperture SweepÊ­£™ÇήÊ>ÊܜÀŽÊˆ˜Ê܅ˆV…Ê̅iÊ>À̈ÃÌ]ÊÃÌ>˜`ˆ˜}ÊLiÌÜii˜Ê̅iÊ«ÀœiV̜ÀÊ >˜`Ê̅iÊÃVÀii˜]ÊÕÃiÃÊ̅iÊÅ>`œÜÊÅiÊV>ÃÌÃÊ̜ÊÌÀ>˜ÃvœÀ“Ê…iÀʜÕÌÜ>À`Ê>««i>À>˜Vi]Ê >Ê«œÜiÀÊ,iޘœ`ÃÊ>À}ÕiÃʈÃʼ>ÃÜVˆ>Ìi`Ê܈̅Ê̅iʜVVՏÌÊ>˜`ʓ>}ˆVÊViÀi“œ˜ˆiýÊ>˜`]Ê œ˜iÊVœÕ`Ê>``]Ê̅iÊvi>ÀvՏʫœÜiÀÃʜvÊ܈ÌV…VÀ>vÌ°Ê7iÊÃiiʈ˜Ê̅iÃiÊܜÀŽÃÊ>˜Êi˜`ÕÀˆ˜}Ê fascination with the moving image and its ability to transport the viewer into anothiÀÊÀi>ˆÌÞʜÀ]Ê>ÃÊ,œLiÀÌÊ-“ˆÌ…Ãœ˜Ê«ÕÌʈÌ]Ê̅iʼ«œÜiÀÊ̜ÊÌ>ŽiÊ«iÀVi«Ìˆœ˜ÊiÃi܅iÀi½°15 /…>Ìʜ̅iÀÊÀi>“ʈÃʜvÌi˜Ê…>՘Ìi`ÊLÞÊ̅iʈ“>}iʜvÊ̅iÊ>À̈ÃÌʅiÀÃiv]Ê>Ài>`ÞÊ>˜`Ê >Ü>ÞÃÊ>ÊÀiÛi˜>˜Ì]Ê>ÊÅ>`œÜʜvÊ>ʏœ˜}‡œÃÌÊ«ÀiÃi˜Viʏœœ«ˆ˜}ʈ˜`iw˜ˆÌiÞʈ˜ÌœÊ̅iÊ future.16

MAGIC SHOWS i}ˆ˜˜ˆ˜}Ê܈̅ʓ>}ˆVʏ>˜ÌiÀ˜ÃÊ>˜`Êi>ÀÞÊV>“iÀ>Ã]Ê>˜`ÊiÛi˜ÌÕ>ÞÊiۜÛˆ˜}ʈ˜ÌœÊ̅iÊ “œÛˆiÊV>“iÀ>ÃÊ̅>ÌÊV>“iʜvÊ>}iʈ˜Ê̅iʘˆ˜iÌii˜Ì…ÊVi˜ÌÕÀÞ]Ê«…œÌœ}À>«…ˆVÊ`iۈViÃÊ }À>`Õ>ÞÊ«iÀviVÌi`Ê̅iÊ>ÀÌʜvÊÀ>ˆÃˆ˜}Ê}…œÃÌÃ]Ê>ÌÊ̅iÊÃ>“iÊ̈“iÊÀiÛi>ˆ˜}Ê̅iÊܜ˜`iÀÃÊ of the natural world and the man-made achievements of modernity. The evolution of optics also gave rise to a technological showmanship that specialised in fooling the eyes of a citizenry already susceptible to the enchantments of scientific demonstrations and the magic tricks of prestidigitators. A brief detour into this colourful history will identify aesthetic and structural concerns that recur in moving image installations in the twentieth century and beyond. 7ˆÌ…Ê̅iÊ`iÛiœ«“i˜ÌʜvÊ«…œÌœ}À>«…Þʈ˜Ê̅iÊ£nÎäÃ]Ê̅iʈ“>}iÃÊwÀÃÌÊ«ÀœiVÌi`Ê LÞʈÀV…iÀÊLiV>“iʓœÀiʏˆvi‡ˆŽiÊ>˜`ʏ>˜ÌiÀ˜ˆÃÌÃÊܜ˜Ê`ˆÃVœÛiÀi`Ê̅>ÌʈÌÊÜ>ÃÊ«œÃÈLiÊ ÌœÊ VÀi>ÌiÊ Ãˆ“«iÊ “œÛi“i˜ÌÃÊ LÞÊ >V̈Û>̈˜}Ê ÃiÛiÀ>Ê >˜ÌiÀ˜ÃÊ œÀÊ «ÀœiV̜ÀÃÊ ˆ˜Ê µÕˆVŽÊ ÃÕVViÃȜ˜]Ê Ì…ÕÃÊ >V…ˆiۈ˜}Ê Ã«>̈>Ê >˜`Ê Ìi“«œÀ>Ê ÌÀ>˜ÃvœÀ“>̈œ˜Ã°Ê 7ˆÌ…Ê ̅iÊ ˆ“«ÀiÃȜ˜ÊœvʓœÛi“i˜ÌʘœÜÊ>``i`Ê̜Ê̅iˆÀÊÀi«iÀ̜ˆÀiʜvÊ>“>âi“i˜ÌÃ]ʏi}ˆœ˜ÃʜvÊ ˆÌˆ˜iÀ>˜ÌÊŜܓi˜]ʜvÌi˜ÊV>ÀÀވ˜}Ê̅iˆÀÊiµÕˆ«“i˜ÌÃʜ˜Ê̅iˆÀÊL>VŽÃ]Ê̜œŽÊ̅iˆÀʓ>}ˆVÊ lantern shows to castles and inns across Europe and North America. A contemporary description of a performance of Etienne Robertson’s Phantasmagorie in the 1790s Ài>`ÃʏˆŽiÊ>˜ÊiÝ«>˜`i`ÊVˆ˜i“>ÊiÛi˜ÌÊvÀœ“Ê̅iÊ£™ÇäÃ]ÊLÕÌÊÀ>̅iÀʓœÀiÊ`À>“>̈V\ Suddenly the lamp went out. Thunder roared and lightning flashed. Church LiÃÊ Ìœi`]Ê Ì…iÊ ˆ}…̘ˆ˜}Ê >˜`Ê Ì…Õ˜`iÀÊ ˆ˜VÀi>Ãi`]Ê >˜`Ê >Ê Ìˆ˜ÞÊ w}ÕÀiÊ qÊ …>v‡

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…Õ“>˜]ʅ>v‡`i“œ˜ÊqÊ>««i>Ài`ʈ˜Ê̅iÊ>ˆÀ]Êň““iÀˆ˜}Ê>˜`Ê}…œÃ̏ްÊÀ>`Õ>ÞÊ Ì…iÊw}ÕÀiÊÃii“i`Ê̜Ê>««Àœ>V…]Ê}ÀœÜˆ˜}ʏ>À}iÀÊ>˜`ʏ>À}iÀ]Ê՘̈ÊÃÕ``i˜ÞʈÌÊ `ˆÃ>««i>Ài`Ê ÜˆÌ…Ê >Ê Ü>ˆ°Ê >ÌÃÊ yÕÌÌiÀi`Ê œ˜Ê ̅iÊ Ü>Ã]Ê }…œÃÌÃÊ >˜`Ê }œLˆ˜ÃÊ }Àœ>˜i`]ÊÎii̜˜ÃÊV>“iʅÕÀ̏ˆ˜}Ê̜Ü>À`Ê̅iÊ>Õ`ˆi˜Vi°17 This alarming spectacle was achieved with the help of several assistants manipulatˆ˜}Ê«ÀœiV̜ÀÃʓœÕ˜Ìi`ʜ˜Ê“œLˆiÊ«>ÌvœÀ“Ã]ÊܓiÊ«œˆ˜Ìˆ˜}Ê>ÌÊÃVÀii˜ÃÊ>˜`ÊÜ>Ã]Ê >˜`ʜ̅iÀÃ]Ê>˜ÌˆVˆ«>̈˜}Ê/œ˜ÞÊ"ÕÀÏiÀÊLÞÊÃiÛiÀ>ÊVi˜ÌÕÀˆiÃ]Ê«ÀœiV̈˜}ʈ˜ÌœÊLˆœÜˆ˜}Ê smoke. In The Influence MachineÊ­Óäää®]ÊÃÌ>}i`ʈ˜Ê-œ…œÊ-µÕ>Àiʈ˜Êœ˜`œ˜]Ê"ÕÀÏiÀÊ used dry ice rather than smoke and the images he directed at the wafting clouds were video sequences featuring the faces and voices of inventors associated with ̅iÊ`iÛiœ«“i˜ÌʜvÊ܅>ÌʅiÊV>i`ʼ`ˆÃi“Lœ`ˆi`ÊVœ““Õ˜ˆV>̈œ˜½Êˆ˜VÕ`ˆ˜}Ê Ìˆi˜˜iÊ ,œLiÀÌÜ˜Ê …ˆ“ÃivÊ >˜`Ê œ…˜Ê œ}ˆiÊ >ˆÀ`]Ê Ì…iÊ ˆ˜Ûi˜ÌœÀÊ œvÊ ÌiiۈȜ˜°Ê /…iÊ }…œÃ̏ÞÊ echoes of these pioneers of illusionism wafted through the square and demateriaˆÃi`Ê>ÃÊ̅iʼӜŽi½Ê`ˆÃ«iÀÃi`°18 The nineteenth and early twentieth centuries saw the evolution of ever more elaborate proto-cinematic devices including ingenious fairground attractions such >ÃÊ̅iÊ«iœÀ>“>]ʈ˜Ê܅ˆV…Ê>Õ`ˆi˜ViÃÊÃ>Ìʈ˜Ê>ʏˆvi‡Ãˆâi`]Ê«ˆÌV…ˆ˜}Êň«Ê܅ˆiÊ>Ê}ˆ>˜Ì]Ê illuminated screen painted with ships and maritime events scrolled by. The viewer i˜œÞi`Ê Ì…iÊ ˆÕȜ˜Ê œvÊ Ã>ˆˆ˜}Ê Ü…ˆiÊ Ài“>ˆ˜ˆ˜}Ê ÃÌ>̈œ˜>ÀÞ°Ê iV…>˜ˆV>ÞÊ œ«iÀ>Ìi`Ê Ü>ÛiÃÊÀœˆi`Ê̅iʅՏÊœvÊ̅iÊÛiÃÃiÊ>ÃÊ̅iÊ>Õ`ˆi˜ViʍœÕÀ˜iÞi`ÊvÀœ“ÊVœ>ÃÌ>ÊÀ>˜ViÊ to Byzantium. Not only did this gadget anticipate flight simulators of the twentieth Vi˜ÌÕÀÞ]ÊLÕÌʈÌÊ>ÃœÊ«Àiw}ÕÀi`Ê̅iÊÌÀ>Ûiœ}ÕiÊvœÀ“>ÌÊ̅>ÌÊLiV>“iÊ>ÊÃÌ>«iʜvÊLœÌ…Ê “>ˆ˜ÃÌÀi>“Ê>˜`ÊiÝ«iÀˆ“i˜Ì>Ê“œÛˆ˜}ʈ“>}i° One of the most famous of these early travel simulators featured in a scene from the film Letter from an Unknown WomanÊ­>ÝÊ"«…؏Ã]Ê£™{n®°Ê/…iÊÃi`ÕV̈œ˜ÊœvÊœ>˜Ê œ˜Ì>ˆ˜iÊLÞʜՈÃÊœÕÀ`>˜ÊÌ>ŽiÃÊ«>Viʈ˜Ê>ʓœÌˆœ˜iÃÃÊv>ˆÀ}ÀœÕ˜`ÊÀ>ˆÜ>ÞÊV>ÀÀˆ>}iʈ˜Ê which a series of countries appear to glide past the window. The scrolled travelogue ˆÃʜ«iÀ>Ìi`ÊLÞÊ>ÊwÝi`ÊLˆVÞVi]ʅi˜ViʈÌÃʘ>“i\ÊVÞVœÀ>“>]Ê>Ê`iۈViÊ̅>Ìʈ˜ÊˆÌÃÊÃÕVViÃÈÛiÊiÝ«œÃÕÀiʜvʈ“>}iÃÊ«>ÃȘ}Ê̅ÀœÕ}…Ê>ÊwÝi`ÊvÀ>“iÊ>˜ÌˆVˆ«>Ìi`Ê̅iÊÌiV…˜œœ}ˆV>Ê ÀiۜṎœ˜Ê̅>ÌÊȓˆ>ÀÞÊ«Àœ}ÀiÃÃi`ÊÃÌ>̈Vʈ“>}iÃÊ̅ÀœÕ}…Ê>˜Ê>«iÀÌÕÀi]ÊLÕÌÊ̅ˆÃÊ̈“iÊ v>ÃÌÊi˜œÕ}…Ê̜ÊVÀi>ÌiÊ̅iʈÕȜ˜ÊœvʓœÛi“i˜Ì°Ê˜Ê£™nä]Ê ˆÊ À>˜`ÊÌÕÀ˜i`ÊL>VŽÊ̅iÊ film history clock when he created the proto-cinematic Masstransiscope in Myrtle
Ûi˜Õi]Ê>Ê`ˆÃÕÃi`ÊÃÕLÜ>ÞÊÃÌ>̈œ˜Êˆ˜Ê ÀœœŽÞ˜°Ê À>˜`ʈ˜ÃÌ>i`Ê>ÊvÀˆiâiʜvʅ>˜`‡«>ˆ˜Ìi`Ê>LÃÌÀ>VÌʈ“>}iÃÊiµÕˆÛ>i˜ÌÊ̜ÊȘ}iÊw“ÊvÀ>“iÃ]Ê«>À̈>Þʅˆ``i˜ÊLi…ˆ˜`Ê>ÊϜÌÌi`Ê …œÕȘ}°Ê/…iÊÃiµÕi˜Ìˆ>Êˆ“>}iÃÊVœÕ`ÊLiÊۈiÜi`ʜ˜ÞÊvÀœ“Ê>Ê«>ÃȘ}ÊÌÀ>ˆ˜]Ê܅ˆV…Ê «ÀœÛˆ`i`Ê̅iʓœ“i˜ÌՓÊ̜Ê>˜ˆ“>ÌiÊ̅i“ʈ˜ÌœÊ>ʓœÌˆœ˜Ê«ˆVÌÕÀiÊŜÜ]Ê܈˜`ˆ˜}Ê`œÜ˜Ê ˆ˜ÌœÊÃi«>À>Ìi]ÊÃÌ>̈VÊvÀ>“iÃÊ>ÃÊ̅iÊÌÀ>ˆ˜ÊV>“iʈ˜ÌœÊ̅iʘiÝÌÊÃÌ>̈œ˜]ÊȓՏÌ>˜iœÕÏÞÊ unravelling the magic of film.19 Where the pictures moved and the viewer remained ÃÌ>̈œ˜>ÀÞʈ˜Ê̅iÊVÞVœÀ>“>]Ê̅iÊÀiÛiÀÃiÊÜ>ÃÊÌÀÕiÊܓiʘˆ˜iÌÞÊÞi>ÀÃʏ>ÌiÀʈ˜Ê >˜`½ÃÊ

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Bill Brand, Masstransiscope (1980). The installation consists of two sections separated by a staircase. The artist is seen at the entrance to the long section of the work as the train passes by. Photo: Martha Cooper. Courtesy of the artist.

ingenious Masstransiscope]Ê>ÊܜÀŽÊ̅>ÌÊ«>ˆ`ʅœ“>}iÊ̜Ê̅iÊ}Ài>ÌÊ«Ài‡Vˆ˜i“>̈Vʈ˜ventors of the eighteenth and nineteenth centuries. >}ˆVʏ>˜ÌiÀ˜ÊŜÜÃʜvÌi˜Êˆ˜ÛœÛi`ʘ>ÀÀ>̜ÀÃ]ʓÕÈVˆ>˜ÃÊ>˜`Êi>ÀÞÊvœiÞÊ>À̈ÃÌÃÊ adding sound effects. Audiences could be given instruments to play on cue and were i˜VœÕÀ>}i`Ê̜Ê>««>Õ`Ê>˜`ɜÀʍiiÀÊ>˜`Ê}i˜iÀ>Þʈ˜ÌiÀ>VÌÊ܈̅Ê̅iÊÃVi˜iÊ՘vœ`ˆ˜}Ê >ÀœÕ˜`Ê̅i“°Ê/…iÃiÊ>Õ`ˆœ‡ÛˆÃÕ>ÊëiVÌ>ViÃÊLiV>“iÊiÝÌÀi“iÞÊi>LœÀ>ÌiÊ>˜`Ê>ÃÊ̅iÊ >ÀÌʜvʏ>˜ÌiÀ˜ÊŜÜÃÊiۜÛi`]Ê̅iÞÊÜiÀiÊv>ÃÌÊ>««Àœ>V…ˆ˜}Ê̅iÊVœ˜`ˆÌˆœ˜ÊœvÊVˆ˜i“>°Ê˜Ê ̅iÊ£nÇäÃ]Ê̅iÊ}Ài>ÌÊ
“iÀˆV>˜Ê>˜ÌiÀ˜ˆÃÌÊœÃi«…Ê i>iÊ`i«œÞi`Ê«ÀœiVÌi`ʈ“>}iÃÊ to create three-dimensional narratives. Terry Borton describes the scene: °°°ÃiµÕi˜ViÃʜvÊψ`iÃʘœÌʜ˜ÞÊÌÀ>VŽÊ̅iÊ>V̈œ˜]ÊLÕÌʓœÛiÊ̅iʼV>“iÀ>Ê>˜}i½Ê œÀÊ «œˆ˜ÌÊ œvÊ ÛˆiÜ]Ê Ã…ˆv̈˜}Ê «iÀëiV̈ÛiÊ ÌœÊ i“«…>ÈâiÊ «ÃÞV…œœ}ˆV>Ê «œˆ˜ÌÃ°Ê ˆÃ܏ۈ˜}ʈ“>}iÃ]ÊVœÃi‡Õ«Ã]Êv>`iÃ]ÊVÀœÃÇi`ˆÌˆ˜}ʜvÊÃ̜Àއˆ˜iÃ]ÊiÌV°Ê>ÀiÊ>Ê part of Beale’s artistic repertoire for telling stories on screen. 20 /…iÃiÊ ˆÛi‡i`ˆÌi`Ê iÝÌÀ>Û>}>˜â>ÃÊ >˜ÌˆVˆ«>Ìi`Ê ˜œÌÊ œ˜ÞÊ Ì…iÊ ÀœiÊ œvÊ «œÃ̇«Àœ`ÕV̈œ˜Ê i`ˆÌˆ˜}ʈ˜Êw“]ÊLÕÌÊ>ÃœÊ̅iÊ«ÃÞV…i`iˆVʏˆ}…ÌÊŜÜÃʜvÊ̅iÊ£™ÈäÃ]Ê>`>«Ìi`Ê>˜`Êi>LœÀ>Ìi`ÊLÞÊ
“iÀˆV>˜Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ-Ì>˜Ê6>˜ iÀ iiŽ]Ê>VŽÊ-“ˆÌ…Ê>˜`Êi܈Ãʏ>…À°Ê7iÊ “>ÞÊ>ÃœÊˆ`i˜ÌˆvÞÊ i>iÊ>ÃÊ>Ê«ÀiVÕÀÜÀÊ̜Ê̅iÊ£™ÇäÃÊiÝ«>˜`i`ÊVˆ˜i“>̈VÊܜÀŽÃʜvÊ Ì…iÊ ÀˆÌˆÃ…Ê>À̈ÃÌÊ ˆVŽÞÊ>“Þ˜Ê̅>Ìʈ˜ÛœÛi`Ê̅iʏˆÛiʓ>˜ˆ«Õ>̈œ˜ÊœvÊ«ÀœiV̜ÀÃÊ>ÃÊ

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well as more recent work by the Americans Gibson and Recoder. Perhaps the most ÃÌÀˆŽˆ˜}Ê«>À>iÊÜˆÌ…Ê i>i½ÃʏˆÛiÊ«ÀœiV̈œ˜ÊiÛi˜ÌÃʈÃÊ̅iÊw“ÊProjection Instructions ­£™ÇÈ®ÊLÞÊœÀ}>˜ÊˆÃ…iÀʈ˜Ê܅ˆV…ÊÜÀˆÌÌi˜Êˆ˜ÃÌÀÕV̈œ˜ÃÊ>««i>Àʜ˜Ê̅iÊÃVÀii˜\ʼÌÕÀ˜Ê ̅iÊۜÕ“iÊÕ«É`œÜ˜ÆÊVi˜ÌÀiÊvÀ>“iÆÊ̅ÀœÜʜÕÌʜvÊvœVÕýÊiÌV°]Ê܅ˆiÊ̅iÊ«ÀœiV̈œ˜ˆÃÌÊ attempts to follow the onscreen directives. Ê܈ÊÀiÌÕÀ˜Ê̜Ê̅iÃiÊܜÀŽÃʈ˜Ê̅iÊvœœÜˆ˜}ÊV…>«ÌiÀÃÊ>˜`ʓi>˜Ü…ˆiÊi˜`Ê̅ˆÃÊiÝpedition into the history of pre-cinematic inventions with my favourite engineer of ˆ}…ÌÊvÀœ“Ê̅iÊ«ˆœ˜iiÀˆ˜}Ê`>ÞÃʜvÊ̅iʘˆ˜iÌii˜Ì…ÊVi˜ÌÕÀްʘʣnÓÎ]Ê-ˆÀÊœ`ÃܜÀ̅ÞÊ ÕiÀ˜iÞÊLÕÀ˜i`ÊV>VˆÕ“ʜ݈`iʈ˜Ê>ʅÞ`Àœ}i˜Êy>“iÊ>˜`Ê̅iÀiLÞʈ˜Ûi˜Ìi`ʏˆ“iˆ}…Ì]Ê>Ê form of illumination that came to be widely used in theatres and music halls to irradi>ÌiÊ̅iÊëiVÌ>Viʜ˜ÊÃÌ>}i°ÊÕiÀ˜iÞÊÀiw˜i`ʅˆÃʈ˜Ûi˜Ìˆœ˜ÊLÞʈ˜ÌÀœ`ÕVˆ˜}ʜÝÞ}i˜Êˆ˜ÌœÊ >˜Êœˆ‡wÀi`Êy>“i]Ê>œÜˆ˜}ʓœÀiÊV>ÀLœ˜Ê̜ÊLiÊLÕÀ˜i`]Ê>˜`ÊÀi`ÕVˆ˜}Ê̅iʏˆŽiˆ…œœ`ʜvÊ iÝ«œÃˆœ˜°ÊÕiÀ˜iÞ½Ãʼ Õ`iʈ}…̽ʫÀœÛˆ`i`Ê̅iʏˆ}…̈˜}ÊvœÀÊ̅iÊœÕÃiÃʜvÊ*>Àˆ>“i˜ÌÊ Õ˜ÌˆÊ̅iʈ˜ÌÀœ`ÕV̈œ˜ÊœvÊiiVÌÀˆVˆÌÞ]ÊLÕÌʅiÊ>ÃœÊÕÃi`ʈÌÊ̜ʈÕ“ˆ˜>ÌiʅˆÃʓœ`iÃÌʼV>Ã̏i½]ÊLՈÌʜ˜Ê>ÊÃ>˜`L>˜ŽÊˆ˜Ê̅iÊ œÀ˜ˆÃ…ÊÃi>È`iÊ̜ܘʜvÊ Õ`i°Ê Þʓi>˜ÃʜvÊ>ÊVœ“«iÝÊ >ÀÀ>˜}i“i˜ÌʜvʓˆÀÀœÀÃÊ>˜`ʏi˜ÃiÃ]ʅiÊÜ>ÃÊ>LiÊ̜ʏˆ}…ÌÊ̅iÊ܅œiÊi`ˆwViÊVÀi>̈˜}Ê an ethereal inner glow like a Tardis about to take off into the cinematic future. In the ÃՓ“iÀʜvÊ£nә]ʅiÊ>ÃœÊVœ˜ÌÀˆÛi`Ê̜ʫÀœiVÌÊ̅iÊ Õ`iʈ}…ÌÊvÀœ“Ê…ˆÃÊV>Ã̏iʈ˜ÌœÊ…ˆÃÊ cousin’s room at the Falcon Hotel some four hundred yards away on the other side œvÊ̅iÊV>˜>°Ê"ÛiÀÊ>ʅ՘`Ài`ÊÞi>ÀÃʏ>ÌiÀ]Ê̅iÊ ÀˆÌˆÃ…ÊVœiV̈ÛiÊœÕÃiÜ>ÌV…Ê­>V̈ÛiÊ in the 1970s and 1980s) similarly transformed buildings into lanterns by back-proiV̈˜}Êw“Ê>˜`ʏ>ÌiÀÊۈ`iœÊœ˜ÌœÊ̅iˆÀÊ܈˜`œÜÃÊ>Ìʘˆ}…Ì°21ʈŽiÊÕiÀ˜iÞ]ÊœÕÃiÜ>ÌV…Ê Vœ˜ÌÀˆÛi`Ê̜ÊÀi˜`iÀÊ܏ˆ`ʓ>ÌÌiÀʓ>}ˆV>Ê>˜`ÊÃii“ˆ˜}ÞÊÜiˆ}…̏iÃÃ]ÊVœÃiÀÊ̜Ê>ÊVœ˜tainer of dreams than the reality of bricks and mortar. This ability to both affirm and dematerialise walls and ceilings remains one of the defining characteristics of moving image installations.

VISION MACHINES It was in the early 1830s that vision machines were first manufactured with a ca«>VˆÌÞÊ vœÀÊ iÝ«œˆÌˆ˜}Ê Ì…iÊ «iÀÈÃÌi˜ViÊ œvÊ ÛˆÃˆœ˜Ê œÀÊ Ã…œÀ̇À>˜}iÊ >««>Ài˜ÌÊ “œÌˆœ˜]Ê >Ê «iÀVi«ÌÕ>Ê «…i˜œ“i˜œ˜Ê ̅>ÌÊ Ì>ŽiÃÊ «>ViÊ Ü…i˜Ê iÞiÊ >˜`Ê LÀ>ˆ˜Ê >ÀiÊ iÝ«œÃi`Ê ÌœÊ >Ê ÃÕVViÃȜ˜ÊœvÊÌi“«œÀ>Þ‡ˆ˜Ži`ʈ“>}iÃ]ÊÃi«>À>Ìi`ÊLÞÊŜÀÌÊi«ˆÃœ`iÃʜvÊL>VŽ°Ê
ÌÊ >˜Þ̅ˆ˜}Ê œÛiÀÊ ÃˆÝÌii˜Ê ˆ“>}iÃÊ «iÀÊ ÃiVœ˜`]Ê ÜiÊ «iÀViˆÛiÊ Ã“œœÌ…Ê “œÛi“i˜ÌÊ >ÃÊ ˆÊ Brand’s Masstransiscope so elegantly demonstrates. 22 /…iÊ âœiÌÀœ«i]Ê œÌ…iÀ܈ÃiÊ Ž˜œÜ˜Ê >ÃÊ Ì…iÊ ¼7…iiÊ œvÊ ˆvi½Ê œÀÊ ¼7…iiÊ œvÊ Ì…iÊ iۈ½]Ê Ü>Ãʜ˜iʜvÊ̅iÊi>ÀˆiÃÌÊۈȜ˜Ê“>V…ˆ˜iÃ]ʈ˜Ûi˜Ìi`ʈ˜Ê£nÎ{°ÊÌÊÜ>ÃÊ>Ê`iۈViÊ̅>ÌÊi˜abled several viewers simultaneously to look through slots in the side of a revolving drum on the inside surface of which was pasted a strip of drawings representing

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successive stages of movement that come alive when the drum is spinning. Any ˜Õ“LiÀÊ œvÊ ÛˆÃˆœ˜Ê “>V…ˆ˜iÃÊ >««i>Ài`Ê ˆ˜VÕ`ˆ˜}Ê ,iޘ>Õ`½ÃÊ *À>݈˜œÃVœ«iÊ >˜`Ê Daguerre’s large-scale dioramas while flip books and other optical toys created similar impressions of movement and are still produced for the amusement of children today.23Ê/œ“Ê՘˜ˆ˜}ÊÃÕ}}iÃÌi`Ê̅>ÌÊ̅ˆÃÊ}i˜ÀiʜvʼVˆ˜i“>ʜvÊ>ÌÌÀ>V̈œ˜Ã½ÊÜ>ÃÊ Ìi“«œÀ>ÀˆÞÊ `ˆÃ«>Vi`Ê LÞÊ Vœ˜Ûi˜Ìˆœ˜>]Ê Ãˆ˜}i‡ÃVÀii˜Ê ˜>ÀÀ>̈ÛiÊ Vˆ˜i“>Ê >˜`Ê œ˜ÞÊ re-emerged in later avant-garde practices in the early 1900s.24Ê
ÃÊÜiÊÅ>ÊÃii]Ê̅iÊ ˆÛi˜iÃÃʜvÊ«Ài‡Vˆ˜i“>̈VÊۈȜ˜Ê“>V…ˆ˜iÃ]Ê̅iÊ`À>“>̈VÊÃÌ>}ˆ˜}ʜvÊ̅iÊ>««>À>ÌÕÃÊ >˜`ʈÌÃÊV>«>LˆˆÌˆiÃ]ÊÀiÃÕÀv>Vi`ʈ˜ÊiÝ«iÀˆ“i˜Ì>Êw“Ê>˜`Êۈ`iœÊˆ˜Ê̅iÊ£™ÈäÃ]Ê>˜`Ê>Ê fascination with imaging gadgetry persists into the digital age. As A. L. Rees pointi`ʜÕÌʼVˆ˜i“>Êw“ÃÊ>ÀiÊÃ̈ÊۈiÜi`Ê>ÃÊ«>˜œÀ>“>Ãʈ˜Ê`>ÀŽÊë>Viý]Êܓi̅ˆ˜}Ê̅>ÌÊ is also true of much installation art.25 The panorama itself recurs in the history of >À̈ÃÌÃ½Ê “œÛˆ˜}Ê ˆ“>}iÊ ÜˆÌ…Ê ˜œÌ>LiÊ Ài}Տ>ÀˆÌÞ]Ê vœÀÊ iÝ>“«iÊ ˆ˜Ê ̅iÊ VˆÀVՏ>ÀÊ ÃVÀii˜ÃÊ featured in Steve Farrer’s ghostly films (The Machine]Ê£™Çn®ÊœÀÊ̅iÊ«>˜œÀ>“ˆVÊÃVÀii˜Ê «ÀiÃi˜Ì>̈œ˜Ê“œ`iÊ>`œ«Ìi`ÊvœÀÊ̅iÊViiLÀ>̈œ˜ÊœvÊ̅iÊܜÀŽÊœvÊw““>ŽiÀÊivvÊii˜Ê (1923–2012) in the Tanks at Tate Modern (September 2012). These installations ˆ˜‡Ì…i‡ÀœÕ˜`ÊVÀi>ÌiÊ>ÊۈiÜiÀÊiÝ«iÀˆi˜ViÊ̅>ÌʈÃÊLœÌ…Ê}À>̈vވ˜}Ê>˜`ÊvÀÕÃÌÀ>̈˜}°Ê/…iÊ Ã«iVÌ>̜ÀÊV>˜ÊÜ>ŽÊvÀiiÞʈ˜Ãˆ`iÊ̅iÊVˆÀVՏ>ÀÊÃVÀii˜Ê>˜`Êi˜œÞÊ>ÊÃi˜Ãiʜvʈ““iÀȜ˜Ê ˆ˜Ê̅iʈ“>}iÊLÕÌÊ>ÌÊ̅iÊÃ>“iÊ̈“i]Ê̅iÀiʈÃÊ>Ü>ÞÃÊ̅iʘˆ}}ˆ˜}Êviiˆ˜}Ê̅>ÌÊ̅iÀiʈÃÊ Ãœ“i̅ˆ˜}ʓœÀiʈ˜ÌiÀiÃ̈˜}Ê}œˆ˜}ʜ˜ÊLi…ˆ˜`ʜ˜i½ÃÊL>VŽ]ÊÈ}˜>i`ÊLÞÊ>˜Êˆ“>}iÊ`>˜Ving tantalisingly on the periphery of vision. The viewer must calculate the relative benefits of staying with the image in the current field of vision versus turning around ̜ÊiÝ«œÀiÊ̅iÊ՘Ž˜œÜ˜Êˆ˜Ê>Ê}>“iʜvÊ«…ÞÈV>ÊV…>˜˜iÊ…œ««ˆ˜}°ÊÌÊܜ˜ÊLiVœ“iÃÊVi>ÀÊ Ì…>Ìʈ˜Ãˆ`iÊ>Ê«>˜œÀ>“ˆVÊÃVÀii˜]Ê̅iÊ܅œiÊܜÀŽÊV>˜Ê˜iÛiÀÊLiÊ}À>ëi`]ʜvÌi˜ÊÀiÃՏ̈˜}ʈ˜Ê>ÊvṎiÊ눘˜ˆ˜}ʓœÌˆœ˜]Ê>˜ÊœLÃiÀÛ>̈œ˜ÊÊ܈ÊiÝ«>˜`ʜ˜Êˆ˜Ê`ÕiÊVœÕÀÃi°Ê*iÀ…>«ÃÊ the most accomplished and witty re-creation of a zoetrope is Mat Collishaw’s Garden of Unearthly Delights (2009) in which a cast of impudent putti do violence to nature œ˜Ê>Ê눘˜ˆ˜}ÊÌÕÀ˜Ì>Li]Ê>˜ˆ“>Ìi`ÊLÞʓi>˜ÃʜvÊÃÌÀœLiʏˆ}…̈˜}°26 The manic repetitiveness of the naked babies’ assaults on the flora and fauna of Collishaw’s tropical «>À>`ˆÃiÊ iÝ>V̏ÞÊ Ài«Àœ`ÕViÃÊ Ì…iÊ Ã…œÀÌÊ œœ«i`Ê >V̈œ˜ÃÊ Ì…>ÌÊ >ÀiÊ V…>À>VÌiÀˆÃ̈VÊ œvÊ >Ê zoetrope while simultaneously creating a parable of the relentlessness of human destructiveness. Collishaw’s spinning garden was well-received by a general audience and in this respect the work aspires to the popular appeal of the earliest manifestations of the «ÀœiVÌi`Ê ˆ“>}i°Ê "ÕÀÊ ˆ˜Ûi˜ÌˆÛiÊ ˜ˆ˜iÌii˜Ì…‡Vi˜ÌÕÀÞÊ >˜ViÃ̜ÀÃÊ VÀi>Ìi`Ê Li}Ոˆ˜}Ê spectacles of light and shade; they shared the sleight of hand and the showmanň«Ê œvÊ Ì…iÊ v>ˆÀ}ÀœÕ˜`Ã]Ê VˆÀVÕÃiÃÊ >˜`Ê “ÕÈVÊ …>ÃÊ vÀœ“Ê ܅ˆV…Ê ̅iÞÊ i“iÀ}i`ÆÊ Ì…iÞÊ boasted links to scientific discovery in the machine age and transmitted a sense of ܜ˜`iÀÊ>ÌÊ̅iÊ>V…i“ÞʜvÊ«…œÌœ}À>«…ˆVʈÕȜ˜ˆÃ“Ê܈̅ʈÃÊ`>ÀŽiÀ]ʓÞÃ̈V>ÊVœ˜˜œÌ>̈œ˜Ã]ʈÌÃÊVœ˜˜iV̈œ˜Ê̜ÊLœÌ…ʏˆviÊ>˜`Ê`i>̅°Ê/…iÃiÊ>ÌÌÀˆLÕÌiÃÊ œvÊ̅iʓœÛˆ˜}ʈ“>}iÊ

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Mat Collishaw, Garden of Unearthly Delights (2009). Steel, aluminium, plaster, resin, LED lights, motor. Image courtesy of the artist and Blain/Southern. Photographer: Christian Glaeser, 2009. © the artist.

ÜiÀiÊiÃÌ>LˆÃ…i`ʈ˜Ê̅iÊ«ˆœ˜iiÀˆ˜}Ê`>ÞÃʜvÊ«Ài‡Vˆ˜i“>̈Vʏ>˜ÌiÀ˜ÊŜÜÃ]Ê`ˆœÀ>“>Ã]Ê âœiÌÀœ«iÃÊ>˜`ʜ«ÌˆV>Ê̜ÞÃÊ>˜`]Ê>ÃÊʅ>ÛiÊÃÕ}}iÃÌi`]ÊvœÕ˜`Ê>Ê`ÕÀ>Liʏi}>VÞʈ˜Ê̅iÊ work of moving image installation artists throughout the twentieth century and into ̅iÊVœ˜Ìi“«œÀ>ÀÞÊiÀ>°Ê/…iˆÀʏÕ`ˆVÊ«Àœ«iÀ̈iÃ]ʈ˜Ê«>À̈VՏ>À]Ê܈ÊÀi>««i>ÀÊVœ˜ÃˆÃÌi˜ÌÞÊ in artists’ work throughout this narrative.

EARLY CINEMA Nature caught in the act. -«iVÌ>̜ÀʜvÊ>˜Êi>ÀÞÊVˆ˜j“>̜}À>«…iÊÃVÀii˜ˆ˜}]Ê*>ÀˆÃ° In her looped film performance Reel TimeÊ ­£™Ç£qÇή]Ê
˜˜>LiÊ ˆVœÃœ˜Ê “>`iÊ >˜Ê oblique reference to another technological precursor to film when she fed a filmstrip ̅ÀœÕ}…Ê>ÊÃi܈˜}ʓ>V…ˆ˜i°Ê/…iÊw“]Ê`i«ˆV̈˜}Ê>ÊÅ>`œÜÊ«>ÞʜvÊ̅iÊ>À̈ÃÌÊܜÀŽˆ˜}Ê>ÌÊ Ì…iÊÃ>“iʓ>V…ˆ˜i]Ê̅i˜ÊÌÀ>Ûii`ʜ˜Ê̜Ê>Ê«ÀœiV̜ÀÊ̅>Ìʓ>`iÊۈÈLiÊ̅iÊ«iÀvœÀ>̈œ˜ÃÊ resulting from the sewing machine’s repeated assaults on the film. The piercings gradually destroyed both the material of the filmstrip and the images of Nicolson it carried. The film performance was in part a reminder of the working conditions of ܜ“i˜Êˆ˜ÊÌiÝ̈iÊv>V̜ÀˆiÃÊ`ÕÀˆ˜}Ê̅iʈ˜`ÕÃÌÀˆ>ÊÀiۜṎœ˜Ê>˜`Ê̅iÊ՘`iÀ‡ÀiVœ}˜ˆÌˆœ˜Ê

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Annabel Nicolson, Reel Time (1973). Photo: Ian Kerr. Courtesy of the artist.

œvÊܜ“i˜½Ãʏ>LœÕÀʈ˜Ê̅iʅœ“i°ÊœÜiÛiÀ]Ê ˆVœÃœ˜ÊÜ>ÃÊ>ÃœÊÈ}˜>ˆ˜}Ê>ʏˆ˜ŽÊLiÌÜii˜Ê the mechanical claw action of a sewing machine that regulates the passage of cloth ­œÀʈ˜Ê ˆVœÃœ˜½ÃÊV>Ãi]ÊViÕœˆ`®Ê«>ÃÌÊ̅iʘii`iÊLÞʓi>˜ÃʜvÊ}À>눘}Ê>˜`Êňv̈˜}Ê Ì…iÊv>LÀˆVÊ>œ˜}]Ê>˜`Ê>˜Êˆ`i>Ê̅>ÌÊ7°Ê°Ê°Ê ˆVŽÃœ˜ÊV>“iÊÕ«Ê܈̅ʈ˜Ê£n™£Ê܅i˜Ê…iÊÜ>ÃÊ working with Thomas Edison. Inspired by the transport mechanism of the sewing “>V…ˆ˜i]Ê ˆVŽÃœ˜Êvi`Ê>ÊÃiÀˆiÃʜvÊ«…œÌœ}À>«…ˆVʈ“>}iÃÊ̅ÀœÕ}…Ê>Êۈi܈˜}ʓ>V…ˆ˜i]Ê Ì…iʈ˜i̜}À>«…]ÊLÞʓi>˜ÃʜvʏœVŽˆ˜}ʈ˜ÌœÊ>ÊÃiÀˆiÃʜvÊëÀœVŽiÌʅœiÃÊÀ՘˜ˆ˜}Ê>œ˜}Ê the strip of images. This created the template for all subsequent celluloid film tech˜œœ}ÞÊ>˜`Ê`œ“ˆ˜>Ìi`Êw“Ê«Àœ`ÕV̈œ˜Ê>˜`Êi݅ˆLˆÌˆœ˜Ê՘̈Ê̅iÊ>`Ûi˜ÌʜvÊ>˜>œ}ÕiÊ video and subsequent digital imaging into which the earlier technologies were eventually subsumed. The short films that Dickson and Edison produced of vaudeville acts and athletes yi݈˜}Ê̅iˆÀʓÕÃViÃÊÜiÀiÊŜܘʈ˜Ê¼ˆ˜i̜ÃVœ«iÊ*>ÀœÕÀýʈ˜Ê iÜÊ9œÀŽ]ÊvœÀÊ>ʘˆVŽiÊ a throw.27Ê ÞÊ̅iÊ£n™äÃ]ÊŜÀÌÊw“ÃÊLÞÊ
ˆViÊÕÞÊ >V…j]Ê̅iÊՓˆmÀiÊ ÀœÌ…iÀÃÊ>˜`Ê iœÀ}iÃÊjˆmÃʈ˜ÊÀ>˜ViÊ>ÃÊÜiÊ>ÃÊi˜Žˆ˜ÃÊEÊ
À“>Ìʈ˜Ê
“iÀˆV>Ê>˜`Ê ˆÀÌÊ
VÀiÃʈ˜Ê̅iÊ 1Ê>ÃœÊŜÜi`ʈ˜ÊV>vjÃ]Êi˜ÌiÀÌ>ˆ˜“i˜ÌÊ«>ÀœÕÀÃ]ʓÕÈVʅ>Ã]Êv>ˆÀ}ÀœÕ˜`Ã]ÊÃVˆi˜ÌˆwVÊ ˆ˜Ã̈ÌÕÌiÃÊ>˜`ʜ̅iÀÊ«ÕLˆVÊë>ViÃ]ÊiÃÌ>LˆÃ…ˆ˜}Êw“Ê>ÃÊ>Ê«œ«Õ>ÀÊvœÀ“ÊœvÊ`ˆÛiÀȜ˜Ê vÀœ“Ê̅iʜÕÌÃiÌ]ʈ˜Êˆ˜iÊ܈̅Ê̅iÊi>ÀˆiÀʏ>˜ÌiÀ˜ÊŜÜÃÊ>˜`Ê`ˆœÀ>“>ðÊ-œ“iʜvÊ̅iÊ earliest film footage featured single events designed to show off the new technolœ}ÞÊ̜ʈÌÃÊLiÃÌÊ>`Û>˜Ì>}i\ÊܜÀŽiÀÃʏi>ۈ˜}Ê>Êv>V̜ÀÞ]Ê>ÊLœ>ÌÊLœLLˆ˜}ʜ˜Ê̅iÊÜ>ÛiÃ]Ê >ÊÌÀ>ˆ˜Ê`À>܈˜}ʜÕÌʜvÊ>ÊÃÌ>̈œ˜ÊqÊ܅>ÌÊ/œ“Ê՘˜ˆ˜}Ê`iÃVÀˆLi`Ê>ÃÊ>ʼVˆ˜i“>ʜvʈ˜ÃÌ>˜ÌýÊ>Ãʜ««œÃi`Ê̜Ê>ʘ>ÀÀ>̈ÛiÊVˆ˜i“>ʜvʼ`iÛiœ«ˆ˜}ÊÈÌÕ>̈œ˜Ã½°28 The impassive

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contemplation of reality from the perspective of a static camera was gradually >L>˜`œ˜i`Ê>ÃÊV>“iÀ>ÃÊLiV>“iʓœLˆiÊ>˜`ʘ>ÀÀ>̈ÛiÃʓœÀiÊVœ“«iÝ°ÊœÜiÛiÀ]Ê̅iÊ steady gaze of the locked-off shot found favour once again in the work of artists in film and video who were active in the second half of the twentieth century and who ܈Åi`Ê̜ÊÀi‡>ÃÃiÀÌÊ̅iÊÃÕLiV̈ۈÌÞʜvÊ̅iÊw““>ŽiÀ°Ê-Ì>̈V]Ê`ÕÀ>̈œ˜>ÊÃiµÕi˜ViÃÊ can be seen today as a central component of installations by artists such as Gary ˆ]Ê->“Ê/>ޏœÀ‡7œœ`]Ê*>ÌÀˆVŽÊiˆiÀÊ>˜`Ê]Ê܅œÃiÊÕÃiʜvÊ̅iʓ>}ˆVÊV>Ãi“i˜ÌʜvÊ>ÊwÝi`ÊvÀ>“iÊÈ}˜>ÃÊ̅iˆÀÊ`iÈÀiÊvœÀÊ̅iÊۈiÜiÀÊ̜Ê>`œ«ÌÊ̅iÊÃ>“iʏiÛiÊœvÊ concentrated attention to a scene that the artist devoted to its filming. The desire to astonish an audience appears to be timeless and in terms of the moving image began at the dawn of film. A contemporary account gives an insight into the impact of apparent motion on a gathering of citizens attending a screenˆ˜}ʈ˜Ê£n™È°Ê/…iÊw“Êvi>ÌÕÀi`Ê>ÊÌÕÀLՏi˜ÌÊÃi>ÃV>«iʈ˜Ê܅ˆV…ʼ>ʘՓLiÀʜvÊLÀi>Žˆ˜}Ê Ü>ÛiÃ]Ê܅ˆV…Ê“>ÞÊLiÊÃii˜Ê̜ÊÀœÊˆ˜ÊvÀœ“Ê̅iÊÃi>]ÊVÕÀÊœÛiÀÊ>}>ˆ˜ÃÌÊ>ʍiÌÌÞÊ>˜`ÊLÀi>ŽÊ into clouds of snowy spray that seemed to start from the screen’29 – a trick now perfected by 3D cinema. Tom Gunning recounts a similar but possibly apocryphal Ã̜ÀÞʜvÊ̅iÊVœ˜ÃÌiÀ˜>̈œ˜Ê̅>ÌʓiÌÊ̅iÊwÀÃÌÊÃVÀii˜ˆ˜}ʈ˜Ê£n™xʜvÊ̅iÊՓˆmÀiÊLÀœÌ…ers’ Arrival of a Train at the Station (1895). Legend has it that the illusion of a train hurtling towards them was so convincing that audiences were either rooted to the ëœÌʜÀ]ÊÌÀ>Փ>̈Ãi`ÊLÞÊ̅ˆÃÊ>««>Ài˜ÌÊ`>˜}iÀ]Ê̅iÞÊyi`°Ê՘˜ˆ˜}Ê}œiÃʜ˜Ê̜Ê>À}ÕiÊ Ì…>ÌÊw“Ê̅iœÀˆÃÌÃʈ˜ÛiÃÌi`ʈ˜Ê̅iʓÞ̅ˆVʈ“>}iʜvÊÃV>ÌÌiÀˆ˜}ÊVˆÌˆâi˜Ã]Ê̅ˆÃʼ«Àˆ“>Ê ÃVi˜i½ÊœvÊ>˜Ê>Õ`ˆi˜ViÊi˜Ì…À>i`ÊLÞÊ̅iÊ«ÀiÌiÀ˜>ÌÕÀ>Ê«œÜiÀʜvÊ̅iʈ“>}i]ʈ˜ÊœÀ`iÀÊÌœÊ underwrite a concept of spectatorship centred on the passive consumption of the Vˆ˜i“>̈VÊëiVÌ>ViÊqÊ>Ê̅iœÀÞÊÜiÊ܈Êi˜VœÕ˜ÌiÀʈ˜Ê̅iʘiÝÌÊV…>«ÌiÀ°Ê˜Ê՘˜ˆ˜}½ÃÊ ÛˆiÜ]Ê Ì…ˆÃÊ vœÀ“Տ>̈œ˜Ê ¼Õ˜`iÀiÃ̈“>Ìi`Ê Ì…iÊ L>ÈVÊ ˆ˜Ìiˆ}i˜ViÊ >˜`Ê Ài>ˆÌއÌiÃ̈˜}Ê abilities of the average film viewer’. 30 Early audiences were by no means duped by Vˆ˜i“>̈VÊÛiÀˆÃˆ“ˆˆÌÕ`iÆʈ˜Êv>VÌ]Ê«Àœ«œÃi`Ê՘˜ˆ˜}]Ê̅iÞÊÜiÀiʼVœ˜ÃVˆœÕÏÞÊ>Ü>ÀiÊ œvÊ>À̈wVi½Ê>˜`]Ê܅i˜Ê>L>˜`œ˜ˆ˜}Ê̅i“ÃiÛiÃÊ̜Ê̅iÊÃVÀii˜]ʼˆÌÊ Ü>ÃÊ̅iʈ˜VÀi`ˆLiÊ nature of the illusion itself that rendered the spectators speechless’.31 A desire to ŜÜV>ÃiÊ̅iÊw“ˆVʈÕȜ˜Ê“œÌˆÛ>Ìi`Ê̅iÊՓˆmÀiÊLÀœÌ…iÀýʅ>LˆÌʜvÊ«ÀœiV̈˜}Ê̅iÊ first few frames of a film as a series of stills and then incrementally cranking the «ÀœiV̜ÀÊÕ«Ê̜Êëii`]Ê}À>`Õ>ÞÊLÀˆ˜}ˆ˜}Ê̅iÊÃiµÕi˜ViÊ̜ʏˆvi°Ê/…iÞÊ>ÃœÊÀ>˜Ê̅iÊw“Ê L>VŽÜ>À`ÃÊvœÀÊ>``ˆÌˆœ˜>ÊivviVÌ°Ê
VVœÀ`ˆ˜}Ê̜Ê՘˜ˆ˜}]ʈ˜ÊÀiÛi>ˆ˜}Ê̅iÊVÀˆÌˆV>Ê“œ“i˜Ìʈ˜ÊÀi«ÀiÃi˜Ì>̈œ˜Ê܅i˜Ê̅iÊ«iÀVi«ÌÕ>ÊňvÌÊvÀœ“ÊÃ̈Ê̜ʓœÛˆ˜}ʈ“>}iʜVVÕÀÃ]Ê Ì…iÊՓˆmÀiÃÊ`i“œ˜ÃÌÀ>Ìi`ʘœÌÊÜʓÕV…ʼ>ÊÃVˆi˜ÌˆwVʈ˜ÌiÀiÃÌʈ˜Ê ̅iÊÀi«Àœ`ÕV̈œ˜Ê œvʓœÌˆœ˜½ÊLÕÌÊ>˜Ê¼>i}ˆ>˜ViÊ̜Ê>˜Ê>iÃ̅ïVʜvÊ>Ã̜˜ˆÃ…“i˜Ì½° 32 Gunning concludes ̅>ÌÊv>ÀÊvÀœ“Ê“ˆÃÌ>Ži˜ÞÊÀi>`ˆ˜}Ê̅iʈ“>}iÃÊ>ÃÊÀi>ˆÌÞ]ÊVœ˜Ìi“«œÀ>ÀÞÊ>Õ`ˆi˜ViÃÊÀigarded the great new invention of the modern age as only the latest in a long line of ÌiV…˜œœ}ˆV>Ê˜œÛiÌˆiðÊœÜiÛiÀ]Ê̅iÊŜVŽÊœvÊ̅iʘiÜÊܜՏ`ʘœÌÊÌ>ŽiÊ«>ViʈvÊ̅iÊۈsion machine failed to produce a plausible facsimile of reality whilst simultaneously

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maintaining a sense of the trick being played. Based on his readings of contemporary V>Ì>œ}ÕiÊ `iÃVÀˆ«Ìˆœ˜ÃÊ œvÊ w“ÃÊ œvÊ Ì…iÊ «iÀˆœ`Ê “>`iÊ >Û>ˆ>LiÊ LÞÊ …>ÀiÃÊ ÕÃÃiÀ] 33 >ÀˆœÊ-Õ}>˜Ê>À}ÕiÃÊ̅>Ìʼ̅iʅˆÃ̜ÀˆV>ÊëiVÌ>̜ÀÊÜ>ÃÊLˆ>Ãi`Ê̜ÊVœ˜ÃÌÀÕiÊ̅iÊw“ÃÊ in narrative rather than spectacular terms’. 34 Not only did many of the early films `ÀˆÛiÊ̅iÊ>V̈œ˜Ê̜Ü>À`Ãʘ>ÀÀ>̈ÛiÊVœÃÕÀi]ÊLÕÌÊ>Ãœ]Ê>ÃÊÕÃÃiÀÊi“«…>ÈÃiÃ]Êw“ÃÊ were often programmed across an evening’s entertainment to create narrative coherence. Slugan points to the preponderance of narrative in other cultural forms of ̅iÊ`>ÞÊqʏˆÌiÀ>ÌÕÀi]Ê̅i>ÌÀi]ʓÕÈVʅ>ÊqÊÏ>˜Ìˆ˜}Ê̅iÊ>Õ`ˆi˜Vi½ÃÊ>ÌÌi˜Ìˆœ˜Ê̜Ü>À`ÃÊ>Ê w“½ÃÊÃ̜Àޏˆ˜iÊÀ>̅iÀÊ̅>˜Ê̅iʼ>ÌÌÀ>V̈œ˜Ã½ÊœvÊ̅iÊÌiV…˜œœ}Þ°Ê iÛiÀ̅iiÃÃ]ÊÜiÊV>˜Ê >VVi«ÌÊ՘˜ˆ˜}½ÃÊ̅iÈÃÊ̅>ÌÊ̅iʈ˜ÌœÝˆV>̈œ˜ÊœvÊi>ÀÞÊw“Ê>Õ`ˆi˜ViÃÊÜ>ÃÊ>V…ˆiÛi`Ê >Ìʏi>ÃÌʈ˜Ê«>ÀÌÊLÞÊ«ÀiÃi˜Ìˆ˜}ÊVˆ˜i“>Ê>ÃÊ>ÊÌiV…˜œœ}ˆV>ÊëiVÌ>Vi°Ê/…iÊiÝVˆÌi“i˜ÌÊ aroused by the capabilities of each new vision machine survives even in the parallel and eventually dominant development of Hollywood productions that effaced the technology in the service of narrative. ˜Ê ëˆÌiÊ œvÊ Ì…iÊ ˜ii`Ê vœÀÊ ÃÌÀˆVÌÊ Ài«ÀiÃi˜Ì>̈œ˜>Ê Vœ`iÃÊ ˆ˜Ê w“Ê i˜ÌiÀÌ>ˆ˜“i˜Ì]Ê ÌiV…˜ˆV>Ê>`Û>˜ViÃÊVœ˜Ìˆ˜Õi`Ê̜ʫÀœÛˆ`iʓœ“i˜ÌÃʜvʼ>iÃ̅ïVÊ>Ã̜˜ˆÃ…“i˜Ì½]ÊLi}ˆ˜˜ˆ˜}Ê܈̅ʓœLˆiÊV>“iÀ>Ã]Ê̅iʈ˜ÌÀœ`ÕV̈œ˜Êˆ˜Ê̅iÊ£™ÓäÃʜvÊÃޘV…Àœ˜ˆÃi`ÊÜ՘`Ê and in the 1910s of colour. 35Ê/iiۈȜ˜ÊLÀœÕ}…ÌʈÌÃʜܘÊÌiV…˜œœ}ˆV>Ê“>ÀÛiÃ]ÊÕ«ÊÌœÊ >˜`ʈ˜VÕ`ˆ˜}ʅˆ}…Ê`iw˜ˆÌˆœ˜ÊˆÛiÊLÀœ>`V>Ã̈˜}Ê>˜`ÊiÛi˜Êˆ˜Ê̅iʘiÜÊ`ˆ}ˆÌ>Ê>}i]Êiiments of techno-showmanship are discernible in mainstream moving image culture Ài“ˆ˜ˆÃVi˜ÌʜvÊ̅œÃiÊ>`œÀ˜ˆ˜}Ê̅iʈ˜v>˜VÞʜvÊw“°Ê6ˆ`iœÊ}>“iÃ]ʈ˜ÌiÀ>V̈ÛiʓœÛˆiÃÊ such as Mike Figgis’s Time CodeÊ­Óäää®]Ê̅iÊëiVÌ>VՏ>ÀÊ ÊivviVÌÃÊ`iÛiœ«i`ÊLÞÊ Vœ“«>˜ˆiÃʏˆŽiÊ*ˆÝ>À]Ê̅iʓœÌˆœ˜ÊV>«ÌÕÀiÊÌiV…˜ˆµÕiÃÊ`iۈÃi`ÊLÞÊ>“iÃÊ >“iÀœ˜ÊvœÀÊ …ˆÃʏˆÛi‡>V̈œ˜É>˜ˆ“>Ìi`Êv>˜Ì>ÃÞÊAvatar (2009) and the new wonders of 3D all return `i`ˆV>Ìi`ÊVˆ˜i«…ˆiÃÊ̜Ê̅iÊÃ>“iÊVœ˜`ˆÌˆœ˜ÊœvÊ«iÀVi«ÌÕ>Ê>Üi°ÊœÜiÛiÀ]ʈÌʈÃʈ˜Ê̅iÊ realm of art and underground film that we find the most resonant tributes to the operating structures and aesthetic preoccupations of early cinema. As the story of film ՘vœ`Ã]ʈÌʈÃÊ«œÃÈLiÊ̜ʈ`i˜ÌˆvÞÊ«œˆ˜ÌÃʜvÊVœ˜ÛiÀ}i˜ViÊLiÌÜii˜Êˆ˜Vˆ«ˆi˜Ìʓœ`iÃʜvÊ w“Ê«ÀiÃi˜Ì>̈œ˜Ê>˜`ʏ>ÌiÀÊiÝ«>˜`i`ÊVˆ˜i“>̈VÊ«À>V̈ViÃʈ˜Ê̅iÊ£™ÈäÃÊ>ÃÊÜiÊ>ÃÊ contemporary moving image installation – correspondences that revolve around a common emphasis on the staging of the work. ÞÊ̅iÊ£™ÓäÃ]ʓœÛˆiÃÊÜiÀiÊLiˆ˜}ÊÃVÀii˜i`ʈ˜Êœ«Õi˜ÌÊÃÕÀÀœÕ˜`ˆ˜}Ã]ʈ˜Ê̅iÊ}ˆÌÌiÀing picture palaces of the epoch. The films themselves were bookended by live acts and interrupted by musical interludes and the whole line-up of entertainment was Üi`i`ÊLÞÊ̅iÊVœ˜˜iV̈ÛiÊ̈ÃÃÕiʜvÊ̅iÊy>“LœÞ>˜Ìʓ>ÃÌiÀÃʜvÊViÀi“œ˜Þ]Ê܅œ]Ê>Ãʈ˜Ê ̅iÊi>ÀˆiÀʓ>}ˆVʏ>˜ÌiÀ˜ÊŜÜÃ]Êi˜VœÕÀ>}i`Ê>Õ`ˆi˜ViÃÊ̜ÊÀi뜘`Ê뜘Ì>˜iœÕÏÞÊ ÌœÊ̅iÊ>ÌÌÀ>V̈œ˜ÃÊ«>À>`i`ÊLivœÀiÊ̅i“°Ê “Li``i`ʈ˜Ê>ʎˆ˜`ʜvÊÛ>ÀˆiÌÞÊ̅i>ÌÀi]Ê̅iÊ illusionism of film was mitigated by live events and the distancing effects of noisily «ÀiÃi˜ÌÊviœÜÊëiVÌ>̜ÀðÊ/…iʈ˜Ìi}À>̈œ˜ÊœvʓœÛˆ˜}ʈ“>}iÊ܈̅ʏˆÛiÊ«iÀvœÀ“>˜Vi]Ê ÜˆÌ…Ê“>ÌiÀˆ>Ê«Àœ«Ã]ÊÛ>Àˆ>Liʏˆ}…̈˜}Ê>˜`Ê>Õ`ˆi˜ViÊ«>À̈Vˆ«>̈œ˜ÊÜ>ÃÊV…>À>VÌiÀˆÃ̈VÊ

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of early film presentations and finds echoes in contemporary installation art. In both V>ÃiÃ]Ê̅iÊÃÌ>}ˆ˜}ʜvÊ̅iʈ“>}ˆ˜}ÊÌiV…˜œœ}ÞʈÃÊVÀˆÌˆV>Ê̜ʈÌÃʈ“«>VÌÊ>˜`ʈ˜ÌiÀ˜>Êœ}ˆV]Ê̅iÊۈȜ˜Ê`iۈViÃÊ>ÃʓÕV…Ê>Ê«>ÀÌʜvÊ̅iÊŜÜÊ>ÃÊ̅iʈ“«ÀiÃȜ˜ÃʜvÊÀi>ˆÌÞÊ̅iÞÊ generate. Both manifestations of film induce an oscillation between hallucinogenic immersion in a simulated environment and embodied engagement with concrete reality. The spectatorial encounter with the work as event in early film and the marshalling of mediums of mass entertainment recur in artist’s engagement with the “œÛˆ˜}ʈ“>}iʈ˜Ê}i˜iÀ>]Ê>˜`ʈ˜ÃÌ>>̈œ˜Ê>˜`Ê̅iʓœÛˆ˜}ʈ“>}iʈ˜Ê«>À̈VՏ>À°Ê /…iÊ«iÀvœÀ“>̈ÛiÊ>˜`ÊÀiyi݈ÛiÊÃÌÀ>Ìi}ˆiÃʜvÊi>ÀÞÊVˆ˜i“>̜}À>«…ˆVÊ«À>V̈̈œ˜iÀÃÊ Ì…ÕÃÊ ÌÀ>˜Ã“ÕÌi`Ê ˆ˜ÌœÊ ̅iÊ iÝ«iÀˆ“i˜Ì>Ê ÌÀ>`ˆÌˆœ˜ÃÊ œvÊ Ì…iÊ ÌÜi˜ÌˆiÌ…Ê Vi˜ÌÕÀÞÊ >Û>˜Ì‡ }>À`i°Ê i>˜Ü…ˆi]Ê >ÃÊ Ê …>ÛiÊ ÃÕ}}iÃÌi`]Ê Ì…iÊ LÕÀ}iœ˜ˆ˜}Ê w“Ê ˆ˜`ÕÃÌÀÞÊ >˜`]Ê >ÌiÀ]Ê ÌiiۈȜ˜]Ê ˜œÌ܈̅ÃÌ>˜`ˆ˜}Ê Ì…iˆÀÊ Vœ““ˆÌ“i˜ÌÊ ÌœÊ ÌiV…˜œœ}ˆV>Ê ˆ˜˜œÛ>̈œ˜]Ê `iÛioped a separate cinematic practice in which the apparatus of cinema was pressed into the service of verisimilitude and fictional narrative. The iconoclastic ferment of ̅iÊ£™ÈäÃ]Ê̜}i̅iÀÊ܈̅Ê̅iÊÀiiV̈œ˜ÊœvÊÀi>ˆÃ“ʈ˜Ê̅iʓœ`iÀ˜ˆÃÌÊ«iÀˆœ`]Ê}>ÛiÊÀˆÃiÊ ÌœÊiÝ«iÀˆ“i˜Ì>Ê“œÛˆ˜}ʈ“>}iʈ˜Ê܅ˆV…Ê̅iÊÌiV…˜ˆV>Ê`iۈViÃʜvÊw“Ê>˜`Êۈ`iœÊÜiÀiÊ œ˜ViÊ>}>ˆ˜Ê̅iʓ>ˆ˜Ê«ÀœÌ>}œ˜ˆÃÌÃʈ˜Ê̅iÊVˆ˜i“>̈VÊi˜VœÕ˜ÌiÀ]Ê܅ˆiÊ̅iˆÀʈÕȜ˜ˆÃÌÊ capabilities were systematically dismantled and reconstituted in what Raymond iœÕÀÊV>i`ʼ“Տ̈«iÊVˆ˜i“>ý° 36ÊœÜiÛiÀ]ÊLivœÀiÊňv̈˜}ʜ˜ÌœÊ̅iÊÌiÀÀ>ˆ˜ÊœvÊ>Û>˜Ì‡ }>À`iÊ w“ˆVÊ «À>V̈ViÃ]Ê Ê ÜœÕ`Ê ˆŽiÊ ÌœÊ Ì>ŽiÊ >Ê LÀˆivÊ iÝVÕÀȜ˜Ê ˆ˜ÌœÊ “>ˆ˜ÃÌÀi>“Ê w“Ê …ˆÃ̜ÀÞ]Ê܅ˆV…]ÊvœÀʓ>˜ÞÊÜ>ÃÊ̅iÊÃÌ>À̈˜}Ê«œˆ˜ÌÊvœÀÊ`iÛiœ«ˆ˜}Ê>˜Ê>ÌiÀ˜>̈ÛiÊ«À>V̈ViÊ within the realm of art.

THE EVOLUTION OF MAINSTREAM NARRATIVE FILM Two film pieces of any kind, placed together, inevitably combine into a new concept, a new quality arising out of that juxtaposition. Sergei Eisenstein37
Ì…œÕ}…Ê“>˜ÞÊvi>ÌÕÀiÃʜvÊi>ÀÞÊVˆ˜i“>Ê«iÀÈÃÌʈ˜ÊLœÌ…]Ê̅iÊLˆvÕÀV>̈œ˜ÊœvÊw“ʈ˜ÌœÊ ̅iÊiÝ«iÀˆ“i˜Ì>Ê>Û>˜Ì‡}>À`iÊ>˜`ʓ>ˆ˜ÃÌÀi>“ʘ>ÀÀ>̈ÛiÊVˆ˜i“>ʈ˜Ìi˜`i`ÊvœÀʓ>ÃÃÊ audiences began in 1910 and was well under way by the early 1920s. Early cinema …>`Ê̜ʜÛiÀVœ“iÊ̅iÊ«ÀœLi“Ê̅>ÌÊ>Õ`ˆi˜ViÃʜvÊ̅iÊȏi˜ÌÊÃVÀii˜Ê˜ii`i`Ê̜ʼ՘`iÀÃÌ>˜`Ê̅iÊV>ÕÃ>]Êë>̈>]Ê>˜`ÊÌi“«œÀ>ÊÀi>̈œ˜Ã½ÊœvÊ>Êw“°38Ê7ˆÌ…œÕÌÊÜ՘`]ÊV…>˜}iÃÊ of scene or the introduction of new characters could be confusing and a live narrator Ü>ÃÊ œvÌi˜Ê ÀiµÕˆÀi`Ê ÌœÊ iÝ«>ˆ˜Ê ̅iÊ «œÌ°Ê >ÀÞÊ `ˆÀiV̜ÀÃÊ }À>`Õ>ÞÊ `iÛiœ«i`Ê >Ê Vˆ˜ematic vocabulary that communicated their stories more effectively and a regime of representation evolved of such familiarity today that we are largely unaware of ˆÌÃʜ«iÀ>̈œ˜Ãʈ˜Ê̅iÊÃÌÀÕVÌÕÀˆ˜}ʜvÊ̅iÊw“ˆVÊiÝ«iÀˆi˜Vi°Ê/…iÃiÊi>ÀÞʓ>ˆ˜ÃÌÀi>“Ê

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`iۈViÃʈ˜VÕ`i`Êw“ˆ˜}Ê̅iÊ>V̈œ˜Êˆ˜Ê`i«Ì…ÊÀ>̅iÀÊ̅>˜ÊÈÌÕ>̈˜}ʈÌʈ˜Ê>Êy>Ì]Ê̅i>ÌÀˆV>ÊÃÌ>}ˆ˜}°Ê œlÊ ÕÀV…ÊÀiVœÀ`ÃÊ̅>ÌÊiœÀ}iÃÊjˆmÃÊÕÃi`ÊVœœÕÀÊ̜ÊVÀi>ÌiÊ`i«Ì…ʈ˜Ê otherwise flat images. 39 Lighting was now designed to match the time of day sug}iÃÌi`ÊLÞÊ̅iÊÃVi˜>Àˆœ°Ê-…œÌÉÀiÛiÀÃi‡Ã…œÌÃÊVÀi>Ìi`Ê>ʼë>̈>Êˆ˜Ìi}ÀˆÌÞ½]ÊVœÃi‡Õ«ÃʜvÊ >V̜ÀÃÊ>œÜi`ÊvœÀÊ}Ài>ÌiÀÊ՘`iÀÃÌ>˜`ˆ˜}ʜvÊi“œÌˆœ˜Ê>˜`ʓœÌˆÛ>̈œ˜Ê>˜`]ÊvÀœ“Ê£™äx]Ê intertitles filled in the potential gaps in audiences’ understanding of the scenario.40Ê `ˆÌˆ˜}Ê «ÀœÛˆ`i`Ê Vœ˜Ìˆ˜ÕˆÌÞ]Ê ¼Õ˜LÀœŽi˜Ê Vœ˜˜iV̈œ˜½Ê LiÌÜii˜Ê ŜÌÃÊ >˜`Ê ÛˆÃÕ>Ê VÕiÃÊÜiÀiÊÕÃi`Ê̜ÊÃÕ}}iÃÌÊ̈“iÊyœÜˆ˜}ÊV…Àœ˜œœ}ˆV>ÞÊ>VÀœÃÃÊÌܜÊŜÌÃ]ʜÀÊ̈“iÊ elapsing between them. 41 Vitagraph’s The 100-to-One Shot (1906) is regarded as the wÀÃÌÊiÝ>“«iʜvʈ˜ÌiÀVÕÌ̈˜}ʜÀÊ«>À>iÊi`ˆÌˆ˜}]Ê̅>ÌʈÃ]ÊVÀœÃÇVÕÌ̈˜}ÊLiÌÜii˜ÊÌÜœÊ Ãˆ“ՏÌ>˜iœÕÃÊiÛi˜ÌðÊ-ˆ˜}i‡Ã…œÌÊŜÀÌʼ>ÌÌÀ>V̈œ˜Ã½ÊÜiÀiÊÀi«>Vi`ÊLÞʏœ˜}iÀÊܜÀŽÃÊ and D. W. Griffith developed parallel editing uniting three concurrent events in The Lonely Villa (1909). Contiguity editing created the illusion that a character walks into >ÊÃVi˜iÊvÀœ“Êœ˜iÊ`ˆÀiV̈œ˜]ÊvœœÜÃÊ>ʏœ}ˆV>Êë>̈>ÊÌÀ>iV̜ÀÞÊ>˜`Êi݈ÌÃÊ̅iÊvÀ>“i°Ê˜Ê ̅iʘiÝÌÊŜÌ]ÊÅiÊÀi>««i>ÀÃʈ˜Ê>Ê`ˆvviÀi˜ÌʏœV>̈œ˜]Ê>««>Ài˜ÌÞÊ>`>Vi˜ÌÊ̜Ê̅iʜ˜iÊ Ã…iʅ>ÃʍÕÃÌÊ`i«>ÀÌi`°Ê/…iÊ£näcÊÀՏiÊÜ>ÃÊ`iÛiœ«i`ʈ˜Ê܅ˆV…Ê̅iÊV>“iÀ>ʈÃÊÀiÃÌÀˆVÌed to an imaginary semi-circle so that the viewer is able to maintain a consistent orientation of the figures in shot. Cameras were positioned to embody the point of view of different characters and directors matched the eyelines of the protagonist ̜Ê`iÌ>ˆÊVÕÌ>Ü>ÞÃÊ̅>ÌÊvœœÜi`Ê̅iˆÀÊ}>âi°Ê"̅iÀ]ʘœÜÊv>“ˆˆ>ÀÊ`iۈViÃÊVœ˜`i˜Ãi`Ê Ìˆ“iÊ̜ʓ>ŽiÊV…>À>VÌiÀÃÊÜ>ŽiÊիʈ˜Ê̅iÊvÕÌÕÀi]ʜÀÊÀiÌÕÀ˜Ê̜Ê̅iÊ«>ÃÌʈ˜Êy>ÅL>VŽÃ°Ê œÕLiÊiÝ«œÃÕÀiÊ­Ã>ˆ`Ê̜ʅ>ÛiÊLii˜Êˆ˜Ûi˜Ìi`ÊLÞÊjˆmîʈ˜ÌÀœ`ÕVi`ÊÃÕÀÀi>]ÊVœ“ˆV>ÊœÀÊ՘V>˜˜ÞÊivviVÌÃÊ>˜`ʓœÀiʓœLˆiÊV>“iÀ>Ãʅ>˜`‡…i`ʜÀʜ˜ÊÌÀ>VŽÃ]Êi˜>Li`Ê œ˜}iÀÊÃiµÕi˜ViÃÊ̜ÊLiÊŜÌÊVœ˜Ìˆ˜ÕœÕÏÞÊ>``ˆ˜}Ê̜Ê̅iÊÃi˜ÃiʜvÊ>ʏˆÛi`]ʜ˜‡ÃVÀii˜Ê reality. The studios became larger and more elaborate providing a deeper pictorial ë>ViÊ>˜`ÊvœœÜˆ˜}Ê̅iʈ˜ÌÀœ`ÕV̈œ˜ÊœvÊÜ՘`]Ê>V̈˜}ÊLiV>“iʏiÃÃÊiÝ>}}iÀ>Ìi`Ê>˜`Ê more naturalistic. The addition of artificial light and painted backdrops increased the Vœ˜ÌÀœÊw““>ŽiÀÃÊVœÕ`Ê܈i`ʜÛiÀÊ̅iÊ`Ài>“Ê“>V…ˆ˜i]Ê>˜`Ê̅iʓ>˜ˆ«Õ>̈œ˜ÊœvÊ̅iÊ medium became less and less perceptible as the verisimilitude of the scene depicted on screen gradually improved until today’s high-definition images and quadraphonic sound offer the viewer immersion in a staggeringly believable parallel universe. 42 The rules of engagement developed in mainstream film were set up like ducks at ̅iÊv>ˆÀ}ÀœÕ˜`Ê̜ÊLiÊŜÌÊ`œÜ˜ÊLÞÊÃÕVViÃÈÛiÊ}i˜iÀ>̈œ˜ÃʜvÊiÝ«iÀˆ“i˜Ì>Êw“Ê>˜`Ê Ûˆ`iœ“>ŽiÀÃ]Ê܈̅Ê̅iʓœÃÌÊi˜iÀ}ïVʜ˜Ã>Õ}…ÌÊLiˆ˜}ʏ>՘V…i`ʈ˜Ê̅iÊ£™ÈäÃÊ>˜`Ê £™ÇäðÊ/…ˆÃÊ̜œŽÊ̅iÊvœÀ“ÊœvÊ>ÊÌܜ‡«Àœ˜}i`Ê>ÌÌ>VŽ]ʜ˜iÊVœ“ˆ˜}ÊvÀœ“Ê>À̈ÃÌýʫÀ>V̈ViÊ >˜`Ê̅iʜ̅iÀÊ`ˆÃV…>À}i`Ê>ÃÊ>ÊÃV…œ>ÀÞÊVÀˆÌˆµÕiʜvÊëiVÌ>̜Àň«]ÊLi}ˆ˜˜ˆ˜}Ê܈̅Ê̅iÊ condemnation of film as a one-way system of communication. As Geoffrey Nowell-“ˆÌ…Ê >À}Õi`Ê ¼Ì…iÀiÊ ˆÃÊ ˜œÊ ÀiVˆ«ÀœVˆÌÞ\Ê Ü…i˜Ê ޜÕÊ >ÀiÊ Ü>ÌV…ˆ˜}Ê >Ê “œÛˆi]Ê ÞœÕÊ >Ài˜½ÌÊ “>Žˆ˜}ʜ˜iÊ°°°ÊvÀiiÊiÝV…>˜}iÊi݈ÃÌÃʜ˜ÞÊ>ÃÊ>ÊÀiÈ`Õ>ÊLÕÌÊÌi˜>VˆœÕÃʓÞ̅½° 43 A concept of spectatorship promulgated in the 1970s by Christian Metz cast the viewer

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INSTALLATION AND THE MOVING IMAGE

>ÃÊ>ʅi«iÃÃÊ`Õ«i]Ê}Àˆ««i`ÊLÞÊ>ʘ>ÀVˆÃÈÃ̈V]ʅޫ˜>}œ}ˆVÊVœ˜`ˆÌˆœ˜°44 Mainstream ÌiiۈȜ˜Ê>˜`ÊVˆ˜i“>ÊÜiÀiÊ`ˆÃ“ˆÃÃi`Ê>ÃÊ̅iÊÃiÀÛ>˜ÌÃʜvÊ̅iÊÃÌ>ÌiÊiÝiÀVˆÃˆ˜}Ê>ÊvœÀ“Ê œvÊÜVˆ>ÊVœ˜ÌÀœÊ̅ÀœÕ}…Ê“>ÃÃʅ>ÕVˆ˜>̈œ˜]Ê>˜Ê>VVÕÃ>̈œ˜ÊÀi“ˆ˜ˆÃVi˜ÌʜvÊ>ÀݽÃÊ imputation of religion as the opiate of a gullible populace. We will return to this topic in the following chapter.

EUROPEAN ART CINEMA, ABSTRACT FILM AND RUSSIAN MONTAGE Although avant-garde artists and theorists of the 1960s can pride themselves on “>ÃÌiÀ“ˆ˜`ˆ˜}Ê̅iʓœÃÌÊۜVˆviÀœÕÃÊ>˜Ìˆ‡˜>ÀÀ>̈ÛiÊ«…>Ãiʈ˜Ê“œÛˆ˜}ʈ“>}iʅˆÃ̜ÀÞ]Ê throughout the century there were artist-filmmakers who already saw greater possibilities in the new medium of film than the mere dissemination of popular stories. iÀ“>ˆ˜iÊ Õ>V]ʜ˜iʜvÊ̅iʏՓˆ˜>ÀˆiÃʜvÊÀi˜V…Ê“«ÀiÃȜ˜ˆÃÌÊVˆ˜i“>ʈ˜ÃˆÃÌi`Ê̅>ÌÊ w“ÊVœ˜Ã̈ÌÕÌiÃÊ>˜Ê>Õ̜˜œ“œÕÃÊ«À>V̈Vi]Ê>˜Ê¼œÀˆ}ˆ˜>½Ê>ÀÌÊ°°°Ê>˜Ê>ÀÌʜvʈ˜ÌiÀˆœÀʏˆviÊ>˜`Ê of sensation’. 45ʘÊ̅iÊ£™ÓäÃÊ>˜`Ê£™ÎäÃÊ Õ>VÊ>œ˜}Ê܈̅ÊÀi˜V…ÊVœ“«>ÌÀˆœÌÃÊi>˜Ê

«ÃÌiˆ˜Ê>˜`Êi>˜Ê,i˜œˆÀ]Ê>˜`Ê܈̅ÊiµÕˆÛ>i˜ÌÃʈ˜Ê,ÕÃÈ>]ÊiÀ“>˜ÞÊ>˜`ÊiÃi܅iÀiÊ ˆ˜Ê ÕÀœ«i]ÊܜÀŽi`Ê̜ÊÀiÃÕÀÀiVÌÊ̅iÊۈȜ˜>ÀÞÊëˆÀˆÌʜvÊ̅iÊ«ˆœ˜iiÀÃÊ܅œÊwÀÃÌÊ`iÛioped the art of moving pictures. These early twentieth century filmmakers created ܅>Ìʅ>ÃÊLii˜ÊÛ>ÀˆœÕÏÞÊ`iÃVÀˆLi`Ê>ÃÊ̅iʘ>ÀÀ>̈ÛiÊ>Û>˜Ì‡}>À`i]ÊwÀÃÌÊ>Û>˜Ì‡}>À`iÊ œÀÊ>ÀÌÊVˆ˜i“>]Ê̜Ê`ˆÃ̈˜}ՈÅÊ̅iˆÀÊ«À>V̈ViÊvÀœ“Ê>Û>˜Ì‡}>À`iÊܜÀŽÃÊ`iÃVi˜`ˆ˜}ÊvÀœ“Ê

ÕLˆÃ“Ê >˜`Ê ÕÌÕÀˆÃ“Ê œÀÊ iÛi˜Ê ̅iÊ “œÀiÊ iÝ«iÀˆ“i˜Ì>Ê vÀˆ˜}iÃÊ œvÊ Ì…iÊ “>ˆ˜ÃÌÀi>“°Ê œÜiÛiÀ]Ê>ÃÊ
°Ê°Ê,iiÃʅ>ÃÊ>À}Õi`]Ê̅iÀiÊÜ>ÃʓÕV…ÊÌÀ>vwVÊLiÌÜii˜Ê̅iÊ`ˆvviÀi˜ÌÊÌi˜`i˜VˆiÃ]ÊÜiÊˆ˜ÌœÊ̅iÊ£™{äÃÊ>˜`Ê£™xäÃ]Ê>˜`ʅiÊ>`ۈÃiÃÊÃiiˆ˜}Ê̅i“ʼVœiV̈ÛiÞÊ°°°Ê as part of a new cinema outside the commercial genres’ dominated by Hollywood. 46 ˜Ê̅iÊ£™xäÃ]ÊÀ>˜XœˆÃÊ/ÀÕvv>ÕÌÊ>˜`Ê̅iÊ«iÀˆœ`ˆV>ÊCahiers du cinéma launched ̅iÊVœ˜Vi«ÌʜvÊ̅iʼ>ÕÌiÕÀ½]Ê`i˜œÌˆ˜}Ê̅iÊ`ˆÀiV̜ÀÊ܅œÃiÊȘ}Տ>ÀÊۈȜ˜ÊˆÃÊi“Lœ`ˆi`Ê ˆ˜Ê̅iÊw“]Ê܅œÃiÊ>iÃ̅ïVÊÃi˜ÃˆLˆˆÌÞʅœ`ÃÊ̅iʎiÞÊ̜Ê̅iʓi>˜ˆ˜}ʜvÊ>ÊܜÀŽ°Ê/…ˆÃÊ is a notion of authorship that chimed with filmmakers emerging directly from a fine >ÀÌÊÌÀ>`ˆÌˆœ˜Ê>˜`Ê܅œ]ʏˆŽiÊ>Ê>À̈ÃÌÃ]ÊÃ>ÜÊ̅i“ÃiÛiÃÊ>Ãʈ˜`ˆÛˆ`Õ>ÊVÀi>̈ÛiÊ>}i˜ÌÃ]Ê i˜}>}i`ʈ˜Ê Տ>V½Ãʼ>ÀÌʜvʈ˜ÌiÀˆœÀʏˆviÊ>˜`ÊÃi˜Ã>̈œ˜½°Ê˜Ê̅iÊ£™ÓäÃ]Ê̅iÊV…ˆ>ÀœÃVÕÀœÊ>ÀÌÊVˆ˜i“>ʜvÊiÀ“>˜Ê Ý«ÀiÃȜ˜ˆÃ“ÊiÝ«œÀi`Ê̅iÊ`>ÀŽ˜iÃÃʜvÊ̅iʅՓ>˜ÊÜՏ]Ê echoing the religious superstitions underlying the phantasmagoria of early magic >˜ÌiÀ˜ÊŜÜðÊ/…iÃiʜ̅ˆVÊÃ>}>ÃʓˆÀÀœÀi`Ê̅i“iÃʜvʓ>`˜iÃÃ]Êܓ˜>“LՏˆÃ“]Ê «œÃÃiÃȜ˜Ê>˜`Ê`i>̅]ÊVՏ“ˆ˜>̈˜}ʈ˜Ê°Ê7°ÊÕÀ˜>Õ½ÃÊNosferatuÊ­£™ÓÓ®]Ê>Ê«>À>LiʜvÊ À>Vˆ>Ê>˜`ÊÃiÝÕ>Ê«ÕÀˆÌÞÊVœ˜Ì>“ˆ˜>Ìi`ÊLÞÊ̅iÊ«Ài`>̜ÀÞʼœÌ…iÀ½]Ê>Ê`i“œ˜ˆVÊvœÀViÊ̅>ÌÊ V>“iÊvÀœ“Ê̅iÊ >ÃÌ°Ê œ˜VÕÀÀi˜ÌÞ]Ê̅iÊw““>ŽiÀÃʜvÊ >`>Ê>˜`Ê-ÕÀÀi>ˆÃ“Ê“ˆ˜i`Ê̅iÊ Vœ“«ï݈iÃʜvÊ̅iʈ˜`ˆÛˆ`Õ>Ê«ÃÞV…iÊLÞÊVÀi>̈˜}Êv>˜Ì>Ã̈V>Ê`Ài>“ÃV>«iÃÊiۜŽˆ˜}Ê the repressed desires and drives being uncovered by Freudian psychoanalysts. The

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filmmakers used incongruous images to short circuit the rational mind and unlock the secrets of the unconscious including the propensity for criminal violence as was inferred in Luis Buñuel and Salvador Dalí’s classic Un Chien Andalou (1928) in which a man appears to slice into a woman’s eye with a cutthroat razor. In the 1940s and £™xäÃ]Ê̅iÊ>À̈Ã̽Ãʈ“>}ˆ˜>̈œ˜ÊÜ>ÃÊiÝ«œÀi`ʈ˜Ê>ʏÞÀˆV>]ʘœ˜‡˜>ÀÀ>̈ÛiÊ>˜`ʈ“«ÀiÃsionistic genre of filmmaking manifesting simultaneously in different parts of the ܜÀ`°ÊœÀʈ˜ÃÌ>˜Vi]Ê>Þ>Ê iÀi˜ÊܜÀŽˆ˜}ʈ˜Ê̅iÊ1-
Ê`ˆÀiVÌi`ʅiÀÃivʈ˜ÊMeshes of the AfternoonÊ­£™{ή]Ê>ʓi`ˆÌ>̈œ˜Êœ˜Ê>Êޜ՘}Êܜ“>˜½ÃÊÀiÛiÀˆiÃÊV…>À>VÌiÀˆÃi`ÊLÞÊ>Ê languid eroticism but overshadowed by intimations of impending doom. A continent >Ü>Þ]Ê >À}>ÀiÌÊ />ˆÌ]Ê ˆÃœ>Ìi`Ê ˆ˜Ê ̅iÊ -VœÌÌˆÃ…Ê "ÀŽ˜iÞÃ]Ê >ÃœÊ À>ˆÃi`Ê Ì…iÊ µÕiÃ̈œ˜Ê œvÊ }i˜`iÀi`ÊÃÕLiV̈ۈÌÞ]Ê܅>ÌÊÅiÊV>i`Ê̅iʼ>̓œÃ«…iÀi½ÊœvÊ̅iʓ>ŽiÀ]ÊLÕÌÊLÞʓi>˜ÃÊ œvÊ>Ê«œïVʈ˜ÌiÀ>V̈œ˜Ê܈̅Ê>ÊÈÌÕ>Ìi`]ʈ˜`ˆ}i˜œÕÃʏ>˜`ÃV>«i°Ê œÌ…Êܜ“i˜ÊiÝiÀVˆÃi`Ê >Ê «ÀœvœÕ˜`Ê ˆ˜yÕi˜ViÊ œ˜Ê ܜ“i˜Ê w“‡Ê >˜`Ê Ûˆ`iœ“>ŽiÀÃÊ œvÊ Ì…iÊ £™ÇäÃÊ >˜`Ê £™näÃ]Ê ˆ˜VÕ`ˆ˜}Ê->ÞÊ*œÌÌiÀ]Ê>ޘiÊ*>ÀŽiÀ]Ê->À>…Ê*ÕVˆÊ>˜`Ê ˆ˜>Ê >˜ˆ˜œ°Ê/…iÃiÊ>À̈ÃÌÃÊÃÕLiVÌi`Ê̅iˆÀÊiÝ«iÀˆi˜ViÊ̜Êvi“ˆ˜ˆÃÌÊ>˜>ÞÈÃ]Ê«œÃˆÌˆœ˜ˆ˜}Ê̅iʈ˜`ˆÛˆ`Õ>Êˆ˜Ê>Ê}i˜`iÀi`Ê «œˆÌˆV>ÊvÀ>“iܜÀŽ]Ê܅ˆÃÌÊȓՏÌ>˜iœÕÏÞʓ>ˆ˜Ì>ˆ˜ˆ˜}Ê>ʏÞÀˆV>ÊÃi˜ÃˆLˆˆÌÞÊ`iÀˆÛi`Ê from Deren and Tait. 7…ˆiÊw“ÊÜ>ÃÊLiˆ˜}ÊiiÛ>Ìi`Ê̜Ê>˜Ê>ÀÌÊvœÀ“ʈ˜Ê ÕÀœ«i>˜ÊVˆ˜i“>]Ê̅iÀiÊi“iÀ}i`Ê >ÊȓՏÌ>˜iœÕÃÊi“«…>ÈÃʜ˜Ê̅iÊ>À̈Ã>˜>]Ê܅ˆV…Ê«ÀœÛi`ÊVÀˆÌˆV>ÊvœÀÊܜ“i˜½ÃÊ«>À̈Vˆ«>̈œ˜Êˆ˜Ê̅iÊLÕÀ}iœ˜ˆ˜}ʓi`ˆÕ“°Ê˜Ê̅iÊ£™£äÃ]ÊiÀ“>ˆ˜iÊ Õ>Vʏi>À˜i`Ê̅iÊw“Ê ÌÀ>`iÊLÞÊ}iÌ̈˜}ʈ˜ÛœÛi`ʈ˜Ê>ÊÃÌ>}iÃʜvÊ«Àœ`ÕV̈œ˜Ê>˜`Ê«œÃ̇«Àœ`ÕV̈œ˜\ʼÌʈÃʜ˜ÞÊ LÞÊ`iÛiœ«ˆ˜}ʈ`i>ÃʓÞÃiv]ÊiÝ«œÀˆ˜}ÊÃi˜Ã>̈œ˜Ã]ʓ>˜ˆ«Õ>̈˜}Ê̅iʏˆ}…ÌÃ]Ê̅iÊ>««>À>ÌÕÃ]Ê Ì…>ÌÊ LÞÊ Ì…iÊ i˜`Ê œvÊ “ÞÊ wÀÃÌÊ w“]Ê Ê Õ˜`iÀÃ̜œ`Ê Ü…>ÌÊ Ü>ÃÊ Vˆ˜i“>°½47 In the i>ÀÞÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞ]Ê̅iÊ«ÀœvœÕ˜`Êi˜}>}i“i˜ÌÊ܈̅Ê̅iʓ>˜Õ>]ʓiV…>˜ˆV>Ê>˜`Ê ­>®V…i“ˆV>Ê«ÀœViÃÃiÃʜvÊw““>Žˆ˜}Ê>ÃœÊ«ÀœÛˆ`i`Ê̅iʈ“«iÌÕÃÊvœÀÊ̅iÊiÝ«>˜`i`Ê Vˆ˜i“>̈VÊ«À>V̈ViÃʜvÊ̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃ]Ê>ÃÊÜiÊÅ>ÊÃiiʈ˜Ê̅iÊvœœÜˆ˜}ÊV…>«ters. Many avant-garde artists drew inspiration from the hand-made abstract films œvÊ̅iÊ£™ÓäÃÊ̅>ÌʏˆŽiÊ Õ>V½Ãʼ>ÀÌʜvÊÃi˜Ã>̈œ˜½]ÊÜÕ}…ÌÊ̜ÊÃ̈ÀÊ̅iÊi“œÌˆœ˜Ãʈ˜Ê̅iÊ “œ“i˜Ì]Ê̅ÀœÕ}…Ê«ÕÀiÊÀ…Þ̅“]ÊvœÀ“]ÊVœœÕÀÊ>˜`ÊۈÃÕ>Ê…>À“œ˜ˆiÃ]Ê}ÀœÕ˜`i`ʈ˜Ê>À̈Ã>˜>]Ê …>˜`ǜ˜Ê ÌiV…˜ˆµÕiðÊ
À̈ÃÌÃÊ ÃÕV…Ê >ÃÊ >ÀÞÊ i˜Ê ÕÌi]Ê "Î>ÀÊ ˆÃV…ˆ˜}iÀ]Ê Walter Ruttman and Len Lye painted successive images onto glass plates and animated them frame by frame. They worked directly onto clear film stock to cre>ÌiʫՏÃ>̈˜}Ê>LÃÌÀ>V̈œ˜ÃÊ̅>Ìʈ“«>VÌi`Ê`ˆÀiV̏Þʜ˜Ê̅iÊiÞiÊ>˜`Êi>À]Ê>˜`Ê̅iʈ˜˜iÀÊ rhythms of the body. Hans Richter’s Rhythmus 21Ê­V°Ê£™Ó£®]Ê>Ê«>À>`iʜvÊiÝ«>˜`ˆ˜}Ê >˜`ÊÀiVi`ˆ˜}ÊõÕ>ÀiÃÊ>˜`ÊÀiVÌ>˜}iÃʜ˜Ê>ʘiÕÌÀ>ÊL>VŽÊL>VŽ}ÀœÕ˜`]Ê`ˆÃ«i˜ÃiÃÊi˜ÌˆÀiÞÊ܈̅Ê̅iÊw}ÕÀi‡}ÀœÕ˜`ÊVœ˜w}ÕÀ>̈œ˜ÊœvʜLiV̈ÛiÊ«>ˆ˜Ìˆ˜}Ê>˜`ʈ˜ÃÌi>`ÊVœ˜ÕÀiÃÊ Ì…iÊvœÀ“>ÊiÝ«iÀˆ“i˜ÌÃʜvÊ ÕLˆÃÌÊ«>ˆ˜Ìˆ˜}Ê>˜`Ê̅iˆÀÊi>LœÀ>̈œ˜ÃʜvÊ«ˆV̜Àˆ>Êë>ViÊ forever flirting with the outer limits of the frame. As Henri Chomette remarked at the ̈“i]Ê̅iÃiÊ}iœ“iÌÀˆVÊVœ“«œÃˆÌˆœ˜ÃÊVÀi>Ìiʼ՘v>“ˆˆ>ÀÊۈȜ˜Ãʈ˜Vœ˜ViˆÛ>LiʜÕÌÈ`iÊ the union of lens and moving film-strip’. 48 The bombardment of the senses with non-

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representational imagery by the abstract filmmakers of the 1920s produced what
˜Ìœ˜Ê …Ài˜âÜiˆ}Ê`iÃVÀˆLi`Ê>ÃÊ>ʼ«œÞ«…œ˜ˆV½Ê>ÀÌ]ʜ˜iÊ̅>ÌÊ}>ÛiÊÀˆÃiÊ̜Ê>ʼ`ˆvvÕÃi]Ê ÃV>ÌÌiÀi`ʎˆ˜`ʜvÊ>ÌÌi˜Ìˆœ˜½] 49Ê>ÊVœ˜ÃÌ>˜ÌÞÊňv̈˜}Ê«œˆ˜ÌʜvÊvœVÕÃ]Ê>˜>œ}œÕÃÊ̜Ê̅iÊ «ÀœViÃÃʜvÊÃV>˜˜ˆ˜}Ê̅iÊ`Àˆ«Ê«>ˆ˜Ìˆ˜}ÃʜvÊ>VŽÃœ˜Ê*œœVŽ°Ê/…iʘœ˜‡ÀiviÀi˜Ìˆ>Êw“Ê also gestured towards the contemporary interest in synaesthesia among painters ÃÕV…Ê>ÃÊ7>ÃȏÞÊ>˜`ˆ˜ÃŽˆ°Ê/…ˆÃÊVœ˜vÕȜ˜ÊœvÊ̅iÊÃi˜ÃiÃÊ̅ÀœÕ}…Ê>LÃÌÀ>V̈œ˜ÊÀi“>ˆ˜ÃÊ a potent thematic in contemporary work by practitioners such as Simon Payne and -ÌiÛi˜Ê >]Ê̅i“ÃiÛiÃÊ̅iʈ˜…iÀˆÌœÀÃʜvÊ̅iÊۈ`iœÊ>LÃÌÀ>V̈œ˜ÃʜvÊ-Ìiˆ˜>Ê>˜`Ê7œœ`ÞÊ Vasulka in the 1970s and 1980s as well as the computer-generated organic mutations created by William Latham in the 1990s. 50 Abstract film also anticipates the immersive environments later fashioned by moving image installation artists who made it possible to physically enter and navigate vertiginous abstract worlds. The non-representational terrain of abstraction was widely held to offer a demotic ëiVÌ>̜Àˆ>Ê>Ài˜>°Ê
À̈ÃÌÃÊÜiÀiʘœÌʼ“>Žˆ˜}Ê°°°Ê…Õ“>˜ÊLiˆ˜}ý]Ê>ÃÊ >ÀL>À>Êi«ÜœÀÌ…Ê `iV>Ài`]ÊLÕÌʼ>Ê«>ViÊ܅iÀiÊޜÕÊV>˜Ê}œ½°51Ê Þʈ“«ˆV>̈œ˜]Ê>LÃÌÀ>V̈œ˜ÊLiVœ“iÃÊ>Ê«>ViÊ Ü…iÀiÊ>˜Þœ˜iÊV>˜Ê}œ]Ê>˜`Ê>ÃÊܜ˜>Ê >â܈VŽÊ>À}Õi`]Ê̅iÊ՘ˆÛiÀÃ>ÊܜÀ`ʜvʼõÕ>ÀiÃ]Ê VˆÀViÃ]Ê ÌÀˆ>˜}iÃÊ >˜`Ê ˆ˜iÃ½Ê ˆÃÊ ˆ˜Ìiˆ}ˆLiÊ ÌœÊ ÛˆiÜiÀÃ]Ê ¼Ài}>À`iÃÃÊ œvÊ Ì…iˆÀÊ >˜}Õ>}i]Ê nationality or place in society’.52Ê
Ì…œÕ}…Ê̅iÊ«œˆÌˆV>Ê`ˆ“i˜Ãˆœ˜ÃʜvÊ>LÃÌÀ>V̈œ˜]ʈ˜VÕ`ˆ˜}Ê̅iÊVœ˜ÌÀ>`ˆV̜ÀÞʈ“«ÕÃiÊ̜ÊLœÌ…ÊÀiiVÌÊ̅iÊÀ>̈œ˜>ÊܜÀ`Ê>˜`Êw˜`ʘiÜÊÜ>ÞÃÊ œvʼLiˆ˜}ʜ˜iÊ܈̅Ê̅iÊ՘ˆÛiÀÃi½53 have found their champions throughout the history œvÊw“]Ê̅iʓœÀiÊv>“ˆˆ>Àʓ>˜ˆviÃÌ>̈œ˜ÊœvÊ«œˆÌˆV>Êi˜}>}i“i˜ÌÊ>“œ˜}ʓœÛˆ˜}ʈ“>}iÊ artists can be traced back to the Constructivists of the 1920s.54 Fired by the rhetoÀˆVʜvÊ̅iÊ,ÕÃÈ>˜ÊÀiۜṎœ˜]Ê̅iÊ œ˜ÃÌÀÕV̈ۈÃÌÃÊÀi}>À`i`Ê̅iÊw““>ŽiÀÊ>ÃÊ>ÊΈi`Ê ÌiV…˜ˆVˆ>˜]Ê>ÊVÀ>vÌÓ>˜ÊœÀÊܜ“>˜ÊܜÀŽˆ˜}ʈ˜Ê̅iÊÃiÀۈViʜvÊ̅iÊ«iœ«i°Ê˜Ê̅iÊVœ˜ÌiÝÌʜvÊ-œÛˆiÌÊ,ÕÃÈ>]ÊÌiV…˜ˆV>ÊiÝ«iÀ̈ÃiÊŜՏ`ʘœÌÊÃiÀÛiÊ̅iÊÛ>˜ˆÌˆiÃʜvʈ˜`ˆÛˆ`Õ>Ê ¼VÀi>̈ÛiýÊ>ÃʈÌÊ`ˆ`Ê̅iʼ>ÕÌiÕÀýʜvÊ ÕÀœ«i>˜ÊVˆ˜i“>°Ê/…iœÀïV>Þ]Ê̅iʜLiV̈ÛiÊÜ>ÃÊ to mobilise those skilled in the plastic arts to educate the masses in the glories of the Soviet political system. This didacticism nonetheless involved considerable tali˜Ì]Ê«iÀܘ>ÊۈȜ˜Ê>˜`ÊÌiV…˜ˆV>Êˆ˜˜œÛ>̈œ˜Êœ˜Ê̅iÊ«>ÀÌʜvʈ˜`ˆÛˆ`Õ>ÃÊ>ÃÊ̅iÊw“ÃʜvÊ âˆ}>Ê6iÀ̜Û]Ê9iˆâ>ÛiÌ>Ê-ۈœÛ>Ê>˜`Ê-iÀ}iˆÊ ˆÃi˜ÃÌiˆ˜Ê>“«ÞÊ`i“œ˜ÃÌÀ>Ìi° iv̈ÃÌʈ`iœœ}ÞʓœÌˆÛ>Ìi`ʓ>˜ÞʜvÊ̅iʼVՏÌÕÀ>ÊܜÀŽiÀýÊ>“œ˜}ÊÕÃʈ˜Ê̅iÊ£™ÈäÃÊ >˜`Ê£™ÇäÃ]Ê«>À̈VՏ>ÀÞÊ̅œÃiÊi˜}>}i`ʈ˜Ê«œˆÌˆV>ÊV>“«>ˆ}˜Ã°ÊœÜiÛiÀ]Ê̅iÊ-œÛˆiÌÊ filmmakers are more important to later installation artists as formal innovators. Montage was a mode of visual assembly that Eisenstein pioneered based on the «Àˆ˜Vˆ«iʜvÊ>LÀÕ«ÌʍÕÝÌ>«œÃˆÌˆœ˜ÊœvÊ`ˆÃVœ˜˜iVÌi`ÊŜÌÃ]Ê܅ˆV…Ê…iÊV>i`ʼViÃ½]ʅi`Ê ˆ˜Ê`ޘ>“ˆVÊÌi˜Ãˆœ˜Ê̅ÀœÕ}…Êi`ˆÌˆ˜}°ÊÀœ“Ê̅iÃiÊ`ˆÃ«>À>ÌiÊii“i˜ÌÃ]Ê>ʘiÜÊÃޘ̅iÈÃÊ Ü>ÃÊVÀi>Ìi`Ê܅i˜Ê̅iʼi“œÌˆœ˜>ÊŜVŽÃ½Ê>ÃÜVˆ>Ìi`Ê܈̅Êi>V…ʈ“>}iÊÜiÀiÊLÀœÕ}…ÌÊ ˆ˜ÌœÊ¼>Ê«Àœ«iÀʜÀ`iÀÊ܈̅Ê̅iÊ̜Ì>ˆÌÞ½°55 In Battleship PotemkinÊ­£™Óx®]Ê܈̅ʈÌÃÊv>“œÕÃÊ ÃVi˜iʜvÊ̅iʓ>ÃÃ>VÀiʜ˜Ê̅iÊ"`iÃÃ>Ê-Ìi«Ã]Ê ˆÃi˜ÃÌiˆ˜Êi`ˆÌi`Ê̜}i̅iÀÊVœ˜ÌÀ>Ã̈˜}Ê images of violence alternating long shots and close-ups. Poignant individual portraits

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œvÊ VˆÌˆâi˜ÃÊ VÀi>ÌiÊ “œ“i˜ÌÃÊ œvÊ Ã̈˜iÃÃ]Ê ˜œÊ ܜ˜iÀÊ iÃÌ>LˆÃ…i`Ê Ì…>˜Ê Å>ÌÌiÀi`Ê LÞÊ Ì…iÊÃÕ``i˜Êˆ˜ÌÀœ`ÕV̈œ˜ÊœvÊ`ޘ>“ˆVʓœÌˆœ˜ÊqÊ܏`ˆiÀÃʓ>ÀV…ˆ˜}Ê܈̅Ê}՘ÃÊL>∘}]Ê VˆÌˆâi˜ÃÊÃV>ÌÌiÀˆ˜}ʈ˜Ê«>˜ˆV°Ê/…iÊ"`iÃÃ>Ê-Ìi«ÃÊi«ˆÃœ`iʈÃÊVœ˜ÕÀi`Ê܈̅Ê̅iÊL>ÀiÃÌÊ œvÊ ˜>ÀÀ>̈ÛiÊ «Àœ“«ÌÃ]Ê VÀi>̈˜}Ê LœÌ…Ê >˜Ê ¼ˆ˜ÌiiVÌÕ>½Ê Vˆ˜i“>Ê `À>܈˜}Ê œ˜Ê ̅iÊ `i`ÕV̈ÛiÊ«œÜiÀÃʜvÊ̅iÊۈiÜiÀÊ>˜`Ê>ÊVˆ˜i“>ʜvÊ«œÜiÀvՏÊi“œÌˆœ˜>Ê>vviVÌ]Ê̅iÊVœ“Lˆ˜i`Ê impact of which was pressed into the service of Bolshevik propaganda. Montage >˜`Ê `ˆÃVœ˜Ìˆ˜ÕˆÌÞÊ Üi˜ÌÊ œ˜Ê ÌœÊ `œ“ˆ˜>ÌiÊ Ì…iÊ vœÀ“>Ê ÃÌÀ>Ìi}ˆiÃÊ œvÊ iÝ«iÀˆ“i˜Ì>Ê w“Ê and video in the 1960s and 1970s and can still be witnessed today in the work of >À̈ÃÌÃÊÃÕV…Ê>ÃÊ ˆâ>Li̅Ê*ÀˆViÊ܅œÃiÊ}>iÀÞʈ˜ÃÌ>>̈œ˜ÃʍÕÝÌ>«œÃiÊ>ÀV…ˆÛ>ÊvœœÌage with the persuasive iconography of advertising and computer graphics. In THE WOOLWORTHS CHOIR OF 1970Ê­Óä£Ó®]Ê*ÀˆViÊVœÕÀÌÃÊ̅iʼ`À>“>̈V]ÊyœÜˆ˜}ÊÃÕÀ}i½Ê­…iÀÊ iµÕˆÛ>i˜ÌʜvÊ ˆÃi˜ÃÌiˆ˜½ÃʼŜVŽÃ½®Ê՘i>Åi`ÊLÞʍՓ«ÊVÕÌÃÊLiÌÜii˜]ʈ˜Ê̅ˆÃÊV>Ãi]Ê `ˆÃܘ>˜Ìʈ“>}iÃʜvÊ£™ÇäÃÊÌiiۈȜ˜Ê«œ«ÊŜÜÃ]ÊÀi«œÀÌ>}iʜvÊ>Ê`i«>À̓i˜ÌÊÃ̜ÀiÊ wÀiÊ>˜`ÊÃÌ>ÀŽ]ÊL>VŽÊ>˜`Ê܅ˆÌiÊ«…œÌœ}À>«…ÃʜvÊ>ÊV>̅i`À>Êˆ˜ÌiÀˆœÀ°56 Installation art is >“œÃÌÊLÞÊ`iw˜ˆÌˆœ˜Ê>˜Êˆ˜ÃÌ>˜Viʜvʓœ˜Ì>}i]Ê>˜Êˆ˜ÌiÀ«>ÞʜvÊVœ˜Ìˆ}՜ÕÃÊVœ“«œ˜i˜ÌÃÊ Vœ˜Ì>ˆ˜i`Ê܈̅ˆ˜Ê>˜ÊiÝÌÀÕ`i`]Êë>̈>ˆÃi`Ê̜Ì>ˆÌްʈŽiÊ̅iʈ˜`ˆÛˆ`Õ>ÊŜÌÃʓ>Žˆ˜}ÊÕ«Ê Eisenstein’s incendiary films of the Russian revolution or the conflagration in Price’s

…œˆÀ]Êi>V…Ê՘ˆÌʜvÊw“]Êi>V…ʼVi½]Ê}>ˆ˜ÃʘiÜ]ÊVœ“«œÕ˜`i`ÊÈ}˜ˆwV>˜Viʈ˜ÊÀi>̈œ˜ÊÌœÊ Ì…iʘiÝÌ]ʓi>˜ˆ˜}ÃÊ̅>ÌÊܜՏ`ʜ˜ÞÊÀi“>ˆ˜Ê>Ìi˜ÌÊÜiÀiÊ̅iÊÃiµÕi˜ViÃÊ̜ÊÀi“>ˆ˜Êˆ˜`i«i˜`i˜Ì°ÊœÜiÛiÀ]Ê>ÃÊʅ>ÛiÊi“«…>ÈÃi`]ʈ˜ÃÌ>>̈œ˜ÊvÀiµÕi˜ÌÞÊňvÌÃÊ̅iÊ`À>“>Ê of the encounter from contrasting elements within the frame to tensions between

Elizabeth Price, THE WOOLWORTHS CHOIR OF 1979 (2012). HD video installation, 18 min. Installation view, Baltic Centre for Contemporary Art, Gateshead, UK. Courtesy of the artist and MOT International, London & Brussels.

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INSTALLATION AND THE MOVING IMAGE

Elizabeth Price, THE WOOLWORTHS CHOIR OF 1979 (video still) (2012). HD video installation, 18 min. Courtesy of the artist and MOT International, London & Brussels.

̅iÊ `ˆÃÌ>˜Vˆ˜}Ê ivviVÌÊ œvÊ “>ÌiÀˆ>]Ê >ÀV…ˆÌiVÌÕÀ>Ê Ài>ˆÌÞÊ >˜`Ê Ì…iÊ ˆÕÜÀÞÊ «…i˜œ“i˜>Ê œ˜ÃVÀii˜°ÊˆŽiÊ̅iÊÃÌ>ÀÃʜvÊi>ÀÞÊœÞܜœ`Êw“ÃÊi˜}>}i`ʈ˜ÊȓՏ>Ìi`ʏœÛi“>Žˆ˜}]Ê visitors to installations always keep one if not two feet on the ground.57 vʈ˜ÃÌ>>̈œ˜Ê>˜`Ê̅iʓœÛˆ˜}ʈ“>}iÊÀiµÕˆÀiÊ>ʘ>“i`Ê>˜ViÃ̜À]ÊÜiʘii`ʏœœŽÊ˜œÊ further than the legendary Abel Gance who anticipated multi-screen installations by many decades with his epic Napoleon (1927). The film tells the story of the great

“«iÀœÀ½ÃÊÀˆÃiÊ̜ʫœÜiÀÊ>˜`ÊÃÕLÃiµÕi˜ÌʓˆˆÌ>ÀÞÊ`ivi>Ì]Ê>˜`Ê܅i˜ÊˆÌÊÜ>ÃÊwÀÃÌÊi݅ˆLited NapoleonÊÜ>ÃÊ«ÀœiVÌi`ʜ˜ÌœÊ̅ÀiiÊ>`>Vi˜ÌÊÃVÀii˜ÃÊVœÀÀi뜘`ˆ˜}Ê̜Ê̅iÊ̅ÀiiÊ wÝi`ÊV>“iÀ>ÃÊ>˜ViÊÕÃi`Ê̜ÊV>«ÌÕÀiÊ«>˜œÀ>“ˆVÊۈiÜÃʜvÊ̅iÊ>V̈œ˜°Ê˜Ê̅ˆÃʓ>˜˜iÀ]Ê the epic battles of the Napoleonic wars were brought to life.58ʘÊ̅iÊ£™ÇäÃ]Ê …ÀˆÃÊ 7iÃLÞÊ>ÃœÊ܈`i˜i`Ê̅iÊÃVÀii˜ÊLÞÊ>ˆ}˜ˆ˜}ʓՏ̈«iÊ«ÀœiV̈œ˜ÃÊ̜ÊVÀi>ÌiÊ>ÊȘ}iÊ iÝÌi˜`i`ʈ“>}iʈ˜Ê…ˆÃÊShorelineÊÃiÀˆiðÊ7iÃLÞÊ`i«œÞi`ÊÈÝÊ«ÀœiV̜ÀÃÊ`i«ˆV̈˜}Ê̅iÊ iLLÊ>˜`ÊyœÜʜvÊÜ>ÛiÃÊV>ÃV>`ˆ˜}Ê>œ˜}Ê̅iʏi˜}̅ʜvÊ>˜Ê ˜}ˆÃ…ÊLi>V…°ÊœÜiÛiÀ]Ê̅iÊ panorama Welsby devised was an illusion. It was created from a single viewpoint Ì>Ži˜ÊœœŽˆ˜}ʜÕÌÊ̜ÊÃi>Ê>ÌÊ`ˆvviÀi˜ÌÊ̈“iÃʜvÊ`>Þ]Ê>˜`Ê̅iÊÈÝÊÌi“«œÀ>Ê¼ÃœÌýÊÜiÀiÊ `ˆÃÌÀˆLÕÌi`Ê>VÀœÃÃÊ̅iÊ«ÀœiV̜ÀÃÊ>˜`ʏœœ«i`ÊVœ˜Ìˆ˜ÕœÕÏްÊ/…iÊiÝÌi˜`i`ÊÌi“«œÀ>Ê frame became a key constituent of structural film in the late 1960s and early 1970s and can be traced back to Gance’s Napoleon]Ê܅ˆV…ÊÜ>ÃÊÃ>ˆ`Ê̜ʅ>ÛiÊÀ՘ÊvœÀÊÈÝʅœÕÀÃ°Ê 7…iÀiÊ>˜Vi½Ãʈ˜˜œÛ>̈œ˜ÃÊÜiÀiÊ`iÈ}˜i`Ê̜ÊVÀi>ÌiÊ>˜ÊiÝ«>˜ÃˆÛiÊV>˜Û>ÃÊvœÀÊ̅iʘ>ÀÀ>̈ÛiʜvÊ >«œiœ˜½ÃÊiÝÌÀ>œÀ`ˆ˜>ÀÞʏˆvi]Ê7iÃLÞ½ÃÊÕÃiʜvÊȓˆ>ÀÊÌiV…˜ˆµÕiÃÊÃiÀÛi`Ê>Ê “>ÌiÀˆ>ˆÃÌÊ>˜`ʓˆ˜ˆ“>ˆÃÌÊ>iÃ̅ïVÊ̅>ÌÊ`œ“ˆ˜>Ìi`ÊiÝ«iÀˆ“i˜Ì>Êw“ʈ˜Ê̅iÊ£™ÇäÃ°Ê œÜiÛiÀ]Ê7iÃLÞÊ>˜`ʅˆÃÊVœ˜Ìi“«œÀ>ÀˆiÃʅ>ÛiÊ«ÀœÛi`ʘœÊiÃÃʈ˜Ûi˜ÌˆÛiÊ̅>˜Ê>˜ViÊ in their approaches to solving the problems of securing the desired shot. The many irresistible tales about Gance include a report of his strapping a camera to a horse and driving it into the sea to discover what one wave looked like to another.59 This recalls a conversation with William Raban in which he confided to me …ˆÃÊ«>˜ÃÊ̜ʏ>Åʅˆ“ÃivÊ>˜`ʅˆÃʣȓ“Ê œiÝÊ̜Ê̅iÊ«ÀœÜʜvÊ>ÊLœ>Ìʈ˜ÊœÀ`iÀÊ̜ÊV>«ÌÕÀiÊ

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̅iÊ«iÀviVÌÊÜ>Ûiʈ˜Ê>ÊÃ̜À“ÊvœÀViÊn]Ê>Ê«>˜Ê…iÊ̅>˜ŽvՏÞÊ>L>˜`œ˜i`°60 Gance is also Ã>ˆ`Ê̜ʅ>ÛiÊ̈i`Ê>ÊV>“iÀ>Ê̜Ê̅iÊV…iÃÌʜvʅˆÃÊV>“iÀ>ʜ«iÀ>̜À]Ê>ÊÌÀˆVŽÊ̅>Ìʈ˜˜Õ“iÀable avant-garde artists have since elaborated with imaging devices being attached ÌœÊ iÛiÀÞÊ Vœ˜ViˆÛ>LiÊ «>ÀÌÊ œvÊ Ì…iÊ Lœ`ÞÊ >˜`Ê ˆÌÃÊ iÝÌi˜Ãˆœ˜Ã°61Ê /…iÊ ÕÌˆ“>ÌiÊ V>“iÀ>É body fusion is arguably Mona Hatoum’s Corps Étranger (1994) in which the artist ̜œŽÊ>˜Êi˜`œÃVœ«ˆVÊV>“iÀ>ÊvœÀÊ>ÊvœÀi˜ÃˆVʍœÕÀ˜iÞÊ̅ÀœÕ}…Ê̅iʈ˜ÌiÀ˜>Ê«>ÃÃ>}iÜ>ÞÃÊ of her anatomy. Where classical Hollywood cinema generally seeks to mask the presence of the V>“iÀ>ʜ«iÀ>̜Àʈ˜Ê̅iÊÃiÀۈViʜvÊVˆ˜i“>̈VÊÀi>ˆÃ“]ÊiÝ«iÀˆ“i˜Ì>Êw““>ŽiÀÃÊi“«…>ÈÃiÊ̅iÊiµÕˆÛ>i˜Viʈ˜Ê̅iÊ«œˆ˜ÌʜvÊۈiÜʜvÊ̅iÊV>“iÀ>]Êw““>ŽiÀÊ>˜`ÊëiVÌ>̜ÀÊ at the moment of reception.62 The image is inevitably modulated by the physical atÌÀˆLÕÌiÃʜvÊ̅iʈ˜`ˆÛˆ`Õ>ÊLi…ˆ˜`Ê̅iÊV>“iÀ>\Ê̅iʅiˆ}…ÌʜvÊ>˜Êœ«iÀ>̜À]Ê̅iÊÃÌ>“ˆ˜>Ê >˜`ÊÃÌÀi˜}̅ʜvʏˆ“LÃÊLi>Àˆ˜}Ê̅iÊÜiˆ}…ÌʜvÊ̅iÊÌiV…˜œœ}Þ]Ê̅iÊÀi>V…ÊœvÊ>˜Ê>À“]Ê̅iÊ i˜}̅ʜvÊ>ÊÃÌÀˆ`i]Ê̅iÊ>VՈÌÞʜvÊۈȜ˜°Ê/…iʈ˜ÃVÀˆ«Ìˆœ˜ÊœvÊ̅iÊ՘Ãii˜ÊLÕÌʈ˜viÀÀi`ÊV>“iÀ>ʜ«iÀ>̜À½ÃÊLœ`ˆÞÊ`ˆ“i˜Ãˆœ˜>ˆÌÞʜ«i˜ÃÊÕ«Ê>Êë>ViÊvœÀÊi“«>̅ˆVʈ`i˜ÌˆwV>̈œ˜]Ê a theme we will return to in our discussion of spectatorship. This corporeal interÃÕLiV̈ۈÌÞ]ʏ>՘V…i`ÊLÞÊ>˜Viʘi>ÀÞÊ>ÊVi˜ÌÕÀÞÊ>}œ]ÊÀi«ÀiÃi˜ÌÃÊ>Ê`ˆvviÀi˜Ìʎˆ˜`ʜvÊ engagement to the seamless process of identification that conventional cinematic and televisual grammar induces. Morgan Fisher whose works in the 1970s brought ̜Ê̅iÊvœÀiÊ̅iÊLœ`ÞÊ>˜`ÊΈÃʜvÊ̅iÊVœ˜Vi>i`Ê«ÀœiV̈œ˜ˆÃÌ]ÊÜÀœÌiʜvʅˆÃÊw“Ã]ʼ̅iÞÊ ÀiÌÕÀ˜ÊޜÕÊ̜Ê̅iʅiÀiÊ>˜`ʘœÜ]Ê>˜`ʈ˜ÊÜÊ`œˆ˜}Ê}ˆÛiÊޜÕÊL>VŽÊ̅iÊLœ`ÞÊ̅>ÌÊ>ÊœÌ…iÀÊ films take away from you’.63

THE ARCHITECTURE OF FILM: THE CRITICAL OCCUPATION OF SPACE AND THE SUSPENSION OF DISBELIEF vÊ̅iÊ`iw˜ˆ˜}Êvi>ÌÕÀiʜvʈ˜ÃÌ>>̈œ˜Ê>ÀÌʈÃʈÌÃÊVÀˆÌˆV>ÊœVVÕ«>̈œ˜ÊœvÊë>Vi]Ê̅i˜ÊˆÌʈÃÊ already systemically aligned with the moving image. Since the dawn of film in the ˜ˆ˜iÌii˜Ì…Ê Vi˜ÌÕÀÞ]Ê Ã«>̈>ˆÌÞÊ …>ÃÊ Lii˜Ê ˆ˜Ìi}À>Ê ÌœÊ Ì…iÊ “i>˜ÃÊ œvÊ «Àœ`ÕV̈œ˜Ê >˜`Ê i݅ˆLˆÌˆœ˜ÊœvÊ̅iʓœÛˆ˜}ʈ“>}i]Ê܅ˆiÊ̅iÊ«ˆV̜Àˆ>ÊiÝ«>˜ÃiÃÊVœ˜ÕÀi`ÊLÞÊ̅iÊw“ˆVÊ ˆ“>}iÊVÀi>ÌiÊ«>À>i]Ê>LiˆÌʈÕÜÀÞÊÌiÀÀˆÌœÀˆiðÊ7…i˜Êˆ˜Ê£n™xÊ̅iÊՓˆmÀiÊ ÀœÌ…iÀÃÊ wÀÃÌÊÃiÌÊÕ«Ê>ÊV>“iÀ>ʜÕÌÈ`iÊ>Êv>V̜ÀÞÊ>˜`Êw“i`]ʈ˜ÊÀi>Ê̈“i]Ê̅iÊܜÀŽiÀÃÊÃÌÀi>“ˆ˜}ʜÕÌÊ>ÌÊ̅iÊi˜`ʜvÊ̅iÊ`>Þ]Ê̅iÊÌÀˆ>`ˆVÊÀi>̈œ˜Ã…ˆ«ÊœvÊV>“iÀ>Ê̜ÊÃÕLiVÌÊ>˜`ÊÃÕLiVÌÊ to the eye and body of the viewer was established. Consumers of mainstream film VՏÌÕÀiʈ˜Ã̈˜V̈ÛiÞÊ}À>ëÊ̅iÊë>̈>Ê`iÌiÀ“ˆ˜>˜ÌÃʏ>ˆ`Ê`œÜ˜ÊLÞÊ̅iÊՓˆmÀiÃÊ>˜`Ê refined through a century of movie entertainment. These spatial cues function corÀiV̏Þ]Ê>Ãʏœ˜}Ê>ÃÊ̅iÊÃVÀii˜ÊˆÃÊ܈̅ˆ˜Ê>ÊVœ“vœÀÌ>LiÊۈi܈˜}Ê`ˆÃÌ>˜Vi]Ê>˜`Ê܅ˆiÊ̅iÊ œ}ˆVʜvÊ̅iÊȓՏ>Ìi`Êë>Viʜ˜ÃVÀii˜Ê“ˆÀÀœÀÃʅՓ>˜ÊiÝ«iÀˆi˜ViʜvÊ>VÌÕ>Êë>Vi°Ê

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INSTALLATION AND THE MOVING IMAGE


ÌÊ̅iÊVˆ˜i“>]ʎ˜œÜi`}iʜvÊ̅iÊë>̈>Ê«>À>“iÌiÀÃʜvÊw“Ê>˜`Ê̅iÊ>««>À>ÌÕÃÊ̅>ÌÊ Ài}Տ>ÌiÃÊ̅iˆÀÊӜœÌ…ÊiÝiVṎœ˜ÊˆÃʈ˜VœÀ«œÀ>Ìi`ʈ˜ÌœÊ̅iÊ՘Vœ˜ÃVˆœÕÃÊVœ˜Vi«ÌÕ>Ê grid that structures our reading of the work. Viewers are also adept at ignoring the v>VÌÊ̅>ÌÊw“ʈÌÃivʈÃʓ>`iÊիʜvʏˆ}…ÌÊÀ>ÞÃÊ«ÀœiVÌi`Ê̅ÀœÕ}…Ê>ÊV…>ˆ˜ÊœvÊÃÌ>ˆ˜i`ÊViÕœˆ`ÊvÀ>“iÃÊ̜ÊvœÀ“Ê“œÛˆ˜}Ê«ˆVÌÕÀiÃ]Ê>˜`Ê̅iÞÊȓˆ>ÀÞÊ`ˆÃ>ۜÜÊw“½ÃʘiÜÊiiVÌÀœ˜ˆVÊ DNA as digital systems of recording and display have displaced analogue technolo}ˆiÃ°Ê /…iÊ “>ÌiÀˆ>ˆÌÞÊ œvÊ >˜ÞÊ >VVœ“«>˜Þˆ˜}Ê >Õ`ˆœÊ ÌÀ>VŽÊ i>ȏÞÊ VœÕ`Ê LiÊ «ÀœÛi˜]Ê >ÃÊ sound waves will obligingly flicker their energy patterns across the screen of an osVˆœÃVœ«i]ÊLÕÌÊ̅iÊVœ˜ÃÌÀÕVÌi`ʘ>ÌÕÀiʜvÊÜ՘`ʜ˜Êw“ʈÃÊ>ÃœÊ>À}iÞÊ`ˆÃVœÕ˜Ìi`]Ê Õ˜iÃÃʈÌʓ>v՘V̈œ˜Ã°ÊœÌˆœ˜Ê«ˆVÌÕÀiÃÊ>˜`ÊÜ՘`Ê̅ÕÃÊÌÀˆVŽÊ̅iÊi>À]Ê̅iÊiÞiÊ>˜`Ê̅iÊ brain into believing in what is demonstrably not present. The willingness to suspend disbelief enables viewers to ignore the artifice of the film as well as the physical realˆÌˆiÃʜvÊ̅iÊ«ÀœiV̜À]Ê̅iÊLi>“Êœvʏˆ}…Ì]ÊviœÜÊëiVÌ>̜ÀÃÊ>˜`Ê̅iÊ>ÀV…ˆÌiVÌÕÀiʜvÊ̅iÊ >Õ`ˆÌœÀˆÕ“°Ê˜Ê̅ˆÃÊÜ>Þ]ʈÌʈÃÊ«œÃÈLiÊ̜ÊÌ>ŽiÊ`iˆ}…Ìʈ˜ÊÀi>`ˆ˜}Ê̅iÊyˆVŽiÀˆ˜}ÊÅ>`œÜÃÊ œ˜Ê̅iÊÃVÀii˜Ê>ÃÊ>ÊÌi“«œÀ>ÀÞÊÀi>ˆÌÞÊ̜ÊLiÊÃÕÀÛiÞi`]Ê՘Ãii˜]Ê>˜`ʈ`i˜ÌˆvÞÊ܈̅Ê̅iÊ Vœ““>˜`ˆ˜}Ê«œÃˆÌˆœ˜ÊœvÊ̅iÊV>“iÀ>É«ÀœiV̜À°Ê Spectatorial auto-deception is achieved in the charged space of the imagination.
ÃÊ ˆÊ6ˆœ>ʅ>ÃÊÀˆ}…̏ÞʜLÃiÀÛi`]Ê̅ˆÃʈÃʘœÌÊ>ÊÃÌÀ>ˆ}…ÌvœÀÜ>À`Ê«ÀœViÃÃ\ʼ̅iÊۈÃÕ>Ê ˆÃÊ>Ü>ÞÃÊÃÕLÃiÀۈi˜ÌÊ̜Ê̅iÊwi`]Ê̅iÊ̜Ì>ÊÃÞÃÌi“ÊœvÊ«iÀVi«Ìˆœ˜ÉVœ}˜ˆÌˆœ˜Ê>ÌÊܜÀŽÊ ... the awareness or sensing of an entire space at once’.64ÊœÜiÛiÀ]Ê̅iÊ«i>ÃÕÀiÃʜvÊ Vˆ˜i“>̈VʈÕȜ˜ˆÃ“ÊœÛiÀÀˆ`iÊ̅iʜ«ÌˆV>]ʅ>«ÌˆVÊ>˜`Ê«Àœ«ÀˆœVi«ÌˆÛiÊÃi˜Ãi‡`>Ì>Ê̅>ÌÊ tell us where we are located in space. Tuning in to the simulated realities of pictorial ˆÕȜ˜ˆÃ“ÊÌ>ŽiÃÊ«>Viʈ˜Ê«>ˆ˜Ìˆ˜}]Ê`À>܈˜}Ê>˜`ʓœ˜ˆÌœÀ‡L>Ãi`Êۈ`iœ]ʅœÜiÛiÀ]Êw“]Ê with its epic scale aided by the penetration of quadraphonic sound and the darkened ë>ViÃʈ˜Ê܅ˆV…ʈÌʈÃÊŜܘ]ʓœÀiÊivviV̈ÛiÞÊi˜ÌˆViÃÊۈiÜiÀÃÊ>Ü>ÞÊvÀœ“Ê̅iʅiÀiÊ>˜`Ê ˜œÜʈ˜ÌœÊ܅>ÌÊi>˜ÊœÕ`>ÊÌiÀ“i`ʼVœ˜ÃVˆœÕÃʅ>ÕVˆ˜>̈œ˜½°65 In the following chapÌiÀÃ]ÊÊÅ>Ê>À}ÕiÊ̅>ÌÊ̅iʏœÃÃʜvʅ>«ÌˆVÊ>˜`Êë>̈>Ê>Ü>Ài˜iÃÃʈ˜Ê̅iÊVˆ˜i“>ʈÃʘiÛiÀÊ ÌœÌ>]Ê̅>ÌÊÌܜÊÀi>ˆÌˆiÃÊV>˜ÊLiʅi`ÊLÞÊ̅iÊۈiÜiÀÊȓՏÌ>˜iœÕÏÞ]Ê>˜`Ê̅>ÌÊ̅iʜLiVtive world can easily be retrieved to escape the power of the illusion should it become ̜œÊ`ˆÃÌÕÀLˆ˜}ÊqÊÃÌ>Àˆ˜}ʅ>À`Ê>ÌÊ̅iÊi݈ÌÊÈ}˜Êˆ˜Ê̅iÊVˆ˜i“>Ê>Ü>ÞÃÊܜÀŽÃÊvœÀʓi°Ê

CROSS−MIGRATIONS OF FORMS AND SOUNDS
ÃÊÜiʅ>ÛiÊÃii˜]Ê̅iÊ«ˆœ˜iiÀÃʜvÊ̅iÊVˆ˜i“>̜}À>«…ÊÃiÌÊ̅iÊë>̈>Ê«>À>“iÌiÀÃʜvÊw“Ê >˜`ʈ˜`ÕVi`Ê̅iÊÃÕëi˜Ãˆœ˜ÊœvÊ`ˆÃLiˆivÊLÞÊÀi«Àœ`ÕVˆ˜}Ê̅iÊ`ޘ>“ˆÃ“Ê>˜`ÊyÕÝʜvʏˆviÆÊ Ì…iÊ ,ÕÃÈ>˜ÃÊ ˆ˜Ûi˜Ìi`Ê “œ˜Ì>}i]Ê >˜`Ê
LiÊ >˜ViÊ ˆ˜ÌÀœ`ÕVi`Ê LœÌ…Ê “Տ̈‡ÃVÀii˜Ê «ÀiÃi˜Ì>̈œ˜ÃÊ>˜`Ê̅iʅiˆ}…Ìi˜i`ÊÃÕLiV̈ۈÌÞʜvÊ̅iʅ>˜`‡…i`ÊV>“iÀ>°Ê/…iÊ£™ÓäÃÊ>˜`Ê £™ÎäÃÊ}i˜iÀ>̈œ˜]ʘœÌ>LÞÊ̅iÊÀi˜V…Ê“«ÀiÃȜ˜ˆÃÌÊw““>ŽiÀÃ]Ê>ÀiÊVÀi`ˆÌi`Ê܈̅Ê̅iÊ ˆ`i>ʜvÊw“Ê>ÃÊ>ÊÃޘ̅iÈÃiÀʜvÊ̅iÊ>ÀÌðʜ̈œ˜Ê«ˆVÌÕÀiÃ]Ê̅iÞÊÃ>ˆ`]ʅ>ÛiÊ̅iÊV>«>VˆÌÞÊ

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̜ÊvÕÃiÊ̅i>ÌÀi]ʏˆÌiÀ>ÌÕÀiÊ>˜`Ê«>ˆ˜Ìˆ˜}ʈ˜Ê̅iÊ>‡i˜Vœ“«>ÃȘ}Êi“LÀ>ViʜvÊVˆ˜i“>]Ê>˜Ê interdisciplinary and transmedial approach that has carried over into installation. As ÀˆÃ̈˜Ê/…œ“«Ãœ˜Ê>˜`Ê >ۈ`Ê œÀ`ÜiÊ«œˆ˜ÌʜÕÌ]Ê>Ì…œÕ}…Êw“ʈÃÊ>ʓi`ˆÕ“Ê̅>ÌÊVÀi>ÌiÃÊ ˆÌÃʜܘÊ՘ˆµÕiÊ>««ÀœÝˆ“>̈œ˜ÃʜvʜÕÀÊi“Lœ`ˆi`Êi݈ÃÌi˜Vi]ʈÌÊLœÀÀœÜÃÊܓiʜvʈÌÃÊÈ}˜ˆvވ˜}Ê«À>V̈ViÃÊvÀœ“ʜ̅iÀÊ`ˆÃVˆ«iðʈ“ʼVœ“Lˆ˜iÃʈÌÃÊë>̈>ÊµÕ>ˆÌˆiÃÊ܈̅ÊÀ…Þ̅“ˆVÊ Ài>̈œ˜Ã…ˆ«ÃÊVœ“«>À>LiÊ̜Ê̅œÃiʜvʓÕÈV]Ê«œiÌÀÞÊ>˜`Ê`>˜Vi½°66 The ability of film to >“>}>“>ÌiÊ`ˆÃ«>À>ÌiÊۈÃÕ>]Ê>ÕÀ>Ê>˜`ÊÌi“«œÀ>Êii“i˜ÌÃʈ˜ÌœÊ>ÊVœ…iÀi˜ÌÊ>iÃ̅ïVÊ iÝ«iÀˆi˜ViÊ>˜`ʅ>À“œ˜ˆÃiÊ>ÊÀ>˜}iʜvÊVÀi>̈ÛiÊÌÀ>`ˆÌˆœ˜Ã]ÊÀiܘ>ÌiÃÊ܈̅Ê̅iÊ>“LˆÌˆœ˜ÃÊ œvÊ >ÌiÀÊ ˆ˜ÃÌ>>̈œ˜Ê «À>V̈ViÃ°Ê iÀi]Ê Ì…iÊ “œÛˆ˜}Ê ˆ“>}iÊ ÀÕLÃÊ Ã…œÕ`iÀÃÊ ÜˆÌ…Ê “Տ̈«iÊ «ˆV̜Àˆ>]Ê«iÀvœÀ“>̈Ûi]ÊÃVՏ«ÌÕÀ>Ê>˜`Ê`ˆ}ˆÌ>Ê>ÀÌiv>VÌÃ]Êܓï“iÃʈ˜Ê>˜Ê>ÌÌi“«ÌÊÌœÊ VÀi>ÌiÊ>ʘiÜʅÞLÀˆ`ˆÃi`Ê>ÀÌÊvœÀ“]Ê>Ìʜ̅iÀÃÊ̜ʓ>ˆ˜Ì>ˆ˜Ê̅iÊ`ˆÃVˆ«ˆ˜>ÀÞÊ>Õ̜˜œ“ÞʜvÊ each tradition. Two opposing forces are at play within an installation: fragmentation and cohesion. The continuity of space is used to both contain and stage the internal drama œvÊ>ÊܜÀŽÊ“>`iÊիʜvÊ`ˆÃ«>À>ÌiÊii“i˜ÌÃÊ`À>ܘÊvÀœ“Ê>ÊÀ>˜}iʜvÊ`ˆÃVˆ«ˆ˜iðÊ-œÕ˜`]Ê >“Lˆi˜ÌÊ>ÃÊÜiÊ>Ãʈ˜Ê̅iÊvœÀ“ÊœvʓÕÈVÊ>˜`ÊëiiV…]ʈÃÊvÀiµÕi˜ÌÞʓœLˆˆÃi`ÊvœÀʈÌÃÊ synthesising properties in both cinema and installation. Where sound pulls together «…ÞÈV>ÞÊ`ˆÃ̈˜VÌÊii“i˜ÌÃʈ˜Ê>˜Êˆ˜ÃÌ>>̈œ˜]Ê̅iÊ>Õ`ˆœÊÌÀ>VŽÊœvÊ>Êw“ʈÃÊÕÃi`Ê>ÃÊ>Ê Ã“œœÌ…ˆ˜}Ê`iۈViÊvœÀʏˆ˜Žˆ˜}ʜ˜iÊÃVi˜iÊ̜Ê̅iʘiÝÌÊ>˜`ÊÀ>̈œ˜>ˆÃˆ˜}Ê«œÌi˜Ìˆ>Þʈœ}ˆV>ÊÕÝÌ>«œÃˆÌˆœ˜ÃʜvʏœV>̈œ˜ÃÊ>˜`ÊV…>À>VÌiÀÃ°Ê ˜Ê̅iÊ£™™äÃ]Ê̅iÀiÊÜ>ÃÊ>Êv>ňœ˜ÊvœÀÊۈ`iœÃÊ܅œÃiÊ`ÕÀ>̈œ˜ÊVœ˜vœÀ“i`Ê̜Ê̅iÊ two- to three-minute length of popular songs. Ann McGuire’s I am Crazy And You’re Not Wrong (1997) and Michael Curran’s Sentimental JourneyÊ ­£™™x®]Ê vœÀÊ iÝ>“«i]Ê LœÌ…Ê`iv>“ˆˆ>ÀˆÃi`ÊÜi‡Ž˜œÜ˜ÊÌÀ>VŽÃÊ܈̅ÊÃ>̈ÀˆV>Ê«iÀvœÀ“>˜ViÃÊ̜ÊV>“iÀ>]ÊLÕÌÊ their actions were nonetheless contained by the continuity of the original song. As
“ÀˆÌÊ>˜}>ÀʜLÃiÀÛi`]ʼºÃœ˜}»Ê°°°ÊÃÕ}}iÃÌÃÊ>˜Êˆ˜LՈÌÊÀ…Þ̅“]Ê>ʓiÌÀi]Ê>ÊVœ“«œÃˆÌˆœ˜Ê ̅>Ìʅœ`ÃʜÕÀÊ>ÌÌi˜Ìˆœ˜½Ê>˜`ʈ˜Ê̅ˆÃÊÀiëiVÌ]ʓÕÈVʅ>ÃÊ̅iÊV>«>VˆÌÞÊ̜ʅ>À“œ˜ˆÃiÊ Ì…iʓœÃÌÊiÝÌÀi“iÊۈÃÕ>Ê`ˆÃܘ>˜ViÃÊ>˜Ê>À̈ÃÌʓˆ}…ÌÊ̅ÀœÜÊ>ÌÊ̅iÊÃVÀii˜°67 Within ̅iʍÕÀˆÃ`ˆV̈œ˜ÊœvÊ>˜Êˆ˜ÃÌ>>̈œ˜]ʓÕÈVÊV>˜Êȓˆ>ÀÞÊ«>V>ÌiÊÜ>ÀÀˆ˜}Êii“i˜ÌÃ]ÊLœÌ…Ê on screen and set loose in the gallery space.

THE PERSISTENT ALLURE OF FILMIC ILLUSION IN AN AGE OF INSTALLATION ˆ“ÊLiµÕi>̅ÃÊ̜ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê̅iÊ}À>““>ÀʜvÊVˆ˜i“>]ʈÌÃÊÃÌÀÕVÌÕÀiÃÊ œvÊ«Àœ`ÕV̈œ˜Ê>˜`ÊÀiVi«Ìˆœ˜]ʈÌÃÊVՏÌÕÀ>Ê…ˆÃ̜ÀÞ]Ê>ÃÊÜiÊ>ÃʈÌÃʓ>ÌiÀˆ>ÊVœ˜`ˆÌˆœ˜Ã°Ê
ÃÊÜiʅ>ÛiÊÃii˜]ʓœÛˆ˜}ʈ“>}iÃʅ>ÛiÊ>Ê`Õ>Ê˜>ÌÕÀiÆÊ܅ˆÃÌÊVœ˜ÃˆÃ̈˜}ʜvʘœÌ…ˆ˜}Ê “œÀiÊ̅>˜ÊÃÕVViÃÈÛiÊ«>ÌV…iÃʜvʏˆ}…ÌÊ>˜`Ê>ÕÀ>Ê`ˆÃÌÕÀL>˜ViÃ]Ê̅iÞÊ>ÀiʜÀ}>˜ˆÃi`Ê into a pictorial flow passing through a frame equivalent to a window onto another

98

INSTALLATION AND THE MOVING IMAGE

ܜÀ`]Ê }œÛiÀ˜i`Ê LÞÊ Ì…iÊ >ÜÃÊ œvÊ «iÀëiV̈ÛiÊ iœ˜Ê >Ì̈ÃÌ>Ê
LiÀÌˆÊ iÃÌ>LˆÃ…i`Ê ˆ˜Ê Renaissance painting. The aperture of the filmic frame reveals a dynamic and fugitive universe of movement and sound endowed with an uncanny likeness to our own and running in parallel with our lives. In this alternative universe what seems fa“ˆˆ>Àʈ˜ÊœÕÀʜܘÊi˜ÛˆÀœ˜“i˜ÌÊÌ>ŽiÃʜ˜Ê՘iÝ«iVÌi`ʵÕ>ˆÌˆiÃÊ>˜`Ê>vviVÌÃÆÊ>ÃÊ ˆ“ˆÌÀˆÊ ˆÀÃ>˜œvvʅ>ÃÊÀi“>ÀŽi`]ʼi>V…Ê̅ˆ˜}Êi݈Ã̈˜}ʈ˜Ê̅iÊܜÀ`ʎ˜œÜÃÊ>˜œÌ…iÀÊi݈ÃÌi˜ViÊ on the screen’.68Ê/…iÊi˜V…>˜Ì“i˜ÌʜvÊw“]ʈÌÃÊ>LˆˆÌÞÊ̜Ê՘œVŽÊ̅iÊÃiVÀiÌÃʜvÊ«iœ«iÃ]Ê «>ViÃÊ>˜`Ê̅ˆ˜}ÃʼˆÛˆ˜}Ê̅iˆÀʓÞÃÌiÀˆœÕÃ]Êȏi˜ÌʏˆÛiÃÊ>ˆi˜Ê̜Ê̅iʅՓ>˜ÊÃi˜ÃˆLˆity’69 seems to endow the spectator with second sight and this visionary dimension has guaranteed the enduring appeal of cinematic illusionism. Even at the height œvÊ̅iÊ`iVœ˜ÃÌÀÕV̈ÛiÊ«ÀœiVÌʈ˜Ê̅iʏ>ÌiÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞ]Ê܅i˜ÊVˆ˜i“>̈VÊÛiÀˆÃˆ“ˆˆÌÕ`iÊÜ>ÃÊ̅iʜLiVÌʜvÊVœ˜ÌiÃÌ>̈œ˜Ê>˜`Ê>À̈ÃÌÃÊiÝ«iÀˆ“i˜Ìi`Ê܈̅ʈ““iÀÈÛi]Ê LœÀ`iÀiÃÃÊ«ÀœiV̈œ˜ÃÊÃÕV…Ê>ÃÊ-ÌiÛiÊ>ÀÀiÀ½ÃʼvÀ>“iiÃÃÊw“ý] 70 or when they reiVÌi`ʘ>ÀÀ>̈ÛiÊ>˜`ÊۈÃÕ>Ê«i>ÃÕÀiÊ>Ìœ}i̅iÀ]ÊÀiyi݈ÛiÞÊ`À>܈˜}Ê>ÌÌi˜Ìˆœ˜Ê̜Ê̅iÊ v>VÌÃʜvʓ>ÌÌiÀʈ˜Êw“]Ê>À̈ÃÌÃʘœ˜i̅iiÃÃÊÀi“>ˆ˜i`Êi˜Ì…À>i`Ê̜Ê̅iÊܜ˜`iÀÃʜvÊ cinematic mimesis.71 No artistic proposition could ever be made manifest for the consideration of an audience without splitting off the simulated spaces of the creative imagination from the real world. Artists have consistently reverted to the filmic frame for its capacity ̜Ê`i“>ÀV>ÌiÊ>˜`ÊVœ˜ÕÀiÊÕ«Ê>˜œÌ…iÀÊÀi>ˆÌÞʜvÊ̅iˆÀʜܘʓ>Žˆ˜}]Ê«iÀ…>«ÃÊ>ÃÊ>ÊVœÀÀi>ÌiʜvÊ̅iÊÃiv]ÊiÝ«iÀˆi˜Vi`Ê>ÃÊ>Ê«ÃÞV…ˆVÊë>Vi]Ê>˜Êˆ˜ÌiÀˆœÀÊ`œ“>ˆ˜ÊœvÊi“œÌˆœ˜Ã]Ê `Ài>“ÃÊ>˜`Êvi>ÀðÊ7ÀˆÌˆ˜}ʈ˜Ê£™Ç£]Ê
˜˜iÌÌiʈV…iÃœ˜Ê«ÀœV>ˆ“i`Êw“Ãʼ>˜>œ}ÕiÃÊ œvÊ Vœ˜ÃVˆœÕØiÃý]Ê >ÀÌiv>VÌÃÊ Ì…>ÌÊ >œÜÊ >Õ`ˆi˜ViÃÊ ÌœÊ ÀiyiVÌÊ ¼œ˜Ê ̅iÊ Vœ˜`ˆÌˆœ˜ÃÊ œvÊ knowledge’.72Ê ÕÀ̅iÀ“œÀi]Ê Ì…iÞÊ ¼v>VˆˆÌ>ÌiÊ >Ê VÀˆÌˆV>Ê vœVÕÃÊ Õ«œ˜Ê ̅iÊ ˆ““i`ˆ>VÞÊ œvÊ iÝ«iÀˆi˜Viʈ˜Ê̅iÊyœÜʜvÊ̈“i½°73 The bounded image also isolates the elements that Ø>ÀiÊ >À̈ÃÌÃ½Ê ˆ˜ÌiÀiÃÌÃÊ ˆ˜Ê ̅iÊ iÝÌiÀ˜>Ê ܜÀ`Ê i˜>Lˆ˜}Ê Ì…i“Ê ÌœÊ LiÊ ÃՓ“œ˜i`Ê ¼œÕÌÊ œvÊ̅iÊÅ>`œÜÃʜvʈ˜`ˆvviÀi˜Vi½Êœ˜ÌœÊ̅iÊ«>iÌÌiʜvÊ>À̈Ã̈VÊiÝ«ÀiÃȜ˜°74 For William ,>L>˜]Ê̅iÊw“ÊvÀ>“iÊ>ÃœÊ«ÀœÛˆ`iÃÊ>ʓ>ÌiÀˆ>Ê>˜V…œÀÊ̜Ê̅iÊ«ÀœViÃÃiÃʜvʏœœŽˆ˜}]Ê vœÀÊ>À̈ÃÌÊ>˜`ÊۈiÜiÀÊ>ˆŽi°Ê7…ˆÃÌÊ̅iʓœÛˆ˜}ʈ“>}iÊvœVÕÃiÃÊëiVÌ>̜Àˆ>Ê>ÌÌi˜Ìˆœ˜]Ê ˆÌÊ>ÃœÊi˜>LiÃÊ,>L>˜Ê̜Ê}i˜iÀ>Ìiʼ̅œÕ}…ÌÃʜ˜Êw“½]Ê}ˆÛˆ˜}ÊÌiÃÌ>“i˜ÌÊ̜ʅˆÃÊVÀi>̈ÛiÊ endeavours and asserting his self-presence in a world of fragmented identities. 75 Like the demi-gods of Greek mythology reconciling the differences between “œÀÌ>ÃÊ>˜`Ê̅iÊ`ˆÛˆ˜ˆÌÞ]ÊÜiʅ>ÛiÊ`iÛiœ«i`Ê̅iÊ>LˆˆÌÞÊ̜ʓœÛiÊÃi>“iÃÏÞÊLiÌÜii˜Ê ܜÀ`Ã]Ê>˜`ʈÌʈÃÊ̅ˆÃÊ«iÀVi«ÌÕ>ÊœÕÀ˜iވ˜}Ê̅>ÌʈÃÊ`À>“>̈Ãi`ʈ˜Ê“œÛˆ˜}ʈ“>}iʈ˜stallation. The gallery offers us a sanctuary in which to drift between the domain œvÊ̅iÊw“ˆVʈ“>}ˆ˜>̈œ˜Ê܅iÀiÊ6ˆÀ}ˆ˜ˆ>Ê7œœvÊvœÕ˜`ʼ̅œÕ}…Ìʈ˜ÊˆÌÃÊ܈`˜iÃÃ]ʈ˜ÊˆÌÃÊ Li>ÕÌÞÊ>˜`ʈ˜ÊˆÌÃʜ``ˆÌÞ½Ê>˜`Ê̅iÊÀi>“ÊœvʜLÃiÀÛ>LiÊÀi>ˆÌÞ]Ê̅iÊܜÀ`ʜvÊ̅ˆ˜}ð76
ÃÊÜiÊ«Àœ}ÀiÃÃÊ̅ÀœÕ}…Ê̅iÊë>ViÃʜvÊ>˜Êˆ˜ÃÌ>>̈œ˜]ʈ˜ÊœÕÀÊVÀœÃȘ}ÃÊ>˜`ÊÀiÌÕÀ˜Ã]Ê œÕÀÊVœ}˜ˆÌˆÛiÊv>VՏ̈iÃÊ>˜`ʜÕÀÊi“œÌˆœ˜ÃÊÌÀ>ÛiÊ܈̅ÊÕÃ]Ê눏ˆ˜}ÊvÀœ“Êœ˜iÊ«iÀVi«ÌÕ>Ê ë…iÀiÊ̜Ê̅iʜ̅iÀ]ʓÕ``ވ˜}Ê̅iÊÜ>ÌiÀÃÊLiÌÜii˜Ê̅iÊÌܜ°Ê

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Proto cinema refers to practices that employ technical or formal aspects of film without re܏ۈ˜}ʈ˜ÌœÊVœ˜Ûi˜Ìˆœ˜>Ê«ÀœiVÌi`ÊܜÀŽÃ°Ê/…ˆÃÊܜՏ`ʈ˜VÕ`iÊ«Ài‡Vˆ˜i“>̈Vʜ«ÌˆV>Ê`iۈVið Plato (1991) The Republic]ÊÌÀ>˜Ã°Ê i˜>“ˆ˜ÊœÜiÌÌ°Êœ˜`œ˜\Ê6ˆ˜Ì>}i]Ê«°Ê£™Ç°Ê
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ÀÌÊ>˜`ʓi`ˆ>̈œ˜Êˆ˜Ê̅iÊiÝ«iÀˆi˜ViÊiVœ˜œ“Þ½]Ê MIRAJ]ÊÓ\ÊÓ]Ê«°Ê£ÈÓ°Ê-iiÊ>ÃœÊi>˜Ê >Õ`Àˆ>À`Ê­Ó䣣®ÊSymbolic Exchange and Death. London: Sage. i>˜‡œÕˆÃÊ >Õ`ÀÞÊ ­£™Ç{®Ê ¼`iœœ}ˆV>Ê vviVÌÃÊ œvÊ Ì…iÊ >ÈVÊ ˆ˜i“>̜}À>«…ˆVÊ
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“ÃÌiÀ`>“Ê1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê p. 180. Available online: …ÌÌ«\ÉÉ`>Ài°ÕÛ>°˜É`œVՓi˜ÌÉÎÈ£xn™Ê ­>VViÃÃi`Ê £9 November 2013). Ibid. ÕVÞÊ,iޘœ`Ã]ʜ«°ÊVˆÌ° ÕVÞÊ,iޘœ`Ã]ʜ«°ÊVˆÌ° ÊÃ>Þʼ…>ÕVˆ˜>̜ÀÞ½]ÊLÕÌÊÊ>“Êœ˜iʜvʓ>˜ÞÊ܅œÊLiˆiÛiÊ̅iÞʅ>ÛiÊÃii˜Ê>Ê}…œÃÌ°Ê œÊÃVˆi˜ÌˆwVÊ iÝ«>˜>̈œ˜Ê…>ÃÊÞiÌÊLii˜Ê«œÃˆÌi`Ê̅>ÌÊ«ÀœÛiÃÊ̅iʈ“>}iʜvÊ̅iÊëiVÌÀ>Êܜ“>˜ÊÊÃ>ÜÊÜ>ÃÊ Ãˆ“«ÞÊ̅iÊÀiÃՏÌʜvʈ˜`ˆ}iÃ̈œ˜]Ê>̓œÃ«…iÀˆVÊ«ÀiÃÃÕÀiʜÀÊܓiÊ«…œÌœ}À>«…ˆVʈ“«Àˆ˜ÌÊi“bedded in the room in which nefarious events once took place. Robert Smithson (1996) Robert Smithson: The Collected Writings°Ê iÀŽiiÞ]Ê
\Ê1˜ˆÛiÀÈÌÞÊ œvÊ >ˆvœÀ˜ˆ>Ê*ÀiÃÃ]Ê«°Ê£În°Ê ʅ>ÛiÊ`ˆÃVÕÃÃi`Ê̅ˆÃʘœÌˆœ˜Êˆ˜ÊÀi>̈œ˜Ê̜Ê*iÌiÀÊ >“«ÕýÃÊܜÀŽÊˆ˜Ê¼*iÌiÀÊ >“«ÕÃ\Ê"«ÌˆVŽÃ½]Ê MIRAJ]Ê£\Ê£]Ê««°Ê£äÇq£ä° +՜Ìi`Ê ˆ˜Ê /iÀÀÞÊ œÀ̜˜Ê ­£™™n®Ê History of Magic Lantern Shows. Available online: …ÌÌ«\ÉÉ ÜÜÜ°“>}ˆV>˜ÌiÀ˜Ã…œÜðVœ“É…ˆÃ̜ÀÞ°…Ìm (accessed 8 August 2012). /…iÊ ÕÌV…Ê>À̈ÃÌÊ iÀ˜`˜>ÕÌÊ-“ˆ`iʅ>ÃÊ`iÛiœ«i`Ê>Êȓˆ>ÀʜLÃiÃȜ˜Ê܈̅ÊVœÕ`Ã]ÊLÕÌʅˆÃÊ ÌÀˆVŽÊˆÃÊ̜Ê}i˜iÀ>ÌiÊ̅iÊÀi>Ê̅ˆ˜}ʈ˜`œœÀÃ]Ê܈̅ÊӜŽiÊ>˜`ÊÜ>ÌiÀÊÛ>«œÕÀ°Ê/…iÃiÊi˜ˆ}“>̈VÊ weather systems evaporate within a few moments. The work was restored in 2008; see: …ÌÌ«Ã\ÉÉÜÜܰޜÕÌÕLi°Vœ“ÉÜ>ÌV…¶ÛrÎÜ6 xiv8â0 ­>VViÃÃi`ÊnÊ՘iÊÓä£{®°

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/iÀÀÞÊ œÀ̜˜]ʜ«°VˆÌ°ÊÊ œÕÃiÜ>ÌV…Ê Vœ˜ÃˆÃÌi`Ê œvÊ >˜Ê œÕÀ˜]Ê ՏÕÊ +Ո˜˜]Ê iœÀ}iÊ ->ݜ˜]Ê /œ˜ÞÊ -ˆ˜`i˜]Ê -Ì>˜vœÀ`Ê -ÌiiiÊ>˜`Ê
ˆÃœ˜Ê7ˆ˜Ži°Ê/…iÀiʈÃʏˆÌ̏iÊÜÀˆÌÌi˜Ê>LœÕÌÊ̅iˆÀÊܜÀŽ]ÊLÕÌÊ>Ê«>}iʜ˜Ê̅iÊÕݜ˜ˆ˜iÊ website provides some information: …ÌÌ«\ÉÉÜÜÜ°Õݜ˜ˆ˜i°œÀ}°ÕŽÉ>À̈ViÃɅœÕÃiÜ>ÌV…Ú>ÌÚ Ã«ˆÌ>wi`ïÓn£¯Ó™°…Ì“l (accessed 19 November 2013). Persistence of vision is said to be retinal in that an afterimage lingers in the eye to compensate for blackout breaks in vision while blinking. Much argument has erupted around ܅iÀiÊ̅iÊ«iÀVi«Ìˆœ˜ÊœvʓœÌˆœ˜ÊÌ>ŽiÃÊ«>Vi]ʈ˜Ê̅iÊiÞiʜÀÊ̅iÊLÀ>ˆ˜]ʜÀÊ܈̅ˆ˜ÊܓiÊVœ“«iÝÊ interaction between the two. ˜ÊÓääÇ]Ê ÓÊÕÃi`Ê>ÊâœiÌÀœ«iʓœÌˆvÊ>ÃÊ>˜Êˆ`i˜Ìʏˆ˜Žˆ˜}Ê̅iÊiÛi˜ˆ˜}½ÃÊ«Àœ}À>““ið /œ“Ê ՘˜ˆ˜}Ê ­£™nÈ®Ê ¼/…iÊ ˆ˜i“>Ê œvÊ
ÌÌÀ>V̈œ˜\Ê >ÀÞÊ ˆ“]Ê ÌÃÊ -«iVÌ>̜ÀÊ >˜`Ê Ì…iÊ
Û>˜Ì‡ >À`i½]ÊWide Angle]Ên\ÊÎÉ{]Ê««°ÊÈÎqÇä°Ê՘˜ˆ˜}ÊVœˆ˜i`Ê̅iÊ«…À>ÃiʼVˆ˜i“>ʜvÊ>ÌÌÀ>V̈œ˜Ã½Ê ܈̅Ê
˜`ÀiÊ>Õ`Ài>ՏÌʈ˜Ê£™nx]ÊLÕÌʈÌÊÜ>ÃʈÌÃivÊ>˜Ê>`>«Ì>̈œ˜ÊœvÊ ˆÃi˜ÃÌiˆ˜½ÃʘœÌˆœ˜ÊœvÊ>Ê ¼œ˜Ì>}iʜvʈ“Ê
ÌÌÀ>V̈œ˜Ã½ÊvÀœ“Ê>Ê£™ÓäÃÊiÃÃ>ÞʜvÊ̅iÊÃ>“iʘ>“i°ÊÊ A. L. Rees (1999) A History of Experimental Film and Video°Êœ˜`œ˜\Ê ÀˆÌˆÃ…ʈ“ʘÃ̈ÌÕÌi]Ê«°Ê 17. Documentation of the work is available online: …ÌÌ«\ÉÉۈ“iœ°Vœ“Énäää{n7 (accessed 20 November 2013). œÀÊ>ʅˆÃ̜ÀÞʜvÊi>ÀÞÊVˆ˜i“>]ÊÃiiÊÀˆÃ̈˜Ê/…œ“«Ãœ˜Ê>˜`Ê >ۈ`Ê œÀ`ÜiÊ­Q£™™{RÊÓääÎÊQӘ`Ê edn) Film History: An Introduction°Ê iÜÊ9œÀŽ\ÊVÀ>܇ˆ]Ê««°Ê£ÎqÎÓ° /œ“Ê՘˜ˆ˜}]ʼ
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Ã̜˜ˆÃ…“i˜Ì½]ʜ«°ÊVˆÌ°]Ê«°Ê£Óΰ +՜Ìi`ÊLÞÊÀˆÃ̈˜Ê/…œ“«Ãœ˜Ê>˜`Ê >ۈ`Ê œÀ`Üi]ʜ«°ÊVˆÌ°]Ê«°Ê£È° /œ“Ê՘˜ˆ˜}]ʜ«°ÊVˆÌ°]Ê«°££x° Lˆ`°]Ê«°Ê£nn° Lˆ`°]Ê«°Ê££™° Charles Musser (1986) Motion picture catalogs by American producers and distributors, 1894–1908 [microform]: a microfilm edition]Ê Ài`iÀˆVŽ]Ê  \Ê 1˜ˆÛiÀÈÌÞÊ *ÕLˆV>̈œ˜ÃÊ œvÊ America. Mario Slugan (2011) Some Concerns Regarding the Cinema of Attractions]ÊܜÀŽˆ˜}Ê«>«iÀ]Ê p. 1. The earliest colour was achieved by hand-tinting black and white film. The British two-coœÕÀÊÃÞÃÌi“ʈ˜i“>VœœÕÀÊÜ>Ãʈ˜Ûi˜Ìi`ÊLÞÊiœÀ}iÊ-“ˆÌ…ʈ˜Ê ÀˆÌ>ˆ˜Ê>˜`ʜÛiÀÌ>Ži˜Êˆ˜Ê̅iÊ £™ÓäÃÊLÞÊ̅iʅˆ}…Þ‡Ã>ÌÕÀ>Ìi`Ê/iV…˜ˆVœœÕÀ]Ê`iÛiœ«i`ʈ˜Ê
“iÀˆV>°Ê ,>ޓœ˜`Ê iœÕÀ½ÃÊՓLÀi>ÊÌiÀ“Ê`iÛiœ«i`ʜÕÌʜvʅˆÃʈ˜ÌiÀiÃÌʈ˜Ê¼Ì…iʓÕÌ>̈œ˜ÃÊ>˜`ÊiÝV…>˜}iÃÊLiÌÜii˜Ê`ˆvviÀi˜Ìʈ“>}iʓi`ˆ>½]Ê>˜`Ê̅iÊ`iÛiœ«“i˜Ìʜvʈ˜ÃÌ>>̈œ˜ÃÊ̅>ÌÊLœÌ…Ê ¼ÕÃiÊVˆ˜i“>Ê>ÃÊ>˜ÊœLiV̽]ʈ˜VÕ`ˆ˜}ÊܜÀŽÃÊL>Ãi`ʜ˜ÊvœÕ˜`ÊvœœÌ>}i]Ê>˜`Ê̅œÃiʓ>`iÊLÞÊw““>ŽiÀÃÊÕȘ}Ê̅iˆÀÊ œÜ˜Ê ˆ“>}iÀÞ°Ê -iiÊ ,>ޓœ˜`Ê iœÕÀÊ ­Óä£Î®Ê ¼º ˆ˜i“>»]Ê
œ˜iÉՏ̈«iÊ º ˆ˜i“>û½]ʈÊÕÀ«…ÞÊ­ÌÀ>˜Ã°®Ê Alphaville: Journal of Film and Screen Media]Êx°Ê
Û>ˆ>LiÊ online: …ÌÌ«\ÉÉÜÜÜ°>«…>ۈiœÕÀ˜>°Vœ“ÉÃÃÕixÉ/É
À̈Vi iœÕÀ°…Ì“l (accessed 15 ՏÞÊÓä£{®°Ê Sergei Eisenstein ([1942] 1945) The Film Sense]Ê ÌÀ>˜Ã°Ê >ÞÊ iÞ`>°Ê œ˜`œ˜\Ê >LiÀÊ >˜`Ê >LiÀ]Ê«°Ê£{° ÀˆÃ̈˜Ê/…œ“«Ãœ˜Ê>˜`Ê >ۈ`Ê œÀ`Üi]ʜ«°VˆÌ°]Ê«°Ê{ΰ -iiÊ œlÊ ÕÀV…Ê ­£™Ç™®Ê ¼ˆ“½ÃÊ ˜Ã̈ÌṎœ˜>Ê œ`iÊ œvÊ ,i«ÀiÃi˜Ì>̈œ˜Ê >˜`Ê Ì…iÊ -œÛˆiÌÊ

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,i뜘Ãi½]ÊOctober]Ê££]Ê««°ÊÇÇq™È° Ibid. p. 83. ÀˆÃ̈˜Ê/…œ“«Ãœ˜Ê>˜`Ê >ۈ`Ê œÀ`Üi]ʜ«°ÊVˆÌ°]Ê«°Ê{È° See Thompson and Bordwell for a fuller account of the development of Hollywood film. op. cit. iœvvÀiÞÊ œÜi‡-“ˆÌ…Ê­£™ÇȮʼœÛˆ˜}ʜ˜ÊvÀœ“ÊiÌâ½]ÊJump Cut]Ê£Ó\Ê£Î]ʅÌÌ«\ÉÉÜÜÜ°iÕ“«VÕÌ° œÀ}É>ÀV…ˆÛiɜ˜ˆ˜iÃÃ>ÞÃɍV£Ó‡£Îvœ`iÀɓiÌⰘӈ̅°…Ì“Ê­>VViÃÃi`Ê£ÓÊ iVi“LiÀÊÓä£{®° Christian Metz (1977) Psychoanalysis and Cinema: The Imaginary Signifier]Ê ÌÀ>˜Ã°Ê iˆ>Ê ÀˆÌ̜˜]Ê
˜˜ÜޏÊ7ˆˆ>“Ã]Ê i˜Ê ÀiÜÃÌiÀÊ>˜`Ê
vÀi`ÊÕââiÌ̈°Êœ˜`œ˜\Ê>Vˆ>˜° iÀ“>ˆ˜iÊ Õ>Vʈ˜ÌiÀۈiÜi`ÊLÞÊ*>ÕÊ iÃV>ÕÝʈ˜ÊMon Cine]Ê"V̜LiÀÊ£™ÓÎ]Ê­“ÞÊÌÀ>˜Ã>̈œ˜®]Ê Ì…iʜÀˆ}ˆ˜>ÊÀi˜V…ʵ՜Ìi`ʈ˜Ê,œÃ>˜˜>Ê>ՏiÊ­ÓääӮʼ/…iÊ“«œÀÌ>˜ViʜvÊ iˆ˜}Ê>ʈ“Ê
Õ̅œÀ\Ê iÀ“>ˆ˜iÊ Õ>VÊ>˜`Êi“>iÊ
Õ̅œÀň«½]ÊSenses of Cinema]ÊÓΰÊ
Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉÃi˜ÃiÜvVˆ˜i“>°Vœ“ÉÓääÓÉvi>ÌÕÀi‡>À̈ViÃÉ`Տ>VÉ (accessed 7 October 2012).
°Ê°Ê,iiÃ]ʜ«°ÊVˆÌ°Ê«°ÊÎä°Ê iÀ“>ˆ˜iÊ Õ>V]ʜ«°ÊVˆÌ°]Ê­“ÞÊÌÀ>˜Ã>̈œ˜®° i˜ÀˆÊ …œ“iÌÌiʵ՜Ìi`ʈ˜Ê
°Ê°Ê,iiÃ]ʜ«°ÊVˆÌ°]Ê«°ÊÎx° Anton Ehrenzweig ([1967] 1973 [2nd edn) The Hidden Order of Art°Ê-Ì°Ê
L>˜Ã\ÊÀ>˜>`>]Ê«°Ê 14. Clare Considine reports in The GuardianÊ̅>ÌÊÃޘ>iÃ̅iÈ>ʈÃʘœÜʼ>Ê̅iÊÀ>}i½Ê>˜`ʼ“>˜ÞÊ musos are currently claiming [it] as their superpower’. Devotees include Nick Ryan who >ÃÃiÀÌÃÊ̅>ÌʘiÜÊÌiV…˜œœ}ˆiÃÊ>ÀiÊVÀi>̈˜}Ê>ʎˆ˜`ʜvʼVՏÌÕÀ>ÊÃÞØ>iÃ̅iÈ>½]ʓ>Žˆ˜}Ê̅iÊ ¼VœˆÃˆœ˜ÊœvÊ̅iÊÃi˜ÃiÃÊ>Û>ˆ>LiÊ̜Ê̅iʓ>ÃÃiýʭÇÊ՘iÊÓä£{®°Ê >ÀL>À>Êi«ÜœÀ̅ʈ˜ÌiÀۈiÜi`ÊLÞÊ̅iÊ Êˆ˜Ê̅iÊ£™ÈäÃ]ÊÀi‡LÀœ>`V>ÃÌʈ˜ÊAbstract Artists in Their Own WordsÊ­ i˜Ê>À`ˆ˜}]Ê`ˆÀiV̜À®]Ê {]ÊnÊ-i«Ìi“LiÀÊÓä£{° Iwona Blazwick speaking on Abstract Artists in Their Own Words]Ê>ÃÊ>LœÛi° Robert Motherwell (1951) in What Abstract Art Means to Me]Ê Õï˜Ê œvÊ Ì…iÊ ÕÃiÕ“Ê œvÊ œ`iÀ˜Ê
ÀÌÊ­ iÜÊ9œÀŽ®]Ê£n\ÊÎ]Ê՘«>}ˆ˜>Ìi`° -iiʼ/…iÊ>vviVÌÃʜvÊ̅iÊ>LÃÌÀ>VÌʈ“>}iʈ˜Êw“Ê>˜`Êۈ`iœÊ>À̽]ÊÀœÕ˜`Ì>LiÊ`ˆÃVÕÃȜ˜ÊÜˆÌ…Ê >Ý>ÊÊ >˜ˆ˜œ]Ê>ë>ÀÊœÃi«…‡iÃÌiÀÊ>˜`Ê,ÕLi`œÊ­Óä£Ó®]ÊMIRAJ]Ê £\Ê£]Ê««°ÊǙqnÇ° -iÀ}iˆÊ ˆÃi˜ÃÌiˆ˜]ʜ«]ÊVˆÌ°]Ê«°Ê£n£° Elizabeth Price interviewed by Tate Films (2012). Available online: …ÌÌ«\ÉÉÜÜÜ°Ì>Ìi°œÀ}° ՎÉVœ˜ÌiÝ̇Vœ““i˜ÌÉۈ`iœÉÌÕÀ˜iÀ‡«Àˆâi‡Óä£Ó‡iˆâ>Li̅‡«ÀˆVe (accessed 29 November 2013). ˜Ê̅iÊ£™ÎäÃ]Ê̅iÊ>ÞÃÊ œ`iÊ}œÛiÀ˜i`ʼ“œÀ>ÊÃÌ>˜`>À`ýÊvœÀÊw“ÃÊ`iÃ̈˜i`ÊvœÀÊ}i˜iÀ>ÊÀii>Ãi°Ê>˜ÞʜvÊ̅iÊ«Àœ…ˆLˆÌˆœ˜ÃÊÀi>̈˜}Ê̜Ê̅iÊ`i«ˆV̈œ˜ÊœvʼÕÃÌvՏÊi“LÀ>Vi½Êˆ˜Ê¼ÃÕ}}iÃ̈ÛiÊ postures’ were avoided by the actors keeping one foot on the floor. >˜Vi½ÃÊ «ÀœiV̈œ˜Ê ÌiV…˜ˆµÕiÊ >˜ÌˆVˆ«>Ìi`Ê Ì…iÊ `iÛiœ«“i˜ÌÊ ˆ˜Ê ̅iÊ £™xäÃÊ œvÊ ˆ˜iÀ>“>Ê ˆ˜Ê ܅ˆV…Ê̅ÀiiÊÃޘV…Àœ˜ˆÃi`Ê«ÀœiV̜ÀÃÊVÀi>Ìi`Ê>Ê«>˜œÀ>“ˆVʈ“>}iʜ˜Ê>ÊVÕÀÛi`ÊÃVÀii˜° Gance can also be seen firing a pistol in the air to shock his actors into big reac̈œ˜Ã°Ê -iiÊ >Ê Ã…œÀÌÊ œ˜Ê ̅iÊ `ˆÀiV̜ÀÊ LÞÊ iۈ˜Ê ÀœÜœÜÊ …iÀi\Ê …ÌÌ«Ã\ÉÉÜÜܰޜÕÌÕLi°Vœ“É Ü>ÌV…¶Ûrӎ,â>ÞoÊ­>VViÃÃi`ʙÊ՘iÊÓä£{®°Ê /…iÊ«>ˆ˜ÌiÀÊ°Ê°Ê7°Ê/ÕÀ˜iÀʅ>`ʅˆ“Ãivʏ>Åi`Ê̜Ê̅iʓ>ÃÌʜvÊ>Êň«Êˆ˜Ê>ÊÃ̜À“ʈ˜ÊœÀ`iÀÊÌœÊ better represent the scene in his painting Snow Storm (1842) – or so he claimed.

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In Coir’ a’ Ghrunnda 360Ê­ÓääÇ®]Ê̅iÊVˆ“LiÀÊ>˜`Ê>À̈ÃÌÊ >˜Ê-…ˆ«Ãˆ`iÃÊÃV>i`Ê>ÊÀi“œÌiÊ«i>ŽÊ in Scotland and attached a modified video camera to an 8-metre leash. By whirling the V>“iÀ>Ê>ÀœÕ˜`ʅˆÃʅi>`]ʅiÊiÝ«>˜`i`Ê̅iÊÀi>V…ÊœvʅˆÃʎˆ˜œ‡iÞiʈ˜Ê̅iÊÃ>“iÊÜ>ÞÊ̅>Ìʈ˜Ê the 1920s Oskar Schlemmer defied the limits of his body in his Bauhaus performances by “i>˜ÃʜvÊ}iœ“iÌÀˆVÊLœ`ÞÊiÝÌi˜Ãˆœ˜Ã° The erasure of the human hand and eye from spectatorial awareness has been reversed ̜ÊܓiÊiÝÌi˜Ìʈ˜ÊÀiVi˜ÌÊÞi>ÀÃ]Ê܈̅Ê>ʘiÜÊv>ňœ˜ÊvœÀʅ>˜`‡…i`]ÊÃÕLiV̈ÛiÊV>“iÀ>ÊÃÌÞles in the mainstream. These are nonetheless married to solidly conventional narrative frameworks as witnessed in the recent BBC2 Cold War thriller LegacyÊ­Óä£Î]ÊÕVÞÊ,ˆV…iÀ]Ê director). The visuals were at times so hard to decipher that one was entirely reliant on the sparse dialogue to follow the story. Morgan Fisher commenting on his film Projection InstructionsÊ ­£™ÇÈ®]Ê µÕœÌi`Ê LÞÊ -VœÌÌÊ Macdonald. Available online: …ÌÌ«\ÉÉÜÜÜ°i“‡>ÀÌðœÀ}Éi˜Éˆ˜`i«i˜`i˜Ì‡w“ÃÉ«ÀœiV̈œ˜‡ instructions (accessed 28 August 2013). Bill Viola quoted by Chris Darke (2000) Light Readings: Film Criticism and Screen Arts. œ˜`œ˜Ê>˜`Ê iÜÊ9œÀŽ\Ê7>yœÜiÀÊ*ÀiÃÃ]Ê«°Ê£nÎ°Ê i>˜Ê œÕ`>Ê ­£™Óx®Ê ¼-ÕÀÀi>ˆÃ“Ê >˜`Ê ˆ˜i“>½]Ê Ài«Àˆ˜Ìi`Ê ˆ˜Ê *>ÕÊ >““œ˜`Ê ­Óäää®Ê The Shadow and its Shadows: Surrealist Writings on the Cinema°Ê->˜ÊÀ>˜VˆÃVœ\Ê ˆÌÞʈ}…ÌÃ]Ê««°Ê 49–56. ÀˆÃ̈˜Ê/…œ“«Ãœ˜Ê>˜`Ê >ۈ`Ê œÀ`Üi]ʜ«°ÊVˆÌ°]Ê«°Ê™ä°
“ÀˆÌÊ >˜}>ÀÊ ­Óä£Ó®Ê ¼/…iÊ “œÛˆ˜}Ê ˆ“>}i\Ê œœ«i`]Ê ÌœÊ LiÊ ՎÌtÊ qÊ Ì…iÊ ˆ˜i“>Ê *À>Þ¸ga Vœ˜ÃVˆi˜Vi½]ÊMIRAJ]Ê£\ÊÓ]Ê«°Ê£™™° ˆ“ˆÌÀˆÊˆÀÃ>˜œvvÊ­£™ÓȮʼ*ÀœLm“iÃÊ`iʏ>Ê«…œÌœ}j˜ˆi½]ʈ˜ÊCinéa-Ciné pour tous]ÊÈÓ]Ê£Ê՘i]Ê p. 10. i>˜Ê «ÃÌiˆ˜Ê­Q£™ÓÎRÊ£™nn®Ê¼"˜Ê iÀÌ>ˆ˜Ê …>À>VÌiÀˆÃ̈VÃʜvÊPhotogénie½]ÊÌÀ>˜Ã°Ê/œ“ʈ˜i]ʈ˜Ê Richard Abel (ed.) French Film Theory°Ê*Àˆ˜Vi̜˜]Ê /\Ê*Àˆ˜Vi̜˜Ê1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°ÊΣǰ In The MachineÊ­£™Çnqnn®]Ê>ÀÀiÀÊÀiVœÀ`i`Ê>˜`Ê«ÀœiVÌi`ʼvÀ>“iiÃÃ]Ê՘ˆ˜ÌiÀÀÕ«Ìi`ÊÎÈäÊ `i}ÀiiÊÃÜii«Ãʜ˜ÌœÊÎx““ÊVˆ˜iÊw“ÊVÀi>̈˜}ÊvÀ>“iiÃÃ]ÊVœ˜Ìˆ˜ÕœÕÃÊÀiVœÀ`ˆ˜}ÃʜvÊ̈“iÊ>˜`Ê space’; Michael Maziere (2007) The Dispersed Subject. Available online: …ÌÌ«\ÉÉÜÜÜ°>V>`i“ˆ>°i`ÕÉ{£ÎääÓÉ/…iÚ ˆÃ«iÀÃi`Ú-ÕLiVtÊ­>VViÃÃi`Ê£ÈÊՏÞÊÓä£{®° >ÀÀiÀ½ÃÊLÀi>̅Ì>Žˆ˜}ÊVˆÀVՏ>ÀÊ«ÀœiV̈œ˜Ãʓ>Þʅ>Ûiʼ>V̈Û>Ìi`Ê̅iÊë>ViʜvÊ«ÀœiV̈œ˜½]Ê>ÃÊ Ì…iÊÃÌÀÕVÌÕÀ>Êw“Ê“>݈“Ê`iVÀii`]ÊLÕÌÊ̅iÞÊ`ˆ`ÊÜÊLÞʓi>˜ÃʜvÊw}ÕÀ>̈œ˜Ê܈̅ÊÅ>«iÃÊÀisolving into likenesses of individuals and then fading away into a penumbral landscape.
˜˜iÌÌiʈV…iÃœ˜Ê­£™Ç£®Ê¼/œÜ>À`Ê-˜œÜ\Ê*>ÀÌʽ]ÊArtforum]ʙ\Ê£ä]Ê«°Ê£ÇÓ° Lˆ`°]Ê«°Ê£ÇÓ° i>˜Ê «ÃÌiˆ˜]ʜ«°VˆÌ°Ê 7ˆˆ>“Ê,>L>˜Êˆ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê̅iÊ>Õ̅œÀ]Êܓï“iʈ˜ÊÓä£ä° Virginia Woolf (1926) The Cinema. Available online: …ÌÌ«\ÉÉÜÜܰܜœvœ˜ˆ˜i°Vœ“ɶµr«Àˆ˜ÌÉ LœœŽÉiÝ«œÀÌɅ̓É£ää7 (accessed 29 October 2012).

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CHAPTER SIX

Film as Film L’illusion est le premier plaisir. ¼>Ê*ÕViiÊ`½"Àj>˜Ã½]Ê6œÌ>ˆÀi]Ê£ÇÈÓ

NATURALISM: THE ENCHANTMENTS OF THE SCREEN Michael O’Pray described the cinematic outpourings of avant-garde artists in the £™ÈäÃÊ >˜`Ê £™ÇäÃÊ >ÃÊ >Ê ¼«Àœ“ˆÃV՜ÕÃÊ >V̈ۈÌÞ]Ê Ì>Žˆ˜}Ê “>˜ÞÊ vœÀ“ÃÊ >˜`Ê Ã…œÜˆ˜}Ê ˆ˜Ê >ÊÀ>˜}iʜvÊVœ˜ÌiÝÌý]ʈ˜VÕ`ˆ˜}ÊVÕLÃ]ÊVˆ˜i“>Ã]Ê>À̈Ã̇À՘ÊÛi˜ÕiÃ]ÊV>LiÊ/6Ê>˜`Ê}>leries.1Ê
ÌÊ `ˆvviÀi˜ÌÊ Ìˆ“iÃ]Ê Ì…iÊ ÜœÀŽÊ Ü>ÃÊ >Lii`Ê iÝ«iÀˆ“i˜Ì>Ê w“]Ê >Û>˜Ì‡}>À`iÊ w“]ÊÃÌÀÕVÌÕÀ>É“>ÌiÀˆ>ˆÃÌÊw“ÊœÀ]ʈ˜Ê̅iÊ1-
ʈ˜Ê«>À̈VՏ>À]Ê՘`iÀ}ÀœÕ˜`Êw“]Ê>ÊÌiÀ“Ê "½*À>ÞÊv>ۜÕÀÃÊLiV>ÕÃiʜvʼˆÌÃʈ“«ˆV>̈œ˜ÊvœÀÊ>˜Ê>ÀÌÊ̅>ÌÊVœ“iÃÊvÀœ“ÊLiœÜ]ÊvÀœ“ÊLineath the accepted culture as opposed to leading from in front’. 2 Many practitioners did indeed believe that they were the as-yet-unrecognised radical vanguard of a new age of creative if not political efflorescence and it was in this period that film came into its own as an autonomous art practice. An elaborate scholarly armature was `iÛiœ«i`Ê̜ʈ˜ÛiÃ̈}>ÌiÊ̅iʓ>ÌiÀˆ>]Ê«ÀœVi`ÕÀ>]ʈ˜`ÕÃÌÀˆ>]Ê«ÃÞV…œ>˜>Þ̈V]Ê«…i˜œ“i˜œœ}ˆV>]Ê«œˆÌˆV>Ê>˜`ʜ˜Ìœœ}ˆV>ÊëiVˆwVˆÌˆiÃʜvÊ̅iʓi`ˆÕ“]Êi˜Vœ“«>ÃȘ}Ê moving image in both popular culture and art. In the pages of a bevy of film theory >˜`Ê>ÀÌʓ>}>∘iÃ] 3 avant-garde film became so heavily academicised that watchˆ˜}Êw“ÃÊÜ>ÃʘœÜÊ՘`iÀÃ̜œ`Ê̜ÊLiÊ܅>ÌÊ
°Ê°Ê,iiÃÊV>i`ʼ>˜Ê>VÌʜvÊÀi>`ˆ˜}½4 rather ̅>˜Ê̅iʜ««œÀÌ՘ˆÌÞÊ̜Ê}œÊœ˜Ê>ʍœÕÀ˜iÞʜvʼۈÃÕ>Êi“œÌˆœ˜½Ê>ÃÊ6ˆÀ}ˆ˜ˆ>Ê7œœvÊÃÕ}}iÃÌi`]Ê܅iÀiÊÜiÊVœÕ`ʼœ«i˜ÊœÕÀʓˆ˜`ÃÊ܈`iÊ̜ÊLi>ÕÌÞ½° 5 A detailed discussion of the fine distinctions between the different factions of iÝ«iÀˆ“i˜Ì>Êw“ÊœÀʈ˜`ii`Ê̅iʈ˜ÌÀˆV>VˆiÃʜvÊ*iÌiÀÊ7œi˜½Ãʼ/ܜÊ
Û>˜Ì‡>À`iý6 is Liޜ˜`Ê̅iÊÃVœ«iʜvÊ̅iÊ«ÀiÃi˜ÌÊۜÕ“iÊqÊ,iiÃ]Ê"½*À>Þ]Ê >ۈ`Ê ÕÀ̈ÃÊ>˜`Ê>Vœ“Ê Le Grice are reliable sources in this respect.7ʘÃÌi>`]ÊÊÅ>ÊVœ˜Vi˜ÌÀ>Ìiʜ˜ÊÌi˜`i˜VˆiÃÊ̅>ÌÊV>ÀÀˆi`ʜÛiÀʈ˜ÌœÊiÝ«>˜`i`ÊVˆ˜i“>Ê>˜`ʈ˜ÃÌ>>̈œ˜]Ê«Àˆ“>ÀˆÞÊܜÀŽÊ̅>ÌÊÜ>ÃÊ

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concerned with the physical presence of the filmic apparatus and artists who undertook the deconstruction of cinematic codes driven by broadly leftist and feminist political convictions. We begin our tour of avant-garde film by revisiting the staging œvʓ>ˆ˜ÃÌÀi>“]ʈÕȜ˜ˆÃÌÊVˆ˜i“>]Ê>˜`Ê«ÀœVii`Ê̜ÊVœ˜Ãˆ`iÀʈÌÃÊ`ˆÃ>ÃÃi“LÞÊLÞÊÃޘtactical critique and material interference in the work of avant-garde filmmakers. ˜Ê ̅iÊ «ÀiۈœÕÃÊ V…>«ÌiÀ]Ê ÜiÊ Vœ˜Ãˆ`iÀi`Ê /œ“Ê ՘˜ˆ˜}½ÃÊ >À}Փi˜ÌÊ Ì…>ÌÊ Ì…iÊ «ˆœ˜iiÀˆ˜}Êw““>ŽiÀÃʜvÊ̅iʘˆ˜iÌii˜Ì…ÊVi˜ÌÕÀÞ]Êv>ÀÊvÀœ“Ê܈ň˜}Ê̜ÊÌÀˆVŽÊ̅iÊiÞiÊ>˜`Ê LÀ>ˆ˜ÊœvÊ̅iˆÀÊ>Õ`ˆi˜ViÃ]ʓ>ˆ˜Ì>ˆ˜i`ʼ>ÊVœ˜ÃVˆœÕÃÊvœVÕÃʜ˜Ê̅iÊv>VÌÊ̅>ÌÊQ̅iˆÀÊw“ÃRÊ were only illusions’.8Ê/…iÊ}>ëÃʜvÊi>ÀÞÊVˆ˜i“>Ê>Õ`ˆi˜ViÃ]ÊÃ>ˆ`Ê՘˜ˆ˜}]ÊÜiÀiÊ>ÃÊ “ÕV…ÊvœÀÊ̅iʈ˜}i˜ÕˆÌÞʜvÊ̅iÊÌiV…˜œœ}ÞÊ>ÃÊvœÀÊ̅iʼۈÃÕ>ÊÌÀ>Փ>½ÊœvÊLiˆiۈ˜}ʈ˜Ê phantasmagorical apparitions. The apparatus of film formed an integral part of the ëiVÌ>Vi°ÊœÜiÛiÀ]Ê̅iÊ`iÛiœ«“i˜ÌʜvÊœÞܜœ`ʘ>ÀÀ>̈Ûiʓi>˜ÌÊ̅>ÌÊVˆ˜i“>̈VÊ verisimilitude gradually took precedence over the self-referential showmanship that Ü>ÃÊÜʓÕV…ʈ˜Êiۈ`i˜ViÊ>ÌÊ̅iÊ`>ܘʜvÊVˆ˜i“>°Êˆ}…ÌÃÊÜiÀiÊ`ˆ““i`]Ê̅iÊ«ÀœiV̜ÀÊ `ˆÃ>««i>Ài`ʈ˜ÌœÊˆÌÃʅiÀ“ïV>ÞÊÃi>i`ÊLœœÌ…]Êëi>ŽiÀÃÊÜiÀiÊi“Li``i`ʈ˜ÌœÊÜ>ÃÊ and cinema seats were upholstered in velvet to absorb the sound of sweet wrappers >˜`ÊÅi˜>˜ˆ}>˜Ãʈ˜Ê̅iÊL>VŽÊÀœÜ°Ê˜Ê>Ê«>À>iÊ`iÛiœ«“i˜Ìʈ˜Ê̅i>ÌÀi]Ê̅iʓ>ޅi“Ê œvÊi>ÀÞÊ>Õ`ˆi˜ViÊ«>À̈Vˆ«>̈œ˜Êˆ˜Ê«ÕLÃ]Êv>ˆÀÃÊ>˜`ʓÕÈVʅ>ÃÊ}>ÛiÊÜ>ÞÊ̜Ê܅>ÌÊ,œÃÃÊ ÀœÜ˜ÊV>i`ʼ̅iÊ`À>“>ÌÕÀ}ˆV>Ê“œ`iʜvÊ>Õ`ˆÌˆœ˜½]ʜ˜iÊ̅>ÌÊÀiµÕˆÀi`Ê̅iʈ˜VÀi>Ș}Ê separation of spectacle and audience.9Ê /…iÊ `iÈ}˜Ê œvÊ Ì…i>ÌÀiÃ]Ê Vœ˜ViÀÌÊ …>ÃÊ >˜`Ê i>ÀÞÊ«ˆVÌÕÀiÊ«>>ViÃÊ}À>`Õ>ÞÊ«iÀviVÌi`Ê̅iʓṎ˜}ʜvÊ̅iÊ>Õ`ˆi˜Vi]Ê̅iÊȏi˜Vˆ˜}Ê of their bodily presence and the narrowing of attention to what was taking place onstage or on the big screen. "˜ViÊwÝ>Ìi`ʜ˜Ê̅iÊV>Û>V>`iʜvʈ“>}iÃÊ«>À>`ˆ˜}ʈ˜Ê̅iÊ`>ÀŽ]Ê̅iÊÃÕëi˜Ãˆœ˜ÊœvÊ `ˆÃLiˆivÊV>“iʈ˜ÌœÊ«>Þ°Ê
ÃÊÜiÊÃ>Üʈ˜Ê̅iʏ>ÃÌÊV…>«ÌiÀ]Ê̅ˆÃÊ>œÜi`ÊۈiÜiÀÃÊ̜Êi˜ÌiÀÊ ˆ˜ÌœÊ̅iʈ“>}ˆ˜>̈ÛiÊë>ViʜvÊ>ʓœÛˆiÊ܅iÀiÊ̅iÞÊLiV>“iÊÃV…œœi`ʈ˜Ê̅iÊÃޘÌ>ÝÊ œvÊ Vˆ˜i“>Ê L>Ãi`Ê œ˜Ê ˜>ÀÀ>̈Ûi]Ê Vœ˜Ìˆ˜ÕˆÌÞÊ >˜`Ê Ài>ˆÃ“°Ê ˆ˜i“>̈VÊ “ˆ“iÈÃÊ ˆÃÊ ˆÌÃivÊ `i«i˜`i˜ÌÊ œ˜Ê ̅iÊ ÃÌÀÕVÌÕÀˆ˜}Ê vÀ>“iܜÀŽÊ œvÊ «iÀëiV̈Ûi]Ê >Ê ÕVˆ`ˆ>˜Ê ë>̈>Ê œ}ˆVÊ ˆ˜Ê܅ˆV…Ê“œÛi“i˜Ì]Ê«>À>>ÝÊ>˜`ÊÃV>iÊi˜>LiÊ̅iÊ«iÀVi«Ìˆœ˜ÊœvÊ`i«Ì…Ê܅ˆiÊۈiÜing distances are calibrated to the functional range of the human eye and ear. As I «Àœ«œÃi`ʈ˜ÊV…>«ÌiÀÊwÛi]ʜ˜ViÊ>VµÕˆÀi`]Êw“‡Ài>`ˆ˜}ÊΈÃÊLiVœ“iÊ̅iÊ՘Vœ˜ÃVˆœÕÃÊ œÀ}>˜ˆÃˆ˜}Ê«Àˆ˜Vˆ«iʜvÊëiVÌ>̜Àň«°Ê˜Ê̅iʏ>ÌiÊ£™ÈäÃ]Ê …ÀˆÃ̈>˜ÊiÌâʈ˜>Õ}ÕÀ>Ìi`Ê >ÊÃÞÃÌi“>̈VÊÃÌÕ`ÞʜvÊw“ÊÃޘÌ>ÝÊL>Ãi`ʜ˜Ê->ÕÃÃÕÀi>˜Êˆ˜}ՈÃ̈VÃʈ˜Ê܅ˆV…Ê̅iÊw“Ê ˆÃÊ՘`iÀÃ̜œ`Ê>ÃÊ>ÊÃi“ˆœÌˆVÊÌiÝÌÊ`iÀˆÛˆ˜}ʈÌÃʓi>˜ˆ˜}ÊvÀœ“ʈÌÃÊ`ˆvviÀi˜Ìˆ>Ê«œÃˆÌˆœ˜Ê ܈̅ˆ˜Ê>ʘiÌܜÀŽÊœvÊÌiÝÌð10 Where Metz studied the structures of cinematic signiwV>̈œ˜]Ê ˆÕˆ>˜>Ê À՘œÊ i>LœÀ>Ìi`Ê …iÀÊ Vœ˜Vi«ÌÊ œvÊ “œÛˆiÃÊ >ÃÊ ¼>̏>ÃiÃÊ œvÊ i“œÌˆœ˜½]Ê V>À̜}À>«…ˆVʍœÕÀ˜iÞÃÊ̅>ÌÊÌÀ>˜Ã«œÀÌÊÕÃÊ̅ÀœÕ}…Ê̅iÊÃi˜Ìˆ“i˜Ì>Ê>˜`ÃV>«iʜvʅÕmanity.11 Mieke Bal similarly refocused on the impact of cinematic content arguing that the key attribute of the figurative image is its capacity to move the spectator.12 >˜ÞÊiÝ«iÀˆ“i˜Ì>Êw““>ŽiÀÃÊÀiiVÌi`Êw}ÕÀ>̈œ˜Ê>`œ«Ìˆ˜}ʈ˜ÃÌi>`ÊÛ>Àވ˜}Ê`i}ÀiiÃÊ

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œvÊ>LÃÌÀ>V̈œ˜ÆʅœÜiÛiÀ]Ê>ÊÈ}˜ˆwV>˜ÌʘՓLiÀÊÀiÌ>ˆ˜i`ʓˆ“ïVÊÀi«ÀiÃi˜Ì>̈œ˜ÃʜvÊ reality including filmic portraits of individuals. Cognitive science tells us that the hu“>˜ÊvœÀ“]Ê܅i˜ÊÀi«Àœ`ÕVi`Ê«…œÌœ}À>«…ˆV>ÞÊ>˜`ÊÃiÌʈ˜Ê“œÌˆœ˜Êœ˜Ê>ÊÃVÀii˜]ʅ>ÃÊ>Ê unique ability to capture spectatorial attention. The empirical research of Uri Hasson œÀÊ/ˆ“Ê-“ˆÌ…ÊVœ˜wÀ“ÃÊ̅>ÌÊ܈̅ˆ˜Ê̅iÊwi`ʜvÊۈȜ˜]Ê̅iʅՓ>˜ÊLÀ>ˆ˜Ê«ÀˆœÀˆÌˆÃiÃÊ«iœple in general and the human face in particular while peripheral vision is primed to register movement.13Ê
ÃÊ ÃœVˆ>Ê Liˆ˜}Ã]Ê Ì…iÊ >LˆˆÌÞÊ ÌœÊ ÀiVœ}˜ˆÃiÊ …Õ“>˜Ê “>˜ˆviÃÌ>tions in space is critical to survival. Stephen Heath in his 1976 essay Narrative Space proposed that the viewer has a further need: to occupy a secure position in rel䜘Ê̜ʫiÀëiV̈Û>Êë>Vi]ʜ˜iÊ̅>ÌʈÃÊ̅Ài>Ìi˜i`ÊLÞÊ̅iÊVœ˜ÃÌ>˜ÌʓœÌˆœ˜ÊœvÊw“ˆVÊ ˆ“>}iÃ°Ê …ÀˆÃ̈>˜Ê iÌâʈ`i˜Ìˆwi`Ê>˜œÌ…iÀʏiÛiÊœvÊëiVÌ>̜Àˆ>Ê >˜ÝˆiÌÞÊ>ÀœÕ˜`Ê̅iÊ possibility that the illusion at any moment might break down.14 Heath describes how a reassuringly coherent sense of space is achieved by the logic of narrative into ܅ˆV…Ê̅iÊëiVÌ>̜ÀʈÃʼÃÕÌÕÀi`½°Ê/…iÊi˜ÌˆÀiÊw“ˆVÊiÝ«iÀˆi˜ViʈÃÊLœœŽi˜`i`ÊLÞÊ̅iÊ establishing and closing vues]Ê̅iÊÃÌ>̈VÊ܈`iÊŜÌÃʜvÊ̅iÊÌiÀÀ>ˆ˜Ê>VÀœÃÃÊ܅ˆV…Ê̅iÊ `À>“>Ê՘vœ`i`Ê>˜`ÊV>“iÊ̜Ê>ÊVœ˜VÕȜ˜]ʼ̅iÊw˜>ÊܜÀ`ʜvʈÌÃÊÀi>ˆÌÞ½°15 Following i>̅]Ê /ˆ“Ê "½,ˆiÞÊ …>ÃÊ ˜œÌi`Ê Ì…>ÌÊ “>ˆ˜ÃÌÀi>“Ê Vˆ˜i“>Ê VÀi>ÌiÃÊ >Ê ¼`iÈÀiÊ vœÀÊ >Ê Õ˜ˆfied perception of both space and narrative’.16 This need for pictorial and diegetic Vœ…iÀi˜ViÊ}i˜iÀ>ÌiÃÊ>˜Ê>««ïÌiÊ̜Ê`ˆÃVœÛiÀÊ܅>Ìʅ>««i˜ÃʘiÝÌÊ>˜`ʓœÌˆÛ>ÌiÃÊ̅iÊ spectator to make sense of the succession of partial views in precarious motion that Vœ˜Ã̈ÌÕÌiÊ̅iÊ>ÛiÀ>}iʓœÛˆiʜÀÊÌiiۈȜ˜Ê`À>“>]Ê>ÊÀi>`ˆ˜}ʜvÊVˆ˜i“>̈VÊVœ`iÊ̅>Ì]Ê vœÀÊÕÃ]ʅ>ÃÊLiVœ“iÊÃiVœ˜`ʘ>ÌÕÀi° It was the remarkable willingness of spectators to suspend the here and now and allow themselves to be transported into another world that formed the focus of the avant-garde critique of narrative cinema in the counter-cultural maelstrom of ̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäðÊ
VVœÀ`ˆ˜}Ê̜Ê̅iÊÀ…i̜ÀˆVʜvÊ̅iÊ>}i]ʼ«>ÃÈÛiÊëiVÌ>̜Àň«½Ê made cinemagoers vulnerable to the ideological messages smuggled into pleasur>LiÊiÃV>«ˆÃ“]ʈ˜ÌœÊ܅>ÌʓœÃÌʜvÊÕÃÊܜՏ`ÊÀi}>À`Ê>Ãʅ>À“iÃÃÊi˜ÌiÀÌ>ˆ˜“i˜Ì°Ê/…iÃiÊ “iÃÃ>}iÃÊÜiÀiÊ«Àœ}À>““i`Ê̜ÊÀiˆ˜vœÀViÊ̅iÊ«ÀiÛ>ˆˆ˜}ÊÃÌÀÕVÌÕÀiÃʜvÊ̅iʼÜVˆ>ÊœÀ`iÀ½]Ê«Àœ“œÌˆ˜}ÊÜ>ÞÃʜvÊÃiiˆ˜}Ê̅iÊܜÀ`Ê̅>ÌÊÌi˜`i`Ê̜ʘ>ÌÕÀ>ˆÃiÊ̅iÊ«œÜiÀÊ>˜`Ê ˆ˜yÕi˜ViʜvÊ̅œÃiʈ˜ÊVœ˜ÌÀœÊ܅ˆÃÌʍÕÃ̈vވ˜}Ê̅iÊÃÕLÕ}>̈œ˜ÊœvÊ̅iʓ>œÀˆÌÞʜvÊ̅iÊ «œ«Õ>̈œ˜°Ê˜Ê̅iÊ>}iʜvÊ«ÀœÌiÃÌ]ʓ>ˆ˜ÃÌÀi>“ÊÌiiۈȜ˜Ê>˜`ÊVˆ˜i“>ÊÜiÀiÊ>VVÕÃi`ʜvÊ ˆ˜Ãˆ`ˆœÕÏÞÊ«iÀ«iÌÕ>̈˜}ʈ˜iµÕ>ˆÌÞÊLÞʓi>˜ÃʜvÊÃÕLˆ“ˆ˜>Êˆ˜`œVÌÀˆ˜>̈œ˜°ÊœÜiÛiÀ]Ê Ì…ˆÃÊVÀˆÌˆµÕiʈÃʘœÌÊÀiÃÌÀˆVÌi`Ê̜Ê̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃÆÊȘViÊ̅i˜]Ê̅ÀœÕ}…œÕÌÊ̅iÊ «œÃ̓œ`iÀ˜Ê«iÀˆœ`]ÊVœ““i˜Ì>̜ÀÃÊ>˜`Ê>À̈ÃÌÃʅ>ÛiÊVœ˜Ìˆ˜Õi`Ê̜ÊiÝ«ÀiÃÃÊVœ˜ViÀ˜Ê >LœÕÌÊ̅iÊ`iiÌiÀˆœÕÃÊivviVÌÃʜvÊiÝ«œÃÕÀiÊ̜ÊVˆ˜i“>̈VÊi˜ÌiÀÌ>ˆ˜“i˜Ì°Ê˜Ê̅iÊ£™™äÃ]Ê ՎiʈLLœ˜Ã]ÊÜÀˆÌˆ˜}Ê>LœÕÌÊ̅iÊ«Àœ«>}>̈œ˜Êœvʘi}>̈ÛiÊÀˆÃ…ÊÃÌiÀiœÌÞ«iÃʈ˜Ê«œ«Õ>ÀÊ VՏÌÕÀi]Ê>ÃÃiÀÌi`Ê̅>Ìʼ“i`ˆ>ÊÀi«ÀiÃi˜Ì>̈œ˜ÃÊ°°°Ê>VÌÊ>ÃÊÌÀ>˜ÃvœÀ“>̈ÛiÊvœÀViÃʈ˜ÊÜVˆiÌÞ]ÊÀ>̅iÀÊ̅>˜Ê>ÃʺÀiyiV̈œ˜Ã»ÊœÀʓˆ“ïVÊvœÀ“ÃÊ>Ìʜ˜iÊÀi“œÛiÊvÀœ“ÊÀi>ˆÌÞ½°17 The innocence of the image is not to be reinstated and Gibbons emphasised its continuing

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INSTALLATION AND THE MOVING IMAGE

«œÜiÀÊ̜ʓœÕ`Ê̅iʈ˜`ˆÛˆ`Õ>°Ê˜ÌœÊ̅iʓˆi˜˜ˆÕ“]ʈ˜ÊœÕÀʈ˜VÀi>Ș}Þʓi`ˆ>̈Ãi`Ê i˜ÛˆÀœ˜“i˜Ì]Ê->ۜÊ=ˆãiŽÊ…>ÃÊÜ>À˜i`ʜvÊ̅iÊ«iÀ˜ˆVˆœÕÃʈ˜ÛˆÃˆLˆˆÌÞʜvÊVœÛiÀÌÊ«œˆÌˆV>Ê ˆ˜`œVÌÀˆ˜>̈œ˜\ʼÜiʏˆÛiʈ˜Ê̈“iÃÊ܅iÀiʈ`iœœ}ÞʈÃÊÛiÀÞÊÃÌÀœ˜}]Ê̜Ê̅iÊiÝÌi˜ÌÊ̅>ÌʈÌÊ ˆÃ˜½ÌÊiÛi˜ÊiÝ«iÀˆi˜Vi`Ê>Ãʈ`iœœ}Þ½°18Ê/…iʘœÀ“>ˆÃ>̈œ˜ÊœvÊ̅iʘiœ‡ˆLiÀ>ÉVœ˜ÃiÀÛ>̈ÛiÊ>}i˜`>ʓi>˜ÃÊ̅>ÌʈÌÃʘœÌˆœ˜Ãʜvʘ>̈œ˜…œœ`]Ê«Àœ}ÀiÃÃ]Ê}ÀœÜ̅]ʼÕýÊ>˜`ʼ̅i“½Ê are so well assimilated that voices of dissent struggle to make an impact. The concept œvÊ̅iÊëiVÌ>̜Àʼ`ՓLÞÊÈÌQ̈˜}Rʈ˜Ê>Üi½Êœvʈ`i>ˆÃi`ÊÜVˆiÌ>ÊiÝi“«>ÀÃ]Ê܅iÀiÛiÀÊ Ì…iÞÊ>ÀiÊ>VViÃÃi`ÊqÊLˆLœ>À`Ã]ÊÌiiۈȜ˜]ÊVˆ˜i“>]ʘiÜë>«iÀÃ]ʓ>}>∘iÃ]ʈ˜Ê«Àˆ˜ÌÊ œÀʜ˜ˆ˜iÊqÊ՘`iÀÃVœÀiÃÊVœ˜Ìi“«œÀ>ÀÞʈ˜ÛiÃ̈}>̈œ˜ÃʜvÊëiVÌ>̜Àň«]ʈ“«ˆVˆÌÞʜÀÊ iÝ«ˆVˆÌÞ°19 The new cultural stereotypes (not so different from the old) themselves modulate artists’ creative responses to the ideologically inflected representational field in which we all struggle to build a viable identity.

PSYCHOANALYSIS AND FEMINISM ˜Ê̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃ]Ê>À̈ÃÌÃÊ>˜`Ê>V>`i“ˆVÃÊÃÌÀÕ}}i`Ê̜Ê՘`iÀÃÌ>˜`Ê̅iÊ«ÀœViÃÃʜvÊV>̅i݈Ã]Ê̅iÊi“œÌˆœ˜>Êˆ˜ÛiÃ̓i˜Ìʈ˜Êœ˜‡ÃVÀii˜Êi˜ÌˆÌˆiðÊ7…Þ]Ê̅iÞÊ>Îi`]Ê `œÊÜiÊ`iÈÀiÊ̜Êi˜ÌiÀÊ̅iÊ>V̈œ˜Ê¼>ÃʈvʈÌʓ>ÌÌiÀi`Ê̜ÊÕý¶20 Christian Metz believed that our appetite for pleasurable identification with aspirational cinematic scenarios ˆÃÊ`ÀˆÛi˜ÊLÞÊ>Ê«ÃÞV…ˆVÊvœÀ“>̈œ˜Ê>ˆ`Ê`œÜ˜Êˆ˜Ê>VµÕiÃÊ>V>˜½Ãʼ“ˆÀÀœÀÊ«…>Ãi½]Ê>Ê`iÛiopmental milestone triggered by the infant’s first encounter with her own image in >ʓˆÀÀœÀ°Ê/…iÊV…ˆ`Ê«iÀViˆÛiÃʅiÀÊÀiyiV̈œ˜]ʅiÀÊÃiv‡ˆ˜‡Ài«ÀiÃi˜Ì>̈œ˜Ê>ÃÊ>ÊVœ…iÀi˜Ì]Ê ˆ˜Ìi}À>Ìi`ÊLiˆ˜}]Ê>˜Êˆ`i>ˆÃi`ʈ“>}iÊ돈ÌʜvvÊvÀœ“Ê…iÀÊÃÕLiV̈ÛiÊiÝ«iÀˆi˜Vi]Ê܅ˆV…Ê ˆÃʈÌÃivÊvÀ>}“i˜Ìi`Ê>˜`Ê`ˆÃ«iÀÃi`]ʓˆÀi`ʈ˜Ê̅iÊV…>œÌˆVÊi“œÌˆœ˜ÃÊ>˜`ÊLœ`ˆÞÊÃi˜Ã>tions of infancy.21 The mirror phase heralds the child’s evolving sense of herself as >ÊÜVˆ>ÊLiˆ˜}]ʜÕÌÊ̅iÀiʈ˜Ê̅iÊܜÀ`]Ê>Ê«Àœ`ÕVÌʜvÊ̅iʼÜVˆ>ÊœÀ`iÀ½Ê>˜`ʈÌÃÊÀi}ˆ“iÃÊ œvÊÀi«ÀiÃi˜Ì>̈œ˜°Ê
VVœÀ`ˆ˜}Ê̜ÊiÌâ]Ê̅iÊVˆ˜i“>ÊëiVÌ>̜Àʈ˜`Տ}iÃʈ˜Ê>Ê«i>ÃÕÀ>LiÊ re-visiting of the idealised and imaginary identity now reincarnated in the elegant beings animating the cinema screen. /…iÊ«ÃÞV…œ>˜>Þ̈Vʓœ`iÊœvÊëiVÌ>̜Àň«ÊÃiiŽÃÊ̜ÊiÝ«>ˆ˜Ê…œÜÊ̅iÊÀi«>ވ˜}ʜvÊ Ì…iʓˆÀÀœÀÊ«…>Ãi]Ê>˜`Ê̅iÊi“LÀ>ViʜvÊ̅iʈ“>}ˆ˜>ÀÞʓˆ}…ÌÊv՘V̈œ˜Êˆ˜ÊVˆ˜i“>°ÊiÌâÊ >À}ÕiÃÊ̅>ÌÊ̅iÊVˆ˜i“>ÊÃÌ>}iÃʜÕÀʜܘÊ`iÈÀi]Ê>˜`Ê̅ˆÃÊLiVœ“iÃÊÌÀ>˜Ã>Ìi`ʈ˜ÌœÊ>Ê desire to both possess and embody the reified models of humanity in the starry fir“>“i˜ÌʜvÊœÞܜœ`°Ê
VVœÀ`ˆ˜}Ê̜Ê̅iÊ«ÃÞV…œ>˜>Þ̈V>Ê«>À>`ˆ}“]Ê̅iÊ«ÀœiV̈œ˜Ê and identification is achieved by means of narrative immersion undergird by narcissistic fantasies of omnipotence. Protected by the dark auditorium and enveloped in ̅iˆÀʼVœ>ŽÃʜvʈ˜ÛˆÃˆLˆˆÌÞ½]ÊëiVÌ>̜ÀÃÊV>˜ÊÀiÌÀi>Ìʈ˜ÌœÊ̅iÊÃVœ«œ«…ˆˆVÊ`iˆ}…ÌÃʜvʜLÃiÀۈ˜}Ê̅iÊ`iÈÀi`ʜLiVÌÊ՘Ãii˜]ʍÕÃÌÊ>ÃÊ̅iÊ `iÀÃÊëˆi`ʜ˜Ê̅iÊLi>ṎvՏÊ-ÕÃ>˜˜>Ê vÀœ“Ê Li…ˆ˜`Ê Vœ˜Ûi˜ˆi˜ÌÞ‡«>Vi`Ê LˆLˆV>Ê LÕÅiðÊ
ÃÊ 6ˆÀ}ˆ˜ˆ>Ê 7œœvÊ œLÃiÀÛi`]Ê ÜiÊ

FILM AS FILM

107

¼Li…œ`½Êœ˜ÃVÀii˜Ê«iÀvœÀ“iÀÃʼ>ÃÊ̅iÞÊ>ÀiÊ܅i˜ÊÜiÊ>ÀiʘœÌÊ̅iÀi½Ê>˜`ÊÌ>Žˆ˜}ÊÕ«Ê̅iÊ «ÀˆÛˆi}i`Ê«œÃˆÌˆœ˜ÊœvÊ̅iÊ>‡«œÜiÀvՏÊ}>âi]ÊVˆ˜i“>‡}œˆ˜}Ê>Õ`ˆi˜ViÃÊV>˜ÊvïňÃ̈V>ÞÊVœ˜ÃՓiʈ“>}iÃʜvÊ̅iÊÃÌ>ÀÃÊ܅œ]ʏˆŽiÊ-ÕÃ>˜˜>]Ê>««i>Ài`Ê̜ÊLiÊ՘>Ü>ÀiʜvÊ being observed.22Ê/…iÊ«œˆ˜ÌÊ>LœÕÌÊ`iÈÀi]ʜvÊVœÕÀÃi]ʈÃÊ̅>ÌʈÌÊV>˜Ê˜iÛiÀÊLiÊÃ>̈Ãwi`°Ê
ÃÊ œÕ˜ÌÊ6Àœ˜ÃŽÞÊ`ˆÃVœÛiÀi`]ʜ˜Viʈ˜Ê«œÃÃiÃȜ˜ÊœvÊ̅iÊi˜V…>˜Ìˆ˜}Ê
˜˜>Ê>Ài˜ˆ˜]Ê …iÀÊVœ˜µÕiÃÌʼLÀœÕ}…Ìʅˆ“ʘœÊ“œÀiÊ̅>˜Ê>Ê}À>ˆ˜ÊœvÊÃ>˜`ʜÕÌʜvÊ̅iʓœÕ˜Ì>ˆ˜ÊœvÊLˆÃÃÊ …iʅ>`ÊiÝ«iVÌi`½°23Ê/…iÊÀi>ˆÃ>̈œ˜Ê̅i˜Ê`>ܘÃÊ̅>Ìʅiʅ>ÃÊLii˜Ê}ՈÌÞʜvÊ̅iʼiÌiÀnal error men make in imagining that happiness consists in the realisation of their desires’.24 Cinema materialises and regulates the eternal circulation of desire and >ÃÊÜiʅ>ÛiÊÃii˜]Ê>Õ`ˆi˜ViÃ]ʏÕÝÕÀˆ>̈˜}ʈ˜ÊˆÌÃÊۜÞiÕÀˆÃ̈VÊ`iˆ}…ÌÃ]ÊV>˜ÊLiVœ“iÊÃœÊ …Þ«˜œÌˆÃi`ÊLÞÊ̅iʜ˜ÃVÀii˜ÊܜÀ`Ê̅>ÌÊ̅iÞÊÀi“>ˆ˜ÊœLˆÛˆœÕÃÊ̜Ê̅iʼÌÀ>˜ÃvœÀ“>̈ÛiÊ vœÀViýʈLLœ˜ÃÊ>˜`Ê=ˆãiŽÊV>ˆ“Ê>ÀiÊÃ̈Êœ«iÀ>̈˜}Ê܈̅ˆ˜Ê“i`ˆ>ÊÀi«ÀiÃi˜Ì>̈œ˜Ã°ÊÌÊ ˆÃÊ̅iÃiÊvœÀViÃ]ÊÃÕL̏ÞÊ>««ˆi`Ê̜Ê̅iʅՓ>˜Ê«ÃÞV…iÊ̅>ÌÊw“Ê̅iœÀˆÃÌÃʈ˜Ê̅iÊ£™ÇäÃÊ identified as capable of modulating individuals’ perceptions of the society to which ̅iÞÊLiœ˜}]ʏœVŽˆ˜}Ê`œÜ˜Ê̅iˆÀÊ«œÃˆÌˆœ˜Ê܈̅ˆ˜ÊˆÌÊ>˜`ʈ˜yÕi˜Vˆ˜}Ê̅iˆÀʏˆviÊV…œˆViÃ°Ê The feminist critique of spectatorship differentiated between the male and vi“>iÊ Ã«iVÌ>̜À]Ê >˜`Ê ˜œ“ˆ˜>Ìi`Ê LœÌ…Ê ̅iÊ iÞiÊ œvÊ Ì…iÊ V>“iÀ>Ê >˜`Ê Ì…iÊ iÞiÊ œvÊ Ì…iÊ Li…œ`iÀÊ >ÃÊ Vœ˜Ã̈ÌṎœ˜>ÞÊ «…>œVi˜ÌÀˆV]Ê «Ài`œ“ˆ˜>˜ÌÞÊ œÀ}>˜ˆÃi`Ê >ÀœÕ˜`Ê Ì…iÊ iÀœÌˆVÊ`iÈÀiÃʜvʓi˜°Ê˜Ê…iÀÊViiLÀ>Ìi`ÊiÃÃ>Þʼ6ˆÃÕ>Ê*i>ÃÕÀiÊ>˜`Ê >ÀÀ>̈ÛiÊ ˆ˜i“>½Ê ­£™Çx®]Ê>ÕÀ>ÊՏÛiÞÊ>À}Õi`Ê̅>ÌÊ̅iÊvi“>iÊëiVÌ>̜ÀÊÜ>ÃÊVœ˜`i“˜i`Ê̜ʜÃVˆ>ÌiÊ between two modes of spectatorship. She could either passively identify with an œLiV̈wi`]ÊÃiÝÕ>ˆÃi`ʅiÀœˆ˜iʜ˜ÃVÀii˜Ê­>ÊV…>À>VÌiÀÊVœ˜`i“˜i`Ê̜ÊLiʼ̅iÊLi>ÀiÀÊ œvʓi>˜ˆ˜}]ʘœÌÊ̅iʓ>ŽiÀʜvʓi>˜ˆ˜}½®]ʜÀÊ>V̈ÛiÞÊ>ÃÜVˆ>ÌiÊ܈̅Ê̅iÊÃVœ«œ«…ˆˆVÊ }>âiʜvÊ̅iʓ>iÊ«ÀœÌ>}œ˜ˆÃÌÃÊ>˜`ÊLÞÊiÝÌi˜Ãˆœ˜Ê̅>ÌʜvÊ̅iʓ>iʓi“LiÀÃʜvÊ̅iÊ >Õ`ˆi˜Vi]ʅiÀÊVœ‡œVVÕ«>˜ÌÃʜvÊ̅iÊ>Õ`ˆÌœÀˆÕ“° 25 Mulvey went on to show the predicament of the woman spectator who co-opts the agency of the active male hero but gains her position of spectatorial mastery only by abdicating her given gender. Although Mulvey among others has since revised her initial theory of female specÌ>̜Àň«]ʈÌÊÃiÀÛi`Ê̜ʅˆ}…ˆ}…ÌÊ̅iÊVÀÕVˆ>ÊÀœiʜvʈ`i˜ÌˆwV>̈œ˜Ê܈̅ÊVՏÌÕÀ>ÊˆVœ˜ÃÊ ˆ˜Ê̅iÊÜVˆ>ˆÃ>̈œ˜ÊœvÊ}ˆÀÃ]Ê>˜Êˆ˜ÃÌÀՓi˜Ì>Êi`ÕV>̈œ˜>ÊvœÀViÊ̅>ÌÊÀi“>ˆ˜ÃÊ܈̅ÊÕÃÊ today.26Ê
ÃÊʅ>ÛiÊÃÕ}}iÃÌi`]Ê̅iÊ«ÀœViÃÃʜvÊiۜÛˆ˜}Ê>ÃÊ>ÊÜVˆ>ÊLiˆ˜}ʈÃÊÃÌÀÕVÌÕÀi`Ê >ÀœÕ˜`Ê̅iÊÃi>ÀV…ÊvœÀÊ>Êۈ>LiÊ«>Viʈ˜Ê̅iÊܜÀ`]ʜ˜iÊ̅>ÌÊ̅iʈ˜`ˆÛˆ`Õ>Ê“ˆ}…ÌÊ«Àœ`ÕV̈ÛiÞʜVVÕ«Þ°Ê œÊiÃÃÊ̜`>ÞÊ̅>˜Êˆ˜Ê̅iÊ£™ÈäÃ]ʓi`ˆ>ʈ“>}iÃ]ÊLÞÊۈÀÌÕiʜvÊ̅iˆÀÊ ÕLˆµÕˆÌÞ]ÊVœ˜Ìˆ˜ÕiÊ̜ʈ˜yÕi˜ViʜÕÀʈ`i>ÃÊ>LœÕÌÊ܅œÊÜiÊ̅ˆ˜ŽÊÜiÊ>Ài]Ê܅>ÌÊÜiÊ>ëˆÀiÊ ÌœÊLiVœ“iÊ>˜`ʅœÜÊÜiÊiÝ«iÀˆi˜ViʜÕÀʏˆÛiÃÊvÀœ“Ê>Ê}i˜`iÀi`]Êi̅˜ˆVÊ>˜`Ê>}i‡`iw˜i`Ê standpoint. It may seem tiresome to labour this point but in 2008 the then culture “ˆ˜ˆÃÌiÀÊ >ÀL>À>ÊœiÌÌʓ>`iÊ>ÊV…ˆˆ˜}ʜLÃiÀÛ>̈œ˜\ʼvÊޜÕÊ>ÎʏˆÌ̏iÊ}ˆÀÃ]Ê̅iÞÊiˆÌ…iÀÊ want to be footballers’ wives or win The X Factor°½ÊœiÌÌÊVœ˜VÕ`i`Ê̅>ÌʼœÕÀÊÜVˆiÌÞÊ is in danger of being Barbie-dolled’.27 Natasha Walter has shown how a new brand of biological determinism is masking cultural reinforcement and rationalising girls’

108

INSTALLATION AND THE MOVING IMAGE

>««>Ài˜ÌÊ«ÀiviÀi˜ViÊvœÀÊ>Ê̅ˆ˜}ÃÊ«ˆ˜ŽÊ>Ãʼ>˜Êˆ˜iÃV>«>LiÊÀiÃՏÌʜvÊLˆœœ}Þ]Ê܅ˆV…Ê is assumed to be resistant to change’.28 The equally worrying findings of an Ofsted report in 2011 highlight the continuing lack of ambition among girls beyond the traditionally proscribed roles for women in Western society. 29 7ˆÌ…ÊÀi«i>Ìi`ÊiÝ«œÃÕÀiÊ̜ʘ>ÀÀ>̈ÛiÃÊÃÕ««œÀ̈˜}Ê̅ˆÃÊۈiÜ]Ê܅i̅iÀÊVœ˜ÃVˆœÕÏÞÊ œÀʘœÌ]Êܜ“i˜Ê“>ÞÊviiÊ̅>ÌÊ܈̅œÕÌÊ̅iÊ«œÃˆÌˆÛiÊV…>À}iʜvÊޜÕ̅Ê>˜`ÊÃiÝÕ>Ê`iÈÀ>LˆˆÌÞ]Ê̅iˆÀÊÜVˆ>ÊÛ>ÕiʈÃÊVœ˜Ãˆ`iÀ>LÞÊ`ˆ“ˆ˜ˆÃ…i`°Ê
˜}i>ÊV,œLLˆiʅ>ÃʜLÃiÀÛi`Ê Ì…>Ìʈ˜Ê̅iÊ܇V>i`ʼ«œÃ̇vi“ˆ˜ˆÃ̽Ê>}i]Êܜ“i˜Ê…>ÛiÊLii˜Ê܏`Ê>ÊëÕÀˆœÕÃʘœÌˆœ˜Ê œvÊi“«œÜiÀ“i˜ÌÊ>˜`ÊvÀii`œ“ÊœvÊV…œˆViÊ̅>Ì]ʈ˜Êv>VÌ]ʈÃÊ}i>Ài`Ê̜ÊVœ““œ`ˆÌÞÊVœ˜ÃՓ«Ìˆœ˜Ê>˜`ÊÀiˆ˜ÃÌ>ÌiÃÊ̅iÊÀՏiʜvʈ˜`ˆÛˆ`Õ>ˆÃ“]Ê̅ÕÃʈ˜…ˆLˆÌˆ˜}ÊVœiV̈ÛiÊ«œˆÌˆV>Ê initiatives.30Ê œÌʜ˜ÞÊ̅>Ì]ÊLÕÌÊ܈̅Ê̅iÊ>L>˜`œ˜“i˜ÌʜvʼÜi½Êˆ˜Êv>ۜÕÀʜvʼ½]Êvi“ˆ˜ˆÃ“Ê …>ÃÊLii˜Ê¼`ˆÃ>À̈VՏ>Ìi`½]ÊÃiÛiÀi`ÊvÀœ“ʈÌÃʘ>ÌÕÀ>Ê>ˆiÃʈ˜Ê̅iÊÌÀ>`iÊ՘ˆœ˜Ê“œÛi“i˜ÌÊ and among anti-racist and gay activists. 31 Despite the legislative reforms that have ˆ˜Ã̈ÌÕÌi`Ê­ˆ˜Ê«Àˆ˜Vˆ«i®ÊiµÕ>Êœ««œÀÌ՘ˆÌˆiÃÊvœÀÊܜ“i˜]Ê /Ê>˜`Êi̅˜ˆVʓˆ˜œÀˆÌˆiÃʈ˜Ê 7iÃÌiÀ˜ÊÜVˆïiÃ]ʓ>ˆ˜ÃÌÀi>“Ê“œÛˆ˜}ʈ“>}iÊvÀiµÕi˜ÌÞʜ«iÀ>ÌiÃÊ>ÃÊ>˜Êœ««œÃˆ˜}]Ê Ài>V̈œ˜>ÀÞÊvœÀVi°ÊÌʈ˜Ãˆ˜Õ>ÌiÃʈÌÃʘiœ‡ˆLiÀ>]ÊÀiÌÀœ}ÀiÃÈÛiʈ`iœœ}ˆV>Ê“iÃÃ>}iÃÊ ˆ˜ÌœÊ̅iÊÌi˜`iÀÊ>“LˆÌˆœ˜ÃʜvÊ̅iÊޜ՘}Ê>˜`Ê̅iÊVœ˜Ìˆ˜Õˆ˜}ÊiÝ«iVÌ>̈œ˜ÃʜvÊ̅iʜ`]Ê into the hopes of the marginalised and the dreams of the displaced.

INDEXICALITY It is possible to argue that the persuasive power of the moving image has been overÃÌ>Ìi`Ê LœÌ…Ê LÞÊ Ì…iÊ iÝ«iÀˆ“i˜Ì>Ê w“Ê }i˜iÀ>̈œ˜Ê ÌœÊ Ü…ˆV…Ê Ê Liœ˜}Ê >˜`Ê ˆ˜`ii`Ê LÞÊ VÕÀÀi˜ÌÊVœ““i˜Ì>̜ÀÃ]Ê>˜`ÊÊÅ>Êˆ˜`ii`Ê«ÕÀÃÕiÊ̅>Ìʏˆ˜iʈ˜Ê`ÕiÊVœÕÀÃi°ÊœÜiÛiÀ]Ê the illusionism of film derives its plausibility partly from the presupposition of in`i݈V>ˆÌÞ]Ê>ÊVœ˜Vi«ÌÊvœÀ“Տ>Ìi`ÊLÞÊ̅iÊ«…ˆœÃœ«…iÀÊ °Ê-°Ê*iˆÀViʈ˜Ê…ˆÃÊ£™äÓÊiÃÃ>ÞÊ Three Trichotomies of Signs.32ʼ
˜ÊIndexʈÃÊ>ÊÈ}˜]½Ê`iV>Ài`Ê*iˆÀVi]ʼ܅ˆV…ÊÀiviÀÃÊ̜Ê̅iÊ "LiVÌÊ̅>ÌʈÌÊ`i˜œÌiÃÊLÞÊۈÀÌÕiʜvÊLiˆ˜}ÊÀi>ÞÊ>vviVÌi`ÊLÞÊ̅>ÌÊ"LiV̽°33 The foot«Àˆ˜ÌʈÃʓœÃÌÊVœ““œ˜ÞÊVˆÌi`Ê>ÃÊ>˜Ê>˜>œ}ÕiʜvÊ̅iʈ˜`i݈V>ˆÌÞʜvÊw“ÊqÊV…>˜}ˆ˜}Ê patterns of light imprint themselves on the photosensitive material of the filmstrip in the same way that a foot bearing the weight of a body makes its mark in fresh snow. The new impression takes the shape of the foot that created it and thus becomes a sign for the absent body while the host material is physically transformed in the i˜VœÕ˜ÌiÀ]Ê܅i̅iÀÊ؜ÜʜÀÊViÕœˆ`°Ê*iˆÀVi½ÃʘœÌˆœ˜Êœvʈ˜`i݈V>ˆÌÞÊÜ>ÃÊi>LœÀ>Ìi`Ê LÞÊ*iÌiÀÊ7œi˜Ê܅œ]ʈ˜ÊSigns and Meaning in the CinemaÊ­£™ÇÓ®]Ê`ÀiÜÊ>Ê`ˆÃ̈˜V̈œ˜Ê LiÌÜii˜Ê̅iʈVœ˜ˆVÊ>˜`Ê̅iʈ˜`i݈V>]Êii}>˜ÌÞÊÃՓ“>ÀˆÃi`ÊLÞÊ>˜Ê …ÀˆÃ̈iÊ>ÃÊvœœÜÃ\Ê ¼ˆVœ˜ˆVÊ LiV>ÕÃiÊ w“Ê ˆ“>}iÃÊ ÀiÃi“LiÊ Ì…œÃiÊ Ì…ˆ˜}ÃÊ Ü…ˆV…Ê ̅iÞÊ Ãˆ}˜ˆvÞÆÊ >˜`Ê ˆ˜`i݈V>ÊLiV>ÕÃiÊ̅iˆÀʓ>˜˜iÀʜvÊ«Àœ`ÕV̈œ˜ÊqÊVˆ˜i“>̜}À>«…ÞÊqÊ«Àœ`ÕViÃÊ*iˆÀVi½ÃÊ º}i˜Õˆ˜iÊÀi>̈œ˜»ÊLiÌÜii˜ÊÈ}˜Ê>˜`ʺœLiVÌ»°½34 This direct causal relationship came

FILM AS FILM

109

̜ÊLiÊViiLÀ>Ìi`ÊLÞÊiÝ«iÀˆ“i˜Ì>Êw““>ŽiÀÃÊ>ÃÊ>ÊëiVˆwVÊV…>À>VÌiÀˆÃ̈VʜvÊw“ÊÀiÈ`ˆ˜}]Ê>ÃÊ ˆVŽÞÊ>“Þ˜ÊœLÃiÀÛi`]ʈ˜ÊˆÌÃÊ>LˆˆÌÞÊ̜Ê}i˜iÀ>ÌiʼÌÀ>ViÃÊ̅>ÌÊiۈ`i˜ViÊ>Ê ViÀÌ>ˆ˜ÊÈÌÕ>̈œ˜Êi݈ÃÌi`ʈ˜Ê̅iÊÀœœ“Ê܅iÀiÊ̅iÊiÛi˜ÌÊ̜œŽÊ«>Vi½]Ê>˜ÊiÛi˜ÌÊ̅>ÌÊÜ>ÃÊ witnessed by a camera. 35 /…iÊ ÃÞÃÌi“ˆVÊ ˆ˜`i݈V>ˆÌÞÊ œvÊ w“Ê ̅iÀivœÀiÊ V>ÀÀˆiÃÊ ÜˆÌ…Ê ˆÌÊ >˜Ê >ÃÃՓ«Ìˆœ˜Ê œvÊ `œVՓi˜Ì>ÀÞÊ>Õ̅i˜ÌˆVˆÌÞ]Ê>ÊVœÀœ>ÀÞÊ̜Ê̅iʼiÃÃi˜Ìˆ>ÞʜLiV̈ÛiÊV…>À>VÌiÀ½ÊœvÊ«…œÌœ}À>«…Þʜ˜Ê܅ˆV…Ê
˜`ÀjÊ >∘ÊL>Ãi`ʅˆÃʼ“Õ““ˆwV>̈œ˜½Ê̅iœÀÞ°Ê/…iÊ«…œÌœ}À>«…ˆVÊ ˆ“>}i]ÊLœÌ…ÊÃ̈Ê>˜`ʓœÛˆ˜}]ʅiÊVœ˜Ìi˜`i`]Êi˜>LiÃʼ>ʓ>˜½Ê̜ʼ«ÀiÃiÀÛi]Ê>À̈wVˆ>Þ]Ê …ˆÃÊLœ`ˆÞÊ>««i>À>˜Vi½Ê>˜`Ê̅ÕÃÊ«ÀœÛˆ`iʼ>Ê`ivi˜ViÊ>}>ˆ˜ÃÌÊ̅iÊ«>ÃÃ>}iʜvÊ̈“i½]Ê>Ê means to cheat death through representation.36Ê,ˆV…>À`Ê
i˜Ê…>ÃÊ>À}Õi`Ê̅>ÌÊw“Ã]Ê ˆŽiÊ «…œÌœ}À>«…ÃÊ ¼V>ÀÀÞÊ >Ê «ÀiÃՓ«Ìˆœ˜Ê œvÊ ÌÀÕÌ…Ê vœÀÊ Ì…iÊ ÛˆiÜiÀÊ Ì…>ÌÊ ÀiÃÌÃÊ Õ«œ˜Ê ̅iÊ V>ÕÃ>Ê Ài>̈œ˜Ã…ˆ«Ê LiÌÜii˜Ê œLiVÌÊ >˜`Ê ˆ“>}i½° 37Ê ˆŽiÊ >∘]Ê
i˜Ê Vœ˜VÕ`i`Ê Ì…>ÌÊ the analogical model of the photographic image has carried over into film where any vœœÌ>}i]Ê`œVՓi˜Ì>ÀÞʜÀÊwV̈œ˜>ÊˆÃʈ˜ÌiÀ«ÀiÌi`ÊLÞÊ>˜Ê>Õ`ˆi˜ViÊ>Ãʼ>VÌÕ>ˆÌÞÊvœœÌ>}i½]Ê>˜`ʈ˜ÊˆÌÃʘi>À‡«iÀviVÌʓˆ“ˆVÀÞʜvÊ̅iÊÀi>ÊܜÀ`Ê>VµÕˆÀiÃʼiۈ`i˜Ìˆ>ÀÞÊÃÌ>ÌÕý° 38
i˜Ê}œiÃʜ˜Ê̜ʫÀœ«œÃiÊ̅>ÌÊ>Ì…œÕ}…ÊÜiÊ>ÀiʘœÌʼ˜>ˆÛi½]Ê̅>ÌʈÃ]ÊÜiÊ`œÊ˜œÌʓˆÃÌ>ŽiÊ >ÊwV̈œ˜Êw“ÊvœÀÊÀi>ˆÌÞ]ÊÜiʘœ˜i̅iiÃÃʼLiˆiÛiÊ̅>ÌÊ܅>ÌÊÜiÊÃiiʈÃÊ>VÌÕ>ˆÌÞÊ՘iÃÃÊ Ì…iÀiʈÃÊÀi>ܘ>LiÊiۈ`i˜ViÊ̜Ê̅iÊVœ˜ÌÀ>ÀÞ½°Ê˜Ê܅>ÌiÛiÀÊvœÀ“ʈÌÊÌ>ŽiÃ]ʼÀi«Àœ`ÕV̈ÛiÊ illusion trades upon this belief’. 39 The facticity of film has acquired an archival gloss in contemporary re-appraisals of mainstream films. Catherine Russell has identified >ÊÀ>`ˆV>Ê¼Õ˜Ìˆ“iˆ˜iÃýÊ̜Ê̅iÊVˆÌˆiÃÊ>˜`ʏ>˜`ÃV>«iÃÊ̅>ÌÊ>««i>Àʈ˜Ê̅iÊL>VŽ}ÀœÕ˜`ÃÊ of mainstream films.40Ê/…iÞÊÃÌ>˜`Ê>ÃÊ>˜Ê…ˆÃ̜ÀˆV>Ê`œVՓi˜Ì]Ê>˜Êˆ˜`i݈V>ÊÌÀ>ViʜvÊ the locations against which the action was set. This is also true of artists’ films. For ˆ˜ÃÌ>˜Vi]Ê̅iÊw“ÃÊŜÌÊLÞÊ
À̅ÕÀÊ>˜`Ê œÀˆ˜˜iÊ >˜ÌÀˆÊ>ÀœÕ˜`Ê >˜LiÀÀ>]Ê
ÕÃÌÀ>ˆ>]Ê ˆ˜Ê ̅iÊ £™ÇäÃÊ Ài“>ˆ˜Ê >Ê «œÌi˜ÌÊ ¼“Õ““ˆwi`½Ê ÀiVœÀ`Ê œvÊ >Ê >˜`ÃV>«iÊ œ˜ViÊ ˆ˜Ìi}À>Ê ̜Ê
LœÀˆ}ˆ˜>ÊVՏÌÕÀi]ʘœÜÊLˆ}…Ìi`ÊLÞÊ7iÃÌiÀ˜ÊÃiÌ̏i“i˜ÌÊ>˜`Ê`iÛiœ«“i˜Ì° 41 ˜ÊëˆÌiʜvÊ̅iÊÜ«…ˆÃ̈V>̈œ˜ÊœvÊ̜`>Þ½ÃÊVˆ˜i“>Ê>Õ`ˆi˜ViÃ]ʈ˜VÕ`ˆ˜}Ê̅iʈ˜ÌiÀ˜>tional community of film historians who are finding new meaning in the backgrounds œvÊ V>˜œ˜ˆV>Ê w“Ã]Ê ÜiÊ Ã̈Ê œVV>Ȝ˜>ÞÊ ÜˆÌ˜iÃÃÊ Ì…iÊ «…i˜œ“i˜œ˜Ê œvÊ `iÕȜ˜>Ê stalker fans who cannot differentiate between fiction and reality. In their frenzied «ÕÀÃՈÌʜvÊÃÌ>ÀÃ]Ê̅iÞÊLiˆiÛiÊ̅iÞÊ>ÀiÊܜÀň«ˆ˜}Ê̅iÊV…>À>VÌiÀʘœÌÊ̅iÊ>V̜À° 42 If ̅ˆÃÊÜ՘`ÃʏˆŽiÊ>˜ÊiÝÌÀi“iÊ>˜`ÊiÝVi«Ìˆœ˜>ÊiÝ>“«iʜvʓi`ˆ>ʈ˜ÌÀœiV̈œ˜]Ê>Žˆ˜ÊÌœÊ ÀiÕ`½Ãʼ«ÃÞV…œÃˆÃ½ÊœvÊ`Ài>“Ã]ÊÜiÊ`œÊ˜œÌʘii`Ê̜ʏœœŽÊÛiÀÞÊv>ÀÊvœÀÊiۈ`i˜ViʜvÊ̅iÊ «œÜiÀÊ̅>Ìʓi`ˆ>ÊÀi«ÀiÃi˜Ì>̈œ˜ÊVœ˜Ìˆ˜ÕiÃÊ̜ÊiÝiÀÌʜ˜Ê̅iÊ«ÃÞV…iÃʜvÊ̅iÊVˆÌˆâi˜ÀÞ°Ê I have already suggested that girls restrict their ambitions in line with the role modiÃÊ̅iÞÊ>ÀiÊiÝ«œÃi`Ê̜ʈ˜Êw“]ÊÌiiۈȜ˜Ê>˜`ʜ˜Ê̅iʘÌiÀ˜iÌ]ÊLÕÌÊÊÅ>Êi˜`Ê܈̅Ê̅iÊ ÌiÃ̈“œ˜ÞʜvÊ̅iÊ ÀˆÌˆÃ…Ê܏`ˆiÀÊ
˜Ì…œ˜ÞÊ-ܜvvœÀ`°Ê˜ÊÓääÎ]ʅiÊ>`“ˆÌÌi`Ê̜Ê>ÊGuardian Ài«œÀÌiÀÊ̅>Ìʈ˜Ê̅iÊÀ՘ÊÕ«Ê̜Ê̅iÊwÀÃÌÊՏvÊVœ˜yˆVÌ]ʅiÊ>˜`ʅˆÃÊviœÜʓ>Àˆ˜iÃÊÜ>ÌV…i`Ê ˆ˜}œˆÃ̈VÊÜ>ÀÊw“Ãʼ>˜`ÊÜiÀiÊiÝVˆÌi`ÊLÞÊ̅i“]ÊLiV>ÕÃiÊ̅iÞÊViiLÀ>Ìi`Ê̅iÊÌiÀÀˆLiÊ and despicable beauty of our fighting skills’.43 The aestheticisation and normalisation

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œvÊۈœi˜ViʈÃÊ>˜œÌ…iÀÊ«Àœ`ÕVÌʜvʓi`ˆ>ÊÀi«ÀiÃi˜Ì>̈œ˜]Ê>ÃʈÃʈ˜Ã̈ÌṎœ˜>ˆÃi`ÊÀ>VˆÃ“Ê >˜`Ê̅iÊVÀii«ˆ˜}ʈ˜yÕi˜ViʜvÊÀiˆ}ˆœ˜Êˆ˜ÊÃiVՏ>Àʏˆvi]ʈ˜VÕ`ˆ˜}Êi`ÕV>̈œ˜° 44 It would be unwise to dismiss the critiques of representation developed in the 1960s and 1970s. The power of mainstream cultural representations remains undiminished and the impact of film has been amplified by the digital age; its tentacles reach every corner of our lives as we fill our homes with ever-wider-screened receivers and ۜÕ˜Ì>ÀˆÞÊV>ÀÀÞÊ>ÀœÕ˜`Ê܈̅ÊÕÃʓˆ˜ˆ>ÌÕÀˆÃi`ʼˆ˜yÕi˜Viʓ>V…ˆ˜iý° 45

STRATEGIES OF DECONSTRUCTION: ANTI−NARRATIVE ˜Ê Vœ““œ˜Ê ÜˆÌ…Ê Ì…iˆÀÊ Vœ˜Ìi“«œÀ>ÀˆiÃÊ ˆ˜Ê ̅iÊ wi`ÃÊ œvÊ ÃœVˆ>Ê ÃVˆi˜Vi]Ê ˆÌiÀ>ÀÞÊ VÀˆÌˆVˆÃ“Ê>˜`Ê«œˆÌˆV>Ê«…ˆœÃœ«…Þ]Ê>À̈ÃÌÃÊܜÀŽˆ˜}Ê܈̅ˆ˜Ê̅iÊâiˆÌ}iˆÃÌʜvÊ̅iÊ£™ÈäÃÊ>˜`Ê £™ÇäÃÊ Li}>˜Ê ÌœÊ µÕiÃ̈œ˜Ê 7iÃÌiÀ˜Ê ÜVˆiÌÞ½ÃÊ ¼Àˆ}ˆ`Ê VՏÌÕÀ>Ê Vœ˜Ûi˜Ìˆœ˜Ã½° 46 In the ܈`iÀʈ˜ÌiÀ˜>̈œ˜>]Ê«œÃÌVœœ˜ˆ>ÊVœ˜ÌiÝÌ]ÊÀ>`ˆV>Ê«À>V̈̈œ˜iÀÃʈ˜ÌiÀÀœ}>Ìi`Ê7iÃÌiÀ˜Ê «œÜiÀÃ½Ê Liˆ}iÀi˜ÌÊ vœÀiˆ}˜Ê «œˆVˆiÃ]Ê «>ÃÌÊ >˜`Ê «ÀiÃi˜Ì]Ê >ÃÊ ÜiÊ >ÃÊ Ì…iˆÀÊ ¼“ˆÃ}Ո`i`Ê public posturing’.47Ê œÃiÀÊ̜ʅœ“i]ʜ««œÃˆÌˆœ˜>Ê̅ˆ˜ŽiÀÃÊiÝ«œÃi`Êi˜ÌÀi˜V…i`ÊÜcial inequalities legitimised by essentialism – the appeal to universal truths based œ˜Ê Lˆ˜>ÀÞÊ œ««œÃˆÌˆœ˜ÃÊ œvÊ L>VŽÊ ÛÃ°Ê Ü…ˆÌi]Ê vi“>iÊ ÛÃ°Ê “>i]Ê …iÌiÀœÃiÝÕ>Ê ÛÃ°Ê ¼`iۈ>˜Ì½]Ê«Àˆ“ˆÌˆÛiÊÛðÊVˆÛˆˆÃi`]ʘ>ÌÕÀiÊÛðÊVՏÌÕÀi°Ê/…iÊ>Û>˜Ì‡}>À`iÊ>ÃʈÌÊiۜÛi`ʈ˜ÌœÊ̅iÊ £™ÇäÃÊ>˜`Ê£™näÃÊi“LÀ>Vi`Ê>VµÕiÃÊ iÀÀˆ`>½ÃÊVÀˆÌˆµÕiʜvÊ̅iÊ՘ˆwi`ÊÃÕLiVÌ]Ê>˜`Ê >ëˆÀi`Ê̜Ê>˜Êˆ`i˜ÌˆÌÞÊ̅>ÌÊÜ>ÃÊyՈ`]Ê«ÀœÛˆÃˆœ˜>]ÊvÀ>}“i˜Ìi`Ê>˜`ʈ“«ÕÀi°Êˆ“Ê>˜`Ê videomakers sought to mitigate the negative impact of surreptitious indoctrination encoded in cinematic and televisual content. Their aim was to transform spectators vÀœ“Ê`œVˆiÊVœ˜ÃՓiÀÃʜvÊ`œ“ˆ˜>˜Ìʈ`iœœ}Þʈ˜ÌœÊ܅>ÌʈV…iiÊ
>Àœ˜ÊV>i`ʼˆ˜ÌÀˆ˜ÃˆV>ÞÊ«œˆÌˆVˆÃi`ÊÃÕLiV̭î½° 48 If ideological messages work their nefarious magic by means of visual pleasure and narcissistic identification with defined characters «œ«Õ>̈˜}Ê>ÊwV̈œ˜>ÊÃVi˜>Àˆœ]Ê̅i˜Ê̅iÊwÀÃÌÊÃÌi«ÊÜ>ÃÊ̜ʈ˜ÌiÀÛi˜iʈ˜Ê̅iÊÃÌÀÕVÌÕÀiÃÊ of cinematic representation. The imperative was to disrupt the viewer’s habitual Ài뜘ÃiÃÊ>˜`ʈ˜…ˆLˆÌÊ܅>ÌÊ ˆVŽÞÊ>“Þ˜ÊV>i`ʼ̅iˆÀÊ}iÃÌ>Ì‡vœÀ“ˆ˜}ÊivvœÀÌý]Ê̅>ÌÊ ˆÃ]Ê Ì…iˆÀÊ >LˆˆÌÞÊ ÌœÊ VÀi>ÌiÊ Ã>̈Ãv>V̜ÀÞ]Ê Vœ…iÀi˜ÌÊ ˜>ÀÀ>̈ÛiÃÊ œÕÌÊ œvÊ >Ê ÃÕVViÃȜ˜Ê œvÊ disparate onscreen events. 49 Filmmakers such as Laura Mulvey were determined ÌœÊ i“>˜Vˆ«>ÌiÊ Ì…iÊ Ã«iVÌ>̜ÀÊ >˜`Ê >`œ«Ìi`Ê “i>ÃÕÀiÃÊ ÌœÊ i˜ÃÕÀiÊ Ì…iÊ ¼`iÃÌÀÕV̈œ˜Ê of pleasure as a radical weapon’.50 The deconstructive programme thus began by iÌ̈ܘˆ˜}ÊVœ˜Ûi˜Ìˆœ˜>Ê˜>ÀÀ>̈Ûi]ʏˆ˜i>ÀÊÃ̜ÀÞÌiˆ˜}Ê>˜`Ê>˜ÞÊ`À>“>ÌÕÀ}ˆV>Êi˜ÌiÀÌ>ˆ˜“i˜ÌÊ̅>Ìʈ˜ÛœÛi`Ê>V̜ÀÃ]Ê`>˜ViÀÃ]ÊȘ}iÀÃ]ÊVœÃÌՓiÃ]ʓÕÈV]Êiݜ̈VʏœV>̈œ˜ÃÊ >˜`Ê i>LœÀ>ÌiÊ ÃiÌðÊ
Ì…œÕ}…Ê w““>ŽiÀÃÊ ÃÕV…Ê >ÃÊ ՏÛiÞÊ …iÀÃiv]Ê >ÃÊ ÜiÊ >ÃÊ Ûˆ`iœ“>ŽiÀÃÊ ˆ˜VÕ`ˆ˜}Ê -ÌÕ>ÀÌÊ >ÀÅ>]Ê >`>«Ìi`Ê ˜>ÀÀ>̈ÛiÊ >˜`Ê `œVՓi˜Ì>ÀÞÊ Vœ`iÃ]Ê Ì…iÞÊ`iۈÃi`ÊÃÌÀ>Ìi}ˆiÃÊ̜ÊÃÕLÛiÀÌÊ̅i“]ʈ˜Ê̅iÊV>ÃiʜvÊ>ÀÅ>ÊLÞÊÕȘ}ÊÃ̈Ìi`]Ê >“>ÌiÕÀˆÃ…Ê>V̈˜}]Ê>˜`ÊՏÛiÞÊLÞʓi>˜ÃʜvÊiÝÌi˜`i`ÊÎÈäÂÊŜÌðÊ
ÃÊÜiÊÅ>ÊÃii]Ê

FILM AS FILM

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ˆ˜Ê̅iʓœÀiÊiÝÌÀi“iÊV>ÃiÃʜvÊVˆ˜i“>̈VÊ`iVœ˜ÃÌÀÕV̈œ˜]Ê̅iÊvÀ>VÌÕÀˆ˜}ʜvʏ>˜}Õ>}iÊ advocated by Derrida resulted in the virtual destruction of filmic illusionism and the denial of the fetishistic pleasures of voyeurism.

CASTRATING THE GAZE *iÌiÀÊ ˆ`>Ê `iVÀii`Ê Ì…>ÌÊ ˆ˜Ê >Û>˜Ì‡}>À`iÊ w“Ê ¼Ì…iÊ Ã…>«iÊ œvÊ Ì…iÊ “>ÌiÀˆ>½Ê ŜՏ`Ê LiÊ ¼«Àˆ“>ÀÞÊ ÌœÊ >˜ÞÊ Ài«ÀiÃi˜Ì>̈œ˜>Ê Vœ˜Ìi˜Ì½]Ê >˜`Ê Ì…ˆÃÊ «ÀiVi«ÌÊ LiV>“iÊ Ì…iÊ }œÛiÀ˜ing principle of much British work.51 A number of formal and analytical strategies ÜiÀiÊ>`œ«Ìi`Ê̜Ê>V…ˆiÛiÊ̅ˆÃÊ>ˆ“]ʜ˜Ê̅iʜ˜iʅ>˜`Ê`iVœ˜ÃÌÀÕV̈˜}Ê̅iʏ>˜}Õ>}iʜvÊ “>ˆ˜ÃÌÀi>“Êw“Ê>˜`]ʜ˜Ê̅iʜ̅iÀ]ʓ>Žˆ˜}Ê«…ÞÈV>Êˆ˜ÌiÀÛi˜Ìˆœ˜Ãʈ˜ÌœÊ̅iÊw“ˆVÊ>««>À>ÌÕðʘÊ̅iÊvœœÜˆ˜}ÊÃiV̈œ˜Ã]ÊÊÅ>ÊœÕ̏ˆ˜iÊܓiʜvÊ̅iÃiÊ>««Àœ>V…iÃ]ÊLœÌ…Ê Ãi“ˆœÌˆVÊ>˜`ʓ>ÌiÀˆ>ˆÃÌ]ÊVœiV̈ÛiÞʈ˜Ìi˜`i`Ê̜ÊÀiÛi>Ê>˜`Ê՘`iÀ“ˆ˜iÊ̅iÊӜœÌ…Ê workings of illusionism in narrative film as well as disrupt conventional modes of ëiVÌ>̜Àň«°Êi“ˆ˜ˆÃÌÊw““>ŽiÀÃÊÃÕV…Ê>ÃÊ>ÕÀ>ÊՏÛiÞ]Ê->ÞÊ*œÌÌiÀÊ>˜`ÊœÞViÊ 7ˆi>˜`Ê>`œ«Ìi`Ê>Êȓ«iÊÌiV…˜ˆµÕiÊvœÀʼV>ÃÌÀ>̈˜}Ê̅iÊ}>âi½Êˆ˜Ê܅ˆV…Ê̅iÊܜ“>˜Êœ˜ÃVÀii˜]Ê̅iÊ>VÌÀiÃÃʜÀ]ʈ˜Ê7iˆ>˜`½ÃÊV>Ãi]ʅiÀÊviˆ˜iÊ>ÌiÀÊi}œ]ÊLÀi>ŽÃÊ̅iÊV>À`ˆ˜>ÊÀՏiÊ of narrative cinema and looks directly into the lens of the camera. The theory was ̅>ÌÊ܅i˜Ê>Êܜ“>˜ÊÀiÌÕÀ˜ÃÊ̅iÊ}>âiʜvÊ̅iÊV>“iÀ>Ê>˜`Ê̅iÊ­“>i®ÊëiVÌ>̜ÀÊLiޜ˜`]Ê Ã…iÊ LœÜÃÊ Ì…iˆÀÊ VœÛiÀ]Ê ÛœÞiÕÀˆÃ“ʈÃÊiÝ«œÃi`Ê>˜`Ê̅iÊw“}œiÀÊ is denied the pleasures of consuming the female body from a position of spectatorial «ÀˆÛˆi}i°Ê >ޘiÊ *>ÀŽiÀ½ÃÊ I Dish (1982) is a case in point. The vi“>iÊ«ÀœÌ>}œ˜ˆÃÌ]Êi˜}>}i`ʈ˜Ê the preparation of a fish for the Ì>Li]Ê Ài}Տ>ÀÞÊ ÌÕÀ˜ÃÊ …iÀÊ }>âiÊ L>VŽÊ̜Ê̅iÊۈiÜiÀ]Ê̅iʼ½ÊœvʅiÀÊ iÞi]ÊÀi}ˆÃÌiÀˆ˜}ʅiÀÊ>Ü>Ài˜iÃÃÊ of the apparatus of film and of ̅iÊ >Õ`ˆi˜ViÊ Ü>ÌV…ˆ˜}]Ê >˜`Ê >ÌÊ Ì…iÊ Ã>“iÊ Ìˆ“i]Ê >ÃÃiÀ̈˜}Ê …iÀÊ œÜ˜Ê}i˜`iÀi`ÊÃÕLiV̈ۈÌÞ° The radical films of the feminist deconstructive school ÜiÀi]Ê >ÌÊ Ìˆ“iÃ]Ê Li܈`iÀˆ˜}Ê ÌœÊ Jayne Parker, I Dish (1982), 16mm, b/w, 16 min. Courtesy of the artist and LUX. contemporary audiences. In

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Light ReadingÊ­£™Çn®]ʈÃÊ,…œ`iÃÊÀivÕÃi`Ê>ÊLÕÌÊ̅iʓœÃÌʜLˆµÕiÊÀi«ÀiÃi˜Ì>̈œ˜ÃÊ of a woman’s body on the grounds that it could not escape erotic retrieval even if the performer’s gaze was locked onto the eye of the beholder. Peggy Phelan condemned ̅iÊ`ˆÃ«>ÞʜvÊ̅iʈ`iœœ}ˆV>Þʼ“>ÀŽi`½ÊLœ`ÞʜvÊܜ“>˜Êˆ˜Ê>ÀÌ]ÊLiV>ÕÃiʈÌÊVœÕ`ÊLiÊ ÕÃi`Ê̜ʼº«ÀœÛi»Ê̅>ÌÊÃiÝÕ>Ê`ˆvviÀi˜ViʈÃÊ>ÊÀi>Ê`ˆvviÀi˜Vi½° 52 Rhodes avoided offerˆ˜}Ê Õ«Ê …iÀÊ Lœ`ÞÊ ÌœÊ Ì…iÊ V>“iÀ>Ê >˜`Ê ˆ˜ÃÌi>`Ê >ÃÃiÀÌi`Ê …iÀÊ ÃÕLiV̈ۈÌÞÊ Ì…ÀœÕ}…Ê …iÀÊ ÛœˆViÊ>˜`ʈ˜Ê̅iÊΈÃÊÅiÊ`i«œÞi`Ê̜ÊVÀi>ÌiÊ>˜Êi`ˆÌˆ˜}ÊÀi}ˆ“iʜvÊVœ“«iÝʏ>ÞiÀˆ˜}]Ê fragmentation and repetition. The film opens with an elegiac monologue in which the >À̈ÃÌʈÃʅi>À`ʓÕȘ}ʜ˜Ê…iÀÊi˜ÌÀ>«“i˜Ìʈ˜Ê>˜}Õ>}i]ÊvœœÜi`ÊLÞÊ>Ê`iV>À>̈œ˜ÊœvÊ her modus operandi°Ê¼Ê>“Ê«>Vi`ʈ˜Ê`>ÀŽ˜iÃÃʜ˜ÞÊ̜ÊLiÊ>««>Ài˜Ì]Ê̜Ê>««i>ÀÊ܈̅œÕÌʈ“>}i½]ÊÅiʈ˜Ìœ˜iÃ]Ê̅iÊܜÀ`ÃÊ뜎i˜ÊœÛiÀÊ>˜Ê՘Vœ“«Àœ“ˆÃˆ˜}ÞÊ՘ˆvœÀ“ÊL>VŽÊ screen marking her presence as a creative agent and her absence as image.53 Laura Mulvey and Peter Wollen’s Riddles of the SphinxÊ­£™ÇÇ®]Ê̅iÊϜÜ]ÊÃÕLiV̈ÛiÊÀiVœÀ`Ê œvÊ>Ê`>Þʈ˜Ê̅iʏˆviʜvÊ>˜Ê>ÛiÀ>}iʅœÕÃi܈vi]Ê>˜`Ê œiÌÌiÊ>vœ˜Ì½ÃÊiÝÌi˜`i`ÊLœÕÌÃÊ of convulsive laughter in Sally Potter’s ThrillerÊ­£™Ç™®ÊLœÌ…ÊVœ˜vœÕ˜`i`Ê>ÊiÝ«iVÌ>̈œ˜ÃʜvÊi˜ÌiÀÌ>ˆ˜ˆ˜}ÊÃVÀii˜Ê̈“i°Ê˜Ê̅iÊ£™ÇäÃ]ÊÃÕV…ÊÃÕLÛiÀÈÛiÊw“ÃʜvÌi˜ÊvœÕ˜`Ê Ì…i“ÃiÛiÃÊ>ÌÊ̅iÊVi˜ÌÀiʜvÊv>V̈œ˜>ÊVœ˜yˆVÌðÊ>À݈ÃÌÊ>˜`Êvi“ˆ˜ˆÃÌÊw“‡Ê>˜`Êۈ`iœmakers believed the struggle should be conducted at the level of cinematic language ܅ˆiÊ̅iÊV>“«>ˆ}˜ˆ˜}Ê܈˜}ÃʜvÊÜVˆ>ˆÃ“Ê>˜`Êvi“ˆ˜ˆÃ“]Ê܅ˆV…Ê*iÌiÀÊ7œi˜ÊÕ`}i`Ê ÌœÊLiʼ>iÃ̅ïV>ÞÊVœ˜ÃiÀÛ>̈Ûi½]ÊvœÕ˜`ʈÌÊ«œˆÌˆV>ÞÊiÝ«i`ˆi˜ÌÊ̜Ê>`œ«ÌÊ`ˆ`>V̈VÊ`œVumentary modes of communication.54Ê Ý«iÀˆ“i˜Ì>ÊܜÀŽÊÜ>ÃÊvÀiµÕi˜ÌÞÊ`ˆÃ“ˆÃÃi`Ê vœÀÊLiˆ˜}ʜLÃVÕÀiÊ>˜`ÊiˆÌˆÃÌÊ>˜`ʜÕÌʜvÊ̜ÕV…Ê܈̅Ê̅iÊÃÌÀÕ}}iÃʜvʜÀ`ˆ˜>ÀÞ]ÊܜÀŽing-class men and women.55ÊœÜiÛiÀ]Ê̅iÊ}ÀœÕ˜`LÀi>Žˆ˜}Êw“ÃʜvÊՏÛiÞ]Ê,…œ`iÃ]Ê *œÌÌiÀÊ>˜`Ê*>ÀŽiÀ]Ê>œ˜}Ê܈̅Ê̅iˆÀʓ>iÊVœÕ˜ÌiÀ«>ÀÌÃʈ˜ÊiÝ«iÀˆ“i˜Ì>Êw“ÊÜiÀi]ʈ˜Ê “>˜ÞÊV>ÃiÃ]ʓœÛˆ˜}ÊiۜV>̈œ˜ÃʜvÊÃÕLiV̈ۈ̈iÃʈ˜ÊÌÀ>˜ÃˆÌˆœ˜]Ê>˜`Ê܈̅ʈ“>}ˆ˜>̈ÛiÞÊ>`>«Ìi`ʘ>ÀÀ>̈ÛiÊvœÀ“ÃÊ>˜`ÊÀˆV…ÞÊÌiÝÌÕÀi`ÊۈÃÕ>Ê>˜`ÃV>«iÃ]Ê̅iÞÊÜiÀi]ʈ˜Êv>VÌ]Ê comparatively accessible works. They inspired only a small fraction of the incompre…i˜Ãˆœ˜Ê­“Þʜܘʈ˜VÕ`i`®Ê̅>ÌʓiÌÊ̅iÊ>`Ûi˜ÌʜvÊÃÌÀÕVÌÕÀ>É“>ÌiÀˆ>ˆÃÌÊw“°

STRUCTURAL/MATERIALISM *iÌiÀÊ ˆ`>Ê wÀÃÌÊ >ˆÀi`Ê …ˆÃÊ À>`ˆV>Ê `œVÌÀˆ˜iÊ œvÊ w“Ê ˆ˜Ê …ˆÃÊ £™ÇxÊ iÃÃ>ÞÊ ¼/…iœÀÞÊ >˜`Ê iw˜ˆÌˆœ˜Ê œvÊ -ÌÀÕVÌÕÀ>É>ÌiÀˆ>ˆÃÌÊ ˆ“½°56 Any recourse to the conventional lan}Õ>}iʜvʓ>ˆ˜ÃÌÀi>“Êw“ÊܜՏ`ÊÀ՘Ê̅iÊÀˆÃŽÊœvÊVÀi>̈˜}ʼ“i>˜ˆ˜}ÃÊ܅ˆV…Ê>ÀiÊ̅i˜Ê «œÃˆÌi`Ê>Ãʘ>ÌÕÀ>]Ê>Ãʈ˜…iÀi˜Ì½°57 Such lapses Gidal condemned as a return to the iÝiÀVˆÃiÊ œvÊ Ü…>ÌÊ …iÊ V>i`Ê ¼«ÀœViÃÃiÃÊ œvÊ «œÜiÀ‡i˜>V̓i˜Ì½°58 To counter the iniµÕˆÌˆiÃÊ i“Li``i`Ê ˆ˜Ê `œ“ˆ˜>˜ÌÊ w“ˆVÊ >˜}Õ>}i]Ê ˆ`>Ê >՘V…i`Ê >Ê «Àœ}À>““iÊ œvÊ Ãiv‡Àiyi݈ÛiÊw““>Žˆ˜}ʏœV>Ìi`ʈ˜Ê̅iÊœ˜`œ˜Êˆ“‡>ŽiÀÃ½Ê œ‡œ«Êˆ˜Ê̅iʏ>ÌiÊ£™ÈäÃÊ >˜`Êi>ÀÞÊ£™ÇäðÊ
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˜˜>LiÊ ˆVœÃœ˜]Ê7ˆˆ>“Ê,>L>˜Ê>˜`ʈÊ >̅iÀiÞÊ«Àœ`ÕVi`Ê>ÊLœ`ÞʜvÊܜÀŽÊ `iÈ}˜i`Ê̜ÊÀi˜`iÀÊۈÈLiÊ̅iÊܜÀŽˆ˜}ÃʜvÊ̅iÊ>««>À>ÌÕÃʜvÊw“]ʏ>À}iÞÊLÞʓi>˜ÃʜvÊ Ã>LœÌ>}i°Ê
Ê̅iÊÀՏiÃʜvÊVˆ˜i“>̈VÊ}À>““>ÀÊÜiÀiÊLÀœŽi˜\ʘ>ÀÀ>̈Ûiʏœ}ˆVʈ“«œ`i`]Ê Vœ˜Ìˆ˜ÕˆÌÞÊ`ˆÃÀÕ«Ìi`]Ê>˜`Êi`ˆÌÃʓ>`iÊۈÈLiÊLÞÊÃÕLÃ̈ÌṎ˜}ÊӜœÌ…Ê`ˆÃ܏ÛiÃÊÜˆÌ…Ê `ˆÃVœ˜˜iVÌi`ʍՓ«ÊVÕÌðÊ/…iÊÃޘV…Àœ˜ˆÃ>̈œ˜Êœvʈ“>}iÊ>˜`ÊÜ՘`ÊÜ>ÃÊ՘VœÕ«i`Ê >˜`Ê Ì…iÊ >Õ`ˆœÊ ÌÀ>VŽÊ `ˆÃˆ˜Ìi}À>Ìi`Ê ˆ˜ÌœÊ >Ê V>Vœ«…œ˜ÞÊ œvÊ ÛœˆViÃ]Ê ÃVÀiiV…ˆ˜}Ê ˆ˜ÃÌÀՓi˜ÌÃÊ>˜`ÊiiVÌÀœ˜ˆVʘœˆÃiʜÀ]ʈ˜Ê…œ“>}iÊ̜Êi>ÀÞÊw“]ÊÀi“>ˆ˜i`ÊÕÌÌiÀÞÊȏi˜Ì°Ê
V̜ÀÃÊ ÃÌi««i`ʜÕÌʜvÊ̅iˆÀÊÀœiÃʜÀÊ뜎iÊ}ˆLLiÀˆÃ…]ÊÃiÌÃÊÜiÀiÊÀiÛi>i`Ê>ÃÊv>Ži]ÊV>“iÀ>ʜ«iÀ>̜ÀÃÊÜiÀiʘœÊœ˜}iÀÊ>˜œ˜Þ“œÕÃÊqÊ՘ÃÌ>Li]ʜÕ̇œv‡vœVÕÃ]Ê>˜`ʅ>˜`…i`ÊvœœÌ>}iÊ betrayed their mediating presence. Directors shouted incoherent instructions from œÕÌʜvÊvÀ>“i]ʏˆ}…̈˜}ÊÜi˜Ìʅ>Þ܈ÀiÊ܈̅ÊÃÌÕ`ˆœÊˆ}…ÌÃʜÀÊ̅iÊÃ՘ÊÀi}Տ>ÀÞÊLˆ˜`ˆ˜}Ê Ì…iʏi˜Ã]ʜÀÊ̅iÊ>Õ`ˆÌœÀˆÕ“ÊÜ>ÃÊÃÕ``i˜ÞÊ«Õ˜}i`ʈ˜ÌœÊ`>ÀŽ˜iÃÃÊ>ÃÊ̅iʏˆ}…ÌÃÊÜiÀiÊ ˆ˜iÝ«ˆV>LÞÊiÝ̈˜}ՈÅi`°Ê
LÃÌÀÕÃiʓiÃÃ>}iÃÊy>Åi`ʜ˜Ê̅iÊÃVÀii˜Êˆ˜Ê>Ê«>Àœ`ÞʜvÊ ˆ˜ÌiÀ̈̏iÃ]ÊvœÕ˜`ÊvœœÌ>}iÊÜ>Ãʓ>˜}i`Ê>˜`ÊÀi}ÕÀ}ˆÌ>Ìi`ʈ˜ÌœÊ>ÊۈÃÕ>Ê}>ˆ“>ÕvÀÞÊ>Vcompanied by a mélange of incidental sound. The conventional roles of the film set ÜiÀiʜÛiÀÌÕÀ˜i`Ê>ÃÊ̅iÊw““>ŽiÀÊÀi}Տ>ÀÞÊ`œÕLi`Ê>ÃÊ«iÀvœÀ“iÀ]ÊV>“iÀ>ʜ«iÀ>̜À]Ê i`ˆÌœÀ]Ê«ÀœiV̈œ˜ˆÃÌÊ>˜`Ê`ˆÃÌÀˆLÕ̜ÀÊ>˜`]Ê>vÌiÀʅœÕÀÃ]ÊLiV>“iÊ>Ê«…ˆœÃœ«…ˆV>Ê>«œœ}ˆÃÌÊvœÀÊ>Û>˜Ì‡}>À`iÊw“ʈ˜Êi>À˜i`ʍœÕÀ˜>ÃÊÃÕV…Ê>ÃÊScreen and Undercutʈ˜Ê̅iÊ1]Ê the Cantrill Filmnotes in Australia and Millennium Film Journal in the USA. ˜Ê>``ˆÌˆœ˜Ê̜Ê܈̘iÃȘ}Ê̅iÊ`iVœ˜ÃÌÀÕV̈œ˜ÊœvÊiÃÌ>LˆÃ…i`Êw“Ê}À>““>À]Ê>˜`Ê the unmasking what were regarded as the deceptions perpetrated by cinematic illuȜ˜ˆÃ“]ÊëiVÌ>̜Àˆ>Ê>ÌÌi˜Ìˆœ˜ÊÜ>ÃÊÀi`ˆÀiVÌi`Ê̜Ü>À`ÃÊ̅iʓi>˜ÃʜvÊ«Àœ`ÕV̈œ˜]Ê̅iÊ }>`}iÌÀÞÊ>ÃÊÜiÊ>ÃÊ̅iÊ«…ÞÈV>Ê>˜`ÊV…i“ˆV>ÊÃÕLÃÌÀ>ÌiʜvÊw“]Ê>ÊœvÊ̅iÃiʓ>ÌiÀˆ>Ê >ÌÌÀˆLÕÌiÃÊLiˆ˜}Ê«ÀiۈœÕÏÞÊVœ˜Vi>i`°Ê Ý«iÀˆ“i˜Ì>Ê>À̈ÃÌÃʘœÜÊLÀœÕ}…ÌÊ̜Ê̅iÊvœÀiÊ the creative processes of pre- and post-production as well as the final stages of film“>Žˆ˜}Êi“Lœ`ˆi`ʈ˜Ê̅iÊ«>À>«…iÀ˜>ˆ>ʜvÊ̅iÊVˆ˜i“>\Ê̅iÊ«ÀœiV̜À]Êw“ÃÌÀˆ«Ê>˜`Ê̅iÊ light beam that together with the mechanical transport of the film at 24 frames per ÃiVœ˜`]Ê}i˜iÀ>ÌiÊ>ʓœÛˆ˜}ʈ“>}i°Ê¼7…>ÌʈÃÊ>ÌÊÃÌ>Ži½ÊÜÀœÌiÊ*…ˆˆ«Ê ÀՓ“œ˜`]ʼˆÃʘœÌÊ “iÀiÞÊ̅iʺ`iVœ˜ÃÌÀÕV̈œ˜»ÊœvÊw“ʘ>ÀÀ>̈Ûi]ÊLÕÌÊÀ>̅iÀÊ̅iÊi˜ÌˆÀiʈ˜ÌiÀ˜>Ê`ˆ>iV̈VÊ of film construction’.59ʈ˜>Þ]Ê«À>V̈̈œ˜iÀÃÊÃÕV…Ê>ÃÊiÊÀˆVi]Ê,…œ`iÃÊ>˜`Ê >̅iÀiÞÊ ˆ˜Ê̅iÊ1]ʈV…>iÊ-˜œÜʈ˜Ê >˜>`>]Ê*iÌiÀÊ7iˆLiÊˆ˜ÊiÀ“>˜ÞÊ>˜`Êi˜Ê>VœLÃʈ˜Ê̅iÊ 1-
]ÊLÀœÕ}…Ìʈ˜ÌœÊ̅iÊiµÕ>̈œ˜Ê̅iʈ`i>ʜvÊw“Ê>ÃÊ>Ê̈“i‡L>Ãi`Ê«ÀœiV̈œ˜ÊiÛi˜ÌÊi˜Vœ“«>ÃȘ}Ê̅iÊÌiV…˜œœ}Þ]Ê̅iÊë>ViÊqÊLœÌ…ÊÜVˆ>Ê>˜`Ê«…ÞÈV>ÊqÊ>˜`]ʈ˜ÊVœ˜ViÀÌÊ ÜˆÌ…Ê̅iÊ«ÀœiVÌʜvÊiÝ«>˜`i`ÊVˆ˜i“>Ê>˜`ʈ˜ÃÌ>>̈œ˜Ê>ÀÌÊLiޜ˜`ʈÌ]Ê̅iÊiÝ«iÀˆi˜ViÊ of spectators. With the curtain ripped away from the tricks of mainstream narrative film LœÌ…ʈ˜ÌÀˆ˜ÃˆV>ÞÊ܈̅ˆ˜Ê̅iÊ`ˆi}ïVÊë>ViʜvÊ̅iÊw“Ê>˜`ÊiÝÌÀˆ˜ÃˆV>Þʈ˜ÊˆÌÃÊۈÈLiÊ ÌiV…˜ˆV>Ê ÃÕ««œÀÌÃ]Ê Ì…iÊ ˆÕȜ˜ˆÃ“Ê œvÊ Vˆ˜i“>Ê Ü>ÃÊ Ã…>Ži˜Ê ÌœÊ ˆÌÃÊ VœÀiÊ >˜`Ê ˆ˜Ê ̅iÊ>vÌiÀŜVŽÃ]Ê̅iÊÃÕëi˜Ãˆœ˜ÊœvÊ`ˆÃLiˆivÊÃÌÀÕ}}i`Ê̜ʓ>ˆ˜Ì>ˆ˜ÊˆÌÃʅœ`ʜ˜Ê̅iÊ ÛˆiÜiÀ°Ê/…ÀœÕ}…ÊÀi«ï̈œ˜]Ê>LÃÌÀ>V̈œ˜Ê>˜`ÊvÀ>}“i˜Ì>̈œ˜]Ê̅iÊVˆ˜i“>̈VÊÈ}˜ÊÜ>ÃÊ

114

INSTALLATION AND THE MOVING IMAGE

Vi>Ûi`ÊvÀœ“ʈÌÃÊÀiviÀi˜ÌÊ>˜`ʈ˜Ê>ÊvÀiiÊ«>ÞʜvÊÈ}˜ˆwiÀÃ]Ê̅iÊÌÀ>˜Ã«>Ài˜VÞʜvÊw“]Ê ˆÌÃÊ>LˆˆÌÞÊ̜ÊÛiˆÊˆÌÃivʈ˜Ê“ˆ“iÈÃʜvÊÀi>ˆÌÞ]ÊÜ>Ãʘi}>Ìi`°Ê ,œLiÀÌÊ Õ}…iÃ]Ê ÜÀˆÌˆ˜}Ê ˆ˜Ê ̅iÊ >ÌiÊ £™ÇäÃ]Ê >ÌÌi“«Ìi`Ê ÌœÊ `iw˜iÊ Ì…iÊ «Àˆ˜Vˆ«iÃÊ ÃÌiiÀˆ˜}Ê >Û>˜Ì‡}>À`iÊ ÛˆÃÕ>Ê ÃÌÀ>Ìi}ˆiðÊ
À̈ÃÌÃ]Ê Ã>ˆ`Ê Õ}…iÃ]Ê ˜ÕÀÌÕÀi`Ê Ì…iÊ LiˆivÊ Ì…>ÌʼLÞÊV…>˜}ˆ˜}Ê̅iʏ>˜}Õ>}iʜvÊ>ÀÌ]ÊޜÕÊ>vviVÌÊ̅iʓœ`iÃʜvÊ̅œÕ}…Ì]ÊޜÕÊV…>˜}iÊ life’.60 It was this creed that drove Gidal’s somewhat utopian determination to rei`ÕV>ÌiÊ̅iÊëiVÌ>̜ÀÊLÞʓi>˜ÃʜvÊ`i˜ˆ>]ʈ˜Ê>VVœÀ`>˜ViÊ܈̅Ê>ÊÃÌÀˆVÌʼ̅iœœ}ÞʜvÊ negation’.61ÊvÊޜÕÊ܈̅…œ`Ê̅iÊ`iˆ}…ÌÃʜvʘ>ÀÀ>̈Ûiʈ““iÀȜ˜Êˆ˜Ê̅iʼ`Ài>“ÊÃVÀii˜½]Ê ÃœÊ Ì…iÊ Ì…iœÀÞÊ Üi˜Ì]Ê >˜`Ê ˆ˜ÃÌi>`Ê iÝ«œÃiÊ ÞœÕÀÊ >Õ`ˆi˜ViÊ ÌœÊ >Ê w“‡>Çw“]Ê œ˜iÊ ¼Ì…>ÌÊ `œiÃʘœÌÊÀi«ÀiÃi˜ÌʜÀÊ`œVՓi˜ÌÊ>˜Þ̅ˆ˜}½]62 they will come to realise the degree to which mainstream film manipulates their responses for the benefit of those in powiÀ°Ê˜Ê>``ˆÌˆœ˜]ʜ˜ViʏˆLiÀ>Ìi`ÊvÀœ“ʼ“ˆ˜`iÃýÊ>LÜÀ«Ìˆœ˜Êˆ˜Ê˜>ÀÀ>̈ÛiÊi˜ÌiÀÌ>ˆ˜“i˜Ì]Ê Ì…iÊۈiÜiÀÊܜՏ`ÊLiVœ“iÊ«Àœ`ÕV̈ÛiÞÊ>Ü>ÀiʜvʅiÀʜܘʫiÀVi«ÌÕ>Ê«ÀœViÃÃiÃ]Ê̅iÊ Vœ}˜ˆÌˆÛiÊ “iV…>˜ˆÃ“ÃÊ œvÊ w“Ê ëiVÌ>̜Àň«Ê ̅>ÌÊ >ÀiÊ “œLˆˆÃi`Ê ˆ˜Ê Ài>ˆÃÌÊ Vˆ˜i“>]Ê >˜`Ê̅>ÌÊÅiʅ>Ãʏi>À˜i`ʏˆŽiÊ>ÊVœ˜`ˆÌˆœ˜i`ÊÀiyiÝ°Ê/…ˆÃʘiÜÊÃi˜ÃˆÌˆÛˆÌÞÊ̜Ê̅iÊëiVÌ>̜Àˆ>ÊiÝ«iÀˆi˜ViÊÜ>ÃÊ̅iÊvœVÕÃÊ>˜`ʎiÞÊ̜ʓ>˜ÞʜvÊ̅iÊw“ÃʜvÊ̅iÊ«iÀˆœ`°Ê/…iÊ w˜>ÊœLiV̈ÛiÊÜ>ÃÊ̜Ê`iÛiœ«Êˆ˜Ê ̅iÊëiVÌ>̜ÀÊ̅iÊ>LˆˆÌÞÊ̜ÊÀiVœ}˜ˆÃiÊ>˜`ÊÀivÕÌiÊ Ì…iÊ«œˆÌˆV>Þ‡“œÌˆÛ>Ìi`ʓiÃÃ>}iÃʏÕÀŽˆ˜}ʈ˜Ê“>ÃÃʓi`ˆ>]Ê>˜`]ÊLÞÊiÝÌi˜Ãˆœ˜]Ê̅iÊ “œÀiÊ`ˆÀiVÌ]ʜvwVˆ>ÊÕÌÌiÀ>˜ViÃʜvÊ̅iÊÀՏˆ˜}ÊiˆÌi°Ê"˜ViÊ܈ÃiÊ̜Ê̅iʓ>V…ˆ˜>̈œ˜ÃʜvÊ «œÜiÀ]Ê̅iÊ`iVˆÃˆœ˜Ê̜ÊLiVœ“iÊ«œˆÌˆV>ÞÊ>V̈ÛiÊ܈̅ˆ˜Ê̅iÊVœÕ˜ÌiÀ‡VՏÌÕÀiÊÜ>ÃÊLÕÌÊ œ˜iÊŜÀÌÊÃÌi«Ê>Ü>Þ°ÊÊ܈ÊÀiÌÕÀ˜Ê̜ʈ`>½ÃÊ̅iœÀˆiÃ]ÊLÕÌÊvœÀÊ̅iʓœ“i˜Ì]ÊÊ܈ÅÊÌœÊ ˜œÌiÊ̅iÊVœ˜ÃVˆœÕØiÃÇÀ>ˆÃˆ˜}ʓœÌˆÛ>̈œ˜Ê`ÀˆÛˆ˜}ʅˆÃʼ˜i}>̈ÛiÊ>iÃ̅ïVý°63

NORTH AMERICAN STRUCTURALISM Boredom is a powerful tool. *iÌiÀÊ >“«ÕÃ]ÊÓään /…iÀiÊ Ü>ÃÊ Vœ˜Ãˆ`iÀ>LiÊ œÛiÀ>«Ê LiÌÜii˜Ê ̅iÊ ÀˆÌˆÃ…Ê ÃÌÀÕVÌÕÀ>É“>ÌiÀˆ>ˆÃÌÊ “œÛiment and structural or underground film in the USA and Canada. Like their British VœÕ˜ÌiÀ«>ÀÌÃ]Ê œÀ̅Ê
“iÀˆV>˜Êw““>ŽiÀÃÊÃÕV…Ê>ÃÊ ÀÕViÊ œ˜˜œÀ]Ê*>ՏÊ-…>ÀˆÌÃ]ÊœÞViÊ 7ˆi>˜`Ê>˜`Êi˜Ê>VœLÃÊvœœÜi`Ê̅iʓœ`iÀ˜ˆÃÌÊ«ÀiVi«ÌʜvʼÌÀÕ̅Ê̜ʓ>ÌiÀˆ>Ã½]Ê>˜`Ê `ÀiÜÊ>ÌÌi˜Ìˆœ˜Ê>Ü>ÞÊvÀœ“Ê̅iÊÃޓLœˆÃ“Êœvʘ>ÀÀ>̈ÛiÊVœ˜Ìi˜Ì]ÊÀivœVÕȘ}ʜ˜Ê̅iʼ“>teriality of the medium [and] the formal structure or shape of the film’.64 According ̜Ê
°Ê°Ê,iiÃ]Ê̅ˆÃʓ>ÀŽi`Ê̅iʓœ“i˜ÌÊ܅i˜Ê¼vœÀ“ÊLiV>“iÊVœ˜Ìi˜Ì½]Ê>˜`]Ê>Ãʈ˜Ê̅iÊ 1]Ê̅iʘiÜʜ«>VˆÌÞʜvÊw“Ê}>ÛiÊÀˆÃiÊ̜Ê̅iÊ«œÃÈLˆˆÌÞʜvÊÀiyiV̈˜}ʜ˜Ê̅iÊiÝ«iÀˆi˜ViÊ œvÊëiVÌ>̜Àň«]Ê>ÃÊ̅iÊܜÀŽÊ՘vœ`i`° 65Ê/…iÊÌiÀ“ʼÃÌÀÕVÌÕÀ>Êw“½ÊÜ>ÃÊVœˆ˜i`ÊLÞÊ *°Ê
`>“ÃÊ-ˆÌ˜iÞʈ˜Ê…ˆÃÊÌiÝÌÊVisionary Film – The American Avant-Garde (1974) in which he i˜Õ“iÀ>Ìi`Ê̅iÊV…>À>VÌiÀˆÃ̈VÃʜvÊ>ÊÃÌÀÕVÌÕÀ>Êw“\Ê>ÊwÝi`ÊV>“iÀ>Ê«œÃˆÌˆœ˜]Ê̅iÊÃÌÀœLiÊ

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ivviVÌÊ­>ÊÌiV…˜ˆµÕiÊ«iÀviVÌi`ÊLÞÊ*>ՏÊ-…>ÀˆÌÃʈ˜Ê…ˆÃÊyˆVŽiÀÊw“î]Ê̅iÊÕÃiʜvʏœœ«ÃʜÀÊÀi«ï̈œ˜Ê>˜`Êw“ˆ˜}Ê«Ài‡i݈Ã̈˜}ÊvœœÌ>}iʜvvÊ̅iÊÃVÀii˜°66ʘÊv>VÌ]ÊÛiÀÞÊviÜÊw“ÃÊVœ˜vœÀ“i`Ê iÝ>V̏ÞÊ̜Ê̅iÃiÊÀiµÕˆÀi“i˜ÌÃÊ>˜`]Ê>VVœÀ`ˆ˜}Ê̜Ê,iiÃ]ʓ>˜ÞÊ«À>V̈̈œ˜iÀÃÊÀiiVÌi`Ê̅iÊ notion of structural film altogether. He quotes Hollis Frampton who in 1972 opined that ̅iÊÌiÀ“ÊÃÌÀÕVÌÕÀ>ˆÃ“ʼŜՏ`ʅ>ÛiÊLii˜ÊivÌʈ˜ÊÀ>˜ViÊ̜ÊVœ˜vœÕ˜`Ê̅iÊ>ՏÊvœÀÊ>˜œÌ…iÀÊ generation’.67 In spite of filmmakers’ aversion to being in any way misrepresented and ̅iˆÀʘii`ÊvœÀÊ̅iˆÀÊ«>À̈VՏ>Àʈ˜ÌiÀ«ÀiÌ>̈œ˜ÊœvÊ̅iÊâiˆÌ}iˆÃÌÊ̜ÊLiÊ>VVÕÀ>ÌiÞÊ`iw˜i`]Ê̅iÊ ÌiÀ“ʼÃÌÀÕVÌÕÀ>Êw“½Ê>`…iÀi`Ê̜Ê>Ê܈`iÊÀ>˜}iʜvÊ«À>V̈ViÃÊ>ÀˆÃˆ˜}ÊvÀœ“Ê̅iʘiÜÊi˜}>}i“i˜ÌÊ܈̅Ê̅iÊÃi“ˆœÌˆVÃ]ʓ>ÌiÀˆ>Ã]Ê>««>À>ÌÕÃÊ>˜`Ê«ÀœViÃÃiÃʜvÊw“°Ê

TEMPORAL TAMPERING: FAST AND SLOW Time, said A ... was by far the most artificial of all our inventions. W. G. Sebald (2001)68
ÃÊʅ>ÛiʜÕ̏ˆ˜i`]Ê̅iÊvœÀi}ÀœÕ˜`ˆ˜}ʜvÊw“ˆVʏ>˜}Õ>}iÊ̜œŽÊ«>ViÊ܅i˜Ê>À̈ÃÌÃÊy>}À>˜ÌÞÊLÀœŽiÊ̅iÊÀՏiÃʜvʓ>ˆ˜ÃÌÀi>“ÊVˆ˜i“>Ê>˜`Ê>ÊviÜÊiÝ>“«iÃÊvÀœ“ÊLœÌ…ÊÈ`iÃÊ of the Atlantic may give a flavour of the aesthetics to which this approach gave rise.
À̈ÃÌÃÊ `ˆÃÀÕ«Ìi`Ê Ì…iÊ ÃiµÕi˜Ìˆ>Ê yœÜÊ œvÊ w“]Ê Ì…iÊ >««>Ài˜ÌÊ Õ˜vœ`ˆ˜}Ê œvÊ `À>“>̈VÊ iÛi˜ÌÃÊ܈̅ˆ˜Ê>ʏˆ˜i>ÀÊÌi“«œÀ>ˆÌÞÊ̅>Ìʈ˜Ê̅iÊÃޘÌ>ÝʜvÊw“Ê>««ÀœÝˆ“>ÌiÃÊ̅iÊ«>ViʜvÊ ˆvi°Ê¼ÌʈÃÊ>ʓˆÃÌ>ŽiÊ̜Ê̅ˆ˜ŽÊœvÊ̅iÊVˆ˜i“>̜}À>«…ˆVʈ“>}iÊ>ÃÊLiˆ˜}ÊLÞʘ>ÌÕÀiʈ˜Ê̅iÊ «ÀiÃi˜Ì½ÊœLÃiÀÛi`ʈiÃÊ iiÕâi] 69 and avant-garde filmmakers set out to prove the i>Ã̈VˆÌÞʜvÊ̈“iÊLÞÊVœ“«ÀiÃȘ}]ÊÃÌÀiÌV…ˆ˜}Ê>˜`ʏœœ«ˆ˜}ʈÌ]Ê`ˆÃÀի̈˜}Ê̅iʏœ}ˆVʜvÊ conventional cinematic continuities. Film time was accelerated by means of rapid V>“iÀ>ʓœÌˆœ˜Êqʅ>˜`‡…i`ʜ˜Ê̅iʅœœv]ʜÀÊŜÌÊvÀœ“Êv>Ã̇“œÛˆ˜}ÊV>ÀÃʜÀÊÌÀ>ˆ˜Ã°Ê
˜Ê epidemic of quick-fire editing erupted that not only thrust into the limelight the invisˆLiʍœˆ˜ÃÊLiœÛi`ʜvÊΈvՏʈ˜`ÕÃÌÀÞÊi`ˆÌœÀÃ]ÊLÕÌÊ>ÃœÊ«ÕÅi`Ê̅iÊܜÀŽÊ̜Ê̅iʏˆ“ˆÌÊ œvÊ«iÀVi«ÌÕ>Êi}ˆLˆˆÌÞ]Ê̅iÀiLÞÊ`iÃÌÀœÞˆ˜}Ê̅iʈ˜ÌiÀ˜>Ê˜>ÀÀ>̈ÛiÊVœ…iÀi˜ViʜvÊ̅iÊ film. Marie Menken used stop-motion in her vertiginous Go! Go! Go!Ê­£™ÈÓ®]Ê>ÊܜÀŽÊˆ˜Ê ̅iʼVˆÌÞÊÃޓ«…œ˜Þ½ÊÌÀ>`ˆÌˆœ˜ÊœvÊi>ÀÞÊ ÕÀœ«i>˜Êw“]ÊLÕÌÊÌ>Ži˜Ê>ÌÊLÀi>Ž˜iVŽÊëii`°Ê /…iÊV>“iÀ>ÊÀ>ViÃÊÕÃÊ̅ÀœÕ}…Ê̅iÊVˆÌÞ]Ê«>ÃÌÊ̅iÊ`œVŽÃʓˆˆ˜}Ê܈̅ÊܜÀŽiÀÃ]Ê>œ˜}Ê Lœ`އÃÌÀiÜ˜Ê Li>V…iÃ]Ê Ã̜««ˆ˜}Ê œvvÊ “œ“i˜Ì>ÀˆÞÊ vœÀÊ ÃœVˆ>Ê iÛi˜ÌÃÊ qÊ >Ê }À>`Õ>̈œ˜Ê `>Þ]Ê>ÊLœ`އLՈ`ˆ˜}ÊVœ˜ÌiÃÌÊ>˜`Ê>Ê`iLÕÌ>˜ÌiÊL>ÊqÊ̅iÊw““>ŽiÀÊ>L>˜`œ˜ˆ˜}ʅiÀself to the chance delights of a summer in New York City. The swiftness with which the film moves makes it impossible to linger over any particular scene and there is no narrative in the conventional sense.70ÊœÜiÛiÀ]Ê>ÃʈÃÊ̅iÊV>Ãiʈ˜Ê«À>V̈V>ÞÊ>Ê̅iÊ ÃÌÀÕVÌÕÀ>Êw“ÃʜvÊ̅iÊ«iÀˆœ`]Ê>ʘ>ÀÀ>̈ÛiʜvÊÜÀÌÃÊi“iÀ}iÃ]Ê܅i̅iÀÊLÞÊV…>˜ViʜÀÊ LÞÊÃÕLVœ˜ÃVˆœÕÃʈ˜Ìi˜Ì°Ê/…iÊw“Ê`i“œ˜ÃÌÀ>ÌiÃÊLœÌ…Ê>ÊÃi˜Ã՜ÕÃʜ«ÌˆV>ˆÌÞ]ÊÀi>V…ˆ˜}Ê almost hallucinatory levels in the forward momentum of the camera in flight. The

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INSTALLATION AND THE MOVING IMAGE

Chris Welsby, Park Film (1972–3), 7min., 16mm, silent (24fps). Courtesy of the artist.

pace of the film is analogous to the energy of a city on the brink of profound social V…>˜}i]ÊLÕÌÊ܈̅ÊÛiÃ̈}iÃʜvʓœÀiÊVœ˜ÃiÀÛ>̈ÛiÊ̈“iÃÊ}ˆ“«Ãi`ʈ˜Ê̅iÊÌ܈ÀÊœvÊ̅iÊ debutantes’ dresses. Today the film has acquired a patina of nostalgia as we recœ}˜ˆÃiÊ̅iÊŜÀÌi˜ˆ˜}ÊΈÀÌÃ]Ê̅iÊLœÕvv>˜Ìʅ>ˆÀ`œÃ]Ê>˜`ÊvœÀ“>ÊÃՈÌÃʜvÊ̅iʓi˜Êœ˜Ê ̅iˆÀÊÜ>ÞÊ̜ÊܜÀŽ°Ê7iÊ>ÀiʘœÜʏœœŽˆ˜}Ê>ÌÊ>˜ÊiÝ>“«iʜvÊ >̅iÀˆ˜iÊ,ÕÃÃi½Ãʼ>ÀV…ˆÛ>Ê Vˆ˜i“>½]Ê>ÊÀiVœÀ`ʜvÊ>ÊVˆÌÞʈ˜ÊÌÀ>˜ÃˆÌˆœ˜]Ê>ÊÜVˆ>Ê`œVՓi˜ÌÊ>ÃÊÜiÊ>ÃÊ>Êw˜iÊiÝ>“«iÊ of the anti-narrative impulse of the American avant-garde. ˜Ê̅iÊ1]Ê̅iÊÕÃiʜvÊ̈“i‡>«ÃiÊ̜ÊVœ“«ÀiÃÃÊLœÌ…Ê̈“iÊ>˜`Êë>ViÊÜ>ÃʓÕV…ʈ˜Êiۈ`i˜Vi]Ê«Àˆ˜Vˆ«>Þʈ˜Ê̅iÊܜÀŽÊœvÊ7ˆˆ>“Ê,>L>˜]ʈŽiÊi}}iÌÌÊ>˜`Ê …ÀˆÃÊ7iÃLÞÊ܅œÃiÊ Park FilmÊ­£™ÇÓqήÊÀiVœÀ`i`Ê̅ÀiiÊ`>ÞÃʈ˜Ê̅iʏˆviʜvÊ>Êœ˜`œ˜Ê«>ÀŽ]Ê>˜Êœ>ÈÃʜvÊ}Àii˜Ê ˆ˜Ê̅iÊLՈÌÊi˜ÛˆÀœ˜“i˜ÌʜvÊ̅iʓiÌÀœ«œˆÃ°ÊˆŽiʓ>˜ÞÊ>À̈ÃÌÃÊ>ÌÊ̅iÊ̈“i]Ê7iÃLÞÊÜ>ÃÊ influenced by Gregory Bateson’s systems theory and structured his filmic observ䜘Ãʜvʘ>ÌÕÀiÊ>VVœÀ`ˆ˜}Ê̜ʫÀi‡ÃiÌÊÀՏiÃ]ʈ˜Ê̅ˆÃÊV>Ãi]ÊiÝ«œÃˆ˜}Ê>ÊȘ}iÊvÀ>“iÊi>V…Ê ̈“iÊ>˜Êˆ˜`ˆÛˆ`Õ>Ê«>ÃÃi`Ê̅ÀœÕ}…Ê̅iÊwÝi`ÊvÀ>“iÊۈiÜʜvÊ̅iÊ«>ÀŽ°Ê"ÛiÀÊ>ʘՓLiÀʜvÊ w“Ã]Ê7iÃLÞÊVœ“Lˆ˜i`Êw“ÊÌiV…˜œœ}ÞÊ܈̅Ê>i>̜ÀÞÊii“i˜ÌðʘÊPark Film]Ê̅iÃiÊ ÌœœŽÊ̅iÊvœÀ“ÊœvʓœÛˆ˜}ÊLœ`ˆiÃ]Ê̅iÊvÀiµÕi˜VÞʜvÊ̅iˆÀÊ>««i>À>˜ViÃÊ`i«i˜`i˜Ìʜ˜Ê ̅iÊÛ>}>ÀˆiÃʜvÊ̅iÊÜi>̅iÀ]ÊviÜiÀÊ܅i˜ÊˆÌÊÜ>ÃÊÀ>ˆ˜ˆ˜}Ê>˜`ʓœÀiʈ˜ÊVi“i˜ÌÊÜi>̅iÀ°Ê /…iÊw“]Ê̅i˜]ÊÜ>ÃÊVœ˜ÃÌÀÕVÌi`Ê>ÃʓÕV…ÊLÞÊ̅iÊÜi>̅iÀÊ>ÃÊLÞÊ̅iÊV>“iÀ>Ê>˜`Ê̅iÊ >À̈ÃÌ]Ê>˜`Ê>ÃÊ7iÃLÞʅˆ“ÃivÊ`iV>Ài`]ÊPark FilmÊÜ>ÃʘœÌÊ>Êw“Ê>LœÕÌÊ>Ê«>ÀŽÊLÕÌʼ>Ê film that was part of the park as much as a film can be’. 71 Beyond the elegance of its Vœ˜Vi«ÌÕ>ÊvÀ>“iܜÀŽ]Ê̅iÊw“Ê«ÀœÛˆ`iÃÊ>ʎ>iˆ`œÃVœ«ˆVÊ«œÀÌÀ>ˆÌʜvÊ>Ê«>Viʈ˜Ê܅ˆV…Ê Ì܈ÌV…ˆ˜}]ÊÃ̈VŽ‡ˆŽiÊ«iœ«iʅ>ÛiÊ>ÊœÜÀÞiõÕiÊV…>À“°72ÊœÜiÛiÀ]Ê̅iÊ>Ãȓˆ>̈œ˜Ê

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œvÊ̅iʼÃÌÕÌÌiÀˆ˜}½Êw}ÕÀiÃʈ˜ÌœÊ̅iʏ>˜`ÃV>«iÊ>ÃœÊ«ÀœÛˆ`iÃÊ>˜Êi˜ÛˆÀœ˜“i˜Ì>ÊÀiܘ>˜ViÊ܅ˆiÊ>ÊViÀÌ>ˆ˜Ê“>}ˆVÊ>ÀˆÃiÃÊvÀœ“Ê̅iÊiۜV>̈œ˜ÊœvÊ܅>ÌÊ>ʏ>ÌiÀÊiÝ«œ˜i˜ÌʜvÊ Ìˆ“i‡>«Ãi]Ê “ˆÞÊ,ˆV…>À`ܘ]Ê`iÃVÀˆLi`Ê>Ãʼ̅iÊLÀi>̅ʜvʘ>ÌÕÀi½°73ÊœÀʅiÀÊqÊ>˜`]ÊÊ ÃÕëiVÌ]ÊvœÀÊ7iÃLÞÊLivœÀiʅiÀÊqÊ̅iÃiÊ`i«ˆV̈œ˜ÃʜvʅՓ>˜ÊÌÀ>vwVÊ>˜`̅iʈ˜ÛˆÃˆLiÊ >LœÕÀÃʜvʘ>ÌÕÀiÊ>ÀiÊ>ÃœÊ¼ÃÕ}}iÃ̈Ûiʜvʈ˜˜iÀÊܜÀ`ÃʜÀÊÃÌ>ÌiÃʜvʓˆ˜`½°74
ÌÊ̅iʜ̅iÀÊi˜`ʜvÊ̅iÊÃV>i]Ê`iViiÀ>Ìi`Êw“ÊÜ>ÃÊVœœˆ˜}Ê̅iÊ«>Viʈ˜Ê̅iÊvœÀ“Ê of both slow motion and the long duration of the films themselves. Following Abel >˜Vi]Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ-Ì>˜Ê À>Ž…>}i]ʈV…>iÊ-˜œÜ]ÊœÞViÊ7iˆ>˜`Ê>˜`Ê
˜`ÞÊ7>À…œÊ iÝÌi˜`i`Ê̅iÊVœ˜Ûi˜Ìˆœ˜>ÊÀ՘˜ˆ˜}Ê̈“iÃʜvʘ>ÀÀ>̈ÛiÊw“Ã]ʘœÌ>LÞÊ7>À…œ½ÃÊSleep ­£™È{®]ʈ˜Ê܅ˆV…ʼÀi>Ê̈“i½ÊŜÌÃʜvÊ>ÊÏii«ˆ˜}ʓ>˜ÊÜiÀiÊ돈Vi`Ê̜}i̅iÀ]ʓœ˜ˆÌœÀˆ˜}Ê ÃˆÝʅœÕÀÃʜvʅˆÃÊÏՓLiÀðÊ/…iÊiÝ«iÀˆi˜ViʜvÊLiˆ˜}ʏˆVi˜Ãi`Ê̜ÊÃÌ>ÀiÊ>ÌÊ>˜œÌ…iÀʈ˜`ˆvidual not only indulges the fetishism of the gaze but also demonstrates its ultimate frustration. The face alone tells us little about the reality of the man to whom it beœ˜}ÃÊ>˜`Ê>Ì…œÕ}…Ê…ˆÃ̜ÀÞÊÀiÛi>ÃÊ̅>ÌʅiÊÜ>ÃÊœ…˜ÊˆœÀ˜œ]Ê7>À…œ½ÃʏœÛiÀ]Ê̅iÊw“Ê itself betrays none of his secrets. We are left with our own scopophilic desires and ̅iÊVœ˜`ˆÌˆœ˜i`Ê>ÃÃՓ«Ìˆœ˜ÃÊÜiÊ«ÀœiVÌʜ˜ÌœÊ̅iÊLi>ÕÌÞʜvʈœÀ˜œ½ÃÊÃÕ«ˆ˜iÊvœÀ“°Ê
ÃÊÜiʅ>ÛiÊÃii˜]ʈ˜Ê̅iÊ1]Ê >ۈ`Ê>ÊÀi}>À`i`Ê̈“iÊ>ÃÊ>ÊVÀi>̈ÛiÊ̜œ]Êi>LœÀ>̈˜}ʅˆÃʘœÌˆœ˜ÊœvʼÃVՏ«Ìˆ˜}ʈ˜Ê̈“i½Ê>VÀœÃÃÊw“]Êۈ`iœÊ>˜`ʈ˜ÃÌ>>̈œ˜]Ê܅ˆiʈ˜Ê >˜>`>Ê ˆV…>iÊ-˜œÜÊi˜`œÜi`Ê̈“iÊ܈̅ÊëiVˆwVÊÜiˆ}…Ì]Êi˜>Lˆ˜}ʅˆ“]Ê̅ÀœÕ}…Êw“]Ê̜ʼ“>ŽiÊ a shape in time’.75ʈŽiÊ>Ê>˜`Ê-˜œÜ]ÊœˆÃÊÀ>“«Ìœ˜ÊViiLÀ>Ìi`Ê̅iÊvœÀ“>Ê«Àœ«iÀ̈iÃÊ œvÊ̈“iÊ܅ˆV…]ʅiÊÃ>ˆ`]ʈ˜ÊVˆ˜i“>Ê>Àiʼ«ÀiVˆÃiÞÊ>ÃÊ«>Ã̈V]ʓ>i>LiÊ>˜`ÊÌ>V̈iÊ>ÃÊ̅iÊ physical substance of film itself’.76 He also designated time as the central metaphor of w“]ʜ˜iÊ̅>ÌʈÃÊiÝ«iÀˆi˜Vi`ÊLÞÊ̅iÊۈiÜiÀÊ>Ãʼ̅iÊ`i˜ÃˆÌÞ]Ê̅iÊÃi˜ÃiÊ̅>ÌÊܓi̅ˆ˜}Ê ÜˆÊ…>««i˜ÆÊ̅>ÌʘœÌ…ˆ˜}Ê܈Ê…>««i˜½Ê>˜`ʈ˜Ê̅ˆÃÊÀiëiVÌ]ʼ̈“iʈÃÊ̅iʘ>“iÊvœÀÊܓithing which is consciousness’.77Ê>Vœ“ÊiÊÀˆViÊiÝ«œÀi`Ê̅iÊÀi>̈œ˜Ã…ˆ«ÊLiÌÜii˜Ê ë>ViÊ>˜`Ê̈“iʘœÌˆ˜}Ê̅>ÌÊÌi“«œÀ>ÊÌ>“«iÀˆ˜}ÃÊV…>˜}iʼë>̈>Ê«iÀVi«Ìˆœ˜Ê̅ÀœÕ}…Ê progressively altering the rate of change of the image’.78 Taking Chris Welsby’s time>«ÃiÊw“ÃÊ>ÃÊ>˜ÊiÝ>“«i]ÊiÊÀˆViʜLÃiÀÛiÃÊ̅>Ìʼ܅i˜Ê̈“iÊVœ“«ÀiÃȜ˜ÊÀiÃՏÌÃʈ˜Ê>Ê À>«ˆ`Ê>««>Ài˜ÌʓœÌˆœ˜]Ê̅i˜Ê̅iÊÀ>ÌiʜvÊV…>˜}iʈ˜Ê̅iʈ“>}iÃÊLi}ˆ˜ÃÊ̜ÊۈÈLÞÊ`ivœÀ“Ê the space being recorded’.79Ê Àˆ˜}ˆ˜}Ê`œÜ˜Ê̅iÊÌi“«œÊœ˜ViÊ>}>ˆ˜]Ê*iÌiÀʈ`>]Ê̅iʓ>ÃÌiÀʜvÊϜÜÊw“Ã]Ê>ÃœÊi“LÀ>Vi`Ê`ÕÀ>̈œ˜Ê¼>ÃÊ>ʓ>ÌiÀˆ>Ê«ˆiViʜvÊ̈“i½80 and argued that boredom in the face of interminable durational films was a passport to a higher level of consciousness. This is a sentiment recently echoed by Tacita Dean who confessed: Ê`œÊVœÕÀÌÊLœÀi`œ“]Ê܅>ÌʈÃÊiÕ«…i“ˆÃ̈V>ÞÊV>i`ʏœ˜}ÕiÕÀÊ°°°Ê̅iÀiʈÃÊ>ÊÜÀÌÊ of surrender ... you have to give yourself up to it visually. There isn’t a narräÛiÊ̅Ài>`]Ê̅iʘ>ÀÀ>̈ÛiʈÃÊ̅iʘ>ÀÀ>̈ÛiʜvÊ̅iÊ`>ÞÊ«>ÃȘ}°81 ˜Ê̅ˆÃÊi݈ÃÌi˜Ìˆ>Ê̈“i‡Ã«>ViʈÌʈÃÊ«œÃÈLiÊ̜ÊiÝ«iÀˆi˜ViÊ܅>ÌÊ œÀœÌ…i>ÊÀ>˜VŽÊV>ÃÊ Ì…iʼ`i«Ì…ÊœvÊ̈“iʈ˜ÊVœ˜Ìi“«>̈ÛiÊiÝ«iÀˆi˜ViÊQˆ˜RÊvՏÊ«ÀiÃi˜Vi½° 82 The longueurs

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œvÊ Ài>‡Ìˆ“iÊ w“ÃÊ LÞÊ i>˜]Ê >˜`Ê ˆ`>Ê LivœÀiÊ …iÀ]Ê Ì…iÀivœÀiÊ i˜VœÕÀ>}iÊ ÃÕÃÌ>ˆ˜i`Ê meditation on temporality and also bring the timeframe of the film and that of the viewer into a 1:1 equivalence. This becomes a feature of much moving image instal>̈œ˜Êˆ˜Ê̅iʏ>ÌiÀÊ«>ÀÌʜvÊ̅iÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞÊ>˜`ʈ˜ÌœÊ̅iʘiÜʓˆi˜˜ˆÕ“]ʘœÌ>LÞÊ Douglas Gordon’s 24 Hour Psycho (1995) and Christian Marclay’s The Clock (2010). >ÌiÊœ˜`œV…Ê…>ÃÊ>À}Õi`Ê̅>ÌÊܜÀŽÃÊÃÕV…Ê>ÃÊ̅iÃiÊÃÌ>}iÊ̈“iʈ˜Êë>Vi]Ê>˜`Ê̅iÀiÊ has been no starrier staging than Marclay’s filmic chronometer made up of countless classic movie clips.83 What links them is a direct reference in each to times of `>Þ]ÊÈ}˜>i`ÊLÞÊVœVŽÃ]ÊÜ>ÌV…iÃÊ>˜`Ê>V̜ÀÃÊ`iV>Àˆ˜}ʼ̈“iÊvœÀÊÌi>½]Ê̅iÊi˜Ãi“LiÊ synchronised precisely to real time. No less impressive was Gordon’s reworking of Hitchcock’s PsychoÊ ­£™Èä®]Ê >˜Ê >ÌÌi˜Õ>Ìi`]Ê Ó{‡…œÕÀ]Ê ÕÌÀ>‡ÃœÜÊ “œÌˆœ˜Ê ÛiÀȜ˜Ê œvÊ the film classic. Melissa Gronlund has argued that slow motion solidifies time into >˜Ê œLiVÌÊ œÀÊ >Ê ¼Ìˆ“iÊ «œÀÌÀ>ˆÌ½Ê ̅>ÌÊ ˆ˜Ê ̅iÊ V>ÃiÊ œvÊ 24 Hour PsychoÊ ¼vœÀViÃÊ >ÌÌi˜Ìˆœ˜Ê onto each frame as an image to be beheld rather than a film to be watched’. 84 Paul "½>˜iʅ>ÃÊvœÕ˜`ʈ˜Ê̅iʼ}>Vˆ>Ê̈“i½ÊœvÊϜÜʓœÌˆœ˜Ê̅iÊÃ>“iÊÀiÛi>̈œ˜Êœvʘ>ÌÕÀiÊ Ì…>ÌÊ,ˆV…>À`ܘÊ`ˆÃVœÛiÀi`ʈ˜Ê̈“i‡>«Ãi°Ê¼-œÜʓœÌˆœ˜]½Ê…iÊÜÀˆÌiÃʼ˜œÌʜ˜ÞÊ«ÀiÃi˜ÌÃÊ familiar qualities of movement but reveals in them entirely unknown ones [...] The >VÌʜvÊÀi>V…ˆ˜}ÊvœÀÊ>ʏˆ}…ÌiÀʜÀÊ>Ê뜜˜ÊˆÃÊv>“ˆˆ>ÀÊÀœṎ˜i]ÊÞiÌÊÜiʅ>À`Þʎ˜œÜÊ܅>ÌÊÀially goes on between hand and metal.’85 The conceit of Gordon’s reworking of Psycho Ü>ÃÊ̅>ÌÊ̅iÊϜÜ]ÊvœÀi˜ÃˆVÊ>˜>ÞÈÃʜvʅՓ>˜Ê“œÛi“i˜ÌÊ>˜`ÊLœ`ˆÞÊiÝ«ÀiÃȜ˜ÊÜ>ÃÊ Ãˆ“ՏÌ>˜iœÕÏÞÊ̅iÊ՘Ûiˆˆ˜}ʜvÊVˆ˜i“>̈VÊ>À̈wVi]Ê`ˆÃ“>˜Ìˆ˜}Ê̅iÊ̅ˆ˜Ê`ˆÃ}ՈÃiÃʜvÊ >V̈˜}]ÊVœÃÌՓi]Ê«Àœ«ÃÊ>˜`ÊÃÌÕ`ˆœÊÃVi˜iÀÞ°Ê/…iÊi˜>V̓i˜ÌʜvÊȓ«iÊ}iÃÌÕÀiÃÊÜ>ÃÊ ˜œÜʏˆvÌi`ʈ˜ÌœÊ̅iÊÀi>“ÊœvÊ܅>ÌÊ"½>˜iÊ`ÕLLi`ʼÃÕ«iÀ˜>ÌÕÀ>Ê“œÌˆœ˜Ã½°86 High-speed digital technology has allowed Bill Viola to produce video portraits œvÊ>V̜ÀÃÊi“œÌˆ˜}Ê}Àˆivʈ˜ÊiÝÌÀi“iÊϜÜʓœÌˆœ˜]Ê̅iʈ“>}iÊL>ÀiÞÊLÀi>̅ˆ˜}°Ê˜ÊThe PassionsÊ­Óäääqή]ʅiÊ>V…ˆiÛiÃÊÛiÀÞʅˆ}…ʈ“>}iÊÀi܏Ṏœ˜ÊˆÀœ˜ˆ˜}ʜÕÌÊ̅iÊۈÈLiÊ scan lines that distinguished analogue video and the grain that was such a feature of Psycho½ÃÊϜÜʓœÌˆœ˜]Ê̅iÀiLÞÊÀi˜œÕ˜Vˆ˜}Ê܅>ÌÊ"½>˜iÊV…ÀˆÃÌi˜i`ʼ̅iÊëiVˆ>Ê grace awarded by grainy black-and-white cine film’.87Ê ÕÀˆœÕÏÞ]Ê LÞÊ Ài`ÕVˆ˜}Ê Ì…iÊ moving image to virtual stasis – the progress of the image in The Passions is barely «iÀVi«ÌˆLiÊqÊ̅iÊi“œÌˆœ˜>ÊÌÀ>˜Ã«œÀÌÊ̅>ÌÊ"½>˜iÊ>ÌÌÀˆLÕÌiÃÊ̜ÊϜÜʓœÌˆœ˜ÊˆÃÊ>ÃœÊ iÝ̈˜}ՈÅi`°Ê7ˆÌ…œÕÌÊ̅iÊÃÕ««œÀÌʜvʘ>ÀÀ>̈ÛiÊVœ˜ÌiÝÌ]Ê>ÊÃ̜Àޏˆ˜iÊ̅>Ìʓˆ}…ÌÊ«ÀœÛˆ`iÊ>ÊVÕiÊ̜Ê̅iÊ>V̜ÀýÊ>««>Ài˜ÌÊ`ˆÃÌÀiÃÃ]Ê̅iÊܜÀŽÊÀi“>ˆ˜ÃÊVˆ˜ˆV>ÞʜLiV̈Ûi°88

REPETITIONS, LAYERS AND LOOPS: SCRATCHING AND PAINTING /…iÊÀiiV̈œ˜Êœvʘ>ÀÀ>̈ÛiÊ>˜`ÊVœ˜Ìˆ˜ÕˆÌÞ]ʜvʼœ˜iÊ`>“˜Ê̅ˆ˜}Ê>vÌiÀÊ>˜œÌ…iÀ½89ʈ˜ÊiÝperimental film of the 1960s and 1970s often entailed the use of repetition and

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œœ«Ã]Ê `iۈViÃÊ `iÈ}˜i`Ê ÌœÊ VœÕ˜ÌiÀÊ ˜>ÀÀ>̈ÛiÊ «Àœ}ÀiÃȜ˜Ê >˜`Ê iÝÌi˜`Ê Ìˆ“iÊ ˆ˜`iw˜ˆÌiÞ]Ê܈̅ʜ˜ÞÊ̅iÊ}À>`Õ>ÊiÀœÃˆœ˜ÊœvÊ̅iÊw“ÊVˆÀVՏ>̈˜}Ê̅ÀœÕ}…Ê̅iÊ«ÀœiV̜ÀÊ>ÃÊ >ÊÛiÀˆw>LiÊÀi}ˆÃÌiÀʜvÊV…>˜}i°ÊˆŽiÊÀ>«ˆ`Êi`ˆÌÃÊ>˜`ÊϜÜʓœÌˆœ˜]ÊÀi«ï̈œ˜ÊÀi“>ˆ˜ÃÊ >ÊÃÌ>«iʜvÊiÝ«iÀˆ“i˜Ì>Êw“]Ê>˜`Êȓˆ>ÀÞÊ՘À>ÛiÃÊ̅iÊÃiµÕi˜Ìˆ>Ê“>ÀV…ÊœvÊ̈“iÊÌœÊ which mainstream film is confined. We will return to the repeat edit in our discusȜ˜ÊœvÊۈ`iœÊˆ˜ÊV…>«ÌiÀÊiiÛi˜]ÊLÕÌʅiÀiʈÌÊ will suffice to note the ability of repetition ̜Ê՘wÝÊ}ˆÛi˜Ê“i>˜ˆ˜}]Ê̜ÊÜÀiÃÌÊ̅iÊÈ}˜Ê from its referent and reinvest the image ÜˆÌ…Ê ˜iÜÊ Vœ˜˜œÌ>̈œ˜Ã]Ê LœÌ…Ê i“œÌˆœ˜>Ê >˜`ÊÃi“>˜ÌˆV°Ê,i«ï̈œ˜]Ê܅ˆV…Ê >̅iÀˆ˜iÊ œÜiÀÊ `iÃVÀˆLiÃÊ >ÃÊ >Ê ¼`œÕLiÊ iÝ«œÃÕÀi½]Ê can evoke the circularity of obsessional Li…>ۈœÕÀ]Ê̅iʈ˜iÃV>«>LˆˆÌÞʜvÊÀiVÕÀÀˆ˜}Ê ˜ˆ}…Ì“>ÀiÃÊ>˜`Ê̅iÊ«ˆÌˆiÃÃÊÀi«>ÞʜvÊ>˜Ýˆeties that lead to mental breakdown. 90 In Anticipation of the NightÊ ­£™xn®]Ê -Ì>˜Ê À>Ž…>}iÊ >`œ«ÌÃÊ >Ê Ìˆ}…Ì]Ê V>ÕÃÌÀœ«…œLˆVÊ vÀ>“ˆ˜}]Ê`iv>“ˆˆ>ÀˆÃˆ˜}Ê>ʓœ˜Ì>}iʜvʅˆÃÊ iÛiÀÞ`>ÞÊi˜ÛˆÀœ˜“i˜Ì°Ê
ʅ>˜`…i`]ÊÀiÃÌless camera picks out menacing shadows œvÊ …>˜`Ã]Ê >À“Ã]Ê Ì…iÊ >}ˆÌ>Ìi`Ê …i>`ˆ}…ÌÃÊ œvÊ œ˜Vœ“ˆ˜}Ê ÌÀ>vwV]Ê Ì>˜}i`Ê vœˆ>}i]Ê glimpses of a child. These images briefly wÊ̅iÊÃVÀii˜ÊLÕÌʎii«ÊÀiÌÕÀ˜ˆ˜}]ʏˆŽiÊ̅iÊ Õ˜ÜiVœ“iÊ …>ÕVˆ˜>̈œ˜ÃÊ œvÊ >Ê ¼L>`Ê ÌÀˆ«½]Ê anticipating another dark night of the ÜՏ°Ê
ÃÊ*°Ê
`>“ÃÊ-ˆÌ˜iÞʜLÃiÀÛi`]Ê܅i˜Ê >˜Ê ˆ“>}iÊ ÀiVÕÀÃ]Ê ¼ˆÌÊ }>ˆ˜ÃÊ ˜iÜÊ “i>˜ˆ˜}Ê Ì…ÀœÕ}…Ê ˆÌÃÊ ˜iÜÊ Vœ˜ÌiÝÌÊ >˜`Ê ˆ˜Ê Ài>̈œ˜Ê to the material that has passed during the interval’. 91 In the reiterative poetics of Malcolm Le Grice’s Berlin HorseÊ­£™Çä®]Ê the image sheds layers of its original meaning as it acquires its new symbolic carapace. A short sequence of film depicting a horse circling its trainer on the end Malcolm Le Grice, Berlin Horse (1970), œvÊ>ʏi>`ˆ˜}ÊÀiˆ˜ÊˆÃÊÀi«i>Ìi`]ÊÀiÛiÀÃi`Ê>˜`Ê simulated film strip of 16mm double VœœÕÀˆÃi`]Ê >˜`Ê w˜>ÞÊ ÕÝÌ>«œÃi`Ê ÜˆÌ…Ê projection film. Sound: Brian Eno. >Ê ÃiVœ˜`Ê w“Ê Vˆ«]Ê Ì…ˆÃÊ Ìˆ“iÊ >Ê Ãˆ“ˆ>ÀÞÊ Courtesy of the artist.

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ÀiܜÀŽi`ÊvÀ>}“i˜ÌʜvÊi>ÀÞʘiÜÃÀiiÊœvʅœÀÃiÃÊLiˆ˜}ʅÕÀÀˆi`ʜÕÌʜvÊ>ÊLÕÀ˜ˆ˜}ÊL>À˜]Ê to escape the conflagration. The hypnotic repetition of the images with subtle vari䜘Ãʈ˜ÊۈÃÕ>ÊÌÀi>̓i˜Ìʜ˜Êi>V…ʈÌiÀ>̈œ˜]Ê>˜`Ê̅iÊ>VVœ“«>˜Þˆ˜}ÊÌÀ>˜Vi‡ˆ˜`ÕVˆ˜}Ê ÃœÕ˜`ÌÀ>VŽÊLÞÊ Àˆ>˜Ê ˜œ]ÊiÀœ`iÊ>˜`ÊňvÌÊ̅iʓi>˜ˆ˜}Ê>VVœÀ`ˆ˜}Ê̜Ê̅iÊۈiÜiÀ½ÃÊœÜ˜Ê associative proclivities. My own reading of the film gradually transmigrated from an >««ÀiVˆ>̈œ˜ÊœvÊ̅iʓ>}˜ˆwVi˜ViʜvÊ̅iÊ>˜ˆ“>Ê̜Êviiˆ˜}]Êܓi܅iÀiʈ˜Ê“ÞÊLœ˜iÃ]Ê Ì…iÊ Ìi˜Ãˆœ˜Ê LiÌÜii˜Ê ˆÌÊ >˜`Ê Ì…iÊ Õ˜Ãii˜Ê ÌÀ>ˆ˜iÀ]Ê Ì…iÊ viLÀˆiÊ ˆ˜iÊVœ˜˜iV̈˜}Ê̅i“Ê>Ê ÃޓLœÊœvÊ̅iʅœÀÃi½ÃÊV>«ÌˆÛˆÌÞ]ʜ˜iÊ̅>ÌÊÜ>ÃÊ}ÀœÕ˜`ʈ˜ÌœÊ̅iÊÀi«ï̈ÛiÊÃÌÀÕVÌÕÀiÊ œvÊ̅iÊw“°ÊiÊÀˆViʅˆ“ÃivÊÀi}>À`ÃÊ̅iÊw“Ê>ÃÊ>˜ÊiÝ«œÀ>̈œ˜ÊœvÊ̅iÊ«>À>`œÝˆV>ÊÀi>̈œ˜Ã…ˆ«ÊLiÌÜii˜Ê¼Ì…iʺÀi>»Ê̈“i]Ê܅ˆV…Êi݈ÃÌÃÊ܅i˜Ê̅iÊw“ÊÜ>ÃÊLiˆ˜}ÊŜ̽Ê>˜`Ê ¼Ì…iʺÀi>»Ê̈“i]Ê܅ˆV…Êi݈ÃÌÃÊ܅i˜Ê̅iÊw“ʈÃÊLiˆ˜}ÊÃVÀii˜i`½° 92 Where filmmakers ˆŽiʈ`>Ê>˜`Ê7>À…œÊi“«œÞi`ʼÀi>Ê̈“i½Ê̜ÊVÀi>ÌiÊ>Ê£\£ÊiµÕˆÛ>i˜ViÊLiÌÜii˜Ê̅iÊ ÌܜÊÌi“«œÀ>ˆÌˆiÃ]ÊiÊÀˆViÊ܈̅ʅˆÃʓiÓiÀˆVʏœœ«ÃÊ>˜`ÊÀi«ï̈œ˜ÃÊ`i“œ˜ÃÌÀ>Ìi`Ê …œÜÊ Ì…>ÌÊ iµÕ>̈œ˜Ê ¼V>˜Ê LiÊ “œ`Տ>Ìi`Ê LÞÊ ÌiV…˜ˆV>Ê “>˜ˆ«Õ>̈œ˜Ê œvÊ Ì…iÊ ˆ“>}i½° 93 >ˆ˜ÃÌÀi>“Ê w“Ê >V…ˆiÛiÃÊ Ìi“«œÀ>Ê i>Ã̈VˆÌÞÊ LÞÊ Vœ“«ÀiÃȘ}Ê Ìˆ“iÊ qÊ ¼wÛiÊ Þi>ÀÃÊ later’ – and through the digressional time travel of flashbacks as well as the simulÌ>˜iˆÌÞʜvÊ«>À>iÊi`ˆÌˆ˜}Êqʼ“i>˜Ü…ˆi]ÊL>VŽÊ>ÌÊ̅iÊÀ>˜V…½°ÊœÜiÛiÀ]ʘœ˜iʜvÊ̅iÃiÊ Vœ˜ÌÀˆÛ>˜ViÃÊLÀi>ŽÃÊ̅iʈÕȜ˜ÊœvÊVœ˜Ìˆ˜ÕˆÌÞ]Ê܅>ÌÊiÊÀˆViÊV>ÃÊ>ʼVœ˜ÃiµÕi˜Ìˆ>Ê temporality’.94Ê1Ìˆ“>ÌiÞ]Ê̅iÞÊ`œÊˆÌ̏iÊ̜ÊVœ“«Àœ“ˆÃiÊ̅iʏˆ˜i>ÀÊ՘vœ`ˆ˜}ʜvÊiÛi˜ÌÃÊ œ˜ÃVÀii˜]Ê >Ê Vœ˜ÃÌÀÕVÌÊ Ì…>ÌÊ “ˆÀÀœÀÃÊ Ì…iÊ Ã«iVÌ>̜À½ÃÊ œÜ˜Ê Vœ˜Vi«ÌÕ>ˆÃ>̈œ˜Ê œvÊ …œÜÊ Ìˆ“i]ʓi>ÃÕÀi`ʜÕÌ]ÊÀi}Տ>ÌiÃÊ>˜`Ê}ˆÛiÃʓi>˜ˆ˜}Ê̜ʅiÀÊ«Àœ}ÀiÃȜ˜Ê̅ÀœÕ}…ʏˆvi°Ê Berlin Horseʓ>ŽiÃʈÌÊ`ˆvwVՏÌÊ̜ÊiÃÌ>LˆÃ…Ê̅>ÌÊÌi“«œÀ>ÊiµÕˆÛ>i˜Vi]ÊLiV>ÕÃiʜvÊ̅iÊ >VŽÊœvÊ`ˆÃ̈˜V̈Ûi]ʏœ}ˆV>]ÊvœÀÜ>À`ʓœ“i˜ÌՓʈ˜Ê̅iÊw“]ÊLiV>ÕÃiʜvʈÌÃÊ՘Vœ“«Àœ“ˆÃˆ˜}]ÊÛiÀ̈}ˆ˜œÕÃÊVˆÀVՏ>ÀˆÌÞ°Ê In the middle of Berlin Horse there is a transitional section in which the equine ÃiµÕi˜ViÃ]ÊvœÀÊ>Ê̈“i]Ê>ÌiÀ˜>ÌiÊ>˜`Ê̅i˜Ê>ÀiÊÃÕ«iÀˆ“«œÃi`]ʜ˜iʈ“>}iÊÃ܈““ˆ˜}Ê ˆ˜ÌœÊ̅iʜ̅iÀ°Ê-Õ«iÀˆ“«œÃˆÌˆœ˜]Ê̅iʏ>ÞiÀˆ˜}ʜvÊ̅iʈ“>}i]ÊÜ>ÃÊ>Ê܈`iëÀi>`Ê«À>V̈ViÊ ˆ˜Ê iÝ«iÀˆ“i˜Ì>Ê w“Ê œvÊ Ì…iÊ £™ÈäÃÊ >˜`Ê £™ÇäÃ°Ê ˜Ê Ming GreenÊ ­£™ÈÈ®]Ê Ài}œÀÞÊ >ÀŽœ«œœÕÃÊLՈÌÊÕ«Ê«ˆV̜Àˆ>Ê>ÞiÀÃÊÕȘ}Ê`œÕLiÊ>˜`ÊÌÀˆ«iÊiÝ«œÃÕÀiÃ]ÊÜÊ̅>Ìʈ“>}iÃʜvÊiۜV>̈Ûiʈ˜ÌiÀˆœÀÃÊÀi«i>Ìi`ÞÊ`ÀœÜ˜Êˆ˜Ê>ÊۜÀÌiÝʜvÊVœ“«iÝÊ«>ÌÌiÀ˜ˆ˜}]Ê܅>ÌÊ >ۈ`Ê ÕÀ̈ÃÊ`iw˜i`Ê>ÃÊ̅iÊۈÃÕ>ÊiµÕˆÛ>i˜Ìʜvʼ>ÊÀˆVœV…iÌʜvʈ`i>ý]95 only to resurface into brief legibility before once again being overwhelmed by new strata of visual information.
ÃÊÜiÊÃ>Üʈ˜ÊœÕÀÊ`ˆÃVÕÃȜ˜ÊœvÊ>LÃÌÀ>VÌÊw“]ÊܓiÊ«À>V̈̈œ˜iÀÃÊVÀi>Ìi`Ê̅iÃiÊ Vˆ˜i“>̈VÊ«>ˆ“«ÃiÃÌÃÊLÞÊÃVÀ>ÌV…ˆ˜}Ê>˜`Ê«>ˆ˜Ìˆ˜}Ê`ˆÀiV̏Þʜ˜ÌœÊ ViÕœˆ`]Ê̅iÊ«ÀœViÃÃʜvʼ…>˜`“>`iÊw“ýÊLiˆ˜}ÊÃÌÀÕVÌÕÀi`Ê>ÀœÕ˜`Ê>ÊVœ˜vi`iÀ>VÞʜvÊ«Ài`iÌiÀ“ˆ˜>̈œ˜Ê >˜`ÊV…>˜Vi°Ê˜Ê̅ˆÃÊÜ>Þ]ʈÌÊÜ>ÃÊ«œÃÈLiÊ̜ÊvœÀi}ÀœÕ˜`Ê̅iÊÃÕÀv>ViÊ>˜`ʓ>ÌiÀˆ>ˆÌÞÊ œvÊ̅iÊw“ÃÌÀˆ«]ʼ̅iÊwi`ʜvÊ}À>ˆ˜Ê̅>ÌÊLi>ÀÃÊ̅iʈ“>}i½°96Ê1Ìˆ“>ÌiÞ]ʈÌʈÃÊ̅iʈ˜ÌiÀaction of surface and depth established in painting that determines the formalist >««Àœ>V…Ê ˆ˜Ê w“]Ê œ˜iÊ Ì…>ÌÊ À>…>“iÊ 7iˆ˜LÀi˜Ê V…>À>VÌiÀˆÃiÃÊ >ÃÊ ¼i“«…>È∘}Ê Ì…iÊ

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interface between a physical screen and a non-material depiction’. 97 At the same ̈“i]Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ*>ÌÊ"½ iˆÊˆ˜Ê̅iÊ1-
Ê>˜`ÊivvÊii˜Êˆ˜Ê̅iÊ1Êȓ«ÞÊÀiÛii`ʈ˜Ê ̅iʅˆ}…ÞÊ`iVœÀ>̈Ûiʎ˜œÌÃʜvÊۈÃÕ>Êˆ˜Vˆ`i˜ÌÊ̅iÞÊVœÕ`ʘœÜÊ}i˜iÀ>Ìi]ÊVœ“Lˆ˜ˆ˜}Ê macerated found footage with sequences they shot themselves as well as graphic interventions to the surface of the film. Direct filmmaking created abstract pictorial Vœ˜`i˜Ã>̈œ˜ÃÊ̅>Ì]Ê>À}Õi`ÊiÊÀˆVi]ʼܜÀŽÊˆ˜ÊQ̅iˆÀRʜܘÊ̈“i½°98 They seem to rise իʜÕÌʜvÊ̅iÊÌi“«œÀ>ÊyœÜʜvÊ̅iÊw“ʈ˜ÌœÊ>ÊÃÌ>ÌiʜvÊÃÕëi˜`i`Ê>˜ˆ“>̈œ˜]ʜÀÊÃÌ>ÈÃ]Ê analogous to the condition of abstract painting. It is in these heady concentrations of levitating signs that we become aware of the distinction between the Greek concepts of kairosÊ̅>ÌÊ`iw˜iÃʅœÜÊ̈“iÊviiÃ]Ê and chronos]ÊV…Àœ˜œœ}ˆV>Ê̈“iÊ̅>ÌÊȓ«Þʓ>ÀŽÃÊ̅iÊ`ÕÀ>̈œ˜ÊœvÊiÛi˜ÌðÊ/…ˆÃʏi>`ÃÊ ÕÃʈ˜ÌœÊ̅iÊVœ“«ï݈iÃʜvʈiÃÊ iiÕâi½ÃÊ̅iœÀˆiÃÊ>LœÕÌÊ̈“i°Ê
Ì…œÕ}…Ê…iʓ>ŽiÃÊ ˜œÊÀiviÀi˜ViÊ̜ÊiÝ«iÀˆ“i˜Ì>Êw“ÊœÀÊۈ`iœÊˆ˜Ê…ˆÃÊ}Ài>ÌÊÌÀ>VÌÊCinema 2: The Time-Image ­£™nx®]ʅˆÃʘœÌˆœ˜Êœvʘœ˜‡V…Àœ˜œœ}ˆV>Ê̈“iʅ>ÃÊLii˜Ê܈`iÞÊ>««ˆi`Ê̜Ê>À̈ÃÌýʓœÛˆ˜}ʈ“>}i°Ê iiÕâiÊ`À>ÜÃʜ˜Ê̅iÊ«…ˆœÃœ«…ÞʜvÊi˜ÀˆÊ iÀ}ܘ]Ê܅œÊ>À}Õi`Ê̅>ÌʜÕÀÊ «iÀVi«Ìˆœ˜ÊœvÊ̈“iÊV>˜˜œÌÊLiÊÀi`ÕVi`Ê̜Ê̅iÊvœÀÜ>À`ʓ>ÀV…ÊœvÊ՘ˆÌˆÃi`]ÊVœ˜ÃiVṎÛi]Ê …œÀœœ}ˆV>Ê̈“i]Ê܅i˜ÊœÕÀÊiÝ«iÀˆi˜ViʜvÊ̈“iʈÃÊÃÌÀiÌV…i`Ê>˜`ÊVœ“«ÀiÃÃi`Ê>VVœÀ`ing to circumstances – from the endlessness of a reverie to moments of crisis when iÛi˜ÌÃÊÃii“Ê̜Êy>ÅÊLÞʈ˜Ê>˜Êˆ˜ÃÌ>˜Ì°Ê/…iÊÀi>̈œ˜Ã…ˆ«ÊLiÌÜii˜Ê«>ÃÌ]Ê«ÀiÃi˜ÌÊ>˜`Ê future is equally difficult to define when the past pulls a veil of memories over the «ÀiÃi˜ÌÊ>˜`Ê«ÀœiV̈œ˜Ãʈ˜ÌœÊ̅iÊvÕÌÕÀiÊȓˆ>ÀÞÊ«iÀ“i>ÌiʜÕÀÊiÝ«iÀˆi˜ViʜvÊ̅iʼ>VÌÕ>½]Ê̅iʅiÀiÊ>˜`ʘœÜ°Ê
VVœÀ`ˆ˜}ÊÌœÊ iiÕâi]ʘœ˜‡V…Àœ˜œœ}ˆV>Ê̈“iʈÃÊ̅iÀivœÀiʼ>ÌÊ once a past and always to come’.99 More relevant to our purposes is Deleuze’s notion œvʼ̈“iʈ“>}iýʈ˜Ê܅ˆV…Ê̅iʏˆ˜i>ÀÊ«Àœ«ÕÃˆœ˜Êœvʘ>ÀÀ>̈ÛiʅiÈÌ>ÌiÃÊLivœÀiÊ>˜Ê>“biguous pictorial phenomenon – a figure halted by a reverie whose origin remains ՘iÝ«>ˆ˜i`]Ê>˜Ê>V̈œ˜Ê̅>ÌÊVœ˜ÌÀ>`ˆVÌÃÊ܅>Ìʅ>ÃÊ}œ˜iÊLivœÀi°Ê œ}˜ˆÌˆÛiÊ`ˆÃܘ>˜Vi]Ê Ì…iʈ˜>LˆˆÌÞÊ̜ÊVœ…iÀiʓi>˜ˆ˜}Ê܈̅ˆ˜Ê>ʏœ}ˆV>]Ê«Ài‡i݈Ã̈˜}ÊvÀ>“iܜÀŽ]ʈ˜Ã̈}>ÌiÃÊ protracted forays into memories of scenarios and images past that might elucidate ܅>ÌʈÃÊ«ÀiÃi˜Ìi`ʘœÜÊ̜Ê̅iÊiÞi]ÊÀiÃՏ̈˜}ʈ˜Ê>ÊÃÜiˆ˜}ʜvÊ̅iÊiÝ«iÀˆi˜ViʜvÊ̅iÊ «ÀiÃi˜ÌÊ LÞÊ Ì…iÊ «>ÃÌ°Ê >Þ>Ê iÀi˜½ÃÊ i>ÀˆiÀÊ vœÀ“Տ>̈œ˜Ê œvÊ ¼ÛiÀ̈V>Ê ˆ˜ÛiÃ̈}>̈œ˜½Ê ˆÃÊ ÀiiÛ>˜ÌʅiÀi]Ê>ÊVœ˜Vi«ÌÊÅiÊ`iÛiœ«i`ʈ˜Ê̅iÊ£™{äðÊ/…iÊw““>ŽiÀÊÃ>ÜÊ̅iÊvœÀÜ>À`Ê “>ÀV…ÊœvÊ>ʘ>ÀÀ>̈ÛiÊ>ÃÊ>ʼ…œÀˆâœ˜Ì>½ÊÌi“«œÀ>ˆÌÞÊL>Ãi`ʜ˜Ê¼Ì…iʏœ}ˆVʜvÊ>V̈œ˜Ã½°100 In Vœ˜ÌÀ>ÃÌ]ʜ˜Ê>ʼÛiÀ̈V>½Ê>݈Ã]ÊV>˜ÊLiÊvœÕ˜`ʓœ“i˜ÌÃʈ˜Êw“Ê̅>ÌÊ>ÀiʼVœ˜ViÀ˜i`ÊÜˆÌ…Ê µÕ>ˆÌÞÊ>˜`Ê`i«Ì…½°Ê/…iÃiÊ>Àiʼ…i`Ê̜}i̅iÀÊLÞÊ>˜Êi“œÌˆœ˜ÊœÀÊ>ʓi>˜ˆ˜}Ê̅>ÌÊ̅iÞÊ …>Ûiʈ˜ÊVœ““œ˜½°Ê-ÕV…ʈ˜Ìi˜ÃˆÌˆiÃ]Ê iÀi˜ÊVœ˜Ìi˜`Ã]Ê>ÀiÊ>˜>œ}œÕÃÊ̜ʼ̅iÊÃÌÀÕVÌÕÀiÊ œvÊ«œiÌÀÞ½]Ê>˜Ê>ÀÌÊ̅>ÌÊÅ>ÀiÃÊ>ʘœ˜‡ˆ˜i>ÀÊ`ޘ>“ˆVÊ̅>Ì]ÊvœœÜˆ˜}Ê iÀi˜]Ê >̅iÀˆ˜iÊ œÜiÀÊ>ÌÌÀˆLÕÌiÃÊ̜Ê̅iʼÛiÀ̈V>½ÊiÝ«>˜Ãˆœ˜Êœvʓi>˜ˆ˜}ʈ˜Êw“°Ê˜Ê“œ“i˜ÌÃÊ̅>ÌÊ}ˆÛiÊ ÕÃÊ«>ÕÃi]Ê̅iÀiʈÃʈ˜Ã̈ÌÕÌi`Ê>ÊÌi“«œÀ>ˆÌÞÊ̅>Ìʼ`œiÃʘœÌʓœÛiʜ˜ÊLÕÌʓœÛiÃÊL>VŽÊ >˜`Ê>ÀœÕ˜`½ÊˆÌÃÊÃÕLiVÌ°101Ê6iÀ̈V>Ê“i>˜ˆ˜}ÃÊ̅ÕÃÊi݈ÃÌʈ˜Ê¼>Ê̈“iʜvʓi>˜Ü…ˆi½Ê>˜`Ê >ÎÊÕÃÊ̜ÊÃÌ>ÞÊ܈̅Ê>˜`ʼ̅ˆ˜ŽÊ>ÀœÕ˜`½Ê>˜ÊiÛi˜Ì° 102 When the image on the screen

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INSTALLATION AND THE MOVING IMAGE

ˆÃʜvÊ>˜œÌ…iÀʅՓ>˜ÊLiˆ˜}]ʼÃÌ>ވ˜}Ê܈̅½Ê̅iÊÃÕLiVÌÊLiVœ“iÃÊVÀˆÌˆV>Ê̜Ê̅iÊ`i«Ì…Ê œvÊ i˜}>}i“i˜ÌÊ Ì…>ÌÊ V>˜Ê LiÊ >V…ˆiÛi`°Ê ¼7iÊ ˆ˜ˆÌˆ>ÞÊ «iÀViˆÛiÊ ˆ˜`ˆÛˆ`Õ>ÃÊ>ÃʜLiVÌÃ½Ê œLÃiÀÛi`Ê̅iÊ>À̈ÃÌÊ"ˆÛˆiÀÊ >À`ˆ˜]ʼÜiÊ°°°Ê˜ii`Ê̈“iÊ̜ÊÀiVœ}˜ˆÃiÊ̅i“Ê>ÃÊÃÕLiVÌý°103 /…iÊÃÕÃÌ>ˆ˜i`ʼ-VÀii˜Ê/iÃ̽Êw“Ê«œÀÌÀ>ˆÌÃÊLÞÊ7>À…œÊˆ˜Ê̅iÊ£™ÈäÃ]ʜÀÊ Ài`>Ê iL>˜Ê>˜`Ê ÀۜiÊœÀÛ>̈V½ÃÊGeographyʈ˜Ê£™n™]ʜvviÀÊÕÃÊ̅iʜ««œÀÌ՘ˆÌÞÊ̜ʼÃÌ>ÞÊ܈̅½Ê>˜œÌ…iÀÊ «iÀܘ]Ê̜ÊÀi}ˆÃÌiÀÊ̅iʏˆ˜i>“i˜ÌÃʜvÊ>Êv>Vi]Ê>˜`]ʜÛiÀÊ̈“i]Ê̜ÊV>ÌV…Ê̅iÊyiï˜}ÊiÝpressions that play across human features as the interior life momentarily breaks the surface. /…iÊÌi“«œÀ>Êˆ˜ÛiÃ̈}>̈œ˜ÃÊLÞÊiÝ«iÀˆ“i˜Ì>Ê¼w“Ê>ÃÊw“½Ê>À̈ÃÌÃ]Ê̅iˆÀÊiÝ«>˜Ãˆœ˜]Ê Vœ˜ÌÀ>V̈œ˜Ê>˜`ʏœœ«ˆ˜}ʜvÊ̈“i]ʅ>ÃÊLii˜Ê>««ˆi`Ê̜ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ã]Ê«>À̈VՏ>ÀÞÊ̅œÃiÊwi`ˆ˜}ÊÃiÛiÀ>ÊÃVÀii˜Ã°ÊiÀi]Ê̅iÊ>À̈ÃÌʅ>ˆÃÊ̅iÊ«>ÃȘ}ÊۈiÜiÀÊÜˆÌ…Ê >ÊÃÕVViÃȜ˜ÊœvÊ iÀi˜½Ãʓœ“i˜ÌÃʜvÊÛiÀ̈V>ˆÌÞ]Ê܈̅Ê>ÊÃiÀˆiÃʜvÊi˜vÀ>“i`ÊVˆ˜i“>̈VÊ events that invite the viewer to step out of literal space and chronological time and iÝ«iÀˆi˜ViÊ̅iʈ“>}ˆ˜>̈ÛiÊ>“«ˆwV>̈œ˜Ê­œÀÊVœ˜ÌÀ>V̈œ˜®ÊœvÊLœÌ…Ê`ˆ“i˜Ãˆœ˜Ã°Ê

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Michael O’Pray (ed.) (1996) The British Avant-Garde Film, 1926 to 1995. London: Arts Council œvÊ ˜}>˜`Éœ…˜ÊˆLLiÞÊi`ˆ>]Ê«°ÊÓ° Lˆ`°Ê˜ÊëˆÌiʜvʅˆÃÊi˜`œÀÃi“i˜ÌʜvÊ̅iÊÌiÀ“ʼ՘`iÀ}ÀœÕ˜`Êw“½]Ê"½*À>Þʅˆ“ÃivÊÃiÌ̏iÃÊvœÀÊ ¼>Û>˜Ì‡}>À`i½ÊvœÀÊ̅iÊ̈̏iʜvʅˆÃÊLœœŽ° For instance Screen]ÊMillennium Film Journal]ÊFilm Forum and October.
°Ê°Ê,iiÃÊ­Q£™™™RÊÓ䣣]ÊӘ`Êi`˜®ÊA History of Experimental Film and Video. London: British ˆ“ʘÃ̈ÌÕÌiÉ*>}À>ÛiÊ>V“ˆ>˜]Ê«°ÊǙ° Virginia Woolf (1926) The Cinema. Available online: …ÌÌ«\ÉÉ`ˆ`i°ÃVÀˆ«Ì°Õ˜ˆÛ‡«>ÀˆÃ‡`ˆ`iÀœÌ°vÀÉ V>Àœˆ˜iÉL>VŽi˜`ÃÉ`œÜ˜œ>`°«…«¶ÕÀrä“+£™8LәÃ6v9ӏÕÞÊ­i`°®ÊThe British Avant-Garde Film, 1926 to 1995°Ê œ˜`œ˜\Ê
ÀÌÃÊ œÕ˜VˆÊ œvÊ ˜}>˜`Éœ…˜Ê ˆLLiÞÊ i`ˆ>]Ê pp. 133–44. See Michael O’Pray (ed.) (1996) op. cit.; A. L. Rees (2011) op. cit.; David Curtis (2007) A History of Artists’ Film and Video in Britain. London: British Film Institute; and Malcolm Le Grice (1977) Abstract Film and Beyond. London: Studio Vista. /œ“Ê ՘˜ˆ˜}Ê ­£™™{®Ê ¼
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Ã̜˜ˆÃ…“i˜Ì\Ê >ÀÞÊ ˆ“Ê >˜`Ê Ì…iÊ ­˜® Ài`ՏœÕÃÊ -«iVÌ>̜À½]ʈ˜Êˆ˜`>Ê7ˆˆ>“ÃÊ­i`°®ÊViewing Positions: Ways of Seeing Film°Ê iÜÊ À՘Ã܈VŽ]Ê \Ê,ÕÌ}iÀÃÊ1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°Ê££Ç° ,œÃÃÊ ÀœÜ˜Êëi>Žˆ˜}Ê>ÌÊ̅iÊœ˜`œ˜Ê œi}iʜvÊ œ““Õ˜ˆV>̈œ˜]ÊÓÎÊ>ÀV…ÊÓ䣣°Ê/…iÊ>V̜ÀÊ œÃÊ6>˜ÌޏiÀʈ˜Ê̅iʏi>`ÊÀœiÊ>ÃÊ,œLˆ˜Êœœ`Ê>ÌÊ̅iÊ"ÝvœÀ`Ê*>ޅœÕÃiʈ˜ÊÓä£ÎÊÀiÛi>i`Ê̅>ÌÊ

FILM AS FILM

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`ÕÀˆ˜}Ê̅iÊ«iÀvœÀ“>˜Vi]ʅiʅ>`ʏˆÌ̏iÊÃi˜ÃiʜvÊ܅>ÌÊÜ>ÃÊ}œˆ˜}ʜ˜Êˆ˜Ê̅iÊ>Õ`ˆÌœÀˆÕ“Ê>˜`ÊÜ>ÃÊ informed about the different levels of audience reactions via an earpiece. See Christian Metz ([1967] 1974) Film, Language: A Semiotics of the Cinema]ÊÌÀ>˜Ã°ÊˆV…>iÊ />ޏœÀ°Ê iÜÊ9œÀŽ\Ê"ÝvœÀ`Ê1˜ˆÛiÀÈÌÞÊ*ÀiÃð -iiʈՏˆ>˜>Ê À՘œÊ­QÓääÓRÊÓääÇ]ÊӘ`Êi`˜®ÊAtlas of Emotion. London: Verso. See Mieke Bal (2013) The Politics of Video Art Installation According to Eija-Liisa Ahtila. London: Bloomsbury Academic. I will discuss the work of Tim Smith and other cognitive scientists who study film spectatorship in the concluding chapter. See Christian Metz (1982) The Imaginary Signifier: Psychoanalysis and the Cinema]ÊÌÀ>˜Ã°Ê

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˜˜ÜޏÊ7ˆˆ>“Ã]Ê i˜Ê ÀiÜÃÌiÀÊ>˜`Ê
vÀi`ÊÕââiÌ̈°Ê œœ“ˆ˜}̜˜]Ê \ʘ`ˆ>˜>Ê University Press. Stephen Heath (1981) Narrative Space. Available online: …ÌÌ«\ÉÉÃVÀii˜°œÝvœÀ`œÕÀ˜>Ã°œÀ}É Vœ˜Ìi˜ÌÉ£ÇÉÎÉÈn°iÝÌÀ>Vt (accessed 19 December 2013). /ˆ“Ê "½,ˆiÞÊ ­Óääx®Ê ¼,i«ÀiÃi˜Ìˆ˜}Ê ÕȜ˜Ã\Ê -«>Vi]Ê >ÀÀ>̈ÛiÊ >˜`Ê Ì…iÊ -«iVÌ>̜À½]Ê ˆ˜Ê >ÌÞÊ Macloed and Lin Holdridge (eds) Thinking Through Art: Reflections on Art as Research. œ˜`œ˜\Ê,œÕ̏i`}i]Ê«°ÊÇÓ° Luke Gibbons (1996) Transformations in Irish Culture°Ê œÀŽ\Ê œÀŽÊ1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°Ê݈ˆ° ->ۜÊ=ˆãiŽÊˆ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅ÊՏˆ>˜Ê
ÃÃ>˜}i]ÊÓÊՏÞÊÓ䣣]Ê/ÀœÝÞÊ/…i>ÌÀi]Êœ˜`œ˜°Ê A survey of the impact of social media and the Internet on art practice is beyond the scope of ̅ˆÃÊLœœŽ°Ê-iiÊ"“>ÀÊ…œiˆvÊ­i`°®Ê­Óä£{®ÊArt After the Internet. Manchester: Cornerhouse. Malcolm Le Grice speaking at Expanded Cinema, the Live Record]ÊÈÊ iVi“LiÀÊÓään]Ê Ê -œÕ̅L>˜Ž]Êœ˜`œ˜° >VµÕiÃÊ >V>˜Ê ­Q£™ÎÈRÊ £™ÇÇ®Ê ¼/…iÊ ˆÀÀœÀÊ -Ì>}iÊ >ÃÊ vœÀ“>̈ÛiÊ œvÊ Ì…iÊ v՘V̈œ˜Ê œvÊ Ì…iÊ ½]Ê ˆ˜Ê Ecrits: A Selection]ÊÌÀ>˜Ã°Ê
>˜Ê-…iÀˆ`>˜°Êœ˜`œ˜\Ê/>ۈÃ̜VŽ]Ê««°£qÇ° 6ˆÀ}ˆ˜ˆ>Ê7œœvÊ­£™ÓÈ®]ʜ«°ÊVˆÌ° Leo Tolstoy ([1849] 2009) Anna Karenin]ÊÌÀ>˜Ã°Ê,œÃi“>ÀÞÊ `“œ˜`ðÊœ˜`œ˜\Ê*i˜}Ո˜]Ê«°Ê 490. Lˆ`°]Ê«°Ê{™£° Laura Mulvey (1975) Visual Pleasure and Narrative Cinema. First published in Screen ­£™Çx®]Ê £È\ΰÊ
Û>ˆ>LiÊ œ˜ˆ˜i\Ê …ÌÌ«\ÉɈ“«œÀÌvœˆœ°ÕÃV°i`ÕÉVÌVÃxäxɓՏÛiÞ6ˆÃÕ>*i>ÃÕreNarrativeCinema.pdf (accessed 15 December 2013). -iiÊ >ÕÀ>Ê ՏÛiÞÊ ­£™n£®Ê ¼
vÌiÀ̅œÕ}…ÌÃÊ œ˜Ê º6ˆÃÕ>Ê *i>ÃÕÀiÊ >˜`Ê >ÀÀ>̈ÛiÊ ˆ˜i“>»Ê ˜Ã«ˆÀi`Ê LÞÊ ˆ˜}Ê 6ˆ`œÀ½ÃÊ Duel in the SunÊ ­£™{È®½]Ê Framework]Ê £x]Ê £È]Ê £Ç]Ê ««°Ê £Óq£xÆÊ ÃiiÊ >ÃœÊ>ÕÀ>ÊՏÛiÞÊ­£™™È®Ê¼ˆ“]Êi“ˆ˜ˆÃ“Ê>˜`Ê̅iÊ
Û>˜Ì‡>À`i½]ʈ˜ÊˆV…>iÊ"½*À>ÞÊ­i`°®ÊThe British Avant-Garde Film, 1926 to 1995°Êœ˜`œ˜\Ê
ÀÌÃÊ œÕ˜VˆÊœvÊ ˜}>˜`Éœ…˜ÊˆLLiÞÊi`ˆ>]Ê 199–216. >ÀL>À>ÊœiÌÌʵ՜Ìi`ʈ˜Ê-ÌiÛi˜Ê
`>“ÃÊ­Óään®Ê¼ˆÀÃʍÕÃÌÊÜ>˜ÌÊ̜Ê܈˜Ê/…iÊ8Ê>V̜ÀʜÀʓ>ÀÀÞÊ >ÊvœœÌL>iÀ]ÊÃ>ÞÃʓˆ˜ˆÃÌiÀ½]ÊDaily Telegraph]Ê£{Ê"V̜LiÀ°Ê"˜Ê̅iÊ >ÀLˆi‡wV>̈œ˜ÊœvÊVՏÌÕÀiÊ Ìœ`>Þ]Ê ÃiiÊ >Ì>Å>Ê 7>ÌiÀÊ ­Óä£ä®Ê Living Dolls: The Return to Sexism°Ê œ˜`œ˜\Ê 6ˆÀ>}œ]Ê pp. 199–216.. >Ì>Å>Ê7>ÌiÀÊ­Óä£ä®]ʈLˆ`°]Ê«°Ê££ÆÊÃiiÊ>ÃœÊ œÀ`iˆ>ʈ˜iÊ­Óä£ä®ÊDelusions of Gender: The Real Science Behind Sex Differences°Êœ˜`œ˜\ÊVœ˜°Êˆ˜iÊiÝ>“ˆ˜iÃÊ̅iÊÀiVi˜ÌÊ>ÌÌi“«ÌÃʜvÊ ˜iÕÀœÃVˆi˜ÌˆÃÌÃÊ̜ÊiÝ«>ˆ˜Ê̅iÊ`ˆvviÀi˜ViÃÊLiÌÜii˜Ê“>iÊ>˜`Êvi“>iÊLi…>ۈœÕÀʈ˜ÊÌiÀ“ÃʜvÊ

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divergences in brain structure. ¼Àœ“Ê>˜Êi>ÀÞÊ>}i]Ê̅iÊ}ˆÀÃÊÃÕÀÛiÞi`ʅ>`ʅi`ÊVœ˜Ûi˜Ìˆœ˜>ÞÊÃÌiÀiœÌÞ«ˆV>ÊۈiÜÃÊ>LœÕÌÊ œLÃÊvœÀʓi˜Ê>˜`Ê Üœ“i˜°Ê /…iÞÊ ÀiÌ>ˆ˜i`Ê Ì…œÃiÊ ÛˆiÜÃÊ Ì…ÀœÕ}…œÕÌÊ Ì…iˆÀÊ ÃV…œœˆ˜}Ê `iëˆÌiÊ being taught about equality of opportunity and knowing their rights to access any kind of future career.’ Ofsted report (2011) Girls’ career aspirations]Ê«°Êx°Ê
Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉ ÜÜÜ°`ÌV°œÀ}°>ÕÉ œVՓi˜ÌÃÉÓÎÈ°«`f (accessed 17 November 2013). See Angela McRobbie (2009) The Aftermath of Feminism. London: Sage. I am grateful to Catherine Long for drawing my attention to McRobbie’s writing. C. S. Peirce (1902) Three Trichotomies of Signs. Available online: …ÌÌ«\ÉÉÜÜÜ°“>À݈ÃÌðœÀ}É ÀiviÀi˜ViÉÃÕLiVÌÉ«…ˆœÃœ«…ÞÉܜÀŽÃÉÕÃÉ«iˆÀViÓ°…Ìm (accessed 20 December 2013). Ibid. >˜Ê …ÀˆÃ̈i]Ê Õ˜«ÕLˆÃ…i`Ê ˜œÌiÃÊ ÌœÜ>À`ÃÊ >Ê «ÀiÃi˜Ì>̈œ˜Ê >ÌÊ Ì…iÊ
, MIRAJÊ Vœ˜viÀi˜Vi]Ê 1˜ˆÛiÀÈÌÞʜvÊ̅iÊ
ÀÌÃÊœ˜`œ˜]ÊÓ䣣° Nicky Hamlyn (2010) Medium Practices]Ê՘«>}ˆ˜>Ìi`]Ê՘«ÕLˆÃ…i`ÊiÃÃ>Þ°
˜`ÀjÊ >âˆ˜Ê ­Q£™xnRÊ £™Èä®Ê ¼/…iÊ "˜Ìœœ}ÞÊ œvÊ Ì…iÊ *…œÌœ}À>«…ˆVÊ “>}i½]Ê ÌÀ>˜Ã°Ê Õ}…Ê À>Þ]Ê Film Quarterly]Ê£Î\Ê{]Ê««°Ê{q™° Richard Allen (1997) Projecting Illusion: Film Spectatorship and the Repression of Reality.

>“LÀˆ`}i\Ê >“LÀˆ`}iÊ1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°Ê™£° Ibid. p.95. Ibid. See Catherine Russell (2012) The Restoration ofÊ/…iÊ ÝˆiÃ: The Untimeliness of Archival Cinema. Available online: …ÌÌ«\ÉÉÜÜÜ°ÃVÀii˜ˆ˜}̅i«>ÃÌ°Vœ“ÉÓä£ÓÉänÉ̅i‡ÀiÃ̜À>̈œ˜‡œv‡ ̅i‡i݈iÇ̅i‡Õ˜Ìˆ“iˆ˜iÃǜv‡>ÀV…ˆÛ>‡Vˆ˜i“>ÉÊ­>VViÃÃi`ÊÓÊ>˜Õ>ÀÞÊÓä£{®° -iiÊ >̅iÀˆ˜iÊ ÜiÃÊ­Óä£ÎL®Ê¼ˆ}ÕÀˆ˜}Ê>˜`ÃV>«iÃʈ˜Ê
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À̈ÃÌýʈ“Ê>˜`Ê6ˆ`iœ½]Ê ˆ˜Ê œ˜>̅>˜Ê ,>ޘiÀÊ >˜`Ê À>i“iÊ >À«iÀÊ ­i`Ã®Ê Film Landscapes. Newcastle upon Tyne:

>“LÀˆ`}iÊ-V…œ>ÀÃÊ*ÕLˆÃ…ˆ˜}]Ê««°Ê£È{qnΰ ˜ÊÓä£{]Ê̅iÊ>VÌÀiÃÃÊ->˜`À>Ê ÕœVŽÊÜ>ÃÊVœ˜vÀœ˜Ìi`ÊLÞÊÃÌ>ŽiÀʜÅÕ>Ê>“iÃÊ œÀLiÌÌÊ܅œÊ had penetrated her home as far as her bedroom door. The Los Angeles Times reported that ¼Ì…iÞÊvœÕ˜`Ê«…œÌœÃʜvÊ̅iÊ>VÌÀiÃÃʈ˜Ê…ˆÃÊ«œVŽiÌÃ]Ê>ʏiÌÌiÀÊ«œÀÌÀ>ވ˜}ʅˆ“ÃivÊ>ÃʅiÀʅÕÃL>˜`Ê >˜`Ê̅iʏœÛiʜvʅˆÃʏˆviÊ>˜`Ê>ÊVœ˜Vi>i`ÊÜi>«œ˜Ê«iÀ“ˆÌÊvÀœ“Ê1Ì>…½Ê­ՏÞÊ£x®°Ê"̅iÀÊ>V̜ÀÃÊ Ü…œÊ…>ÛiÊLii˜ÊÃÌ>Ži`ʈ˜VÕ`iÊ>iÊ iÀÀÞ]Ê-ii˜>Êœ“iâÊ>˜`Ê,iLiVV>Ê-V…>ivviÀ]Ê܅œÊÜ>ÃÊ murdered by a stalker in 1989; see …ÌÌ«\ÉÉÜÜÜ°>̈“iðVœ“ɏœV>É>˜œÜɏ>‡“i‡˜‡Ã>˜`À>‡ bullock-stalker-bedroom-20140715-story.htmlÊ­>VViÃÃi`Ê£ÇÊՏÞÊÓä£{®°
˜Ì…œ˜ÞÊ-ܜvvœÀ`Ê­Óääήʼ/…iÊ-˜ˆ«iÀ½ÃÊ/>i½]ÊGuardian Weekend]Ê£äÊ>ÀV…° The current (2014) debates in the British government about the influence of Islamic fundamentalists in British schools highlight the role of faith schools of all denominations in forming the minds of the young. /…iÊ̈̏iʜvÊ/œ˜ÞÊ"ÕÀÏiÀ½ÃÊÓäääʈ˜ÃÌ>>̈œ˜]Ê-œ…œÊ-µÕ>Ài]Êœ˜`œ˜° -ii]Ê vœÀÊ ˆ˜ÃÌ>˜Vi]Ê 7>ÌiÀÊ iÌâÊ ­Óää£®Ê ¼º7…>ÌÊ 7i˜ÌÊ 7Àœ˜}¶»\Ê /…iÊ
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ˆ˜i“>Ê œvÊ Ì…iÊ £™Èäý]Ê ˆ˜Ê *>ÕÊ œ˜>VœÊ ­i`°®Ê The Sixities: 1960–1969. New York: Charles -VÀˆL˜iÀ½ÃÊ-œ˜Ã]Ê«°ÊÓÈä° Ibid. Michele Aaron (2007) Spectatorship: The Power of Looking On°Êœ˜`œ˜\Ê7>yœÜiÀÊ*ÀiÃÃ]ÊÊ p. 4.

FILM AS FILM

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ˆVŽÞÊ>“Þ˜Ê­Óä£ä®]ʜ«°ÊVˆÌ°]Ê՘«>}ˆ˜>Ìi`° >ÕÀ>ÊՏÛiÞÊ­£™Çx®]ʜ«°ÊVˆÌ° *iÌiÀÊ ˆ`>Ê ­£™Çx®Ê ¼/…iœÀÞÊ >˜`Ê iw˜ˆÌˆœ˜Ê œvÊ -ÌÀÕVÌÕÀ>É>ÌiÀˆ>ˆÃÌÊ ˆ“½]Ê Studio International]Ê £™ä]Ê œÛi“LiÀÉ iVi“LiÀ°Ê
Û>ˆ>LiÊ œ˜ˆ˜i\Ê …ÌÌ«\ÉÉÜÜÜ°Õݜ˜ˆ˜i°œÀ}°ÕŽÉ >À̈ViÃÉ̅iœÀÞÚ>˜`Ú`iw˜ˆÌˆœ˜¯Ón«Àˆ˜ÌÛiÀȜ˜¯Ó™°…Ì“Ê­>VViÃÃi`Ê£ÎÊ iVi“LiÀÊÓä£{®° See Peggy Phelan (1993) Unmarked: The Politics of Performance°Êœ˜`œ˜\Ê,œÕ̏i`}i]Ê«°Ê{°Ê ¼
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˜Ê>ÀÌʜvÊ Ài«ÀˆÃ>ÊÀi>««À>ˆÃi`½]ÊMIRAJ]ÊÓ\Ê£]Ê««°ÊÓÈqÎÇ° *iÌiÀʈ`>Ê­£™™È®]ʜ«°ÊVˆÌ°]Ê«°Ê£n™° >“iÃÊ œ˜>`Ê­i`°®Ê­£™n™®ÊFantasy and the Cinema°Êœ˜`œ˜\Ê ÀˆÌˆÃ…ʈ“ʘÃ̈ÌÕÌi]Ê«°Ê{° iŽiÊ ÕȘLiÀÀiÊ­£™ÇǮʼ-œ“iÊi>ÀÞÊw“ÃÊLÞÊ*iÌiÀʈ`>½]ÊV>Ì>œ}ÕiÊiÃÃ>Þʈ˜ÊPerspectives on British Avant-Garde Film]Ê>ÞÜ>À`Ê>iÀÞ°
°Ê°Ê,iiÃÊQÓ䣣R]ʜ«°ÊVˆÌ°]Ê«°ÊǙ° See P. Adams Sitney (1974) Visionary Film – The American Avant-Garde°Ê iÜÊ9œÀŽ\Ê"ÝvœÀ`Ê University Press. œˆÃÊÀ>“«Ìœ˜ÊµÕœÌi`ÊLÞÊ
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INSTALLATION AND THE MOVING IMAGE

CHAPTER SEVEN

Structural Film: Detractions and Revisions I’m watching a film that has been filmed on film and is being projected ... by a projector.

œˆ˜Ê*iÀÀÞ]ÊÓää™ In any consideration of structural film and the materialist creed that dominated >Û>˜Ì‡}>À`iÊ«À>V̈ViÃʈ˜Ê̅iÊÃiVœ˜`ʅ>vʜvÊ̅iÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞ]ʈÌʈÃÊ܈ÃiÊ̜ʈ˜terrogate some of the foundational principles to which it adhered. The structuralist VÀˆÌˆµÕiʜvÊVˆ˜i“>ÊÜ>ÃÊL>Ãi`ʜ˜Ê>ʘՓLiÀʜvʈ˜ÌiÀVœ˜˜iVÌi`ÊÃÕ««œÃˆÌˆœ˜Ã]Ê>˜`ÊÜiÊ ÜˆÊLi}ˆ˜Ê܈̅Ê̅iÊLiˆivÊÜiʅ>ÛiÊ>Ài>`ÞÊiÝ«œÀi`]Ê̅>ÌÊw“]Ê>˜`ÊLÞÊiÝÌi˜Ãˆœ˜ÊÌiiۈȜ˜]ʏՏÃÊ>Õ`ˆi˜ViÃʈ˜ÌœÊ>VVi«Ìˆ˜}Ê>ÊÃiÀˆiÃʜvÊVˆ˜i“>̈VʈÕȜ˜ÃÊ>ÃÊÀi>ˆÌÞ]Ê̅iÀiLÞÊ laying themselves open to ideological messages embedded in screen-based enterÌ>ˆ˜“i˜Ì°Ê
ÊÀi>Ìi`ʈ`i>ÊÜ>ÃÊ̅>ÌÊ>Õ`ˆi˜ViÃÊ>ÀiÊÜÊi˜Ì…À>i`Ê̜Ê̅iʼ`Ài>“ÊÃVÀii˜½Ê ̅>Ì]ʈ˜Ê̅iÊ«>À>˜ViʜvÊ̅iÊ`>Þ]Ê̅iÞʼ«>ÃÈÛiÞÊVœ˜ÃՓi`½Ê̅iÊ«…>˜Ì>Ó>}œÀˆ>Ê̅>ÌÊ «>ÃÃi`ÊLivœÀiÊ̅i“°Ê7iÊŜՏ`ʘœÜÊ>Î]ÊÜiÀiÊ­>˜`Ê>Ài®Ê>Õ`ˆi˜ViÃʈ˜`ii`ÊÀi˜`iÀi`Ê incapable of thinking critically about the conservative worldviews woven into the ÃÕLÌiÝÌʜvÊœÞܜœ`ÊÃVÀˆ«ÌÃÊqÊvÀœ“ʍˆ˜}œˆÃ̈VÊiÝ«>˜Ãˆœ˜ˆÃ“]Ê̅ÀœÕ}…ÊÃÌiÀiœÌÞ«ˆ˜}Ê LÞÊÀ>ViÊ>˜`ÊÃiÝÕ>ÊœÀˆi˜Ì>̈œ˜Ê̜ÊÃi݈ÃÌÊÀi«ÀiÃi˜Ì>̈œ˜ÃʜvÊܜ“i˜¶Ê"vÊVœÕÀÃi]Ê̅iÊ >˜ÃÜiÀʈÃ]ʼÞiÃÊ>˜`ʘœ½ÆÊÜ]ʅ>ۈ˜}ÊiÝ«œÀi`Ê̅iÊ>vwÀ“>̈Ûi]ÊÜiÊV>˜Ê˜œÜÊÌÕÀ˜Ê̜Ê̅iÊ V>Ûi>ÌÃÊ̅>Ìʅ>ÛiÊ>VVÀÕi`ʈ˜ÊÃÕLÃiµÕi˜ÌÊVœ˜Ãˆ`iÀ>̈œ˜ÃʜvÊw“ÊëiVÌ>̜Àň«]Ê>˜`Ê take these forward when discussing the claim that installation liberated the passive viewer and offered her a new creative relationship with the moving image.

MAINSTREAM PLAYS WITH THE ILLUSION: PUSH−PULL However staggeringly convincing cinema and television illusionism has become ܈̅Ê̅iÊ>`Ûi˜ÌʜvÊ܈`i‡ÃVÀii˜]ÊÎ Ê>˜`ʅˆ}…Ê`iw˜ˆÌˆœ˜]ÊVœ““iÀVˆ>Ê“œÛˆ˜}ʈ“>}iÊ

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products are beset by the ever-present tension between the narrative and its seẗ˜}°Ê/…ˆÃ]Ê>À}ÕiÃÊ-i>˜Ê ÕLˆÌÌ]ʈÃÊ܅Þʼ>ʘ>ÀÀ>̈ÛiʈÃÊ>Ü>ÞÃʈ˜Vœ“«iÌi½°1ʘÊ>``ˆÌˆœ˜]Ê the fantasy world onscreen is destabilised by the material reality of the instruments œvÊ ˆÌÃÊ “>˜Õv>VÌÕÀi]Ê «Àˆ˜Vˆ«>ÞÊ Ì…iÊ ÃVÀii˜]Ê Ü…ˆV…]Ê >VVœÀ`ˆ˜}Ê ÌœÊ œ…˜Ê 7iÃ…“>˜]Ê `iw˜iÃÊ ¼Ì…iÊ L>Ì̏iwi`Ê LiÌÜii˜Ê `i«Ì…Ê >˜`Ê ÃÕÀv>Vi½°2 The immediate effect of im“iÀȜ˜Êˆ˜Ê̅iʓœÛˆ˜}ʈ“>}iʓ>ÞÊLiÊ«œÜiÀvՏ]ÊLÕÌʈÌʈÃÊÌi“«œÀ>ÀÞÊ>˜`Ê>LÜÀ«Ìˆœ˜Ê ˆ˜Ê̅iÊVˆ˜i“>ÊiÝ«iÀˆi˜ViʈÃʘiÛiÀÊ̜Ì>°Ê/…iÊÜi‡ÜœÀ˜Ê}i˜ÀiÃʜvÊw“Ê>˜`ÊÌiiۈȜ˜Ê entertainment already establish an anticipatory distance between the viewer and ̅iÊ Vˆ˜i“>̈VÊ iÝ«iÀˆi˜ViÆÊ }i˜ÀiÊ «>ViÃÊ >Ê }ˆ`i`Ê vÀ>“iÊ >ÀœÕ˜`Ê Ì…iÊ >ÀÌiv>VÌÊ ˆÌÃiv°Ê ¼7iʎ˜œÜÊ>Ê̅ÀˆiÀÊ܅i˜ÊÜiÊÃiiʜ˜i½]ʜLÃiÀÛi`Ê,ˆV…>À`Ê>ÌLÞ]Ê ¼ˆ˜`ii`]ÊÜiʎ˜œÜÊ a thriller before we see one’. 3ʜۈiÃÊ>˜`ÊÌiiۈȜ˜Ê…>ÛiÊ>Ê«ÀiۈœÕÃÊi݈ÃÌi˜ViÊ>˜`Ê >˜Ê>vÌiÀˆviʈ˜Ê̅iÊ܈`iÀÊܜÀ`ʜvÊv>ňœ˜]ʓ>}>∘iÃ]ÊV…>ÌÊŜÜÃ]ÊLœœŽÃ]ÊÜiLÈÌiÃ]Ê ÌÀ>ˆiÀÃ]Ê}>“iÃÊ>˜`ʓÕÈV]ÊvœÀ“ÃʜvÊÀi«ÀiÃi˜Ì>̈œ˜Ê̅>ÌÊÀiˆ˜vœÀViÊ>Ü>Ài˜iÃÃʜvÊ̅iÊ «Àœ`ÕVÌÊ LÕÌÊ >ÀiÊ >ÃœÊ ˜>ÌÕÀ>ÞÊ Ãiv‡Àiyi݈Ûi°Ê /iiۈȜ˜Ê ˆÃÊ >Ü>ÞÃÊ …>v‡Ü>ÌV…i`Ê LÞÊ Ì…iÊ }À>∘}Ê Ã«iVÌ>̜À]Ê Ì…iÊ ˜ÌiÀ˜iÌÊ i˜VœÕÀ>}iÃÊ Ã…œÀÌÊ >ÌÌi˜Ìˆœ˜Êë>˜Ã]ʓ>}>∘iÃÊ Ài“>ˆ˜ÊœLiVÌÃʈ˜Ê̅iʅ>˜`Ê܅ˆÃÌÊ̅iÞÊ`iˆÛiÀÊ̅iˆÀʓiÃÃ>}iÃ]ʏœ}œ‡Li>Àˆ˜}ÊVœÌ…iÃÊ >ÀiÊܜÀ˜ÊLÞÊÀi>ÊLœ`ˆiÃÊ>˜`Ê̅iÃiÊ«ÀœÌœ‡Vˆ˜i“>̈V]Ê«Àœ“œÌˆœ˜>Ê>ÀÌiv>VÌÃÊV>˜Ê՘`iÀmine the verisimilitude of the film itself as well as reinforce its cultural impact. Ê܈ÊÀiۈÈÌʈÃÃÕiÃʜvÊëiVÌ>̜Àˆ>Ê>ÌÌi˜Ìˆœ˜Êˆ˜Ê̅iʘiÝÌÊV…>«ÌiÀ]ÊLÕÌʘœÜÊÌÕÀ˜ÊÌœÊ other aspects of mainstream film that militate against the credibility of their putäÛiÊ ˜>ÀÀ>̈ÛiðÊ
ÃÊ ÜiÊ …>ÛiÊ >Ài>`ÞÊ Ãii˜]Ê >̅iÀˆ˜iÊ ,ÕÃÃiÊ >À}Õi`Ê Ì…>ÌÊ ¼>ÀV…ˆÛ>Ê cinema’ records the history of a place as well as the story for which it provides a ÃiÌ̈˜}°Ê Õʈ˜Ê …Õ>ʅ>Ãʓ>`iÊ>Êȓˆ>ÀʜLÃiÀÛ>̈œ˜Êˆ˜ÊÀi>̈œ˜Ê̜ÊÜi‡Ž˜œÜ˜Ê>V̜ÀÃÊ ˆ˜ÊœÞܜœ`ʓœÛˆiÃ]ÊÃÌ>ÀÃÊ܅œÊVÀi>ÌiÊ܅>ÌÊ*>ÌÊ"½ iˆÊV>Ãʼ«iÀVi«ÌÕ>Ê>“Lˆ}ՈÌÞ½° 4 Our reading of their onscreen presence involves a denotive doubling and Chua µÕœÌiÃÊi>˜‡ÕVÊœ`>À`Ê̜Ê`ÀˆÛiʅœ“iʅˆÃÊ«œˆ˜Ì\ʼiÛiÀÞÊw“ÊÃÌ>ÀÀˆ˜}Ê>ÀˆÞ˜Êœ˜ÀœiÊ is also a documentary about Marilyn Monroe’.5Ê7iÊÜ>ÌV…]ʘœÌʜ˜ÞÊ̅iÊV…>À>VÌiÀÊÅiÊ i“Lœ`ˆiÃ]ÊLÕÌÊ>ÃœÊ…iÀÊ«iÀvœÀ“>˜ViÊ>˜`ʅiÀÊ«iÀܘ>°Ê ÀˆÛi˜ÊLÞÊ̅iʈ˜Ìi˜ÃˆÌÞʜvʜÕÀÊ fandom and informed by the diligence of our researches into her tempestuous and ՘…>««ÞÊ«ÀˆÛ>Ìiʏˆvi]ÊÜiÊëiVՏ>ÌiÊ>LœÕÌʅiÀÊÃÌ>Ìiʜvʓˆ˜`Ê>˜`ÊLœ`ÞÊ>ÌÊ̅iÊ̈“iÊ̅iÊ w“ÊÜ>Ãʓ>`i°Ê˜Ê̅iʅˆÃ̜ÀÞʜvʓ>ˆ˜ÃÌÀi>“Êw“]Ê̅iÊÅ>`œÜʘ>ÀÀ>̈ÛiʜvÊ«iÀvœÀ“ers’ lives can threaten to crack the veneer of the parts they play and publicists have œvÌi˜Ê>LœÕÀi`Ê̜ÊÃVÀii˜Ê̅iÊÃii`ˆiÀÊÈ`iʜvÊ̅iÊÃÌ>ÀýÊi݈ÃÌi˜ViÊvÀœ“Ê«ÕLˆVÊ}>âi]Ê something that in the age of the Internet is increasingly hard to achieve. 6 Not only do the parallel stories of screen legends’ lives compromise the transpari˜VÞʜvʓ>ˆ˜ÃÌÀi>“Ê“œÛˆ˜}ʈ“>}iÊVՏÌÕÀi]ÊLÕÌÊVˆ˜i“>̈VÊÀi>ˆÃ“ʈÃÊ>ÃœÊVœ˜ÃÌ>˜ÌÞÊ betrayed by technical failures in production and post-production (defective micro«…œ˜iÃ]Ê v>ՏÌÞÊ «>ÞL>VŽ]Ê «ˆVÌÕÀiÊ Àœ]Ê iÌV°®]Ê }ˆÌV…iÃÊ Ì…>ÌÊ ˆ˜>`ÛiÀÌi˜ÌÞÊ «Àœ`ÕViÊ >Ê disruptive effect and help us maintain the distinction between reality and fiction. /…iÃiÊV>iÃÕÀ>iÊV>˜Ê>ÃœÊLiÊÌÀˆ}}iÀi`ÊLÞÊ>˜ÞʘՓLiÀʜvʏ>«ÃiÃʜvÊÌ>ÃÌiÆÊvœÀʈ˜ÃÌ>˜Vi]Ê

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INSTALLATION AND THE MOVING IMAGE

>˜ÊœÛiÀLœÜ˜Ê“ÕÈV>ÊÜ՘`ÌÀ>VŽ]Ê>˜Ê>V̜À½ÃÊ«œœÀÊ«iÀvœÀ“>˜Vi]ÊÀÕÅi`ʜÀʈ˜>VVÕÀ>ÌiÊ ÃÕL̈̏iÃ]ÊiÝ>}}iÀ>Ìi`ÊivviVÌÃʜvʏˆ}…̈˜}Ê>˜`ÊÜ՘`Ê̅>ÌÊ̈«ÊœÛiÀʈ˜ÌœÊw“ˆVʓ>˜˜iÀˆÃ“°Ê/…iÊv>X>`iʜvÊVœ˜ÌÀœi`Ê>Õ̅œÀˆÌÞÊ̅>ÌÊV…>À>VÌiÀˆÃiÃʏˆÛiÊÌiiۈȜ˜ÊLÀœ>`V>ÃÌÃÊ can also be shattered by unscripted malfunctions.7 In the BBC television series Acorn AntiquesÊ­£™nxqnÇ®]Ê6ˆV̜Àˆ>Ê7œœ`ÊLՈÌÊ>˜Êi˜ÌˆÀiÊVœ“i`ˆVÊVœ˜ViˆÌʜÕÌʜvÊ̅iÊ poor standards of production dogging the soap operas of the day. The daily drama œvʏˆviʈ˜Ê̅iÊ>˜ÌˆµÕiÃÊÌÀ>`iÊÜ>ÃÊVœ˜ÃÌ>˜ÌÞÊÕ«ÃÌ>}i`ÊLÞÊܜLLÞÊ̈̏iÃ]ÊVœ`Ê>V̈˜}]Ê dodgy camerawork and defective sets; in one case a low boom practically decapiÌ>Ìi`Ê̅iʓ>iʏi>`°Ê ˆÌˆ˜}Êœ…˜Ê/…œÀ˜Ìœ˜Ê >`Üi½ÃʘœÌˆœ˜Êœvʼˆ˜`ÕÃÌÀˆ>ÊÀiyi݈ۈÌÞ½] 8 Maeve Connolly argues that in the 1970s and 1980s television was formally innoväÛiÊ>˜`Ê`iÛiœ«i`ÊÃiv‡Àiyi݈ÛiÊÃÌÀ>Ìi}ˆiÃ]ʘœÌʜ˜ÞÊ܈̅ÊVœ“i`ˆVÊŜÜÃʏˆŽiÊAcorn AntiquesÊLÕÌÊ>VÀœÃÃÊ̅iÊ܅œiÊëiVÌÀՓʜvÊ«Àœ}À>““ˆ˜}°Ê/…ˆÃÊÀiÃՏÌi`ʈ˜Ê¼ÃÌޏˆÃ̈VÊ iÝViÃÃiýÊ̅>ÌÊܜՏ`ʅi«Ê«ÕLˆVÊÃiÀۈViʘiÌܜÀŽÃÊVœ“«iÌiÊ܈̅Ê̅iÊ}ÀœÜˆ˜}ʈ˜`ipendent television companies.9ÊÌÊ>ÃœÊLiV>“iÊÃÌ>˜`>À`Ê«À>V̈ViʜvÊLÀi>Žv>ÃÌÊ/6]Ê ˜iÜÃÊ«Àœ}À>““iÃ]ÊV…>ÌÊŜÜÃÊ>˜`ʜÕÌÈ`iÊLÀœ>`V>ÃÌÊëœÀÌÃÊiÛi˜ÌÃÊ̜Ê`ˆÃ«>ÞÊ̅iÊ «>À>«…iÀ˜>ˆ>ʜvÊ«Àœ`ÕV̈œ˜°Ê œÜ>`>ÞÃ]ÊÀi>ˆÌÞÊ/6ʅ>ÃÊ`ˆÃ«i˜Ãi`Ê܈̅Ê>˜ÞÊ«ÀiÌi˜ViÊ at fictional treatment and instead sets up an equivalence between life onscreen and ̅>ÌʜvÊ̅iÊۈiÜiÀ½Ãʵ՜̈`ˆ>˜Êi݈ÃÌi˜Vi°Ê˜Ê>ÊÀiÛiÀÃ>ÊœvÊ̅iʈ˜>`ÛiÀÌi˜ÌÊLiÌÀ>Þ>ÃʜvÊ ˜>ÀÀ>̈ÛiÊw“]Ê̅ˆÃÊLÀ>˜`ʜvÊÌiiۈȜ˜Ê¼Ài>ˆÌ޽ʈÃʜvÌi˜ÊÀiÛi>i`Ê̜ÊLiÊ>Êv>LÀˆV>̈œ˜]Ê a simulacrum of ordinary life played out for the cameras.10 Viewers must unravel illusion masquerading as reality behind which lurks another reality based largely œ˜Ê ˜>ÀVˆÃÈÃ̈VÊ ˆ˜ÌÀœiV̈œ˜Ê œvÊ ÃœVˆiÌ>Ê >ëˆÀ>̈œ˜Ã°Ê /…iÊ `ˆvviÀi˜ViÊ …iÀiÊ ˆÃÊ Ì…>ÌÊ Ì…iÊ ˆ“LÀˆV>Ìi`ʏ>ÞiÀÃʜvʅ>v‡ÌÀÕ̅ÃÊ>˜`Ê>À̈wViÊ>ÀiʘœÌÊ`ˆÃViÀ˜i`Ê̅ÀœÕ}…ÊۈÃÕ>ÊVÕiÃ]Ê LÞÊψ««>}iÃʈ˜Ê̅iʈ“>}iʜÀÊÜ՘`]ÊLÕÌÊLÞʓi>˜ÃʜvÊiÝÌiÀ˜>Êˆ˜ÌiÀÛi˜Ìˆœ˜Ã]ÊÛiÀL>Ê ÀiÛi>̈œ˜Ã]ÊiÝ«œÃjÃÊ>˜`ÊÀՓœÕÀÃÊVˆÀVՏ>̈˜}ʈ˜Ê̅iÊ܈`iÀʓi`ˆ>°Ê The concatenations of clues that betray the constructed nature of the cinematic `ˆÃ«>ÞÊ«Àœ“œÌiÊ̅iÊ>Õ`ˆi˜Vi½ÃÊVœ˜Ìˆ˜Õˆ˜}Ê>Ü>Ài˜iÃÃʜvÊ̅iˆÀʜܘÊëiVÌ>̜Àň«]Ê Ü…ˆV…ʈÃʘiÛiÀÊi˜ÌˆÀiÞÊvœÀ}œÌÌi˜Ê…œÜiÛiÀʓÕV…Ê̅iÞʓˆ}…ÌÊÃÕÀÀi˜`iÀ]ʈ˜Ê̅iʓœ“‡ i˜Ì]Ê ÌœÊ Ì…iÊ Ã«iVÌ>ViÊ «>Þi`Ê œÕÌÊ œ˜ÃVÀii˜Ê vœÀÊ Ì…iˆÀÊ `iiVÌ>̈œ˜Ê >˜`Ê `iˆ}…Ì°Ê
Ê “>ˆ˜ÃÌÀi>“Ê w“Ê V>˜Ê >ÃœÊ ÀˆÃŽÊ ˆÌÃÊ œÜ˜Ê ՘`œˆ˜}Ê ˆvÊ Ì…iÊ `ˆÀiV̜ÀÊ V…œœÃiÃÊ ÌœÊ ˆ˜iVÌÊ >˜Ìˆ‡ˆÕȜ˜ˆÃ̈V]ÊiÛi˜Ê¼iÝ«iÀˆ“i˜Ì>½Êii“i˜ÌÃʈ˜ÌœÊ̅iʘ>ÀÀ>̈ÛiÊyœÜ]ÊVÀi>̈˜}Ê>˜Ê œ««œÃˆ˜}Ê`ޘ>“ˆVʈ˜Ê̅iÊ`ˆi}ïVÊ«>ÕÈLˆˆÌÞʜvÊ̅iÊw“°ÊœÜiÛiÀ]Ê̅iÃiʼ“ˆÃÌ>ŽiÃ½Ê >ÀiÊ Ãœ“ï“iÃÊ iÝ«œˆÌi`Ê ÌœÊ i˜ÀˆV…Ê ̅iÊ «œÌ]Ê «>ވ˜}Ê œ˜Ê ̅iÊ >Õ`ˆi˜Vi½ÃÊ ˆ˜Vœ“«iÌiÊ ÃÕëi˜Ãˆœ˜ÊœvÊ`ˆÃLiˆiv°ÊœÀÊiÝ>“«i]Ê ÕÃÌiÀÊi>̜˜½Ãʈ˜}i˜ˆœÕÃÊSherlock Jr. (1924) vi>ÌÕÀiÃÊ Ì…iÊ w““>ŽiÀÊ “>Žˆ˜}Ê >Ê œŽiÊ >LœÕÌÊ i`ˆÌˆ˜}Ê >ÃÊ …iÊ ˆÃÊ V>Ì>«ÕÌi`Ê vÀœ“Ê œ˜iÊ ÃVi˜iÊ̜Ê>˜œÌ…iÀ]ÊÌՓLˆ˜}ÊLiÌÜii˜Ê>Ê؜܇LœÕ˜`ʏ>˜`ÃV>«i]Ê>ʏˆœ˜½ÃÊ`i˜]Ê̅iÊi`}iÊ œvÊ>Ê«ÀiVˆ«ˆViÊ>“œ˜}ʜ̅iÀÊ«iÀˆœÕÃÊÃiÌ̈˜}ðÊi>̜˜ÊˆÌiÀ>ÞʍՓ«ÃÊ>VÀœÃÃÊ̅iÊi`ˆÌÃÊ `À>܈˜}Ê>ÌÌi˜Ìˆœ˜Ê̜Ê̅iÊVœ“«ÀiÃȜ˜ÊœvÊë>ViÊ>˜`Ê̈“iÊ̅>ÌÊ̅iÊ>Õ`ˆi˜Vi]Ê>Ài>`ÞÊ ÜiÊÃV…œœi`ʈ˜Ê̅iÊ}À>““>Àʜvʘ>ÀÀ>̈ÛiÊw“]ʅ>LˆÌÕ>ÞÊӜœÌ…iÃʜÕÌʈ˜ÌœÊ>ʏœ}ˆV>Ê continuum. The knowing wink to the audience also occurs in Powell and Pressburger’s

STRUCTURAL FILM: DETRACTIONS AND REVISIONS

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A Matter of Life and DeathÊ­£™{È®]ʈ˜Ê܅ˆV…Ê̅iÀiʈÃÊ>Ê`ˆÀiVÌÊÀiviÀi˜ViÊ̜Ê̅iÊ>««>À>tus of proto-cinematic illusionism. The character of Dr. Reeves is seen operating his vintage camera obscura located at the top of his house from where he surveys the ˆviʜvÊ̅iÊۈ>}i°Ê/…iʅiÀœˆ˜iʜvÊ̅iÊw“]Ê̅iʼœÛiʈ˜ÌiÀiÃ̽ÊVœ`i`Ê>ÃÊ>˜ÊœLiVÌʜvÊ “>iÊ`iÈÀi]ÊVÞViÃÊ̅ÀœÕ}…Ê̅iÊۈ>}i]Ê>˜`ÊÜiʜLÃiÀÛiÊ À°Ê,iiÛiÃÊۜÞiÕÀˆÃ̈V>ÞÊ >««ÀiVˆ>̈˜}ʅiÀÊV…>À“Ã]ʓˆÀÀœÀˆ˜}Ê̅iÊۈiÜiÀ½ÃÊiµÕˆÛ>i˜ÌÊëiVÌ>̜Àˆ>Ê«ÀˆÛˆi}iÃ°Ê >ÌiÀʈ˜Ê̅iÊw“]Ê*œÜiÊ>˜`Ê*ÀiÃÃLÕÀ}iÀÊi“«œÞÊvÀiiâiÊvÀ>“iÃÊ>˜`ʈ˜Vœ˜}À՜ÕÃ]ʜvv‡ stage sounds to disrupt the first-line narrative and intimate both the intervention of ÃÕ«iÀ˜>ÌÕÀ>ÊvœÀViÃ]Ê>˜`Ê`ii«iÀʏiÛiÃʜvÊ`iÕȜ˜ÊÃÕvviÀi`ÊLÞÊ̅iʓ>ˆ˜Ê«ÀœÌ>}œ˜ˆÃÌ°Ê /…iÃiÊivviVÌÃÊVÀi>ÌiÊ>ÊÃޘÌ>V̈V>ÊܜLLiʈ˜Ê̅iÊw“Ê܅ˆiÊȓՏÌ>˜iœÕÏÞÊiÝ«œˆÌing the lapse in the audience’s suspension of disbelief to drive home a key element œvÊwV̈œ˜>Ê“i>˜ˆ˜}°ÊˆV…>iÊ …>˜>˜ÊV>ˆ“ÃÊ̅>ÌÊ̅iʅˆÃ̜ÀÞʜvÊVˆ˜i“>ʈÃʼ>Ê«ÀœViÃÃÊ of the limits of the image repeatedly transgressed’. 11 In the case of A Matter of Life and Death]Ê̅iÊ`ˆÀiV̜ÀýÊVœ˜ÌÀ>Ûi˜Ìˆœ˜ÃʜvÊ̅iÊÀՏiÃʜvʘ>ÀÀ>̈ÛiÊVˆ˜i“>ʘœÌʜ˜ÞÊ Ì…ˆVŽi˜i`Ê̅iÊ«œÌÊLÕÌÊ>Ãœ]Ê>ÃÊ`ˆ`Ê̅iÊi>ÀÞÊ«ˆœ˜iiÀÃʜvÊVˆ˜i“>]ÊLÀœÕ}…Ìʈ˜ÌœÊvœVÕÃÊ Ì…iÊܜ˜`ÀœÕÃÊÌiV…˜ˆV>ÊV>«>LˆˆÌˆiÃʜvÊw“]ÊVˆÀV>Ê£™{ä°Ê/…iÊÃÕVViÃÃvՏÊÌiˆ˜}ʜvÊ̅iÊ Ã̜ÀÞÊ«>À>`œÝˆV>ÞÊ`i«i˜`i`ʜ˜Ê̅iʈ˜Vœ“«iÌiʈ““iÀȜ˜ÊœvÊ̅iÊ>Õ`ˆi˜Viʈ˜Ê̅iÊ ˆÕȜ˜ˆÃ“ÊœvÊ̅iÊw“]ʜ˜Ê̅iˆÀÊ>LˆˆÌÞÊ̜ÊȓՏÌ>˜iœÕÏÞÊ>««ÀiVˆ>ÌiÊ̅iÊVœ˜ÃÌÀÕVÌi`Ê ˜>ÌÕÀiʜvÊ܅>ÌÊ̅iÞÊÜiÀiÊÃiiˆ˜}]Ê>˜`ʜ˜ÞÊ«>À̏ÞÊLiˆiۈ˜}°Ê ÞʜܘʜLÃiÀÛ>̈œ˜ÊˆÃÊ̅>ÌÊ̜`>Þ]Ê̅iʓœÀiÊœÞܜœ`ʓœÛˆiÃÊÜ>˜ÌÊÕÃÊ̜ÊLiˆiÛiÊ Ì…iʈ“«œÃÈLi]ʓœLˆˆÃˆ˜}ʈ˜VÀi>Ș}ÞÊi>LœÀ>ÌiÊ ÊivviVÌÃ]Ê̅iʓœÀiÊ̅iʈÕȜ˜Ê breaks down. Even Ridley Scott’s Robin HoodÊ­Óä£ä®]Ê̅œÕ}…Ê“œ`iÃÌʈ˜ÊÌiÀ“ÃʜvÊëiVˆ>ÊivviVÌÃ]Ê`œiÃÊÃÕV…Ê>Ê}œœ`ʍœLʜvÊÀiVÀi>̈˜}ʓi`ˆiÛ>Ê ˜}>˜`Ê̅>ÌÊÊvœÕ˜`ʓÞÃivÊ i˜}ÀœÃÃi`ʈ˜Ê̅iÊ>Õ̅i˜ÌˆVˆÌÞʜvÊ̅iÊ«iÀˆœ`ÊVœÃÌՓiÃÊ>˜`ÊÃiÌÃ]Ê>ÃÊÜiÊ>ÃÊ̅iÊÃi>“iÃÏÞÊVœ“«œÃˆÌi`ʏ>˜`ÃV>«iÃÊ>˜`ÊÃiÌÊ«ˆiViʼ>V̈œ˜½ÊÃiµÕi˜ViÃÊqÊ̅iʓ>˜˜iÀˆÃ“ÃʜvÊ Ì…iÊw“ÊqÊ܅ˆiÊ̅iÊyˆ“ÃÞÊÃ̜Àޏˆ˜iÊ«>ÃÃi`ʓiÊLÞ°Ê œÊ`œÕLÌ]Ê,ÕÃÃiÊ ÀœÜi½ÃÊ܈`ÞÊ varying interpretations of a northern English accent contributed to the sense of profound artifice that envelops the movie and encouraged my own transgressions as a ۈiÜiÀ]ʈ˜VÕ`ˆ˜}ʈ`iÊëiVՏ>̈œ˜ÃÊ>ÃÊ̜Ê̅iÊVœÃÌÃʈ˜ÛœÛi`ʈ˜ÊÃÕV…ÊVˆ˜i“>̈VÊ,œVœVœÊ >˜`ʅœÜʓ>˜ÞÊ>À̈ÃÌýÊw“Ãʓˆ}…Ìʅ>ÛiÊLii˜ÊVÀi>Ìi`Ê܈̅Ê̅iÊÃ>“iÊLÕ`}iÌ°ÊÞÊiÝperience of watching the film would seem to suggest that it is indeed possible to be >˜Ê>V̈ÛiÞÊi˜}>}i`ÊëiVÌ>̜À]Ê«ÕÀÃՈ˜}ÊÌÀ>ˆ˜ÃʜvÊ̅œÕ}…ÌÊ>ÌÊ>ÊÌ>˜}i˜ÌÊ̜]ÊLÕÌÊÌÀˆ}}iÀi`ÊLÞÊ̅iʘ>ÀÀ>̈Ûi]ʅœÜiÛiÀʓœ`iÃÌÊ̅œÃiʓÕȘ}Ãʓˆ}…ÌÊLi°Ê

THE UTOPIANISM OF STRUCTURAL FILM If mainstream film was not the closed system of flawless realism that the theoretical >À“>ÌÕÀiʜvÊ̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃÊÃÕ}}iÃÌi`ʈÌʓˆ}…ÌÊLi]Ê`ˆ`Ê̅iÊ>˜Ìˆ`œÌiÊ̜ʼ«>ÃÈÛi½Ê spectatorship offered by avant-garde filmmakers prove to be a successful treatment

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INSTALLATION AND THE MOVING IMAGE

Peter Gidal, Room Film (1973), 16mm, colour, silent speed (16/18 fps). Courtesy of the artist.

vœÀÊ̅iÊivviVÌÃʜvÊÀi«i>Ìi`ÊiÝ«œÃÕÀiÊ̜Ê̅iÊ«iÀ˜ˆVˆœÕÃʈ˜yÕi˜ViÃʜvÊœÞܜœ`¶Ê*iÌiÀÊ ˆ`>Ê>˜`Ê̅œÃiÊiëœÕȘ}Ê̅iÊÃÌÀÕVÌÕÀ>É“>ÌiÀˆ>ˆÃÌÊ`œVÌÀˆ˜iÊi˜`i>ۜÕÀi`Ê̜ÊvœVÕÃÊ >ÌÌi˜Ìˆœ˜Ê܏iÞʜ˜Ê̅iÊ>««>À>ÌÕÃÊ>˜`Ê«ÀœViÃÃiÃʜvÊw“]Ê>ÃÊ œˆ˜Ê*iÀÀÞÊ«ÕÌʈÌ]ʼÜ>ÌV…ˆ˜}Ê >Ê w“Ê ̅>ÌÊ …>ÃÊ Lii˜Ê w“i`Ê œ˜Ê w“Ê >˜`Ê ˆÃÊ Liˆ˜}Ê «ÀœiVÌi`Ê °°°Ê LÞÊ >Ê «ÀœiV̜À½°12 œÜiÛiÀ]ʈ˜ÊëˆÌiʜvʅˆÃÊLiÃÌÊivvœÀÌÃ]ʈ`>½ÃÊRoom FilmÊ­£™ÇήʈÃʓœÀiÊ̅>˜Ê>˜ÊiÝiÀcise in tautology and it cannot be distilled to the sum of its moving parts. Gidal may …>ÛiÊLii˜Ê`i`ˆV>Ìi`Ê̜Ê>˜ÊiÝÌÀi“iʓˆ˜ˆ“>ˆÃ“ʈ˜Ê…ˆÃÊw“Ãʈ˜ÛœÛˆ˜}ʼÈ}˜ˆwiÀÃÊ>««Àœ>V…ˆ˜}Êi“«Ìˆ˜iÃý]ÊLÕÌʅiÊVœÕ`ʘœÌ]ÊLÞʅˆÃʜܘÊ>`“ˆÃȜ˜]Ê>ۜˆ`Ê«Àœ`ÕVˆ˜}Êw“ˆVÊ ˆ“>}iÃÊ Ì…>ÌÊ >}}Ài}>ÌiÊ ˆ˜ÌœÊ >˜Ê >iÃ̅ïVÊ iÝ«iÀˆi˜Vi]Ê œ˜iÊ Ì…>ÌÊ V>ÀÀˆiÃÊ >ÃÜVˆ>̈ÛiÊ “i>˜ˆ˜}Ã]Ê>LiˆÌʈ˜Ê¼>ÊÛiÀÞʏœÜʎiÞ½°13 Room FilmÊvi>ÌÕÀiÃʈ˜`iÌiÀ“ˆ˜>Ìi]ÊÜv̇i`}i`Ê areas of light and shade that occasionally resolve into perceptible images of VÀՓ«i`ÊLi``ˆ˜}]Ê>˜Ê>˜}i‡«œˆÃiʏ>“«]Ê>ÊÜ>Ê«Õ}Ê>˜`Ê>˜Êœ«i˜ÊLœœŽÊqÊ>˜Ê>Õ̜Lˆœgraphical detail signalling Gidal’s rich intellectual life.14 In spite of what Perry called -ÌÀÕVÌÕÀ>ˆÃ“½ÃʼÃi˜ÃÕ>ÊÃiv‡>L˜i}>̈œ˜½]Ê̅iÃiʈ˜ÃÌ>˜ViÃʜvÊÀi«ÀiÃi˜Ì>̈œ˜>ÊV>Àˆty in a sea of abstraction seem to evoke a longing for the visual pleasures that Gidal’s absolutist theoretical platform forbade him. The film can also be interpreted as an >ÕȜ˜Ê̜ʫ…ÞÈV>Ê>˜`ʓi˜Ì>ÊLÀi>Ž`œÜ˜]Ê܈̅Ê̅iÊ`ˆÃ̜ÀÌi`ÊۈÃÕ>ˆÃ>̈œ˜ÃʜvÊ̅iÊ Àœœ“ÊœÀÊViÊ>««ÀœÝˆ“>̈˜}ʈ“«>ˆÀ“i˜ÌʜvÊ̅iÊ«iÀVi«ÌÕ>ÊÃÞÃÌi“ʈ˜Êi«ˆÃœ`iÃʜvÊ«ÃÞchosis. There is in Room Film a sense of psychic turmoil reminiscent of Brakhage’s ȓˆ>ÀÞÊV>ÕÃÌÀœ«…œLˆVÊ}ˆ“«ÃiÃʈ˜ÌœÊ…ˆÃÊ`œ“iÃ̈VʏˆviʜÀʈ˜`ii`]ʈ˜Ê̅iÊwi`ʜvʏˆÌiÀ>ÌÕÀi]Ê̅iʈ“«iÀܘ>]Ê>ÌÌi˜Õ>Ìi`Ê`iÃVÀˆ«Ìˆœ˜ÃʜvÊ̅iÊܜÀ`ʈ˜Ê̅iÊvœÀi˜ÃˆVʘœÛiÃÊ of Alain Robbe-Grillet. We know that it is possible to build narratives and a constellation of associations (mine will be different from yours) out of the barest audiovisual ˆ˜vœÀ“>̈œ˜°Ê"ÕÀÊLÀ>ˆ˜ÃÊ>Àiʅ>À`‡ÜˆÀi`Ê̜ʈ˜ÌiÀ«ÀiÌÊÃi˜ÃœÀÞÊ`>Ì>]ʅœÜiÛiÀÊyˆ“ÃÞʜÀÊ ambiguous. If Gidal had wished to block all associative and illusory elements in his ܜÀŽ]Ê>˜`ÊÌiÃÌÊ̅iʏˆ“ˆÌÃʜvʜÕÀÊ`iw˜ˆÌˆœ˜ÊœvÊw“]ʅiʓˆ}…Ìʅ>ÛiÊvœœÜi`Ê̅iÊiÝ>“«iÊ œvÊ >“Ê՘iÊ*>ˆŽÊ܅œÃiÊZen For Film (1964) consisted of an eight-minute strip of £È““ÊVi>Àʏi>`iÀ]Ê`iۜˆ`ʜvÊ>˜Þʈ“>}iÃ]ʜÀʓ>˜‡“>`iʓ>ÀŽÃ]ÊVœ˜Ìˆ˜ÕœÕÏÞʏœœ«ˆ˜}Ê Ì…ÀœÕ}…Ê>Ê«ÀœiV̜À°Ê/…iʜ˜Þʘ>ÀÀ>̈Ûiʈ˜Ê̅ˆÃÊw“ˆVÊtabula rasa is the phenomenon œvÊ«ÀœiVÌi`ʏˆ}…ÌÊ>˜`Ê̅iÊ}À>`Õ>Ê>VVՓՏ>̈œ˜ÊœvÊ`ÕÃÌÊ>˜`ÊÃVÀ>ÌV…iÃÊ̅>ÌÊÌiÃÊ̅iÊ

STRUCTURAL FILM: DETRACTIONS AND REVISIONS

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ˆviÊÃ̜ÀÞʜvÊ>˜Êˆ˜`ˆÛˆ`Õ>ÊÃÌÀˆ«ÊœvÊViÕœˆ`°Êˆ`>Ê>˜`ʅˆÃÊ>VœÞÌiÃ]Ê̅i˜Ê>ÃʘœÜ]Ê`À>ÜÊ œ˜Ê̅iʈ˜`i݈V>Ê«Àœ«iÀ̈iÃʜvÊw“Ê>˜`ʈÌÃÊ>LˆˆÌÞÊ̜ÊÀi‡>˜ˆ“>ÌiÊ>˜Êˆ“«Àˆ˜ÌʜvÊ̅iÊÀi>ÆÊ Ì…iÞÊÀ>ÀiÞ]ʈvÊiÛiÀ]ÊÀiÜÀÌÊ̜ÊL>˜ŽÊw“°Ê˜Ê̅iÊÃ>“iÊÜ>ÞÊ̅>ÌÊ̅iʓ>ˆ˜ÃÌÀi>“Ê…>ÃÊ v>ˆi`Ê̜ÊVÀi>ÌiÊVœ“«Ài…i˜ÃˆÛiÞÊVœ“«ˆ>˜ÌÊ>Õ`ˆi˜ViÃ]ʓ>ˆ˜Ì>ˆ˜ˆ˜}ʜ«Ìˆ“ՓʏiÛiÃÊ œvʈ““iÀȜ˜Êˆ˜Ê̅iʈÕȜ˜ˆÃ“ÊœvÊw“]ʈ`>ÊVœÕ`ÊÀi}ˆ“i˜ÌʘiˆÌ…iÀʅˆ“ÃivʘœÀʅˆÃÊ >Õ`ˆi˜ViÃʈ˜ÌœÊ>ÊÃi“>˜ÌˆVÊÛ>VÕՓ°Ê iˆÌ…iÀÊVœÕ`ʅiÊ}Õ>À>˜ÌiiÊ̅iÊ`iÈÀi`ʼ«œˆÌˆV>½ÊÀi뜘ÃiÃʘœÀÊ«ÀiÛi˜ÌÊëiVÌ>̜ÀÃÊvÀœ“ʘ>ÀÀ>̈ۈȘ}]Ê>˜`ʈ˜`ii`Êi˜œÞˆ˜}ʅˆÃÊ ˆ˜>`ÛiÀÌi˜ÌÞʏÞÀˆV>ÊܜÀŽÃ°Ê¼ ˆvwVՏ̽]ÊiÜÌiÀˆVÊw“ÃÊ>ÀiÊ`ÀˆÛi˜ÊLÞÊ>ÊÕ̜«ˆ>˜Ê`iÈÀiÊÌœÊ «Àœ“œÌiÊVÀˆÌˆV>ˆÌÞʈ˜Ê̅iˆÀÊ>Õ`ˆi˜ViÃÊ>˜`ÊÃ̈“Տ>ÌiÊ«œˆÌˆV>Ê>V̈œ˜]ʈ˜Ê̅ˆÃÊV>ÃiÊLÞÊ “i>˜ÃʜvÊ̅iÊ>ÌÌi“«Ìi`Ê܈̅`À>Ü>ÊœvÊۈÃÕ>Ê>˜`ʘ>ÀÀ>̈ÛiÊ«i>ÃÕÀiðʘʫÀ>V̈Vi]Ê the anticipated political awakening rarely occurred beyond the already converted ܈̅ˆ˜ÊiÝ«iÀˆ“i˜Ì>ÊVˆÀViÃ]Ê>˜`Ê}i˜iÀ>Ê>Õ`ˆi˜ViÃÊÜiÀiÊȓ«ÞÊL>vyi`ÊLÞÊ܅>ÌÊ̅iÞÊ Ã>ܰʘÊ>``ˆÌˆœ˜]ʈÌÊVœÕ`ÊL>VŽwÀi°ÊÊÃÕëiVÌÊ̅>Ì]ʈ˜Ê̅iÊ£™ÇäÃ]ÊÊÜ>ÃʘœÌÊ>œ˜iʈ˜Ê ÃiiŽˆ˜}ÊÀiˆivÊvÀœ“ÊiÝ«iÀˆ“i˜Ì>Êw“Êv>̈}ÕiÊ>˜`ÊÀiÌÀi>̈˜}ʈ˜ÌœÊ¼ˆ`iœœ}ˆV>½ÊiÃV>«ist fare on TV to recover from the dictatorship of those long sessions of avant-garde Ãiv‡ˆ“«ÀœÛi“i˜Ì°Ê /…ˆÃ]Ê Ê >ÃÃՓi]Ê Ü>ÃÊ ˜œÌÊ >Ê `iÈÀ>LiÊ Ã«iVÌ>̜Àˆ>Ê œÕÌVœ“iÊ vÀœ“Ê ̅iÊ«iÀëiV̈ÛiʜvÊ̅iÊÃÌÀÕVÌÕÀ>É“>ÌiÀˆ>ˆÃÌÊ«ÀœiVÌ°Ê "̅iÀÊ œLiV̈œ˜ÃÊ …>ÛiÊ Lii˜Ê À>ˆÃi`Ê ˆ˜Ê Ài>̈œ˜Ê ÌœÊ “>ÌiÀˆ>ˆÃÌÊ w“°Ê œÌÊ œ˜ÞÊ …>ÃÊ ˆÌÊLii˜ÊVœ˜w}ÕÀi`]Ê>ÃÊ*iÀÀÞÊÃÕ}}iÃÌÃÊ>LœÛi]ʈ˜Ê«ÕÀˆÌ>˜ˆV>ÊÌiÀ“Ã]Ê܈̅Ê>Ê«ÀœÃVÀˆ«ÌˆÛiÊ>}i˜`>ÊVœ“«iÌiÊ܈̅Ê>ʏœ˜}ʏˆÃÌʜvÊ«Àœ…ˆLˆÌˆœ˜Ã]ÊLÕÌʈÌʅ>ÃÊ>ÃœÊLii˜Ê>VVÕÃi`Ê œvÊVÀi>̈˜}ÊvœÀ“Տ>ˆVʅœÕÃiÊÃÌޏiÃÊ܈̅Ê>Ê܅ˆvvʜvÊiˆÌˆÃ“°Ê
VVœÀ`ˆ˜}ÊÌœÊ œlÊ >ÀÀœ]Ê Ì…iÊ Ãœ“ï“iÇvïňÃ̈VÊ i“LÀ>ViÊ œvÊ w“½ÃÊ “>ÌiÀˆ>Ê L>Ãi]Ê >˜Ê œVVÕ«>̈œ˜>Ê …>â>À`ʈ˜Ê̅iÊÃi>ÀV…ÊvœÀʈÌÃʈ˜˜iÀʘ>ÌÕÀi]ʅ>ÃÊÀiÃՏÌi`ʈ˜Ê>ÊÌi˜`i˜VÞÊ>“œ˜}ʓœ`iÀ˜ˆÃÌÊ >À̈ÃÌÃÊ̜ʈ܏>ÌiÊ>Ê}ˆÛi˜Ê>ÌÌÀˆLÕÌiʜvÊ>ʓi`ˆÕ“]ʜ˜iÊ>“œ˜}ʓ>˜ÞÊ«œÃÈLiÊV…>À>VÌiÀˆÃ̈VÃ]Ê>˜`ÊV>ˆ“ʈÌÊ>ÃÊi“Li“>̈VʜvÊ>Ê܅œiÊ«À>V̈Vi]Ê̅iÀiLÞÊiÝVÕ`ˆ˜}Ê>˜Þʜ̅iÀÊ >««Àœ>V…°Ê7…i˜ÊvœÀ“Ê…>ÃÊLiVœ“iÊVœ˜Ìi˜Ì]Ê̅iÊ`ˆÃVœÛiÀÞʼ̅>ÌÊ̅iÃiÊ̅ˆ˜}Ãʅ>ÛiÊ>Ê ˜>ÌÕÀi½Ê>ÃœÊÀiÃՏÌÃʈ˜Ê¼Ì…>Ìʘ>ÌÕÀiÊ>VÌÕ>ÞÊÌiQˆ˜}RÊޜÕʜÀÊiÛi˜Ê`ˆVÌ>ÌQˆ˜}RÊ̜ÊޜÕÊ what you should and should not do’.15 Carroll argued that what makes a medium significant is not the molecular or electronic infrastructure that gives it its character qÊ̅iÊۈÃVœÃˆÌÞʜvÊ«>ˆ˜Ì]Ê̅iÊ܏ˆ`ˆÌÞʜvÊܜœ`]Ê̅iÊV…i“ˆV>Ê“ˆÀ>Viʜvʏˆ}…̇Ãi˜ÃˆÌˆÛiÊ celluloid or magnetised tape – but the uses to which artists put the materials at their disposal.16 À>…>“iÊ7iˆ˜LÀi˜Ê…>ÃÊVœ˜Ìi˜`i`Ê̅>Ìʈ˜Ê…ˆÃÊÀˆV…ÞÊ«ÀœViÃÃi`Ê>˜`ʓՏ̈‡>ÞiÀi`]Ê ˜œ˜‡˜>ÀÀ>̈ÛiÊܜÀŽÃ]Ê*>ÌÊ"½ iˆÊ>V…ˆiÛiÃÊ̅iÊw“ˆVÊiµÕˆÛ>i˜ÌʜvʼÕÝÕÀˆœÕÃʅÞLÀˆ`Ê Ì…ˆVŽiÌýÊ>˜`ÊvÕÀ̅iÀ]Ê̅>Ìʈ˜Ê…ˆÃÊV>Ãi]ʼpictorial density is invariably the result of a conceptual density’.17 This is indeed the case in his ingenious Foregrounds (1979) in ܅ˆV…Ê>ÊVœÃiÊիʜvÊ>Êw“‡ÃÌÀˆ«Ê…>˜}ˆ˜}ÊvÀœ“Ê>ÊÌÀiiÊLiVœ“iÃÊ>ÊÃVÀii˜]Ê>˜`ÊvœœÌ>}iÊ œvÊ>ÊÃi>È`iʏ>˜`ÃV>«iÊÀ>Ì̏iÃÊ̅ÀœÕ}…Ê̅iÊvÀ>“iðÊiÃÃÊÜ]ÊÊܜՏ`Ê>À}Õi]ʈ˜ÊܜÀŽÃÊ `œ“ˆ˜>Ìi`ÊLÞÊii}>˜ÌÊ>˜`ÊÛiÀÞÊVœ“«iÝÊۈÃÕ>ÊÀi«ÀœViÃȘ}ʜvÊLœÌ…ÊÃiv‡}i˜iÀ>Ìed and found footage. There are interesting arguments to be made for the value of

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Pat O’Neill, Foregrounds (1979). Courtesy of the artist. © Pat O’Neill.

>LÃÌÀ>V̈œ˜Êˆ˜Ê̅iÊVœ˜Ìi“«œÀ>ÀÞÊwi`]ÊܓiʜvÊ܅ˆV…Êʅ>ÛiÊÀi…i>ÀÃi`ʈ˜Ê̅iÊ«Àiۈous chapter and to which we can add the view that non-representational art resists ̅iÊVœ““œ`ˆwV>̈œ˜Ê>˜`ÊVœ““iÀVˆ>ÊiÝ«œˆÌ>̈œ˜Êœvʼœ}œVi˜ÌÀˆV½Êw}ÕÀ>̈œ˜°Ê-œ“iÊ have argued that it reflects the profound underlying structures in nature and in the brain.18Ê œÜiÛiÀ]Ê ˆ˜Ê ̅iÊ Vœ˜ÌiÝÌÊ œvÊ Ì…iÊ >ÌiÊ £™ÈäÃ]Ê £™ÇäÃÊ >˜`Ê £™näÃ]Ê Ì…iÊ `i˜ÃiÀÊ optical confections in both abstract film and video had a tendency to dissolve pictoÀˆ>Ê>˜`ÊVœ˜Vi«ÌÕ>Ê`i˜ÃˆÌÞʈ˜ÌœÊ՘`ˆvviÀi˜Ìˆ>Ìi`ÊÃÕÀv>ViÊ`iVœÀ>̈œ˜]Ê>˜`ʈÌʈÃÊ̅ˆÃÊ aspect of the avant-garde that has proved so vulnerable to re-appropriation by the “>ˆ˜ÃÌÀi>“°ÊœÞܜœ`Êw“]Ê>Ài>`ÞÊ>`i«ÌÊ>ÌÊiÝ«œˆÌˆ˜}ÊÃiv‡Àiyi݈ÛiÊii“i˜ÌÃÊÌœÊ i˜…>˜ViʈÌÃʘ>ÀÀ>̈ÛiÊ̅ÀÕÃÌ]ʅ>ÃÊ>`œ«Ìi`Ê>˜ÞʘՓLiÀʜvʼ>Û>˜Ì‡}>À`i½Ê`iۈViÃ]ÊvÀœ“Ê >LÃÌÀ>V̈œ˜]Ê̅ÀœÕ}…ÊœÃVˆ>̈˜}Ê«œˆ˜ÌÃʜvÊvœVÕÃÊ>˜`ʅ>˜`…i`ʼÃÕLiV̈Ûi½ÊV>“iÀ>]ÊÌœÊ pictorial and temporal fragmentation. Television and music videos have consumed ̅iÊÀiÃÌÊ>˜`Ê>ÃÊ"½ iˆÊ…ˆ“ÃivÊÀi“>ÀŽi`]ʼ܅>ÌÊV>˜ÊޜÕÊ`œÊ̅>ÌÊܜ˜½ÌÊiÛi˜ÌÕ>ÞÊLiÊ Ài`ˆ}iÃÌi`ʈ˜Ê̅>ÌÊÜ>Þ¶½19 I will return to the theme of re-appropriation by the mainstream of artist’s for“>Ê ˆ˜˜œÛ>̈œ˜ÃÊ ˆ˜Ê ̅iÊ Vœ˜ÌiÝÌÊ œvÊ Ûˆ`iœÊ >ÀÌ]Ê LÕÌÊ Ü…>ÌÊ Ê ÜˆÃ…Ê ÌœÊ i“«…>ÈÃiÊ …iÀiÊ ˆÃÊ Ì…>ÌÊ̅iʓ>ˆ˜ÃÌÀi>“ÊV>˜˜œÌʅœ«iÊ̜ÊiÝiÀÌÊ̜Ì>ÊVœ˜ÌÀœÊœvÊëiVÌ>̜ÀÊÀi뜘ÃiÊ>˜ÞÊ “œÀiÊ̅>˜ÊÃÌÀÕVÌÕÀ>É“>ÌiÀˆ>ˆÃÌÊw“ÊV>˜ÊiˆVˆÌÊëiVˆwi`ÊÀi>V̈œ˜Ã]ʘi}>̈ÛiÞ]ÊLÞÊ blocking those habitually obtained in narrative film. If the somnolent spectator is less in need of rescuing from her narcotic consumption of the mainstream than was

STRUCTURAL FILM: DETRACTIONS AND REVISIONS

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ÃÕ««œÃi`]Ê >˜`Ê Ì…iÊ iÝ«iÀˆ“i˜Ì>Ê w“Ê >wVˆœ˜>`œÊ ˆÃÊ “œÀiÊ ÀiÈÃÌ>˜ÌÊ ÌœÊ >Ê “>ÌiÀˆ>ˆÃÌÊ reading of structural film that had been hoped by Gidal et al]Ê܅>ÌʏiÃܘÃÊV>˜ÊÜiÊ i>À˜ÊvÀœ“Ê̅iÊܜÀŽÊœvÊ>Û>˜Ì‡}>À`iÊw““>ŽiÀÃʜvÊ̅iÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞ¶Ê

THE ACHIEVEMENTS OF STRUCTURAL FILM ˜ÊëˆÌiʜvÊ̅iÊ>À}Փi˜ÌÃʜvʈÌÃÊ`iÌÀ>V̜ÀÃ]ʈ˜VÕ`ˆ˜}ʓÞʜܘ]Ê̅iÀiʈÃʘœÊ`œÕLÌÊ̅>ÌÊiÝ«iÀˆ“i˜Ì>Êw“ÊÜ>ÃÊÀi뜘ÈLiÊvœÀÊܓiÊiÝÌÀ>œÀ`ˆ˜>ÀÞÊvœÀ“>Ê`iÛiœ«“i˜ÌÃ]Ê܅>ÌÊ ,œ`Ê-̜˜i“>˜ÊV>i`ʈÌÃʼۈÃÕ>ÊVœ“«i˜Ã>̈œ˜Ã½°20Ê/…iÊiÀ>ʜvʼVœÕ˜ÌiÀÊVՏÌÕÀi½ÊLœÌ…Ê i˜ÀˆV…i`Ê>À̈ÃÌýÊw“Ê>˜`Êۈ`iœÊ>˜`ÊÀiۈÌ>ˆÃi`Ê̅iʓ>ˆ˜ÃÌÀi>“]Ê>˜`Ê>Ì…œÕ}…Ê“ÕV…Ê of the political impetus for early forms of deconstruction and abstraction was neutr>ˆÃi`ʈ˜ÊˆÌÃÊ«œ«Õ>Àʓi`ˆ>ʓ>˜ˆviÃÌ>̈œ˜]Ê̅iÊVœ˜Vi«ÌÕ>Êˆ˜Ìiˆ}i˜Vi]ÊÌiV…˜œœ}ˆV>Ê ˆ˜˜œÛ>̈œ˜]Ê܈ÌÊ>˜`ÊÅiiÀʈ˜Ûi˜ÌˆÛi˜iÃÃʏ>À}iÞÊÃÕÀۈÛi`Ê̅iÊÌÀ>˜ÃˆÌˆœ˜°Ê"˜iÊÃÌÀˆŽˆ˜}Ê iÝ>“«iÊ܈ÊÃÕvwVi°Ê˜Ê£™nä]Ê܅ˆiÊÃ̈Ê>ÊÃÌÕ`i˜ÌÊ>ÌÊ >̅Ê
V>`i“Þ]Ê/ˆ“Ê>V“ˆ>˜Ê developed a time-slice technique partly inspired by Eadweard Muybridge’s pioneerˆ˜}ÊܜÀŽÊ܈̅ʓՏ̈«iÊÃ̈ÊV>“iÀ>Ãʈ˜Ê̅iÊ£nnäÃÊ>˜`Ê«>À̏ÞÊLÞÊ/œ˜Þʈ½ÃʼÃ>ÌiˆÌiÊ VÀ>˜i½]Ê>ÊÛiÀ̈}ˆ˜œÕÃÊÀœÌ>̈˜}ÊV>“iÀ>ÊÀˆ}ʅiÊVœ˜ÃÌÀÕVÌi`ʈ˜Ê̅iÊ£™näð 21 Macmillan shot an action or event from multiple viewpoints and then stitched the sequences together in post-production. What began as an attempt to render Cubist visualis䜘ÃʜvÊë>Viʜ˜Êw“]Êi˜`i`ʈ˜Ê>ÊÌiV…˜ˆV>Êtour de force]ʼ>ÊÌÀ>VŽˆ˜}ÊŜÌÊ̅ÀœÕ}…Ê space’.22Ê6ˆiÜiÀÃÊÜiÀiÊVœ˜vÀœ˜Ìi`Ê܈̅Ê̅iÊëiVÌ>ViʜvÊ>ÊvÀœâi˜Ê“œ“i˜Ì]ʈ˜Ê܅ˆV…Ê œLiVÌÃ]Ê«iœ«iÊ>˜`]ʓi“œÀ>LÞ]Ê>ʅœÀÃiÊ>ÌÊ̅iÊ«œˆ˜ÌʜvÊ`i>̅Ê>««i>Ài`Ê̜ʅœÛiÀ]Ê ˆ““œLˆˆÃi`ʈ˜Ê“ˆ`‡>ˆÀÊ܅ˆiÊ̅iÊV>“iÀ>Êyœ>Ìi`Ê>ÀœÕ˜`Ê̅iÊÃÕLiVÌÊ>vvœÀ`ˆ˜}ÊÕÃÊ>Ê Ìˆ“iiÃÃ]ÊViiÃ̈>Ê«iÀëiV̈ÛiÊvÀœ“Ê܅ˆV…Ê̜ÊVœ˜Ìi“«>ÌiÊ̅iÊۈVˆÃÈÌÕ`iÃʜvÊ̅iʅÕman and animal condition. Macmillan eventually sold his time-slice technique and it can now be seen sustaining a different agenda in commercials ranging from Centre *>ÀŽÃ]Ê̅ÀœÕ}…Ê ˆÀ`ÃÊ ÞiÊ̜Ê/œÃ…ˆL>°Êi>˜Ü…ˆiÊ̅iÊܜÀŽˆ˜}Ê«ÀœViÃÃiÃÊ>V“ˆ>˜Ê `iÛiœ«i`ʅ>ÛiÊ}œ˜iÊvՏÊVˆÀViÊ>˜`ÊÀiÌÕÀ˜i`Ê̜ÊÃiÀÛiÊ̅iÊëiVՏ>̈ÛiÊ«œïVÃʜvÊ>ÀÌ]Ê achieving even greater technical refinement in the work of contemporary practitioners such as David Claerbout in Belgium and Daniel Crooks in Australia. Nicky Hamlyn has argued that structural film inaugurated a programme of inÛiÃ̈}>̈œ˜ÃÊ ˆ˜ÌœÊ ¼«iÀVi«Ìˆœ˜]Ê iÝ«œÀˆ˜}Ê Ì…iÊ …Õ“>˜Ê iÞi]Ê Ì…iÊ iÝ«iÀˆi˜ViÊ œvÊ Ìˆ“iÊ >˜`Ê “œÛi“i˜ÌÊ >˜`Ê Ì…iˆÀÊ Vœ“«iÝÊ Ài>̈œ˜Ã…ˆ«Ê ÌœÊ w“Ê ÌiV…˜œœ}Þ½°23Ê ˜`ii`]Ê -Ì>˜Ê À>Ž…>}iÊ Vœ˜ViˆÛi`Ê œvÊ …ˆÃÊ ¼«ÃÞV…œ‡`À>“>Ã½Ê >ÃÊ >˜>œ}ÕiÃÊ œvÊ Ì…iÊ «iÀVi«ÌÕ>Ê «ÀœViÃÃiÃÊ̅>ÌÊ̅iÊvÀ>VÌÕÀi`ÊۈȜ˜ÃʜvÊ ÕLˆÃ“Ê…>`ÊwÀÃÌÊ>ÌÌi“«Ìi`Ê̜ÊiۜŽiʈ˜Ê«>ˆ˜Ìˆ˜}]Ê Vœ>}iÊ >˜`Ê ÃVՏ«ÌÕÀi°Ê ˜Ê À>Ž…>}i½ÃÊ w“Ã]Ê >ÃÊ ˆ˜Ê ̅œÃiÊ œvÊ LœÌ…Ê >ÀˆiÊ i˜Ži˜Ê >˜`Ê œ˜>ÃÊiŽ>Ã]Ê>LÀÕ«ÌÊV…>˜}iÃʜvÊ«œˆ˜ÌʜvÊۈiÜ]Ê>}ˆÌ>Ìi`ÊV>“iÀ>ܜÀŽÊ>˜`ÊÃÌ>VV>ÌœÊ editing mimic the saccades of the eye as it darts about the visual field. As suggested >LœÛi]Ê Ì…iÊ `ˆÃVœ˜˜iVÌi`Ê ÃÕVViÃȜ˜Ê œvÊ ˆ“«ÀiÃȜ˜ÃÊ Ì…>ÌÊ V…>À>VÌiÀˆÃiÊ ÃÌÀÕVÌÕÀ>Ê

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w“Ê>ÃœÊiۜŽiÃÊ̅iʓ>v՘V̈œ˜ˆ˜}ʜvÊ̅iÊÃi˜ÃiÃ]Ê̅iÊVœ}˜ˆÌˆÛiʈ“«>ˆÀ“i˜Ìʜvʈ˜ÕÀÞÊ >˜`ʜ`Ê>}i]Ê>ÃÊÜiÊ>ÃÊ̅iÊ>˜>ÀV…ˆVʓ>Ňիʜvʓi“œÀˆiÃ]Êvi>ÀÃÊ>˜`Ê܈ŇvՏw“i˜ÌÊ that dominate our dream world. The many points of intersection between perception and the apprehension of film were investigated in these early years and as À>Ž…>}iÊ«œˆ˜Ìi`ʜÕÌ]ʈÌʈÃÊ̅iÊVœ}˜ˆÌˆÛiÊ«ÀœViÃȘ}ʜvÊۈÃÕ>Êˆ˜vœÀ“>̈œ˜Ê̅>ÌÊVÀi>ÌiÃÊ̅iʈÕȜ˜ÊœvÊ>ÊӜœÌ…Ê«>˜Ê>VÀœÃÃÊ>ʅœÀˆâœ˜]Ê>Êv՘V̈œ˜ÊœvÊ̅iÊLÀ>ˆ˜Ê̅>ÌÊw“Ê …>ÃÊÜÊÃÕVViÃÃvՏÞÊiÝ«œˆÌi`°Ê˜ÛiÃ̈}>̈œ˜ÃʜvÊëiVÌ>̜Àň«Ê>ÀˆÃˆ˜}ÊvÀœ“Ê̅iÊiÝperimental phase of artists’ moving image are also precursors to studies measuring ̅iÊivviVÌÃʜvÊVœ˜Vi˜ÌÀ>Ìi`]ʏœ˜}‡ÌiÀ“ÊiÝ«œÃÕÀiÊ̜ÊÃVÀii˜Êˆ˜vœÀ“>̈œ˜Ê>˜`Ê̅iÞÊV>˜Ê help us consider aspects of spectatorship that arise when we encounter the moving ˆ“>}iʈ˜Ê̅iÊVœ˜ÌiÝÌʜvʈ˜ÃÌ>>̈œ˜°Ê7iÊ܈ÊÀiÌÕÀ˜Ê̜Ê̅ˆÃÊ̅i“iʈ˜ÊV…>«ÌiÀÊÌÜiÛiÊ where we will consider issues of film spectatorship illuminated by recent research in cognitive science.

THE SECOND GENERATION AND BEYOND ˜Ê̅iÊ£™näÃ]Ê̅iÊ ÀˆÌˆÃ…ÊÃÌÀÕVÌÕÀ>Ê«ÀœiVÌÊë>ܘi`Ê>ÊÃiVœ˜`‡}i˜iÀ>̈œ˜ÊœvÊw““>ŽiÀÃÊ܅œÊÃÌi««i`ÊL>VŽÊvÀœ“Ê̅iʓœÀiÊiÝÌÀi“iÊ>˜Ìˆ‡˜>ÀÀ>̈ÛiÊ`œVÌÀˆ˜iÊV…>“«ˆœ˜i`Ê LÞÊ*iÌiÀʈ`>]Ê>˜`Ê̜Ê>ʏiÃÃiÀÊ`i}Àii]ÊLÞÊ
˜˜>LiÊ ˆVœÃœ˜Ê>˜`Ê>Vœ“ÊiÊÀˆVi°Ê Artists now combined an engagement with identity politics and a constellation of soVˆ>ÊVœ˜ViÀ˜ÃÊ܈̅Ê>ʘiÜÊÃi˜ÃœÀˆÕ“ÊœvÊw“Ê̅>Ìʈ˜VÕ`i`Ê̅iÊiVÃÌ>̈VÊ­ ˆ˜>Ê >˜ˆ˜œ®]Ê Ì…iÊ>vviV̈ÛiÊi˜}>}i“i˜ÌÊ܈̅ÊVՏÌÕÀ>ÊˆVœ˜ÃÊ­i>˜Ê>Ì̅ii®Ê>˜`Ê>Ê«œïVÃʜvʓi“œÀÞÊ>˜`ʈ`i˜ÌˆÌÞÊ­ˆV…>iÊ>âˆmÀi]Ê->À>…Ê*ÕVˆ®°Ê/…iÊ>V>`i“ˆVˆÃ“ÊœvÊÃÌÀÕVÌÕÀ>Êw“Ê iÝ«>˜`i`Ê̜Ê>ÊLÀœ>`iÀÊvœÀ“ÊœvÊ`ˆÃVÕÀÈÛiÊÜÀˆÌˆ˜}]Ê>««i>Àˆ˜}Ê«Àˆ˜Vˆ«>Þʈ˜Ê̅iÊ«>}iÃÊ œvÊ̅iʍœÕÀ˜>ÊUndercutÊ­£™näq™ä®]Ê>ÊÀiÃi>ÀV…Ê>V̈ۈÌÞÊ̅>ÌÊÜ>ÃÊ՘`iÀÃ̜œ`Ê̜ÊVœ˜stitute a critical component of the filmmakers’ practice. In an introductory essay to The Undercut ReaderÊ­Óääή]Ê >˜ˆ˜œÊ«œÃˆÌi`Ê̅iʘœÌˆœ˜ÊœvÊ̅iÊ>À̈ÃÌÊ>ÃÊ>˜Ê¼ˆ˜Ìi˜ÃiÊ ÃÕLiV̽ÊÃÌÀÕ}}ˆ˜}Ê̜Êw˜`Ê>Êw“ˆVÊvœÀ“ʈ˜Ê܅ˆV…Ê̜ʼëi>ŽÊˆÌÃiv½° 24 In the same public䜘]ʈV…>iÊ"½*À>ÞÊVœ˜Vi`i`Ê̅>ÌÊ̅iÊi˜ˆ}“>̈VÊܜÀŽˆ˜}ÃʜvÊ̅iÊ՘Vœ˜ÃVˆœÕÃÊÜiÀiÊ also at play in our relationship to film25Ê>˜`Ê>âˆiÀi]ÊvœÀʅˆÃÊ«>ÀÌ]Ê>`ۜV>Ìi`Ê>ʼ«œïVÊi“«ˆÀˆVˆÃ“½Ê̅>Ì]ÊvœœÜˆ˜}Ê-«ˆ˜œâ>]Ê>ÃœÊˆ˜VœÀ«œÀ>ÌiÃʈ˜ÌՈ̈ÛiÊ՘`iÀÃÌ>˜`ˆ˜}°Ê
Ì…œÕ}…Ê̅iÃiÊw““>ŽiÀÃÊÀiiVÌi`Ê̅iÊvœÀ“>Ê«Àœ…ˆLˆÌˆœ˜ÃʜvÊÃÌÀÕVÌÕÀ>É“>ÌiÀˆ>ˆÃÌÊ w“Ê qÊ Ã̜ÀÞÌiˆ˜}]Ê «ˆV̜Àˆ>ˆÃ“]Ê ÞÀˆVˆÃ“Ê >˜`Ê iÛi˜Ê ܘ}Ê ÜiÀiÊ Àiˆ˜ÌÀœ`ÕVi`Ê qÊ Ì…iÞÊ ˜œ˜i̅iiÃÃÊÀiÌ>ˆ˜i`Ê̅iÊVi˜ÌÀ>ÊiÃܘʜvÊ̅iÊ«ˆœ˜iiÀˆ˜}Ê}i˜iÀ>̈œ˜]ʘ>“iÞÊ̅>ÌÊ >˜}Õ>}iÊV>˜˜œÌÊLiÊVœÕ˜Ìi`ʜ˜Ê>ÃÊ>ʘiÕÌÀ>ÊÛi…ˆViÊvœÀÊ̅iÊ՘“i`ˆ>Ìi`ÊiÝ«ÀiÃȜ˜Ê of artists’ creative enterprise. Film and its television and online manifestations are >`i˜Ê܈̅ʫÀiVi`i˜ÌÊ`iÀˆÛi`ʓ>ˆ˜ÞÊvÀœ“Ê̅iʅˆÃ̜ÀÞʜvÊVˆ˜i“>]ÊLÕÌÊ>ÃœÊvÀœ“Ê«>ˆ˜Ìˆ˜}]Ê«…œÌœ}À>«…ÞÊ>˜`Ê>`ÛiÀ̈Ș}°Ê*Ài‡`iÌiÀ“ˆ˜i`ʓi>˜ˆ˜}ÃÊ>Àiʈ˜`iˆLÞʈ˜ÃVÀˆLi`Ê on the bodies of all who appear onscreen and without any strategies to undermine

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̅iÊ«ÀœViÃÃ]Ê̅iÞÊ܈Êi“Lœ`ÞÊVœ˜Ûi˜Ìˆœ˜>ÊÀi>`ˆ˜}Ãʜvʓ>ÃVՏˆ˜ˆÌÞÊ>˜`Êvi“ˆ˜ˆ˜ˆÌÞ]Ê ÃiÝÕ>ÊœÀˆi˜Ì>̈œ˜]Êi̅˜ˆVˆÌÞʜÀʼvœÀiˆ}˜˜iÃýÊ>˜`ÊiÛiÀÞʜ̅iÀÊ«iÀ“ÕÌ>̈œ˜ÊœvʅՓ>˜Ê ÌÞ«œœ}ˆiðÊ/…iʓ>ÀŽiÀÃʜvÊ`ÀiÃÃ]ÊëiiV…Ê>˜`Ê}iÃÌÕÀi]ÊiÃÌ>LˆÃ…Ê̅iÊV>ÃÃʜvÊ>ÊÃÕLiVÌÊ Vœ˜ÕÀˆ˜}Ê >ÃÜVˆ>̈œ˜ÃÊ À>˜}ˆ˜}Ê vÀœ“Ê ̅iÊ >Õ̅œÀˆÌÞÊ œvÊ Ì…iÊ iÝ«iÀÌ]Ê Ì…ÀœÕ}…Ê ̅iÊ ˆ˜…iÀˆÌi`Ê«ÀˆÛˆi}iÃʜvÊ̅iʼ̜vv½Ê̜Ê̅iʈ}˜œ“ˆ˜ÞʜvÊ̅iÊۈˆwi`ʼLi˜iwÌÊÃVÀœÕ˜}iÀ½° 26

>V…Ê}ÀœÕ«ÊˆÃÊwÝi`ʈ˜ÌœÊˆÌÃÊÀi>̈ÛiÊ«œÃˆÌˆœ˜Êˆ˜Ê̅iÊÜVˆ>ÊœÀ`iÀ]ÊV>Ìi}œÀˆiÃÊ̅>Ìʅ>ÛiÊ proved remarkably resilient in spite of the social mobility inaugurated by the radicalism of the 1960s. The second generation of Co-op filmmakers understood that film is a loaded “i`ˆÕ“]Ê Vœ˜ÌÀœi`Ê LÞÊ Ì…iÊ ˆ˜Ã̈ÌṎœ˜ÃÊ Ì…>ÌÊ “>ŽiÊ ˆÌÊ >Û>ˆ>LiÊ ÌœÊ Ì…iÊ «ÕLˆV]Ê >˜`Ê that only a careful negotiation of its forms and conventions can avoid unwitting iÝ«ÀiÃȜ˜]Ê ˆ˜Ê ̅iˆÀÊ œÜ˜Ê ܜÀŽ]Ê œvÊ “i>˜ˆ˜}ÃÊ Ì…>ÌÊ ÜiÀiÊ Vœ˜ÌÀ>ÀÞÊ ÌœÊ Ì…œÃiÊ Ì…iÞÊ ˆ˜Ìi˜`i`]ÊÀiˆ˜vœÀVˆ˜}ʈ`iœœ}ˆiÃÊ̜Ê܅ˆV…Ê̅iÞÊ`ˆ`ʘœÌÊÃÕLÃVÀˆLi°ÊÊvi>ÀÊ̅ˆÃʈÃÊ>ʏiÃÜ˜Ê that has been largely forgotten in the contemporary field where we witness what ˆŽiÊ Õ˜vœÀ`ʅ>ÃÊ`iÈ}˜>Ìi`ʼ̅iÊÀÕÅÊL>VŽÊ̜Ê՘ÀiyiV̈ÛiÊÀi«ÀiÃi˜Ì>̈œ˜½°27 The «œÃ̓œ`iÀ˜Ê>}iÊÃ>ÜÊ̅iÊ܅œiÃ>iÊÀiVÞVˆ˜}ʜvÊ`œ“ˆ˜>˜ÌÊw“ˆVÊvœÀ“Ã]ÊLœÀÀœÜˆ˜}Ê ˆLiÀ>ÞÊvÀœ“ÊVœ“i`ˆiÃ]ÊÌÀ>}i`ˆiÃ]Ê}>“iÊŜÜÃÊ>˜`ʼv>VÌÕ>½ÊÀi«œÀÌ>}i]Ê>ÃÊÜiÊ>ÃÊ “ˆ˜ˆ˜}Ê̅iʅˆÃ̜ÀÞʜvʓ>ˆ˜ÃÌÀi>“Êw“]ÊÃÌÀ>Ìi}ˆiÃÊ̅>Ìʅ>ÛiÊVœ˜Ìˆ˜Õi`Ê՘V…iVŽi`Ê into the new millennium. The loss of critical attention to form has given rise to a concomitant impoverishment of political engagement and an insistence on ethical ˜iÕÌÀ>ˆÌÞ°Ê
Ì…œÕ}…ʈ˜ÊܓiʜvʅiÀÊÀiVi˜ÌÊܜÀŽÊ,œÃ>ˆ˜`Ê >Å>ňLˆÊ…>ÃÊiÝ«œÀi`Ê Ì…iÊ ÃÌÀÕVÌÕÀiÃÊ œvÊ Ì…iÊ }>âi]Ê Ã…iÊ `iV>Ài`Ê >ÌÊ >Ê ÀiVi˜ÌÊ ÃVÀii˜ˆ˜}Ê œvÊ …iÀÊ w“Ê Carlo’s VisionÊ­Ó䣣®Ê̅>Ìʼ̅iÀiʈÃʘœÊ“œÀ>ÊVœ`iÊ̜Ê̅iÊw“½] 28 thereby disavowing some of the deeper resonances of her own practice.
vÌiÀÊ̅iʈ˜iۈÌ>LiÊL>VŽ>ÅÊ>}>ˆ˜ÃÌÊ̅iÊÃÌÀˆVÌÕÀiÃʈ“«œÃi`ÊLÞÊ̅iÊÃÌÀÕVÌÕÀ>É “>ÌiÀˆ>ˆÃÌÊÀi}ˆ“i]Ê̅iÀiʈÃʘœÜÊiۈ`i˜ViʜvÊ>ÊVÀˆÌˆV>ÊÀi‡>ÃÃiÃÓi˜ÌʜvÊܜÀŽÃÊLÞÊ ˆ˜`ˆÛˆ`Õ>Êw““>ŽiÀÃ]ʘœÌʏi>ÃÌʈ˜Ê̅iÊ«>}iÃʜvÊ>V>`i“ˆVÊ«ÕLˆV>̈œ˜ÃÊÃÕV…Ê>ÃÊ̅iÊ Millennium Film Journal in the USA and MIRAJʈ˜Ê̅iÊ1°ÊœÜiÛiÀ]Ê܅>ÌÊÃÕÀۈÛiÃʜvÊ Ì…iÊÃÌÀÕVÌÕÀ>Ê«ÀœiVÌʈ˜ÊVœ˜Ìi“«œÀ>ÀÞÊ«À>V̈ViÊ̜œÊœvÌi˜ÊÀiۜÛiÃÊ>ÀœÕ˜`Ê̅iÊۈÃÕ>Ê style of the era rather than a revision of the deeper concerns of the deconstructive programme and few artists have publicly embraced the radical politics that under«ˆ˜˜i`Ê̅iÊܜÀŽÊœvÊw““>ŽiÀÃʈ˜Ê̅iÊ£™ÇäðÊœÜiÛiÀ]ʈ“«œÀÌ>˜ÌÊiÝVi«Ìˆœ˜ÃÊV>˜ÊLiÊ found in the practices of artists such as Shirin Neshat whose non-narrative film installations directly address the social position of women within Islamic culture. A socialist strand can be found in works by Uriel Orlow who engages with a politics of place. In Sounds from Beneathʭ܈̅ʈŽ…>ˆÊ>ÀˆŽˆÃ]ÊÓä£äq£Ó®Ê…iÊVœ˜Ûi˜i`Ê̅iÊ -˜œÜ`œÜ˜Ê œˆiÀÞÊ >iÊ 6œˆViÊ …œˆÀÊ >ÌÊ Ì…iÊ ÃˆÌiÊ œvÊ >˜Ê >L>˜`œ˜i`Ê VœˆiÀÞÊ ˆ˜Ê i˜Ì°Ê />Žˆ˜}ÊÕ«Ê̅iÊvœÀ“>̈œ˜ÊœvÊ>Ê«ˆVŽiÌʏˆ˜i]Ê̅iÊȘ}iÀÃʼÀiÃÕÃVˆÌ>Ìi`Ê̅iʓˆ˜iÃÊۜV>Þ½]Ê>ÀÀ>˜}ˆ˜}Ê̅iÊÜ՘`ÃʜvÊ>ÊܜÀŽˆ˜}Ê«ˆÌʈ˜ÌœÊ>ÊVœ““Õ˜>Ê>“i˜Ì°Ê/°Ê°Ê i“œÃʅ>ÃÊ ˆ`i˜Ìˆwi`Ê>Ê}ÀœÕ«ÊœvÊVœ“«>À>LiÊVœ˜Ìi“«œÀ>ÀÞÊ>À̈ÃÌÃʈ˜VÕ`ˆ˜}ÊÀˆ˜>Ê …ˆ“ˆ]Ê-Ûi˜Ê

138

INSTALLATION AND THE MOVING IMAGE

Mikhail Karikis and Uriel Orlow, Sounds from Beneath (2010–2011). Sound and video, 6:49 min. Courtesy of the artists.


Õ}ÕÃ̈˜i˜Ê>˜`Ê-ÌiÛiÊV+Õii˜Ê܅œÊi˜}>}iÊ܈̅ʫœÃÌVœœ˜ˆ>Ê}iœ«œˆÌˆVÃÊ>˜`ÊÃÕLiV̈ۈÌÞ°29 Yet most of these works are organised around a revision of evidentiary documentary practices and the rigorous analysis of cinematic language that dis̈˜}ՈÅi`ÊÃÌÀÕVÌÕÀ>É“>ÌiÀˆ>ˆÃ“ʈÃʏ>À}iÞÊ>LÃi˜ÌÆÊvœÀÊ>ÀŽÊi܈Ã]ÊVœ˜Ìi“«œÀ>ÀÞÊ ÜœÀŽÃʏ>VŽÊ̅iÊ>LˆˆÌÞÊ̜ʼ“>ŽiʓiÊ̅ˆ˜ŽÊ>LœÕÌÊ܅>ÌʈÌʓi>˜ÃÊ̜ÊÌ>ŽiÊ>Ê«ˆVÌÕÀiʜvÊ something today’.30Ê7…ˆiÊ̅iÀiÊ>ÀiÊVœ˜Ìi“«œÀ>ÀÞÊ>À̈ÃÌÃÊÃÕV…Ê>ÃÊ ˆVŽÞÊ>“Þ˜]Ê
ˆ>Ê -Þi`Ê>˜`Ê-ˆ“œ˜Ê*>ޘiÊ܅œÊVœ˜Ìˆ˜ÕiÊ̜ʈ˜ÛiÃ̈}>ÌiÊ̅iʏ>˜}Õ>}iʜvÊViÕœˆ`Êw“]Ê>ÃÊ ÊÅ>Ê`ˆÃVÕÃÃʈ˜ÊV…>«ÌiÀÊÌÜiÛi]ʈÌʈÃʈ˜Ê̅iÊ>Ài>ʜvÊ`ˆ}ˆÌ>ÊVœ`iÊ̅>ÌÊ̅iÊ`iVœ˜ÃÌÀÕV̈ÛiÊÌiV…˜ˆµÕiÃʜvÊÃÌÀÕVÌÕÀ>Êw“Ê…>ÛiÊÀi‡i“iÀ}i`]ÊLÕÌʓ>ˆ˜ÞÊ܈̅œÕÌÊ̅iÊÜVˆ>ˆÃÌÊ cultural politics that underpinned the work of the 1970s. vÊ̅iʓ>œÀÊVœ˜ÌÀˆLṎœ˜ÊœvÊ̅iÊÃÌÀÕVÌÕÀ>ÊiÀ>ÊÜ>Ãʈ˜`ii`ʈÌÃÊVÀˆÌˆV>Ê>˜>ÞÈÃʜvÊ w“ÊvœÀ“Ê>˜`Ê̅iÊ>««>À>ÌÕÃʜvÊVˆ˜i“>]Ê>˜`ʈÌÃÊÃiVœ˜`>ÀÞÊ>V…ˆiÛi“i˜Ì]Ê̅iʈ˜>Õ}ÕÀ>̈œ˜ÊœvÊ>ÊVœ˜Ìi“«œÀ>ÀÞʈ˜ÌiÀiÃÌʈ˜ÊۈÃÕ>Ê«iÀVi«Ìˆœ˜]Ê̅i˜Ê̅iÊ܅œiÊi˜ÌiÀ«ÀˆÃiÊ turned on a consideration of spectatorship. We will now divert into a more detailed iÝ>“ˆ˜>̈œ˜ÊœvÊëiVÌ>̜Àň«Êœ˜ÊœÕÀÊÜ>ÞÊ̜Ê>Ê`ˆÃVÕÃȜ˜ÊœvÊiÝ«>˜`i`ÊVˆ˜i“>]Ê̅iÊ ˜iÝÌ]ÊVÀˆÌˆV>Ê>˜ÌiVi`i˜ÌʜvʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜°Ê

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Û>˜Ì‡>À`iÊ œ˜Ê …>˜˜iÊ œÕÀÊ £™nÎq™Î½]ʈ˜ÊˆV…>iÊ"½*À>ÞÊ­i`°®ÊThe British Avant-Garde Film, 1926 to 1995. London: Arts

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}iý]Ê ˆ˜>Ê >˜ˆ˜œÊ >˜`Ê ˆV…>iÊ >âˆiÀiÊ ­i`Ã®Ê The Undercut Reader: Critical Writings on Artists’ Film and Video°Êœ˜`œ˜\Ê7>yœÜiÀÊ*ÀiÃÃ]Ê p. 247. ,œÃ>ˆ˜`Ê >Å>ňLˆÊëi>Žˆ˜}Ê>ÌÊ/>ÌiÊ ÀˆÌ>ˆ˜]Ê£ÎÊ>˜Õ>ÀÞÊÓä£{° /°Ê°Ê i“œÃÊ­Óä£Î®ÊReturn to the Postcolony: Specters of Colonialism in Contemporary Art. iÀˆ˜\Ê-ÌiÀ˜LiÀ}Ê*ÀiÃÃ]Ê>˜`Ê­Óä£Î®ÊThe Migrant Image: The Art and Politics of Documentary During Global Crisis]Ê ÕÀ…>“]Ê \Ê ÕŽiÊ1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ°Ê Mark Lewis (2011) speaking at Moving Image & the Global Media Spectacle]Ê̅iÊÃiVœ˜`ʈ˜Ê the series of Artists’ Moving Image Research Network events hosted by MIRAJ]Ê1˜ˆÛiÀÈÌÞÊ œvÊ Ì…iÊ
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STRUCTURAL FILM: DETRACTIONS AND REVISIONS

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CHAPTER EIGHT

The Dialectics of Spectatorship

My work is like the light in a fridge. It only works when there are people there to open the fridge door. Without people, it is not art, it is something else: stuff in a room. ˆ>“ʈˆVŽ]ÊÓäää

SUBJECTIVITY a kaleidoscope endowed with consciousness...

…>ÀiÃÊ >Õ`i>ˆÀi]Ê£nÈÎ 7…>ÌiÛiÀÊÀi뜘ÃiÃÊ>À̈ÃÌÃʓ>ÞÊLiÊÃiiŽˆ˜}ÊvÀœ“Ê̅iÊۈi܈˜}Ê«ÕLˆV]ʓœÃÌÊܜՏ`Ê agree with Liam Gillick that the bodies and minds of the persons who pass through >˜`ʈ˜ÌiÀ>VÌÊ܈̅Ê̅iÊܜÀŽÊ>ÀiÊ̅iÊiÃÃi˜Ìˆ>]ÊÃi˜Ìˆi˜ÌÊii“i˜ÌÃÊ̅>ÌÊVœ“«iÌiÊ̅iÊ work. Claire Bishop is one among many who has emphasised the importance of the }>iÀއ}œiÀʈ˜Ê̅iÊ`iÛiœ«“i˜Ìʜvʈ˜ÃÌ>>̈œ˜Ê>ÀÌ°Ê՘`>“i˜Ì>Ê̜ʈÌÃÊ«À>V̈Vi]ÊÅiÊ Ã>ÞÃ]ʈÃÊ>ÊVœ““œ˜Ê¼`iÈÀiÊ̜ʅiˆ}…Ìi˜Ê̅iÊۈiÜiÀ½ÃÊ>Ü>Ài˜iÃÃʜvʅœÜʜLiVÌÃÊ>ÀiÊ «œÃˆÌˆœ˜i`Ê­ˆ˜ÃÌ>i`®Êˆ˜Êë>Vi]Ê>˜`ʜvʜÕÀÊLœ`ˆÞÊÀi뜘ÃiÊ̜Ê̅ˆÃ½°1 She emphasises ܜÀŽÃÊ̅>ÌÊÃ̈“Տ>ÌiÊۈiÜiÀýÊÃi˜ÃiÃ]Ê«>À̈VՏ>ÀÞÊ̅œÃiÊv>VՏ̈iÃÊ>ÃÜVˆ>Ìi`ÊÜˆÌ…Ê œÀˆi˜Ì>̈œ˜]Ê܅ˆÃÌÊȓՏÌ>˜iœÕÏÞʜÀV…iÃÌÀ>̈˜}Ê>Õ`ˆi˜ViýÊÃÕLiV̈ÛiÊÀi뜘ÃiÃ]Ê i˜}>}ˆ˜}Ê̅i“ʈ˜Ê>ʅi>Ì…ÞÊiÝiÀVˆÃiʈ˜ÊÃiv‡>Ü>Ài˜iÃðÊ7…ˆiÊ̅iÃiÊLÀœ>`ʜÕ̏ˆ˜iÃÊ >ÀiÊÕÃivՏ]Ê>ʘՓLiÀʜvʵÕiÃ̈œ˜ÃÊÀi“>ˆ˜Ê՘>˜ÃÜiÀi`\Ê܅œÊˆÃʏœœŽˆ˜}Ê>ÌÊ>˜Ê>À̈Ã̽ÃÊ ÜœÀŽ¶Ê7…>ÌÊ`iÌiÀ“ˆ˜iÃÊ̅iÊۈiÜiÀ½ÃÊÀi뜘Ãi¶Ê7…ˆiÊ>Ê`ii«iÀÊiÝ>“ˆ˜>̈œ˜ÊœvÊ̅iÊ

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ˆ`i>ÃÊi˜ˆÛi˜ˆ˜}ʜÕÀÊ՘`iÀÃÌ>˜`ˆ˜}ʜvʈ`i˜ÌˆÌÞ]ÊVœ}˜ˆÌˆœ˜]Ê«iÀVi«Ìˆœ˜Ê>˜`ÊVœ˜ÃVˆœÕØiÃÃʈÃÊLiޜ˜`Ê̅iÊÃVœ«iʜvÊ̅ˆÃÊۜÕ“i]ÊÊ܈ÊLÀˆiyÞÊÈ}˜>Ê“ÞʜܘÊ>i}ˆ>˜ViÃÊ as I have periodically tuned in to the discussion. We have already touched on the psychoanalytic model of spectatorship that turns on audiences temporarily iden̈vވ˜}Ê܈̅Ê̅iʈÕÜÀÞÊܜÀ`ʜ˜ÃVÀii˜°Ê7iʓˆ}…ÌÊÀiiVÌÊ̅iÊ >ÀÌiÈ>˜Ê“œ`iÊœvÊ̅iÊ Ãiv]ÊÃՓ“>ÀˆÃi`ÊLÞÊ̅iÊ«…ˆœÃœ«…iÀÊ*>ՏÊ-˜œÜ`œ˜Ê>ÃÊ>˜Ê¼ˆ““>ÌiÀˆ>]ÊëˆÀˆÌÕ>Êi}œ]Ê related to the body but separate from the body’.2Ê7iʓ>Þ]ʈ˜ÃÌi>`]Ê>`œ«ÌÊ>Ê«ÕÀiÞÊ «…ÞȜœ}ˆV>Ê >««Àœ>V…]Ê >˜`Ê ÃÕLÃVÀˆLiÊ ÌœÊ
˜Ìœ˜ˆœÊ >“>Ȝ½ÃÊ Vœ˜Vi«ÌÊ œvÊ >Ê ¼«ÀœÌœ‡ Ãiv½ÊÀœœÌi`ʈ˜Ê̅iÊ̅i>ÌÀiʜvÊ̅iÊÃi˜ÃiðÊ
VVœÀ`ˆ˜}ÊÌœÊ >“>Ȝ]ʜÕÀÊÀi뜘ÃiÃÊ>ÀiÊ “i`ˆ>Ìi`ÊLÞÊ̅iÊܜÀŽÊœvʼ>ÊVœ…iÀi˜ÌÊVœiV̈œ˜ÊœvʘiÕÀ>Ê«>ÌÌiÀ˜Ã]Ê܅ˆV…ÊVœ˜ÃÌ>˜ÌÞÊ “>«]ʓœ“i˜ÌÊLÞʓœ“i˜Ì]Ê̅iÊÃÌ>ÌiʜvÊ̅iÊ«…ÞÈV>ÊÃÌÀÕVÌÕÀiʜvÊ̅iʜÀ}>˜ˆÃ“ʈ˜Ê its many dimensions’. 3 A cybernetic system of proprioceptors and neurons is responsible for the viewer’s understanding of her position in space and the nature of ܅>ÌÊÃÕÀÀœÕ˜`ÃʅiÀ°Ê
ÃÊÜiʅ>ÛiÊ`ˆÃVÕÃÃi`]Ê̅ˆÃÊVœÀ«œÀi>Êœ«iÀ>̈˜}ÊÃÞÃÌi“ʈÃÊ܅>ÌÊ “ˆˆÌ>ÌiÃÊ >}>ˆ˜ÃÌÊ ÌœÌ>Ê ˆ““iÀȜ˜Ê ˆ˜Ê ̅iÊ ˆÕȜ˜ˆÃ“Ê œvÊ w“]Ê Ü…>ÌÊ Žii«ÃÊ œÕÀÊ viiÌÊ œ˜Ê̅iÊ}ÀœÕ˜`°ÊvÊ̅iÊÃi˜ÃiÃʜÀˆi˜ÌÊÕÃʈ˜Êë>Vi]Ê܅>ÌÊVœ˜Ã̈ÌÕÌiÃÊ̅iʈ˜ÌiÀ«ÀïÛiÊ “iV…>˜ˆÃ“Ê̅>ÌÊ>ÃÃiÃÃiÃÊ܅>ÌÊÜiÊÃii]ʅi>À]ÊÓiÊ>˜`Êvii¶Ê7iÊVœ˜Ûi˜Ìˆœ˜>ÞÊ ˆ“>}ˆ˜iÊ>˜Êˆ˜˜iÀÊÊ̅i>ÌÀiʜvÊ̅iʓˆ˜`Ê܅iÀiÊÜiʏœV>ÌiÊ̅iʼ½ÊœvÊVœ˜ÃVˆœÕØiÃÃ]Ê̅>ÌÊ i˜`œ}i˜œÕÃÊۈiÜiÀÊ܅œÊœLÃiÀÛiÃÊ>˜`Ê`iVœ`iÃÊ̅iÊܜÀ`ÊVœ˜ÕÀi`ÊÕ«ÊLÞÊ̅iÊÃi˜ÃiðÊœÜiÛiÀ]Ê̅ˆÃʘœÌˆœ˜Ê}œiÃÊ>}>ˆ˜ÃÌÊ̅iÊ̅ÀÕÃÌʜvÊÃVˆi˜ÌˆwVÊ>À}Փi˜ÌʜvÊ̅iʏ>ÃÌÊ Ì…ˆÀÌÞÊÞi>ÀðʘʅiÀÊiÃÃ>ÞʼÞÃÌiÀˆiÃʜvÊ̅iʈ˜`½]Ê-ÕÃ>˜Ê >VŽ“œÀi]Ê>ÊwÀ“ÊLiˆiÛiÀÊ ˆ˜Ê̅iÊ«Ài‡i“ˆ˜i˜ViʜvÊÃVˆi˜Viʈ˜Ê}i˜iÀ>Ê>˜`ʘiÕÀœÃVˆi˜Viʈ˜Ê«>À̈VՏ>À]ÊÃVœÀ˜ÃÊ >˜ÞÊ܅ˆvvʜvÊ >ÀÌiÈ>˜Ê`Õ>ˆÃ“Ê>˜`ÊVœ˜w`i˜ÌÞÊ>ÃÃiÀÌÃ\ʼ/…iÊŜÜ]Ê̅iÊ̅i>ÌÀiÊ>˜`Ê its inner observer are all illusions.’4Ê/…iÀiʈÃʘœÊ՘ˆwi`ÊÃiv]ÊÃi«>À>ÌiÊvÀœ“ʈÌÃÊœÜ˜Ê «…ÞÈV>Ê“>Ži‡Õ«]Ê>˜`Ê̅iÊ>}iÊ>˜`ÊÃÌ>Ìiʜvʅi>Ì…ÊœvÊ̅iʅՓ>˜ÊœÀ}>˜ˆÃ“Ê܈Ê`iÌiÀ“ˆ˜iʈÌÃÊÜ>݈˜}ʜÀÊÜ>˜ˆ˜}ÊV>«>VˆÌÞÊ̜ʈ˜ÌiÀ>VÌÊ܈̅ʈÌÃÊÃÕÀÀœÕ˜`ˆ˜}ðÊ/…ˆÃÊۈiÜÊ promotes the search for the key to consciousness in the infinitesimal mappings of œÕÀÊ«…ÞȜœ}ÞÊ>V…ˆiÛi`ÊLÞÊ̅iÊVœ“Lˆ˜i`ÊÀiÛi>̈œ˜ÃʜvÊ
]ʜÕÀÊLœ`ÞÊV…i“ˆÃÌÀÞÊ >˜`Ê̅iÊiÛiÀ‡“œÀiÊ>VÕÌiÊ«ÀœLˆ˜}ʜvÊ,ÊÃV>˜˜iÀðÊ-Vˆi˜Vi]Ê܅ˆV…Ê…>Ãʏœ˜}‡vœÀ}œÌÌi˜Ê̅iÊ̅iœÀÞʜvÊ̅iÊvœÕÀÊV>À`ˆ˜>Ê…Õ“œÕÀÃÊ­Lœœ`]Ê«…i}“]ÊÞiœÜÊ>˜`ÊL>VŽÊLˆi®]Ê ˜œÜÊÌiÃÊÕÃÊ̅>ÌʜÕÀÊLœ`ˆiÃÊ>Àiʓ>`iÊիʜvÊ>LœÕÌÊÈä¯ÊÜ>ÌiÀ]Ê>˜`ʜÕÀʓˆ˜`ÃÊ>ÀiÊ nothing but the effect of electrical and chemical changes geared to the optimum ÃÕÀۈÛ>ÊœvÊ̅iʜÀ}>˜ˆÃ“°ÊÊ܈ÊiÝ«œÀiÊvÕÀ̅iÀÊ̅ˆÃʓiV…>˜ˆÃ̈VÊۈiÜʈ˜Ê“ÞÊ`ˆÃVÕÃsion of cognitive science and the moving image in chapter twelve. "̅iÀÊVœÀÀi>̈œ˜>Ê̅iœÀˆiÃʜvÊ̅iÊÃivÊ«Àœ«œÃiÊ̅>ÌÊÜiÊi݈ÃÌʜ˜Þʈ˜Ê>ÊÜiLʜvÊ ÃœVˆ>Ê>˜`ÊVՏÌÕÀ>ÊVœ˜˜iV̈ۈÌÞ°Êœ`ii`Ê̜ÊܓiÊ`i}Àiiʜ˜Ê,ˆV…>À`Ê >܎ˆ˜Ã½Ê¼ÃivˆÃ…Ê}i˜i½Ê>˜`Ê̅iʘiÌܜÀŽi`ÊÈ}˜ˆvވ˜}ÊÀi}ˆ“iÃʜvÊÃÌÀÕVÌÕÀ>Êˆ˜}ՈÃ̈VÃ]Ê̅iÊۈÀ>Ê ̅iœÀÞʜvʓi“iÃÊVœ˜w}ÕÀiÃʈ˜`ˆÛˆ`Õ>ÃÊ>ÃÊÃÌ>}ˆ˜}Ê«œÃÌÃÊvœÀʈ`i>Ã]Êi˜ÌˆÌˆiÃÊ̅>Ì]Ê ˆ˜Ê ÃÕVViÃȜ˜]Ê >ÀiÊ ˆ˜viVÌi`Ê LÞÊ >˜Ê ˆÌˆ˜iÀ>˜ÌÊ Vœ˜Vi«Ì°Ê /…iÊ ÃÕLiVÌÊ ˆÃÊ “œ`ˆwi`Ê ÌœÊ >Ê }Ài>ÌiÀʜÀʏiÃÃiÀÊiÝÌi˜ÌÊLÞÊ̅iʓi“iÊ>˜`Ê̅i˜Ê«>ÃÃiÃʈÌʜ˜°5 It is easy to become

THE DIALECTICS OF SPECTATORSHIP

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`i«ÀiÃÃi`ÊLÞÊ>ÊLiˆivʈ˜Ê̅iÊVՏÌÕÀ>Ê…i«iÃØiÃÃʜvÊ̅iÊ`i‡Vi˜ÌiÀi`ÊLiˆ˜}]ÊÛՏ˜iÀ>LiÊ̜ÊiÛiÀÞÊ«>ÃȘ}ʈ˜Õ˜V̈œ˜ÊœvÊVœ}˜ˆÌˆÛiÊV>«ˆÌ>ˆÃ“Ê«ˆÌV…i`ÊLÞÊ>`ÛiÀ̈ÃiÀÃ]Ê «œˆÌˆVˆ>˜Ã]Êi˜ÌiÀÌ>ˆ˜iÀÃʜÀʜ˜ˆ˜iÊi˜ÌÀi«Ài˜iÕÀð 6 The more recent arguments of speculative realism offer little comfort; they too roundly condemn any theoretical «œÃˆÌˆœ˜Ê̅>Ìʓˆ}…Ìʈ˜VœÀ«œÀ>ÌiÊ>˜Ê>Õ̜˜œ“œÕÃ]Ê>V̈ÛiÊÃÕLiVÌ°7 Within the logic of ëiVՏ>̈ÛiÊÀi>ˆÃ“]ʜLiVÌÃÊ>ÀiÊ}ˆÛi˜Ê̅iÊÃ>“iÊÜiˆ}…ÌÊ>˜`ÊÛ>ÕiÊ>ÃʅՓ>˜ÊLiˆ˜}Ã]Ê œÀÊÀ>̅iÀ]Ê«iœ«iÊ>ÀiÊÀi`ÕVi`Ê̜Ê̅iÊÃÌ>ÌÕÃʜvʜLiVÌÃʈ˜Ê>˜ÊÃi>ʜvʈ˜>˜ˆ“>ÌiÊi˜ÌˆÌˆiÃ°Ê ˜Ê̅ˆÃÊy>ÌÌi˜i`Ê՘ˆÛiÀÃi]Ê°Ê°Ê …>ÀiÃܜÀ̅ÊVœ˜VÕ`iÃ\ʼ̅iÀiÊŜՏ`ʘœÌÊLiʓÕV…Ê œvÊ̅iÊÃÕLiVÌʏivÌʜvÊ܅ˆV…Ê̜Êëi>Ž½°8 Confronted by another attempt to annihilate ̅iʈ˜`ˆÛˆ`Õ>]Ê̅ˆÃÊ̈“iÊVi˜ÌÀi`ʜ˜Ê¼Ì…iÊiÝÌÀi“iʘi}>̈œ˜ÊœvÊÃÕLiV̈ۈÌÞ½]9 I find myÃivʈ˜Ã̈˜V̈ÛiÞÊ`À>ܘÊ̜Êœ…˜ÊœVŽi½ÃÊÃiÛi˜Ìii˜Ì…‡Vi˜ÌÕÀÞʘœÌˆœ˜Êœvʈ`i˜ÌˆÌÞÊ>ÃÊ a construction based on the persistence of consciousness and memory over time.

Ûi˜Ê“œÀiÊÀi>ÃÃÕÀˆ˜}Ê>ÀiÊ̅iÊÀiVi˜ÌÊ«œÃÌՏ>̈œ˜ÃʜvÊ-ÌiÛi˜Ê-…>ۈÀœ]Ê܅œÊ>À}ÕiÃÊ Ì…>ÌʼiÛiÀÞʜLiVÌÊÀiÌ>ˆ˜ÃÊ>ʅˆ``i˜ÊÀiÃiÀÛiʜvÊLiˆ˜}]ʜ˜iÊ̅>ÌÊ ˆÃʘiÛiÀÊi݅>ÕÃÌi`Ê LÞ]Ê >˜`Ê ˜iÛiÀÊ vՏÞÊ iÝ«ÀiÃÃi`Ê ˆ˜]Ê ˆÌÃÊ Vœ˜Ì>VÌÊ ÜˆÌ…Ê œÌ…iÀÊ œLiVÌý10Ê >˜`]Ê œ˜iÊ VœÕ`Ê >``]ʈ˜ÊˆÌÃÊVœ˜Ì>VÌÊ܈̅ÊVՏÌÕÀiÊ>˜`ʈÌÃʈ˜Ã̈ÌṎœ˜Ã° The new feminist materialism œvviÀÃÊ>ÊۈȜ˜ÊœvÊ̅iʈ˜ÌiÀVœ˜˜iVÌi`˜iÃÃʜvʓ>ÌÌiÀÊ>˜`ÊVՏÌÕÀi]ʏ>˜}Õ>}iÊ>˜`ÊLˆœœ}Þ]Ê>˜`ʈV…>iÊ>“iÇ>ÀVˆ>ÊVœ˜w}ÕÀiÃÊ̅iÊÃÕLiVÌÊ>˜`ʅiÀÊLœ`ÞÊ>Ãʼܓi̅ˆ˜}Ê “œÀiÊ̅>˜Ê>˜Êˆ˜iÀÌ]Ê«>ÃÈÛiʜLiVÌʜ˜Ê܅ˆV…ʈ`iœœ}Þʈ˜ÃVÀˆLiÃʓi>˜ˆ˜}]ÊLÕÌÊÀ>̅iÀÊ it is an agential reality with its own causal role in making meaning’. 11 In earlier chapÌiÀÃ]Êʅ>ÛiÊi“«…>ÈÃi`Ê̅iʈ˜yÕi˜ViʜvÊVՏÌÕÀ>Ê>˜`Ê«œˆÌˆV>ÊvœÀViÃ]Ê̅iʈ“«>VÌʜvÊ Ì…iÊ
Ì…ÕÃÃiÀˆ>˜Ê¼ÃÌ>ÌiÊ>««>À>ÌÕýʜ˜Ê̅iÊ`iÛiœ«“i˜ÌʜvÊ>ʅՓ>˜ÊLiˆ˜}ÆÊ>˜`Êʅ>ÛiÊ >VŽ˜œÜi`}i`Ê̅iÊ>LˆˆÌÞʜvÊVՏÌÕÀ>Ê>ÀÌiv>VÌÃÊ̜ʈ˜ÌiÀ«i>ÌiÊ̅iÊۈiÜiÀ°ÊœÜiÛiÀ]Ê vœÀÊ̅iÊ«ÕÀ«œÃiÃʜvÊ̅ˆÃÊ`ˆÃVÕÃȜ˜]ÊÊ܈ÊVœ˜ViˆÛiʜvÊ̅iÊÃÕLiVÌÊ>Ãʈ˜ÃÌ>˜Ìˆ>̈˜}Ê >Ê՘ˆµÕiÊVœˆ˜Vˆ`i˜ViʜvÊ«…ÞÈV>Ê>˜`Ê«ÃÞV…ˆVÊ>ÌÌÀˆLÕÌiÃ]ÊvÀ>“i`ÊLÞʅˆÃ̜ÀˆV>Ê>˜`Ê ÃœVˆœ‡«œˆÌˆV>ÊVˆÀVՓÃÌ>˜ViÃ]Ê>˜`Êi˜`œÜi`Ê܈̅ÊÛ>Àވ˜}Ê«Àœ«i˜ÃˆÌˆiÃÊ̜ÊÀiÈÃÌʜÀÊ LiÊ>ÌiÀi`ÊLÞÊ>˜ÊiÝ«iÀˆi˜ViʜvÊ>ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜°Ê

THE IMPERFECT SPECTATOR Malcolm Le Grice has lamented the loss of concentrated attentiveness to the movˆ˜}ʈ“>}iʈ˜Ê>˜Êˆ˜ÃÌ>>̈œ˜ÊVœ˜ÌiÝÌ]Ê܅ˆV…]ʅiÊÃ>ÞÃ]ʈÃʼ˜œÌÊ>Ê}œœ`ʜ˜iÊvœÀÊ>˜Þ̅ˆ˜}Ê that has any temporal development’.12Ê
ÃÊ>ÊÀiÃՏÌ]ÊëiVÌ>̜ÀÃÊ܈ÊÀi뜘`Ê«Ài`œ“ˆ˜>˜ÌÞÊ̜ʼVœ˜Vi«ÌÊ>˜`ʈ`i>½ÊÀ>̅iÀÊ̅>˜ÊÃiiŽÊœÕÌÊ>˜Ê¼i˜}>}i`ÊiÝ«iÀˆi˜Vi½°13 The splitting of attention between multiple dimensions in a gallery can indeed render ÕÃʈ“«iÀviVÌÊëiVÌ>̜ÀðÊ/…iÊ`ˆvvÕȜ˜ÊœvÊ>Ü>Ài˜iÃÃ]ʜÀÊ܅>ÌÊ*iÌiÀÊ"ÃLœÀ˜iÊV>ÃÊ ¼«ÃÞV…ˆVÊ>ÌÌi˜Ìˆœ˜Êˆ˜Ê`ˆÃ«iÀÃ>½]14 is not limited to the connoisseur of moving image installations. The grazing TV viewer dozing off on the couch at home is engaged ˆ˜Ê >Ê Ãˆ“ˆ>ÀÊ ¼`ˆÃÌÀ>VÌi`Ê ÀiVi«Ìˆœ˜½Ê >ÃÊ ˆÃÊ Ì…iÊ ÞœÕ˜}Ê VœÕ«iÊ >ÌÊ Ì…iÊ Vˆ˜i“>]Ê `ˆÛˆ`ˆ˜}Ê

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INSTALLATION AND THE MOVING IMAGE

̅iˆÀÊ>ÌÌi˜Ìˆœ˜ÊLiÌÜii˜Ê̅iÊw“]Ê̅iÊ«œ«VœÀ˜Ê>˜`Ê̅iˆÀʓÕÌÕ>Ê}iÃÌÕÀiÃʜvÊ>vviV̈œ˜°Ê-ˆi}vÀˆi`ÊÀ>V>ÕiÀÊÜÀˆÌˆ˜}ʈ˜Ê£™ÓÈÊÃÕëi˜`i`ʅˆÃÊi>ÀˆiÀÊViiLÀ>̈œ˜Ãʜvʓ>ÃÃÊ Ã«iVÌ>ViÊ >˜`Ê Vœ˜`i“˜i`Ê Ì…iÊ ÃÕ«iÀwVˆ>ˆÌÞÊ œvÊ Ì…iÊ Ãi˜ÃœÀÞÊ iÝ«iÀˆi˜ViÃÊ i˜}i˜dered by both film and modern life. Even if the spectator is naturally inclined to >˜Ê>V̈ÛiÊi˜}>}i“i˜ÌÊ܈̅Ê>ÀÌ]Êw“ʈ“>}iÃ]ʏˆŽiÊ̅iÊ`ˆââވ˜}ʈ“«ÀiÃȜ˜ÃʜvÊ̅iÊ Ìi>“ˆ˜}ʓiÌÀœ«œˆÃ]ʼÃÕVVii`Êi>V…ʜ̅iÀÊ܈̅ÊÃÕV…ÊÀ>«ˆ`ˆÌÞÊ̅>ÌÊ̅iÀiʈÃʘœÊÀœœ“Ê left for even the slightest contemplation to squeeze in between them’.15ÊÀ>V>ÕiÀÊ «œÀÌÀ>Þi`Ê̅iÊۈiÜiÀÊi˜ÃVœ˜Vi`ʈ˜Ê>Ê}ˆ`i`Ê«ˆVÌÕÀiÊ«>>Vi]Êi˜Ã>Ûi`Ê̜Ê̅iÊÃi˜ÃiÃÊ at the cost of the intellect – the over-stimulated body eclipsing the Socratic soul. In Society of the SpectacleÊ­£™ÈÇ®]ÊÕÞÊ iLœÀ`ÊÀiVœ˜w}ÕÀi`ÊëiVÌ>̜Àˆ>ÊV>«ÌˆÛˆÌÞÊ >œ˜}Ê>˜Ê>݈ÃʜvÊ`iÈÀi°ÊiÊV…>ÀÌi`Ê̅iÊ«Àœ}ÀiÃÈÛiÊ>ˆi˜>̈œ˜ÊœvÊ̅iÊÜVˆ>ÊÃÕLiVÌ]Ê transformed into a compulsive agent of consumption and floundering in a sea of >««i>À>˜ViðÊ/…iÊëiVÌ>̜ÀʜvÊw“ÊÜ>ÃÊVœ˜`i“˜i`Ê>ÃʓiÀiÞʼ>ÊVœ˜ÃՓiÀʅ՘}ÀÞÊ for thrills’.16 Moviegoers were said to be divorced from reality as they indulged their ¼ÕÃÌÊ vœÀÊ Ì…iÊ iÞi½]Ê >Ê VˆÀVՏ>̈˜}Ê `iÈÀiÊ Ì…>ÌÊ V>˜Ê ˜iÛiÀÊ ÌœÊ LiÊ Ã>̈Ãwi`°Ê -«iVÌ>̜Àˆ>Ê >ÌÌi˜Ìˆœ˜Ê…>`ÊÃV>ÌÌiÀi`]Ê>˜`Ê̅iʵÕ>ˆÌÞʜvÊ̅>ÌÊ>ÌÌi˜ÌˆÛi˜iÃÃ]Ê̅iÊVÀˆÌˆV>ˆÌÞʜvÊ̅iÊ Ûˆi܈˜}ÊÃÕLiVÌ]ÊÜ>ÃÊÃii˜Ê̜ÊLiÊVœ“«Àœ“ˆÃi`ÊLÞʓœ`iÀ˜ˆÌÞÊ܈̅ʈÌÃʅˆ}…ÊÌÕÀ˜œÛiÀÊ of irresistible enchantments. /…iÊ`i˜ˆ}À>̈œ˜ÊœvÊ̅iÊëiVÌ>̜ÀÊÜ>ÃʘœÌ]ʅœÜiÛiÀ]Ê՘ˆÛiÀÃ>°ÊˆV…iÊ`iÊ iÀÌi>Õ]Ê vœÀʈ˜ÃÌ>˜Vi]Ê>À}Õi`Ê̅>ÌÊ̅iʼ`ˆÃÌÀ>VÌi`½ÊۈiÜiÀÊÜ>ÃʘœÌÊÜʓÕV…Ê>ʏœLœÌœ“ˆÃi`Ê consumer of culture as an active user of cultural products.17 Consumers have long repurposed popular culture and commercially produced artefacts for their own i˜`ðÊ/œÊLœÀÀœÜÊ`iÊ iÀÌi>Õ½ÃʘœÌˆœ˜ÊœvÊ>ÊLœœŽÊ>ÃÊ>ʼÀi˜Ìi`Ê>«>À̓i˜Ì½ÊvœÀÊ̅iÊVÀi>̈ÛiÊi˜ÌiÀ«ÀˆÃiʜvÊ̅iÊÀi>`iÀ]Ê>ÊVˆ˜i“>]Ê>Ê/6ÊÃiÌʜÀÊ}>iÀÞÊë>ViʈÃÊ>ÃœÊˆÌiÀ>ÞÊ>Ê hired space for the spectator’s internal and interpersonal transactions. This leads us to the multiple functions of spectatorial engagement; not only can the landscape œvÊ Ì…iÊ ˆ“>}ˆ˜>̈œ˜Ê w˜`Ê i˜ÀˆV…“i˜ÌÊ ˆ˜Ê “>ÃÃÊ i˜ÌiÀÌ>ˆ˜“i˜Ì]Ê LÕÌÊ Ì…iÊ /6Ê ÛˆiÜiÀÊ œÀÊ gallery-goer may be simultaneously interacting with her family and friends around ̅iÊÅ>Ài`ÊiÝ«iÀˆi˜ViʜvÊ>ÊŜܰÊ/…iÊޜ՘}ÊVœÕ«iÊ«>ÀÌ>Žˆ˜}ʜvÊ>˜ÊiÛi˜ˆ˜}Ê>ÌÊ̅iÊ Vˆ˜i“>Ê>ÀiÊLՈ`ˆ˜}ʓi“œÀˆiÃʜvÊ̅iˆÀʜܘÊ>˜`ÊiÝ«œˆÌˆ˜}Ê̅iÊ`>ÀŽ˜iÃÃÊ̜ʫÀœ}ÀiÃÃÊ Ì…iˆÀÊVœÕÀÌň«]Ê>ˆ`i`ʘœÊ`œÕLÌÊLÞÊ̅iÊw“½ÃÊÀœ“>˜ÌˆVÊÃVi˜>ÀˆœÊ “ˆ˜}ˆ˜}Ê܈̅Ê̅iÊ œÛiÀýÊ`Ài>“ÃʜvÊ>ÊVœ˜œˆ˜i`ÊvÕÌÕÀi°Ê/…iÞÊ܈Ê«>À̈Vˆ«>Ìiʈ˜Ê̅iÊÜVˆ>ÊLœ˜`ˆ˜}Ê̅>ÌÊ «ÀœVii`ÃÊ vÀœ“Ê ̅iÊ iÝ«iÀˆi˜ViÊ œvÊ Vœ““Õ˜>Ê >Õ}…ÌiÀÊ >˜`Ê Ìi>ÀÃ°Ê /…iÊ }>iÀއ}œiÀÊ “>ÞÊLiÊiµÕ>ÞÊ>V̈Ûiʈ˜Ê…iÀÊi˜VœÕ˜ÌiÀÊ܈̅Ê>ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜]ÊiëiVˆ>ÞÊ ˆvÊÅiʈÃÊ>˜Ê>À̈ÃÌʅiÀÃivÊ>˜`ʈÃÊ>ÌÌi˜`ˆ˜}Ê>Ê«ÀˆÛ>ÌiÊۈiÜÊ܅i˜]ʈ˜Ê«>À>iÊ܈̅ʅiÀÊ >««ÀiVˆ>̈œ˜Ê œvÊ Ì…iÊ i݅ˆLˆÌ]Ê Vœ“«>ÀˆÃœ˜ÃÊ ÌœÊ …iÀÊ œÜ˜Ê «À>V̈ViÊ LiVœ“iÊ ˆ˜iۈÌ>Li]Ê >˜`ÊÜVˆ>Êˆ˜ÌiÀ>V̈œ˜Ê>˜`ʼ˜iÌܜÀŽˆ˜}½ÊÌ>ŽiÊ«>Vi]Ê>Ê«ÀœViÃÃʈ˜`ˆÃ«i˜ÃˆLiÊvœÀʅiÀÊ career progression.

THE DIALECTICS OF SPECTATORSHIP

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THE SPECTATOR: SEEING DOUBLE In the cinema, I am simultaneously in this action and outside it, in this space and out of this space. Having the power of ubiquity, I am everywhere and nowhere. i>˜ÊˆÌÀÞ]Ê£™Èx18
ÃÊʅ>ÛiÊ>À}Õi`]ʜÕÀÊ>««ÀiVˆ>̈œ˜ÊœvÊ̅iÊw“ˆVÊii“i˜ÌÃʜvÊ>˜Êˆ˜ÃÌ>>̈œ˜Ê“œLˆises our ability to read the moving image both as a material phenomenon and as an ¼œÌ…iÀ½ÊÀi>ˆÌÞʈ˜Ê>ÊÀiViÃÃi`]ʈÕȜ˜ˆÃ̈VÊë>Vi°Ê7iʓ>ˆ˜Ì>ˆ˜Ê̅iÊÌܜÊvœÀ“Ãʜvʎ˜œÜi`}iÊ Vœ˜VÕÀÀi˜ÌÞ]Ê `À>܈˜}Ê œÕÀÊ Vœ˜VÕȜ˜ÃÊ vÀœ“Ê ̅iÃiÊ i˜“iÅi`Ê Vœ˜`ˆÌˆœ˜ÃÊ œvÊ understanding. It is in early childhood that we learn the skill of inhabiting two worlds ȓՏÌ>˜iœÕÏÞ]Ê܅i˜ÊÜiÊwÀÃÌʅi>ÀÊv>ˆÀÞÊÌ>iÃÊ>˜`Ê>ÃVÀˆLiÊ̜ÊÌÀ>˜ÃˆÌˆœ˜>ÊœLiVÌÃÊ ˆ`i˜ÌˆÌˆiÃÊLiޜ˜`Ê̅iˆÀʓ>ÌiÀˆ>ÊVœ˜`ˆÌˆœ˜\Ê>Ê`œÊLiVœ“iÃÊ>ÊL>LÞ]Ê>ÊLi>ÀÊ>ÊÌÀÕÃÌi`Ê vÀˆi˜`]Ê>Ê̜ÞÊ«ˆÀ>ÌiÊ>ÊÃܜÀ˜Êi˜i“Þ°19 Bruno Bettleheim believed that young children ÕÃiÊ̅iÃiʍœÕÀ˜iÞÃʈ˜ÌœÊv>˜Ì>ÃÞÊ̜ʼLÀˆ˜}ʜÀ`iÀ½Ê̜Ê̅iÊV…>œÃʜvÊ̅iˆÀʈ˜˜iÀʏˆÛiÃ]Ê>˜`Ê v>ˆÀÞÊÌ>iÃʼœvviÀÊÃޓLœˆVÊ܏Ṏœ˜ÃÊ̜ÊQ̅iˆÀRÊ`ˆvwVՏ̈iý° 20ÊœÜiÛiÀ]Ê̅ˆÃÊyˆ}…Ìʈ˜ÌœÊ ̅iÊܜÀ`ʜvÊ̅iʈ“>}ˆ˜>̈œ˜ÊÀ>ÀiÞʏi>`ÃÊ̜ÊVœ˜vÕȜ˜]Ê>ÃÊ iÌ̏i…iˆ“ÊœLÃiÀÛi`]ʼ>vÌiÀÊ̅iÊ>}iʜvÊ>««ÀœÝˆ“>ÌiÞÊwÛiÊqÊ̅iÊ>}iÊ܅i˜Êv>ˆÀÞÊÌ>iÃÊLiVœ“iÊÌÀՏÞʓi>˜ˆ˜}vÕÊ qʘœÊ˜œÀ“>ÊV…ˆ`ÊÌ>ŽiÃÊ̅iÃiÊÃ̜ÀˆiÃÊ>ÃÊÌÀÕiÊ̜ÊiÝÌiÀ˜>ÊÀi>ˆÌÞ½° 21ʘʜÕÀÊ>`Տ̅œœ`]Ê Üiʓ>ˆ˜Ì>ˆ˜Ê̅ˆÃÊ>LˆˆÌÞÊ̜ÊÃi«>À>ÌiÊ̅iÊÌܜÊÀi>“ÃʜvÊv>˜Ì>ÃÞÊ>˜`Ê̅iÊÀi>ÊܜÀ`]Ê>˜`Ê >Ì…œÕ}…]Ê>ÃÊ,ˆV…>À`Ê
i˜Ê«œˆ˜ÌÃʜÕÌ]ÊVˆ˜i“>̈VÊëiVÌ>̜Àň«Ê¼ˆ˜ÛœÛiÃÊi˜ÌiÀÌ>ˆ˜ˆ˜}Ê̅iÊ̅œÕ}…ÌÊ̅>ÌÊ̅iʜLiVÌÊ«iÀViˆÛi`ʈÃÊLivœÀiÊÕý]Ê>ÌʘœÊ«œˆ˜ÌÊ`œÊÜiʼLiˆiÛiÊ̅iÊ œLiVÌÊisÊLivœÀiÊÕýʘœÀÊ`œÊÜiʈ“>}ˆ˜iÊ̅>ÌÊÜiÊ>Àiʼ܈̘iÃȘ}ÊÀi>ÊiÛi˜Ìý°22 Andrew Uroskie has also evoked our cognitive ability to entertain two conditions of apperVi«Ìˆœ˜ÊȓՏÌ>˜iœÕÏÞÊ܅i˜ÊÜiÊÜ>ÌV…Ê}>iÀÞÊw“ðÊiÊ`iÃVÀˆLiÃʈÌÊ>ÃÊ>ʼ`œÕLiÊ Vœ˜ÃVˆœÕØiÃý]23Ê>ÊÌiÀ“Ê̅>ÌÊÀiV>ÃÊ>ÌiÊœ˜`œV…½ÃʘœÌˆœ˜ÊœvʼëiVÌ>̜Àˆ>Ê`œÕLi˜iÃýÆÊiV…œˆ˜}Ê iÌ̏i…iˆ“]ÊÅiÊ>ÃÃiÀÌÃÊ̅>ÌÊۈiÜiÀÃÊ>ÀiʏˆŽiÊV…ˆ`Ài˜ÊˆÃÌi˜ˆ˜}Ê̜Ê>Ê Ã̜ÀÞÊ>˜`Ê>Àiʼ«ÀiÃi˜Ìʈ˜Ê̅iÊÀi>Ê}>iÀÞÊë>ViÊ>˜`Ê̅iÊۈÀÌÕ>ÊÃVÀii˜Êë>ViÊȓՏtaneously’.24Ê
ÃʘœÌi`ʈ˜ÊV…>«ÌiÀÊÌܜ]Ê,ˆV…>À`Ê7œ…iˆ“ÊVœ˜Ãˆ`iÀi`Ê̅iÊ>««ÀiVˆ>̈œ˜Ê œvÊ>ÀÌÊ̜ÊLiÊ«Ài`ˆV>Ìi`ʜ˜Ê̅ˆÃÊ돈ÌÊÀiVœ}˜ˆÌˆœ˜Ê>˜`ʈ˜Ê̅iʓˆ`‡£™ÇäÃ]Ê,œ>˜`Ê >À̅iÃÊ advocated surrender to the dual fascinations of the filmic encounter. The initial emLœ`ˆi`ÊÀi뜘Ãi]Ê >À̅iÃÊVœ˜Ìi˜`i`]ʈÃÊ̜ÊLiVœ“iʼœÃÌʈ˜Ê̅iÊ«ÀœÝˆ“>ÌiʓˆÀÀœÀ½ÊœvÊ Ì…iÊÃVÀii˜Ê>˜`Ê̅iÊÃiVœ˜`]Ê̜ÊvïňÃiÊ܅>ÌÊiÝVii`ÃÊ̅iʈ“>}i]ʼ̅iÊÌiÝÌÕÀiʜvÊ̅iÊ ÃœÕ˜`]Ê̅iÊ>Õ`ˆÌœÀˆÕ“]Ê̅iÊ`>ÀŽ˜iÃÃ]Ê̅iÊ՘`ˆvviÀi˜Ìˆ>Ìi`ʓ>ÃÃʜvÊ̅iʜ̅iÀÊLœ`ˆiÃ]Ê Ì…iÊ«ÀœiV̈œ˜ÊLi>“]Ê̅iÊi˜ÌÀÞÊ>˜`Ê̅iÊi݈ÌÊvÀœ“Ê̅iÊë>Vi½° 25Ê/…iÊVˆ˜i“>]ÊÃÕ}}iÃÌi`Ê >À̅iÃ]ʅ>ÃʈÌÃʜܘ]ÊLՈÌ‡ˆ˜Ê“iV…>˜ˆÃ“ÃʜvÊ ÀiV…̈>˜Ê`ˆÃÌ>˜Vˆ>̈œ˜]ÊVœ˜`ˆÌˆœ˜ÃÊ Ì…>ÌÊ>ÃœÊ>««ÞÊ̜Ê}>iÀÞʈ˜ÃÌ>>̈œ˜Ã°Ê/…iʓ>œÀˆÌÞʜvÊëiVÌ>̜ÀÃÊÀi“>ˆ˜ÊȘ}Տ>ÀÞÊ unperturbed by the knowledge that eye and brain are being deceived and what ap«i>ÀÃÊ̜ÊLiÊ̅iÀiʈÃ]ʈ˜Êv>VÌ]Ê>LÃi˜Ì°Ê*iÀ…>«ÃÊ̅iÊÀi>ܘÊ̅>ÌÊ>Ê}…œÃ̏ÞÊ>««>ÀˆÌˆœ˜Ê

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strikes terror into its victim is because it manifests without any clue to its method œvÊ«Àœ`ÕV̈œ˜ÆʈÌʈÃʏˆŽiÊ>Êۈ`iœÊ܈̅œÕÌÊ>ÊÃVÀii˜]Ê>Êw“Ê܈̅ʘœÊ«ÀœiV̜À°Ê7ˆÌ…œÕÌÊ >˜ÞÊ ÛˆÃˆLiÊ “i>˜ÃÊ œvÊ ÃÕ««œÀÌ]Ê >Ê Ã«iVÌÀiÊ ˆÃÊ ˆŽiÊ >Ê “œÛˆ˜}Ê ˆ“>}iÊ Ì…>ÌÊ …>ÃÊ œÃÌÊ ˆÌÃÊ ¼`œÕLi˜iÃý° In spite of the advent of digital technologies that have blurred the distinction beÌÜii˜Ê“>ÌiÀˆ>Ê>˜`ÊۈÀÌÕ>Ê✘iÃʜvÊÀi>ˆÌÞ]ʜvviÀˆ˜}ÊÕÃÊiÛiÀʓœÀiʜ««œÀÌ՘ˆÌˆiÃÊÌœÊ `À>Üʜ˜Ê܅>ÌÊ >À̅iÃʈ`i˜Ìˆwi`Ê>ÃÊ̅iʅi>ˆ˜}Ê«Àœ«iÀ̈iÃʜvÊVˆ˜i“>̈Vʼ…Þ«˜œÃˆÃ½]Ê we cognitively preserve the separateness of the screen world whether encountered ˆ˜Ê>Ê}>iÀÞ]ÊVˆ˜i“>ʜÀʜ˜ˆ˜i°Ê/…ˆÃʈÃÊiëiVˆ>ÞÊ̅iÊV>ÃiÊ܅i˜ÊÜiÊ>ÀiÊÜ>ÌV…ˆ˜}Ê>Êw“Ê œÀÊۈ`iœÊ>˜`]Ê>ÌÊ̅iÊÃ>“iÊ̈“i]ʓ>Žˆ˜}Ê`iVˆÃˆœ˜ÃÊ>LœÕÌÊ܅iÀiÊ̜ÊÜ>Ž]ÊÃÌ>˜`ʜÀÊÈÌʈ˜Ê >Ê}>iÀއL>Ãi`Êi˜ÛˆÀœ˜“i˜Ì°Ê
ÃÊÜiʅ>ÛiÊÃii˜]ʜÕÀÊÃi˜ÃiÃÊÈ}˜>ÊۈÌ>Êˆ˜vœÀ“>̈œ˜Ê >LœÕÌʜÕÀʈ““i`ˆ>ÌiÊi˜ÛˆÀœ˜“i˜Ì°ÊՈˆ>˜>Ê À՘œÊi“«…>ÈÃiÃÊ̅iʅ>«ÌˆVÊÃi˜Ãi]Ê̅iÊ >LˆˆÌÞÊ̜ʼ>««Ài…i˜`Êë>Vi½ÊLÞʓi>˜ÃʜvÊ̜ÕV…Ê>ÃÊÜiÊ>ÃÊ̅iʎˆ˜>iÃ̅ïVÊ«Àœ«iÀÌÞÊ œvÊ̅iʜÀ}>˜ˆÃ“]Ê܅ˆV…Ê>œÜÃÊëiVÌ>̜ÀÃÊ̜ʼÃi˜ÃiÊ̅iˆÀʜܘʓœÛi“i˜Ìʈ˜Êë>Vi½°26 We also maintain the distinction between the two realities with the help of the ÃVÀii˜ÊvÀ>“i]Ê̅iÊwÝi`ÊLœÕ˜`>ÀÞÊ̅>ÌÊ`iˆ“ˆÌÃÊ̅iʈ“>}i]Ê>Ê`i“>ÀV>̈œ˜Êˆ˜iÊVœ˜stantly hovering on the periphery of vision. The border is established by the effect œvÊ«>À>>ÝÊ>ÃÊÜiʓœÛiÊ>VÀœÃÃÊ̅iÊ}>iÀÞÊë>Vi°Ê
ÃÊ,œLiÀÌÊœÀÀˆÃÊÃ>ˆ`ʜvÊÃVՏ«ÌÕÀi]Ê Ì…iʜLiVÌʈÃÊ}À>ëi`ʈ˜Ê̅iÊÀi>̈œ˜Ã…ˆ«ÊLiÌÜii˜Ê¼Ì…iʎ˜œÜ˜ÊVœ˜ÃÌ>˜ÌÊ>˜`Ê̅iÊiÝperienced variable’.27 The frame of the screen marks the difference between what “œÛiÃÊ>˜`Ê܅>ÌÊÀi“>ˆ˜ÃÊÃÌ>̈V]Ê܅>ÌÊLiœ˜}ÃÊ̜Ê̅iÊܜÀ`ʜvÊ̅ˆ˜}ÃÊ>˜`Ê܅>ÌÊi݈ÃÌÃÊ in the realm of illusion. Our levels of attention to the image vary according to individual taste – whether or not we like what we see – and are modified by the fluctuations œvÊiÝÌÀ>‡ÃVÀii˜Ê`ˆÃÌÀ>V̈œ˜Ãʈ˜Ê̅iÊ}>iÀÞÊë>Vi°Ê iÛiÀ̅iiÃÃ]Ê̅iÊ}i˜iÀ>Ê«Àˆ˜Vˆ«iÊ «Àœ«œÃi`ÊLÞÊÀ>…>“Ê>À“>˜]Ê̅>ÌʼÜiÊ>ÀiÊ>Ü>ÞÃʈ˜ÊVœ˜Ì>VÌÊ܈̅ÊÀi>ˆÌÞʈ˜Êœ˜iÊÜ>ÞÊ œÀÊ>˜œÌ…iÀ½]ʈ˜Ê“œÃÌÊV>ÃiÃÊܜՏ`Ê>««Þ°28

FILM FORMS THE MIND My instinctual humanism has insisted on asserting the critical mass that is an indiۈ`Õ>Ê>˜`]ʈ˜ÊëˆÌiʜvÊ̅iʈ˜`ˆÃ«ÕÌ>LiÊ>ÕÀiʜvÊVœ˜Ìi“«œÀ>ÀÞʓ>ˆ˜ÃÌÀi>“Ê“i`ˆ>]Ê ʅ>ÛiÊ>À}Õi`ÊvœÀÊ>Ê`i}ÀiiʜvÊ>Õ̜˜œ“ÞÊvœÀÊ̅iÊëiVÌ>̜À]ʈ˜ÊVœ˜ÌÀ>ÃÌÊ̜Ê̅iÊ̅iœÀÞÊ of the passive spectator propounded by the structuralist regime of the 1960s and £™ÇäÃ°Ê /…ˆÃÊ œ«Ìˆ“ˆÃ“Ê Ìi˜`ÃÊ ÌœÊ «ÀiÃÕ««œÃiÊ >Ê ÛˆÀ}ˆ˜>Ê ëiVÌ>̜À]Ê i˜`œÜi`Ê ÜˆÌ…Ê ˆ˜˜>ÌiÊVœ““œ˜ÊÃi˜ÃiÊ>˜`Ê>ʓœÀ>ÊVœ“«>ÃÃ]ʵÕ>ˆÌˆiÃÊ̅>ÌÊ܈Ê«ÀœÌiVÌʅiÀÊvÀœ“Ê̅iÊ ÜœÀÃÌʈ˜yÕi˜ViÃʜvÊÃVÀii˜Êi˜ÌiÀÌ>ˆ˜“i˜Ì°ÊœÜiÛiÀ]ÊvœÀÊ̅iÊÃ>ŽiʜvÊ>À}Փi˜Ì]ÊÊ܈Ê ÌÕÀ˜Ê̜Ê̅iʜ««œÃˆ˜}ÊۈiÜ°Ê Ûi˜Ê>ÌÊ>˜Êi>ÀÞÊ>}i]Ê̅iʅՓ>˜ÊÃÕLiVÌʈÃÊÜVˆ>ˆÃi`Ê>˜`Ê interpellated by culture in general and film culture in particular. Some have argued ̅>ÌÊiiVÌÀœ˜ˆVʓi`ˆ>ʘœÌʜ˜ÞÊ`ˆÃ«iÀÃiÃÊ>ÌÌi˜Ìˆœ˜]ÊLÕÌʈÌʅ>ÃÊ>ÃœÊVœœ˜ˆÃi`ʅՓ>˜Ê

THE DIALECTICS OF SPECTATORSHIP

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Vœ˜ÃVˆœÕØiÃÃÊ̜ÊÃÕV…Ê>˜ÊiÝÌi˜ÌÊ̅>ÌʈÌÊVœ˜Ã̈ÌÕÌiÃÊ̅iÊ}œÛiÀ˜ˆ˜}Ê Ài>ˆÌÞÊ œvÊ µÕœtidian life. Sean Cubitt has suggested that our cognitive immersion in simulated realities is no longer a periodic diversion from the everyday business of getting >œ˜}ʈ˜Ê̅iÊܜÀ`°Ê¼i`ˆ>Ê>ÀiÊ̅iÊۈÈLiʓ>ÌiÀˆ>ÊœvʅՓ>˜ˆÌÞ]½Ê…iʅ>ÃÊ>À}Õi`]ʼ̅iÞÊ are what humanity does when we are being human’. 29ʘÊÀiVi˜ÌÊÞi>ÀÃ]Ê̅iʈ`i>ʅ>ÃÊ gained ground that together with its later manifestations within television and onˆ˜i]ʓœÛˆ˜}ʈ“>}iʓœÀiÊ̅>˜Ê>˜Þʜ̅iÀʓi`ˆÕ“Ê`iÌiÀ“ˆ˜iÃÊ̅iÊÜ>ÞÃʈ˜Ê܅ˆV…ÊÜiÊ iÝ«iÀˆi˜Vi]Ê՘`iÀÃÌ>˜`Ê>˜`ÊÀi«ÀiÃi˜ÌÊ̅iÊܜÀ`°
ÃÊi>ÀÞÊ>ÃÊ£™£È]ÊÕ}œÊؘÃÌiÀLiÀ}Ê>À}Õi`Ê̅>ÌÊw“Ê“ˆ“ˆVÃÊv՘V̈œ˜>ÊVœ}˜ˆÌˆœ˜]Ê Ì…iÊ ˆ˜˜iÀÊ ÜœÀŽˆ˜}ÃÊ œvÊ Ì…iÊ “ˆ˜`]Ê >˜`Ê …iÊ ˆ`i˜Ìˆwi`Ê iµÕˆÛ>i˜ViÃÊ LiÌÜii˜]Ê vœÀÊ ˆ˜ÃÌ>˜Vi]ÊVœÃi‡Õ«ÃÊ>˜`ʜÕÀÊ>LˆˆÌÞÊ̜ʫ>ÞÊ>ÌÌi˜Ìˆœ˜ÊiÝVÕÈÛiÞÊ̜ʜ˜iÊ>ëiVÌʜvÊ̅iÊ ÛˆÃÕ>Êwi`ÆÊy>ÅL>VŽÃ]ʅiÊÃ>ˆ`]ÊÀi«ˆV>ÌiÊ̅iÊÜ>Þʓi“œÀÞʓœ`ˆwiÃʜÕÀÊÀi뜘ÃiÃÊ ÌœÊ̅iÊ«ÀiÃi˜Ì°ÊœÀÊؘÃÌiÀLiÀ}]Ê̅iʼ«…œÌœ«>Þ½ÊVœ˜ÛiÀÌi`ÊiÝÌiÀ˜>ÊÀi>ˆÌÞʈ˜ÌœÊ¼Ì…iÊ vœÀ“ÃÊ œvÊ Ì…iÊ ˆ˜˜iÀÊ ÜœÀ`]Ê ˜>“iÞ]Ê >ÌÌi˜Ìˆœ˜]Ê “i“œÀÞ]Ê ˆ“>}ˆ˜>̈œ˜Ê >˜`Ê i“œÌˆœ˜½° 30

ˆÃi˜ÃÌiˆ˜ÊLiˆiÛi`Ê̅>Ìʓœ˜Ì>}i]Ê>ÃÊ>ÊvÀ>}“i˜Ì>̈œ˜ÊœvÊ«iÀVi«Ìˆœ˜Ã]ÊÜ>ÃÊ>Ài>`ÞÊ part of our thinking processes. Paul Virilio suggested that perception itself is governed by cinema and we see reality through the prism of cinematic representation. /…ˆÃÊVœ˜Ìi˜Ìˆœ˜ÊˆÃÊiV…œi`ÊLÞÊ>ÝÊ
˜`ÀiÜÃ]Ê܅œÊ>À}Õi`Ê̅>ÌÊw“ÊVՏÌÕÀiÊ«iÀ“i>ÌiÃÊ >Ê>ëiVÌÃʜvʜÕÀÊ̅ˆ˜Žˆ˜}Ê>˜`Êviiˆ˜}]Ê>˜`Ê՘`iÀÜÀˆÌiÃÊ̅iÊÜ>ÞÊÜiÊÀi뜘`Ê̜ʏˆviÊ events: >ÞLiʜÕÀʓi“œÀˆiÃÊ>Àiʓ>`iÊիʜvÊw“ÃÊ>˜`Ê>ÊœvʜÕÀÊiÝ«iVÌ>̈œ˜ÃÊ>LœÕÌÊ love and death and how we deal with things have already been portrayed ̜ÊÕÃʈ˜Êw“Ã]Ê>˜`Ê܅i˜Ê̅iÃiÊ̅ˆ˜}Ãʅ>««i˜Ê̜ÊÕÃ]ÊÜiÊV>˜ÊÀiviÀi˜ViÊ̅iÃiÊ Ì…ˆ˜}ÃÊÜiʅ>ÛiÊ̅ˆÀ`‡«>ÀÌÞʓi“œÀˆiÃʜv]Ê>˜`Ê̅i˜ÊLi…>ÛiÊ܈̅Ê̅i“° 31

œ˜Ìi“«œÀ>ÀÞÊVœ““i˜Ì>̜ÀÃÊÃÕV…Ê>ÃÊ6ˆÛˆ>˜Ê-œLV…>VŽÊ>˜`Ê>ÌiÊœ˜`œV…ÊÀi}>À`Ê …Õ“>˜ÊëiVÌ>̜ÀÃÊ>Ã]ÊÀiëiV̈ÛiÞ]ÊÌÀ>˜ÃvœÀ“i`ʈ˜Ê̅iˆÀÊÃi˜ÃiʜvÊÃivÊLÞʓ>ˆ˜ÃÌÀi>“Ê VՏÌÕÀi]Ê>˜`ʓÕÌ>Ìi`ÊvÀœ“Ê>Õ̜˜œ“œÕÃÊLiˆ˜}Ãʈ˜ÌœÊ¼ÃVÀii˜ÊÃÕLiVÌý°Ê
VVœÀ`ˆ˜}ÊÌœÊ œ˜`œV…]ÊÜiÊÀi“>ˆ˜Ê¼>À}iÞÊ`iw˜i`ÊLÞʜÕÀÊ`>ˆÞʈ˜ÌiÀ>V̈œ˜Ãʓi`ˆ>Ìi`Ê̅ÀœÕ}…Ê>Ê range of screen-based technologies and devices’.32 The implication is that the more ̈“iÊÜiÊëi˜`ʈ˜ÊvÀœ˜ÌʜvÊÃVÀii˜Ã]Ê̅iʓœÀiʜÕÀÊiÝ«iÀˆi˜ViʈÃÊv՘˜ii`Ê̅ÀœÕ}…Ê̅iÊ “i`ˆ>]Ê܅œÊ`ˆ}iÃÌÊ>˜`ÊÀiVœ˜Ã̈ÌÕÌiÊ̅iÊܜÀ`ÊvœÀʜÕÀÊ`>ˆÞÊVœ˜ÃՓ«Ìˆœ˜° Others have argued that our bodies as well as our minds are inscribed by the ideœœ}ˆiÃʜvʓ>ˆ˜ÃÌÀi>“Ê“i`ˆ>ʈ“>}iÀÞ]Ê̅i“ÃiÛiÃʓˆÀÀœÀˆ˜}ÊÜVˆiÌ>ÊÀՏiÃÊi˜Ã…Àˆ˜i`Ê ˆ˜Ê>˜}Õ>}i]ʘ>̈œ˜Ê>˜`ʏ>Ü°Ê7iʅ>ÛiÊ>Ài>`ÞÊÃii˜Ê…œÜÊ*i}}ÞÊ*…i>˜ÊvÀ>“i`Ê̅iÊ Lœ`ÞÊ>ÃÊVՏÌÕÀ>Þʼ“>ÀŽi`½ÊLÞʈ`iœœ}Þ]Ê>˜`ʈ˜ÊSnows (1967) Carolee Schneemann Ài‡VÞVi`Ê«ÀœiVÌi`ʈ“>}iÃʜvÊ̅iÊ6ˆi̘>“Ê7>À]Ê܅ˆV…ÊÅiÊ`iÃVÀˆLi`Ê>ÃÊi˜ÌiÀˆ˜}Ê>˜`Ê changing her body like a virus. More recent research by Dr. Bill Lewinski suggests that police marksmen’s reaction times are likely to be reduced because they hold

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their guns in the positions adopted by television cops for dramatic effect rather than Ì>ŽiÊÕ«Ê̅iÊ>««Àœ«Àˆ>ÌiÊÃÌ>˜ViÊLivœÀiÊ>ˆ“ˆ˜}Ê>˜`ÊwÀˆ˜}°Ê/…iʍÕ`}i“i˜ÌʜvÊV>ÃiÃʈ˜Ê which officers mistakenly shoot innocent civilians is similarly distorted by fictional V>ÃiðÊ
ÃÊ i܈˜ÃŽˆÊ >À}ÕiÃ]Ê ¼iÛiÀÞLœ`ÞÊ ˆ˜Ê œÕÀÊ ˜>̈œ˜]Ê ˆ˜VÕ`ˆ˜}Ê >ÜÊ i˜vœÀVi“i˜Ì]Ê gets their training about police shootings from Hollywood’. 33 If cinema and its contemporary manifestations can influence how we interpret >˜`Ê>VÌʈ˜Ê̅iÊܜÀ`]ÊÜÊ̜œÊ`œiÃʈÌÊVœœÕÀÊ̅iÊÜ>ÞÊ>À̈ÃÌÃʓ>˜ˆ«Õ>ÌiÊiÃÌ>LˆÃ…i`Ê vœÀ“ÃʜvÊiÝ«ÀiÃȜ˜°Ê˜Ê£™ÈÇ]Ê iÀ̜ÌÊ ÀiV…ÌÊÜÀœÌiʜvÊ̅iʈ“«>VÌʜvÊw“Êœ˜ÊˆÌiÀ>ÌÕÀi\Ê ¼Vˆ˜i“>ÊëiVÌ>̜ÀÃÊ܈Ê˜œÜÊÀi>`ÊÌiÝÌÃʈ˜Ê>Ê`ˆvviÀi˜ÌÊÜ>Þ]Ê>˜`Ê̅œÃiÊ܅œÊÜÀˆÌiÊ̅i“Ê will themselves also be spectators of cinema’.34 Writers would now include in their ÜÕÀViʓ>ÌiÀˆ>Ê܅>ÌÊ̅iʘiÜÊÌiV…˜œœ}ˆiÃÊ>ÀiÊV>«>LiʜvÊŜ܈˜}Ê>˜`]ʈ˜Ê̅iÊ>}iʜvÊ Vˆ˜i“>]Ê̅iÊVÀi>̈ÛiÊ̅ˆ˜Žˆ˜}ʜvÊ>˜Ê>Õ̅œÀÊLiVœ“iÃÊ«Àœ}ÀiÃÈÛiÞʈ˜ÃÌÀՓi˜Ì>ˆÃi`]Ê Ì…iˆÀÊܜÀŽ]ʈ˜VÀi>Ș}ÞÊVˆ˜i“>̜}À>«…ˆV°Ê Once the structuralist prohibition on narrative and visual pleasure lifted from w“Ê>˜`Êۈ`iœÊ>ÀÌʈ˜Ê̅iʏ>ÌiÊ£™näÃÊ>˜`Êi>ÀÞÊ£™™äÃ]ʈÌÊLiV>“iÊVi>ÀÊ̅>ÌÊ̅iʏœ˜}Ê arm of Hollywood had already infiltrated artists’ creative imaginations and substantially influenced the manner in which they were to formulate their work. A feeding frenzy around the canon of Hollywood film was unleashed and innumerable classics ÜiÀiÊ«Õ˜`iÀi`Ê>˜`ʼ“>Åi`ÊÕ«½°Ê>ˆ˜ÃÌÀi>“ÊÌiiۈȜ˜ÊÜ>ÃÊ>ÃœÊ>««Àœ«Àˆ>Ìi`]Ê>˜`Ê ÌiiۈÃÕ>ÊÀi>`އ“>`iÃÊÜiÀiʼÃVÀ>ÌV…i`½Ê>˜`ÊÀiVœ˜Ã̈ÌÕÌi`Ê>ÃÊ>ÀÌ°Ê/…iÃiÊÌÀˆLÕÌiÃÊÌœÊ Ì…iÊ̈Ì>˜ÃʜvÊÌiiۈȜ˜Ê>˜`ÊœÞܜœ`ÊÜiÀiÊÌÀ>˜Ã«œÃi`Ê̜Ê̅iÊ}>iÀÞÊë>Vi]Ê܅ˆV…Ê LiV>“iÊ܅>ÌÊ …ÀˆÃÊ >ÀŽiÊ`ÕLLi`ʼ̅iÊ>Õ̜«ÃÞÊÀœœ“½ÊœvÊ̅iʓœÛˆiÃÆÊ̅iÀi]ʼ>À̈ÃÌÃÊ undertook a forensic dissection of film grammar and cinema history’.35 Post-modern pastiches and remakes of Hitchcock classics became popular – Douglas Gordon’s 24 Hour PsychoÊLiˆ˜}Ê̅iʓœÃÌÊv>ˆÌ…vՏ]ÊϜ܇`Àˆ«Ê…œ“>}iÊ̜Ê̅iÊ}Ài>Ìʓ>˜°Ê
À̈ÃÌÃÊ >VÌi`Ê œÕÌÊ Ì…iÊ w“ÃÊ Ì…>ÌÊ ÜiÀiÊ “œÃÌÊ «iÀܘ>ÞÊ Àiܘ>˜ÌÊ vœÀÊ Ì…i“°Ê ˜Ê ̅iÊ £™näÃ]Ê
˜˜Ê>}˜ÕܘÊVÀi>Ìi`Êۈ`iœÊÀi‡À՘ÃʜvÊÃ̜VŽÊÌiiۈȜ˜ÊŜÜÃ]ÊV>Ã̈˜}ʅiÀÃivÊ>ÃÊ >˜Þ̅ˆ˜}ÊvÀœ“Ê>ÊÌÀ>}ˆVʅiÀœˆ˜iÊ̜Ê>Șˆ˜iÊV…ˆ`Ài˜½ÃÊ/6Ê«ÀiÃi˜ÌiÀ°Ê/Üi˜ÌÞÊÞi>ÀÃʜ˜]Ê Candice Breitz mobilised her own acting talents in BecomingÊ­Óääή]ʓˆ“ˆ˜}Ê̅iʏˆ˜iÃÊ «iÀvœÀ“i`ÊLÞʅiÀÊv>ۜÕÀˆÌiÊÃÌ>ÀÃʜvÊ̅iÊȏÛiÀÊÃVÀii˜Ê­ ˆ>â]Ê,œLiÀÌÃÊ>˜`Ê7ˆÌ…iÀ뜜˜®Ê alongside clips from their films including Pretty WomanÊ­>ÀÀÞÊ>ÀÅ>]Ê£™™ä®Ê>˜`Ê The Sweetest ThingÊ ­,œ}iÀÊ ՓLi]Ê ÓääÓ®°Ê œÌ…Ê ¼«œ«Ê …>VŽiÀÃ½Ê ˜i}œÌˆ>Ìi`Ê Ì…iÊ w˜iÊ line between critique and narcissistic enslavement to the skin-deep attractions of television and Hollywood glamour. One of the most ingenious mainstream appropriations came in the form of Mark Lewis’s Peeping Tom (2000). The artist re-created the film within the film that Michael Powell’s murderous protagonist is shooting in the movie of the same name (1960). Lewis (who shares a name with Powell’s antihero) trades on the collective memories we have formed of the original film notably the thoroughly unpleasant spectacle of female victims being skewered with a spike >ÌÌ>V…i`Ê̜ʼi܈ýýÊV>“iÀ>]Ê>˜Êˆ“>}iÊ̅>ÌʈÃÊÃi>Ài`ʈ˜ÌœÊ*œÜi½ÃÊL>VŽÊV>Ì>œ}Õi°Ê

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Mark Lewis, Peeping Tom (2000), 35mm transferred to DVD, 5:31 min. Film still courtesy and © the artist.

œÀ`œ˜]Ê ÀiˆÌâÊ>˜`Êi܈ÃÊVœ˜wÀ“Ê ˆÊ6ˆœ>½ÃÊ̅iÈÃÊ̅>Ì]ÊvœÀÊ>À̈ÃÌÃ]ʼ>Ê̅iʓœÛˆiÃÊ [they] have ever seen and all the television [they] have ever watched is in there when [they] pick up that camera’.36 Ê܈ÊÀiÌÕÀ˜Ê̜Ê̅iÊœÞܜœ`ÊÌÀˆLÕÌiÃʜvÊ̅iÊ£™™äÃÊ>˜`ÊLiޜ˜`]ÊLÕÌÊvœÀÊ̅iʓœ“i˜Ì]Ê œvviÀÊ Ì…iÊ «ÀœÛˆÃˆœ˜>Ê Vœ˜VÕȜ˜Ê ̅>ÌÊ ˜œÌ܈̅ÃÌ>˜`ˆ˜}Ê ˆ˜`ˆÛˆ`Õ>Ê Û>Àˆ>̈œ˜ÃÊ >˜`Ê ÀiÈÃÌ>˜ViÃ]Ê LœÌ…Ê «Àœ`ÕViÀÃÊ >˜`Ê Vœ˜ÃՓiÀÃÊ Ài뜘`Ê ÌœÊ Ì…iÊ “œÛˆ˜}Ê ˆ“>}iÊ Ì…ÀœÕ}…Ê̅iÊ«ÀˆÃ“ÊœvÊ̅iˆÀÊ>VVՓՏ>Ìi`ÊiÝ«iÀˆi˜Viʜvʓ>ˆ˜ÃÌÀi>“Êw“Ê>˜`ÊÌiiۈȜ˜Ê>˜`]ʈ˜VÀi>Ș}Þ]Ê̅iÊ}Ài>ÌÊVՏÌÕÀ>ÊL>LLiʜvÊ̅iʘÌiÀ˜iÌ°ÊÌʈÃÊ՘`i˜ˆ>LiÊ̅>ÌÊ Ì…iÊVœ“«Àœ“ˆÃi`Ê>˜`ʈ“«iÀviVÌʘ>ÌÕÀiʜvʜÕÀÊ«Ài‡vœÀ“i`Êۈi܈˜}ʈÃÊiÝ>ViÀL>Ìi`ÊLÞÊ the dispersion of our attention across the multiple media devices offering us global

150

INSTALLATION AND THE MOVING IMAGE

Simon Payne, Window Piece (2012), 14 min., site-specific looping video projection. Installation view, Camden Arts Centre, London. Courtesy of the artist. (p. 14)

(Left) Stan Douglas, still from Journey Into Fear, (2001). Courtesy of the artist and David Zwirner, New York. (p. 17)

Neil Brown, Dennis Del Favero, Jeffrey Shaw, Peter Weibel, T_Visionarium (2008). Courtesy of Jeffrey Shaw. (p. 27)

Bill Viola, The Quintet of the Astonished (2000). Colour video rear projection on screen mounted on wall in dark room. Projected image size: 4 ft 7 in x 7 ft 10 in (1.4 x 2.4 m); room dimensions variable, 15:20 min. Performers: John Malpede, Weba Garretson, Tom Fitzpatrick, John Fleck, Dan Gerrity. Photo: Kira Perov. Courtesy of the artist. (p. 29)

Bill Brand, Masstransiscope (1980). The installation consists of two sections separated by a staircase. The artist is seen at the entrance to the long section of the work as the train passes by. Photo: Martha Cooper. Courtesy of the artist. (p. 82)

José Fuster, mosaic wall works (2008), Jaimanitas district, Havana, Cuba. Photo: Uwe Ackermann. (p. 35)

Mat Collishaw, Garden of Unearthly Delights (2009). Steel, aluminium, plaster, resin, LED lights, motor. Image courtesy of the artist and Blain/Southern. Photographer: Christian Glaeser, 2009. © the artist. (p. 85)

Elizabeth Price, THE WOOLWORTHS CHOIR OF 1979 (video still) (2012). HD video installation, 18 min. Courtesy of the artist and MOT International, London & Brussels. (p. 95)

Malcolm Le Grice, Berlin Horse (1970), simulated film strip of 16mm double projection film. Sound: Brian Eno. Courtesy of the artist.

Pat O’Neill, Foregrounds (1979). Courtesy of the artist. © Pat O’Neill. (p. 135)

Mikhail Karikis and Uriel Orlow, Sounds from Beneath (2010–2011). Sound and video, 6:49 min. Courtesy of the artists. (p. 139)

Mark Lewis, Peeping Tom (2000), 35mm transferred to DVD, 5:31 min. Film still courtesy and © the artist. (p. 150)

David Cotterrell, Borrowed Time (1997/2002). Montage using the original footage. Courtesy of the artist. (p. 175)

Chris Welsby, Shoreline 1 (1977), ACME Gallery, a six screen film installation/16mm film loops. Sound: ‘live’, 6 projectors. Courtesy of the artist. (p. 179)

(Above) Tony Oursler, System for Dramatic Feedback (1994). Courtesy of the artist. (p. 182)

(Left) Yayoi Kusama, Self-Obliteration (1967), 16mm, 23 min. Courtesy of the artist. © Yayoi Kusama. (p. 193)

(Left) Gillian Wearing, 2 into 1 (1997). Colour video for monitor with sound, 4:30 min. Courtesy of Maureen Paley, London. © the artist. (p. 215)

Greg Pope, Cipher Screen (2009–14), performed at the Never or Now Festival, Bergen, Norway (January 2011). Sound collaborator: John Hegre. Courtesy of the artist. Photographer unknown. (p. 221)

Tim Smith. Illustration from the article ‘The Attentional Theory of Continuity Editing’ (2012), Projections: The Journal for Movies and the Mind, 6: 1. © Paramount Vintage. Courtesy of Tim Smith. (p. 259)

Vœ˜˜iV̈ۈÌÞÊۈ>ÊVœ“«ÕÌiÀÃ]ÊÌ>LiÌÃ]ʈ*…œ˜iÃÊ>˜`Ê܅>ÌiÛiÀÊÌiV…˜œœ}ˆiÃÊ̅iÊvÕÌÕÀiÊ may throw up. It takes skill and a strong mind to negotiate what Chris Darke calls ¼Ì…iʈ“>}iÊÃ̜À“½Ê̅>Ìʈ˜Û>`iÃʜÕÀʵ՜̈`ˆ>˜ÊˆÛið37 We try to balance the real and the simulated and nurture a criticality in relation to what we see and hear so that invœÀ“>̈œ˜Ê`œiÃʘœÌÊVœ˜ÌÀœÊÕÃÊLÕÌÊÃiÀÛiÃÊÕÃ]Ê«iÀܘ>ÞÊ>˜`Ê«œˆÌˆV>Þ°ÊÊܜՏ`Ê>À}ÕiÊ that installation and the moving image dramatises and focuses our relationship to VՏÌÕÀiÊLÞÊVÀi>̈˜}Ê>ÊÃi«>À>ÌiÊë>Viʜvʈ˜ÌiÀ>V̈œ˜]Ê>˜Ê>˜Ìi‡Àœœ“Ê̜ÊÀi>ˆÌÞ]Ê>Ê«>ÞÊ Àœœ“ʈ˜Ê܅ˆV…ÊۈÈ̜ÀÃÊV>˜ÊiÝ«œÀiÊ>˜`ÊÃiiŽÊ˜iÜÊÜ>ÞÃʜvÊ«>À̈Vˆ«>̈˜}ʈ˜ÊœÕÀʈ˜VÀi>Ș}ÞÊvÀ>}“i˜Ìi`]Ê«œÞ«…œ˜ˆVÊ>˜`ʓi`ˆ>̈Ãi`Êi˜ÛˆÀœ˜“i˜Ì°

THE MANY FACES OF THE SPECTATOR ˜Ê̅ˆÃÊÃiiÃ>܈˜}]Ê`ˆV…œÌœ“œÕÃÊ>VVœÕ˜ÌʜvÊ̅iÊëiVÌ>̜ÀÊqʜ˜iʓˆ˜ÕÌiÊ>˜Êˆ˜`i«i˜`i˜Ì‡“ˆ˜`i`]Ê`ˆÃViÀ˜ˆ˜}Ê>ÀÌÊ`iۜÌii]Ê>˜`Ê>ʅ>«iÃÃÊ«Àœ`ÕVÌʜvÊ̅iʓ>ˆ˜ÃÌÀi>“Ê̅iÊ ˜iÝÌÊqÊÜiÊŜՏ`ʘœÜÊVœ˜Ãˆ`iÀÊ̅iÊ՘뜎i˜Ê>ÃÃՓ«Ìˆœ˜Ê̅>ÌÊÜiÊ>ÀiÊ`i>ˆ˜}Ê܈̅Ê>Ê Õ˜ˆÛiÀÃ>]ʅœ“œ}i˜ˆÃi`ÊëiVÌ>̜À°Ê/…iʜ««œÃˆÌˆœ˜>Ê«À>V̈ViÃʜvÊ̅iÊ£™ÈäÃ]Ê£™ÇäÃÊ >˜`Ê £™näÃÊ ˆ˜ÃˆÃÌi˜ÌÞÊ Û>ˆ`>Ìi`Ê Ì…iÊ ˜œ˜‡ÃÌ>˜`>À`Ê ÃÕLiV̈ۈ̈iÃÊ œvÊ >À̈ÃÌÃ]Ê «>À>`œÝˆV>ÞÊ`À>܈˜}ʜ˜Ê̅iÊVՏÌʜvʈ˜`ˆÛˆ`Õ>ˆÃ“Ê>ÃÜVˆ>Ìi`Ê܈̅Êw˜iÊ>ÀÌÊ̜ÊLœÃÌiÀÊ>˜Ê attack on the normalising tendencies of dominant representations. A polyphony of ¼œÌ…iÀ˜iÃÃiý]ÊÜ>ÃÊViiLÀ>Ìi`ÊLÞÊ>À̈ÃÌÃÊ܅œÊ«ÀœÕ`ÞÊ`iV>Ài`Ê̅iˆÀÊëiVˆwVˆÌˆiÃʜvÊ }i˜`iÀ]ÊÀ>Vi]Ê>}i]ÊVՏÌÕÀiÊ>˜`ÊVÀii`Ê>ÃÊÜiÊ>ÃÊ̅iˆÀÊÃiÝÕ>ÊœÀˆi˜Ì>̈œ˜]ÊiVœ˜œ“ˆVÊ ÃÌ>ÌÕÃÊ >˜`Ê ÃÌ>ÌiÊ œvÊ …i>Ì…°Ê
À̈ÃÌÃÊ ÃÕV…Ê >ÃÊ iˆÌ…Ê *ˆ«iÀ]Ê >ÀœiiÊ -V…˜ii“>˜˜Ê >˜`Ê iÀiŽÊ>À“>˜ÊViiLÀ>Ìi`Ê̅iÊ>̅ïVÊ«ÀœÜiÃÃʜvÊޜÕ̅Ê>˜`Ê̅iÊLœ`ÞÊLi>ṎvՏÊ܅ˆiÊ Ann Whitehurst and Stephen Dwoskin revealed the hidden lives of the disabled. If artˆÃÌÃÊVœÕ`Êi“Lœ`ÞÊ>ʓՏ̈«ˆVˆÌÞʜvÊÃÕLiV̈ۈ̈iÃ]Ê̅i˜Ê“œÛˆ˜}ʈ“>}iÊۈiÜiÀÃÊÜiÀiÊ no less heterogeneous. Earlier theories of monocultural spectatorship dominated LÞÊ wÝi`Ê ÃiÌÃÊ œvÊ }i˜iÀˆVÊ Ài뜘ÃiÃÊ ÌœÊ ÃVÀii˜Ê ˆ˜vœÀ“>̈œ˜Ê «ÀœÛi`Ê Õ˜Ìi˜>Li°Ê ˆ“Ê ̅iœÀˆÃÌÃÊÃÕV…Ê>ÃÊ>VŽˆiÊ-Ì>ViÞ]Ê>VŽˆiÊ Þ>ÀÃÊ>˜`Êi>˜˜iÊ
i˜ÊÜiÀiÊ`iÌiÀ“ˆ˜i`ÊÌœÊ `ˆÃ«>ViÊ̅iÊVœ˜Ûi˜Ìˆœ˜>ÊvœÀ“>̈œ˜ÊœvÊ̅iÊ܅ˆÌi]ʓˆ``i‡V>ÃÃ]ʅiÌiÀœÃiÝÕ>Ê“>iÊ viewer indulging in a sadistic brand of cinematic consumption from a position of fictional mastery while Laura Mulvey’s female spectator oscillated between passively identifying with wilting heroines onscreen and adopting a dominant male gaze. Stacey and others countered these models of spectatorship with a theory of the desiring female viewer caught up in a fascination between women and consumˆ˜}ʓœÛˆiÃÊVœ˜Ì>ˆ˜ˆ˜}ÊÃÕLÌiÝÌÃÊ̅>ÌÊÅiÊVœÕ`ʈ˜ÛiÃÌÊ܈̅ʅiÀʜܘʓi>˜ˆ˜}ð 38 Linda 7ˆˆ>“ÃÊ>À}Õi`Ê̅>ÌÊëiVÌ>̜ÀÃ]Êܜ“i˜Êˆ˜Ê«>À̈VՏ>À]ÊV>˜Ê¼Õ}}i½]Ê̅>ÌʈÃ]ʈ`i˜ÌˆvÞÊ ÜˆÌ…Ê>ÊÀ>˜}iʜvʜ˜ÃVÀii˜ÊV…>À>VÌiÀÃ]ÊLœÌ…Ê“>iÊ>˜`Êvi“>i° 39 Meanwhile Mary Ann œ>˜iÊVœ˜Ìi˜`i`Ê̅>Ìʼvi“>iʓ>õÕiÀ>`i½Êˆ˜ÊˆÌÃʓœÀiÊiÝÌÀi“iÊœÞܜœ`ʓ>˜ˆviÃÌ>̈œ˜ÃÊV>˜Ê«Àœ`ÕV̈ÛiÞʼ`iv>“ˆˆ>ÀˆÃi½ÊÀi«ÀiÃi˜Ì>̈œ˜ÃʜvÊ}i˜`iÀʈ`i˜ÌˆÌÞ]Ê̅ÕÃÊ

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allowing women viewers to distance themselves from the more pernicious effects of female stereotyping. 40 In a more recent theory of spectatorship reminiscent of iÌ̏i…iˆ“½ÃÊ>VVœÕ˜ÌʜvÊv>ˆÀÞÊÌ>iÃ]ʈV…iiÊ
>Àœ˜Ê>`Û>˜ViÃÊ>ÊVœ˜Vi«ÌʜvÊw“Êۈi܈˜}Ê>ÃÊ>ÊvœÀ“ÊœvÊi˜}>}i“i˜Ìʈ˜Ê܅ˆV…ÊëiVÌ>̜ÀÃ]Ê̅ÀœÕ}…Ê>Ê«ÀœViÃÃʜvÊÃÕÀÀœ}>VÞ]Ê >VÌʜÕÌ]Ê«ÀiÃՓ>LÞÊvÀœ“Ê>ÊÃ>viÊ`ˆÃÌ>˜Vi]ʼ̅iÊ՘Vœ˜ÃVˆœÕÃÊ>˜ÝˆïiÃÊ>˜`Ê`iÈÀiÃÊ Ì…>ÌÊ̅iÊÌiÝÌÊ«ÀœÛœŽiý° 41 The therapeutic or cathartic aspects of watching frighti˜ˆ˜}Ê “œÛˆiÃÊ «Àœ}ÀiÃÃÊ vÀœ“Ê ۜÕ˜Ì>ÀÞÊ ÃÕL“ˆÃȜ˜Ê ÌœÊ Ì…iÊ ˆ“>}i]Ê ˆ˜Ê ܅>ÌÊ
>Àœ˜Ê `iÃVÀˆLiÃÊ>ÃÊ>ʓ>ÜV…ˆÃ̈V]ÊLÕÌÊ>V̈ÛiÊi“LÀ>Viʜvʼ̅iÊ«i>ÃÕÀiʜvÊ՘«i>ÃÕÀi½° 42 Although it seems somewhat limiting that the only form of active pleasure a woman ëiVÌ>̜Àʓˆ}…ÌÊ`iÀˆÛiÊvÀœ“Ê̅iʈ“>}iʈÃÊ>ÊÛ>Àˆ>˜Ìʜ˜Ê“>ÜV…ˆÃ“]Ê̅iÊÀi…i>ÀÃ>ÊœvÊ vi>ÀÃ]ʈ˜VÕ`ˆ˜}Ê̅iÊvi>ÀʜvÊ`i>̅ʈÌÃiv]ÊܜՏ`Ê>««i>ÀÊ̜ÊLiÊ>Ê`ii«‡Ãi>Ìi`Êv՘V̈œ˜ÊœvÊ our response to narration in mainstream film.43 We might reasonably suppose that the same psychic mechanisms are at work in our contemplation of more spatialised evocations of thanatos (the Freudian death drive) encountered in artists’ installations such as Bill Viola’s Nantes TriptychÊ­£™™Ó®]Ê>ÊܜÀŽÊ̅>ÌÊvi>ÌÕÀiÃÊvœœÌ>}iʜvʅˆÃÊ dying mother. vÊ̅iÊ՘ÃÕLÃÌ>˜Ìˆ>Ìi`]ÊëiVՏ>̈ÛiÊ̅iœÀˆiÃʜvÊ«ÃÞV…œ>˜>ÞÈÃÊ>««ˆi`Ê̜Êw“Êv>ˆÊ ̜ÊVœ˜Ûˆ˜Vi]ÊÜiÊV>˜ÊÌÕÀ˜Ê̜Ê-ÌÕ>ÀÌÊ>]Ê܅œÊˆ˜Ê…ˆÃÊ£™näÊiÃÃ>Þʼ ˜Vœ`ˆ˜}É iVœ`ˆ˜}½Ê argued persuasively against the passive model of spectatorship using a formulation derived from reception theory. 44Ê
VVœÀ`ˆ˜}Ê̜Ê>]Ê̅iÀiʈÃÊ>˜Êˆ˜iۈÌ>LiʓˆÃ“>ÌV…Ê LiÌÜii˜Ê̅iʈ˜Ìi˜`i`ʓi>˜ˆ˜}ʜvÊ̅iÊ«Àœ`ÕViÀ]ʼ̅iÊ`œ“ˆ˜>˜ÌÊVœ`i½Ê>˜`Ê܅>ÌʈÃÊՏ̈“>ÌiÞÊ`iVœ`i`Ê>˜`Ê՘`iÀÃ̜œ`ÊLÞÊ̅iÊëiVÌ>̜À]Ê>Ê«ÀœLi“Ê…iʈ`i˜Ìˆwi`Ê«Àˆ˜Vˆ«>ÞÊ in the transmission and reception of television broadcasts. Although much of what we see on the big and small screen promulgates a world view that we generally acVi«ÌÊ>ÃÊ>Ê}ˆÛi˜]Ê>ÊÜ>ÃÊVœ˜Ûˆ˜Vi`Ê̅>ÌÊÜiÊV>˜Ê˜iÛiÀ̅iiÃÃÊÌ>ŽiÊÕ«Ê>˜Êœ««œÃˆÌˆœ˜>Ê ÃÌ>˜Viʈ˜ÊÀi>̈œ˜Ê̜Ê̅iÊÜVˆ>ÊœÀ`iÀʈ˜‡Ài«ÀiÃi˜Ì>̈œ˜]Ê>˜`ʼÀi̜Ì>ˆâiÊQˆÌÃRʓiÃÃ>}iÊ within some alternative frame of reference’. 45 If mainstream fare is as malleable as Hall suggests then how much more open to interpretation is the ambiguous terrain œvÊ>À̈ÃÌýʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜¶ÊÌÊÜ>ÃÊViÀÌ>ˆ˜ÞʘœÌÊ̅iʈ˜Ìi˜Ìˆœ˜Ê̅>ÌÊëiVÌ>̜ÀÃÊŜՏ`ÊÀiÈÃÌÊ̅iÊ՘`iÀÞˆ˜}ÊÀ…i̜ÀˆVʜvÊ>Û>˜Ì‡}>À`iÊw“ÃÆʈ˜`ii`ʈ`>]Ê-˜œÜ]Ê Le Grice et al. hoped dissention would be directed towards the implied iniquities of œÞܜœ`°ÊœÜiÛiÀ]Ê>ÊëiVÌ>̜À½Ãʜ««œÃˆÌˆœ˜>Ê¼`iVœ`ˆ˜}½ÊVœÕ`ʍÕÃÌÊ>ÃÊi>ȏÞÊ«ÀœÛˆ`iÊ>ÊVœÕ˜ÌiÀ‡Ài>`ˆ˜}Ê̜Ê̅iʓi>˜ˆ˜}Ãʈ˜Ìi˜`i`ÊLÞÊw““>ŽiÀÃÊÃÕV…Ê>Ãʈ`>]Ê>˜`ʈ˜Ê “ÞÊiÝ«iÀˆi˜Vi]Ê̅iÊiÝiÀVˆÃiʜvʈ˜ÌiÀ«ÀïÛiÊvÀii`œ“ʈ˜ÊÀi>̈œ˜Ê̜Ê̅iÊ>Û>˜Ì‡}>À`iʈÃÊ rarely welcomed by its practitioners. In order to demonstrate the polysemy of moving image culture in general and ̅iÊ«œÌi˜Ìˆ>ÊÀ>˜}iʜvʓi>˜ˆ˜}ÃÊi“Li``i`ʈ˜Ê>˜Êˆ˜`ˆÛˆ`Õ>Êˆ˜ÃÌ>>̈œ˜]ÊÊÅ>ÊiÝamine a single work: BearÊ ­£™™Î®Ê LÞÊ -ÌiÛiÊ V+Õii˜°Ê Bear is a single-screen film installation featuring two naked wrestlers circling each other in a veiled allusion to the famous homoerotic fight scene in Women in LoveÊ­i˜Ê,ÕÃÃi]Ê£™È™®°Ê/…iÊÌi˜ÃiÊ

152

INSTALLATION AND THE MOVING IMAGE

>˜`Êi˜ˆ}“>̈Vʈ“>}iʜvÊ̅iÊL>VŽÊLœ`ˆiÃʏœVŽi`ʈ˜Ê“ÕÌÕ>Ê«œÃÌÕÀˆ˜}Êqʅ>vÊÃi`ÕV̈œ˜]Ê …>vÊ«Õ}ˆˆÃ̈VÊ̅Ài>ÌÊqÊVœÕ`ÊLiÊÀi>`ÊÛ>ÀˆœÕÏÞÊ>ÃÊ>ÊÀiviÀi˜ViÊ̜ÊVœœ˜ˆ>Ê…ˆÃ̜ÀÞ]Ê>Ê ViiLÀ>̈œ˜Êœvʓ>iÊÃiÝÕ>ˆÌÞ]Ê>Ê«œÃˆÌˆÛiÊÀœiʓœ`iÊvœÀÊޜ՘}ÊLœÞÃÊÃiiŽˆ˜}ÊëœÀ̈˜}Ê …iÀœiÃʜÀÊ>˜ÊœLiVÌʜvÊvi>Àʈ˜Ê̅iʈ“«ˆi`Êۈœi˜ViʜvÊ̅iÊ«iÀvœÀ“iÀýʓœÛi“i˜ÌÃ°Ê >VŽÊ >Õ`ˆi˜ViÃÊ ˆ˜Ê «>À̈VՏ>ÀÊ “ˆ}…ÌÊ `À>ÜÊ ˆ˜Ã«ˆÀ>̈œ˜Ê vÀœ“Ê iۈ`i˜ViÊ œvÊ V+Õii˜½ÃÊ professional successes (presaging his later triumphs in mainstream film). We might also follow Richard Dyer’s lead in his 1982 article in which he recast the image of the “>iÊLœ`ÞÊ>ÃÊ>ʼÜÕÀViʜvÊiÀœÌˆVÊۈÃÕ>Ê«i>ÃÕÀiÊvœÀʓi˜Ê>˜`Êܜ“i˜½] 46 an enrichment of signification that encompasses the black male bodies featured in Bear.47 /…iÊܜÀŽÊ“ˆ}…ÌÊ>ÃœÊ«ÀœÛˆ`iÊvœ``iÀÊvœÀÊ>ÊvœÀ“>Ê>˜>ÞÈÃʜvÊ>À̈ÃÌýÊw“Ê>˜`Êۈ`iœ]Ê̅iÊ iµÕ>̈œ˜ÊœvÊ̅iʼΈ˜ÊœvÊ̅iÊw“½Ê܈̅Ê̅iÊÃÕÀv>ViʜvÊ̅iÊLœ`ˆiÃÊ`i«ˆVÌi`°Ê˜Ê“ÞÊV>Ãi]Ê Ì…iÊܜÀŽÊˆ˜Ã«ˆÀi`Ê«ÀœvœÕ˜`Ê>`“ˆÀ>̈œ˜Ê>˜`]Ê>ÌÊ̅iÊÃ>“iÊ̈“i]ÊiÝ>ëiÀ>̈œ˜Ê>ÌÊ̅iÊ spurious insistence on spectatorial mobility that leads galleries to refuse adequate Ãi>̈˜}Ê̜ʫi˜Ãˆœ˜iÀðÊ
ÃÊ iˆÀ`ÀiÊi``œ˜Ê>À}Õi`]Ê̅iÊëiVÌ>̜ÀʈÃʼ>V̈ÛiÞÊ>Ü>ÞÃÊ i˜}>}i`ʈ˜Ê˜>ÀÀ>̈˜}Ê>˜`ÊÌÀ>˜Ã>̈˜}]Ê>««Àœ«Àˆ>̈˜}Ê̅iÊÃ̜ÀÞʈ˜ÊœÀ`iÀÊ̜ʓ>ŽiʈÌʅiÀÊ Ã̜ÀÞ½] 48Ê>˜`Êi>V…ÊÃ̜ÀÞÊ܈ÊLiÊ`ˆvviÀi˜Ì°Ê˜Ê̅iÊÃ>“iÊÜ>ÞÊ̅>ÌÊÈLˆ˜}ÃÊÀ>ÀiÞÊiÝ«iÀˆi˜Vi`Ê̅iÊÃ>“iÊV…ˆ`…œœ`Ã]ÊëiVÌ>̜ÀÃʜvʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜ÃʘiÛiÀÊÃiiÊ iÝ>V̏ÞÊ̅iÊÃ>“iÊܜÀŽ°Ê The meaning of a work is multiple and polymorphous and any instance of interpretation largely depends on who is doing the looking. The person engaged in active ÌÀ>˜Ã>V̈œ˜Ê܈̅Ê̅iÊܜÀŽÊ>ÃœÊLÀˆ˜}ÃÊ̜ʈÌʅiÀʈ˜`ˆÛˆ`Õ>ÊˆviʅˆÃ̜ÀÞ]ʅiÀÊLiˆivÊÃÞÃÌi“Ã]Ê«œˆÌˆV>Ê>vwˆ>̈œ˜ÃÊ>˜`ʅiÀÊ>ëˆÀ>̈œ˜ÃÊvœÀÊ̅iÊvÕÌÕÀi]ʘœÌÊ̜ʓi˜Ìˆœ˜]Ê>ÃÊ6ˆœ>Ê Ài“ˆ˜`i`ÊÕÃ]Ê̅iʎ>iˆ`œÃVœ«iʜvʓi“œÀˆiÃʜvÊ>Ê̅iÊw“Ã]Êۈ`iœÃ]ÊÌiiۈȜ˜ÊŜÜÃÊ and installations she has ever seen. Not only are the autobiographical specificities œvÊi>V…ÊëiVÌ>̜Àˆ>ÊÃÕLiVÌÊVÀˆÌˆV>Ê̜Ê>ÊÀi>`ˆ˜}ʜvÊ̅iÊܜÀŽ]ÊLÕÌʜ̅iÀÊVœ˜ÌiÝÌÕ>Ê factors come into play. The historical moment in which the work is screened will inyiVÌʈÌÃʓi>˜ˆ˜}ÆÊvœÀʈ˜ÃÌ>˜Vi]Ê>ÃÊÜiÊÃ>Üʈ˜ÊV…>«ÌiÀÊÈÝ]Êi>ÀÞÊܜÀŽÃÊLÞÊ̅iÊ >˜ÌÀˆÃÊ ˆ˜Ê
ÕÃÌÀ>ˆ>]ÊŜÌʈ˜Ê̅iÊLÕÅÊ>ÀœÕ˜`Ê >˜LiÀÀ>ÊÜiÀiÊvœÀ“>ÞÊÀ>`ˆV>Êˆ˜Ê̅iÊ£™ÈäÃÊ>˜`Ê 1970s but today take on additional meaning as historical records of an Aboriginal >˜`ÃV>«iÊ ˜œÜÊ ÃÜ>“«i`Ê LÞÊ Õ˜ÀiÃÌÀˆVÌi`Ê ÕÀL>˜Ê iÝ«>˜Ãˆœ˜°Ê
Ê ÜœÀŽÊ ܈Ê >ÃœÊ LiÊ coloured by the institutional setting in which it is located – from the modest artistÀ՘ʼ>ÌiÀ˜>̈Ûi½Ê}>iÀÞÊ̜Ê̅iÊ}À>˜`iÃÌʜvʘ>̈œ˜>Ê“ÕÃiՓðÊÌʈÃʓ>ÀŽi`ÊvÕÀ̅iÀÊ by the economic conditions of its production and reception as well as the critical re뜘ÃiÊ̅>ÌÊ}ˆÛiÃʈÌʏi}ˆÌˆ“>VÞʜÀʈ˜`ii`]ÊLÞÊȏi˜Viʈ˜Ê̅iÊ>ÀÌÊ«ÀiÃÃÊ̅>ÌÊVÕÌÃÊŜÀÌÊ its life. All of these factors taken in aggregate lead us to conclude that the meaning of a moving image installation is multi-layered and indeterminate. Change any one of these variables and the work is potentially transformed. Where Stuart Hall championed the agency of the spectator based on her ability to `iVœ`iʓ>ˆ˜ÃÌÀi>“Ê“œÛˆ˜}ʈ“>}iÊ̜ÊÃՈÌʅiÀʜܘÊ>}i˜`>]ʓœÀiÊÀiVi˜ÌÊw“Ê̅iœÀÞÊ has figured the viewer continually linking and comparing the image presented to

THE DIALECTICS OF SPECTATORSHIP

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…iÀʜܘÊiÝ«iÀˆi˜ViÃÊqÊ>ʎˆ˜`ʜvÊëiVÌ>̜Àˆ>ÊÀi>ˆÌÞÊÌiÃ̈˜}°Ê>VµÕiÃÊ,>˜VˆmÀiʈ˜ÌÀœ`ÕVi`Ê̅iʈ`i>ʜvÊ̅iʼi“>˜Vˆ«>Ìi`ÊëiVÌ>̜À½ÊL>Ãi`ʜ˜Ê…ˆÃʜLÃiÀÛ>̈œ˜ÃʜvÊ̅i>ÌÀiÊ ˆ˜Ê܅ˆV…]ʅiÊÃ>ˆ`]Ê̅iÊ>Õ`ˆi˜Viʅ>À˜iÃÃiÃÊ̅iʼÀi>ܘˆ˜}Ê`ˆÃÌ>˜Vi½Ê̅iʏˆÛiÊiÛi˜ÌÊ>vvœÀ`Ã]Ê>˜`ÊëiVÌ>̜ÀÃÊ̅ÕÃʓ>ˆ˜Ì>ˆ˜Ê̅iˆÀÊ>LˆˆÌÞÊ̜ÊÃiiÊ>˜`Ê̅ˆ˜Ž° 49Êv]Ê>ÃÊ,>˜VˆmÀiÊ Vœ˜Ìi˜`Ã]ÊÜiÊ«ÀiÃiÀÛiʜÕÀÊVÀˆÌˆV>Êv>VՏ̈iÃʈ˜ÊÀi>̈œ˜Ê̜Ê>ÊÃÌ>}i`ÊܜÀŽ]Ê>˜ÊiµÕ>ÞÊ ¼ÃÌ>}i`½Ê“œÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê>ÃœÊ}ˆÛiÃÊÀˆÃiÊ̜Ê>V̈Ûiʈ˜ÌiÀ«ÀiÌ>̈œ˜]Ê>˜`ʼˆ˜ÌiÀpreting the world is already a means of transforming it’.50Ê,>˜VˆmÀi½Ãʜ«Ìˆ“ˆÃ“ÊÜ>ÃÊ ÀiVi˜ÌÞÊÀiˆÌiÀ>Ìi`ÊLÞÊ,>ޓœ˜`Ê iœÕÀÊvœÀÊ܅œ“ÊiÛi˜Ê̅iʈ““œLˆi]ÊÃi>Ìi`ÊëiVÌ>tor in a movie theatre engages positively with the spectacle. In a reversal of recent ÌÀi˜`Ãʈ˜Ê̅iÊÃÌÕ`ÞʜvÊëiVÌ>̜Àň«]Ê iœÕÀʅ>ÃÊV…>À>VÌiÀˆÃi`Ê«…ÞÈV>ÊÃÌ>ÈÃÊ>ÃÊ>Ê `iVˆ`i`Ê>`Û>˜Ì>}iÊLiV>ÕÃiʈÌʼ}ˆÛiÃÊvÀii`œ“ÊvœÀʓi˜Ì>Ê>V̈ۈÌÞ½51 and for the moLˆˆÃ>̈œ˜Êœvʓi“œÀްʘÊ̅ˆÃÊÀiëiVÌ]Ê iœÕÀʈÃÊiV…œˆ˜}Ê-œVÀ>ÌiÃÊ܅œ]Ê>VVœÀ`ˆ˜}ÊÌœÊ *>̜]Ê`iV>Ài`Ê̅>Ìʼ«ÕÀiʎ˜œÜi`}i½ÊVœÕ`ʜ˜ÞÊLiÊ>V…ˆiÛi`Ê܅i˜Ê̅iʓˆ˜`ʈÃʼvÀii`Ê from the shackles of the body’. 52 Bellour also echoes Donna Harraway who champiœ˜i`Ê̅iÊVÞLœÀ}Ê>ÃÊ>˜Ê>ÌiÀ˜>̈ÛiÊ̜ÊLˆœœ}ˆV>Ê`iÌiÀ“ˆ˜ˆÃ“]53Ê>ÃÊÜiÊ>ÃÊi>˜‡œÕˆÃÊ >Õ`ÀÞ]Ê܅œÊi˜`œÜi`Ê̅iÊV>“iÀ>Ê܈̅Ê̅iÊ«œÜiÀÊ̜ÊVÀi>ÌiÊ>ÊÜ>Þv>Àˆ˜}ÊëiVÌ>̜ÀÊ ¼˜œÊœ˜}iÀÊviÌÌiÀi`ÊLÞÊ>ÊLœ`Þ]ÊLÞÊ̅iʏ>ÜÃʜvʓ>ÌÌiÀÊ>˜`Ê̈“i½° 54ÊvÊ̅iÀiÊ>Àiʼ˜œÊ“œÀiÊ >ÃÈ}˜>Liʏˆ“ˆÌÃÊ̜ʈÌÃÊ`ˆÃ«>Vi“i˜Ì½]Ê̅i˜Ê̅iʼÌÀ>˜ÃVi˜`i˜Ì>ÊÃÕLiV̽Ê>V…ˆiÛiÃÊ>Ê ViÀÌ>ˆ˜Ê«œÜiÀʈ˜Ê̅iÊiÝiÀVˆÃiʜvʈÌÃʈ“>}ˆ˜>̈œ˜°55

COMPLICIT AND EMPATHIC SPECTATORSHIP 7ˆÌ…Ê«œÜiÀÊVœ“iÃÊÀi뜘ÈLˆˆÌÞÊ>˜`ʈV…iiÊ
>Àœ˜ÊÀ>ˆÃiÃÊ̅iʈÃÃÕiʜvÊ̅iʼˆ˜iۈÌ>LiÊ Vœ“«ˆVˆÌÞÊ°°°Ê̅>ÌʏˆiÃÊ>ÌÊ̅iʅi>ÀÌʜvÊëiVÌ>̜Àň«½]ÊiëiVˆ>Þʈ˜ÊÀi>̈œ˜Ê̜ʜLÃVi˜i]Ê violent or potentially unethical material. 56 Does one participate in the ongoing misery œvÊ̅iÊ>Vœ…œˆVÃʈˆ>˜Ê7i>Àˆ˜}ʈ˜ÛˆÌi`Ê̜ʅiÀÊÃÌÕ`ˆœÊ>˜`Ê«ˆi`Ê܈̅Ê`Àˆ˜Ž]Ê̅iˆÀÊ`À՘Žen behaviour forming the material for her video installation DrunkÊ­Óää䮶ÊœÜÊ`œiÃÊ Ì…iÊܜÀŽÊ`iyiVÌÊ̅iʼˆÀÀi뜘ÈLˆˆÌÞʜÀʘiÕÌÀ>ˆÌÞʜvʏœœŽˆ˜}ʜ˜½¶57 Aaron’s answer is that only works that insistently and uncomfortably foreground the spectatorship œvÊ̅iÊ>Õ`ˆi˜ViÊ>ۜˆ`Ê̅iÊ«œÌi˜Ìˆ>ÊV…>À}iʜvÊVœ“«ˆVˆÌÞ°ÊœÜiÛiÀ]ʈ˜Ê̅iÊiÝ>“«iÃÊ
>Àœ˜Ê«ÀœÛˆ`iÃ]Ê«Àˆ˜Vˆ«>ÞÊ œ}“iÊw“Ã]Ê>˜`ʈ˜`ii`ʈ˜Ê7i>Àˆ˜}½Ãʈ˜ÃÌ>>̈œ˜]Ê̅iʈÕȜ˜ˆÃ“Ê>˜`ʘ>ÀÀ>̈ÛiÊÃÌÀÕVÌÕÀiÃʜvʓ>ˆ˜ÃÌÀi>“Ê“i`ˆ>Ê>ÀiÊL>ÀiÞÊLÀi>V…i`Ê>˜`]Ê ˆ˜Ê“ÞÊۈiÜ]Ê>Ãʜ˜œœŽiÀÃ]ÊÜiÊÀi“>ˆ˜Êˆ“«ˆV>Ìi`ʈ˜Ê̅iÊVÀÕiÌÞÊ̅>Ìʅ>ÃÊLii˜ÊÃÌ>}i`Ê vœÀʜÕÀÊi˜ÌiÀÌ>ˆ˜“i˜Ì°Ê-«iVÌ>̜Àˆ>Ê՘i>Ãiʅ>ÃÊViÀÌ>ˆ˜ÞÊLii˜Ê>V…ˆiÛi`ÆʅœÜiÛiÀ]ÊÊ would argue that the only truly ethical stance would involve looking away. ˜Ê̅iÊ`ˆÃVÕÃȜ˜ÊÜÊv>À]ÊÜiʅ>ÛiʜÛiÀœœŽi`Ê̅iʈÃÃÕiʜvÊi“«>̅Þ]Ê>ÊÀi뜘ÃiÊ Ì…>ÌÊÜiʓˆ}…Ìʅ>ÛiÊiÝ«iVÌi`Ê7i>Àˆ˜}½ÃÊV>ÃÌʜvÊ>Vœ…œˆVÃÊ̜ÊiˆVˆÌ°Ê˜Ê£nÇÎ]Ê,œLiÀÌÊ Vischer concluded that empathy necessitates a suspension of the ego in favour œvÊ Ì…iÊ ÃÕLiVÌÊ ˆ˜Ê ۈiÜ]Ê Ü…œÊ ˆÃÊ ÀiVœ}˜ˆÃi`Ê >ÃÊ Ãˆ“ˆ>ÀÊ ÌœÊ œÕÀÃiÛið 58 Beyond our

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identification with the alcoholics in DrunkÊ­¼Ì…iÀiÊLÕÌÊvœÀÊ̅iÊ}À>ViʜvÊœ`Ê}œÊ½®]Ê>˜œÌ…iÀ]Ê «>À>iÊ ˆ˜ÌiÀ«iÀܘ>Ê VœÀÀi뜘`i˜ViÊ i݈ÃÌÃÊ LiÌÜii˜Ê ̅iÊ ÛˆiÜiÀÊ >˜`Ê Ì…iÊ >À̈ÃÌ]ʈ˜Ê̅ˆÃÊV>ÃiÊ7i>Àˆ˜}]Ê܅œÊ«>ˆ`Ê̅iÊ`À՘ŽÃʈ˜ÊµÕiÃ̈œ˜Ê̜Ê>««i>Àʈ˜Ê…iÀÊܜÀŽ°Ê 7iÊ>ÀiʏˆŽiÞÊ̜Ê>V…ˆiÛiÊ>ʼ…iÌiÀœ«>̅ˆV½Êi“«>̅ÞÊ܈̅Ê7i>Àˆ˜}]ʜ˜iÊ̅>ÌÊ>VŽ˜œÜedges the distance between ourselves as viewers and the artist as producer. 59 œÜiÛiÀ]ÊÜiʓˆ}…ÌÊw˜`ʜÕÀÊÃޓ«>̅ˆiÃÊiÛ>«œÀ>ÌiÊ>ÃÊÜiʵÕiÃ̈œ˜Ê̅iÊi̅ˆVÃʜvÊ̅iÊ «ˆiVi]Ê >˜`Ê >Î]Ê ÜœÕ`Ê ÜiÊ …>ÛiÊ `œ˜iÊ Ì…ˆÃ¶60 Such an interrogation might limit our feelings of empathy towards Wearing as we wrestle with the ambiguity of her poten̈>ÞÊiÝ«œˆÌ>̈ÛiÊÀi>̈œ˜Ã…ˆ«Ê̜ʅiÀÊÃÕLiVÌðÊ7iʓˆ}…ÌÊ>ÃœÊµÕiÃ̈œ˜Ê…iÀÊ>LˆˆÌÞÊÌœÊ feel compassion for the people whose addiction she transformed into a large-scale “i`ˆ>ÊëiVÌ>Vi]Ê܅iÀiʈ˜ÊՏˆ>˜Ê-Ì>>LÀ>ÃýÃÊܜÀ`Ã]ÊÜiÊ>Àiʈ˜ÛˆÌi`Ê̜ʼ…œˆ`>Þʈ˜Ê other peoples’ misery’.61

A NOTE ON THE MOBILE SPECTATOR
ÃÊʅ>ÛiÊÃÕ}}iÃÌi`]ʓ>˜ÞʜvÊ̅iÊVÀˆÌˆµÕiÃʜvÊiÝ«iÀˆ“i˜Ì>Êw“Ê>˜`Êۈ`iœÊˆ˜Ê̅iÊ£™ÈäÃÊ and 1970s were based on the view that traditional forms of moving image involve the gradual contamination of vulnerable minds by the ideologies of the state (capiÌ>ˆÃ“®°Ê/…ˆÃÊ«ÀœViÃÃÊÜ>ÃÊ՘`iÀÃ̜œ`Ê̜ÊLiÊ>ˆ`i`Ê>˜`Ê>LiÌÌi`ÊLÞÊ̅iÊwÝi`]ÊÃi>Ìi`]Ê regimented and muted positions we adopt when indulging in these dangerous forms œvÊVˆ˜i“>̈VÊ«i>ÃÕÀi°Ê-ˆ˜ViÊ̅i˜]Ê>ʘiÜÊÀ>`ˆV>ˆÌÞÊvœÀʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Ê…>ÃÊ been claimed based on the liberation of the viewer from the restrictions of sedenÌ>ÀÞÊ Ã«iVÌ>̜Àň«°Ê Àii`œ“Ê œvÊ “œÛi“i˜Ì]Ê ˆÌÊ Ü>ÃÊ Ã>ˆ`]Ê ÜœÕ`Ê v>VˆˆÌ>ÌiÊ >˜Ê >V̈ÛiÊ i˜}>}i“i˜ÌÊ܈̅Ê̅iÊܜÀŽ°Ê ÀˆŽ>Ê >Ãœ“Ê…>Ãʅˆ}…ˆ}…Ìi`Ê̅iÊ>LÃÕÀ`ˆÌÞʜvʼVœ˜y>̈˜}Ê physical stasis with regressive mystification and physical ambulation with criticality’.62Ê ˆÌˆ˜}Ê iiÕâi]Ê >Ãœ“Ê…>ÃÊ>ÃœÊ>À}Õi`Ê̅>ÌÊv>ÀÊvÀœ“ʈ˜`ÕVˆ˜}ʈ˜Ê̅iÊVœ˜ÃՓiÀÊ VÀˆÌˆV>Ê̅œÕ}…ÌvՏ˜iÃÃ]Ê«iÀ«iÌÕ>Ê“œÌˆœ˜ÊˆÃÊ̅iÊVœ˜`ˆÌˆœ˜Ê̅>ÌÊLiÃÌÊÃiÀÛiÃÊ̅iʈ˜ÌiÀiÃÌÃʜvÊ̅iÊiÝ«iÀˆi˜ViÊiVœ˜œ“ްʼ/œÊVˆÀVՏ>ÌiÊ>˜`Ê«>À̈Vˆ«>Ìi½]ÊÅiʜLÃiÀÛiÃʼ>ÀiÊ LÞʘœÊ“i>˜ÃÊ>V̈ۈ̈iÃʜvÊÀiÈÃÌ>˜Vi½ÊLÕÌʏˆŽiÊ܈˜`œÜ‡Ã…œ««ˆ˜}]Ê̅iÞÊÀi«Àœ`ÕViʼ̅iÊ perceptual regimes of mass culture’. 63 There is also the view that mobility allows us ̜ÊÃiiʈ˜ÃÌ>i`ÊܜÀŽÃʈ˜ÊÜ>ÞÃÊ̅>ÌÊܜՏ`ÊiÕ`iÊ̅iÊÃÌ>̈VÊëiVÌ>̜À°Ê˜ÊV…>«ÌiÀÊÌܜ]ÊÊ made a case for the potential of gallery goers to deconstruct the image by getting up VœÃiÊi˜œÕ}…Ê̜ÊÀi>`Ê̅iÊ«ˆÝiÃÊ­“œÀiÊ`ˆvwVՏÌÊ܈̅ʅˆ}…Ê`iw˜ˆÌˆœ˜®°ÊœÜiÛiÀ]Êȓ«ÞÊ Ü>Žˆ˜}Ê«>ÃÌÊ>ÊȘ}i‡ÊœÀÊ`œÕLi‡ÃVÀii˜Ê«ÀœiV̈œ˜ÊqÊ܅>ÌʓœÃÌʜvÊÕÃÊ`œÊqÊ`œiÃʘœÌÊ substantially change the image we see. It looks much the same from anywhere in ̅iÊÀœœ“°Ê-«iVÌ>̜ÀÃÊÌi˜`Ê̜ʫ>ÕÃiÊ>ÌÊ̅iʈ`i>Êۈi܈˜}Ê«œÃˆÌˆœ˜]ÊiµÕˆÛ>i˜ÌÊ̜Ê̅iÊ œ˜iÊ̅iÞÊܜՏ`ʜVVÕ«Þʈ˜Ê>ÊVˆ˜i“>]ÊÜ>ÌV…Ê>܅ˆiÊ>˜`Ê̅i˜Ê“œÛiʜ˜°64
ÃÊiÊÀˆViÊ«œˆ˜Ìi`ʜÕÌ]ʜ˜iʜvÊ̅iÊ`ˆÃ>`Û>˜Ì>}iÃʜvÊi˜VœÕÀ>}ˆ˜}Ê>Õ`ˆi˜ViÃÊÌœÊ drift through the gallery is that their commitment to the duration of a work cannot

THE DIALECTICS OF SPECTATORSHIP

155

LiÊ}Õ>À>˜Ìii`°Ê/…iʘi܏Þʼi“>˜Vˆ«>Ìi`½ÊëiVÌ>̜À]ÊLÀœÜȘ}Ê̅iÊܜÀŽÊˆŽiÊ>ÊVՏÌÕÀ>Ê flaneur can simply walk past if not immediately grabbed by the installation. Although ̅iÊÀi`ÕVi`Ê>ÌÌi˜Ìˆœ˜Êë>˜ÊœvÊ̅iʼ“i`ˆ>‡Lœ“Li`½ÊVœ˜Ìi“«œÀ>ÀÞÊۈiÜiÀʈÃÊ՘`œÕLÌi`ÞÊ>Êv>V̜À]Ê>ÊÀiÕVÌ>˜ViÊ̜ÊÃÌ>ÞÊ̅iÊVœÕÀÃiʜvÊ>Êw“Ê«ÀœiV̈œ˜ÊˆÃÊiÝ>ViÀL>Ìi`ÊLÞÊ̅iÊ lure of other elements in a multi-media work. Like the Parisian arcades and pleasure }>À`i˜ÃÊ̅>ÌÊÜÊv>ÃVˆ˜>Ìi`Ê7>ÌiÀÊ i˜>“ˆ˜]ÊVœ˜Ìi“«œÀ>ÀÞʓÕÃiՓÊi݅ˆLˆÌˆœ˜ÃÊ>˜`Ê viÃ̈Û>ÃÊ>ÃœÊvi>ÌÕÀiÊ>˜Ê>ÀÀ>ÞʜvÊ>ÌÌÀ>V̈œ˜Ã]Ê܅>ÌÊ >Ãœ“Ê`iÈ}˜>Ìi`Ê̅iʼi˜`iÃÃÊ «>À>`iʜvʜLiVÌÃÊ̜ÊLiÊVœ˜ÃՓi`½°65ʘÊ̅iÊV>ÃiʜvÊ}ÀœÕ«ÊŜÜÃ]Ê̅iʘiÝÌʈ˜ÃÌ>>̈œ˜ÊˆÃÊ>Ü>ÞÃÊLiVŽœ˜ˆ˜}ÊÌ>˜Ì>ˆÃˆ˜}Þʜ˜Ê̅iÊi`}iʜvÊ«iÀˆ«…iÀ>ÊۈȜ˜]ʈÌÃÊÜ՘`Ê Lii`ˆ˜}ʈ˜ÌœÊ̅iÊ>Õ`ˆœÊÌÀ>VŽÊœvÊ̅iÊܜÀŽÊ՘`iÀʈ““i`ˆ>ÌiÊVœ˜Ãˆ`iÀ>̈œ˜°Ê i˜>“ˆ˜½ÃÊ ¼`ˆÃÌÀ>VÌi`½ÊۈiÜiÀ]ÊÀ>ˆÃi`ʈ˜Ê>ÊÃVÀii˜Ã>ÛiÀÊVՏÌÕÀiʜvÊVœ˜ÃÌ>˜ÌÞÊÀivÀiň˜}ʈ“>}iÃ]Ê can be particularly hard to snare especially with works featuring long sequences of À>Ü]Ê՘i`ˆÌi`ÊvœœÌ>}iʈ˜Ê܅ˆV…ÊÛiÀÞʏˆÌ̏iʈÃʅ>««i˜ˆ˜}°Ê …ÀˆÃÊ >ÀŽiʅ>ÃÊÃÕ}}iÃÌi`Ê Ì…>ÌÊ}>iÀÞÊw“Ê>˜`Êۈ`iœ]ʈ˜ÊϜ܈˜}Ê̅iÊ«>Vi]ʜvviÀÊÀiëˆÌiÊvÀœ“ʼ̅iʈ“>}iÊÃ̜À“½]Ê ÞiÌÊ܅>ÌÊ>ÕÀˆiÊ
˜`iÀܘÊV>i`ʼ`ˆvwVՏ̽Êw“ÊœvÌi˜Ê`i“>˜`ÃʓœÀiÊ«>̈i˜ViÊ>˜`Ê̜œÊ great an effort of the imagination for the average contemporary spectator to draw vÀœ“Ê̅iÊܜÀŽÊVœ…iÀi˜Ìʓi>˜ˆ˜}°Ê
ÃÊ>ÊÀiÃՏÌ]ÊVœ}˜ˆÌˆÛiÊ`ˆÃܘ>˜Vi]ʜÀÊ܅>ÌÊ*iÌiÀÊ Osborne regards as the failureʜvÊ`ˆÃÌÀ>V̈œ˜]ÊÌÀˆ}}iÀÃÊviiˆ˜}ÃʜvÊ>˜ÝˆiÌÞʈ˜Ê̅iÊۈiÜer.66ÊœÀÌ՘>ÌiÞ]Ê̅ˆÃÊ`ˆÃVœ“vœÀÌʈÃʵՈVŽÞÊ>iۈ>Ìi`ÊLÞÊÌÕÀ˜ˆ˜}Ê̜ʜ̅iÀÊܜÀŽÃʈ˜Ê ̅iÊë>Vi]ÊLÞÊV…>Ì̈˜}Ê̜ÊvÀˆi˜`Ã]ʜÀÊLÞÊ«iÀÕȘ}Ê̅iÊiÝ«>˜>̜ÀÞÊÜ>‡«Àˆ˜Ìi`ʘœÌiÃÊ devised by the curators – although these can be a challenge in themselves. Osborne makes a similar point when he observes that the general environment of the gallery ¼Ì…iÊÈ}…Ìʜvʜ̅iÀÊۈiÜiÀÃ]Ê̅iÊLi}Ոˆ˜}Ê>ÀV…ˆÌiVÌÕÀiʜvÊ}>iÀއë>Vi]Ê̅iÊۈiÜʜÕÌÊ œvÊ̅iÊ܈˜`œÜ½]Ê̜}i̅iÀ]ʼ«ÀœÛˆ`iÊ̅iÊÀi>ÃÃÕÀ>˜ViʜvÊ«œÃÈLiÊ`ˆÃÌÀ>V̈œ˜Ã½°67 Should ̅iÊ`ˆvwVՏÌÞʜvÊ̅iÊܜÀŽÊˆ˜Ãˆ`iÊ̅iÊ}>iÀÞÊ«ÀœÛiÊ̜œÊ}Ài>ÌÊ>ÊV…>i˜}i]ÊÜiÊ>ÀiÊ>Ü>ÞÃÊ free to leave. -«iVÌ>̜Àˆ>Ê>ÌÌi˜Ìˆœ˜Ê`iwVˆÌʅ>ÃÊViÀÌ>ˆ˜ÞÊLii˜ÊiÝ>ViÀL>Ìi`ÊLÞÊ̅iʜÛiÀÃ>ÌÕÀ>tion of the digital moving image in galleries and in both civic and domestic spaces. In ëˆÌiʜvÊÌiV…˜ˆV>Ê`iÛiœ«“i˜ÌÃÊ̅>ÌÊi˜>Li`ʓՏ̈‡ÃVÀii˜ÊܜÀŽÃ]ʏ>À}i‡ÃV>i]ʅˆ}…Ê `iw˜ˆÌˆœ˜Ê«ÀœiV̈œ˜Ã]ʓˆ˜ˆ>ÌÕÀˆÃi`Ê Ê`iۈViÃ]ʈ˜ÌiÀ>V̈ÛiÊVœ“«œ˜i˜ÌÃÊ>˜`Ê`>â⏈˜}Ê`ˆ}ˆÌ>ÊivviVÌÃ]Ê̅iʓœÛˆ˜}ʈ“>}iʅ>ÃʏœÃÌʓÕV…ÊœvʈÌÃʘœÛiÌÞÊÛ>ÕiÊ>˜`ÊܜÀŽÃÊ V>˜ÊLiVœ“iÊ܅>ÌÊ7ˆˆ>“ÊœÀÀˆ}>˜Ê`iÃVÀˆLiÃÊ>ÃʼÕÃÌÊ>˜œÌ…iÀÊiÛ>˜iÃVi˜ÌÊ«>ÌV…ÊœvÊ light’ drifting in a sea of clones.68Ê
VVœÀ`ˆ˜}Ê ÌœÊ œÀÀˆ}>˜]Ê Ûˆ`iœÊ >ÀÌÊ ­>˜`]Ê ÜiÊ “ˆ}…ÌÊ add the advent of video-streaming on the Internet) is responsible for desensitisˆ˜}Ê ÛˆÃˆÌœÀÃÊ ÌœÊ “i`ˆ>‡L>Ãi`Ê ˆ˜ÃÌ>>̈œ˜Ã\Ê ¼Ûˆ`iœÊ …>ÃÊ Ì>Õ}…ÌÊ ÕÃÊ ÌœÊ «>ÃÃÊ LÞÊ ˆ“>}iÃÊ as nineteenth-century viewers passed by lighted shop windows’. 69 The browsing }>iÀއ}œiÀÃÊ>ÀiÊViÀÌ>ˆ˜ÞÊ܈ˆ˜}Ê̜Ê>ÌÌi˜`]Ê«>À̈VՏ>ÀÞÊÈ}˜>ÌÕÀiÊÛi˜ÕiÃʏˆŽiÊ̅iÊ />˜ŽÃÊ>ÌÊ/>ÌiÊœ`iÀ˜]Ê̅iÊ*œ“«ˆ`œÕÊ i˜ÌÀiʜÀÊ̅iÊ7…ˆÌ˜iÞÊÕÃiՓ]ÊLÕÌʅœÜÊ`œiÃÊ an artist make them stay long enough to hear and see the arguments of their work or ̅iÊiÝ«iÀˆi˜Ìˆ>ÊµÕ>ˆÌˆiÃÊ`i«i˜`i˜Ìʜ˜Ê`ÕÀ>̈œ˜Ê>˜`Ê>ÌÌi˜Ìˆœ˜¶

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STRATEGIES FOR SUSTAINING SPECTATORIAL ATTENTION Practitioners must face the challenge of designing a work for the once-captive Vˆ˜i“>ÊëiVÌ>̜ÀʘœÜÊÌÀ>˜ÃvœÀ“i`ʈ˜ÌœÊ>˜Ê՘«Ài`ˆVÌ>Li]ÊLÀœÜȘ}Ê>˜`]Ê>ÌÊ̈“iÃ]Ê Õ˜ÀiyiV̈ÛiÊ>ÀÌÊVœ˜ÃՓiÀ°ÊˆŽiÊ >Ãœ“]Ê6œŽiÀÊ*>˜Ìi˜LÕÀ}ʈÃÊV>ṎœÕÃ]Ê«œˆ˜Ìˆ˜}ʜÕÌÊ Ì…>ÌʘiˆÌ…iÀÊVˆ˜i“>ʘœÀÊë>̈>ˆÃi`ʈ˜ÃÌ>>̈œ˜ÃÊV>˜Ê}Õ>À>˜Ìiiʼ>ÌÌi˜ÌˆÛiÊ«iÀVi«Ìˆœ˜Ã½Êi>`ˆ˜}Ê̜ʼÀiyiV̈œ˜Ê>˜`Ê>ÊVÀˆÌˆV>Ê>««Àœ>V…½°70ÊœÀiÊ«œÃˆÌˆÛiÞ]Ê*iÌiÀÊ"ÃLœÀ˜iÊ regards the new forms of fractured attention played out among installations of the “œÛˆ˜}ʈ“>}iÊ>ÃÊviÀ̈iÊÌiÀÀ>ˆ˜ÊvœÀÊ>À̈ÃÌÃ]ÊiëiVˆ>ÞʈvÊ̅iÞÊ>ÀiÊ>LiÊ̜ÊVÀi>Ìiʼ˜iÜÊ reflective rhythms of absorption and distraction’.71Ê>ÌiÊœ˜`œV…Ê…>ÃÊÃÕ}}iÃÌi`Ê that artists take full advantage of the enduring enchantments of the flickering ÃVÀii˜]Ê>˜`]ÊÊܜՏ`Ê>``]Ê̅iÞÊ`œÊÜÊ܅i̅iÀʅˆÃ̜ÀˆV>ÞÊi˜}>}i`ʈ˜Ê̅iÊÃÌÀÕVÌÕÀ>É “>ÌiÀˆ>ˆÃÌÊ«ÀœiVÌʜvÊ̅iÊ£™ÇäÃʜÀÊi“LÀœˆi`ʈ˜Ê“œÀiÊÀiVi˜ÌÊ«œÃ̇“œ`iÀ˜]ÊÀi>̈œ˜>Ê or speculative realist alignments. Artists of whatever persuasion work with moving ˆ“>}iÊLiV>ÕÃiʜvʈÌÃÊ«œÜiÀÊ̜ÊLi}Ոi°Ê7…iÀiÊœÀÀˆ}>˜ÊÃiiÃʼÕÃÌÊ>˜œÌ…iÀÊ«>ÌV…ÊœvÊ ˆ}…̽]Êœ˜`œV…Êi“«…>ÈÃiÃÊ̅iʓ>}˜ïVÊ>ÌÌÀ>V̈œ˜ÊœvÊ̅iÊÃVÀii˜]Ê܅ˆV…]ÊÅiÊÃ>ÞÃÊ ¼ˆ˜ÃˆÃÌi˜ÌÞÊ܏ˆVˆÌÃÊ̅iʜLÃiÀÛiÀ½ÃÊ}>âi½°72Ê-…iʵ՜ÌiÃÊ̅iʘiÕÀœœ}ˆÃÌÊ …ÀˆÃ̜vÊœV…Ê ܅œÊÀi“>ÀŽÃÊ̅>ÌʼˆÌÊÌ>ŽiÃÊ܈vՏÊivvœÀÌÊ̜Ê>ۜˆ`Ê}>˜Vˆ˜}Ê>ÌÊ̅iʓœÛˆ˜}ʈ“>}iÃʜ˜Ê̅iÊ TV placed above the bar’.73Ê/…ˆÃÊ>À}Փi˜ÌÊ>ˆ}˜ÃÊ܈̅Ê̅iʼ«ˆV̜Àˆ>ÊÌÕÀ˜½Ê«œ«Õ>ÀˆÃi`Ê ˆ˜Ê̅iÊ£™™äÃÊLÞÊ7°Ê°Ê/°ÊˆÌV…iÊ܅œÊiÛ>Õ>Ìi`ʈ“>}iÃÊ>VVœÀ`ˆ˜}Ê̜Ê̅iˆÀʈ˜ÌÀˆ˜ÃˆVÊ «œÜiÀ]Ê̅iˆÀÊi˜`ÕÀˆ˜}ÊۈÌ>ˆÌÞ]Ê>ÊvœÀViÊ̅>ÌÊÌ>ŽiÃÊ«œÃÃiÃȜ˜ÊœvÊ̅iÊëiVÌ>̜À°74 /œÊ…œ`Ê̅iÊۈiÜiÀ]ÊV>ÃÈVÊVˆ˜i“>ʅ>ÃÊÀiˆi`ʜ˜Ê̅iÊV…>À“ÃʜvÊÃ̜ÀÞÌiˆ˜}]Ê̅iÊ i“œÌˆÛiÊ«œÜiÀʜvʓÕÈV>ÊÜ՘`ÌÀ>VŽÃ]Êܘ}Ê>˜`Ê`>˜Vi]Ê̅iÊ}>“œÕÀʜvʓœÛˆiÊÃÌ>ÀÃ]Ê Ì…iÊÃՓ«Ì՜ÕØiÃÃʜvÊÃVi˜iÀÞÊ>˜`ÊVœÃÌՓiÃ]ʘœÌÊ̜ʓi˜Ìˆœ˜Ê̅iÊvÀˆÃܘʜvÊ«>À>Vˆ˜i“>̈VÊViiLÀˆÌÞÊ}œÃÈ«]Ê>ÊœvÊ܅ˆV…ÊVœ˜Ã«ˆÀiÊ̜ÊwÝÊ«iœ«iÊ̜Ê̅iˆÀÊÃi>ÌðÊ>˜ÞÊ>À̈ÃÌÃÊ have now resorted to the strategies that created the cinematic traditions from ܅ˆV…Ê̅iÞÊÜiÀiʜ˜ÞÊÀiVi˜ÌÞÊÜʎii˜Ê̜ʏˆLiÀ>ÌiÊ̅iÊۈiÜiÀ°Ê˜Ê̅iÊ£™™äÃ]ÊÃ>>VÊ Տˆi˜ÊÀiVÀi>Ìi`ÊœÞܜœ`ÊVœÃÌՓiÊ`À>“>ÃÊ܈̅ʅˆÃÊÕÃiʜvÊ«iÀˆœ`Ê`ÀiÃÃÊ܅ˆiÊ->“Ê Taylor-Wood enlisted her celebrity friends to add their fairy dust to her work. Artists >˜`Ê w““>ŽiÀÃÊ vÀœ“Ê >ޘiÊ *>ÀŽiÀÊ ÌœÊ >˜œ˜Ê `iÊ œiÀÊ …>ÛiÊ ÜœÀŽi`Ê ÜˆÌ…Ê «ÀœviÃȜ˜>Ê“ÕÈVˆ>˜ÃÊ>˜`Ê`>˜ViÀÃ]Ê>˜`Ê œÕ}>ÃÊœÀ`œ˜Ê…>ÃÊÌÀ>ˆ˜i`ʅˆÃʏi˜Ãʜ˜Ê“œÕÃÊvœœÌL>iÀ°Ê˜ÃÌ>>̈œ˜Ê>À̈ÃÌÃʘœÜÊvÀiµÕi˜ÌÞÊÀi«ˆV>ÌiÊ̅iÊ

ˆ˜i“>-Vœ«iÊi“LÀ>ViʜvÊ̅iÊ܈`iʓœÛˆiÊÃVÀii˜]ʜÀÊVœ>ŽÊiÛiÀÞÊÜ>Ê>˜`ÊÃÕÀv>Viʈ˜Ê >Êë>ViÊ܈̅ʫÀœiVÌi`ʏˆ}…ÌÊÜÊ̅>ÌÊ̅iʈ““iÀÈÛiÊ«œÌi˜Ìˆ>ÊœvÊ̅iʈ“>}iʈÃÊvՏÞÊÀi>ˆÃi`°Ê˜Ê̅iÊV>ÃiʜvÊۈ`iœ]Ê>À̈ÃÌÃʓ>ÞʓՏ̈«ÞÊ̅iʓœ˜ˆÌœÀÃÊ̜ÊVÀi>Ìiʓœ˜Õ“i˜Ì>Ê sculptural installations along the lines of stacked-monitor works from the 1970s by >“Ê՘iÊ*>ˆŽÊœÀÊ >ۈ`Ê>°ÊiÀiÊÃVՏ«ÌÕÀ>ÊÃV>iʈÃÊÕÃi`Ê̜ʓˆÌˆ}>ÌiÊ̅iÊ`ˆÃÌ>˜Vˆ˜}Ê ivviVÌʜvÊ̅iÊL>ÀiÊÌiV…˜œœ}ÞÆÊ̅iÞʜÛiÀ܅i“Ê̅iÊëiVÌ>̜ÀÊ܈̅Êۈ`iœÊ¼ÜÀˆÌʏ>À}i½]Ê as Hall was fond of saying.

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-œ“iʈ˜ÃÌ>>̈œ˜Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ>ÀŽÊi܈ÃÊ>˜`ÊՏˆ>˜Ê,œÃivi`Ìʅ>ÛiÊ`iv̏ÞÊ >««Àœ«Àˆ>Ìi`Ê̅iÊi“Li“>̈VÊÌiV…˜ˆµÕiÃʜvÊVœ““iÀVˆ>Êw“]Ê̅iÊ«>˜œÀ>“ˆVÊۈÃÌ>Ã]Ê Ì…iÊϜÜÊ«>˜Ã]Ê̅iÊÌÀ>VŽˆ˜}ÊŜÌÃÊ>˜`]ʈ˜Êi܈ýÃÊV>Ãi]Ê̅iÊV>ÃÈVÊÌÀ>˜Ã«œÀÌÊ`iۈViÊ œvÊL>VŽÊ«ÀœiV̈œ˜°Ê"̅iÀÃ]ÊÃÕV…Ê>ÃÊ>Ì̅iÜÊ >À˜iÞʈ˜Ê…ˆÃÊi«ˆVÊCremaster Cycle]ʅ>ÛiÊ revamped surrealist film with Hollywood production values embellished by elaboÀ>ÌiÊÃiÌÃ]Êiݜ̈VʏœV>̈œ˜ÃÊ>˜`Êv>˜Ì>Ã̈V>ÊVœÃÌՓiÃ]Ê܅>ÌÊ ÀˆŽ>Ê >Ãœ“Ê…>ÃÊÜÀޏÞÊ `iÃVÀˆLi`Ê>ÃÊ>ʼ«>À>`iʜvÊÃÕÀv>ViÃÊ«Àœ«iÀÊ̜Ê>Ê«iÀvՓiÊ>`ÛiÀ̈Ãi“i˜Ì½°75ÊÕÃÌÊ̜ÊLiÊ ViÀÌ>ˆ˜ÊœvÊ̅iʈ“«>VÌʜvʅˆÃÊܜÀŽ]Ê >À˜iÞʅ>ÃÊÀiÌÕÀ˜i`Ê̅iÊ܅œiÊ«Àœ`ÕV̈œ˜Ê̜Ê̅iÊ cinema where once again seated spectators feel compelled to stay the course of the ܅œiÊw“°Ê7ˆÌ…ˆ˜Êˆ˜ÃÌ>i`Ê}>iÀÞÊܜÀŽÃ]Ê̅iÀiʈÃÊ>ÊÌi˜`i˜VÞÊ̜ÊiˆÌ…iÀÊLՈ`Ê>ÊVˆ˜i“>Ê within the space or limit the running times of any moving image element to about Ìi˜Ê“ˆ˜ÕÌiÃÆÊ̅iʓ>݈“Õ“Êœ˜iʓˆ}…ÌÊiÝ«iVÌÊ>Ê}>iÀއ}œiÀÊ܈̅Ê>ÊV…œˆViÊ̜Ê`iۜÌiÊ ÌœÊ>ÊܜÀŽ°Ê
À̈ÃÌÃÊÃÕV…Ê>Ãʈˆ>˜Ê7i>Àˆ˜}]ÊÕ̏Õ}Ê
Ì>“>˜Ê>˜`Ê
˜˜‡-œwÊ-ˆ`i˜Ê…>ÛiÊ i“LÀ>Vi`Ê̅iʏœ˜}ÊvœÀ“Ê>˜`ÊÃÌÀ>Þi`ʈ˜ÌœÊ̅iÊÌiÀÀˆÌœÀÞʜvÊ`œVՓi˜Ì>ÀÞ]ʈ˜Ê̅iʅœ«iÊ of capturing the viewer with the familiarity of narrative modes. Although they avoid ̅iʼۜˆViʜvÊœ`½Ê˜>ÀÀ>̈œ˜ÃʜvÊiÝ«œÃˆÌœÀÞÊ`œVՓi˜Ì>ÀˆiÃ]Ê̅iÞÊi“LÀ>Viʏˆ˜i>Àʘ>ÀÀ>̈ÛiÃÊ>˜`Ê>ۜˆ`Ê«ˆV̜Àˆ>Ê>“Lˆ}ՈÌÞ°Ê7i>Àˆ˜}]Ê
Ì>“>˜]Ê-ˆ`i˜Ê>˜`Ê*…ˆÊ œˆ˜Ãʅ>ÛiÊ>Ê >`œ«Ìi`Ê̅iÊvœÀ“>ÌʜvÊiÝÌi˜`i`]ÊVœ˜viÃȜ˜>Êˆ˜ÌiÀۈiÜÃÊ>˜`ʈ˜ÊVœ““œ˜Ê܈̅ÊÀi>ˆÌÞÊ ÌiiۈȜ˜]Ê̅iÞʓˆ˜iÊ̅iÊ՘`iÀÈ`iʜvÊÜVˆiÌÞÊvœÀÊ̅iˆÀʓ>ÌiÀˆ>°Ê-«iVÌ>̜ÀÃÊ܈̘iÃÃÊ Ì…iÊÃi˜Ã>̈œ˜>ÊVœ˜viÃȜ˜ÃʜvÊ>Vœ…œˆVÃ]ÊÌÀ>˜Ã‡}i˜`iÀÊ«iÀvœÀ“iÀÃ]ÊÌiÀÀœÀˆÃÌÃ]Êi݅ˆLˆÌˆœ˜ˆÃÌÃÊ>˜`Ê«ÀœÃ̈ÌÕÌiÃ]Ê̅iˆÀʏˆviÊÃ̜ÀˆiÃʘi>̏ÞÊ«>VŽ>}i`Ê>˜`ÊVœ˜Ì>ˆ˜i`Ê܈̅ˆ˜Ê the minimalist chic of modern gallery spaces. Ataman and Siden pique audience inÌiÀiÃÌÊLÞʓՏ̈«Þˆ˜}Ê̅iÊۈiÜiÀýÊV…œˆViÃ]ʜvviÀˆ˜}ÊÕ«ÊÃiÛiÀ>ÊÃÕLiVÌÃÊÃV>ÌÌiÀi`Ê Ì…ÀœÕ}…œÕÌÊ̅iÊ}>iÀÞʜ˜Ê“œ˜ˆÌœÀÃʜÀÊ«ÀœiVÌi`ʜ˜ÌœÊÜ>ÃÊqÊȓՏ>̈˜}Ê̅iÊivviVÌÊ of the channel hopping we indulge in at home. Others have gone for the large-scale œ«ÌˆV>Ê ivviVÌÊ œvÊ Ì…iÊ “œÛˆ˜}Ê ˆ“>}i]Ê vÀœ“Ê ˆÊ 6ˆœ>½ÃÊ ˆ˜V>˜`iÃVi˜ÌÊ «ÀœiV̈œ˜ÃÊ œvÊ w}ÕÀiÃÊ«Õ˜}ˆ˜}]ʈ˜ÊϜÜʓœÌˆœ˜]ʈ˜ÌœÊÜ>ÌiÀ]Ê̅ÀœÕ}…Ê̅iÊVœ“«ÕÌiÀ‡}i˜iÀ>Ìi`Ê`ˆÃ̜À̈œ˜ÃÊ œvÊ Ài>ˆÌÞÊ ÌœÊ «ÕÀi]Ê ˆ““iÀÈÛiÊ >LÃÌÀ>V̈œ˜ÃÊ >V…ˆiÛi`Ê LÞÊ >À̈ÃÌÃÊ ÃÕV…Ê >ÃÊ œÀ`>˜Ê iÃœ˜]Ê 7œœ`ÞÊ >˜`Ê -Ìiˆ˜>Ê 6>ÃՏŽ>]Ê 7ˆˆ>“Ê >̅>“Ê œÀÊ 9œˆV…ˆÀœÊ >Ü>}Õň°Ê
ÃÊÜiʅ>ÛiÊÃii˜]ʓ>˜ÞÊ>À̈ÃÌÃÊ܅œÊLÀ>Ûi`Ê̅iʜ«i˜Êwi`ʜvʈ˜ÃÌ>>̈œ˜Êˆ˜Ê̅iʏ>ÃÌÊ `iV>`iÃ]ÊvÀœ“Ê >˜`ˆViÊ ÀiˆÌâÊÌœÊ œÕ}>ÃÊœÀ`œ˜]ʅ>ÛiÊ«Õ˜`iÀi`Ê̅iÊ>ÀV…ˆÛiʜvÊw“Ê as well as television history. They either sample found footage or restage moments vÀœ“Ê “œÛˆiÊ …ˆÃ̜ÀÞÊ Ì…iÀiLÞÊ Ài‡iÝ«œˆÌˆ˜}Ê Ì…iÊ >««i>Ê œvÊ Ì…iÊ “>ˆ˜ÃÌÀi>“Ê œÀˆ}ˆ˜>]Ê complete with high production values and immediately recognisable stars. Archival ܜÀŽÃÊy>ÌÌiÀÊ̅iʓœÛˆiÊLÕvvʈ˜ÊÕÃÊ>Ê>ÃÊ̅iÞÊÀiۈÈÌÊ̅iÊV…iÀˆÃ…i`ʼ}iÃÌÕÀiÃʜvÊ̅iÊ master-directors’.76ÊœÜiÛiÀ]Ê̅iÞÊ>ÃœÊÌÜi>ŽÊ̅iʓ>ÌiÀˆ>ÊÃÕvwVˆi˜ÌÞÊ̜Ê>ÃÃiÀÌÊ̅iÊ >À̈ÃÌýÊÈ}˜>ÌÕÀiÊ>˜`ÊiÃÌ>LˆÃ…Ê…ˆÃɅiÀÊVœ˜Vi«ÌÕ>ÊVÀi`i˜Ìˆ>ÃÊ`ÀiÃÃi`ʈ˜Ê>ÊÛi˜iiÀÊ œvʓœ`iÀ˜‡`>Þ]ʼ«Õ˜`iÀ«…œ˜ˆV½ÊˆÀœ˜Þ°Ê There are those who believe that the only way to hold the viewer is to physically involve them in the resolution if not the creation of the work. We have already seen

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how Gary Hill incorporated laser beams in Tall Ships (1992) enabling visitors to ma˜ˆ«Õ>ÌiÊ̅iÊۈ`iœÊ«ÀœiV̈œ˜ÃÊLÞÊ>««Àœ>V…ˆ˜}Ê>˜`ÊÀiÌÀi>̈˜}ÊvÀœ“Ê̅iÊÃVÀii˜Ã°ÊÀœ“Ê ̅iÃiÊ “œ`iÃÌÊ Li}ˆ˜˜ˆ˜}Ã]Ê ¼ˆ˜ÌiÀ>V̈Ûi½Ê ܜÀŽÃÊ LiV>“iÊ ˆ˜VÀi>Ș}ÞÊ i>LœÀ>ÌiÊ ˆ˜ÌœÊ the new millennium. Adam Chapman and Camille Utterback’s networked Gathering (2004) allowed children to see themselves embedded in a world of drifting coloured `ˆÃVÃ]Ê܅ˆV…Ê̅iÞÊVœÕ`ÊÅÀÕ}ʜvvʜÀʎˆVŽÊœÀʫ՘V…ʈ˜ÌœÊÛ>ÀˆœÕÃÊVœ˜w}ÕÀ>̈œ˜Ã°Ê"̅iÀÊ artists have canvassed spectatorial attention by enlisting gallery-goers’ own moLˆiÊ«…œ˜iÊ`iۈViðÊ
ÃÊ >Ãœ“½Ãʼ«iÀvՓiÊ>`ÛiÀ̈Ãi“i˜Ì½ÊVœ““i˜ÌÃÊÃÕ}}iÃÌÃ]ÊÜiÊ have reached the point when art becomes congruent with commercials now that it shares the imperative to hail the consumer by whatever means. Computers linked via the Internet have made possible interactive works between remote locations on Ãi«>À>ÌiÊVœ˜Ìˆ˜i˜ÌÃÊ>˜`ʈÌʈÃʘœÜÊ>“œÃÌʈ˜Ã̈˜V̈ÛiÊ̜ʏœœŽÊvœÀÊ̅iʈ˜ÌiÀ>V̈Ûi]Ê«ÕŇ LÕÌ̜˜ÊœÀÊÃVÀii˜‡ÃÜii«Êii“i˜Ìʈ˜Ê>Ê}>iÀއL>Ãi`ʈ˜ÃÌ>>̈œ˜°Ê˜ÊܓiÊܜÀŽÃ]Ê̅iÊ `ˆÛˆÃˆœ˜Ê LiÌÜii˜Ê >ÀÌÊ >˜`Ê ˆviÊ Vœ>«ÃiÃÊ i˜ÌˆÀiÞÊ >˜`]Ê >ÃÊ Ì…iÊ VÕÀ>̜ÀÊ iœÀ}iÊ ˆwi`Ê œLÃiÀÛi`]Ê>ÀÌÊVœ“iÃÊ̜ʼ“ˆÀÀœÀÊ̅iÊÜ>ÞÊÜiʈ˜ÌiÀ>VÌÊ܈̅Ê̅iÊÀi>ÊܜÀ`½°77 In the conÌi“«œÀ>ÀÞÊ «iÀˆœ`]Ê Ì…iÊ >˜ÝˆiÌÞÊ >LœÕÌÊ Ã˜>Àˆ˜}Ê >˜`Ê ÀiÌ>ˆ˜ˆ˜}Ê Ì…iÊ ˆ˜ÌiÀiÃÌÊ œvÊ wVŽi]Ê screen-wearied audiences has indeed led to an upsurge of interactivity in gallerybased installations. It has also triggered a tendency to lapse into the promiscuous ÕÃiʜvÊ«œÜiÀvՏÊÃi˜ÃœÀÞÊÃ̈“ՏˆÊqʏ>À}i]ʏœÕ`]ÊLÀˆ}…Ì]ÊVœœÕÀvՏ]Ê`ޘ>“ˆVʜÀÊŜVŽˆ˜}Ê ˆ˜Ê œÀ`iÀÊ ÌœÊ `ˆÃVˆ«ˆ˜iÊ Ài뜘ÃiÃ]Ê Ì…ÕÃÊ ÀiÛiÀȘ}Ê Ì…iÊ `iV>Ài`Ê ˆ˜Ìi˜Ìˆœ˜ÃÊ œvÊ >À̈ÃÌÃÊ from the counter-cultural era to open up their work to a multiplicity of interpretäÛiÊ Ài뜘ÃiÃ°Ê œÜiÛiÀ]Ê >“Lˆ}Ո̈iÃÊ `œÊ vi>ÌÕÀiÊ ˆ˜Ê ܜÀŽÊ LÞÊ >À̈ÃÌÃÊ ÃÕV…Ê >ÃÊ ,Þ>˜Ê /ÀiV>À̈˜Ê>˜`ʈââˆiʈÌV…]Ê܅œÊ«>Àœ`ÞÊ«œ«ÊVՏÌÕÀiÊ>˜`Ê܅>ÌʈÃ>Ê
ŽiÀÛ>ÊV>ÃÊ̅iÊ ¼…Þ«iÀ>V̈ۈÌÞÊ>˜`ʘ>ÀVˆÃÈӽʜvÊÀi>ˆÌÞÊ/6Ê>˜`ÊÜVˆ>Ê“i`ˆ>]ÊVՏÌÕÀ>Êë>ViÃÊ̅>ÌÊ >ÀiÊ«Àœ«ii`ÊLÞʼ˜iœ‡ˆLiÀ>Ê˜iÌܜÀŽÃÊ>˜`ÊyœÜýÆʈ˜Ê«iÀvœÀ“>˜ViÃÊ̜ÊV>“iÀ>ÊÀi“ˆ˜ˆÃVi˜ÌʜvÊ
˜˜Ê>}˜iܘ½ÃÊÌiiۈȜ˜Ê뜜vÃʈ˜Ê̅iÊ£™näÃ]Ê/ÀiV>À̈˜Ê>˜`ʈÌV…ÊV>“«Ê իʼ…Þ«iÀ“>}˜ˆwi`½Êˆ`i˜ÌˆÌˆiÃʈ˜ÊܜÀŽÃÊÃÕV…Ê>ÃÊCenter Jenny (2013).78 While they œvviÀÊܓiÊÀiÈÃÌ>˜ViÊ̜Ê̅iÊVœ““œ`ˆwV>̈œ˜ÊœvÊ̅iÊÃÕLiVÌ]Ê>À}ÕiÃÊ
ŽiÀÛ>]Ê̅iÞÊ cannot claim an outsider position and inadvertently reproduce naturalised modes œvÊ Liˆ˜}Ê ­iÝi“«ˆwi`Ê LÞÊ Ì…iÊ >À`>ň>˜Ã®Ê ̅>ÌÊ >Ài>`ÞÊ ÌÀ>vwVÊ ˆ˜Ê iÝ>}}iÀ>̈œ˜ÃÊ œvÊ the self. The artists undoubtedly capitalise on the currency of the popularised forms they adopt and hold spectatorial attention as much through the attractions of the seductive prancing of the performers as by the critique buried in the hyperbole.

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Claire Bishop (2005b) Installation Art: A Critical History°Êœ˜`œ˜\Ê/>Ìi]Ê«°ÊÈ°

THE DIALECTICS OF SPECTATORSHIP

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\Ê >ÀÛ>À`Ê 1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°ÊÎÓÈ° /œ“Ê՘˜ˆ˜}Ê­Q£™n™RÊ£™™{®Ê¼
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Ã̜˜ˆÃ…“i˜Ì\Ê >ÀÞʈ“Ê>˜`Ê̅iÊ­˜® Ài`ՏœÕÃÊ -«iVÌ>̜À½]ʈ˜Êˆ˜`>Ê7ˆˆ>“ÃÊ­i`°®ÊViewing Positions: Ways of Seeing Film°Ê iÜÊ À՘Ã܈VŽ]Ê \Ê,ÕÌ}iÀÃÊ1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°Ê£ÓÈ° Michel de Certeau (1980) The Practice of Everyday Life. Available online: …ÌÌ«\ÉÉÜÜÜ°ÕLÕ° Vœ“É«>«iÀÃÉ`iÚViÀÌi>Õ°…Ì“lÊ­>VViÃÃi`ÊÓÇÊ>˜Õ>ÀÞÊÓä£{®° i>˜ÊˆÌÀÞÊ­£™Èx®ÊEsthétique et psychologie du cinéma. Paris: Presses Universitaires de À>˜Vi]Ê«°Ê£Ç™°Ê -iiÊ °Ê7°Ê7ˆ˜˜ˆVœÌÌÊ­Q£™Ç£RÊ£™nä]ÊӘ`Êi`˜®ÊPlaying and Reality°Êˆ``iÃiÝ\Ê*i˜}Ո˜°Ê Bruno Bettleheim (1978) The Uses of Enchantment°Êœ˜`œ˜\Ê*iÀi}Àˆ˜i]Ê«°xΰ Lˆ`°]Ê«°ÊÈ{° Richard Allen (1997) Projecting Illusion: Film Spectatorship and the Impression of Reality.

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ÀÌÉ,i>`ˆ˜}ÃÉœÀÀˆÃ œÌiÇ°«`fÊ ­>VViÃÃi`Ê ÓÇÊ >˜Õ>ÀÞÊ 2014). À>…>“Ê>À“>˜ÊµÕœÌi`ÊLÞÊ-ÌiÛi˜Ê-…>ۈÀœÊ­Ó䣣®]ʜ«°ÊVˆÌ°]Ê«°ÊÓnä° Sean Cubitt in an e-mail to the MIRAJÊi`ˆÌœÀˆ>ÊÌi>“]Ê£ÎÊՏÞÊÓä£ä°ÊÌʈÃʜÕÌÈ`iÊ̅iÊÃVœ«iÊ œvÊ̅iÊ«ÀiÃi˜ÌÊۜÕ“iÊ̜ʫÕÀÃÕiÊ>Ê`ii«iÀÊ>˜>ÞÈÃʜvÊ̅iÊivviVÌÃʜvÊÌiiۈȜ˜]Ê̅iʘÌiÀ˜iÌÊ and other communication devices on children and adults. Social scientists have obserÛi`Ê Li…>ۈœÕÀ>Ê V…>˜}iÃÊ >“œ˜}Ê V…ˆ`Ài˜]Ê >Ê Ài`ÕVi`Ê ÌœiÀ>˜ViÊ ÌœÊ `i>Þi`Ê }À>̈wV>̈œ˜]Ê `iVÀi>Ãi`Ê v>“ˆÞÊ >˜`Ê «iiÀÊ }ÀœÕ«Ê ˆ˜ÌiÀ>V̈œ˜Ê >˜`Ê VˆÛˆVÊ «>À̈Vˆ«>̈œ˜]Ê >˜`Ê >˜Ê ˆ˜VÀi>ÃiÊ œvÊ œLiÈÌÞʈ˜Ê>`ՏÌÃ]Ê>ÊœvÊ܅ˆV…Ê̅iÞÊ>ÌÌÀˆLÕÌiÊ̜ʅˆ}…iÀʏiÛiÃʜvÊiÝ«œÃÕÀiÊ̜ÊÃVÀii˜‡L>Ãi`Ê “>ÌiÀˆ>°Ê
ÊÕÃivՏÊÃՓ“>ÀÞʜvÊVÕÀÀi˜ÌÊÀiÃi>ÀV…ÊV>˜ÊLiÊvœÕ˜`ʈ˜Ê°Ê-ÕLÀ>…“>˜Þ>“Êet al. ­Óä䣮ʼ/…iʈ“«>VÌʜvÊVœ“«ÕÌiÀÊÕÃiʜ˜ÊV…ˆ`Ài˜½ÃÊ>˜`Ê>`œiÃVi˜ÌýÊ`iÛiœ«“i˜Ì½]ÊApplied Developmental Psychology]ÊÓÓ]Ê««°ÊÇqÎä° Õ}œÊؘÃÌiÀLiÀ}Ê­Q£™£ÈRÊÓää{®Ê¼ iw˜ˆ˜}Ê̅iÊ*…œÌœ«>Þ½]ʈ˜Ê/…œ“>ÃÊ °Ê7>ÀÌi˜LiÀ}Ê>˜`Ê Angela Curran (eds) The Philosophy of Film: Introductory Texts and Readings°Ê"ÝvœÀ`\Ê7ˆiއ >VŽÜi]Ê«°Ê{{° >ÝÊ
˜`ÀiÜÃÊ­ÓääȮʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅ÊœÀ`>˜Ê7œvܘ]ʼœÜÊ`œiÃÊ̅iÊ«iÀviVÌʅՓ>˜Ê v>¶ÊˆŽiÊ̅ˆÃ½]ÊUovo]ÊÓ]ÊÊ«°£n{° >ÌiÊœ˜`œV…Ê­Óä£ä®]ʜ«°ÊVˆÌ°]Ê«°Ê£™°Ê-iiÊ>ÃœÊ6ˆÛˆ>˜Ê-œLV…>VŽÊ­£™™n®Ê¼/…iÊ-Vi˜iʜvÊ̅iÊ -VÀii˜\Ê ˜ÛˆÃˆœ˜ˆ˜}Ê ˆ˜i“>̈VÊ>˜`Ê iVÌÀœ˜ˆVʺ*ÀiÃi˜Vi»½]ʈ˜ÊMaterialities of Communication (Writing Science)Ê ­£™™{®]Ê >˜ÃÊ 1ÀˆV…Ê ՓLÀiV…ÌÊ >˜`Ê °Ê Õ`܈}Ê *viˆvviÀÊ ­i`î°Ê -Ì>˜vœÀ`\Ê -Ì>˜vœÀ`Ê1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê««°ÊnÎq£äÈ°Ê Bill Lewinski speaking on Panorama (2006) BBC1. 15 October. Bertolt Brecht (1967) Sur le Cinéma°Ê*>ÀˆÃ\ʽ
ÀV…i]Ê«°Ê£ÈxÊ­“ÞÊÌÀ>˜Ã>̈œ˜®° Chris Darke (2000) Light Readings: Film Criticism and Screen Arts. London: Wallflower *ÀiÃÃ]Ê«°Ê£Èΰ ˆÊ6ˆœ>ʵ՜Ìi`ʈ˜Ê …ÀˆÃÊ >ÀŽi]ʈLˆ`°]Ê«°Ê£nÇ° Lˆ`°]Ê«°Ê£Çΰ See E. Deidre Pribram (ed.) (1988) Female Spectators: Looking at Film and Television. London: Verso. -iiÊ ˆ˜`>Ê 7ˆˆ>“ÃÊ ­£™n{®Ê ¼º-œ“i̅ˆ˜}Ê ÃiÊ LiÈ`iÃÊ >Ê œÌ…iÀ»\Ê º-Ìi>Ê >>Ã»Ê >˜`Ê Ì…iÊ >ÌiÀ˜>Êiœ`À>“>½]ÊCinema Journal]ÊÓ{\Ê£]Ê««°ÊÓqÓÇÆʼœÀÊÀ>̅iÀÊ̅>˜Ê>`œ«Ìˆ˜}ÊiˆÌ…iÀÊ̅iÊ

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distance and mastery of the masculine voyeur or the over-identification of Doane’s woman °°°Ê̅iÊvi“>iÊëiVÌ>̜ÀʈÃʈ˜Ê>ÊVœ˜ÃÌ>˜ÌÊÃÌ>ÌiʜvʍÕ}}ˆ˜}Ê>Ê«œÃˆÌˆœ˜ÃÊ>Ìʜ˜Vi½]Ê«°Ê£™° -iiÊ>ÀÞÊ
˜˜Ê œ>˜iÊ­Q£™nÓRÊ£™™™®Ê¼ˆ“Ê>˜`Ê>õÕiÀ>`i\Ê/…iœÀˆÃˆ˜}Ê̅iÊi“>iÊ-«iVÌ>̜À½]Ê in Sue Thornham (ed.) Feminist Film Theory: A Reader. Edinburgh: Edinburgh University *ÀiÃÃ]Ê««°Ê£Î£qxÈ°Ê ˆV…iiÊ
>Àœ˜Ê­ÓääÇ®]ʜ«ÊVˆÌ°]Ê«°Êΰ Ibid. p.52. Aaron acknowledges a potential drawback to her theory of masochism for women when Åiʵ՜ÌiÃʈ˜`>Ê7ˆˆ>“Ã\ʼ̅iÊÀiVœÛiÀÞʜvʓ>ÜV…ˆÃ“Ê>ÃÊ>ÊvœÀ“ÊœvÊ«i>ÃÕÀiÊ`œiÃʘœÌÊLœ`iÊ well for a feminist perspective whose political point of departure is the relative powerlesØiÃÃʜvÊܜ“i˜½]ʈLˆ`°]Ê««°ÊǙ‡nä° -ÌÕ>ÀÌÊ>Ê­Q£™näRÊÓä䣮ʼ ˜Vœ`ˆ˜}É`iVœ`ˆ˜}½]ʈ˜Êii˜>ŽÃ…ˆÊˆ}ˆÊ ÕÀ…>“Ê>˜`Ê œÕ}>ÃÊ°Ê i˜iÀÊ­i`îÊMedia and Cultural Studies: Keyworks°Ê iÜÊ9œÀŽ\Ê7ˆiÞ]Ê««°Ê£ÈÈqÇÈ° Ibid. p. 175. -iiÊ,ˆV…>À`Ê ÞiÀÊ­£™nӮʼ œ˜½ÌÊœœŽÊ œÜ½]ÊScreen]ÊÓÎ\ÊÎÉ{]Ê««°ÊÈ£qÇΰ /…iÊ>̅ïV]ÊL>VŽÊLœ`Þʅ>Ãʜ̅iÀ]Ê«œÃ̇Vœœ˜ˆ>Êˆ“«ˆV>̈œ˜ÃÊ̅>ÌÊ>ÀiʏiÃÃÊ«œÃˆÌˆÛi]ÊÜˆÌ…Ê iV…œiÃʜvÊ̅iʼ˜œLiÊÃ>Û>}i½ÊÀiܘ>̈˜}ʈ˜Ê̅iÊiiÛ>̈œ˜ÊœvÊ̅iÊ
vÀˆV>˜ÊëœÀÌÃÊVœ“«ï̜ÀÊÌœÊ star status whilst disavowing continued racial discrimination in society at large. iˆÀ`ÀiÊi``œ˜Ê­Óä£Ó®Ê¼/…iÊ*œˆÌˆVÃʜvʈÛiÊ
À̽]ʈ˜Ê iˆÀ`ÀiÊi``œ˜Ê>˜`Êi˜˜ˆiʏiˆ˜Ê­i`Ã®Ê Histories and Practices of Live Art°Ê >Ș}Ã̜Ži\Ê*>}À>ÛiÊ>V“ˆ>˜]Ê«°Ê£™£° >VµÕiÃÊ,>˜VˆmÀiÊ­Óä䙮ÊThe Emancipated Spectator]ÊÌÀ>˜Ã°ÊÀi}œÀÞÊ ˆœÌÌ°Êœ˜`œ˜\Ê6iÀÜ]Ê p. 5. >VµÕiÃÊ,>˜VˆmÀiÊ­Óää{®Ê9œÕ/ÕLiʏiVÌÕÀi]ÊÓäÊ
Õ}ÕÃÌ]Êx̅ʘÌiÀ˜>̈œ˜>Ê-Փ“iÀÊ
V>`i“ÞÊ in Frankfurt. Available online: …ÌÌ«\ÉÉÜÜܰޜÕÌÕLi°Vœ“ÉÜ>ÌV…¶Ûr"Ìˆœ˜ÊÜˆÌ…Ê Õ>ˆ>Ê6>`œÃiÀ>]ÊՏÞÊÓä£Ó]Ê >ÀœÉiÌV…iÀÊ>iÀÞ]Ê London. *>̜]ÊThe Last Days of SocratesÊ­£™x{®]ÊÌÀ>˜Ã°ÊÕ}…Ê/Ài`i˜˜ˆVŽ°Ê>À“œ˜`ÃܜÀ̅\Ê*i˜}Ո˜Ê

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ÀˆŽ>Ê >Ãœ“Ê­Óä£Î®]ʜ«°ÊVˆÌ°]Ê«°Êxΰ -iiÊ*iÌiÀÊ"ÃLœÀ˜iÊ­Óää{®]ʜ«°ÊVˆÌ°]ÊÈÈqÇx° Lˆ`]Ê«°ÊÈn° William Horrigan speaking at the Moving Image as Art: Time Based Media in the Art Gallery Vœ˜viÀi˜Vi]Ê/>ÌiÊ ÀˆÌ>ˆ˜Ê>˜`Ê/>ÌiÊœ`iÀ˜]Êœ˜`œ˜]Ê՘iÊÓä䣰 Ibid. 6œŽiÀÊ*>˜Ìi˜LÕÀ}Ê­Óä£{®Ê¼ˆ}À>̈œ˜>Ê>iÃ̅ïVÃ\Ê"˜ÊiÝ«iÀˆi˜Viʈ˜Ê̅iÊVˆ˜i“>Ê>˜`Ê̅iʓÕÃiՓ½]ÊMIRAJ]ÊÎ\Ê£]Ê««°ÊÓxqÎx° *iÌiÀÊ"ÃLœÀ˜iÊ­Óää{®]ʜ«°VˆÌ°]Ê«°ÊÇΰ >ÌiÊœ˜`œV…Ê­Óä£ä®]ʜ«°VˆÌ°] p.21.

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CHAPTER NINE

Expanded Cinema (Expanded cinema) radically alters the spatial discreteness of the audience vis-à-vis the screen and the projector by manipulating the projection facilities in a manner which elevates their role to that of the performance itself... iŽiÊ ÕȘLiÀÀi]Ê£™Çx

TANGLED ROOTS /…iÊ
“iÀˆV>˜Ê VÀˆÌˆVÊ i˜iÊ 9œÕ˜}Lœœ`Ê ˆÃÊ VÀi`ˆÌi`Ê ÜˆÌ…Ê Vœˆ˜ˆ˜}Ê Ì…iÊ ÌiÀ“Ê ¼iÝ«>˜`i`Ê cinema’ in his eponymous book written in 1970.1 Youngblood interpreted the new practice as a symptom of the impact of television and modern communication systems on the creative lives and individual psyches of artists growing up in the LÕÀ}iœ˜ˆ˜}Ê ¼ˆ˜ÌiÀ“i`ˆ>½Ê i˜ÛˆÀœ˜“i˜Ì]Ê Ü…ˆV…]Ê …iÊ `iV>Ài`Ê ¼ˆÃÊ œÕÀÊ i˜ÛˆÀœ˜“i˜Ì½°2 In ëˆÌiÊ œvÊ 9œÕ˜}Lœœ`½ÃÊ ˆ˜yÕi˜Ìˆ>Ê ÌiÝÌ]Ê Ì…iÀiÊ ˆÃÊ ˜œÊ Vœ˜Ãi˜ÃÕÃÊ œ˜Ê >Ê «ÀiVˆÃiÊ ˜œ“i˜V>ÌÕÀiÊvœÀÊ̅ˆÃʓՏ̈Û>i˜ÌÊVˆ˜i“>̈VÊ>ÀÌÆÊ*iÌiÀÊÕLiŽ>ÊÀiviÀÀi`Ê̜ʼˆ˜ÛˆÃˆLiÊw“½]Ê

>ÀœiiÊ -V…˜ii“>˜˜Ê v>ۜÕÀi`Ê ¼Vˆ˜i“>̈VÊ Ì…i>ÌÀi½Ê >˜`Ê -Ì>˜Ê 6>˜ iÀ iiŽ]Ê ¼Ì…iÊ VՏÌÕÀ>Êˆ˜ÌiÀVœ“½°Ê-œ“iʘœÜÊ«ÀœV>ˆ“ʼÈÌÕ>Ìi`ɏœV>̈œ˜>Êw“½ÊœÀʼ>À̈ÃÌýÊVˆ˜i“>½Ê>ÃÊ the collective term for an opening out of the filmic encounter. The young American “i`ˆ>Ê «iÀvœÀ“iÀÊ >VœLÞÊ ->ÌÌiÀ܅ˆÌiÊ `iÃVÀˆLiÃÊ …ˆ“ÃivÊ ˆ˜Ê y>“LœÞ>˜ÌÊ ÌiÀ“ÃÊ >ÃÊ >˜Ê¼iÝÌi˜`i`ÊvÀ>“i]Êۈ`iœÊˆ˜ÃÌ>>̈œ˜Ê«iÀvœÀ“>˜ViÊ`ˆÛ>½]ʘi>̏ÞÊi˜V>«ÃՏ>̈˜}Ê̅iÊ …ÞLÀˆ`ˆÃ>̈œ˜Ê œvÊ >ÀÌÊ «ÀœViÃÃiÃÊ >˜`Ê `ˆÃVˆ«ˆ˜iÃ°Ê œÜiÛiÀ]Ê 9œÕ˜}Lœœ`½ÃÊ ¼iÝ«>˜`i`Ê Vˆ˜i“>½Ê ˆÃÊ Ì…iÊ Vœ““œ˜ÞÊ >VVi«Ìi`Ê ÌiÀ“]Ê œ˜iÊ Ì…>ÌÊ …ˆÃ̜ÀˆV>ÞÊ `i˜œÌiÃÊ Ì…iÊ Vœ˜`ˆÌˆœ˜ÊœvÊ܅>ÌÊ6
 Ê 8*",/ÊV>i`ʼˆLiÀ>Ìi`Êw“½]Ê>Ê«À>V̈ViÊ̅>ÌÊ`iÛiœ«ÃÊ̅iʓ>Žˆ˜}Ê and viewing of film beyond the conventional screen-to-seating configuration of “œÛˆiÊ Ì…i>ÌÀiÃÊ >˜`Ê “Տ̈«iÝið 3 The impulse to liberate both film and its audii˜ViÃʓ>˜ˆviÃÌʈ˜Ê ÕÀœ«i]Ê
“iÀˆV>Ê>˜`Ê>«>˜]ʘœÌ>LÞÊ>ÌÊ̅iÊ7œÀŽÃ…œ«ÊœvÊ̅iʈ“Ê œÀ“ʈ˜Ê`âÊ>˜`Ê̅iÊ܈iՏˆŽ½Ãʼ"«i˜ÊœÀ“½Êw“ÊVœiV̈Ûiʈ˜Ê*œ>˜`Æʈ˜Ê̅iÊܜÀŽÊœvÊ œÃjÊ6>Ê`iÊ"“>Àʈ˜Ê-«>ˆ˜ÆÊ̅>ÌʜvÊ 8*",/]Ê7ˆi“Ê>˜`Ê ˆÀ}ˆÌÊiˆ˜Ê>˜`Ê*iÌiÀÊ7iˆLiÊ

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William Raban, 2’ 45” (1973). Courtesy of the artist.

ˆ˜ÊiÀ“>˜ÞÆÊ>˜`Ê̅iÊÕÌ>ˆÊ}ÀœÕ«Êˆ˜Ê>«>˜° 4Ê Ý«>˜`i`ÊVˆ˜i“>ÊÌÕÀ˜ÃÊ>ÌÌi˜Ìˆœ˜Ê>Ü>ÞÊ vÀœ“ÊVœ˜Ûi˜Ìˆœ˜>Ê˜>ÀÀ>̈Ûi]Ê>˜`Ê܅>ÌÊ>Vœ“ÊiÊÀˆViÊV>i`ʼ̅iÊȘ}iʏˆ˜iʜvÊ>Vcess to a story’5Ê>˜`ÊÀivœVÕÃiÃʜ˜Ê̅iÊ`À>“>ʜvÊ̅iÊ>««>À>ÌÕÃʜvÊw“\Ê̅iÊ«ÀœiV̜À]Ê Ì…iÊÃVÀii˜­Ã®]Ê̅iÊw“ÃÌÀˆ«]Ê̅iÊ«ÀœiV̈œ˜ÊLi>“Ê>˜`Ê̅iʼ«Àˆ“>ÀÞÊiÝ«iÀˆi˜Vi½]Ê̅iÊ ¼«ÀiÃi˜ÌÊÌi˜Ãi½6ʜvÊ̅iÊ՘ˆµÕi]ʜ˜i‡œvvÊVˆ˜i“>̈VÊiÛi˜Ì°Ê/…iÃiÊÃÌ>}ˆ˜}ÃʜvÊw“ÊœvÌi˜Ê ՘Àœi`ʈ˜ÌœÊÃiÛiÀ>ÊˆÌiÀ>̈œ˜ÃʜvÊ̅iÊÃ>“iÊܜÀŽ°Ê˜Ê…ˆÃÊÈ݇ÃVÀii˜Êˆ˜ÃÌ>>̈œ˜ÊAfter LeonardoÊ­£™Çή]ÊiÊÀˆViʈ˜VÕ`i`Ê̅iÊ`>ÌiÃʜvÊ>ÊˆÌÃÊ«ÀiۈœÕÃÊi݅ˆLˆÌˆœ˜Ã]ÊV…>À̈˜}Ê Ì…iÊܜÀŽ½Ãʓ>ÌiÀˆ>Ê…ˆÃ̜ÀްʈŽiÊiÊÀˆVi]Ê7ˆˆ>“Ê,>L>˜ÊiÝÌi˜`i`Ê̅iÊÌi“«œÀ>ˆÌÞÊ œvʅˆÃÊiÝ«>˜`i`ÊܜÀŽÃ]Ê>˜`ʈ˜Ê2’ 45” (1973) he layered recordings of successive film «iÀvœÀ“>˜ViÃʈ˜Ê܅ˆV…Ê…iÊÃ̜œ`ÊLivœÀiÊ>Ê«ÀœiV̈œ˜]ÊÃÌ>Ìi`Ê̅iÊ`>ÌiÊ>˜`Ê̈“i]Ê>˜`Ê >˜˜œÕ˜Vi`ʼ>ÊV>“iÀ>ʈÃÊw“ˆ˜}Ê̅iÊ>Õ`ˆi˜ViÊÜ>ÌV…ˆ˜}ÊÞiÃÌiÀ`>Þ½ÃÊ>Õ`ˆi˜ViÊÜ>ÌV…ˆ˜}Ê Ì…iÊ L>˜ŽÊ ÃVÀii˜°Ê -œÕ˜`ÃÊ œvÊ Ì…iÊ «ÀœiV̈œ˜Ê >˜`Ê Ì…iÊ >Õ`ˆi˜Vi½ÃÊ Ài뜘ÃiÃÊ >ÀiÊ Liˆ˜}ÊÀiVœÀ`i`°½Ê/…iÊ>Õ`ˆi˜ViÊëˆi`ʜ˜Êi>ÀˆiÀÊ>Õ`ˆi˜ViÃ]Ê>Ü>ÀiÊ̅>ÌÊ̅iÞÊÜiÀiÊ̅i“ÃiÛiÃÊLiVœ“ˆ˜}Êvœ``iÀÊvœÀÊ̅iʘiÝÌʈ˜Ê>ʼÀiVÕÀÈÛiÊ̈“i‡>«ÃiÊVœ˜Ì>ˆ˜ˆ˜}Ê̅iÊi˜ÌˆÀiÊ history of the event’.7 Both Raban and Le Grice have also highlighted the importance

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œvʈ“«ÀœÛˆÃ>̈œ˜Ê>˜`ÊV…>˜Viʈ˜Êi>V…ʈÌiÀ>̈œ˜ÊœvÊ>˜ÊiÝ«>˜`i`ÊܜÀŽ]Ê܅ˆV…ÊiÊÀˆViÊ V>ÃÈwiÃÊ>Ãʜ«i˜‡i˜`i`]Ê՘w˜ˆÃ…i`]Ê>ʼ˜œ˜Ê`iw˜ˆÌˆÛi½Ê«À>V̈Vi°8 The temporality of the work shifted from the narrative compressions and elisions that enable a biopic ̜ÊÌiÊ̅iÊÃ̜ÀÞʜvÊ>ʏˆviʈ˜Ê>˜Ê…œÕÀʜÀÊÜ]Ê̜Ê>ÊVœ˜Ãˆ`iÀ>̈œ˜ÊœvÊ̅iÊ̈“iʈÌÊÌ>ŽiÃÊ>Êw“Ê ̜ʫ>ÃÃÊ̅ÀœÕ}…Ê̅iÊ«ÀœiV̜ÀÊ܈̘iÃÃi`ÊLÞÊëiVÌ>̜ÀÃʅi`ʈ˜Ê̅iÊÃ>“iÊ«>ÀViÊœvÊ Ìˆ“i°Ê/…iÃiÊ>ÌÌÀˆLÕÌiÃÊ>ˆ}˜ÊiÝ«>˜`i`ÊVˆ˜i“>Ê܈̅Ê̅iÊLÀœ>`iÀʓ>ÌiÀˆ>ˆÃÌÊVœ˜ViÀ˜ÃÊ of avant-garde film and video as they emerged in the 1960s and 1970s. In common ܈̅ʓ>˜ÞÊiÝ«iÀˆ“i˜Ì>Êw““>ŽiÀÃ]Ê«Àœ«œ˜i˜ÌÃʜvÊiÝ«>˜`i`ÊVˆ˜i“>ÊÜiÀiÊVœ““ˆÌÌi`Ê̜ÊiˆVˆÌˆ˜}Ê̅iÊ«>À̈Vˆ«>̈œ˜ÊœvÊ̅iÊۈiÜiÀʈ˜Ê̅iÊë>ViʜvÊ«ÀœiV̈œ˜]ÊLœÌ…ÊۈiÜiÀÊ >˜`Êi˜ÛˆÀœ˜“i˜ÌÊLiˆ˜}ÊÀi}>À`i`Ê>Ãʓ>ÌiÀˆ>ÊVœ“«œ˜i˜ÌÃʜvÊ̅iÊܜÀŽ°ÊÕÀ̅iÀ]ÊiÝ«>˜`i`ÊVˆ˜i“>ÊiÝ«œÀi`Ê̅iÊÀi>̈œ˜Ã…ˆ«ÊœvÊw“Ê̜Ê܅>ÌÊ Õ˜V>˜Ê7…ˆÌiÊ`iÃVÀˆLiÃÊ>ÃÊ ¼Ì…iÊi˜ÛˆÀœ˜“i˜ÌʜvÊ«iÀVi«Ìˆœ˜½]9 testing the limits of cognition by seeking to estabˆÃ…Ê̅iʓˆ˜ˆ“Փʏi}ˆLˆˆÌÞʜvÊÜ՘`Ê>˜`Ê«ˆVÌÕÀi]Ê̅iÊ`i}ÀiiʜvÊÃi“>˜ÌˆVÊVœ…iÀi˜ViÊ ÀiµÕˆÀi`ÊvœÀÊ̅iÊ«ÀœiV̈œ˜Ê̜ÊLiÊÀi>`Ê>ÃÊ>Êw“°Ê v]Ê>ÃÊ-ˆi}vÀˆi`ÊÀ>V>ÕiÀÊÃÕ}}iÃÌi`]ʼw“ʈ“>}iÃÊ>vviVÌÊ«Àˆ“>ÀˆÞÊ̅iÊëiVÌ>̜À½ÃÊ Ãi˜ÃiÃ]Êi˜}>}ˆ˜}ʅˆ“Ê«…ÞȜœ}ˆV>ÞÊLivœÀiʅiʈÃʈ˜Ê>Ê«œÃˆÌˆœ˜Ê̜ÊÀi뜘`ʈ˜ÌiiVÌÕ>Þ½]10 then they do so predominantly by means of two senses: vision and hearing.

Ý«>˜`i`Ê Vˆ˜i“>]Ê v՘`>“i˜Ì>ÞÊ Vœ““ˆÌÌi`Ê ÌœÊ }>Û>˜ˆÃˆ˜}Ê Ì…iÊ VÀˆÌˆV>Ê v>VՏ̈iÃÊ œvÊ>˜Ê>Õ`ˆi˜ViÊ`ˆ`ÊÜ]Ê«>À>`œÝˆV>Þ]ÊLÞʓœLˆˆÃˆ˜}Ê̅iÊ܅œiÊ}>“ÕÌʜvÊÃi˜ÃiÊ«iÀVi«Ìˆœ˜Ã]ÊLÞÊÃ̈“Տ>̈˜}Ê̜ÕV…]ÊÓi]Êë>̈>Ê>Ü>Ài˜iÃÃÊ>˜`ÊiÛi˜ÊÌ>ÃÌi°Ê/…ˆÃÊÜ>ÃÊ >V…ˆiÛi`Ê̅ÀœÕ}…Ê̅iÊ`i«œÞ“i˜ÌʜvÊw“Ê}>`}iÌÀÞÊ}i˜iÀ>̈˜}ÊÀ…Þ̅“ˆVÊÜ՘`]ÊLœÌ…Ê “iV…>˜ˆV>ÞÊ «Àœ`ÕVi`Ê >˜`Ê Ãˆ“Տ>Ìi`ÆÊ “ˆÃVi>˜iœÕÃÊ œLiVÌÃÊ >˜`Ê LՈÌÊ i˜ÛˆÀœ˜“i˜ÌÃÆʏˆÛiÊ«iÀvœÀ“iÀÃ]Ê>˜ˆ“>Ã]Êvœœ`]ÊӜŽiʜÀÊ̅iÊ>À̈ÃÌʈ˜Ê«iÀܘÊ>ÊÀi«ÀiÃi˜Ìˆ˜}Ê «œˆ˜ÌÃÊ œvÊ Vœ˜Vi˜ÌÀ>Ìi`Ê “i>˜ˆ˜}Ê ˆ˜Ê >Ê Ã«>̈>ˆÃi`]Ê Ìi“«œÀ>Ê i˜Ãi“LiÊ œvÊ >ÀÌiv>VÌÃÊ VœiV̈ÛiÞÊVœ`i`Ê>ÃÊ>ÀÌ°Ê7…i̅iÀÊ}Ài>ÌʜÀÊÓ>]Ê>˜ÞÊVœ˜ÃÌi>̈œ˜ÊœvÊii“i˜ÌÃÊi˜ˆÃÌi`ÊvœÀÊ>˜ÊiÝ«>˜`i`ÊVˆ˜i“>ÊiÛi˜ÌÊ>VÌÃʈ˜ÊVœÀÀi뜘`i˜ViÊ܈̅Ê̅iÊ«ˆÛœÌ>Êw“ˆVÊ ˆ“>}iÃʜ˜ÃVÀii˜­Ã®]ÊLœÌ…ʏˆÛiÊ­ˆ˜Ê̅iÊV>ÃiʜvÊۈ`iœ®]Ê>˜`Ê«Ài‡ÀiVœÀ`i`°Ê7…iÀiÊ̅iÀiÊ ˆÃÊ>Ê`ˆvviÀi˜Viʈ˜Ê«ÀiÃi˜Ì>̈œ˜ÊLiÌÜii˜ÊiÝ«>˜`i`ÊVˆ˜i“>ʈ˜Ê̅iÊVœÕ˜ÌiÀ‡VՏÌÕÀ>ÊiÀ>Ê >˜`ÊVœ˜Ìi“«œÀ>ÀÞʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜]ʈÌʈÃʏ>À}iÞÊ>ʵÕiÃ̈œ˜ÊœvÊi“«…>ÃˆÃ°Ê Nowadays an installation is less likely to focus on the specificities of a given me`ˆÕ“Ê>˜`ʈÌÃÊ>««>À>ÌÕÃ]Ê>˜`Ê>À̈ÃÌÃÊÌi˜`Ê̜Ü>À`ÃÊ>ÊV>̅œˆVÊÕÃiʜvʓ>ÌiÀˆ>Ã]Ê«ˆVŽˆ˜}Ê >˜`ÊV…œœÃˆ˜}Ê̅iˆÀʓi`ˆÕ“Ê>VVœÀ`ˆ˜}Ê̜Ê̅iÊÀiµÕˆÀi“i˜ÌÃʜvÊ̅iÊ«ÀœiVÌ°Ê
Ì…œÕ}…Ê>Ê hard core of artists still maintain loyalty to the now-obsolete charms of celluloid film qÊ«œÃÈLÞ]Ê>ÃÊ œˆ˜Ê*iÀÀÞÊÃÕ}}iÃÌi`]ÊLiV>ÕÃiÊ̅iÞÊi“Lœ`ÞʼÃÕLiV̈ÛiÊ`iÈÀi]ʘœÃtalgia and memory’11 – contemporary artists generally default to the digital in terms of moving image because of its convenience and the high-definition resolution that can now be achieved.12Ê
ÌʈÌÃʈ˜Vi«Ìˆœ˜]ʅœÜiÛiÀ]Ê̅iÊÌiV…˜œœ}ÞʜvÊiÝ«>˜`i`ÊVˆ˜i“>]ʈÌÃʓiV…>˜ˆV>Ê>À“>ÌÕÀiÊÜ>Ãʈ˜`ii`ÊVÀˆÌˆV>°Ê œ““i˜Ì>̜ÀÃ]ʘœÌ>LÞÊ …ÀˆÃÈiÊ iÃ]ʅ>ÛiÊÃÌÀiÃÃi`Ê̅iÊÃVՏ«ÌÕÀ>Ê`ˆ“i˜Ãˆœ˜ÊœvÊ̅iÊ>««>À>ÌÕÃ]Ê>˜`ʅiÀiÊ̅iÊ>À̈Ã>˜>]ʅ>˜`ǜ˜]ÊÃiÀi˜`ˆ«ˆÌœÕÃÊ>ëiVÌÃʜvÊܜÀŽˆ˜}Ê`ˆÀiV̏ÞÊ܈̅ÊViÕœˆ`Êw˜`ʅ>««ÞÊ

166

INSTALLATION AND THE MOVING IMAGE

…ˆÃ̜ÀˆV>ÊLi`viœÜÃʈ˜Ê̅iʓœ`iÀ˜ˆÃÌÊ܈i`iÀÃʜvÊÃ>ÜÃ]ÊV…ˆÃiÃÊ>˜`Ê«>iÌÌiʎ˜ˆÛiÃÊ >˜`]ʈ˜Ê̅iÊV>ÃiʜvÊÕÃÌ>ÛÊiÌâ}iÀ½Ãʼ>Õ̜‡`iÃÌÀÕV̈Ûi½Ê>ÀÌ]Ê>Vˆ`]Ê܈̅Ê܅ˆV…Ê…iÊ>Ìtacked the illusionism of pictures on stretched nylon canvas. The artist was now engaged in a form of hand-to-hand combat with the traditional materials and processes of both painting and film. "̅iÀÊ>V>`i“ˆVÃʅ>Ûiʅˆ}…ˆ}…Ìi`Ê̅œÃiÊV…>À>VÌiÀˆÃ̈VÃÊ̅>ÌÊiÝ«>˜`i`ÊVˆ˜i“>Ê …œ`Ãʈ˜ÊVœ““œ˜Ê܈̅ÊV>ÃÈVÊVˆ˜i“>ʈÌÃiv\Ê̅iÊ̈“i‡L>ÃiʜvÊ̅iÊ«ÀœiVÌi`ʈ“>}i]Ê Ì…iÊÃV…i`ՏiʜvÊÃVÀii˜ˆ˜}Ã]Ê̅iÊ`i«i˜`i˜Viʜ˜ÊVœ˜Vi˜ÌÀ>Ìi`Ê«œˆ˜ÌÃʜvÊ>À̈wVˆ>Êˆ}…ÌÊ ˆ˜Ê>Ê`>ÀŽi˜i`]ÊVœˆÃÌiÀi`Êë>Vi]Ê̅iÊ}i˜iÀ>̈œ˜Ê>˜`ÊVœ˜ÌÀœÊœvÊÜ՘`]Ê>˜`]Ê>ÃÊ>iÛiÊ

œ˜˜œÞʅ>ÃÊiÝ«œÀi`ʈ˜Ê`i«Ì…]Ê̅iÊÜVˆ>Ê>Ài˜>Ê̅iÃiÊVˆÀVՓÃÌ>˜ViÃÊVÀi>Ìi°13 Even ̅iÊۈi܈˜}ÊVœ˜`ˆÌˆœ˜ÃÊ>ÃVÀˆLi`Ê̜ÊLœÌ…Ê“ÕÃiՓÊ>˜`ÊVˆ˜i“>ʅ>ÛiÊLi}՘Ê̜ʓiÀ}i]Ê not least because of the frequent transformation of galleries into temporary movie houses where the viewer can choose to be sedentary as in a traditional theatre or move in and out of the space at will as is sanctioned in a gallery environment.
VÀœÃÃÊ̅iÊÞi>ÀÃ]Ê>ʓˆ˜ˆ“>ˆÃÌÊ>iÃ̅ïVÊÀi}Տ>ÀÞÊ>ÌÌi˜`ÃÊܜÀŽÃʈ˜ÊiÝ«>˜`i`Ê Vˆ˜i“>Ê >˜`Ê …ÀˆÃÈiÊ iÃÊ …>ÃÊ œLÃiÀÛi`Ê Ì…>ÌÊ >À̈ÃÌÃÊ …>ÛiÊ iÝ«>˜`i`Ê w“Ê ¼«ÀiVˆÃiÞÊ LÞÊVœ˜ÌÀ>V̈˜}ʈ̽]14ÊLÞÊÀi`ÕVˆ˜}ʈÌÊ̜ʈÌÃÊVœ˜Ã̈ÌÕi˜ÌÊ«>ÀÌÃÊ>˜`ÊiÝ«œÀˆ˜}Ê̅iˆÀʈ˜…iÀi˜ÌʵÕ>ˆÌˆiðÊ
ÃÊÜiʅ>ÛiÊÃii˜]Ê̅iÊVœ˜ÌÀ>V̈œ˜Ê>ÃœÊœVVÕÀÃÊ̅ÀœÕ}…Ê̅iÊiݫՏȜ˜Ê or disfiguration of traditional forms of representation and narrative arcs. For some «À>V̈̈œ˜iÀÃʜvÊ̅iÊ}i˜Ài]Ê̅iʜLiV̈ÛiʈÃÊ̜ÊÀi`ÕViÊ̅iʈ“>}iÊ̜Ê>Êv՘V̈œ˜ÊœvÊ̅iÊ apparatus that gives it life with no reference to realities beyond the present event œvÊ Ì…iÊ w“Ê ÃVÀii˜ˆ˜}°Ê /…iÊ iÝ«>˜Ãˆœ˜‡Ûˆ>‡Vœ˜ÌÀ>V̈œ˜Ê œvÊ w“Ê Ü>ÃÊ Ì…ÕÃÊ >V…ˆiÛi`Ê ˆ˜Ê ̅iÊ VœÕ˜ÌiÀ‡VՏÌÕÀ>Ê iÀ>Ê LÞÊ “i>˜ÃÊ œvÊ vœÀi˜ÃˆV]Ê Ì…œÕ}…Ê œvÌi˜Ê Ìi˜`iÀ]Ê `ˆÃÃiV̈œ˜Ê œvÊ ˆÌÃÊVœ“«œ˜i˜ÌÃÊ>˜`Ê«ÀœViÃÃiÃÊLivœÀiÊ>ʏˆÛiÊ>Õ`ˆi˜Vi]ʈ܏>̈˜}ʓiV…>˜ˆÃ“ÃÊ܅œÃiÊ interdependence have defined mainstream cinema since the last century. This ÃÌÀÕVÌÕÀ>Ê ۈۈÃiV̈œ˜Ê i˜>LiÃÊ ÕÃÊ ÌœÊ V>Ê œ˜Ê `ˆvviÀi˜ÌÊ “>˜ˆviÃÌ>̈œ˜ÃÊ œvÊ iÝ«>˜`i`Ê cinema to draw up a provisional anatomy of film itself.

THE FILMSTRIP: AUTO DESTRUCTIVE FILM ˜ÊœÕÀÊVœ˜Ãˆ`iÀ>̈œ˜ÊœvÊw“Ê>ÃÊw“]ÊÜiÊÃ>ÜʅœÜÊ>À̈ÃÌÃʓ>`iÊ«…ÞÈV>Êˆ˜ÌiÀÛi˜Ìˆœ˜ÃÊ ˆ˜Ê ̅iÊ w“ÃÌÀˆ«]Ê ÃVÀ>ÌV…ˆ˜}]Ê «Õ˜VÌÕÀˆ˜}Ê >˜`Ê «>ˆ˜Ìˆ˜}]Ê >˜`]Ê ˆ˜Ê «ÀœiV̈œ˜]Ê Ài˜`iÀˆ˜}Ê Ì…œÃiÊÌÀ>ViÃÊ>ÃÊy>ÅiÃʜvʏˆ}…Ìʈ˜ÊVœ“«iÝ]Ê>˜ˆ“>Ìi`Ê>LÃÌÀ>VÌÊ«>ÌÌiÀ˜Ã°ÊœÜiÛiÀ]Ê >Ê}ÀœÕ«ÊœvÊ>À̈ÃÌÃÊiÝ«>˜`i`Ê̅iÊÌi“«œÀ>Êi˜Ûiœ«iʜvÊ̅iÊw“ÊLÞÊ>ÌiÀˆ˜}Ê̅iÊ«…ÞÈcal make up of the celluloid over long periods of time. In Standing Film/Moving Film ­£™Èn®]Ê̅iÊiÀ“>˜Ê>À̈ÃÌÊ7iÀ˜iÀÊ iŽiÃÊVÀi>Ìi`Ê܅>ÌʅiÊV>i`ʜ˜i‡vÀ>“iÊw“Ê«iÀvœÀ“>˜ViðʈŽiÊÜʓ>˜ÞÊiÝ«iÀˆ“i˜Ì>ÊܜÀŽÃÊ̅iÃiʼw“ýÊV>“iÊ>LœÕÌÊ>VVˆ`i˜Ì>Þ°Ê iŽiÃÊÃ̜Ài`ÊܓiÊvœœÌ>}iʈ˜Ê>Ê`>“«ÊVi>À]Ê>˜`]ʜÛiÀÊÃiÛiÀ>Ê“œ˜Ì…Ã]Ê̅iÊw“ÃÌÀˆ«ÃÊ LiV>“iÊVœ˜Ì>“ˆ˜>Ìi`Ê܈̅ʓœÕ`°Ê7…i˜Ê…iÊiÝÌÀ>VÌi`Ê>ÊȘ}iÊvÀ>“iʜvÊ̅iÊw“Ê>˜`Ê

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Ben Rivers, Two Years at Sea (2011). Courtesy of the artist and Kate MacGarry Gallery. Funded by Arts Council England through FLAMIN.

«>Vi`Ê ˆÌÊ ˆ˜Ê >Ê «ÀœiV̜À]Ê >ÃÊ Ì…iÊ >“«Ê V>“iÊ ÌœÊ ˆvi]Ê ¼Ì…iÊ “ˆVÀœLiÃÊ ˆ˜Ê œÀÊ œ˜Ê ̅iÊ ViÕloid started moving because of the heat’.15 Nekes was stretching the parameters of ܅>ÌÊVœ˜Ã̈ÌÕÌiÃÊ>Êw“ÊLÞÊ>Έ˜}Ê܅i̅iÀʼ>ÊȘ}iÊvÀ>“iÊVœÕ`ÊLiÊ>Êw“½°16ʘÊÓä£{]Ê *>ÌÀˆVŽÊ/>ÀÀ>˜ÌÊ«Àœ«œÃi`Ê̅iÊVœ˜Vi«Ìʜvʼ“>}ˆVʓ>ÌiÀˆ>ˆÃ“½Êˆ˜ÊÀi>̈œ˜Ê̜ʼ“ˆVÀœLˆ>½Ê work of this kind.17 In his discussion of Ben Rivers’s Two Years at SeaÊ­Ó䣣®]Ê/>ÀÀ>˜ÌÊ œLÃiÀÛi`Ê …œÜÊ V…i“ˆV>Ê Li“ˆÃ…iÃÊ œ˜Ê ̅iÊ w“Ê ÃÌÀˆ«]Ê Ü…>ÌÊ …iÊ V>i`Ê Ì…iÊ ¼V…i“ˆV>Ê>˜`ÃV>«i½Ê̜œŽÊœ˜Ê˜>ÀÀ>̈ÛiÊÈ}˜ˆwV>˜Vi°Ê,ˆÛiÀýÃÊw“ʈÃÊ>LœÕÌÊ>ÊÀÕÀ>ÊÀiVÕÃi]Ê >ŽiÊ7ˆˆ>“Ã]Ê>˜`Ê̅iÊÃÌ>ˆ˜Ãʜ˜Ê̅iÊViÕœˆ`]Ê܅i˜Ê«ÀœiVÌi`]ÊLiVœ“iʓœÕ˜Ì>ˆ˜ÃÊ looming over the figure of Williams walking in the distance. Where Rivers enacted >ʼ“iÀ}ˆ˜}ʜvÊ̅iÊÀi>Ê>˜`ÊÀi«ÀiÃi˜Ì>̈œ˜½]18 Nekes was more concerned to demonstrate the material death of film by dramatising the sinister work of the microbes on the time-limited material of celluloid. When the results of their chemical labour are LœÜ˜ÊÕ«Ê̜Ê̅iÊVˆ˜i“>̈VÊ«Àœ«œÀ̈œ˜ÃʜvÊ>ÊØÕvvʓœÛˆi]Ê>˜ÊiµÕ>ÞʓœÀÌ>Ê>Õ`ˆi˜ViÊ is given pause for thought. "̅iÀÊ >À̈ÃÌÃÊ >`Û>˜Vi`Ê Ì…iÊ ˜iVÀœÌˆVÊ Lœ`ÞÉw“Ê >˜>œ}ÞÊ Õ˜`iÀ«ˆ˜˜i`Ê LÞÊ œÕÀÊÊ ¼Ã…>Ài`ʜÀ}>˜ˆVÊi݈ÃÌi˜Vi½ÊLÞʓ>Žˆ˜}Êw“ÃʜÛiÀʼœ˜}Êë>ViÃʜvÊ̈“i½19 with a natural

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ˆviÊ Ì…>ÌÊ VœÕ`Ê Ì…iœÀïV>ÞÊ iÝÌi˜`Ê ÌœÊ Þi>ÀÃ]Ê ˆ˜Ê ̅iÊ V>ÃiÊ œvÊ /œ˜ÞÊ œ˜À>`½ÃÊ Yellow MovieÊ ­£™ÇÎ®Ê ÌœÊ Ãœ“i̅ˆ˜}Ê œÛiÀÊ vœÕÀÊ `iV>`iÃ°Ê /…iÃiÊ ÜiÀiÊ L>ÀiÞÊ w“Ã]Ê “iÀiÞÊ «>ˆ˜Ìi`ʼ“œÛˆiÊvÀ>“iýÊÕȘ}ÊV…i>«Êi“ՏÈœ˜Ê̅>ÌÊ}À>`Õ>ÞÊÞiœÜi`Ê܅i˜ÊiÝ«œÃi`Ê ÌœÊ˜>ÌÕÀ>Êˆ}…Ì°Ê œ˜À>`Ê>ÃœÊVÀi>Ìi`ʼV>“iÀ>iÃýÊw“Ãʓ>`iÊիʜvÊ՘«ÀœiVÌ>LiÊViÕœˆ`ÊvÀ>}“i˜ÌÃÊ̅>ÌʅiÊÃÕLiVÌi`Ê̜ʫˆVŽˆ˜}]ÊL>Žˆ˜}ʜÀʅ>““iÀÊ>ÌÌ>VŽÊ>ÃÊ>ÊÜ>ÞÊÌœÊ iÃV>«iÊ̅iʼˆ˜iÝÌÀˆV>LiÊLˆ˜`Ê̜Ê̅iÊVœ““iÀVˆ>Ê«ÀœViÃÃQiÃR½ÊœvÊ̅iÊw“ʈ˜`ÕÃÌÀÞ° 20 VALIE EXPORT and Peter Weibel separated the filmstrip from the camera and proiV̜À]Ê>˜`ʈ˜`ii`Ê`ˆÃ«i˜Ãi`Ê܈̅ÊViÕœˆ`Ê>Ìœ}i̅iÀʈ˜Ê̅iˆÀÊInstant Film (1968). Transparent PVC sheets were offered to spectators with which to make their own w“ÃÊLÞʼ…>˜}ˆ˜}ÊQ̅i“Rʜ˜Ê̅iÊÜ>]ʈ˜ÊvÀœ˜ÌʜvÊ`ˆvviÀi˜ÌÊVœœÕÀi`ÊL>VŽ}ÀœÕ˜`ý]21 or ܈̅Ê̅iˆÀʜܘÊVˆ}>ÀiÌÌi‡LÕÀ˜i`Ê>«iÀÌÕÀiÃ]ÊVÀi>ÌiÊ>Ê܈˜`œÜʜ˜Ê̅iˆÀÊܜÀ`°Ê/…iÊVœ˜Vi«ÌÕ>ÊÃÌÀiÌV…ʈ˜Ê̅iÃiÊܜÀŽÃʈÃÊ>“œÃÌÊ>ÌÊLÀi>Žˆ˜}Ê«œˆ˜Ì]Ê>˜`Ê>ÃÊ œ˜À>`ÊÀi“ˆ˜`ÃÊÕÃ]Ê ¼“œÛˆiÃÊ>Ü>ÞÃÊÌ>ŽiÊ«>Viʈ˜ÊޜÕÀʈ“>}ˆ˜>̈œ˜½°22 This has led Genevieve Yue to conVÕ`iÊ̅>ÌÊ>Ì…œÕ}…Ê>««>Ài˜ÌÞÊVœ˜ViÀ˜i`Ê܈̅Ê`iV>Þ]Ê>À̈ÃÌÃʏˆŽiÊ œ˜À>`Ê>˜`Ê iŽiÃÊ have made permanent works at a conceptual level. 23Ê9Õiʵ՜ÌiÃÊ*iÌiÀÊÕLiŽ>Ê܅œÊ `iV>Ài`\ʼ7ˆÌ…Ê̅ˆÃÊw“]Êʅ>ÛiÊ`œ˜iÊܓi̅ˆ˜}Ê܅ˆV…Ê܈ÊÃÕÀۈÛiÊ̅iÊ܅œiʜvÊw“Ê …ˆÃ̜ÀÞÊLiV>ÕÃiʈÌʈÃÊÀi«i>Ì>LiÊLÞÊ>˜Þœ˜i°ÊÌʈÃÊÜÀˆÌÌi˜Ê`œÜ˜Êˆ˜Ê>ÊÃVÀˆ«Ì]ʈÌʈÃÊLiޜ˜`Ê decay’.24Ê9Õiʈ`i˜ÌˆwiÃʈ˜ÊÃÌÀÕVÌÕÀ>ÊܜÀŽÃÊ>˜`]ʈ˜Ê̅ˆÃÊVœ˜ÌiÝÌ]ÊiÝ«>˜`i`ÊVˆ˜i“>̈VÊ «ÀœiVÌÃÊ܅>ÌÊÅiÊV>ÃʼÌܜÊ`ˆ>“iÌÀˆVÊÃÌÀ>ˆ˜Ã½Êˆ˜Ê܅ˆV…Ê̅iÊܜÀŽÊLœÌ…ʼi˜`ÕÀiÃÊ>ÃÊ>Ê concept ... but in material form it inevitably decays’. 25 Although the radical impulse to oppose both the art market and the film industry Ü>ÃÊ>Ü>ÞÃÊÃÌÀœ˜}ʈ˜Ê̅iÃiÊܜÀŽÃÊqÊ̅iʼw“ýÊÀi“>ˆ˜i`Ê՘VœiVÌ>LiÊqÊ>ʓ>V>LÀi]Ê fin de siècle preoccupation with the material disintegration of film seemed to predominate in the 1960s. A similar aesthetic resurfaced at the end of the 1990s in David Gatten’s What the Water Said, nos. 1–3 (1997). The artist threw unprocessed film into the surf and let the sea create the film as a combination of marks made on ˆ“«>VÌÊ܈̅Ê̅iÊ܏ˆ`ʓ>ÌÌiÀʜvÊÃ>˜`]ÊÀœVŽÃÊ>˜`ʏˆÛˆ˜}ÊVÀi>ÌÕÀiÃ]Ê>˜`Ê̅iÊV…i“ˆV>Ê interaction of seawater with celluloid.26 The resulting pictorial symphony to the sea VÀi>Ìi`Ê>˜Êii}ˆ>VÊ`œÕLiʏ>“i˜ÌÊvœÀÊLœÌ…Ê̅iÊ`ˆÃ܏Ṏœ˜ÊœvÊ>˜>œ}ÕiÊw“]Ê>˜`Ê̅iÊ slow death of marine life in our oceans. We will return to the topic of obsolescence >˜`Ê Vˆ˜i“>̈VÊ ˜iVÀœ«…ˆˆ>]Ê LÕÌÊ Ü…iÀiÊ œ˜À>`]Ê iŽiÃÊ >˜`Ê >ÌÌi˜Ê i“«…>ÈÃi`Ê Ì…iÊ “>ÌiÀˆ>Êˆ˜ÃÌ>LˆˆÌÞʜvÊ̅iÊw“ÃÌÀˆ«]Ê>˜`ÊLÞÊiÝÌi˜Ãˆœ˜]Ê̅iÊLœ`ÞÊ>˜`ʏ>ÌÌiÀÞ]Ê̅iÊi˜ÛˆÀœ˜“i˜Ì]ʜ̅iÀÊ>À̈ÃÌÃÊVœ˜Vi˜ÌÀ>Ìi`ʜ˜Ê̅iʓœ“i˜ÌʜvÊ«ÀœiV̈œ˜]Ê>˜`Ê̅iÊ>««>À>ÌÕÃÊ that could magically bring film to life – but only in darkness.

VISION: DARKNESS Light ... like air ... tends to go unnoticed unless it suddenly dies. ˆVŽÞÊ>“Þ˜]ÊÓääÎ

EXPANDED CINEMA

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Ý«>˜`i`Ê Vˆ˜i“>Ê ˆÃÊ >˜Ê iÛi˜ÌÊ Ì…>ÌÊ ÌÀ>˜ÃvœÀ“ÃÊ Ì…iÊ Ã«>ViÊ Ì…ÀœÕ}…Ê ̅iÊ V…>˜}ˆ˜}ÊivviVÌÃʜvÊ«ÀœiVÌi`ʏˆ}…ÌÊ>˜`ʈÃÊ`i«i˜`i˜ÌÊvœÀʈÌÃʈ“«>VÌʜ˜ÊLœÌ…Ê`>ÀŽ˜iÃÃÊ>˜`Ê >ÊÀiˆ>LiÊÜÕÀViʜvÊiiVÌÀˆVˆÌÞÊ̜ʫœÜiÀÊ̅iÊ«ÀœiV̜ÀÊ>˜`ÊÜ՘`ÊÃÞÃÌi“°Ê/…iÊVÀÕVˆ>ÊVœ˜`ˆÌˆœ˜ÊvœÀÊ̅iÊi݈ÃÌi˜ViʜvÊ̅iÊÅ>vÌʜvÊ«ÀœiVÌi`ʏˆ}…ÌʈÃÊ̅ÕÃÊ̅iÊ>LÃi˜ViÊ of natural light. Should daylight or any other source of artificial light seep into the `>ÀŽi˜i`Ê Ã«>Vi]Ê Ì…iÊ «ÀœiV̈œ˜Ê ܜՏ`Ê LiÊ Vœ“«Àœ“ˆÃi`°Ê ˜Ê Flat PruneÊ ­£™Èx®]Ê Ì…iÊ theatre-trained American Robert Whitman lowered a bare light bulb in front of a film «ÀœiV̈œ˜Ê܅iÀiʈÌÊLœÌ…ÊLi>V…i`ʜÕÌÊ̅iʈ“>}iÊ>˜`ÊLiV>“iÊ>˜Êii“i˜ÌÊvœÀʏˆÛiÊ«iÀvœÀ“iÀÃÊ̜ʓ>˜ˆ«Õ>Ìi]ÊivviV̈ÛiÞÊLÀˆ˜}ˆ˜}Ê̅iʏˆ}…̈˜}ÊÌiV…˜ˆVˆ>˜Ãʜ˜ÌœÊ̅iÊÃÌ>}i°
ÌÊ>ÀœÕ˜`Ê̅iÊÃ>“iÊ̈“i]Ê>Vœ“ÊiÊÀˆViʈ˜Ê̅iÊ1Ê>ÃœÊ`À>“>̈Ãi`Ê̅iÊvÀ>}ˆˆÌÞʜvÊ̅iÊ«ÀœiV̈œ˜ÊLi>“Ê>˜`Ê̅ÕÃÊ̅iÊVˆ˜i“>̈Vʈ“>}iÊLÞʈ˜ÌiÀ“ˆÌÌi˜ÌÞÊÃ܈ÌV…ˆ˜}Ê on a bare light bulb hanging in front of the screen. Castle One (1966) consisted of a montage of found footage depicting demonstrations and political speeches intercut with shots of an identical light bulb to the one threatening the screen in the «ÀœiV̈œ˜Êë>Vi°Ê7…i˜Ê̅iʓ>ÌiÀˆ>ÊLՏLʏˆÌÊÕ«Ê>˜`ʜLˆÌiÀ>Ìi`Ê̅iÊw“ˆVʈ“>}i]ʈÌÊ >LÀի̏ÞÊ ÜÀi˜V…i`Ê ˆÌÃÊ >Õ`ˆi˜ViÊ vÀœ“Ê ̅iÊ ˆ““iÀÈÛiÊ `À>“>Ê œ˜ÃVÀii˜]Ê VÀi>̈˜}Ê >Ê “œ“i˜Ì>ÀÞÊ `ˆÃœÀˆi˜Ì>̈œ˜Ê ˆŽiÊ Ì…iÊ Vœ˜vÕȜ˜Ê iÝ«iÀˆi˜Vi`Ê Ü…i˜Ê Ü>Žˆ˜}Ê ÃÕ``i˜ÞÊ from a dream. Torn from the comfort and anonymity of voyeuristic immersion in ̅iʈÕÜÀÞÊ՘ˆÛiÀÃiʜvÊ̅iÊÃVÀii˜]ÊۈiÜiÀÃÊLiV>“iʼÃiv‡Ã«iVÌ>̜Àý] 27 engaged in >ÊvœÀ“ÊœvʓÕÌÕ>ÊœLiV̈wV>̈œ˜°28 Where the light in Flat Prune drew attention to the œ˜ÃÌ>}iÊ«iÀvœÀ“iÀÃ]ʈ˜ÊCastle One the light bulb stayed on long enough for normal ÜVˆ>Êˆ˜ÌiÀ>V̈œ˜ÃÊ̜ÊÀiÃՓiÊ>“œ˜}Ê>Õ`ˆi˜Viʓi“LiÀÃ]ʜ˜ÞÊvœÀÊ̅iÊVœ˜ÛiÀÃ>̈œ˜ÃÊ ÌœÊLiÊ>LÀի̏ÞÊVÕÌÊŜÀÌÊ܅i˜Ê̅iÊLՏLÊÜ>Ãʜ˜ViÊ>}>ˆ˜ÊiÝ̈˜}ՈÅi`Ê>˜`Ê̅iʼœÌ…iÀ½Ê filmic reality resumed its dominance. The unceremonious lurching between the two perceptual states not only confronted viewers with the physical reality of the mech>˜ˆÃ“ÃʜvÊw“ʈÕȜ˜ˆÃ“]ÊLÕÌÊ>ÃœÊ>˜ÌˆVˆ«>Ìi`ÊLÞÊÃiÛiÀ>Ê`iV>`iÃÊ>À̈˜Ê Àii`½ÃÊ now infamous installation Lights Going On and OffÊ>ÌÊ̅iÊ/>ÌiÊ>iÀÞʈ˜ÊÓää£]Ê>ÊܜÀŽÊ to which we will return.29 iÊ ÀˆViÊ >ÃœÊ `ÀiÜÊ >ÌÌi˜Ìˆœ˜Ê ÌœÊ Ì…iÊ ÃœVˆ>Ê Vœ˜`ˆÌˆœ˜ÃÊ œvÊ ÌÀ>`ˆÌˆœ˜>Ê Vˆ˜i“>]Ê ˆ˜Ê which the dimmed lighting of the picture palace brought with it both promise and the œVV>Ȝ˜>Ê…>â>À`ʏÕÀŽˆ˜}ʈ˜Ê̅iÊÃÌ>ÃÊqÊ>ÃÊ>ÊLœÞ]Ê,Õ«iÀÌÊ ÛiÀiÌÌÊÜ>ÃÊ>`“œ˜ˆÃ…i`]Ê ¼`œ˜½ÌÊÈÌÊ̜œÊVœÃiÊ̜ÊÀ°Ê >À˜>À`ÊvÀœ“ʈi˜ÃÊEÊ >Üܘ]Ê̅iÀi½ÃÊ>Ê}œœ`ÊLœÞ½°30 The cover of darkness allowed courting couples to indulge in behaviours not sanctioned in daylight – this being particularly so in the 1940s and 1950s and even into the 1960s when young people had few opportunities of being alone before marriage. "ÛiÀ>]Ê̅iÊ`>ÀŽ˜iÃÃʜvÊ̅iÊVˆ˜i“>Ê>Õ`ˆÌœÀˆÕ“ʈÃÊVÕÃ̜“>ÀˆÞÊiÝ«iÀˆi˜Vi`Ê>ÃÊLinign.31 In Moby Dick]ÊiÀ“>˜ÊiÛˆiÊÃÕ}}iÃÌi`Ê̅>ÌʈÌʈÃʜ˜ÞÊ܅i˜Ê>ʓ>˜½ÃʼiÞiÃÊLiÊ VœÃi`½Ê̅>ÌʅiʼV>˜ÊiÛiÀÊviiÊ…ˆÃʜܘʈ`i˜ÌˆÌÞÊ>Àˆ}…ÌÊ°°°Ê>ÃʈvÊ`>ÀŽ˜iÃÃÊÜiÀiʈ˜`ii`Ê̅iÊ proper element of our essences’. 32ÊvÊÜiÊ}œÊ̜Ê̅iÊVˆ˜i“>Ê̜Ê`ˆÃVœÛiÀ]ʈ˜Ê̅iÊ`>ÀŽ]ʜÕÀÊ …Õ“>˜ÊiÃÃi˜ViÃÊ̅i˜]Ê>VVœÀ`ˆ˜}ÊÌœÊ ÀˆVÊ`iÊ ÀÕޘ]ÊVˆ˜i“>Ê`œiÃʈÌÃÊLiÃÌÊ̜Êv>VˆˆÌ>ÌiÊ

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̅>ÌʵÕiÃÌÊ>˜`ʓ>ŽiÃÊÕÃÊÜiVœ“i°Ê+՜̈˜}Ê*iÌiÀÊÕLiŽ>ʅiÊVœ˜Ìi˜`ÃÊ̅>ÌÊVˆ˜i“>Ê VÀi>ÌiÃÊ̅iÊ«i>ÃÕÀ>Liʼviiˆ˜}ʜvÊLiˆ˜}ʈ˜Ê̅iÊ`>ÀŽÊ“œÌ…iÀ½ÃÊܜ“LÊvÀœ“Ê܅ˆV…Êœ˜iÊ ÜœÕ`Ê̅i˜ÊLiÊLœÀ˜Êˆ˜ÌœÊ>˜œÌ…iÀÊܜÀ`]Ê̅iÊܜÀ`ʜvÊ̅iÊw“½° 33 Le Grice was intent on `ˆÃÀի̈˜}Ê«ÀiVˆÃiÞÊ̅>ÌÊ>}Àii>LiÊÀiLˆÀ̅]Ê̅iÊÀœṎ˜iÊLÞÊ܅ˆV…ÊۈiÜiÀÃÊ>ÀiÊi>Ãi`Ê ˆ˜ÌœÊ̅iʈ“>}ˆ˜>̈ÛiÊë>ViʜvÊ>ʓ>ˆ˜ÃÌÀi>“Ê“œÛˆiÊqÊ̅iÊ«œ«VœÀ˜]Ê̅iÊVÕÀÌ>ˆ˜ÃÊÀˆÃˆ˜}]Ê the trailers and the opening credits – and obligingly escorted back into the light of day at the end via the dénouement]Ê̅iÊVÀi`ˆÌÃ]Ê>˜`]ÊÜ>ÞÊL>VŽÊ܅i˜]Ê̅iʘ>̈œ˜>Ê anthem. 34Ê iޜ˜`ʈÌÃÊÃiv‡Àiyi݈ÛiʏiÃܘÃʈ˜Ê̅iÊ`Õ«ˆVˆÌÞʜvʈÕȜ˜ˆÃ“]ÊCastle One «>Þi`ʜ˜Ê̅iÊVœ“vœÀÌÊÜiÊ`iÀˆÛiÊvÀœ“Ê̅iÊi˜Ûiœ«ˆ˜}Ê`>ÀŽ˜iÃÃʜvÊVˆ˜i“>]Ê̅iʘœVÌÕÀ˜>Ê`iÃVi˜Ìʈ˜ÌœÊ*>̜½ÃÊV>ÛiʜvÊÅ>`œÜÃ]Ê̅iÊÌÀ>˜ÃˆÌˆœ˜Ê̜Ê>ÊÃÌ>ÌiʜvÊi˜V…>˜Ì“i˜ÌÊ Ì…>ÌʈÃÊ̅iÊ«ÀiVœ˜`ˆÌˆœ˜ÊœvÊw“ˆVÊiÝ«iÀˆi˜Vi°Ê
ÃÊ,>ޓœ˜`Ê iœÕÀÊÀi“>ÀŽi`\ʼʅ>ÛiÊ never studied or written about a film that does not stem from what happened to me in the dark. This is the singular effect of cinema.’35 There is always sufficient light in a cinema for the contours of the auditorium to Ài“>ˆ˜Êi}ˆLi]ÊvœÀÊ«iœ«iÊ̜ʎii«Ê̅iˆÀÊLi>Àˆ˜}Ã]Ê>˜`ÊVœ“iÊ>˜`Ê}œÊ܈̅œÕÌÊvi>Àʜvʈ˜ÕÀÞ°Ê/…ˆÃʈÃʘœÌÊȓ«ÞÊ`ÕiÊ̜Ê̅iÊÀœÜÃʜvÊÓ>ÊyœœÀ‡iÛiÊˆ}…ÌÃÊ̅>Ìʏi>`ÊëiVÌ>̜ÀÃÊ ÌœÊ̅iÊi݈Ì]ÊLÕÌÊvÀœ“Ê̅iÊw“ʈÌÃiv]Ê̅iÊLÀˆ}…̘iÃÃʜvÊ̅iʈ“>}iʈÀÀ>`ˆ>̈˜}Ê̅iÊ̅i>ÌÀi]Ê and the changes of light and dark throughout the film can be seen flickering across ̅iÊv>ViÃʜvÊ̅iÊëiVÌ>̜ÀÃ°Ê ÞÊVœ˜ÌÀ>ÃÌ]ʈÌʈÃʈ˜VÀi>Ș}ÞÊVœ““œ˜ÊvœÀʓœÛˆ˜}ʈ“age installations to require visitors to push aside heavy felt blackout curtains and i˜ÌiÀÊ>Êë>Viʜ˜ÞÊ̜ÊLiÊ«Õ˜}i`ʈ˜ÌœÊ>ÊÈ}…̏iÃÃ]Ê`iLˆˆÌ>̈˜}ÊL>VŽ˜iÃðÊ-«iVÌ>̜ÀÃÊ often have to grope their way along a light trap corridor before they can discover the ܜÀŽÊˆÌÃiv°Ê ivœÀiʘˆ}…ÌÊۈȜ˜ÊŽˆVŽÃʈ˜Ê>˜`Ê܈̅Ê>Ê«œˆ˜ÌÃʜvÊۈÃÕ>ÊÀiviÀi˜ViÊiÝ̈˜}ՈÅi`]Ê̅iÊۈÈ̜ÀʈÃÊ«ÀœvœÕ˜`ÞÊ`ˆÃœÀˆi˜Ìi`Ê>˜`ʈÌÊV>˜ÊÌ>ŽiÊÕ«Ê̜Ê̅ˆÀÌÞʓˆ˜ÕÌiÃÊvœÀÊ …iÀÊiÞiÃÊ̜ÊvՏÞÊ>`>«ÌÊ̜Ê̅iʘiÜÊVÀi«ÕÃVՏ>ÀÊVœ˜`ˆÌˆœ˜Ã°Ê
Ì…œÕ}…]ÊÀ>̈œ˜>Þ]ÊÜiÊ Ž˜œÜÊ̅>ÌÊÜiʅ>ÛiÊi˜ÌiÀi`Ê>˜Ê>ÀÌܜÀŽ]Ê̅iʈ˜Ã̈˜V̈Ûi]Êi“Lœ`ˆi`ʈ˜ÌiÀ«ÀiÌ>̈œ˜ÊœvÊ Ì…iʏˆ}…ÌÃÊ}œˆ˜}ʜÕÌʈÃÊ̅>ÌÊÜiʅ>ÛiÊ}œ˜iÊLˆ˜`]ʜÀÊ̅iÊ>«œV>Þ«ÃiʈÃÊÕ«œ˜ÊÕðÊ/œÌ>Ê darkness spells dissolution and death in the human imagination and without visual VÕiÃÊ̜Ê>ˆ`ʜÀˆi˜Ì>̈œ˜Ê>˜`ʏœV>Ìiʜ̅iÀÃʜvʜÕÀʎˆ˜`]ÊÜiÊȓ«ÞÊviiÊ̅>ÌÊÜiÊ>ÀiÊ>œ˜iÊ in the dark.36Ê"vÊ̅iʈ˜˜Õ“iÀ>Liʈ˜ÃÌ>>̈œ˜ÃÊ̅>ÌÊi˜}ՏvÊ̅iÊۈiÜiÀʈ˜Ê`>ÀŽ˜iÃÃ]ÊIn Camera (1999) by Smith and Stewart most effectively inspired in me the terror of œÃˆ˜}ʓÞÊÈ}…Ì°Ê"ÕÌʜvÊ̜Ì>ÊL>VŽ˜iÃÃ]Ê>ÊȘ}i]ʓœ˜œV…Àœ“iʓœ˜ˆÌœÀÊÃiÌʅˆ}…Êœ˜Ê a wall suddenly comes to life and casts a beacon of light into the space. The image on the monitor (with a nod to Laurie Anderson) represents a view from the recess of >ʓœÕ̅Ê܅iÀiÊ>Ê̈˜ÞÊV>“iÀ>ʅ>ÃÊLii˜Ê«>Vi`]ʏœœŽˆ˜}ʜÕÌ°Ê"˜ÞÊ܅i˜Ê̅iʓœÕ̅ʈÃÊ œ«i˜Ê`œiÃÊ>˜Êˆ“>}iÊ>««i>À°Ê7…i˜Ê̅iʓœÕ̅ÊV>“«ÃÊÅÕÌ]Ê̅iÊ}>iÀÞʈÃʜ˜ViÊ>}>ˆ˜Ê i˜Ûiœ«i`ʈ˜Ê`>ÀŽ˜iÃðÊ-“ˆÌ…Ê>˜`Ê-ÌiÜ>ÀÌÊVÀi>Ìi`Ê>˜ÊiÝ«iÀˆi˜ViÊ̅>Ìʈ˜Ã̈i`Êvi>ÀÊ LÕÌÊ>ÃœÊVœ˜vÕÃi`Ê̅iÊLœ`ÞÊVœVŽ]Ê̅iʈ˜ÌiÀ˜>Ê̈“iŽii«iÀÊ̅>ÌÊÕÃiÃʏˆ}…ÌÊ̜Ê`ˆÃ̈˜}ՈÅʘˆ}…ÌÊvÀœ“Ê`>Þ]Ê>˜`Ê̜ÊÀi}Տ>ÌiÊÏii«ˆ˜}Ê>˜`ÊÜ>Žˆ˜}°Ê œ“ˆ˜}Ê>Ü>ÞÊvÀœ“Ê̅iÊ work into the light gave some small sense of the release prisoners must feel after a

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«iÀˆœ`ʜvʏˆ}…ÌÊ`i«ÀˆÛ>̈œ˜Ê>˜`Ê܏ˆÌ>ÀÞÊVœ˜w˜i“i˜Ì°Ê
ÃÊ ˆVŽÞÊ>“Þ˜ÊœLÃiÀÛi`]ÊÜiÊ ÀiVœ}˜ˆÃiÊ̅iÊÈ}˜ˆwV>˜Viʜvʏˆ}…Ìʜ˜ÞÊ܅i˜Ê¼ˆÌÊÃÕ``i˜ÞÊ`ˆiý° >ÀŽ˜iÃÃ]Ê̅i˜]ʈÃÊ̅iÊ«Ài‡Vœ˜`ˆÌˆœ˜ÊœvÊVˆ˜i“>°Ê
VVœÀ`ˆ˜}Ê̜ÊÕVÞÊ,iޘœ`Ã]Ê`>ÀŽ˜iÃÃÊÀ>̅iÀÊ̅>˜Êˆ}…ÌʈÃʼ̅iÊÃÕLiVÌʜvÊVˆ˜i“>½° 37Ê7ˆÌ…œÕÌʈÌ]ʘœÊ«ÀœiVÌi`ʈ“>}iÊ܈Ê maintain a retinal presence. Blackout may instil in the spectator the comforts of the “>ÌiÀ˜>Êܜ“L]ÊvÀœ“Ê܅iÀiʘ>ÀÀ>̈ÛiÊw“Ê>˜`ʈÌÃÊ«ÃÞV…œœ}ˆV>Ê>˜`ÊÃi˜ÃœÀÞÊ«i>ÃÕÀiÃʓ>ÞÊLiʈ˜`Տ}i`]Ê«>À̈VՏ>ÀÞʈ˜Ê̅iʅ>v‡ˆ}…ÌʜvÊVˆ˜i“>Êë>ViÃÆʈÌʓ>ÞÊ>ÃœÊ Ài«ÀiÃi˜ÌÊ܅>ÌÊ,iޘœ`Ãʅ>ÃÊ`ÕLLi`]ʼ̅iÊÌiÀÀˆÌœÀÞʜvÊvi>À½° 38 When the blackness ˆÃÊ̜Ì>]ʈÌÊ«Àœ`ÕViÃÊ`ˆÃœÀˆi˜Ì>̈œ˜Ê>˜`ÊȓՏ>ÌiÃÊ̅iʏœÃÃʜvÊÈ}…Ì]Ê̅iÊVÕÀÌ>ˆ“i˜ÌʜvÊ ˆLiÀÌÞʜÀÊiÛi˜Ê¼Ì…iÊ`ވ˜}ʜvÊ̅iʏˆ}…̽]Ê̅iÊiÝ̈˜V̈œ˜ÊœvʏˆviʈÌÃiv° 39

THE SPACE OF PROJECTION: LIGHT The moment of projection ... refers to nothing beyond real time. It contains no illusion. It is a primary experience, not a secondary one.
˜Ì…œ˜ÞÊV >]ÊÓääÈ ÀˆÌˆÃ…ÊiÝ«>˜`i`ÊVˆ˜i“>Ê>À̈ÃÌÃʈ˜Ê̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃÊÜiÀiÊ«Àˆ˜Vˆ«>ÞÊVœ˜ViÀ˜i`Ê ÜˆÌ…Ê Ì…iÊ ÃVՏ«ÌÕÀ>Ê >˜`Ê «…i˜œ“i˜œœ}ˆV>Ê «Àœ«iÀ̈iÃÊ œvÊ Ì…iÊ «ÀœiV̈œ˜Ê Li>“Ê >˜`Ê Ì…iÊë>̈>ÊÀi>̈œ˜Ã…ˆ«ÊLiÌÜii˜Ê̅iÊ«ÀœiV̜À]Ê̅iÊÅ>vÌʜvʏˆ}…ÌÊ>˜`Ê̅iÊÃÕÀv>ViʈÌÊ strikes to create an image. In his emblematic Line Describing a ConeÊ­£™Çή]Ê
˜Ì…œ˜ÞÊ V >Ê«>Vi`Ê̅iʏˆ}…ÌÊLi>“Ê>ÌÊ̅iÊVi˜ÌÀiʜvÊ̅iÊܜÀŽ]ʈ˜Ê>˜Ê>ÌÌi“«ÌÊ̜Ê`iw˜iʼ̅iÊ “œ“i˜ÌʜvÊ«ÀœiV̈œ˜½°Ê
Ì…œÕ}…ʈ˜ˆÌˆ>ÞÊ«ÀiÃi˜Ìi`ʈ˜Ê>ÊVˆ˜i“>]Ê̅iÊܜÀŽÊÜ>Ãʏ>ÌiÀÊ ÀiVœ˜Ã̈ÌÕÌi`Ê>ÃÊ>Ê}>iÀÞʈ˜ÃÌ>>̈œ˜Ê`iۜˆ`ʜvÊÃi>̈˜}°Ê
ÊȘ}iÊ«ÀœiV̜ÀʓœÕ˜Ìi`Ê œ˜Ê>Ê«ˆ˜Ì…ÊÜ>ÃÊ>VVœ“«>˜ˆi`ÊLÞÊ̅iʓiV…>˜ˆV>ÊV>ÌÌiÀÊ>˜`Ê«ÕÀÀʜvʈÌÃʓœÛˆ˜}Ê«>ÀÌÃ]Ê for older viewers stirring memories of nights at the movies. Once the machine flickiÀi`ʈ˜ÌœÊˆvi]Ê>Ê̅ˆ˜ÊLi>“Ê«ˆiÀVi`Ê̅iÊ`>ÀŽ˜iÃÃÊÌÀ>Vˆ˜}Ê>ʏˆ˜iʜvʏˆ}…ÌÊ̅>ÌÊi˜`i`Ê܅i˜Ê ˆÌÊÃÌÀÕVŽÊ̅iʜ««œÃˆ˜}ÊÜ>°ÊœÜiÛiÀ]Ê̅iÊÃVÀii˜‡ˆ“>}iÊÜ>ÃʘœÌÊ܅iÀiÊ̅iʼw“½Ê̜œŽÊ «>Vi°Ê"ÛiÀÊ̅iÊVœÕÀÃiʜvÊ̅ˆÀÌÞʓˆ˜ÕÌiÃ]Ê̅iÊψÛiÀʜvʏˆ}…ÌÊϜ܏ÞÊ}ÀiÜÊ՘̈ÊˆÌÊ`iÃVÀˆLi`Ê>Ê«iÀviVÌÊVœ˜i]Ê>ÊۜÕ“iÌÀˆVÊi˜ÌˆÌÞÊ܈̅Ê̅iÊ«ÀœiV̜ÀÊ>ÌʈÌÃÊ>«iÝÊ>˜`Ê«œˆ˜ÌÊ œvʜÀˆ}ˆ˜°Ê˜Ê̅iÊ£™ÇäÃ]Êw“ÃÊi˜œÞi`Ê>ÊvÕ}ˆÌˆÛiÊ«Ài‡i݈ÃÌi˜Viʈ˜Ê̅iÊÌÕÀLՏi˜ViʜvÊ Vˆ}>ÀiÌÌiÊӜŽiÊ>˜`Ê`ÕÃÌÊ«>À̈ViÃÊ>˜ˆ“>̈˜}Ê̅iÊ«ÀœiV̈œ˜ÊLi>“°ÊV >ÊÀiVÀi>Ìi`Ê Ì…iÊÀi˜`iÀˆ˜}ʜvʏˆ}…ÌÊ>Ãʓ>ÃÃ]ʈ˜ˆÌˆ>ÞÊ܈̅Ê̅iÊ>ˆ`ʜvʅˆÃÊvÀˆi˜`ýÊÀiVŽiÃÃÊӜŽˆ˜}]Ê >˜`ʏ>ÌiÀ]ÊLÞʫՓ«ˆ˜}Ê`ÀÞʈViʈ˜ÌœÊ̅iÊ}>iÀÞ°Ê7…iÀiÊ̅iÊVˆ˜i“>ÊۈiÜiÀÊ«ÀiۈœÕÏÞÊ Ã>ÌÊ ˆ˜Ê >Ê wÝi`Ê «œÃˆÌˆœ˜]Ê V >Ê ˜œÜÊ >`>«Ìi`Ê Ì…iÊ ÜœÀŽÊ vœÀÊ >˜Ê >“LՏ>̜ÀÞÊ Ã«iVÌ>̜ÀÊ >˜`Ê>ÃÊ̅iÊ>À̈ÃÌÊVœ““i˜Ìi`]ʅˆÃʼ܏ˆ`ʏˆ}…ÌÊw“ýÊVœÕ`ʘœÌÊLiʼvՏÞÊiÝ«iÀˆi˜Vi`ÊLÞÊ a stationary spectator’.40Ê/…iÊܜÀŽÊÜ>Ãʼ“>`i½ÊLÞÊ̅iÊ}>iÀÞÊ}œiÀÊ܅œÊ`ˆÃVœÛiÀi`Ê changing perspectives while physically moving through the beam. A more recent ܜÀŽ]ÊBetween You and IÊ­ÓääÈ®]ÊÃÌ>}i`ʈ˜Ê>ÊV…ÕÀV…ʈ˜Êœ˜`œ˜]Êvi>ÌÕÀi`ÊÌܜÊLi>“ÃÊ

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Anthony McCall, Between You and I (2006). Installation view, Peer/The Round Chapel, Hackney, London. Courtesy of the artist.

œvÊ ˆ}…ÌÊ «ÀœiVÌi`Ê `œÜ˜Ü>À`ÃÊ vÀœ“Ê >Ê }Ài>ÌÊ …iˆ}…ÌÊ VÀi>̈˜}Ê ¼ÛiÀ̈V>Ê V…>“LiÀÃÊ ÌœÊ enter and leave’. 41 The beams followed the evolution of a circle and a straight line ̅>ÌÊ̜}i̅iÀÊVœ˜Ã̈ÌÕÌi`ÊV >½Ãʼ̜Ì>ÊۜV>LՏ>ÀÞ½° 42Ê/…iÊ«ÀœiV̜ÀÃ]ʘœÜÊ`ˆ}ˆÌ>]Ê

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no longer made their presence felt through their familiar clatter but were swallowed Õ«ÊLÞÊ̅iÊ`>ÀŽ˜iÃÃÊ>LœÛi]Ê̅iˆÀʓiV…>˜ˆÃ“Ãʈ˜>Õ`ˆLi°Ê7ˆÌ…ʘœÊ`ˆÃViÀ˜ˆLiÊÜÕÀViÊ œvÊ̅iʏˆ}…Ì]ʈÌÊÜ>ÃʘœÜÊ«œÃÈLiÊ̜ÊÀi«>ViÊ>ʓ>ÌiÀˆ>ˆÃÌÊÀi>`ˆ˜}Ê܈̅Ê>ʓœÀiÊëˆÀˆÌÕ>Ê œ˜i°Ê/…iÊ>ÃVi˜Ãˆœ˜ÊœvÊ̅iÊ«ÀœiV̜ÀÃʈ˜ÌœÊ܅>ÌÊÊ̜œŽÊ̜ÊLiÊ̅iÊV…ÕÀV…Ê̜ÜiÀ]ÊÀiˆÌiÀated the verticality of the architecture and the Christian belief in a celestial deity.

Ûi˜Ê>ÃÊ>ʏ>«Ãi`Ê >̅œˆV]ÊÊvœÕ˜`ʓÞÃivÊ՘܈ˆ˜}Ê̜Êëi>ŽÊ>LœÛiÊ>Ê܅ˆÃ«iÀ°ÊV >Ê has observed how the fragility of his work instils in visitors a rare courtesy; viewers >ۜˆ`ʜLÃVÕÀˆ˜}Ê̅iÊLi>“ÊvÀœ“ʜ̅iÀÃÊ>˜`Ê܅i˜ÊÊÃ>ÜÊ̅iÊܜÀŽÊˆ˜Ê̅iÊVœ˜ÌiÝÌʜvÊ>Ê «ÀˆÛ>ÌiÊۈiÜ]Ê̅iʈ˜ÌiÀ«iÀܘ>Êii“i˜ÌÃ]Ê̅iÊLÀi>̅iÃÃÊVœ˜ÛiÀÃ>̈œ˜Ãʈ˜Ê̅iÊÃi“ˆ‡ darkness returned the work to the shared raptures of a pleasure palace. >˜ÞÊ Ã«iVÌ>̜ÀÃÊ iÝ«œÀi`Ê Ì…iÊ VÕÀˆœÕÃÊ iÝ«iÀˆi˜ViÊ œvÊ «>ÃȘ}Ê >Ê …>˜`Ê Ì…ÀœÕ}…Ê ܅>ÌÊ>««i>Ài`Ê܏ˆ`ÊLÕÌÊVœÕ`ʘœÌÊLiÊ}À>ëi`°Ê/…iÊvœÀ“ʈÃÊ«ÕÅi`ʼˆ˜Ê>˜`ʜÕÌʜvÊ܏ˆ`ˆÌÞ½]ÊÜÀœÌiÊiœÀ}iÊ >ŽiÀÊ>˜`Ê̅ÕÃʼˆ˜Ê>˜`ʜÕÌʜvÊ̅iÊÃVՏ«ÌÕÀ>Êwi`Ê>Ìœ}i̅iÀ½° 43 Less concerned with artistic classifications and prompted once more by my reli}ˆœÕÃÊÕ«LÀˆ˜}ˆ˜}]ÊÊ`ˆÃVœÛiÀi`Ê>ÊÀiÕVÌ>˜ViÊ̜ʈ˜ÌiÀÀÕ«ÌÊ̅iÊ«ÕÀˆÌÞʜÀʼÃ>VÀi`˜iÃÃ½Ê œvÊ Ì…iÊ Li>“Ã]Ê >˜`Ê vœÕ˜`Ê “ÞÃivÊ «œ˜`iÀˆ˜}Ê Ì…iÊ ˜>ÌÕÀiÊ œvÊ v>ˆÌ…Ê >˜`Ê ˆÌÃÊ VÀi>̈œ˜Ê œvÊ the two great intangibles: religion and art. When I saw McCall’s Long Film for Four ProjectorsÊ­£™Ç{®ÊÀiÃÌ>}i`Ê>ÌÊ/>ÌiÊ ÀˆÌ>ˆ˜Êˆ˜ÊÓää{]ÊÊiµÕ>Ìi`Ê̅iʅœÀˆâœ˜Ì>Ê“>ÌÀˆÝʜvÊ ˆ˜ÌiÀÃiV̈˜}Ê«ÀœiV̈œ˜ÊLi>“ÃÊ܈̅Ê̅iÊÛ>ˆ>˜ÌÊÃi>ÀV…ˆ}…ÌÃÊVÀˆÃÃVÀœÃȘ}Ê̅iʘˆ}…ÌÊ ÃŽˆiÃÊ>LœÛiÊœ˜`œ˜Ê`ÕÀˆ˜}Ê̅iÊ ˆÌâ]Ê>˜`ÊÀiV>i`Ê̅iÊLÀ>ÛiÀÞʜvÊ̅œÃiÊ­ˆ˜VÕ`ˆ˜}ʓÞÊ mother) who stayed behind to keep the city going. V >½ÃÊë>̈>Êw“ÃÊVi>ÀÞÊÀiˆÌiÀ>ÌiÊLœÌ…Ê̅iÊ>ÀV…ˆÌiVÌÕÀiʜvÊw“Ê«ÀœiV̈œ˜Ê>˜`Ê Ì…iÊv>LÀˆVʜvÊ̅iÊLՈ`ˆ˜}ʈ˜Ê܅ˆV…Ê…iʈ˜ÃÌ>ÃʅˆÃÊܜÀŽ]ʈ˜Ê̅iÊV>ÃiʜvÊ̅iÊ,œÕ˜`Ê …>«iÊ ˆ˜Ê >Ã̜˜]Ê>ÃœÊ>À̈VՏ>̈˜}Ê̅iʈ˜Ìi˜`i`Ê«ÕLˆVÊv՘V̈œ˜ÊœvÊ̅iÊLՈ`ˆ˜}Ê>ÃÊ>Ê«>ViʜvÊ ÜœÀň«°ÊœÜiÛiÀ]ÊV >½Ãʼ܏ˆ`ʏˆ}…̽Êw“ÃÊ>ÃœÊ`i“œ˜ÃÌÀ>ÌiÊ̅iÊiÝÌi˜ÌÊ̜Ê܅ˆV…Ê iÝ«>˜`i`ÊVˆ˜i“>]ÊÃÌii«i`ʈ˜Ê>ʓˆ˜ˆ“>ˆÃÌ]ÊÃÌÀÕVÌÕÀ>ÊÌÀ>`ˆÌˆœ˜]ÊV>˜Ê>V̈Û>ÌiʅՓ>˜Ê emotion and our proclivity to plunder both personal and cultural iconography to narÀ>̈ۈÃiÊ ˜œ˜‡˜>ÀÀ>̈ÛiÊ Ãi˜ÃiÊ `>Ì>°Ê
ÃÊ >˜ˆiÊ …>˜`iÀÊ >vwÀ“i`]Ê ¼>LœÛiÊ >]Ê ÜiÊ >ÀiÊ surely Homo SignificansÊqʓi>˜ˆ˜}‡“>ŽiÀý] 44 and the weaker the representational Vœ˜Ìi˜ÌʜvÊ̅iÊܜÀŽ]Ê̅iʓœÀiÊÜiʈ˜Ûi˜ÌʈÌÃÊÈ}˜ˆwV>˜Vi°Ê In spite of the perhaps unintended resonances of their work (the nature of reli}ˆœÕÃÊv>ˆÌ…ÆÊœ˜`œ˜Êˆ˜Ê̅iÊ ˆÌâ®]ʓœÃÌÊwÀÃ̇}i˜iÀ>̈œ˜ÊiÝ«>˜`i`ÊVˆ˜i“>̈VÊ>À̈ÃÌÃÊ ˆ˜ÃˆÃÌi`Ê̅>ÌÊ̅iÊi˜Ãi“LiʜvÊ>Ê«ÀœiV̈œ˜ÊiÛi˜ÌÊqÊ̅iÊ«ÀœiV̜À]Ê̅iʏˆ}…ÌÊLi>“]Ê̅iÊ space and the spectators – remained the central concern of the work. They emphasised the presentness of the live screening in contrast to what Malcolm Le Grice called ̅iʼÀiÌÀœÃ«iV̈œ˜½Êœvʘ>ÀÀ>̈ÛiÊVˆ˜i“>°45Ê
˜Ê>À̈ÃÌÊ܅œÊVœ“Lˆ˜i`Ê̅iÊÃiv‡Àiyi݈ۈÌÞÊ œvÊiÝ«>˜`i`ÊVˆ˜i“>Ê>˜`Ê̅iʼÀiÌÀœÃ«iV̈œ˜½ÊœvʅˆÃ̜ÀÞÊÜ>ÃÊ̅iÊ
“iÀˆV>˜Ê>À̈ÃÌÊ/œ˜ÞÊ "ÕÀÏiÀ°Ê-ˆ˜ViÊ̅iÊ£™näÃʅiʅ>ÃÊVÀi>Ìi`ÊȘ}Տ>Àʓi`ˆ>ÊiÛi˜ÌÃÊ>˜`]ʏˆŽiÊV >]ÊÕÃi`Ê `ÀÞʈViÊ̜ʓ>Žiʓ>˜ˆviÃÌÊ̅iÊ«ÀœiV̈œ˜ÊLi>“Ê>˜`Ê̅iʈ“>}iÊ̅>ÌʈÌÊVœ˜`ÕVÌi`°Ê˜Ê V…>«ÌiÀÊwÛi]Êʈ˜ÌÀœ`ÕVi`Ê"ÕÀÏiÀ½ÃʓՏ̈‡«ÀœiV̈œ˜Êˆ˜ÃÌ>>̈œ˜ÊThe Influence Machine

174

INSTALLATION AND THE MOVING IMAGE

­Óäää®ÊÃÌ>}i`ʈ˜Êœ˜`œ˜½ÃÊ-œ…œÊ-µÕ>Ài°Ê
ÃÊ`>ÀŽ˜iÃÃÊvi]ʅiÊÀii>Ãi`ÊÜ>ÛiÃʜvÊLˆœÜˆ˜}ʼӜŽi½Êœ˜ÌœÊ܅ˆV…ÊÜiÀiÊ«ÀœiVÌi`Ê̅iÊv>ViÃʜvÊ>V̜ÀÃÊ>ÃÃՓˆ˜}Ê̅iÊV…>À>VÌiÀÃÊ œvʈ˜Ûi˜ÌœÀÃÊ܅œÊ…>`ʜ˜ViʏˆÛi`ʈ˜Ê̅iʘiˆ}…LœÕÀ…œœ`]ʈ˜VÕ`ˆ˜}Êœ…˜Êœ}ˆiÊ >ˆÀ`]Ê̅iÊ architect of television. While the work made clear references to pre-cinematic magic ŜÜÃ]ʈÌÊ>ÃœÊÀiVÀi>Ìi`Ê̅iÊë>̈>ˆÌÞʜvÊ>Êw“ÊÃiÌʜÀÊÌiiۈȜ˜ÊÃÌÕ`ˆœÊVœ“«iÌiÊÜˆÌ…Ê ÃÕÀÀœÕ˜`ÊÜ՘`Ê>˜`ÊۈȜ˜°Ê-«iVÌ>̜ÀÃÊiÝ«œÀi`Ê>˜`Êi`ˆÌi`Ê̅iˆÀʜܘÊÛiÀȜ˜ÊœvÊ̅iÊ w“Ê>ÃÊ̅iÞÊÜi˜Ì]Ê܈̅Ê̅iÊÀi>Ê­Ì…iÊõÕ>Ài]Ê̅iÊLՈ`ˆ˜}îÊ>˜`Ê̅iʈÕÜÀÞʭ̅iÊv>ViÃ]Ê the voices) held in almost perfect balance. By superimposing disembodied ghosts vÀœ“Ê ̅iÊ «>ÃÌÊ œ˜ÌœÊ ̅iÊ vÀ>}ˆiÊ ÃÕLÃÌ>˜ViÊ œvÊ Ì…iÊ «ÀiÃi˜Ì]Ê `Àˆv̈˜}Ê ÜˆÌ…Ê Ì…iÊ L>ÀiÃÌÊ “i>˜ÃʜvÊÃÕ««œÀÌ]Ê̅iÊܜÀŽÊ>ÃœÊVÀi>Ìi`Ê>˜Ê՘V>˜˜ÞÊÃi˜ÃiʜvÊÜ>Žˆ˜}Ê>“œ˜}Ê̅iÊ `i>`°Ê/…iÀiʈÃÊ>ÊVi>ÀÊÀiviÀi˜ViʅiÀiÊ̜Ê̅iÊÀˆV…ÊÌÀ>`ˆÌˆœ˜ÊœvÊœÞܜœ`ʅœÀÀœÀÃ]ÊÌœÊ wV̈œ˜>Ê}…œÃÌÃÊÃÕV…Ê>ÃÊ ˆVŽi˜Ã½ÃÊ>VœLÊ>ÀiÞÊ>˜`Ê̅iÊ}…œÕˆÃ…Êv>“ˆÞʈ˜ÊThe Others ­
i>˜`ÀœÊ
“i˜?L>À]ÊÓä䣮°ÊœÜiÛiÀ]Ê"ÕÀÏiÀÊ>ÃœÊ}iÃÌÕÀiÃÊ̜Ü>À`ÃÊ̅iÊ iÀÀˆ`ˆ>˜Ê ˜œÌˆœ˜Êœvʅ>՘̜œ}Þ]Ê܅ˆV…Ê̅iʓœÛˆ˜}ʈ“>}iÊÜʘi>̏ÞʈÕÃÌÀ>ÌiÃÊ܈̅ʈÌÃÊ>LˆˆÌÞÊÌœÊ «>À>`iÊëiVÌÀiÃÊvÀœ“Ê̅iÊ«>ÃÌ]ʓiÃÃi˜}iÀÃÊVœ“iÊ̜Ê`ˆÃÌÕÀLÊ̅iÊ«ÀiÃi˜ÌÊ܈̅Ê̅iˆÀÊ unfinished business.46 These untimely intruders outstay their welcome and unsettle our concept of the chronological march of history. In Borrowed TimeÊ ­£™™ÇÉÓääÓ®]Ê >ۈ`Ê œÌÌiÀÀiÊ `ÀiÜÊ œ˜Ê LœÌ…Ê w“Ê …ˆÃ̜ÀÞÊ >˜`Ê «ÀiVi`i˜ÌÃʈ˜ÊiÝ«>˜`i`ÊVˆ˜i“>Ê܅i˜Ê…iÊVÀi>Ìi`Ê>Ê̅Àii‡`ˆ“i˜Ãˆœ˜>ÊÃVÀii˜ÊœÕÌʜvÊ >ʓ>ÃÃʜvÊ>À̈wVˆ>ÊӜŽiÊ­ˆµÕˆ`ÊV>ÀLœ˜Ê`ˆœÝˆ`i®Êˆ˜ÌœÊ܅ˆV…Ê…iÊ«ÀœiVÌi`ÊvœœÌ>}iʜvÊ >ÊÀ>«ˆ`Þʜ˜Vœ“ˆ˜}ÊÌÀ>ˆ˜°Ê/…iÊLˆœÜˆ˜}ʼӜŽi½ÊÜ>ÃÊ«Àœ«ii`Ê̜Ü>À`ÃÊ̅iÊ>Õ`ˆi˜ViÊ

David Cotterrell, Borrowed Time (1997/2002). Montage using the original footage. Courtesy of the artist.

EXPANDED CINEMA

175

>˜`Êi˜}Տvi`Ê̅iÊë>ViÊÜÊ̅>Ì]Ê̜}i̅iÀÊ܈̅Ê>ÊÜ՘`ÌÀ>VŽÊ̜ʓ>ÌV…Ê̅iÊiV̜«>ӈVÊÀ՘>Ü>ÞÊÌÀ>ˆ˜]Ê̅iʈ“«ÀiÃȜ˜Êœvʈ““ˆ˜i˜ÌÊ`>˜}iÀÊÜ>ÃÊ«>«>Liʈ˜ÊëˆÌiʜvʈÌÃÊ obviously illusory nature. Cotterrell’s speeding train borne forth on its miraculous clouds nostalgically recreated some of the wonderment and terror early film audii˜ViÃÊ>ÀiÊÃ>ˆ`Ê̜ʅ>ÛiÊiÝ«iÀˆi˜Vi`Ê܅i˜ÊwÀÃÌÊiÝ«œÃi`Ê̜Ê̅iÊՓˆmÀiÊ ÀœÌ…iÀýÊThe Arrival of a Train (1895) or Thomas Edison’s Black Diamond ExpressÊ­£n™È®]Ê܈̅Ê̅iÊ added attraction that Cotterrell’s train was actually moving through space. Cotterrell >««Àœ«Àˆ>Ìi`Ê >˜`Ê iÝÌi˜`i`Ê Ì…iÊ Àiyi݈ÛiÊ ÃÌÀ>Ìi}ˆiÃÊ œvÊ iÝ«>˜`i`Ê Vˆ˜i“>Ê vÀœ“Ê ̅iÊ £™ÇäÃ]ÊLÕÌʏˆŽiʓ>˜ÞÊ>À̈ÃÌÃÊLivœÀiʅˆ“]ʅiÊiÝ«œÃi`Ê̅iʓiV…>˜ˆÃ“ÃʜvÊ̅iʈÕȜ˜Ê ܅ˆÃÌÊȓՏÌ>˜iœÕÏÞÊViiLÀ>̈˜}ʈÌÃÊ«œÜiÀÊ̜ÊVœ˜ÕÀiÊÕ«Ê܅>ÌʈÃʘœÌÊ̅iÀiÊqʈ˜Ê̅iÊ case of Borrowed Time]Ê̅iÊ}…œÃ̏ÞÊÀi“>ˆ˜ÃʜvÊ̅iÊVˆ˜i“>̈VÊ>ÀV…ˆÛiÊ>˜`Ê̅iʏ>ÃÌÊ gasp of the age of steam.

THE BEAM INTERRUPTED − BY THE ARTIST 7…iÀiÊ œÌÌiÀÀiÊ>˜`ÊV >Ê>˜ˆ“>Ìi`Ê̅iÊë>ViÊLiÌÜii˜Ê̅iÊÃVÀii˜Ê>˜`Ê̅iÊ«ÀœiV̜ÀÊ܈̅Ê`ÀÞʈVi]ʜ̅iÀÊ>À̈ÃÌÃÊLÀœŽiÊ̅iÊ«ÀœiV̈œ˜ÊLi>“Ê܈̅Ê̅iˆÀʜܘÊLœ`ˆiÃÊ>˜`]Ê ˆŽiÊ«iÀvœÀ“>˜ViÊ>À̈ÃÌÃ]Ê̅iÞÊܜÀŽi`ʏˆÛi]ÊV>ˆ˜}ʜ˜Ê>Õ`ˆi˜ViÃÊ̜Ê>ÌÌi˜`Ê̈“iÌ>Li`Ê iÛi˜ÌðÊ
ÃÊ,œLiÀÌÊ7…ˆÌ“>˜ÊÀi“>ÀŽi`]ʈ˜ÊëˆÌiʜvʈÌÃʈVœ˜œV>Ó]Ê«iÀvœÀ“>˜Viʅ>ÃÊ ÀՏiÃÊ>˜`ʼ̅iÊVœ˜Ûi˜Ìˆœ˜Ê…iÀiʈÃÊ̅>ÌÊiÛiÀޜ˜iʈÃÊ}œˆ˜}Ê̜ÊLiʈ˜Ê̅iÊÃ>“iÊ«>ViÊ>ÌÊ̅iÊ same time’. 47 In Zen for FilmÊ­£™È{®]Ê >“Ê՘iÊ*>ˆŽÊ«ÀiÃi˜Ìi`Ê>˜Ê>Õ`ˆi˜ViÊ܈̅Ê̅iÊ ÃÌ>ÀŽÊ«ÀœÃ«iVÌʜvʅˆ“ÃivÊ`ÀiÃÃi`ʈ˜ÊL>VŽ]ÊL>̅i`ʈ˜Ê̅iʏˆ}…ÌʜvÊ>Êw“Êi˜ÌˆÀiÞʓ>`iÊ Õ«ÊœvÊVi>À]Ê՘iÝ«œÃi`ʣȓ“ʏi>`iÀ°Ê/…iÊ>À̈ÃÌʅ>`ʅˆÃÊL>VŽÊÌÕÀ˜i`Ê̜Ê̅iÊ>Õ`ˆi˜ViÊ >˜`Ê>««i>Ài`Ê̜ÊLiÊVœ˜Ìi“«>̈˜}ʅˆÃÊ`œ««i}B˜}iÀ]ʅˆÃʜܘÊÅ>`œÜÊÅ>À«‡VÕÌʈ˜ÌœÊ ̅iÊ«ÕÀiÊwi`ʜvʏˆ}…Ì]ÊiۜŽˆ˜}ÊÅ>`œÜÊ«>Þ]Ê̅iʓœÃÌÊÀÕ`ˆ“i˜Ì>ÀÞÊw“ÊvœÀ“°Ê*>ˆŽÊ >˜`ʅˆÃÊÅ>`œÜÊ>VÌi`ʜÕÌÊȓ«iÊÌ>ÎÃÊLiVœ“ˆ˜}Ê܅>ÌʅiÊV>i`Ê>ʼˆÛˆ˜}Êw“½Ê܅ˆiÊ the filmstrip itself was gradually polluted by the scratches and dirt that accumu>Ìi`ʜÛiÀÊÀi«i>Ìi`Ê«ÀœiV̈œ˜Ã]ÊVÀi>̈˜}Ê>ÊV>ˆ}À>«…ÞʜvʈÌÃʜܘʅˆÃ̜ÀްʘÊV…>«ÌiÀÊ wÛi]ÊÊ`ˆÃVÕÃÃi`ʈÊ >̅iÀiÞ½ÃÊAperture SweepÊ­£™Çή]ʈ˜Ê܅ˆV…Ê̅iÊ>À̈ÃÌÊÃÌi««i`Ê ˆ˜ÌœÊ ̅iÊ «ÀœiV̈œ˜Ê Li>“Ê >˜`Ê V>ÃÌÊ >Ê Ã…>`œÜ]Ê `œÕLˆ˜}Ê …iÀÊ >V̈œ˜Ê œvÊ ÃÜii«ˆ˜}Ê Ì…iÊ ¼w“½Ê܈̅Ê>ÊLÀœœ“°Ê
`>Vi˜ÌÊ̜Ê̅ˆÃʈ“>}i]ÊÅiÊ«ÀœiVÌi`Ê>Êw“ʈ˜Ê܅ˆV…ÊÅiʈÃÊÃii˜Ê similarly engaged in the fruitless task of cleaning up a white wall that will forever >ÌÌÀ>VÌÊ̅iÊ`ˆÀÌ°Ê/…iʅՓœÀœÕÃÊÀiviÀi˜ViÊ̜Ê̅iʜ`Ê>`>}iÊ̅>Ìʼ>Êܜ“>˜½ÃÊܜÀŽÊˆÃÊ never done’ reverberates with a more rigorous critique of domestic labour and the œÜÊÃÌ>ÌÕÃʜvÊ̅œÃiÊ܅œÊ`œÊˆÌ]Ê«>ˆ`ʜÀÊ՘«>ˆ`°Ê9iÌÊ`ii«iÀÊÀiܘ>˜ViÃʜvÊ̅iʈ“>}iÃÊ LœÌ…Ê*>ˆŽÊ>˜`Ê >̅iÀiÞÊ}i˜iÀ>Ìi`ÊÃÕ}}iÃÌÊ̅iÊ>ÕÈÛiÊ«œÜiÀÃʜvÊÅ>`œÜðʼ-…>`iÃÊ VœiVÌÊ̅iÊ`ˆÃÌÀ>VÌi`Ê>ÌÌi˜Ìˆœ˜]½ÊÜÀœÌiÊ >ë>ÀÊœ…>˜˜Ê>Û>ÌiÀʈ˜Ê£ÇÇn]Ê>˜`ʼVœ˜w˜iÊ ˆÌÊ̜Ê>˜ÊœÕ̏ˆ˜i]Ê>˜`Ê̅ÕÃÊÀi˜`iÀÊ̅iʜLÃiÀÛ>̈œ˜Ê“œÀiÊȓ«i]Êi>ÃÞ]Ê>˜`Ê«ÀiVˆÃi½° 48 This condensation of meaning has its advantages.

176

INSTALLATION AND THE MOVING IMAGE

In Carolee Schneemann’s SnowsÊ­£™ÈÇ®]Ê̅iÊ>À̈ÃÌÊ>˜`ʅiÀÊL>˜`ʜvÊ«iÀvœÀ“iÀÃÊ V>ÃÌÊÅ>`œÜÃÊ>˜`ÊLÀœŽiÊ̅iÊLi>“ÃʜvÊÃiÛiÀ>Ê«ÀœiV̈œ˜ÃÊȓՏÌ>˜iœÕÏÞ]ʈ˜ÌiÀÀÕ«Ìing a montage of filmed atrocities from the Vietnam War. SnowsÊiÝ«ÀiÃÃi`Ê̅iÊ>˜}iÀÊ of her generation towards an administration that was sacrificing thousands of US >˜`Ê6ˆi̘>“iÃiʏˆÛiÃÊ̜Ê>˜Êˆ˜`ivi˜ÃˆLiÊÜ>À°Ê-V…˜ii“>˜˜½ÃʼÀ>}iÊ>˜`ʈ˜`ˆ}˜>̈œ˜½ÊˆÃÊ `iVˆ«…iÀ>Liʈ˜Ê̅iÊÜ>ÞÊÅiÊÕÃi`ÊLœ`ˆiÃÊ̜ʼLœÌ…Ê>LÜÀLÊ>˜`ÊvÀ>VÌÕÀiÊ̅iÊw“ʈ“>}iÀÞ½Ê>˜`ÊÜʼÀiœVVÕ«Þ½49 a medium that had packaged and laundered the war for home consumption. The bodies in SnowsÊÜiÀiʘœÌÊi˜}>}i`ʈ˜Ê܅>ÌÊi˜˜i̅ÊœÕÌÌÇ-“ˆÌ…Ê `ÕLLi`ʼ>˜Êˆ˜`ˆÛˆ`Õ>Ê>ÃÃiÀ̈œ˜ÊœvÊi}œ½Æ 50 they were impersonal – as Schneemann >ÃÃiÀÌi`]Ê Ã…iÊ >˜`Ê …iÀÊ ÌÀœÕ«iÊ ÜiÀiÊ ¼ÛˆÃˆLiÊ V>ÀÀˆiÀÃ½Ê œvÊ Ì…iÊ ˆ“>}i]ʜvʓi>˜ˆ˜}]ÊLÕÌÊ Ì…iÊLœ`ÞʼˆÃÊ̅iʓ>ÌiÀˆ>]ʈÌʈÃʘœÌÊޜս°51 Ulrike Rosenbach and Schneemann herself …>`ÊLi}՘ÊLÞÊ«ÀœiV̈˜}Êψ`iÃʜ˜ÌœÊ̅iˆÀÊLœ`ˆiÃ]ʈ˜Ê,œÃi˜L>V…½ÃÊV>ÃiÊ̅iʈ“>}iʜvÊ Botticelli’s Birth of VenusÊ­£{nÈ®°Ê
ÃÊ,œLiÀÌÊ7…ˆÌ“>˜Ê`ˆÃVœÛiÀi`]Ê«ÀœiV̈œ˜Êy>ÌÌi˜ÃÊ Ì…iÊLœ`Þ]ÊÀi˜`iÀˆ˜}ʈÌÊ>ÃÊv՘V̈œ˜>Ê>ÃÊ>ÊVÕÌʜÕÌ]Ê>˜`Ê>ÌÊ̅>ÌÊ̈“i]ʼˆÌÊÃii“i`ʘ>ÌÕÀ>Ê ̜ÊÕÃiÊ>Ê«iÀܘÊ>ÃÊ>ÊÃÕÀv>Vi½]52Ê>ÊL>˜ŽÊV>˜Û>Ãʜ˜Ê܅ˆV…Ê̜ʫÀœiVÌÊw“°ÊœÜiÛiÀ]Ê there are moments in Whitman’s Prune Flat in which the figure cavorting in front of ̅iÊÃVÀii˜ÊÃޘV…Àœ˜ˆÃiÃÊ܈̅Ê̅iÊwV̈œ˜>Êë>ViʜvÊ̅iÊw“ˆVʈ“>}i]Ê>˜`ʅiÀi]Ê̅iÊ ˆ“>}iʼLÕÀÃÌÃʈ˜ÌœÊ>ÊÃÕ«iÀÀi>ˆÌÞ½° 53Ê/…iÊw}ÕÀi]ÊÃÕ``i˜ÞÊëÀ՘}ʜÕÌʜvʈÌÃÊy>̘iÃÃ]Ê «ÀiÃi˜ÌÃʈ˜Ê̅iÊÀœÕ˜`Ê>˜`ÊÃÕÀ}iÃÊ̜Ü>À`ÃÊ̅iÊ>Õ`ˆi˜Viʈ˜Ê>˜Êi>ÀÞÊ>««ÀœÝˆ“>̈œ˜ÊœvÊ Î Êw“°Ê/…iʏœÃÃʜvÊ>˜œ˜Þ“ˆÌÞÊvœÀÊ̅iÊ«iÀvœÀ“iÀ]ʘœÜÊ̅iÊyiŇ>˜`‡Lœœ`ʼ…œÌÊëœÌ½Ê >ÌÊ̅iÊVi˜ÌÀiʜvÊw“]ÊÀi“ˆ˜`ÃÊÕÃÊ̅>ÌÊ>ÊÀi>Ê«iÀܘʈ˜…>LˆÌÃÊ>ÊwV̈œ˜>ÊV…>À>VÌiÀʈ˜Ê mainstream film. The role is brought to life by the skill of an individual who suffers >˜`ÊÃÜi>ÌÃ]Ê>ÃÊ̅œÃiʈ˜Ê̅iÊvÀœ˜ÌÊÀœÜʜvÊPrune Flat will have been able to see for themselves.
ʓˆ˜ˆ“>ÊܜÀŽÊLÞÊ>Vœ“ÊiÊÀˆViʈ˜Ê̅iÊ1ÊVi˜ÌÀi`ʜ˜Ê̅iÊȘ}iÊw}ÕÀiÊV>Õ}…ÌÊ in the beam and also dramatised the individuality of the performer. In Horror Film 1Ê­£™Ç£®]ÊiÊÀˆViÊÃ̜œ`ʘ>Ži`ʈ˜Ê̅iÊ«>̅ʜvÊ̅ÀiiÊ«ÀœiVÌi`Êw“Ãʏœœ«Ã]Êi>V…ÊVÀiating a different field of colour. The visual display was accompanied by the sound œvÊLÀi>̅ˆ˜}Ê>˜`Ê̅iʓiV…>˜ˆV>Ê…i>ÀÌLi>ÌÃʜvÊ̅iÊ«ÀœiV̜ÀðÊ
ÃÊiÊÀˆViʈ˜ÃˆÃÌi`]Ê Ì…iÊ Ã«iVÌ>̜ÀÊ Ü>ÃÊ œvviÀi`Ê ˜œÊ «Àœ‡w“ˆVÊ iÛi˜Ì°Ê /…iÊ ¼Vœ“«iÌiÊ “>ÌiÀˆ>Ê œvÊ Ì…iÊ w“½Ê was presented direct to the audience.54 Having described the limits of each frame LÞÊÃÌÀiÌV…ˆ˜}ʜÕÌʅˆÃÊ>À“Ã]ÊiÊÀˆViÊÃÌi««i`ÊL>VŽÜ>À`ÃÊ̜Ü>À`ÃÊ Ì…iÊ«ÀœiV̜ÀÊÃœÊ that his shadow or the negative space he cut out of the screen grew in tandem with …ˆÃÊ “œÛi“i˜ÌÃ°Ê iÊ ÀˆViÊ >VŽ˜œÜi`}iÃÊ Ì…>ÌÊ ¼Ãœ“i̅ˆ˜}Ê “>}ˆV>½Ê …>««i˜ÃÊ iÛi˜Ê though the audience knows how the film event is created. With nothing to cover his ˜>Ži`˜iÃÃÊLÕÌÊŜՏ`iÀ‡i˜}̅ʅ>ˆÀÊ>˜`Ê>Êv>ňœ˜>LiÊLi>À`]Ê>˜`Ê܈̅ʅˆÃÊ>À“ÃʜÕÌÃÌÀiÌV…i`]ÊiÊÀˆViÊ«ÀiÃi˜Ìi`Ê>Ê …ÀˆÃ̇ˆŽi]ÊÃ>VÀˆwVˆ>Êw}ÕÀiÊ>˜ÌˆVˆ«>̈˜}Ê ˆÊ6ˆœ>½ÃÊ later video works featuring the male figure drifting in liquid space. Both Le Grice and 6ˆœ>Ê}iÃÌÕÀiÊ̜Ü>À`ÃÊ`iۜ̈œ˜>Êˆ“>}iÀÞ]ÊLÕÌÊ܈̅Ê̅iÊ>À̈ÃÌýʜܘʈ“>}iÃʜÀÊÅ>`œÜÃÊ>V̈˜}Ê>ÃÊ>ÊÃÕÀÀœ}>ÌiÃÊvœÀÊ̅iÊ`ˆÛˆ˜ˆÌÞ]ʜ˜iʓˆ}…ÌÊÃÕëiVÌÊ>ÊÃÕÀÀi˜`iÀÊ̜ʫÕÀiÊ

EXPANDED CINEMA

177

Malcolm Le Grice, Horror Film 1 (1971), 16mm film and shadow performance. Sound: Le Grice. Performance documentation stills. Courtesy of the artist.

˜>ÀVˆÃÈÓ°ÊœÜiÛiÀ]ÊÊ`iÌiVÌʈ˜ÊHorror Film 1Ê>ʓi>˜V…œˆV]Êii}ˆ>VʵÕ>ˆÌÞ]ÊÃÕ}gesting an acceptance of mortality and the fragility of the human frame. It could be ̅>ÌÊiÊÀˆVi]ʏˆŽiÊiۈ˜Êˆ˜ÊAnna Karenin]ʈÃʼÃÌÀˆVŽi˜Ê܈̅ʅœÀÀœÀ]ʘœÌÊÜʓÕV…Ê>ÌÊ`i>Ì…Ê >ÃÊ>Ìʏˆvi½Ê>˜`ʈ˜ÊëˆÌiʜvÊ̅iÊ>VVՓՏ>Ìi`Ê܈Ã`œ“ÊœvÊÃVˆi˜ViʈÃʏivÌ]ʼ܈̅œÕÌÊ̅iʏi>ÃÌÊ Vœ˜Vi«Ìˆœ˜ÊœvÊQˆvi½ÃRʜÀˆ}ˆ˜]ʈÌÃÊ«ÕÀ«œÃi]ʈÌÃÊÀi>ܘ]ʈÌÃʘ>ÌÕÀi½°55Ê7…iÀiÊiۈ˜]ʏˆŽiÊ -œVÀ>ÌiÃ]Êw˜`Ãʓi>˜ˆ˜}ʈ˜Ê>ʏˆviʜvʼ}œœ`˜iÃý]Ê̅iÊ>À̈ÃÌÊÃiiŽÃÊÌÀ>˜ÃVi˜`i˜ViÊ>˜`Ê Ì…iÊVœ“vœÀÌÃʜvÊi˜V…>˜Ì“i˜Ìʈ˜Ê̅>Ìʓœ“i˜Ìʜvʓ>}ˆVÊ̅>ÌÊw“ÊV>˜Ê«Àœ`ÕVi°ÊÌʈÃʼ"Ê ÌœÊ`ˆi½]ʓÕÃi`Ê7…ˆÌ“>˜]ʈvʼޜÕʎ˜œÜÊ܅>ÌʈÌʈÃÊ>Ê>LœÕÌÊvœÀÊ̅>Ìʓœ“i˜ÌÊ܅i˜ÊޜÕÊ are awe struck’.56 ˜Ê£™ÇÇÊ>ÌÊ̅iÊ>ÞÜ>À`Ê>iÀÞ]Ê …ÀˆÃÊ7iÃLÞÊiÝ«iÀˆi˜Vi`Ê>Ê`iˆ}…ÌvՏÊ>Õ`ˆi˜ViÊ response when he installed Shoreline 1]Ê>ÊܜÀŽÊÀiviÀi˜Vi`ʈ˜ÊV…>«ÌiÀÊwÛi°Ê
ÊÀœÜʜvÊ ÃˆÝʣȓ“Ê«ÀœiV̜ÀÃÊŜÜi`Ê>ʏœœ«i`ÊÃiµÕi˜ViʜvÊ̅iÊÃi>ŜÀiʜ˜Ê>ÊÃ՘˜ÞÊ`>Þ°Ê ˜ÊëˆÌiʜvÊ̅iÊψ}…ÌÊ}>«ÃÊLiÌÜii˜Ê̅iÊ«ÀœiVÌi`ʈ“>}iÃÊ>˜`Ê̅iʏ>VŽÊœvÊÃޘV…Àœ˜ˆÃ>̈œ˜Ê ˆ˜Ê Ü>ÛiÊ vœÀ“>̈œ˜ÃÊ >VÀœÃÃÊ Ì…iÊ ÃVÀii˜Ã]Ê Ì…iÊ ÃˆÝÊ ˆ“>}iÃÊ “>`iÊ Õ«Ê >Ê LÀœ>`Ê panorama of the ocean’s horizon and the liminal space between land and sea. With ̅iÊ«ÀœiV̜ÀÃÊ«œÃˆÌˆœ˜i`Ê>ÌÊ̅iÊL>VŽÊœvÊ̅iÊ}>iÀÞ]Ê̅iʜ˜ÞÊÜ>ÞÊ̜Ê>VViÃÃÊ̅iÊܜÀŽÊ Ü>ÃÊ̜ʈ˜ÌiÀÀÕ«ÌÊ̅iÊ«ÀœiV̈œ˜Ã°Ê7iÃLÞÊÌ>ŽiÃÊÕ«Ê̅iÊÃ̜ÀÞ\Ê 7…i˜ÊޜÕÊÜ>ŽÊ̅ÀœÕ}…Ê̅œÃiÊLi>“Ãʜvʏˆ}…Ì]ÊޜÕÊ}iÌÊ>ʼ˜œÜÊޜÕÊÃiiʓi]ʘœÜÊ you don’t’ alternating effect because you cast a shadow on the screen until ޜÕÊ}iÌʈ˜Ê>Ê}>«ÊLiÌÜii˜Ê̅iÊ«ÀœiV̜ÀÃÊ°°°Ê"˜iÊޜ՘}Êܜ“>˜ÊÕ«ÃiÌÊ̅iÊ՘ˆformed attendants when she did a series of cartwheels straight through the

178

INSTALLATION AND THE MOVING IMAGE

Chris Welsby, Shoreline 1 (1977), ACME Gallery, a six screen film installation/16mm film loops. Sound: ‘live’, 6 projectors. Courtesy of the artist.

Li>“ÃʜvÊ̅iÊ«ÀœiV̜ÀðÊ/…ˆÃÊ«Àœ`ÕVi`Ê>Êܜ˜`iÀvՏÊV…>ˆ˜ÊœvÊvÀœâi˜Êˆ“>}iÃÊ >VÀœÃÃÊ̅iÊÈÝÊÃVÀii˜Ã°ÊÌÊÜ>ÃÊ>Ê}Ài>ÌʏˆÌ̏iÊ«iÀvœÀ“>˜ViÊ«ˆiViÊ>˜`Ê̅iÊÀiÃՏÌÊ looked like an animated film.57 The anonymous acrobat showed her instinctual understanding of the piece by i˜>V̈˜}Ê >˜œÌ…iÀÊ >ÞiÀÊ œvÊ ˆÛi]Ê «>À>Vˆ˜i“>̈VÊ w“°Ê -…iÊ ÌÀ>˜ÃvœÀ“i`Ê …iÀÃivÊ ˆ˜ÌœÊ >Ê ÃiµÕi˜Ìˆ>]ʈ˜ÌiÀ“ˆÌÌi˜ÌÊ`œÕLiʈ“>}i]Ê>Ê}ˆÀÊ>˜`ʅiÀÊÅ>`œÜÊÌ>Žˆ˜}Êyˆ}…Ì]Ê܅ˆÃÌÊÈmultaneously defying the institution by breaking its unwritten rules of decorum.

THE BEAM INTERRUPTED − BY OBJECTS In spite of the anarchic gesture of Welsby’s spectator and the enigmatic presence œvÊiÊÀˆVi‡>Ç …ÀˆÃÌ]Ê>ÊLœ`ÞÊ«>À̇…ˆ``i˜]Ê«>À̇ÀiÛi>i`ʈ˜Ê>Ê«ÀœiV̈œ˜ÊLi>“ʈÃÊy>ÌÌi˜i`Ê>˜`ÊvÀ>VÌÕÀi`]Ê>˜`]Ê>ÃÊ7…ˆÌ“>˜ÊœLÃiÀÛi`]ʈÌÊÌ>ŽiÃʜ˜Ê>ʓœÀiÊ}i˜iÀˆVÊ>ëiVÌÊ >««Àœ>V…ˆ˜}Ê Ì…iÊ Vœ˜`ˆÌˆœ˜Ê œvÊ >˜Ê œLiVÌ°Ê œ˜ÛiÀÃiÞ]Ê Ãœ“iÊ >À̈ÃÌÃÊ …>ÛiÊ «ÀœiVÌi`Ê œ˜ÌœÊˆ˜>˜ˆ“>ÌiʜLiVÌÃÊÜÊ̅>ÌÊ̅iʓœÛˆ˜}ʈ“>}iÃʓˆ}…ÌÊ>««i>ÀÊ̜ÊLÀˆ˜}Ê̅i“Ê̜ʏˆvi°Ê ˜Ê̅iÊ1]Ê,œ˜Ê>Ãi`i˜Ê«ÀœiVÌi`Ê>Êw“ÊœvÊ>ʘ>Ži`Êܜ“>˜Ê>˜`ʅiÀÊ`œ}ʜ˜ÌœÊÃ̈ÃʜvÊ Ì…iÊÃ>“iÊw“ÊÜÊ̅>ÌÊ̅iÊw}ÕÀiÃÊ>««i>Ài`Ê̜ʏˆvÌʜÕÌʜvÊ>Êy>ÌÊ«>˜i°Ê˜Ê̅iÊ£™ÇäÃ]Ê/ˆ“Ê i>`Ê̜œŽÊψ`iÃʜvʜLiVÌÃÊ>˜`Ê«ÀœiVÌi`Ê̅i“ÊL>VŽÊœ˜ÌœÊ̅œÃiÊÃ>“iʜLiVÌðÊ/…iÊ ˆ“>}iÊ>««i>Ài`Ê̜ʅœÛiÀʜÛiÀʈÌÃÊ`œÕLiʏˆŽiÊ>˜ÊiÝÌÀÕȜ˜ÊœÀÊ>˜Ê>ÕÀ>°Ê˜Ê£™näÊ>ÌÊ̅iÊ 7…ˆÌiV…>«iÊ>iÀÞ]Êi>`ÊVœ>LœÀ>Ìi`Ê܈̅ʈÀ>˜`>Ê/Õv˜iÊ>˜`Ê>ÊÌÀœÕ«iʜvÊ`>˜ViÀÃÊ̜ÊVÀi>ÌiÊ>Ê`ޘ>“ˆVÊ«ÀœiV̈œ˜Ê«iÀvœÀ“>˜Viʭ՘̈̏i`®ÊÕȘ}Êȓ«iÊLœ>À`ðÊi>`Ê describes the work as follows: /…ˆÃÊ«ˆiViÊVœ˜ÃˆÃÌi`ʜvÊ>ʏ>À}iÊw“Ê«ÀœiV̈œ˜ÊœvÊ>ÊÜ>ÌiÀv>Ê­w“i`ÊLÞÊ,ˆV…>À`Ê 7iÃLÞ®°Ê/…iÊ`>˜ViÀÃÊÃ̜œ`ʈ˜ÊvÀœ˜ÌʜvÊ̅iÊ«ÀœiV̈œ˜Ê…œ`ˆ˜}ʏ>À}iÊy>ÌÊ܅ˆÌiÊ ÃVÀii˜ÃʜÛiÀÊ܅ˆV…Ê̅iÊÜ>ÌiÀv>ÊV>ÃV>`i`°Ê7…i˜Ê̅iÊw“ÊÃÌ>ÀÌi`]Ê̅iÊ`>˜ViÀÃÉÃVÀii˜ÃÊÜiÀiʈ˜ÛˆÃˆLiÊLÕÌÊ̅ÀœÕ}…œÕÌÊ̅iÊ«ˆiVi]Ê̅iÞʓœÛi`Ê̅iÊÃVÀii˜ÃÊ ˆ˜Ê `ˆvviÀi˜ÌÊ `ˆÀiV̈œ˜Ã]Ê ÀiÛi>ˆ˜}Ê Ì…i“ÃiÛiÃÊ >˜`Ê ˆ˜VÀi>Ș}ÞÊ LÀi>Žˆ˜}Ê Õ«Ê the image.58

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i«i˜`ˆ˜}ʜ˜ÊˆÌÃÊ«ÀœÝˆ“ˆÌÞÊ̜Ê̅iÊ«ÀœiV̜À]Êi>V…ʈ˜VÕÀȜ˜ÊLÞÊ>ÊÀœÛˆ˜}ÊLœ>À`ÊÛ>Àied the scale and resolution of the filmic image. When thus confined to a smaller vÀ>“i]Ê̅iÊvÀ>}“i˜ÌÃʜvÊ̅iÊ«ÀœiV̈œ˜Ê̜œŽÊœ˜Ê“œ“i˜ÌÃʜvÊ܏ˆ`ˆÌÞʜ˜ÞÊ̜ÊLiÊV>ÃÌÊ L>VŽÊˆ˜ÌœÊ̅iÊyœÜʜvÊ̅iʏ>À}iÀʈ“>}iÊ>ÃÊ̅iÊ`>˜ViÀÃÊ>˜`Ê̅iˆÀÊÃVÀii˜ÉLœ>À`ÃÊ`ˆÃ>«peared. The work articulated a notion of cognition that David Peat has derived from LœÌ…Ê >ۈ`Ê œ…“Ê>˜`Ê >ÀÊ՘}]ʜ˜iʈ˜Ê܅ˆV…Ê̅iÊÃi˜ÃiÃÊ«ˆiViÊ̜}i̅iÀÊ>˜Êˆ“«ÀiÃȜ˜ÊœvÊ̅iÊܜÀ`ÊvÀœ“Êii“i˜ÌÃÊiÝÌÀ>VÌi`ÊvÀœ“Ê̅iÊ՘`ˆvviÀi˜Ìˆ>Ìi`ÊyÕݰʘʜÀ`iÀÊ ÌœÊVœ““Õ˜ˆV>ÌiʈÌÃÊ«iÀVi«Ìˆœ˜Ã]Ê̅iʅՓ>˜ÊÃÕLiVÌʅ>ÃÊÀiVœÕÀÃiÊ̜ʏ>˜}Õ>}iÊ>˜`Ê Ài«ÀiÃi˜Ì>̈œ˜]Ê܅ˆV…ÊvÕÀ̅iÀÊVœ“«ÀiÃÃÊ>˜`ÊÃV…i“>̈ÃiÊÀi>ˆÌÞ° 59Ê iÛiÀ̅iiÃÃ]ʈ˜Ê 7…ˆÌ“>˜½Ãʓœ“i˜ÌÃʜvÊ>Üi]Ê̅iÊÃÕLiVÌʓœ“i˜Ì>ÀˆÞÊÀiVœ˜˜iVÌÃÊ܈̅Ê̅iÊyÕÝʜvÊ̅iÊ ÜœÀ`]Ê܈̅Ê܅>ÌÊ œ…“ÊV>ÃʈÌÃʼ…œœ“œÛi“i˜Ì½°Ê/…iÊiw˜Êw}ÕÀiÃʈ˜Êi>`½ÃÊ«ÀœiVtion performance with their fugitive moments of pictorial condensation went some way to evoking the deeper connectivity of the discernible parts to the immeasurable whole. ˆ“Ê «ÀœiV̈œ˜Ê œ˜ÌœÊ œLiVÌÃÊ …>ÃÊ Ì>Ži˜Ê “>˜ÞÊ vœÀ“Ã]Ê >`œ«Ìˆ˜}Ê ˆ“>}i‡ÃÕ««œÀÌÃÊ Ì…>ÌÊ>ÀiÊܓï“iÃÊ>ÃÊi«…i“iÀ>Ê>ÃÊ̅iÊ«ÀœiVÌi`ʈ“>}iʈÌÃiv°Ê˜ÊV…>«ÌiÀÊ̅Àii]ÊÜiÊ Ã>ÜʅœÜÊ>“iÃÊ Žˆ˜ÃÊi˜`œÜi`ʜLiVÌÃÊ܈̅Ê>}i˜VÞÊV>«>LiʜvÊV…>˜}ˆ˜}ÊÕÃÊ̅ÀœÕ}…Ê ̅iʼ̅Ài>`ÃʜvÊ`iÈÀi½Ê̅>ÌÊLˆ˜`ÊÕÃÊ̜Ê̅i“° 60Ê/…iÀiÊ>ÀiÊܜÀŽÃÊ̅>ÌÊiÝ«œÃiʜÕÀÊ`iÈÀiÊvœÀÊ̅iʜLiVÌÊLÞÊ̅Ü>À̈˜}ʈÌ]ÊLÞÊÀiÛi>ˆ˜}Ê̅iÊVœÛiÌi`Ê>ÀÌiv>VÌÊ̜ÊLiÊ>ÊV…ˆ“iÀ>°Ê When Carolee Schneemann performed in front of a screen in Ghost RevÊ­£™Èx®]ÊÅiÊ LiÜÊÜ>«ÊLÕLLiÃÊ̅>Ì]ÊvœÀÊ>ʓœ“i˜Ì]ÊLiV>“iÊyœ>̈˜}]Êë…iÀˆV>ÊÃVÀii˜Ã°Ê œÊܜ˜iÀʅ>`Ê̅iÃiÊi˜ÌÀ>˜Vˆ˜}Ê}œLiÃÊVœ“iʈ˜ÌœÊLiˆ˜}Ê̅>˜Ê̅iÞÊ«œ««i`]ÊV>Ã̈˜}Ê̅iʈ“>}iÊ ˆ˜ÌœÊœLˆÛˆœ˜°Ê˜ÊiÀ“>˜Þ]Ê6
 Ê 8*",/ÊÜ>ÃÊiµÕ>ÞÊv>ÃVˆ˜>Ìi`ÊLÞÊ̅iÊi«…i“iÀ>ˆÌÞÊ œvÊw“]Ê>˜`Ê>ÃÊÊ`ˆÃVÕÃÃi`ʈ˜ÊÀi>̈œ˜Ã…ˆ«Ê̜Ê>ÀV…ˆÌiVÌÕÀi]ʈÌÃÊ>LˆˆÌÞÊ̜Ê`ˆÃ܏ÛiÊ܏ˆ`Ê “>ÌÌiÀ°Ê Ý«œÀÌÊi“«œÞi`Ê̅iʓ>ÌiÀˆ>Ê>˜`ÊÀiyiV̈ÛiÊ«Àœ«iÀ̈iÃʜvÊ>ʓˆÀÀœÀÊ̜ÊȓÕlate the effect of film without the use of traditional film materials and processes. In abstract film no. 1Ê­£™ÈÇqÈn®]Ê>Ê«ÀœiV̜À½Ãʏˆ}…ÌÊLi>“ÊÜ>ÃÊ`ˆÀiVÌi`Ê>ÌÊ>ʓˆÀÀœÀÊ`œÜ˜Ê ܅ˆV…ÊL>˜`ÃʜvÊÀi`Ê«>ˆ˜ÌÊÜiÀiÊϜ܏ÞÊÌÀˆVŽˆ˜}°Ê/…iʈ“>}iÊÜ>ÃÊÀivÀ>VÌi`]Ê>ÌÊ>˜Ê>˜}i]Ê œ˜ÌœÊ>ÊÜ>]Ê܅ˆV…Ê}>ÛiÊ̅iʈÕȜ˜ÊœvʓœÛˆ˜}Ê«ˆVÌÕÀiÃÊ`iÀˆÛˆ˜}ÊvÀœ“Ê>Ê«ÀœiV̜ÀÊÜˆÌ…Ê ˜œÊw“]Ê܅ˆV…ÊÜ>ÃÊVœ˜vÕȘ}ÞÊ«œˆ˜Ìˆ˜}Ê>Ü>ÞÊvÀœ“Ê̅iÊÃVÀii˜°Ê/…iʜLiVÌʈ˜ÌiÀÀի̈˜}Ê Ì…iÊ ˆ}…ÌÊ VÀi>Ìi`]Ê ˜œÌÊ >Ê Ã…>`œÜ]Ê LÕÌÊ Ì…iÊ “œÛˆ˜}Ê ˆ“>}iÃÊ Ì…i“ÃiÛiÃ°Ê ˜Ê Ì>Þ]Ê >Àˆ˜i>Ê*ˆÀiˆÊVœ˜ÃÌÀÕVÌi`Ê>Ê}Àˆ`ʜvÊÃi“ˆ‡ÌÀ>˜Ã«>Ài˜Ì]ÊÃi“ˆ‡ÀiyiV̈ÛiÊÃVÀii˜ÃÊvœÀÊ her installation Film AmbienteÊ­£™È™®Êˆ˜ÌœÊ܅ˆV…ÊÅiÊ«ÀœiVÌi`Ê>LÃÌÀ>VÌÊw“ð61 The Vœ“«iÝÊ>ÀÀ>˜}i“i˜ÌʜvÊÃVÀii˜Ãʈ˜ÌiÀÀի̈˜}Ê>˜`ÊÀivÀ>V̈˜}Ê̅iʏˆ}…ÌÊÀiÃՏÌi`ʈ˜Ê̅iÊ ˆ“>}iÊ`iÌ>V…ˆ˜}ÊvÀœ“Ê̅iÊÃVÀii˜ÃÊ>˜`ʅœÛiÀˆ˜}ʈ˜Ê̅iÊë>ViÃÊLiÌÜii˜]ÊvœÀ“ˆ˜}Ê>Ê ÛœÕ“iÌÀˆV]Ê}œÜˆ˜}ʓ>Ãð62 If Pirelli used film to thicken light into a solid filmic presi˜Vi]Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ-V…˜ii“>˜˜]Ê >˜ÊÀ>…>“ÊœÀÊÕÞÊ-…iÀ܈˜Ê“>˜ˆ«Õ>Ìi`ʓˆÀÀœÀÃÊ ÌœÊÃV>ÌÌiÀÊ̅iʈ“>}iÊ>ÀœÕ˜`Ê>Êë>Vi]Ê>Ê«ÀœViÃÃÊ̅>ÌÊÜ>ÃʓœÃÌÊ>vviV̈˜}ÞÊiÝ«œˆÌi`Ê by David Dye in his film performance Western Reversal (1973–2009). Crouching >ÌÊ̅iÊvÀœ˜ÌʜvÊ̅iÊ}>̅iÀˆ˜}]ʅˆÃÊL>VŽÊÌÕÀ˜i`Ê̜Ê̅iÊ>Õ`ˆi˜Vi]Ê̅iÊ>À̈ÃÌʏˆvÌi`ʈ˜ÌœÊ

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INSTALLATION AND THE MOVING IMAGE

«œÃˆÌˆœ˜Ê>ÊLœ>À`ʜ˜Ê܅ˆV…ÊÜiÀiÊwÝi`ÊÈÝÌii˜ÊV>ÀÊ܈˜}ʓˆÀÀœÀÃ]Ê>ÀÀ>˜}i`ʈ˜Ê>Ê}Àˆ`°Ê ˜ÌœÊ̅iʓˆÀÀœÀÃ]ʅiÊ«ÀœiVÌi`Ê>Ê-Õ«iÀÊnÊw“ÊœvÊ>ʏœœ«i`ÊÃiµÕi˜ViÊvÀœ“Ê>ÊVœÜLœÞÊw“Ê featuring a posse in hot pursuit of an archetypal baddie. Dye gradually angled the “ˆÀÀœÀÃÊÜÊ̅>ÌÊ̅iÊw“ÊvÀ>VÌÕÀi`ʈ˜ÌœÊ«iÀviVÌÊ«>À̇ۈiÜÃʜvÊ̅iÊÃiµÕi˜Vi]ÊVÀi>̈˜}Ê>Ê firmament of rushing cowboys travelling up walls and across the ceiling. As the film ëÀi>`ʜÕÌ]ʈÌÊ`i“>˜`i`Ê>˜Êˆ˜VÀi>Ãi`ÊivvœÀÌÊ̜ʓi˜Ì>ÞÊÀi>ÃÃi“LiÊ̅iÊvÀ>}“i˜ÌÃÊ ˆ˜ÌœÊ>ÊVœ…iÀi˜Ìʈ“>}i°Ê/…iÊܜÀŽÊVÀi>Ìi`Ê>ÊϜÜʓœÌˆœ˜]ÊiÝ«œ`i`ÊVˆ˜i“>Ê>˜ÌˆVˆ«>Ìing Cornelia Parker’s Cold Dark Matter: An Exploded ViewÊ­£™™£®]ʈ˜Ê܅ˆV…Ê>Ê}>À`i˜Ê shed was famously blown up and the shards reassembled to simulate the moment of iÝiVṎœ˜°Ê ÞiÊ>ÃœÊÀiÃ̜Ài`ʅˆÃÊw“]ÊÌÕÀ˜ˆ˜}Ê̅iʓˆÀÀœÀÃÊÜÊ̅>ÌÊi>V…Êii“i˜ÌÊÜ>ÃÊ ÃœÜÞÊ LÀœÕ}…ÌÊ L>VŽÊ ˆ˜ÌœÊ >ˆ}˜“i˜Ì]Ê œ˜ViÊ >}>ˆ˜Ê vœÀ“ˆ˜}Ê >Ê i}ˆLiÊ Ài«ÀiÃi˜Ì>̈œ˜°Ê The deconstruction and reconstruction of the cowboy sequence conformed to the >Û>˜Ì‡}>À`iÊÀiµÕˆÀi“i˜ÌÊvœÀÊÀiyi݈ۈÌÞÊ>˜`ÊiÝ«œÀi`Ê̅iʼVœ“«iÝÊÀi>̈œ˜Ã…ˆ«ÃʜvÊ ÌiV…˜œœ}Þ½]ʜ`Ê>˜`ʘiÜ°63ÊÌÊ>ÃœÊ>“«ÞÊ`i“œ˜ÃÌÀ>Ìi`Ê̅iÊ«>ÞvՏ˜iÃÃ]Ê̅iÊ}iivÕÊ Ìˆ˜ŽiÀˆ˜}Ê܈̅ÊۈȜ˜Ê“>V…ˆ˜iÃʜvʓÕV…ÊiÝ«>˜`i`ÊVˆ˜i“>ÊvÀœ“Ê̅iÊ£™ÇäðÊ/…iÊÃ>“iÊ `iˆ}…Ìʈ˜Ê…œ“i“>`iÊ}>`}iÌÀÞ]Ê«ÀœÛˆ`ˆ˜}Ê܅>ÌÊ
°Ê°Ê,iiÃÊ`iw˜i`Ê>Ãʼ>Ê̅iÊܜÀ`ʈ˜Ê>Ê Ãˆ˜Ž½]64 is still much evidence today. Torsten Lauschmann’s media performance The Amen BreakÊ­Óä£{®Êȓˆ>ÀÞÊ`i«œÞÃʓˆÀÀœÀÊÀiyiV̈œ˜Ã]Ê̅ˆÃÊ̈“iÊLœÕ˜Vˆ˜}Ê̅iÊw“Ê off a rotating mirror ball and radiating a constellation of moving points of light around ̅iÊ}>iÀÞ°Ê
ÊÀi>ÃÃÕÀˆ˜}Ê«>̈˜>ʜvÊ`>˜Viʅ>Ê˜œÃÌ>}ˆ>ÊÜ>Ãʈ˜ÌiÀܜÛi˜Ê܈̅ÊVœ“«iÝÊ `ˆ}ˆÌ>ÊÜ՘`ÃÊ>˜`ʈ“>}iÃ]Ê̅i“ÃiÛiÃÊ}Õ>À`i`ÊLÞÊÌܜʅiV̈VÊ`ˆ}ˆÌ>ÊVœVŽÃÊVœÕ˜Ìˆ˜}Ê œÕÌÊ>ÊψViʜvÊ̅iÊ>Õ`ˆi˜Vi½ÃÊ>œV>Ìi`Ê̈“iʜ˜Êi>À̅]ÊVÀi>̈˜}Ê>ÊÀœiÀVœ>ÃÌiÀÊÃi˜ÃiʜvÊ Ž>ˆÀœœ}ˆV>Ê̈“iÊ­>ÃÊiÝ«iÀˆi˜Vi`®]ÊÀ՘˜ˆ˜}ʜÕÌÊ>ÌÊ>˜Ê>>À“ˆ˜}ÊÀ>Ìi°Ê If Lauschmann’s work was designed to stimulate both enchantment (the lights) >˜`Ê >˜ÝˆiÌÞÊ ­Ì…iÊ VœVŽÃ®]Ê System for Dramatic Feedback (1994) by Tony Oursler ÜÕ}…ÌÊ̜ÊÃ̈ÀÊi“«>̅ˆVʅՓ>˜ÊÀi뜘ÃiÃʈ˜ÊˆÌÃÊ>Õ`ˆi˜ViðÊ"ÕÀÏiÀÊ«ÀœiVÌi`ʜ˜ÌœÊ the blank faces of small rag dolls footage of human heads in the throes of emotional ÌÕÀ“œˆÊqʜ˜iÊÃÌÕvvi`ÊVÀi>ÌÕÀi]ÊÏՓ«i`Ê«>̅ïV>Þʈ˜Ê>ÊVœÀ˜iÀ]ÊVÀˆi`ʜÕÌʼ"…ʘœtÊ"…Ê ˜œt½Ê/…iÊ>˜}ՈÅi`Êv>ViÃÊ>˜ˆ“>̈˜}Ê̅iÊVœÌ…Ê…i>`ÃÊVœ˜ÌÀ>ÃÌi`Ê܈̅Ê̅iÊ«>À>ÞÈÃʜvÊ Ì…iˆÀʏˆ“LÃÊ>˜`ÊÃÕ}}iÃÌi`Ê`ivœÀ“i`ʜÀÊÃÌ՘Ìi`Ê>`ՏÌÃÊ>ÌÊ̅iÊÃ>“iÊ̈“iÊVœ˜ÕÀˆ˜}Ê̅iÊ *՘V…Ê>˜`ÊÕ`ÞÊŜÜÃʜvÊV…ˆ`…œœ`°Ê˜Ê…ˆÃÊiÃÃ>ÞÊThe UncannyÊ­£™£™®]ÊÀiÕ`ʵ՜ÌiÃÊ

À˜ÃÌÊ i˜ÌÃV…Ê ܅œÊ `ˆÃVœÛiÀÃÊ Ì…iÊ Õ˜V>˜˜ÞÊ ˆ˜Ê ̅iÊ ¼ˆ“«ÀiÃȜ˜Ê “>`iÊ LÞÊ Ü>ÝܜÀŽÊ w}ÕÀiÃ]ʈ˜}i˜ˆœÕÏÞÊVœ˜ÃÌÀÕVÌi`Ê`œÃÊ>˜`Ê>Õ̜“>Ì>½Ê>˜`Ê̅iÃiÊ«Àœ`ÕViʼ`œÕLÌÃÊ°°°Ê ܅i̅iÀÊ>ʏˆviiÃÃʜLiVÌʓˆ}…ÌʘœÌÊLiʈ˜Êv>VÌÊ>˜ˆ“>Ìi½° 65 The heightened realism of ̅iÊ “œÛˆ˜}Ê ˆ“>}iÊ ViÀÌ>ˆ˜ÞÊ Vœ˜ÌÀˆLÕÌi`Ê ÌœÊ Ì…iÊ ˆÛiɏˆviiÃÃÊ >“Lˆ}ՈÌÞÊ œvÊ "ÕÀÏiÀ½ÃÊ dolls and their small scale relative to the bodies of the viewers inspired a physical Ài뜘Ãi]Ê>Ê«iÀ…>«ÃÊ«>Ài˜Ì>ÊÕÀ}iÊ̜ÊÀiÃVÕiÊ̅iÊ`ˆÃÌÀiÃÃi`Êivw}ˆiÃÊ>˜`Ê`ÀÞÊ̅iˆÀÊ Ìi>ÀðÊ
ÃÊÜiÊÃ>Üʈ˜ÊV…>«ÌiÀÊiˆ}…Ì]Ê̅iÊi“«>̅ïVÊÀi뜘ÃiÊi˜>LiÃÊ̅iÊëiVÌ>̜ÀÊÌœÊ ¼viiÊ…ˆ“Ãivʈ˜ÌœÊ>ʎˆ˜`Ài`ʜLiV̽66ÊvÀœ“Ê܅ˆV…ÊÃɅiʓ>ÞÊ`iÀˆÛiÊ>ʘiÜÊ«iÀëiV̈Ûi]Ê ˜iÜʎ˜œÜi`}iʜvÊ̅iÊܜÀ`°Ê˜Ê̅ˆÃÊV>Ãi]Ê>Ê`œÕLiÊi“«>̅ÞʈÃÊ>ÌÊ«>Þ]ÊwÀÃÌÊvœÀÊ̅iÊ

EXPANDED CINEMA

181

Tony Oursler, System for Dramatic Feedback (1994). Courtesy of the artist.

̜À“i˜Ìi`ʅՓ>˜ÊÃÕLiVÌÊi“Lœ`ˆi`ÊLÞÊ̅iʈ“>}iÊ>˜`ÊÃiVœ˜`ÞÊvœÀÊ̅iʜLiVÌʜ˜ÌœÊ ܅ˆV…ʈÌʈÃÊ«ÀœiVÌi`]Ê>˜`]Ê>VVœÀ`ˆ˜}ÊÌœÊ …ÀˆÃ̈˜iÊ"`i˜]Ê̅ˆÃʈÃÊ>V…ˆiÛi`ʜ˜ÞÊ܅i˜Ê ¼Ì…iÊÃÕLiVÌÊÌi“«œÀ>ÀˆÞÊ}ˆÛiÃÊիʅˆÃʜܘÊi}œÊvœÀÊ̅>ÌʜvÊ̅iʜLiV̽°67 By means of ÃÕV…Ê>ÊÀi˜Õ˜Vˆ>̈œ˜]Ê̅iÊëiVÌ>̜Àʓ>ÞÊÀiÛiÀLiÀ>ÌiÊ܈̅Ê̅iÊviiˆ˜}Ãʜvʜ̅iÀðÊ/…iÊ œLۈœÕÃ]ÊLÕÀiõÕiÊv>ŽiÀÞʜvÊ̅iʼ…Õ“>˜½ÊëiVÌ>Vi\Ê̅iʜÛiÀ>V̈˜}]Ê̅iÊۈ`iœÊ«ÀœiV̜À]ÊLi>“Êœvʏˆ}…ÌÊ>˜`ÊVÀÕ`iÞ‡“>`iÊ̜ÞÃÊÀi˜`iÀi`Ê̅iʈ“«ÕÃiÊ̜ÊÀiÃVÕiÊ"ÕÀÏiÀ½ÃÊ ˆ˜>˜ˆ“>ÌiÊVÀi>ÌÕÀiÃÊ>LÃÕÀ`]ÊLÕÌʘœÊiÃÃÊ«œÜiÀvՏÊvœÀÊ̅>ÌÊÀi>ˆÃ>̈œ˜°Ê ÞÊÀiۈÈ̈˜}Ê Ì…iÊÃiv‡Àiyi݈ۈÌÞʜvÊ̅Àii‡`ˆ“i˜Ãˆœ˜>Êi̽Ç«ÀiÌi˜`]Ê>˜`ÊÃiÌ̈˜}ÊÕ«Ê>Ê«…ÞÈV>ÊÀi>̈œ˜Ã…ˆ«ÊLiÌÜii˜Ê̅iÊëiVÌ>̜ÀÊ>˜`Ê̅iÊ`œÃ]Êi“œÌˆœ˜>Êi˜}>}i“i˜ÌÊ̜œŽÊ«>ViÊ Ü…iÀi]ÊvœÀʓi]ÊܜÀŽÃÊLÞÊ ˆÊ6ˆœ>Ê>˜`Ê->“Ê/>ޏœÀ‡7œœ`Ê̅>ÌÊȓˆ>ÀÞÊi“«œÞÊ>V̜ÀÃÊ ¼i“œÌˆ˜}½Êˆ˜Êy>̇ÃVÀii˜Ê«ÀœiVÌi`ÊܜÀŽÃÊÀi“>ˆ˜ÊVÕÀˆœÕÏÞÊÀi“œÌi°ÊÌʓ>ÞÊÜiÊLiÊ̅>ÌÊ through System for Dramatic FeedbackÊ"ÕÀÏiÀʈÃÊiÝ«ÀiÃȘ}ʅˆÃʜܘʈ`i˜ÌˆwV>̈œ˜Ê ܈̅ʫiœ«i]ʓ>V…ˆ˜iÃ]Ê>ÀÌiv>VÌÃÊ>˜`ʜLiVÌÃʜ˜ÌœÊ܅ˆV…Ê…iÊ«ÀœiVÌÃʅˆÃÊvi>ÀÃÊ>˜`Ê `iÈÀiÃ]Ê>˜`ʅˆÃÊÞi>À˜ˆ˜}ÃÊvœÀÊ>“œÃÌÊ>˜ˆ“ˆÃ̈VÊÌÀ>˜ÃVi˜`i˜Vi°Ê
ÃÊ̅iÊ>À̈ÃÌÊ>vwÀ“Ã]Ê ¼“ˆ“ïVÊÌiV…˜œœ}޽ʈÃʼ>Ê`ˆÀiVÌÊiÝÌi˜Ãˆœ˜ÊœvÊ«ÃÞV…œœ}ˆV>ÊÃÌ>Ìiý°68

THE BEAM MULTIPLIED AND MANIPULATED /…iʓՏ̈«ˆV>̈œ˜ÊœvÊ̅iÊ«ÀœiV̈œ˜ÊLi>“ʈ˜VÀi>Ãi`Ê̅iÊ«œÌi˜Ìˆ>ÊvœÀÊLœÌ…Ê̅iÊVÀi>‡ ̈ÛiÊ i˜ÌiÀ«ÀˆÃiÊ œvÊ >À̈ÃÌÃÊ >˜`Ê Ì…iÊ >Õ`ˆi˜Vi½ÃÊ ˆ˜ÌiÀ>V̈œ˜ÃÊ ÜˆÌ…Ê «ÀœiVÌi`Ê ˆ}…Ì°Ê ˜Ê £™È{]Ê …>ÀiÃÊ >˜`Ê ,>ÞÊ >“iÃÊ ˆ˜ÃÌ>i`Ê Ì…iÊ  Ê ¼˜vœÀ“>̈œ˜Ê >V…ˆ˜i½Ê >ÌÊ Ì…iÊ iÜÊ

182

INSTALLATION AND THE MOVING IMAGE

9œÀŽÊ7œÀ`½ÃÊ>ˆÀ]Ê>Ê`œ“iÊwÌÌi`Ê܈̅ÊÓӇÃVÀii˜ÃÊ>VÀœÃÃÊ܅ˆV…Ê«>À>`i`Ê̅iÊܜ˜`iÀÃÊ œvʓœ`iÀ˜Ê
“iÀˆV>˜Êˆvi°Ê
ÊÞi>Àʏ>ÌiÀ]Ê-Ì>˜Ê6>˜ iÀ iiŽ½ÃʼVՏÌÕÀ>Êˆ˜ÌiÀVœ“½]ʜvviÀi`Ê>Ê ˜iÜʓi`ˆ>Êi˜ÛˆÀœ˜“i˜ÌÊ̅>Ìʈ˜VÕ`i`ʈ“>}iÊÌÀ>˜Ã“ˆÃȜ˜]ÊÀ>`ˆœ]ÊiiVÌÀœ˜ˆVÊÜ՘`]Ê cinema and theatre. Movie-Drome (1965) was a technical Gesamtkunstwerk in which ¼Ãˆ“ՏÌ>˜iœÕÃʈ“>}iÃʜvÊ>ÊÜÀÌÃÊܜՏ`ÊLiÊ«ÀœiVÌi`ʜ˜ÌœÊ>˜Êi˜ÌˆÀiÊ`œ“i‡ÃVÀii˜½° 69 ˜Ê̅iÊ1]ʈÃÊ,…œ`iýÊLight MusicÊ­£™Çx®ÊÜ>ÃÊ>ʓœ`iÃÌÊÌܜ‡“>V…ˆ˜iÊ>vv>ˆÀ]Ê̅iʏˆ}…ÌÊ beams staring each other down while a vertiginous cascade of geometric shapes ë>ÀÀi`ʈ˜Ê̅iʘœ‡“>˜½Ã‡>˜`ʈ˜ÊLiÌÜii˜°Ê >Õ}…Ìʈ˜Ê̅iÊVÀœÃÇwÀi]ÊÊÜ>ÃÊÀi“ˆ˜`i`Ê œvÊ>“iÃÊ Žˆ˜Ã½Êi«ˆÌ…iÌÊ̅>Ìʏˆ}…ÌʈÃʼ>˜Ê>Vˆ`ÆʈÌÊLÕÀ˜Ãʈ˜ÌœÊ“i]ʈÌÊÀi“>ŽiÃʓiʈ˜ÊˆÌÃÊ own image’.70 The network of lines scurried across the bodies of the spectators and I felt we had been transformed into mere topographical accidents in the terrain of ,…œ`iýÊÛiÀ̈}ˆ˜œÕÃʜ«ÌˆV>Êwi`ðÊ
Ì…œÕ}…Ê“>˜ÞʓՏ̈‡«ÀœiV̈œ˜ÊܜÀŽÃÊÜiÀiÊvÀœ˜Ì>]ʜ̅iÀÃÊ`i«œÞi`ÊÃVÀii˜ÃʈÀÀi}Տ>ÀÞʈ˜Ê̅iÊ}>iÀÞÊ>˜`Ê̅iÊȓՏÌ>˜iˆÌÞʜvÊ̅iÊ «ÀœiVÌi`ʈ“>}iÃÊLœÌ…Êë>̈>ˆÃi`Ê̅iÊܜÀŽÊ>˜`ÊVœ“«Àœ“ˆÃi`Ê̅iʏˆ˜i>ÀˆÌÞʜvÊVˆ˜ematic time – it was not possible to follow all the screens at once. The multiplication œvÊ̅iʈ“>}iÊÜ>ÃÊ>ÃœÊœVVÕÀÀˆ˜}ʈ˜Êۈ`iœÊ>ÃÊÜiÊ܈ÊÃiiʈ˜ÊV…>«ÌiÀÊiiÛi˜]ÊLÕÌʈ˜ÊÌiÀ“ÃÊ œvÊw“ʈ˜ÃÌ>>̈œ˜]Ê̅iÊ`i«œÞ“i˜ÌʜvÊÃiÛiÀ>ÊȓՏÌ>˜iœÕÃÊ«ÀœiV̈œ˜ÃÊi“«…>ÈÃi`Ê Ì…iÊ vÀ>}“i˜Ìi`Ê ˜>ÌÕÀiÊ œvÊ «iÀVi«Ìˆœ˜]Ê Ì…iÊ «>À̈>Ê ۈiÜÊ Ì…>ÌÊ ˆÃÊ >˜ÞÊ Ài«ÀiÃi˜Ì>̈œ˜°Ê >VŽˆ˜}ÊiÞiÃʈ˜Ê̅iÊL>VŽÃʜvÊ̅iˆÀʅi>`Ã]ÊëiVÌ>̜ÀÃÊÜiÀiʜLˆ}i`Ê̜Ê>VVi«ÌÊ̅>ÌÊ̅iÞÊ could never apprehend the total artwork but only self-edit a truncated version within which all other permutations were contained as unrealised potentialities. Տ̈«i‡«ÀœiV̈œ˜ÊiÝ«>˜`i`ÊܜÀŽÃÊLÞÊ>À̈ÃÌÃÊÃÕV…Ê>ÃÊ-ÌiÛiÊ>ÀÀiÀ]ʈÃÊ,…œ`iÃ]Ê ˆVŽÞÊ>“Þ˜Ê>˜`]ʏ>ÌiÀ]Ê/>VˆÌ>Ê i>˜ÊÀiˆÌiÀ>Ìi`Ê̅iÊ«ÀœiV̜ÀÊ>ÃÊ>˜Êˆ˜`ÕÃÌÀˆ>Ê“>V…ˆ˜iÊ «>ވ˜}ʈÌÃÊ«>ÀÌʈ˜Ê̅iÊVœ“«iÝÊÃÞÃÌi“ÊœvÊ«Àœ`ÕV̈œ˜]Ê`ˆÃÌÀˆLṎœ˜Ê>˜`Êi݅ˆLˆÌˆœ˜ÊœvÊ w“]Ê Ü…ˆÃÌÊ Ài«ÕÀ«œÃˆ˜}Ê Ì…iÊ `iۈViÊ >ÃÊ >Ê ¼ÃVՏ«ÌÕÀ>Ê «ÀiÃi˜Vi½]71 whose functions LiV>“iÊ̅iʓ>ÌiÀˆ>ÊœvÊ>˜Ê>iÃ̅ïVÊ`ˆÃ«>ްʘÊ̅iˆÀʓœÃÌÊ`ޘ>“ˆV]ʓ>ÃÃi`Ê«ÀiÃi˜Ì>̈œ˜Ã]Ê«ÀœiV̜ÀÃÊ>ÃœÊ̜œŽÊœ˜Ê̅iÊ>ÕÀ>ʜvʓˆˆÌ>ÀÞʅ>À`Ü>Ài]Ê>˜ÊiµÕˆÛ>i˜ViÊwÀÃÌÊ ˆ˜Ìˆ“>Ìi`ÊLÞÊ*>ՏÊ6ˆÀˆˆœÊ܅i˜Ê…iʏˆ˜Ži`Ê«ÀœiV̜ÀÃÊ܈̅Ê̅iʓiV…>˜ˆÃ“ÊœvÊ>ʓ>V…ˆ˜iÊ gun.72ʘÊ̅iÊi>ÀÞÊ£™ÈäÃ]Ê̅iÊ1-ʓˆˆÌ>ÀÞÊ`iÛiœ«i`Ê>Ê«œÀÌ>LiÊۈ`iœÊ`iۈViÊÕÃi`ÊvœÀÊ Ì…iʼi˜>À}i“i˜ÌʜvÊ̅iʓˆˆÌ>ÀÞÊwi`ʜvÊ«iÀVi«Ìˆœ˜½Êˆ˜Ê6ˆi̘>“ÆʍÕÃÌʜ˜iÊiÝ>“«iʜvÊ Ì…iÊi˜Ì܈˜i`ʈ˜`ÕÃÌÀˆiÃʜvÊVˆ˜i“>Ê>˜`ʼ̅iÊ̅i>ÌÀiʜvÊÜ>À½Ê܅iÀiÊ>ʼ`i>`Þʅ>À“œ˜ÞÊ ... always establishes itself between the functions of eye and weapon’. 73 The act of «ÀœiV̈œ˜ÊVœÕ`ʈÌÃivÊVœ˜Ã̈ÌÕÌiÊ>ÊvœÀ“ÊœvÊ>}}ÀiÃȜ˜°Ê-«iVÌ>̜ÀÃÊV>«ÌÕÀi`ʈ˜Ê̅iÊ ˆ˜iʜvÊwÀiÊLiÌÜii˜Ê«ÀœiV̈œ˜ÊLi>“Ê>˜`ÊÃVÀii˜ÊV>˜ÊiÝ«iÀˆi˜ViÊ>ÊܜÀŽÊ̅>ÌÊŜœÌÃÊ ˆ}…ÌÊ>ÌÊ̅i“]ʜÀÊ̅>ÌÊLˆ˜`ÃÊ̅i“Ê܈̅ÊÃÌÀœLˆ˜}ʏˆ}…Ì]Ê>ÃÊ>ÊvœÀ“ÊœvÊ>ÃÃ>Տ̰ʘÊMirror PerformanceÊ ­£™Ç{®]Ê Ì…iÊ *œˆÃ…Ê >À̈ÃÌÊ ÃivÊ ,œL>ŽœÜÎˆÊ `ˆ`Ê ÕÃÌÊ Ì…>Ì°Ê œÕÀ˜>ˆÃÌÃÊ ÜˆÌ…Êy>ÅÊV>“iÀ>ÃÊÀiÌ>ˆ>Ìi`ÊLÞÊwÀˆ˜}ÊLÕÀÃÌÃʜvʏˆ}…ÌÊL>VŽÊ>ÌÊ̅iÊ«ÀœiV̜À]Ê̅ÕÃÊ«>À̈Vˆ«>̈˜}ʈ˜Ê>˜ÊiÝÌi˜`i`ʏˆ}…ÌÊLi>“ÊŜœÌ‡œÕÌ°Ê ˜Ê̅iÊ£™ÇäÃ]Ê ÀˆÌˆÃ…Ê>À̈ÃÌÊ ˆVŽÞÊ>“Þ˜Êœ«iÀ>Ìi`ÊL>˜ŽÃʜvÊ«ÀœiV̜ÀÃÊ>ˆ}˜i`ÊÌœÊ create shifting fields of abstract imagery and in an apparent reversal of installation

EXPANDED CINEMA

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Nicky Hamlyn, 4 X LOOPS (1974). Courtesy of the artist.

«Àˆ˜Vˆ«iÃ]ʅiÊ>`œ«Ìi`Ê>ÊvÀœ˜Ì>Ê«ÀiÃi˜Ì>̈œ˜ÊvœÀÊÃi>Ìi`Ê>Õ`ˆi˜ViÃÊ ÃՓ“œ˜i`Ê LÞÊ a timetabled event. Where Dye fractured and dispersed a single image by means œvʓˆÀÀœÀÃ]ʈ˜Ê4 X LOOPSÊ­£™Ç{®]Ê>“Þ˜Ê>ÃÃi“Li`ʅˆÃʼw“½ÊvÀœ“Ê̅iÊvœÕÀÊÜÕÀViÊ «ÀœiV̜ÀðÊ
ÃÊ̅iÊܜÀŽÊ«Àœ}ÀiÃÃi`]ʅiÊϜ܏ÞÊ>˜}i`Ê̅iÊ«ÀœiV̜ÀÃÊ̜ÊVÀi>ÌiÊÃiÛiÀ>Ê«iÀ“ÕÌ>̈œ˜ÃʜvÊ>LÃÌÀ>VÌÊ}Àˆ`ÃÊqÊÛiÀ̈V>]ʅœÀˆâœ˜Ì>Ê>˜`Ê`ˆ>}œ˜>ÊqÊLՈÌʜ˜Ê̅iÊ ˆ˜ÌiÀ>V̈œ˜ÊœvÊ̅iÊw“ÃÊVœ˜ÃˆÃ̈˜}Êȓ«ÞʜvÊvœÕÀʈ`i˜ÌˆV>Ê¼8ý]ʏœœ«ˆ˜}Ê̅ÀœÕ}…Êi>V…Ê «ÀœiV̜À°Ê/…iÊÀi«i>ÌÊ«>ÌÌiÀ˜ÃÊ̅>ÌÊvœÀ“i`Ê>˜`Ê`ˆÃ܏Ûi`ÊVœÕ`Ê̅iœÀïV>Þʅ>ÛiÊiÝtended beyond the frame into infinite space and time. Where X would conventionally “>ÀŽÊ>ÊëœÌ]Ê̅iÊ`Àˆv̈˜}ÊVÀœÃÃiÃʘiÛiÀÊÃiÌ̏i`ʈ˜Êœ˜iÊ«>Vi]ʘiÛiÀÊvœÕ˜`Ê>Ê`iw˜ˆÌˆÛiÊÃi“ˆœÌˆVÊ>˜V…œÀ>}iʘœÀÊvœÀ“i`Ê>ÊÃÌ>LiÊ>iÃ̅ïVÊ>ÀÀ>˜}i“i˜Ì°Ê/…iÊ«ÀœiV̜ÀÃ]Ê À>̅iÀÊ̅>˜Êi“Lœ`ވ˜}ÊȘ}i]Ê`iÌiÀ“ˆ˜ˆÃ̈VÊ«œˆ˜ÌÃʜvÊۈiÜ]ÊÀi«ÀiÃi˜Ìi`ʜ˜iÊ>“œ˜}Ê many potential perspectives in a choreographed performance in which chance also «>Þi`Ê>Ê«>ÀÌ°Ê/…iÊ`iVˆÃˆœ˜ÃÊ̅iÊ>À̈ÃÌʓ>`iʜ˜Ê̅iÊ`>Þ]ÊÀ>˜`œ“ʈ˜ÌiÀÀի̈œ˜ÃʜvÊ̅iÊ Li>“ÃÊLÞÊۈiÜiÀÃ]ÊÛ>Àˆ>̈œ˜Ãʈ˜Ê̅iÊÌiV…˜ˆV>ÊÃi̇իÊ>˜`Ê̅iʏœV>ÊVœ˜`ˆÌˆœ˜ÃÊÃÕL̏ÞÊ inflected each iteration of the work. When 4 X LOOPSÊÜ>ÃÊÀi‡i˜>VÌi`ʈ˜ÊÓää{]Ê̅iÊÀœÜÊ œvÊvœÕÀÊ«ÀœiV̜ÀÃÊÃii“i`Ê̜ÊÃÌ>˜`Ê̜Ê>ÌÌi˜Ìˆœ˜Ê>˜`ÊÃ>ÕÌiÊ̅iʅˆÃ̜ÀÞʜvÊ>˜>œ}ÕiÊ w“°Ê iޜ˜`Ê̅ˆÃʈ“«ÀiÃȜ˜]Ê̅iÊܜÀŽÊÀiÈÃÌi`ʈ˜ÌiÀ«ÀiÌ>̈œ˜Ê>˜`Ê«>À̈Vˆ«>Ìi`ʈ˜Ê>Ê vœÀ“ÊœvÊVˆ˜i“>ʈ˜Ê܅ˆV…]Ê>ÃÊ>ÀÌʅˆÃ̜Àˆ>˜ÊˆV…>iÊÀˆi`Ê>`ۜV>Ìi`]ʼVœ˜`ˆÌˆœ˜ÃʜvÊÃiiing prevail’.74Ê/…iÊϜÜʓ>˜ˆ«Õ>̈œ˜ÊœvÊ>Ê}À>«…ˆVÊÈ}˜]Ê`À>ˆ˜i`ʜvÊÀiviÀi˜Ìˆ>ÊVœ˜Ìi˜ÌÊ Ì…ÀœÕ}…ÊÀi«ï̈œ˜]ÊÜ>Ãʈ˜Ìi˜`i`Ê̜ʓ>ˆ˜Ì>ˆ˜Êˆ˜Ê̅iÊ>Õ`ˆi˜ViÊ>ÊVœ˜ÃVˆœÕØiÃÃʜvÊ̅iÊ

184

INSTALLATION AND THE MOVING IMAGE

Vœ}˜ˆÌˆÛiÊ«ÀœViÃÃiÃÊ̅iʅՓ>˜ÊÃÕLiVÌÊ՘`iÀ}œiÃÊ>ÃʈÌÊ`iVˆ«…iÀÃÊLœÌ…Ê“i`ˆ>ʈ˜vœÀmation and the cacophony of sense data emanating from the world at large. >ۈ`Ê ÞiÊ >˜`Ê Vœ˜Ìi“«œÀ>ÀÞÊ iÝ«œ˜i˜ÌÃÊ œvÊ Ì…iÊ >VVi˜Ìi`‡>««>À>ÌÕÃÊ }i˜ÀiÊ œvÊ iÝ«>˜`i`ÊVˆ˜i“>ÊÌÀ>˜ÃvœÀ“i`Ê̅iÊw“Ê«ÀœiV̜ÀÊvÀœ“Ê܅>ÌÊ>“Þ˜Ê`iÃVÀˆLi`Ê>ÃÊ>Ê ¼«>ÃÈÛiÊ«ÀœiV̈œ˜Ê`iۈVi½Êˆ˜ÌœÊ>˜Ê¼>V̈ÛiÊ̜œÊvœÀÊ̅iÊVÀi>̈œ˜ÊœvʘiÜʎˆ˜`ÃʜvÊw“ý°75 /…iÞÊ`À>“>̈Ãi`ÊLœÌ…Ê̅iʓiV…>˜ˆVÃʜvÊ«ÀœiV̈œ˜Ê>˜`Ê̅iʅˆ``i˜ÊΈÃʜvÊ̅iÊ«ÀœiV̈œ˜ˆÃÌ°Ê ˜Ê Against the Steady StareÊ ­£™nn®]Ê -ÌiÛiÊ >ÀÀiÀÊ ˜œÌÊ œ˜ÞÊ iÝ«œÀi`Ê Ì…iÊ «ÀœiV̜À½Ãʏ>Ìi˜ÌÊ«œÌi˜Ìˆ>]ÊLÕÌÊ>ÃœÊ}iÃÌÕÀi`Ê̜Ü>À`ÃÊ̅iÊ>ÃÜVˆ>̈œ˜ÃʜvÊۈœi˜ViÊ >ÃVÀˆLi`Ê̜Ê̅iÊÌiV…˜œœ}ÞÊLÞÊ6ˆÀˆˆœ°Ê œ“Lˆ˜ˆ˜}Ê̅iÊv՘V̈œ˜ÊœvÊV>“iÀ>Ê>˜`Ê«ÀœiV̜À]Ê>ÀÀiÀÊṎˆÃi`Ê̅iÊÃ>“iÊ`iۈViÊ̜ÊLœÌ…ÊŜœÌÊ>˜`Ê«ÀœiVÌÊ̅iÊw“°ÊiÊ«>Vi`Ê̅iÊ “>V…ˆ˜iʈ˜Ê̅iÊVi˜ÌÀiʜvÊ>Êë>ViÊÃÕÀÀœÕ˜`i`ÊLÞÊ>ÊVˆÀVՏ>À]ÊVœ˜Ìˆ˜ÕœÕÃÊÃVÀii˜]ÊVÀi>̈˜}Ê>˜Ê>Ài˜>ʈ˜ÌœÊ܅ˆV…ÊëiVÌ>̜ÀÃʓˆ}…ÌÊÛi˜ÌÕÀi°Ê/…iÊV>“iÀ>‡«ÀœiV̜ÀÊV>“iÊ̜ʏˆviÊ >˜`]Ê܈̅Ê̅iÊ>ˆ`ʜvʓœÌœÀÃ]ÊÀœÌ>Ìi`ʜ˜ÊˆÌÃÊ>݈ÃÊiÝÌÀi“iÞÊÀ>«ˆ`ÞÊVÀi>̈˜}Ê>˜Ê՘LÀœŽi˜]ÊvÀ>“iiÃÃÊw“Ê̅>ÌÊVœÕ`ÊiˆÌ…iÀÊLiÊvœœÜi`Ê>̅ïV>ÞÊLÞÊÌÕÀ˜ˆ˜}Ê>ÌÊ̅iÊÃ>“iÊ LÀi>Ž˜iVŽÊëii`Ê>ÃÊ̅iÊ«ÀœiV̜À]ʜÀÊLÞÊVœ˜Vi˜ÌÀ>̈˜}ʜ˜Êœ˜iÊ«>ÀÌʜvÊ̅iÊÃVÀii˜°Ê Spectators were then rewarded with visions of spectral figures mysteriously appearˆ˜}Ê>˜`Êv>`ˆ˜}Ê>Ü>Þ]Ê>Êv՘V̈œ˜ÊœvÊ̅iÊVœˆ˜Vˆ`i˜ViʜvÊ̅iÊ눘˜ˆ˜}Ê«ÀœiV̜À½ÃÊëii`Ê and the persistence of vision. It was like sitting inside a giant zoetrope surrounded by the ghosts in the vision machines of yesteryear. Beyond the auratic materiality of ̅iÊ«ÀœiV̜ÀÊ>˜`Ê̅iÊi˜V…>˜Ì“i˜ÌÃʜvÊ̅iÊ>««>ÀˆÌˆœ˜Ãʜ˜ÃVÀii˜]Ê̅iÊ`œ“ˆ˜>˜ÌÊÀi>`ings of the work remained the materialist anatomisation of the film apparatus and 6ˆÀˆˆœ½Ãʓ>V…ˆ˜i‡}՘ɫÀœiV̜ÀÊ>˜>œ}Þ°ÊœÜiÛiÀ]Ê>Ãʓi˜Ìˆœ˜i`ʈ˜ÊV…>«ÌiÀÊ̅Àii]Ê̅iÊ Ài>Ê`>˜}iÀʜvÊ̅iʈ˜ÃÌ>>̈œ˜Êi“iÀ}i`Ê>ÌÊ>ÊÃVÀii˜ˆ˜}ʈ˜Êœ`iÀ˜Ê
ÀÌÊ"ÝvœÀ`ÆÊ̅iÊ>À̈ÃÌÊ V…iiÀvՏÞÊ>˜˜œÕ˜Vi`Ê̅>ÌÊ̅iÊ«ÀœiV̜Àʓˆ}…ÌÊyÞʜvvʈÌÃʅœÕȘ}Ê>ÌÊ>˜Þʓœ“i˜Ìʈ˜Ê ܅ˆV…ÊiÛi˜ÌÕ>ˆÌÞ]ÊÜiÊܜՏ`ÊLiÊLiÃÌÊ>`ۈÃi`Ê̜Ê`ÕVŽ°Ê ˆVŽÞÊ>“Þ˜ÊÀi“>ÀŽi`Ê̅>ÌÊ Against the Steady StareʼÀiVÀi>Ìi`ʈ˜Ê̅ÀiiÊ`ˆ“i˜Ãˆœ˜ÃÊ̅iʏ>ޜÕÌʜvÊ̅iÊ«Àœ‡w“ˆVÊ Ã«>Vi½]76 collapsing the distinction between the architecture of the conventional cini“>̈VÊ«ÀœiV̈œ˜Ê>˜`Ê̅>ÌʜvÊ̅iÊÃiÌʜÀʏœV>̈œ˜Êˆ˜Ê܅ˆV…Ê̅iÊw“ÊÜ>ÃÊŜ̰Ê
ÊvÕÀ̅iÀÊ iµÕˆÛ>i˜ViÊi݈ÃÌi`ʈ˜Ê̅iʈ`i˜ÌˆV>Êëii`Ê܈̅Ê܅ˆV…Ê̅iÊV>“iÀ>É«ÀœiV̜ÀÊÀœÌ>Ìi`Ê Ü…i˜ÊLœÌ…Êw“ˆ˜}Ê>˜`Ê«ÀœiV̈˜}Ê̅iÊw“°Ê/…iÊÃÌÀÕVÌÕÀ>ÊëiVˆwVˆÌˆiÃʜvÊ̅iÊܜÀŽÊ ÜiÀiÊViÀÌ>ˆ˜ÞÊ>««>Ài˜ÌÊ>ÌÊ̅iÊÃVÀii˜ˆ˜}ÊÊ>ÌÌi˜`i`]ʅœÜiÛiÀÆÊ̅iÊÃi˜ÃiʜvÊ«iÀܘ>Ê ÀˆÃŽÊ>˜`Ê̅iÊëiVÌÀ>ÊivviVÌʜvÊ̅iʈ“>}iÊVÀi>Ìi`Ê>˜Êˆ˜Ìi˜ÃˆÌÞʜvÊiÝ«iÀˆi˜ViÊ̅>ÌÊÜ>ÃÊ “œÀiÊۈÃViÀ>Ê̅>˜ÊVœ˜Vi«ÌÕ>]Ê>˜Ê>vviV̈ÛiÊ`ˆ“i˜Ãˆœ˜Ê̅>ÌÊÜ>ÃʓÕV…ʈ˜Êiۈ`i˜Viʈ˜Ê iÝ«>˜`i`ÊVˆ˜i“>ʜvÊ̅iÊ«iÀˆœ`°Ê

LIGHT WORKS AND ‘PARACINEMA’ As the wings and limbs were being pulled off the butterfly of film and its vital organs >ˆ`ʜÕÌÊvœÀÊvœÀi˜ÃˆVÊÃVÀṎ˜Þ]Ê>ÊÛ>Àˆ>̈œ˜Êœ˜ÊiÝ«>˜`i`ÊVˆ˜i“>̈VÊܜÀŽÃÊi“iÀ}i`ÊvœÀÊ

EXPANDED CINEMA

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܅ˆV…Êœ˜>̅>˜Ê7>iÞÊ«œ«Õ>ÀˆÃi`Ê̅iÊÌiÀ“ʼ«>À>Vˆ˜i“>½°Ê/…iÃiÊÜiÀiÊ«À>V̈ViÃ]ʅiÊ Ã>ˆ`]Ê Ì…>ÌÊ ¼ÀiVœ}˜ˆÃiÊ Vˆ˜i“>̈VÊ «Àœ«iÀ̈iÃÊ œÕÌÈ`iÊ Ì…iÊ ÃÌ>˜`>À`Ê w“Ê >««>À>ÌÕý°77 *>À>Vˆ˜i“>̈VÊ ÜœÀŽÃÊ œvÌi˜Ê `ˆÃ«i˜Ãi`Ê ÜˆÌ…Ê Ì…iÊ Vœ˜Ûi˜Ìˆœ˜>Ê >ÀV…ˆÌiVÌÕÀiÊ œvÊ w“]Ê V>“iÀ>]Ê«ÀœiV̜ÀÊ>˜`ÊÃVÀii˜]ʜÀ]ʏˆŽiʓÕV…ÊÃÌÀÕVÌÕÀ>Êw“]ʈ܏>Ìi`ʜ˜iʜÀÊÌܜʎiÞÊ Vœ“«œ˜i˜ÌÃÊÃÕV…Ê>Ãʏˆ}…Ì]Ê̈“i]Ê̅iÊw“ÃÌÀˆ«Ê>˜`ɜÀÊ̅iÊ«ÀiÃi˜ViʜvÊ>˜Ê>Õ`ˆi˜Vi°Ê
ÃÊ ʅ>Ûiʈ˜`ˆV>Ìi`]Ê-ÌiÛiÊ>ÀÀiÀʓ>`iÊÃiÛiÀ>Ê¼V>“iÀ>iÃýÊw“Ã]ÊÃÕV…Ê>ÃÊTen Drawings ­£™ÇȮʈ˜Ê܅ˆV…Ê…iÊ«>ˆ˜Ìi`Ê`ˆÀiV̏Þʜ˜ÌœÊÃÌÀˆ«ÃʜvÊw“ʏ>ˆ`ʜÕÌʜ˜Ê̅iÊyœœÀ]ÊViÕœˆ`Ê V>˜Û>ÃiÃÊ̅>Ì]ʜ˜Viʍœˆ˜i`Ê̜}i̅iÀ]ÊVœ˜Ã̈ÌÕÌi`Ê>Êw“ʈ˜Ê܅ˆV…Ê̈“iʅ>`ÊLii˜ÊÀi˜dered as space. 7ˆÌ…ˆ˜Ê̅iÊ«>À>Vˆ˜i“>̈Vʏœ}ˆV]Ê>˜Þʓ>˜ˆviÃÌ>̈œ˜ÊœvÊ>À̈wVˆ>Êˆ}…Ìʓˆ}…ÌÊVœ˜Ì>ˆ˜Ê ܈̅ˆ˜Ê ˆÌÊ Ì…iÊ iÃÃi˜ViÊ œvÊ w“°Ê >ÌÕÀ>Ê ˆ}…ÌÊ Ü>ÃÊ >Ài>`ÞÊ >˜Ê œLiVÌÊ œvÊ v>ÃVˆ˜>̈œ˜Ê ˆ˜Ê ̅iÊÃVՏ«ÌÕÀ>Ê¼ÃŽÞʜLÃiÀÛ>̜ÀˆiýʜvÊ̅iÊ}Ài>ÌÊ«œiÌʜvʏˆ}…Ì]Ê>“iÃÊ/ÕÀÀi°Ê/՘}ÃÌi˜Ê ˆ}…Ì]Ê̅iÊ>À̈wVˆ>]ʓ>˜‡“>`iÊÜÕÀViʜvʘˆ}…̇̈“iʈÕ“ˆ˜>̈œ˜]Ê܅ˆV…Ê«ÀœÛˆ`i`Ê̅iÊ ˆvi‡Lœœ`ʜvÊ>˜>œ}ÕiÊw“]ÊÜ>ÃÊȓˆ>ÀÞÊvœÀi}ÀœÕ˜`i`]Ê>˜`Êܓï“iÃÊÃi«>À>Ìi`Êi˜ÌˆÀiÞÊvÀœ“Ê̅iÊ«ÀœiV̜À]Ê>ÃÊÜiÊÃ>Üʈ˜ÊiÊÀˆVi½ÃÊCastle One. Robakowski had already >ÌÌi“«Ìi`Ê̜ÊLˆ˜`ʅˆÃÊ>Õ`ˆi˜ViÊ܈̅ʫÀœiVÌi`ʏˆ}…ÌÊ>˜`ʈ˜ÊLight WallÊ­Óäää®]Ê >ÀÃÌi˜Ê œiÀÊvÕÀ̅iÀÊiÝ«œˆÌi`Ê̅iÊ`iÃÌÀÕV̈ÛiÊ«œÌi˜Ìˆ>Êœvʏˆ}…Ì]ÊLœ“L>À`ˆ˜}ÊۈiÜiÀÃÊÜˆÌ…Ê flashing searchlights powerful enough to induce an epileptic fit in the susceptible. ˜Ê>Êȓˆ>ÀÊÛiˆ˜]Ê Û>ÊœV…Êi݅ˆLˆÌi`ÊÌ՘}ÃÌi˜Êˆ}…Ìʈ˜ÊˆÌÃÊÀiÛi>̜ÀÞʓœ`iÊ>˜`Ê̅i˜Ê }À>`Õ>ÞÊiÝ«œÃi`ʈÌÃÊV>«>VˆÌÞÊ̜ʜLˆÌiÀ>ÌiÊۈȜ˜°ÊMulti-media sculpture (1990) consisted of a high-walled enclosure in the shape of a spiral that lured the visitor in with >ʏˆ}…ÌÊ̅>ÌÊ}ÀiÜʈ˜Êˆ˜Ìi˜ÃˆÌÞÊ՘̈]Ê>ÌÊ̅iʅi>ÀÌʜvÊ̅iÊÃÌÀÕVÌÕÀiÊÅiÊÜ>ÃÊVœ˜vÀœ˜Ìi`Ê ÜˆÌ…Ê>ÊÃVœÀV…ˆ˜}]ÊLˆ˜`ˆ˜}Ê£]äää‡Ü>ÌÌʏ>“«Ê̅>Ìʓ>`iʈÌʈ“«œÃÈLiÊ̜Ê`ˆÃViÀ˜Ê܅>Ì]Ê ˆvÊ>˜Þ̅ˆ˜}]ʏ>ÞÊLiޜ˜`°Ê"̅iÀÊ>À̈ÃÌÃʅ>ÛiÊiÝ«œˆÌi`Ê̅iÊ>vÌiÀˆ“>}iÊ̅>Ìʏˆ˜}iÀÃʜ˜ViÊ Ì…iÊÜÕÀViʜvÊ>ÊLÀˆ}…Ìʏˆ}…Ìʅ>ÃÊLii˜ÊiÝ̈˜}ՈÅi`]Ê̅iÀiLÞÊLÀˆ˜}ˆ˜}ʈ˜ÌœÊ>Ü>Ài˜iÃÃÊ the impact of light on the rods and cones of the retina and the interpretive work of ̅iÊۈÃÕ>ÊVœÀÌiÝ°ÊՎiÊiÀÀ>“Ê̜œŽÊ>`Û>˜Ì>}iʜvÊ̅iʜ«ÌˆV>ÊivviVÌʜvÊ>vÌiÀˆ“>}iʈ˜Ê his Retinal Memory VolumeÊ­£™™Ç®]ÊÃÌ>}i`ʈ˜Ê>Ê`>ÀŽi˜i`Êë>Viʈ˜Ê܅ˆV…Ê>ÊV…>ˆÀÊÜ>ÃÊ ÕÃÌÊ`ˆÃViÀ˜ˆLiʈ˜Ê̅iÊ}œœ“°Ê/…ÀiiÊy>ÅiÃʜvÊLÀˆ}…Ìʏˆ}…Ì]ÊÀii>Ãi`ʈ˜ÊµÕˆVŽÊÃÕVViÃsion created a three-dimensional afterimage of the chair that seemed to float in the field of vision. The chimerical chair was created entirely by the physiological apparaÌÕÃʜvÊۈȜ˜ÊÀi뜘`ˆ˜}Ê̜Ê>ÊÃÕ``i˜Êœ˜Ã>Õ}…Ìʜvʏˆ}…Ì°Ê"˜ViÊ̅iÊ>vÌiÀˆ“>}iÊv>`i`]Ê its documentation resided only in memory. /…iʏˆ}…ÌÊvÀœ“Ê>Ê«ÀœiV̜Àʏ>“«Ê}ˆÛiÃʏˆviÊ̜Êw“ˆVʈ“«ÀiÃȜ˜ÃÊLÕÌʈÌÃʅi>ÌÊV>˜Ê also consume the image if the filmstrip is brought to a halt. Many artists staged the ÃVœÀV…ˆ˜}ʜvÊViÕœˆ`ʼÃiˆâi`½Êˆ˜Ê>Ê«ÀœiV̜À°Ê˜ÊBad Burns (1982) Paul Sharits com«ˆi`Ê>ÊÃiÀˆiÃʜvʼ“ˆÃ‡Ì>ŽiýÊvÀœ“Ê>˜Êi>ÀˆiÀÊw“]ÊVœ“«iÌiÊ܈̅ÊۈÈLiÊëÀœVŽiÌʅœiÃÊ >˜`Ê ˆ“«i˜iÌÀ>Li]Ê LÕÀÀi`Ê ˆ“>}iÀÞ°Ê ,՘˜ˆ˜}Ê ÛiÀ̈V>ÞÊ «>ÃÌÊ >Ê «œÜiÀvÕÊ ÃœÕÀViÊ œvÊ ˆ}…Ì]Ê̅iÊvœœÌ>}iʈÃÊ`ˆÃ«>Þi`ʈ˜ÊvՏÊyˆ}…Ì]Ê«iÀˆœ`ˆV>ÞʍÕ``iÀˆ˜}Ê̜Ê>ÊÃ̜«]Ê>ÌÊ܅ˆV…Ê «œˆ˜ÌÊ̅iÊۈiÜiÀÊ܈̘iÃÃiÃÊ̅iÊiÝiVṎœ˜ÊœvÊ̅iÊVœ˜`i“˜i`ÊvÀ>“iÊ>ÃÊ̅iʅi>ÌÊvÀœ“Ê

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INSTALLATION AND THE MOVING IMAGE

̅iʏ>“«Ê“iÌÃÊ̅iÊViÕœˆ`]Ê̅iÊ`>“>}iÊëÀi>`ˆ˜}ʏˆŽiÊ>ÊÃÌ>ˆ˜Ê>VÀœÃÃÊ̅iʈ“>}i°Ê Sharits drew an analogy between the fragility of human life and the vulnerability of the filmstrip to the element that both brings it into being and potentially destroys it.78Ê œÌ…Ê̅iÊw“ÃÌÀˆ«Ê>˜`Ê̅iʅՓ>˜ÊÃÕLiVÌʼÃÌÀÕ}}iʜ˜½]ÊLÕÌʏˆŽiʓ>˜ÞÊ«ÞÀœ“>˜ˆ>VÃ]Ê̅iÊ>À̈ÃÌÊÃiiÃʼ>ÊvœÀ“>ÊLi>ÕÌÞʈ˜Ê̅iÊ`iÃÌÀÕV̈Ûi˜iÃÃʜvÊ̅iÊLÕÀ˜ˆ˜}Êw“½°79 Another effect of light within the apparatus of film attracted the forensic atten̈œ˜ÊœvÊ>À̈ÃÌÃÊÃÕV…Ê>ÃÊ-…>ÀˆÌÃ]Ê Àˆœ˜ÊÞȘÊ>˜`Ê/œ˜ÞÊ œ˜À>`°Ê/…iÞÊ>ÊVœ˜ÌÀˆÛi`ÊÌœÊ amplify the flicker inherent in analogue film to the point that it compromised visual perception and rendered the film unwatchable. Conrad’s The Flicker (1966) consisted œvÊ>ÌiÀ˜>̈˜}ÊL>VŽÊ>˜`Ê܅ˆÌiÊvÀ>“iÃ]ÊVÀi>̈˜}Ê>ÊÃÌÀœLœÃVœ«ˆVÊivviVÌÊ>˜`ʈ˜`ÕVˆ˜}ʈ˜Ê ëiVÌ>̜ÀÃʈvʘœÌÊi«ˆi«ÌˆVÊwÌÃÊ̅i˜Ê…>ÕVˆ˜>̈œ˜Ã]Ê`iLˆˆÌ>̈˜}ÊÀï˜>Ê>vÌiÀˆ“>}iÃÊ >˜`Ê«Àœœ˜}i`ʅi>`>V…iðÊ-…>ÀˆÌýÃÊ`œÕLiÊÃVÀii˜]ʼœV>̈œ˜>½Êˆ˜ÃÌ>>̈œ˜ÊEpileptic Seizure ComparisonÊ ­£™ÇÈ®Ê iÝ«ˆVˆÌÞÊ ˆ˜Ži`Ê Ì…iÊ œ«ÌˆV>Ê ivviVÌÊ œvÊ yˆVŽiÀÊ ÌœÊ «…ÞȜ‡ œ}ˆV>Ê “>v՘V̈œ˜]Ê Ã…œÜˆ˜}Ê ÌÜœÊ “i˜Ê ՘`iÀ}œˆ˜}Ê ¼“>iÃ̈V½Ê Vœ˜ÛՏȜ˜Ã]Ê Ì…iˆÀÊ Vœ˜ÌœÀ̈œ˜ÃÊ VœÀÀi뜘`ˆ˜}Ê ÌœÊ Ì…iÊ «ÕÃ>̈œ˜Ê œvÊ Ì…iÊ vœœÌ>}iÊ >ÌiÀ˜>̈˜}Ê ÜˆÌ…Ê L>VŽ]Ê ˆ˜ÌiÀëiÀÃi`ÊLÞÊ«>ÃÃ>}iÃʜvÊ«ÕÀi]Ê>LÃÌÀ>VÌÊyˆVŽiÀ°Ê/…ˆÃʜ«ÌˆV>Êi˜`ÕÀ>˜ViÊÌiÃÌÊÜ>ÃÊ wrapped in a soundtrack devoted to the distorted utterances of the epilepsy sufferers layered with recordings of their electromagnetic brain activity. The work was a «œÜiÀvՏÊÌiÃÌ>“i˜ÌÊ̜Ê̅iÊ`>˜}iÀÃʜvÊ̅iÊiÝÌÀi“iÊivviVÌÃʜvʏˆ}…Ì]ʏ>Ìi˜Ìʈ˜Ê̅iʘœÀ“>Êv՘V̈œ˜ˆ˜}ʜvʓœÌˆœ˜Ê«ˆVÌÕÀiÃ]Ê>˜`Ê̅iÊÛՏ˜iÀ>LˆˆÌÞʜvÊ̅iÊ«iÀVi«ÌÕ>ÊÃÞÃÌi“°Ê

SENSORY OVERLOAD 7…i˜Ê iÝ«>˜`i`Ê Vˆ˜i“>Ê >ÃÃ>ՏÌÃÊ Ì…iÊ Ãi˜ÃiÃ]Ê ˆÌÊ V>ÃÊ ˆ˜ÌœÊ µÕiÃ̈œ˜Ê >Û>˜Ì‡}>À`iÊ V>ˆ“ÃÊ̅>ÌÊÃÕV…ÊܜÀŽÊ«Àœ“œÌiÃʈ˜ÌiÀ>V̈ۈÌÞÊ>˜`Ê̅iʓœLˆˆÃ>̈œ˜ÊœvÊ>ÊVÀˆÌˆV>]ÊÀiflective viewer freed from the manipulations of cinematic illusionism and narrative ˆ`i˜ÌˆwV>̈œ˜°Ê ˆVœ>ÃÊ`iÊ"ˆÛiˆÀ>ÊVœ““i˜Ìi`Ê̅>Ìʈ˜ÊVœ˜Ìi“«œÀ>ÀÞʈ˜ÃÌ>>̈œ˜]ʼÃi˜Ã>̈œ˜ÊˆÌÃivÊ>««i>ÀÃÊ̜ʅ>ÛiÊÀi«>Vi`Ê̅iÊÌÀ>`ˆÌˆœ˜>Ê>ÀÌʜLiV̽°80 A positive gloss …>ÃÊ>ÌÌ>V…i`Ê̜Ê̅ˆÃʼi“«ˆÀiʜvÊ̅iÊÃi˜ÃiýÊvœœÜˆ˜}Ê>ÕÀˆViÊiÀi>Շ*œ˜ÌÞÊ܅œÊˆ˜Ê The Phenomenology of PerceptionÊ­£™{x®Ê`iV>Ài`Ê̅>ÌʜLiVÌÃÊV>˜˜œÌÊLiÊÃi«>À>Ìi`Ê vÀœ“Ê̅iÊÃÞÃÌi“Ê̅>ÌÊ>««Ài…i˜`ÃÊ̅i“]Ê܅i̅iÀʅՓ>˜ÊœÀʓiV…>˜ˆV>°Ê9iÌʈÌʅ>ÃÊ Lii˜Êœ˜iʜvÊ̅iʜLiV̈ÛiÃʜvÊ̅iÊ>Û>˜Ì‡}>À`iÊ̜Ê`ˆÃVœ˜˜iVÌÊ̅iÊÛ>ÀˆœÕÃÊ«iÀVi«ÌÕal effects from the cinematic apparatus that generates them. Merleau-Ponty also œLÃiÀÛi`Ê̅>ÌÊÜiÊ>ÌÌÀˆLÕÌiÊÛ>ÕiÃÊ̜ʜLiVÌÃÊ̅ÀœÕ}…Ê̅iÊÃi˜ÃiÃ]Ê>˜`ʓ>˜ÞÊ>À̈ÃÌÃÊ …>ÛiÊi˜ˆÃÌi`Ê̅œÃiÊÃ>“iÊÃi˜ÃiÃÊ«ÀiVˆÃiÞÊ̜Ê`ˆÛiÃÌʜLiVÌÃʜvÊVœ˜Ûi˜Ìˆœ˜>Ê“i>˜ˆ˜}Ã]Ê̜Êi˜>VÌÊ>Êdétournement of associations as a way of wresting the sign from its referent and loosening inhibitions on the imagination. Other commentators such as the installation artist Robert Irwin and the filmmakiÀÊ>Vœ“ÊiÊÀˆViʅ>ÛiÊÃÕ}}iÃÌi`Ê̅>ÌÊ̅iÊÃi˜ÃiÃ]Ê܅i˜ÊÃÕvwVˆi˜ÌÞÊÃ̈“Տ>Ìi`]Ê

EXPANDED CINEMA

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can circumvent the intellect thereby downplaying the long reach of culture into our i“Lœ`ˆi`Ê iÝ«iÀˆi˜ViðÊ
VVœÀ`ˆ˜}Ê ÌœÊ iÊ ÀˆVi]Ê Ì…ÀœÕ}…Ê «ÕÀiÞÊ Ãi˜ÃœÀÞÊ Ã̈“ՏÕÃ]Ê iëiVˆ>ÞÊVœœÕÀ]ÊÜiÊV>˜ÊLÞ«>ÃÃÊ̅iÊÀi}ˆ“iʜvÊ7iÃÌiÀ˜ÊÀ>̈œ˜>ˆÃ“Ê>˜`ʼÀiÌÕÀ˜]ʈvÊ “œ“i˜Ì>ÀˆÞ]Ê̜Ê̅iÊ«Ài‡ÛiÀL>]Ê̅iÊÀi}ÀiÃÈÛiÊ>˜`ÊiVÃÌ>̈V½°81 This is a sentiment iV…œi`ÊLÞʈiÃÊ iiÕâiÊ܅i˜Ê…iÊ>À}ÕiÃÊ̅>ÌÊVˆ˜i“>ʈÃÊ>ʼVœ“«œÃˆÌˆœ˜Êœvʈ“>}iÃÊ >˜`ÊÈ}˜ÃÊ̅>ÌʈÃÊ>Ê«Ài‡ÛiÀL>]ʈ˜Ìiˆ}ˆLiÊVœ˜Ìi˜ÌÊ­«ÕÀiÊÃi“ˆœÌˆVî½° 82 This invocation of the unmediated purity of the primitive human sensorium leads Irwin in particu>ÀÊ̜Ê̅iÊVœ˜VÕȜ˜Ê̅>ÌÊ܅i˜Êˆ`i˜ÌˆV>ÞÊÃ̈“Տ>Ìi`]Ê>Ê“i˜Ê­>˜`Êܜ“i˜®]ʈ˜Ê̅iˆÀÊ `iˆÀˆÕ“]Ê>ÀiÊÀi˜`iÀi`ÊiµÕ>°83Ê >ˆÀiÊ ˆÃ…œ«Ê«œˆ˜Ìi`ʜÕÌÊ̅>Ìʈ˜Ê̅iÊ£™ÈäÃ]Ê̅iÊ>vwÀmation of La vivencia]ʜÀÊÃi˜ÃœÀÞÊ«i˜ˆÌÕ`i]ÊÜ>ÃÊ>ÊvœÀ“ÊœvÊ«œˆÌˆV>ÊÀiÈÃÌ>˜ViÊ̜Ê̅iÊ repressive military regime holding sway in Brazil. The senses represented one of the viÜÊ>Ài>ÃʜvÊi݈ÃÌi˜ViÊ̅>ÌÊVœÕ`ÊiÛ>`iÊ«œˆVˆ˜}ÊLÞÊ̅iÊÃÌ>Ìi°84 iޜ˜`ʈÌÃÊ`i“œVÀ>̈Ș}Ê«œÌi˜Ìˆ>]ÊiÝÌÀi“iÊÃi˜Ã>̈œ˜ÊˆÃÊ>ÃœÊÃ>ˆ`Ê̜Ê>V̈Û>ÌiÊ >ÊÌÀ>˜Ã}ÀiÃÈÛiÊÀi«iÀ̜ˆÀiʜvÊ՘Vœ˜ÃVˆœÕÃÊ`Ài>“Ã]Êvi>ÀÃÊ>˜`Ê`iÈÀiðÊ/…ˆÃÊLiˆivʈ˜formed the cathartic performances of the Viennese Aktionists in the 1960s as well >ÃÊ Ì…iÊ «…ˆœÃœ«…ÞÊ œvÊ iœÀ}iÃÊ >Ì>ˆi]Ê Ü…œÊ >`ۜV>Ìi`Ê Ãi˜ÃÕ>ˆÌÞÊ >˜`Ê Ì…iÊ Lœ`ÞÊ ˆ˜Ê iÝÌÀi“ˆÃÊ>ÃÊ>ÊÀœÕÌiÊ̜Ê̅iÊÃ>VÀi`Ê>˜`ʼ>Ê«ÀˆÛˆi}i`ʓœ“i˜ÌʜvÊVœ““Õ˜>Ê՘ˆÌÞ½°85 œÜiÛiÀ]ÊÊܜՏ`ÊÃÕ}}iÃÌÊ̅>ÌÊÃi˜ÃœÀÞʜÛiÀœ>`ÊV>˜Ê>ÃœÊVÀÕÅÊ>ÊLÕÌÊ̅iʓœÃÌÊ뜘Ì>˜iœÕÃÊÀi>V̈œ˜ÃʜvÊ̅iÊ>Õ̜˜œ“ˆVʘiÀۜÕÃÊÃÞÃÌi“]Ê>˜`ʈ˜…ˆLˆÌÊ̅iʎˆ˜`ʜvÊVÀˆÌˆV>Ê ̅ˆ˜Žˆ˜}Ê Ì…iÊ >Û>˜Ì‡}>À`iÊ œÃÌi˜ÃˆLÞÊ ÜˆÃ…i`Ê ÌœÊ «Àœ“œÌi°Ê ˜Ê ̅iÊ i>ÀÞÊ £™ÈäÃ]Ê
˜`ÞÊ 7>À…œÊVÀi>Ìi`ÊiÛi˜Ê“œÀiÊi>LœÀ>ÌiʓՏ̈‡“i`ˆ>ÊܜÀŽÃÊ̅>˜Ê̅œÃiʜvÊ6>˜ iÀ iiŽ]Ê Vœ“Lˆ˜ˆ˜}Êw“Ã]Êψ`iÃ]ʏˆ}…ÌÊŜÜÃ]Ê`>˜ViÀÃÊ>˜`Ê>ÊL>ÀÀ>}iʜvÊÜ՘`Ãʈ˜VÕ`ˆ˜}ʏˆÛiÊ «iÀvœÀ“>˜ViÃÊLÞÊ̅iÊ6iÛiÌÊ1˜`iÀ}ÀœÕ˜`°ÊvÊ̅iʈ˜Ìi˜Ìˆœ˜ÊÜ>Ã]Ê>Ìʏi>ÃÌʈ˜Ê«>ÀÌ]ÊÌœÊ À>ˆÃiÊۈiÜiÀýÊ>Ü>Ài˜iÃÃʜvÊ̅iˆÀʜܘÊVœ}˜ˆÌˆÛiÊ>˜`ʈ˜ÌiÀ«ÀïÛiÊ«ÀœViÃÃiÃ]ʈ˜Ê«À>V̈Vi]Ê7>À…œÊ“>`iʈÌÊۈÀÌÕ>Þʈ“«œÃÈLiÊvœÀÊ̅iÊ>Õ`ˆi˜ViÊ̜ʈ˜ÌiÀ>VÌÊ܈̅Ê̅iÊܜÀŽÊ œÌ…iÀÊ Ì…>˜Ê LÞÊ ÃÕÀÀi˜`iÀˆ˜}Ê ÌœÊ ˆÌÃÊ «ÕÀiÞÊ ˆ““iÀÈÛi]Ê Ãi˜ÃœÀÞÊ >ëiVÌÃ°Ê ,iۈi܈˜}Ê 7>À…œ½ÃÊ “Տ̈‡“i`ˆ>Ê iÝÌÀ>Û>}>˜â>Ê Exploding Plastic InevitableÊ ­£™ÈÈ®]Ê ˆV…>i>Ê 7ˆˆ>“ÃÊÜ>ÃÊ`ÀˆÛi˜Ê̜ʫÀœÌiÃÌÊ̅>ÌÊ«iœ«iʼLiVœ“iʘœÌ…ˆ˜}ʓœÀiÊ̅>˜Ê«>ÀÌÃʜvʈÌ]ÊÀiceptors essential to its functioning but subordinate to it and manipulated by it’.86 Far vÀœ“ÊLiˆ˜}Êi“«œÜiÀi`]ÊۈÈ̜ÀÃÊÜiÀiÊÃÌÕ«iwi`ÊLÞÊ̅iÊۈÃÕ>ÊwÀiܜÀŽÃÊ>˜`Ê̅iÊ`ˆ˜Ê >˜`]ÊÃ>ˆ`Ê7ˆˆ>“Ã]ʼ̜ÊiÝ«iÀˆi˜ViʈÌÊQÜ>ÃRÊ̜ÊLiÊLÀÕÌ>ˆÃi`]ʅi«iÃý°87 My own notes on viewing a re-enactment of Steve Farrer’s 10 DrawingsÊ­£™ÇÈ®ÊiÝ«ÀiÃÃi`ʓÕV…Ê̅iÊ Ã>“iÊÃi˜Ìˆ“i˜Ì\ʼvÀœ“ʏˆ˜iÃÊ̜Ê}À>ˆ˜Ã]ÊLˆ«ÃÊ>˜`ÊÀÕň˜}ÊÜ՘`Ã]Ê>ʅˆ`iœÕÃʈ˜ÃˆÃÌi˜ÌÊ rhythm ... I can’t shake off an overwhelming urge to escape’.88Ê
ÃÊʅ>Ûiʈ˜Ìˆ“>Ìi`]Ê ʅ>ÛiÊÀi뜘`i`ʈ˜Ê“ÕV…Ê̅iÊÃ>“iÊÜ>ÞÊ̜ʜ«ÌˆV>ÊܜÀŽÃÊLÞʈV…>iÊ-˜œÜ]ʜÀʏœÕ`]Ê durational pieces by Gibson and Recoder or other installations by artists determined ̜Ê`i>vi˜]ÊLˆ˜`Ê>˜`Ê`ˆÃœÀˆi˜ÌÊ̅iˆÀÊ>Õ`ˆi˜ViʜÀÊLœÀiʈ˜ÌœÊ̅iˆÀÊLÀ>ˆ˜ÃÊ܈̅ÊÀ>«ˆ`‡wÀiÊ repetitions. However engaged I might be with the conceptual underpinnings of the ܜÀŽ]Ê̅iÊiÛi˜ÌʈÌÃivÊ}ˆÛiÃÊÀˆÃiʜ˜ÞÊ̜ʓÞÊw˜iÞ‡Ì՘i`ÊÃi˜ÃiʜvÊÃÕÀۈÛ>Ê܅i˜ÊVœ˜vÀœ˜Ìi`ÊLÞʈ˜>Ãȓˆ>LiÊÃi˜ÃiÊ`>Ì>°Ê
ÌÊ̅iÊiÝÌÀi“iÃʜvÊiÝ«>˜`i`ÊVˆ˜i“>Ê܅iÀiÊ>Ê

188

INSTALLATION AND THE MOVING IMAGE

Žˆ˜`Ê œvÊ >˜Ìˆ‡˜>ÀÀ>̈Ûi]Ê ÛiÀ̈}ˆ˜œÕÃÊ >LÃÌÀ>V̈œ˜Ê ÀՏi`]Ê Ì…iÊ >Õ`ˆi˜ViÊ Ü>ÃÊ ˆ˜`ii`Ê >˜Ê ˆ˜ÃÌÀՓi˜ÌʜvÊ̅iÊܜÀŽ°Ê˜Ê̅ˆÃÊVœ˜ÌiÝÌ]Ê̅iÊ«Àˆ˜Vˆ«iʜvÊ`ˆÃÌ>˜Vˆ>̈œ˜]ʜÀÊ̅iʜÃVˆ>̈˜}ʼ>ˆi˜>̈œ˜ÊivviV̽Ê>`ۜV>Ìi`ÊLÞÊ iÀ̅œ`Ê ÀiV…ÌÊLiVœ“iÃÊ>ÊLÕÌÊÀi`՘`>˜Ì°89 /…iÊ«œÌi˜Ìˆ>ÊœvÊ`ˆÃÌ>˜Vˆ>̈œ˜Ê̜ÊVÀi>ÌiÊ>ʵÕiÃ̈œ˜ˆ˜}]Êi˜}>}i`Ê>Õ`ˆi˜ViʈÃʜVVÕ`i`Ê when all thought is drowned out by the strickened senses. All that remains is to decide whether to stay or safely remove oneself and consider the significance of the work including the possibility that it is a simple act of aggression. In moving image ܜÀŽÃÊ`i«œÞˆ˜}Ê`ˆÃ«Àœ«œÀ̈œ˜>Ìiʜ«ÌˆV>Ê>˜`ÊܘˆVÊÃ̈“Տˆ]ʈÌʈÃÊ̅iÊ>À̈Ã̽ÃÊ܈Ê̅>ÌÊ ˆÃÊ«œÃˆÌˆœ˜i`Ê>ÃÊ̅iÊ`œ“ˆ˜>˜Ì]ʜÀ}>˜ˆÃˆ˜}Ê«Àˆ˜Vˆ«iʜvÊ̅iÊܜÀŽ]ÊvœÀVˆLÞÊÌ>Žˆ˜}ÊVœ˜ÌÀœÊ of spectators’ reactions. Narrative film is a mere amateur in audience manipulation ˆ˜Ê̅iÊv>ViʜvÊܜÀŽÊëiVˆ>ˆÃˆ˜}ʈ˜ÊÃi˜ÃœÀÞʜÛiÀœ>`°ÊiˆÌ…Ê/Þܘʅ>ÃÊÀiyiVÌi`Ê̅iÊ underlying intellectual poverty of such practices when he remarked that spectators ŜՏ`ʘœÌÊ>Îʼ܅>ÌʈÃʈÌÊ>LœÕÌ]ÊLÕÌʅœÜÊ`œÊÊvii¶½90 His attitude heralds a return to emotionalism and a retreat from the political and ethical principles that informed installation-based work in the counter-cultural era.

Ûi˜ÊLi˜ˆ}˜Þʈ““iÀÈÛi]ʓi`ˆÌ>̈ÛiÊ>˜`Ê>“Lˆi˜ÌÊܜÀŽÃÊ`iÈ}˜i`Ê ÌœÊi˜V…>˜ÌÊ À>̅iÀÊ Ì…>˜Ê ÌiÀÀˆvÞÊ qÊ *ˆ«ˆœÌÌˆÊ ,ˆÃ̽ÃÊ “œœ`‡i˜…>˜Vˆ˜}]Ê `ˆ>«…>˜œÕÃÊ “Տ̈‡ÃVÀii˜Ê Administrating Eternity (2011) or Doug Aitken’s New OceanÊ­Óä䣮]Ê>ÊÃÕÀÀœÕ˜`‡Ãi>Ê «ÀœiV̈œ˜ÊVœ“«iÌiÊ܈̅ʫ>ÃȘ}Êň«ÃÊ>˜`ʓiÌˆ˜}Ê}>VˆiÀÃÊqÊV>˜ÊLiÊ«ÀœLi“>̈V°Ê ˜Ê£nx£]ÊiÀ“>˜ÊiÛˆiÊÜ>À˜i`Ê>ëˆÀ>˜ÌÊÃ>ˆœÀÃʜvÊ̅iʅޫ˜œÌˆVÊivviVÌÃʜvÊ}>∘}Ê ÌœœÊ œ˜}Ê >ÌÊ Ì…iÊ Ãi>\Ê ¼Õi`Ê ˆ˜ÌœÊ ÃÕV…Ê >˜Ê œ«ˆÕ“‡ˆŽiÊ ˆÃ̏iÃØiÃÃÊ œvÊ Û>V>˜Ì]Ê Õ˜Vœ˜scious reverie is this absent-minded youth by the blending cadence of waves with ̅œÕ}…ÌÃ]Ê̅>ÌÊ>Ìʏ>ÃÌʅiʏœÃiÃʅˆÃʈ`i˜ÌˆÌÞ½° 91Ê7…i˜ÊiÝ«œÃi`Ê̜Êi˜Ûiœ«ˆ˜}]ʜVi>˜ˆVÊ installations there is a loosening of spectatorial agency in the process of what Peter "ÃLœÀ˜iÊV>ÃʼVœ˜Ìi“«>̈Ûiʈ““iÀȜ˜½°92Ê/…iÊܜÀŽÊv՘V̈œ˜ÃÊ>ÃÊ>ʼÛi…ˆViʜvÊyˆ}…ÌÊ vÀœ“Ê>VÌÕ>ˆÌÞ]ÊvÀœ“Ê̅iÊÛiÀÞÊÌi“«œÀ>ÊÃÌÀÕVÌÕÀiʜvÊiÝ«iÀˆi˜ViÊ܅ˆV…ʈÌʓÕÃÌÊi˜}>}iÊ ˆvʈÃÊ̜ÊLiʺVœ˜Ìi“«œÀ>ÀÞ»Ê>˜`ʺivviV̈Ûi½»° 93Ê/…iÊ>Û>˜Ì‡}>À`iÊVœ““ˆÌ“i˜ÌÊ̜ʼ>VÌÕ>ˆÌÞ½]Ê ÌœÊ Ì…iÊ …iÀi‡>˜`‡˜œÜÊ œvÊ Ì…iÊ Vˆ˜i“>̈VÊ >««>À>ÌÕÃÊ ˆÃÊ Ì…ÕÃÊ Õ˜`iÀ“ˆ˜i`Ê LÞÊ Ì…iÊ soporific effects of immersive works that do little to enlighten the spectator beyond ̅iʼVՏˆ˜>ÀÞ½94Ê«i>ÃÕÀiÃʜvʓ>ˆ˜ÃÌÀi>“Êvœ``iÀ°Ê
ÃÊʅ>ÛiÊÃÕ}}iÃÌi`]Ê>ÌÊ̅iʜ̅iÀÊ i˜`ʜvÊ̅iÊÃV>i]ÊL>ÀÀ>}iÃʜvÊi>À‡Ã«ˆÌ̈˜}ʘœˆÃiÊ>˜`ÊLˆ˜`ˆ˜}ʏˆ}…ÌÊivviV̈ÛiÞÊiÝVÕ`iÊ Ã«iVÌ>̜ÀÃÊvÀœ“Ê̅iÊܜÀŽ°ÊœÜiÛiÀ]Ê̅iÀiÊ>ÀiÊ>À̈ÃÌÃÊܜÀŽˆ˜}ʈ˜ÊiÝ«>˜`i`ÊVˆ˜i“>Ê Ü…œÊ…>ÛiʓœÀiÊvÀՈÌvՏÞÊiÝ«œˆÌi`Ê̅ÀiiʎiÞÊVœ“«œ˜i˜ÌÃʈ˜Ê̅iÊ>˜>̜“ÞʜvÊVˆ˜i“>]Ê ˜>“iÞʏˆ}…Ì]ÊVœœÕÀÊ>˜`ÊÜ՘`°

LIGHT SIGNALS 7…i˜Êœ«iÀ>̈˜}Ê܈̅ˆ˜Ê̅iÊÃÌ>˜`>À`Ê̜iÀ>˜ViʜvÊۈȜ˜]ʏˆ}…ÌÃʅ>ÛiÊv՘V̈œ˜i`Ê>ÃÊ>Ê means of communication since time immemorial. Installation artists have migrated

EXPANDED CINEMA

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̜Ê̅iÊ}>iÀÞÊ̅iÊÃi“ˆœÃˆÃʜvʏˆ}…Ì]Ê`À>܈˜}ʈ˜Ã«ˆÀ>̈œ˜ÊvÀœ“Ê…ˆÌœ«ÊwÀiÃ]ÊÀiyiVÌi`Ê light signals and Morse code. Their works have incorporated the warning beams of ˆ}…Ì…œÕÃiÃÊ­ …ÀˆÃÊ7>ˆ˜ÜÀˆ}…Ì]Ê/>VˆÌ>Ê i>˜]Ê-ÕÃ>˜Ê/À>˜}“>À®]Ê>ˆÀ«œÀÌÊÀ՘Ü>Þʏˆ}…ÌÃÊ ­À>…>“Ê >À`®]ÊVˆ“>̈Vʈ˜`ˆV>̜ÀÃÊ­ …ÀˆÃÊiˆ}…‡
˜`ÀiÜîÊ>˜`Ê̅iÊi“iÀ}i˜VÞʏˆ}…ÌÃÊ ˆ˜Ê
vÀˆV>˜Ê“ˆ˜iÃÊ­-ÌiÛiÊV+Õii˜®°Ê˜Ê̅iˆÀÊ«>À>Vˆ˜i“>̈V]Ê`iÌ>V…i`ÊVœ˜`ˆÌˆœ˜]ʏˆ}…ÌÃÊ V>˜Ê}i˜iÀ>ÌiʘiÜʓi>˜ˆ˜}ðÊœÀÊiÝ>“«i]ʈ˜ÊLights in the CityÊ­£™™™®Ê
vÀi`œÊ>>ÀÊ converted red lights conventionally associated with love for sale to a social and poˆÌˆV>Ê«ÕÀ«œÃi°Ê/…iÊ>À̈ÃÌÊÀˆ}}i`ÊÕ«Ê>Ê£ää]äää‡Ü>ÌÌÊLi>Vœ˜Êˆ˜Ê̅iÊVÕ«œ>ʜvÊ>ʓ>ÀŽiÌÊ tower in Montreal and linked it to the local shelter for the homeless. Every time a new Vˆi˜ÌÊV>“iʈ˜ÊvœÀÊ̅iʘˆ}…Ì]Ê̅iʏˆ}…Ìʈ˜Ê̅iÊVÕ«œ>ÊÜ>ÃÊÌÀˆ}}iÀi`Ê>˜`ÊL>âi`ʈÌÃÊVÀˆ“Ãœ˜Ê “iÃÃ>}iÊ >VÀœÃÃÊ Ì…iÊ VˆÌÞ°Ê /…ÀœÕ}…Ê >Ê y>}À>˜ÌÊ Vœ˜ÃՓ«Ìˆœ˜Ê œvÊ iiVÌÀˆVˆÌÞ]Ê >>ÀÊ `ÀiÜÊ>ÌÌi˜Ìˆœ˜Ê̜Ê̅iÊ«ˆ}…ÌʜvÊ̅iÊ£x]äääÊ«iœ«iʏˆÛˆ˜}ʜ˜Ê̅iÊÃÌÀiiÌÃ]Ê>ÊVÀˆÃˆÃÊ̅>ÌÊ Ì…iÊVˆÛˆVÊ>Õ̅œÀˆÌˆiÃÊÜiÀiÊ`œˆ˜}ʏˆÌ̏iÊ̜Ê>iۈ>Ìi°Ê/…iÊÃޓLœˆÃ“ÊœvÊ̅iÊÀi`ʏˆ}…ÌÃ]Ê̅iÊ emotional impact of the glowing tower proved more instructive than would a docu“i˜Ì>ÀÞÊiÝ«œÃˆÌˆœ˜ÊœvÊ̅iÊÜVˆ>ÊˆÃÊÃÕvviÀi`ÊLÞÊ̅iÊ«œœÀiÃÌʈ˜Ê >˜>`ˆ>˜ÊÜVˆiÌÞ° A more distinctively paracinematic framework informed Long Film for Ambient LightÊ­£™Çx®ÊLÞÊ
˜Ì…œ˜ÞÊV >]Ê>ÊܜÀŽÊ̅>Ìʈ˜ÛœŽi`Ê̅iÊÌÀ>`ˆÌˆœ˜ÃʜvÊLœÌ…Ê}>iÀÞÊ >˜`ÊVˆ˜i“>]ÊLÕÌÊ`ˆÃ«i˜Ãi`Ê܈̅Ê>Ê̅iÊ«>À>«…iÀ˜>ˆ>ʜvÊw“ÊiÝVi«Ìʏˆ}…Ì°Ê/…iÊ}>iÀÞÊ space was illuminated by day with diffused natural light from a series of semiÃVÀii˜i`Ê܈˜`œÜÃÊ>˜`ÊLÞʘˆ}…ÌÊLÞÊ>ÊL>Àiʏˆ}…ÌÊLՏLÊ܈̅ÊۈÈ̜ÀÃÊVœ“ˆ˜}Ê>˜`Ê}œˆ˜}]Ê ÃÌ>ވ˜}Ê>Ãʏœ˜}Ê>ÃÊ̅iÞÊV…œÃiÊ̜ÊÀi“>ˆ˜Ê¼ˆ˜Ê̅iÊw“½°Ê/…iÊÃÕLiVÌʜvÊ̅iÊw“ÊÜ>ÃÊ̅iÊ }>iÀÞʈÌÃiv]Ê>˜`ʈÌÃÊۈÈ̜ÀÃÊ>VÌi`Ê>ÃÊ̅iÊ«iÀvœÀ“iÀÃÊqÊV>ÃÌÊ>`ÀˆvÌÊ܈̅œÕÌÊ>ÊÃVÀˆ«Ì°Ê In MatchesÊ ­£™Çx®]Ê
˜˜>LiÊ ˆVœÃœ˜Ê ȓˆ>ÀÞÊ ÀiiVÌi`Ê ÃÌ>˜`>À`Ê w“Ê Vœ˜`ˆÌˆœ˜ÃÊ >˜`Ê ÃÕLÃ̈ÌÕÌi`Ê Vœ˜Ûi˜Ìˆœ˜>Ê ˆÕ“ˆ˜>̈œ˜Ê ÜˆÌ…Ê Ì…iÊ “œÃÌÊ ¼«ÀiV>ÀˆœÕÃÊ ˆ}…ÌÊ ÃœÕÀVi½]Ê a match.95Ê/ܜʓi“LiÀÃʜvÊ̅iÊ>Õ`ˆi˜ViÊÜiÀiÊÃՓ“œ˜i`Ê̜ÊÀi>`Ê̅iʼÃVÀˆ«Ì½]Ê̅iÊ À…Þ̅“ÊœvÊ̅iÊ«ˆiViÊLiˆ˜}Ê`iÌiÀ“ˆ˜i`ÊLÞÊ̅iÊ`ÕÀ>̈œ˜ÊœvÊ̅iÊy>ÀiʜvÊi>V…Ê“>ÌV…]Ê Ì…iÊ ÃœiÊ “i>˜ÃÊ œvÊ ˆÕ“ˆ˜>̈˜}Ê Ì…iÊ ÌiÝÌ°Ê ÕVÞÊ ,iޘœ`ÃÊ …>ÃÊ >À}Õi`Ê Ì…>ÌÊ Matches recalls a darker age of softly flickering shadows before electricity rendered them ÃÌ>̈VÊ>˜`ʅ>À`‡i`}i`°Ê/…iʼ՘ÃÌ>LiÊy>“i½Ê>ÃœÊi“Lœ`ˆiÃÊ ˆVœÃœ˜½ÃʘœÌˆœ˜ÊœvʼvÕ}ˆÌˆÛiÊۈȜ˜½]96Êi˜V>«ÃՏ>Ìi`ʈ˜Ê…iÀÊiÛ>˜iÃVi˜ÌÊLÕÌʅˆ}…ÞÊÀiܘ>˜ÌÊiÝ«>˜`i`ÊܜÀŽÃ°Ê >À̈˜Ê Àii`ʈÃÊ>ÊVœ˜Ìi“«œÀ>ÀÞÊiÝ«œ˜i˜ÌʜvÊ̅ˆÃÊÌÀ>`ˆÌˆœ˜]ÊvÕȘ}Ê̅iÊ«>À>Vˆ˜i“>̈VÊ with the space and conventions of the gallery. I have already cited his Lights Going On and Off]ʈ˜ÃÌ>i`ʈ˜Ê>˜Êi“«ÌÞÊ}>iÀÞÊ>ÌÊ/>ÌiÊ ÀˆÌ>ˆ˜Êˆ˜Êœ˜`œ˜]Ê>ÊܜÀŽÊ̅>ÌÊܜ˜Ê him the coveted Turner Prize. This ultra-minimalist work consisted of a simple switching mechanism that did what it said on the tin: switched the lights on and off at regulated intervals. The ultimate contraction of film to the presence or absence œvʏˆ}…Ìʈ˜Ê ˆVœÃœ˜]ÊV >Ê>˜`Ê Àii`ʈÃÊ>À}Õ>LÞÊiµÕˆÛ>i˜ÌÊ̜Ê̅iʓœ`iÀ˜ˆÃÌÊL>˜ŽÊ V>˜Û>ðÊ
Ìʜ˜iʏiÛi]ʈÌÊÀi«ÀiÃi˜ÌÃÊ̅iÊÌ>Õ̜œ}ˆV>Êi˜`Ê}>“iʜvÊVœ˜Vi«ÌÕ>Ê>ÀÌ]Ê>ÌÊ >˜œÌ…iÀÊ̅iÊ«ÕÀÃՈÌʜvÊ>ÊÀi`ÕV̈ÛiÊÃÕLˆ“i]Ê>˜`ʏˆ}…ÌÊ>VVœÀ`ˆ˜}Ê̜Êœi̅iʈÃʼ̅iÊȓ«iÃÌʓœÃÌÊ՘`ˆÛˆ`i`]ʓœÃÌʅœ“œ}i˜œÕÃÊLiˆ˜}Ê̅>ÌÊÜiʎ˜œÜ½° 97 Works that pursue

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the essence of cinema have yet to divest themselves of the final encumbrance of an artwork – the spectator – leaving the light to flicker in its own splendid isolation ­ÃÕÀiÞÊ̅iʘiÝÌʏœ}ˆV>ÊÃÌi«¶®° 98Ê Ûi˜Ê̅iʓœÃÌÊÀi`ÕV̈ÛiʜvÊ«>À>Vˆ˜i“>̈V]ʓˆ˜ˆ“>ˆÃÌʜÀÊVœ˜ÌÀ>VÌi`ÉiÝ«>˜`i`ÊVˆ˜i“>ÊܜÀŽÃ]Ê̅i˜Ê>ÃʘœÜ]ÊÃ̈Ê˜ii`ÃÊ̅iÊëiVÌ>̜À]Ê a participating witness to register the drift of film towards the precipice of its own demise as a separate category of cultural activity – and indeed bear testament to its rescue.

COLOURED LIGHT Pick up any art book and look at the index. No reds, blues or greens. iÀiŽÊ>À“>˜]ÊChroma]Ê£™™x vÊÜiÊÀiÌÕÀ˜ÊvÀœ“Ê̅iÊLÀˆ˜ŽÊœvÊw“ÊiÝ̈˜V̈œ˜Ê>˜`]ÊÌ>Žˆ˜}ʜÕÀÊVÕiÊvÀœ“Ê
vÀi`œÊ>>À]Ê Vœ˜Ãˆ`iÀÊVœœÕÀÊ>ÃÊ>˜œÌ…iÀÊii“i˜Ìʈ˜Ê̅iÊÀi«iÀ̜ˆÀiʜvÊiÝ«>˜`i`ÊVˆ˜i“>]ʈÌÊ>œÜÃÊ ÕÃÊ̜ʫÕÌʜÕÀʓ>««ˆ˜}ʜvÊw“Ê>˜>̜“ÞÊL>VŽÊœ˜ÊÌÀ>VŽ°Ê œœÕÀʏˆŽiʏˆ}…Ì]Ê܅ˆV…ÊVœ˜Ì>ˆ˜ÃÊ Ì…iÊ Ü…œiÊ Ã«iVÌÀÕ“Ê œvÊ …ÕiÃ]Ê …i«ÃÊ ÕÃÊ ÌœÊ ˜i}œÌˆ>ÌiÊ œÕÀÊ i˜ÛˆÀœ˜“i˜Ì]Ê >˜`Ê ˆ`i˜ÌˆvÞÊ >˜`ÊV>ÃÈvÞʜLiVÌðʘʼÀï˜>½Ê«>ˆ˜Ìˆ˜}]Ê̅iÊ“«ÀiÃȜ˜ˆÃÌÃÊLi}>˜Ê̅iÊ«ÀœViÃÃʜvÊ ˆLiÀ>̈˜}ÊVœœÕÀÊvÀœ“ÊœLiVÌÃÊ܅ˆiÊ̅iÊ>ÕۈÃÌÃÊÕÃi`ÊۈLÀ>˜ÌÊVœœÕÀÊ̜ÊÀÕ«ÌÕÀiÊiÛeryday appearances. Matisse is credited with placing colour in the service of pure iÝ«ÀiÃȜ˜Ê >Ì…œÕ}…Ê ̅iÊ …ÕÀV…Ê “ÕÃÌÊ LiÊ >œÜi`Ê ÌœÊ V>ˆ“Ê ̅iÊ `ˆÃ̈˜V̈œ˜Ê œvÊ wÀÃÌÊ iÝ«œˆÌˆ˜}Ê̅iʓÞÃ̈V>Ê«œÜiÀʜvÊÃ>ÌÕÀ>Ìi`ÊVœœÕÀʈ˜ÊˆÌÃÊ`>â⏈˜}ÊÃÌ>ˆ˜i`‡}>ÃÃÊ܈˜dows. Many minimalist artists have separated colours from their association with œLiVÌÃÊ>˜`ÊÀi‡«ÀiÃi˜Ìi`Ê̅i“ʈ˜Ê>Ê«ÕÀiÞʜ«ÌˆV>ÊÀi}ˆÃÌiÀÊV>«>LiʜvÊiˆVˆÌˆ˜}Êi“œÌˆœ˜>]Ê>iÃ̅ïVÊ>˜`ÊiÛi˜ÊÌÀ>˜ÃVi˜`i˜Ì>ÊÃÌ>ÌiÃʜvʓˆ˜`°Ê¼ œœÕÀʈÃÊ̅iʓœÃÌÊ`ˆÃÌ>˜ÌÊ Ì…ˆ˜}Ê̅iÀiʈÃÊvÀœ“ÊܜÀ`ý]99 declared Malcolm Le Grice and in MatrixÊ­£™ÇÎqÓääÈ®]Ê >Ê Ì…Àii‡ÃVÀii˜Ê w“Ê ˆ˜ÃÌ>>̈œ˜]Ê …iÊ iÝ«œÀi`Ê Ì…iÊ >vviV̈ÛiÊ «œÜiÀÊ œvÊ Ì…iÊ Ì…ÀiiÊ «Àˆ“>ÀÞÊ VœœÕÀÃÊ À>˜`œ“ÞÊ `ˆÃÌÀˆLÕÌi`Ê >VÀœÃÃÊ >Ê À>«ˆ`ÞÊ VÞVˆ˜}Ê “>ÌÀˆÝÊ œvÊ ÃµÕ>ÀiÃ°Ê ˜Ê Primary PhaseÊ ­ÓääÈ®]Ê -ˆ“œ˜Ê *>ޘiÊ wi`i`Ê vœÕÀÊ «ÀœiV̜ÀÃÊ ˆ˜Ê >Ê œœ«ˆ˜}]Ê L>ïVÊ study of primary colour relationships in which unfettered chromatic spillage beyond ̅iÊvÀ>“iʜVVÕÀÀi`Ê qÊÀi`Ã]ÊÞiœÜÃÊ>˜`ÊLÕiÃʏiiV…ˆ˜}ʈ˜ÌœÊ ̅iÊ ÃÕÀÀœÕ˜`ˆ˜}Ê>Ài>°Ê *>ޘi½Ãʈ˜ÃÌ>>̈œ˜Êi`}iÃʈ˜ÌœÊ̅iÊ>}iʜvÊ`ˆ}ˆÌ>Ê«ÀœiV̈œ˜Ê>˜`ÊÜ>ÃÊ>˜ÌˆVˆ«>Ìi`ʈ˜Ê ̅iÊ1ÊLÞÊ>˜>œ}ÕiÊۈ`iœÊܜÀŽÃÊLÞÊ̅iÊ>«>˜iÃiÊ>À̈ÃÌʈ˜iœÊ
>Þ>“>}ÕV…ˆ]Ê܅œÊ i“LÀ>Vi`Ê Ì…iÊ Lii`ˆ˜}Ê œvÊ VœœÕÀÊ >ÃÊ >Ê Vœ˜Ã̈ÌṎœ˜>Ê vi>ÌÕÀiÊ œvÊ Ûˆ`iœ]Ê Vœ˜wÀ“ˆ˜}Ê 9ÛiÃʏiˆ˜½ÃÊ>ÃÃiÀ̈œ˜Ê̅>ÌÊVœœÕÀʈÃʈ“«ÀˆÃœ˜i`ÊLÞʏˆ˜i°Ê˜ÊThe CrystalsÊ­£™nή]Ê̅iÊ British composer Brian Eno used upturned monitors emitting coloured light to bathe ÃÌ>}}iÀi`Ê>LÃÌÀ>VÌÊÃÌÀÕVÌÕÀiÃ]ʏˆŽiÊw“Êy>ÌÃʈ˜Ê>Ê ˆÃ˜iÞÊv>˜Ì>ÃÞ°Ê/…iÊÃ>“iÊ>LˆˆÌÞʜvÊ video display units to wash a space with colour is evident in Angela Bulloch’s Z-Point (2001). The artist reduced a scene from Michelangelo Antonioni’s Zabriskie Point

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̜ʈÌÃÊVœ“«œ˜i˜ÌÊVœœÕÀÊ«ˆÝiÃÊLœÜ˜ÊÕ«Ê>ÃÊ>Ê}Àˆ`ʜvÊϜ܏ÞÊV…>˜}ˆ˜}]ÊVœœÕÀi`ʏˆ}…ÌÊ LœÝiÃ°Ê -ÌÀˆ««i`Ê œvÊ Ì…iˆÀÊ ˜>ÀÀ>̈ÛiÊ «ÕÀ«œÃi]Ê Ì…iÃiÊ iÝ«iÀˆi˜Ìˆ>Ê VœœÕÀÊ ÜœÀŽÃÊ iۜŽiÊ Ì…iÊ`ˆââވ˜}ʅ>À“œ˜ˆiÃÊ>˜`ÊVœ˜ÌÀ>ÃÌÃʜvʍ>ââ°ÊiÊÀˆViÊVˆÌiÃÊ>ʏœ˜}ÃÌ>˜`ˆ˜}ÊVœÀÀi뜘`i˜ViÊLiÌÜii˜ÊVœœÕÀÊ>˜`ʓÕÈV]Ê>˜`ʵ՜ÌiÃÊ7>ÃȏÞÊ>˜`ˆ˜ÃŽÞÊ܅œÊÜÕ}…ÌÊÌœÊ iÃÌ>LˆÃ…Ê՘ˆÛiÀÃ>Ê“i>˜ˆ˜}ÃÊvœÀÊVœœÕÀÃ\ʼÛiÀ“ˆˆœ˜ÊÃ̈“Տ>ÌiÃʏˆŽiÊ>Êy>“iÊ°°°ÊŽii˜Ê i“œ˜‡ÞiœÜʅÕÀÌÃÊ̅iÊiÞiÊ>ÃÊ`œiÃÊ>Ê«Àœœ˜}i`Ê>˜`ÊÅÀˆÊLÕ}iʘœÌiÊ̅iÊi>À]Ê>˜`Ê one turns away for relief to blue or green’.100 Following Goethe’s famous 1810 Theory of Colours]Ê>Ê̅iÈÃÊ̅>ÌÊÀ>˜Ži`Ê̅iÊiÝ«iÀˆi˜ViʜvÊVœœÕÀÊ>LœÛiÊ̅iÊÃVˆi˜Viʜvʜ«ÌˆVÃ]Ê >˜`ˆ˜ÃŽÞÊÃÌÕ`ˆi`Ê̅iÊivviVÌÃʜvÊÃޘ>iÃ̅iÈ>ʏˆ˜Žˆ˜}ÊVœœÕÀÊ̜ÊÓi]ÊÌi“«iÀ>ÌÕÀiÊ >˜`ÊiëiVˆ>ÞÊ̜ÊÜ՘`°ÊiÊÀˆViʅˆ“ÃivʜLÃiÀÛi`Ê̅>ÌÊ̅iÊVœ“«ÕÌiÀ]Ê̅ÀœÕ}…Ê܅ˆV…Ê «>ÃÃiÃʓœÃÌÊVœ˜Ìi“«œÀ>ÀÞʈ“>}iÀÞ]ʈÃÊiÃÃi˜Ìˆ>ÞÊÃޘ>iÃ̅ïVʈ˜Ê̅>ÌʈÌÊV>˜ÊVœ`iÊ Ì…iÊÃ>“iÊÃiÌʜvʘՓLiÀÃÊ>ÃÊiˆÌ…iÀÊVœœÕÀʜÀÊÜ՘`°Ê˜Ê̅iÊ܈`iÀÊVՏÌÕÀi]ÊL>VŽÊ>˜`Ê Ü…ˆÌiʜÀÊ>ÊÀi`ÕVi`Ê«>iÌÌiÊVœ˜˜œÌiÃÊiˆÌ…iÀʼ̈“iÊ«>Ã̽]ʓi>˜V…œÞʜÀʼÃiÀˆœÕÃÊVœ˜Ìi˜Ì½]Ê>˜`ʈÃʓÕV…Êv>ۜÕÀi`ÊLÞÊ̅iÊVÕÀÀi˜ÌÊyœÜiÀˆ˜}ʜvʼ œÀ`ˆVÊ œˆÀ½°101 It is principally w“Ê>˜`ÊÌiiۈȜ˜Ê>ˆ“i`Ê>ÌÊV…ˆ`Ài˜]Ê>˜`Ê>`ÛiÀ̈Ș}Ê̅>ÌÊiÝ«œˆÌÃÊÃ>ÌÕÀ>Ìi`]ÊVœ˜trasting colour. The visual impact of primaries is also used to enhance the appeal œvÊVœ˜ÃՓiÀÊ«Àœ`ÕVÌÃ]ʓÕÈVÊۈ`iœÃ]ÊVœ““iÀVˆ>Ã]Ê«Àœ}À>““iʈ`i˜ÌÃÊ>˜`ÊëœÀÌÃÊ events. Even cricketers have abandoned white. David Batchelor maintains that such promiscuous use of colour was outlawed in the modernist period of high art when the grey fields of minimalism and conceptualism prevailed.102Ê
ÃÊ>ÊÀiÃՏÌ]Ê >ÌV…iœÀÊ>ÃÃiÀÌÃ]ÊVœœÕÀʅ>ÃÊLii˜ÊVœ`i`ʈ˜Ê̅iÊ`ˆÃVœÕÀÃiÊ œvÊ>ÀÌÊ>ÃʎˆÌÃV…]Ê`iV>`i˜ÌÊ>˜`ÊÃÕLÛiÀÈÛi]Ê>ÃÜVˆ>Ìi`Ê܈̅Ê̅iÊLœ`Þ]Ê܈̅ʅœ“œÃiÝÕ>ˆÌÞÊ>˜`Ê̅iÊvi“ˆ˜ˆ˜i°Êi˜˜i̅Ê
˜}iÀ]Êëi>Žˆ˜}ʈ˜Êœ˜`œ˜Êˆ˜ÊÓää™]Ê`iV>Ài`Ê̅>ÌÊ ¼ÕVˆviÀʈÃÊ̅iÊ«>ÌÀœ˜ÊÃ>ˆ˜ÌʜvÊVœœÕÀ½]103 confirming the association of colour with the `iÈÀiÃʜvÊ̅iÊyiÅÊ>˜`Ê>Êv>ÊvÀœ“Ê}À>Vi°Ê7œ“i˜Ê>À̈ÃÌÃÊ>ÃœÊiÝ«œˆÌi`Ê̅iÊVՏÌÕÀ>Ê VœÀÀi뜘`i˜ViʜvÊ`iۈ>˜VÞÊ>˜`ÊVœœÕÀ°Ê-ˆ˜ViÊ̅iÊ£™ÈäÃ]Ê9>ޜˆÊÕÃ>“>ʅ>ÃÊVœÛiÀi`ʅiÀÃivʈ˜Ê«œŽ>Ê`œÌÃ]Ê«Ài`œ“ˆ˜>˜ÌÞÊÀi`]Ê«ˆ˜ŽÊ>˜`Ê܅ˆÌi]Ê>˜`ÊV>“œÕy>}i`ʅiÀÊ body in environments that were similarly tinted. In her film Self ObliterationÊ­£™ÈÇ®]Ê ÕÃ>“>ÊvÕÃi`ʅiÀʜܘÊLœ`ÞÊ܈̅Ê̅>ÌʜvÊ>ÊÌÀii]Ê>ʅœÀÃi]Ê>ÊV>ÌÊ>˜`Ê>ÊÃÌÀi>“ÊLÞÊÃV>Ìtering them indiscriminately with her trademark dots. Red dominates her colour «>iÌÌi]Êiۈ`i˜Ìʈ˜Ê̅iÊLœœ`ÊÀi`ʜvʅiÀÊVœÃÌՓiÊ>˜`ʈ˜Ê̅iÊLii`ˆ˜}ÊVˆÀVՏ>ÀÊÅ>«iÃÊ Ã…iÊÀii>Ãi`ʈ˜ÌœÊ̅iÊÃÌÀi>“°Ê >ˆÀiÊ ˆÃ…œ«Ê…>Ãʈ˜ÌiÀ«ÀiÌi`ÊÕÃ>“>½ÃÊܜÀŽÊ>ÃÊ>ÊÀiverence to Freud’s theories of the death drive and the desire to fuse with inanimate œLiVÌÃÊ>˜`Ê̅ÕÃÊÀiÌÕÀ˜Ê̜Ê̅iÊi>À̅°ÊœÜiÛiÀ]ÊVœœÕÀʈ˜ÊÕÃ>“>½ÃÊܜÀŽÊVœÕ`Ê>ÃœÊLiÊ read as a symptom of a persistently phallocentric culture. Femininity is red seeing Ài`]Ê>˜`ÊLœÀÀœÜˆ˜}Ê>À“>˜½ÃÊVœœÕÀÊVœ`ˆ˜}]ʈ˜ÊÕÃ>“>]ÊÀi`ʈÃʼ̅iÊ`>Õ}…ÌiÀʜvÊ>}}ÀiÃȜ˜]ʓœÌ…iÀʜvÊall colours’.104Ê-Õ«iÀwVˆ>Þ]Ê̅iÊÀi`ʓ>ÞÊÃii“Ê̜ÊÃiÀÛiÊ>ÊÃÕÀv>ViÊ œÀ˜>“i˜Ì>̈œ˜ÆʅœÜiÛiÀ]ÊÀi`ʅiÀiÊ>ÃœÊÈ}˜>ÃÊiÝViÃÃ]Ê`iˆÀˆÕ“]Ê`>˜}iÀ]Ê̅iÊi`}iʜvÊ “>`˜iÃðÊ/…iÊ>À̈Ã̽ÃÊLœ`Þʼ…œ`ÃÊ̅iÊ«ÃÞV…i`iˆVÊVœœÀ½105Ê̅>ÌʘœÌʜ˜ÞÊiÝ«>˜`ÃÊ̅iÊ mind but is also the red of menstrual blood with its folkloric taboos derived from the

192

INSTALLATION AND THE MOVING IMAGE

Yayoi Kusama, Self-Obliteration (1967), 16mm, 23 min. Courtesy of the artist. © Yayoi Kusama.

ancient belief that menstruating women could blight crops and cause livestock to “ˆÃV>ÀÀްʘÊ̅iÊÕ̜«ˆ>˜ÊâiˆÌ}iˆÃÌʜvÊ̅iÊ£™ÈäÃ]ÊÕÃ>“>ÊÜ>Ã]Ê̅ÀœÕ}…Ê…iÀÊ>ÀÌ]ʜ«Ìˆ˜}Ê œÕÌʜvÊ>˜ÊiµÕ>ÞÊ>ˆi˜>̈˜}ʓœ`iÀ˜ÊܜÀ`ʈ˜Ê܅ˆV…Ê̅iÊ
“iÀˆV>˜ÊÃÕLiVÌÊÜ>Ãʼ“iV…>nized and standardized’.106Ê ˜ÃÌi>`]Ê Ã…iÊ Ì՘i`Ê …iÀÃivÊ ˆ˜ÌœÊ >Ê Õ˜ˆÛiÀÃiÊ œvÊ VœœÕÀ]Ê >Ê «>Viʈ˜Ê܅ˆV…ÊÅiÊVœÕ`Ê>V…ˆiÛiʓÞÃ̈VÊ՘ˆœ˜Ê܈̅Ê>ÊœvÊVÀi>̈œ˜Ê>˜`]Ê}>À“i˜Ìi`ʈ˜Ê …iÀʓ>ÌÀˆÝʜvÊ`œÌÃ]ʏœÃiʅiÀÃivʼˆ˜Ê̅iÊiÛiÀ‡>`Û>˜Vˆ˜}ÊÃÌÀi>“ÊœvÊiÌiÀ˜ˆÌÞ½°107

SINKING INTO RED, YELLOW AND BLUE

œœÕÀÊ i˜>LiÃÊ ÕÃ>“>Ê ÌœÊ iÀ>ÃiÊ …iÀÊ LœÕ˜`>ÀˆiÃ]Ê V>“œÕy>}iÊ …iÀÊ “i˜Ì>Ê ÌÕÀ“œˆÊ >˜`Ê “iÌÊ ˆ˜ÌœÊ ̅iÊ >˜`ÃV>«i°Ê œÜiÛiÀ]Ê Ü…i˜Ê VœœÕÀÊ ˆÃÊ Àii>Ãi`Ê vÀœ“Ê Ài«ÀiÃi˜Ì>̈œ˜Ê >Ìœ}i̅iÀÊ >˜`Ê iÃV>«iÃÊ Ì…iÊ Ài}ˆ“i˜Ì>̈œ˜Ê œvÊ Ì…iÊ w“Ê vÀ>“i]Ê œÀÊ Ì…iÊ “œÀiÊ VœÀ`œ˜i`]Ê`ˆÃ«>އÃÌޏiÊvœÀ“Êœvʈ˜ÃÌ>>̈œ˜]ʈÌÊV>˜Ê`ˆÃ«>ViÊÀi>ˆÌÞÊ>˜`Ê՘`iÀ“ˆ˜iÊ Ì…iÊV>ÃÈwV>̈œ˜ÊœvÊ̅ˆ˜}Ã]Ê̅iʜÀˆi˜Ì>̈œ˜ÊœvʜLiVÌÃʈ˜Êë>ViÊ>˜`]Ê>ÃÊiÊÀˆViʜLÃiÀÛi`]ÊëiVÌ>̜ÀÃÊw˜`Ê̅i“ÃiÛiÃʼÀi뜘`ˆ˜}Ê̜Ê>ÊÃi˜Ã>̈œ˜ÊœÕÌÈ`iÊ̅iÊwi`ʜvÊ meaning’.108 In Wedgework IIIÊ ­£™È™®]Ê >“iÃÊ /ÕÀÀiÊ VÀi>Ìi`Ê Ü…>ÌÊ Ãii“i`Ê ÌœÊ LiÊ >Ê Üi`}i‡Ã…>«i`ÊÜ>Ê̅>Ì]ʈ˜Êv>VÌ]ÊVœ˜ÃˆÃÌi`ʜvÊ«ÀœiVÌi`ÊVœœÕÀi`ʏˆ}…Ì]ʈ˜Ê̅ˆÃÊV>ÃiÊ a soft lapis blue. The illusion was so convincing that a woman leaned against the ¼Ü>½Ê>˜`ÊviÊ̅ÀœÕ}…ʈÌ]ʏ>ÌiÀÊÌÀވ˜}Ê̜ÊÃÕiÊ̅iÊ>À̈ÃÌÊvœÀÊ̅iÊÌÀ>Փ>ÊÅiÊ>i}i`ÞÊÃÕvviÀi`°Ê/ÕÀÀiÊVœ˜ViˆÛiÃʜvʅˆÃÊÀï˜>Êˆ˜ÃÌ>>̈œ˜ÃÊ>ÃʼœLiVÌÃʜvÊ«iÀVi«Ìˆœ˜½Ê>˜`Ê̅iÊ colour fields he creates are designed to highlight the workings of vision and colour

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«iÀVi«Ìˆœ˜]Ê>˜`Ê>Ãʈ˜Ê>Ê̅iÃiÊVœœÕÀ‡Ã>ÌÕÀ>Ìi`Êi˜ÛˆÀœ˜“i˜ÌÃ]Ê̅iÞʓ>ŽiÊÕÃÊ>Ü>ÀiÊ that the eye is only a messenger – seeing is the work of the brain. Turrell’s installations show how the eye can confuse the other senses and play ÌÀˆVŽÃʜ˜Ê̅iÊLÀ>ˆ˜]Ê>ÃÊÜiÊ>ÃœÊÃ>Üʈ˜ÊÀi>̈œ˜Ê̜ÊRetinal Memory Volume. If it is possiLiÊ̜ÊVÀi>ÌiÊ>vÌiÀˆ“>}iÃÊLÞʈ“«Àˆ˜Ìˆ˜}ʜLiVÌÃʜ˜ÌœÊ¼Ì…iÊÀï˜>ÊÃVÀii˜½109 with bright ˆ}…ÌÃ]Ê>À̈ÃÌÃÊV>˜Ê>ÃœÊ}i˜iÀ>Ìiʼ˜œ˜‡ÛiÀˆ`ˆV>ÊVœœÕÀÊiÝ«iÀˆi˜Viý110 with immersive VœœÕÀÊ«ÀœiV̈œ˜Ã]Ê>ÃÊÕÀÀ>ÞÊ-“ˆÌ…Ê…>Ãʈ˜`ˆV>Ìi`°111Ê
VVœÀ`ˆ˜}Ê̜Ê-“ˆÌ…]Ê̅iʼV…ˆ“iÀˆV>½ÊVœœÕÀÊLÕiÊ܈Ê>««i>ÀʈvÊ>ÊÃÕLiVÌÊÃÌ>ÀiÃÊ>ÌÊ>ÊÞiœÜÊëœÌÊvœÀÊÌÜi˜ÌÞÊÃiVœ˜`ÃÊ >˜`Ê̅i˜ÊœœŽÃʈ˜ÌœÊL>VŽ°Ê/…iÊLÕiÊ̅>ÌʈÃÊ}i˜iÀ>Ìi`]ÊÃÌÀˆV̏ÞÊëi>Žˆ˜}Ê`œiÃʘœÌÊi݈ÃÌÊ œÕÌÈ`iÊ̅iÊۈÃÕ>ÊVœÀÌiÝÊ̅>ÌÊVÀi>Ìi`ʈ̰Ê*>ՏÊ-…>ÀˆÌýÃʜ«ÌˆV>ÊܜÀŽÃÊ܈̅Ê̅iˆÀÊÃÌÀœLˆ˜}Ê VœœÕÀÊ ÃiµÕi˜ViÃÊ LՈ`Ê Ü…>ÌÊ …iÊ V>i`Ê >˜Ê ¼>VÌÕ>Ê VœœÀ‡Ã«>Vi½112 in the mind’s iÞi]Ê>˜ÊiµÕ>ÞʼV…ˆ“iÀˆV>½ÊV…Àœ“>̈VÊi˜ÛˆÀœ˜“i˜ÌÊ̅>ÌÊ`œiÃʘœÌÊVœÀÀi뜘`Ê̜Ê̅iÊ VœœÕÀÃʜvʈ˜`ˆÛˆ`Õ>ÊvÀ>“iÃʜvÊ̅iÊw“]ÊLÕÌÊ̅>Ìʼ>ÀˆÃiÃÊvÀœ“ÊœÕÀÊۈÃÕ>ÊÃÞÃÌi“½113 ܅i˜ÊÜiÊ>ÀiÊiÝ«œÃi`Ê̜Ê̅iˆÀÊVœ“Lˆ˜i`ÊivviVÌ°Ê/…iÊÃVÀii˜ÊˆÃʘœÊœ˜}iÀÊ܅iÀiÊ̅iÊw“Ê takes place; it is made manifest in the interaction of sense data and cognitive processes that together create an indissoluble continuum. This integrative spectatorial `ޘ>“ˆVʈÃʜLÃiÀÛ>Liʈ˜Ê
˜ˆÃ…Ê>«œœÀ½ÃÊAt the Edge of the World IIÊ­£™™n®]ʈ˜Ê܅ˆV…Ê the underside of a large dome was coated with a perfectly even layer of powdery «ˆ}“i˜Ì]Ê>ÊÀÕÃÃiÌʏi>˜ˆ˜}Ê̜Ü>À`ÃÊÀi`°Ê/…iÊ«ÕÀiÊwi`ʜvÊVœœÕÀÊ`ˆÃ܏Ûi`Ê̅iÊi`}iÃÊ œvÊ̅iÊë>Vi]Êiˆ“ˆ˜>Ìi`Ê>Ê«œˆ˜ÌÃʜvʜÀˆi˜Ì>̈œ˜Ê>˜`Ê̜ÊÜ>ŽÊ՘`iÀÊ̅iÊÃÌÀÕVÌÕÀiÊ>˜`Ê œœŽÊÕ«ÊviÌʏˆŽiÊLiˆ˜}ÊÃÕVŽi`ʈ˜ÌœÊ˜œÌ…ˆ˜}˜iÃðÊ>«œœÀʅ>ÃÊ`iV>Ài`Ê̅>ÌʅiÊ܈ÅiÃÊ …ˆÃÊܜÀŽÊ̜ÊiˆVˆÌʼ̅iÊvi>ÀʜvʜLˆÛˆœ˜½Ê>˜`ʈÌʈÃʜ˜Þʈ˜Ê…ˆÃÊ«>À>Vˆ˜i“>̈V]ÊÃVՏ«ÌÕÀ>Êi˜ÛˆÀœ˜“i˜ÌÃÊ̅>ÌÊ̅iÊ>À̈ÃÌÊÌÀՏÞÊ>V…ˆiÛiÃʅˆÃÊ>ˆ“°Ê˜Ê…ˆÃÊۈ`iœÊ«ÀœiV̈œ˜ÊWounds and Absent ObjectsÊ­£™™n®]ÊwÀÃÌÊÃii˜Ê>ÃÊ>ʼ/6Ê-VՏ«ÌÕÀi½Ê­ …>˜˜iÊ{]Ê1]Ê£™™È®]Ê>«œœÀÊ wÃÊ̅iÊvÀ>“iÊ܈̅Ê>ÊÜvÌÊL>˜Žï˜}ʜvÊVœœÕÀÊ̅>ÌÊ}À>`Õ>Þ]ʜÛiÀÊÃiÛi˜Ê“ˆ˜ÕÌiÃ]Ê ÌÀ>ÛiÀÃiÃÊ>ÊëiVÌÀՓÊvÀœ“ÊL>VŽÊ̅ÀœÕ}…ÊLÕiÊ̜ÊÀi`ÊqÊVœœÕÀÃ]Ê >ۈ`Ê >ÀÀiÌÌÊÌiÃÊ ÕÃ]Ê̅>ÌÊ>Àiʼv>ÀÊLÀˆ}…ÌiÀÊ̅>˜ÊiÛiÀÞ`>ÞÊ«Àœ}À>““ˆ˜}ÊÕÃÕ>ÞÊ>œÜý°114 The centre of the screen becomes at times an area in which the differential shifts in colour re܏Ûiʈ˜ÌœÊ>ÊVˆÀVՏ>ÀÊÅ>«iÊÃÕ}}iÃ̈ÛiʜvÊ>Ê`>ÀŽÊ…œi]Ê>Ê}œLiʜÀÊ>Êň““iÀˆ˜}ÊÀi`Ê Ã՘°Ê˜Ê̅ˆÃÊ«ÀœiV̈œ˜]Ê>Ãʈ˜Ê>Ê…ˆÃÊܜÀŽ]Ê>«œœÀÊLÀˆ˜}ÃʜÕÌʈ˜ÊVœœÕÀʈÌÃʼܜ˜`iÀvÕÊ µÕ>ˆÌÞʜvÊLiVœ“ˆ˜}ÊvՏÊ>˜`Ê܏ˆ`Ê>˜`ÊÀˆV…½]ʈÌÃÊ«…ÞÈV>ˆÌÞ]ʈ˜ÊÌÕÀ˜Ê…>ۈ˜}ʼ>˜ÊivviVÌÊ on our physical being’.115Ê/…iÊ̅iÀ>«iṎVÊivviVÌʜvÊVœœÕÀ]ʼV…Àœ“œÌ…iÀ>«Þ½]ʅ>ÃÊLii˜Ê Ž˜œÜ˜ÊȘViÊ
ÀˆÃ̜̏iÊ>˜`ÊVœœÕÀÊV>˜Êˆ˜`ii`ÊVÀi>ÌiÊ̅iÊÃi˜ÃÕ>]ʜVi>˜ˆVÊviiˆ˜}ÃÊ`iscribed by Anton Ehrenzweig in The Hidden Order of ArtÊ­£™ÈÇ®Ê>˜`ÊiÝi“«ˆwi`ʈ˜Ê̅iÊ colour field paintings of Mark Rothko.116 The Danish artist Olafur Eliasson similarly iÝ«œˆÌÃÊ̅iʓ>}ˆV>]ʅ>ÕVˆ˜>̜ÀÞʈ“«>VÌʜvÊVœœÕÀ°Ê˜Ê…ˆÃÊWeather ProjectÊ­Óää{®]Ê he suffused the Turbine Hall at Tate Modern in a beatific golden light; spectators lay œ˜Ê̅iÊyœœÀÊ>˜`ÊL>̅i`ʈ˜ÊˆÌÃÊ}œÜ°Ê˜ÊܜÀŽÃÊLÞÊ>«œœÀ]Ê ˆ>ÃܘÊ>˜`Ê/ÕÀÀi]ÊëiVÌ>̜ÀÃʅ>ÛiÊ>˜Êˆ““iÀÈÛi]ÊÃÕLˆ“iÊiÝ«iÀˆi˜Vi]ʼ>ʓÕÌiÊi˜VœÕ˜ÌiÀÊ܈̅Ê>Ê̅>ÌÊiÝVii`ÃÊ œÕÀÊVœ“«Ài…i˜Ãˆœ˜½]117 with echoes of the divinity in Christian belief and the occult

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INSTALLATION AND THE MOVING IMAGE

world that the Theosophist Annie Besant and the poet Baudelaire believed could be reached through colour.118ÊœÜiÛiÀ]ʈ˜Ê>«œœÀ½ÃÊ«ÀœiV̈œ˜ÊWounds and Absent Objects]Ê̅iÊ>˜>ÀV…ˆVÊiÝ«>˜ÃiÃʜvÊVœœÕÀi`ʏˆ}…ÌÊ>ÀiÊÀiˆ˜i`ʈ˜]ÊVˆÀVՓÃVÀˆLi`ÊLÞÊ>Ê `iw˜i`ÊLœÀ`iÀ]ʜ˜iÊ̅>Ìʓ>ÀŽÃʜvvÊVˆ˜i“>̈VʈÕȜ˜ÊvÀœ“Ê̅iÊÀi>°Ê/…iÊÀiÃՏÌʈÃÊ>Ê ÜœÀŽÊ̅>ÌʈÃÊVœÃiÀÊ̜Ê>˜ÊœLiVÌʜvÊVœ˜Ìi“«>̈œ˜Ê>˜`ÊÛi˜iÀ>̈œ˜ÊÃÕV…Ê>ÃÊ>ÊÀiˆ}ˆœÕÃÊ icon or the perpetual light in a sacristy that indicates the presence of God. When ̅iÊw“ˆVÊVœ“«œ˜i˜ÌʜvÊVœœÕÀʈÃÊÀi՘ˆÌi`Ê܈̅Ê̅iÊ>««>À>ÌÕÃʜvÊVˆ˜i“>]ÊiÛi˜Êˆ˜Ê̅iÊ LÀœ>`iÃÌʜvÊ«ÀœiV̈œ˜ÃÊ>˜`ʓœÃÌʓˆ˜ˆ“>ˆÃÌʜvÊV…Àœ“>̈VÊܜÀŽÃ]Ê`ˆÃÌ>˜ViʈÃÊVÀi>Ìi`Ê vœÀÊ̅iÊëiVÌ>̜À°Ê/…ˆÃÊÀiyi݈ÛiÊii“i˜ÌʘœÜÊ>œÜÃÊvœÀÊ̅iʈ˜ÌÀœ`ÕV̈œ˜ÊœvÊ̅œÕ}…Ì]Ê vœÀÊ̅iÊܜÀŽˆ˜}ÃʜvÊ̅iʈ˜ÌiiVÌÊ>˜`]ʈ˜Ê7ˆˆ>“Ê,>L>˜¼ÃÊܜÀ`Ã]ʼ>ÊÃiv‡>Ü>Ài˜iÃÃ]Ê>˜Ê interrogation of the faculties of perception’.119Ê*ÕÀiÞʈ““iÀÈÛiÊVœœÕÀʈ˜ÃÌ>>̈œ˜Ã]Ê Ü…i̅iÀʈ˜Ìi˜Ìˆœ˜>ÞʜÀʘœÌ]ÊÌi˜`Ê̜ÊVˆÀVՓÛi˜ÌÊVœ˜ÃVˆœÕÃʓi˜Ì>Ê«ÀœViÃȘ}° Ê ÜˆÊ i˜`Ê Ì…ˆÃÊ iÝVÕÀȜ˜Ê ˆ˜ÌœÊ VœœÕÀÊ ˆ˜Ê iÝ«>˜`i`Ê Vˆ˜i“>Ê ÜˆÌ…Ê iÀiŽÊ >À“>˜½ÃÊ BlueÊ­£™™Î®]ÊwÀÃÌÊLÀœ>`V>ÃÌʜ˜ÊÌiiۈȜ˜Ê>˜`ÊÃÕLÃiµÕi˜ÌÞʈ˜ÃÌ>i`Ê>ÃÊ>Ê}>iÀÞÊ «ÀœiV̈œ˜°Ê /…iÊ ÜœÀŽÊ Vœ“Lˆ˜iÃÊ Ã«œŽi˜Ê ÌiÝÌÊ ÜˆÌ…Ê >˜Ê iÝ«>˜ÃiÊ œvÊ ˆ““iÀÈÛi]Ê V…Àœ“>̈Vʈ˜vœÀ“>̈œ˜]Ê>Ê՘ˆvœÀ“]ÊÃ>ÌÕÀ>Ìi`ÊLÕi]Ê>“œÃÌÊ̅iÊۈLÀ>˜ÌÊLÕiʜvÊ9ÛiÃʏiˆ˜½ÃÊ famous performances in the 1960s.120Ê >À“>˜]Ê Ü…œÊ LÞÊ Ì…ˆÃÊ Ìˆ“iÊ Ü>ÃÊ `ވ˜}Ê œvÊ
 -‡Ài>Ìi`ÊVœ“«ˆV>̈œ˜Ã]ʓ>ÀÀˆi`ʅˆÃʓœ˜œV…Àœ“>̈VÊۈÃÕ>Êwi`Ê̜Ê>ÊۜˆVi‡œÛiÀÊ narration in which horrific details of his medical condition alternate with current afv>ˆÀÃ]Ê Ã˜>ÌV…iÃÊ œvÊ «œiÌÀÞ]Ê Ài“ˆ˜ˆÃVi˜ViÃÊ >˜`Ê iÀÕ`ˆÌiÊ “ÕȘ}ÃÊ œ˜Ê ̅iÊ VœœÕÀÊ LÕi°Ê 7iʏi>À˜Ê̅>Ìʼ̅iÊÀœÞ>ÊLÕiʜvÊ̅iÊ}>ÀÌiÀÊÀœLiÃÊQˆÃRÊ`ii«ÊVœL>ÌÊLÕi½]Ê̅>Ìʈ˜Ê̅iÊ ÃˆÝÌii˜Ì…ÊVi˜ÌÕÀÞÊ̅iÊÕÃiʜvʈ˜`ˆ}œÊÜ>ÃÊvœÀLˆ``i˜Êˆ˜ÊÀ>˜ViÊ>˜`Ê̅>ÌÊ`ÕÀˆ˜}Ê>˜ÊiÞiÊ iÝ>“ˆ˜>̈œ˜]Ê>À“>˜ÊÃ>ÜʼLÕiÊy>Åiý]Ê«ÀiÃ>}ˆ˜}Ê̅iʏœÃÃʜvʅˆÃÊiÞiÈ}…ÌÊqʼ“ÞÊۈsion will never come back’.121Ê ÕiÊvœÀÊܓiʈÃÊ̅iÊVœœÕÀʜvʅi>Ûi˜]Ê̅iÊ«œÀÌ>Ê̜Ê̅iÊ “ÞÃÌiÀˆiÃʜvÊLiޜ˜`ÆÊvœÀʜ̅iÀÃ]ÊLÕiÊVœ˜ÕÀiÃÊ̅iÊ`œ“>ˆ˜ÊœvÊ`Ài>“ÃÊ>˜`ÊvœÀÊÃ̈Ê œÌ…iÀÃ]Ê̅iÊ՘}ˆ>˜Ê¼LÕiʜvʘˆ}…̽ʈ˜Ê܅ˆV…Ê̅iÊÌÀœÕLi`ʓˆ˜`Ê Ãˆ˜}ÃÊ̅iÊLÕiðÊœÀÊ >À“>˜]Ê̅iʓœ˜œV…Àœ“>̈VÊLÕiÊÃVÀii˜Ê܈̅ʈÌÃÊȘ}iÊVœœÕÀÊiÝÌÀ>VÌi`ÊvÀœ“Ê̅iÊ vՏÊëiVÌÀՓʜvviÀi`ÊLÞÊVœœÕÀÊw“]Ê«ÀœÛˆ`iÃÊ>ÊÀii>ÃiÊvÀœ“ʼ̅iÊ«>˜`i“œ˜ˆÕ“ÊœvÊ ˆ“>}i½]Ê>œÜˆ˜}Ê̅iÊۈiÜiÀÊ̜ÊvœÀ“Ê…iÀʜܘʫˆVÌÕÀiʈ˜Ê̅iʓˆ˜`½ÃÊiÞi]Ê}Ո`i`ÊLÞÊ̅iÊ V>«ÌˆÛ>̈˜}ÊiœµÕi˜ViʜvÊ>À“>˜½ÃÊ«ÀœÃi°Ê

THE OTHER SIDE OF THE SCREEN Cinema is occurring when one looks at screens, not through them. *>ՏÊ-…>ÀˆÌÃ]Ê£™È™ /…iÊ `iÃ̈˜>̈œ˜Ê œvÊ Ì…iÊ «ÀœiV̈œ˜Ê Li>“Ê ˆÃÊ Ì…iÊ ÃÕÀv>ViÊ œvÊ Ì…iÊ ÃVÀii˜Ê vÀœ“Ê ܅ˆV…Ê i“iÀ}iÃÊ ¼>Ê Vœ˜yˆVÌÊ œvÊ “iÃÃ>}iý122Ê ˆ˜ÛˆÌˆ˜}Ê >Ê Ài>`ˆ˜}Ê œvÊ LœÌ…Ê ÀiViÃÈÛiÊ Ã«>Vi]Ê >Ê Üˆ˜`œÜʜ˜ÌœÊ>˜œÌ…iÀÊÀi>ˆÌÞ]Ê>˜`Ê>ʓ>ÌiÀˆ>ÊœLÃÌ>ViÊ̜ʏˆ}…Ì]Ê>Ê`œÕLiÊÀi>`ˆ˜}Ê̅>ÌÊ

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Richard Wollheim considered to be a source of spectatorial pleasure.123 We have already seen how the screen has been the focus of avant-garde artists’ critical interest. This has led to abstract works that refuse illusionism and assert the phe˜œ“i˜œœ}ˆV>Ê«ÀiÃi˜ViʜvÊ̅iÊÃVÀii˜]ʓՏ̈«iÊÃVÀii˜Êˆ˜ÃÌ>>̈œ˜ÃÊ̅>ÌÊLÀi>ŽÊ̅iÊ Õ˜ˆ`ˆÀiV̈œ˜>ÊœÀˆi˜Ì>̈œ˜ÊœvÊ̅iÊ}>âi]Ê̅iÊÕÃiʜvÊ>ÌiÀ˜>̈ÛiÊÃVÀii˜Ãʈ˜Ê̅iÊvœÀ“ÊœvÊ œLiVÌÃ]Ê >ÀV…ˆÌiVÌÕÀ>Ê vi>ÌÕÀiÃÊ œÀÊ Lœ`ˆiÃ]Ê >˜`Ê «>À>Vˆ˜i“>̈VÊ ÜœÀŽÃÊ Ì…>ÌÊ `ˆÃ«i˜ÃiÊ with the screen altogether. Grahame Weinbren has argued that we are condemned ̜ʈ˜ÌiÀ«ÀiÌÊ̅iʓœÛˆ˜}ʈ“>}iʼ>ÃÊVœœÕÀÃÊV…>˜}ˆ˜}ʜ˜Ê>Êy>ÌÊ«>˜i½]Ê>˜`Ê̅iÊÃÕÀv>ViÊ ˆÌÃiv]ʜVVÕ`i`ÊLÞÊ̅iʜ«ÌˆV>Ê`>˜ViʜvÊ̅iʓˆ“ïVʈ“>}i]ʼˆÃʘœÌÊ>Û>ˆ>LiÊ>ÃÊ>˜Êii“i˜ÌʜvÊ̅iÊۈÃÕ>ÊiÝ«iÀˆi˜Vi½°124 Even the non-representational shapes favoured by >LÃÌÀ>VÌÊw““>ŽiÀÃÊÀi“>ˆ˜Ê¼`i«ˆV̈œ˜ÃʜvÊ>Êy>ÌÊ«>˜iʈ˜Ê>ÊVˆ˜i“>̈VÊë>Vi]ʘœÌÊ̅iÊ flat plane of the material screen surface’.125Ê/…iÊÃVÀii˜]Ê>Ì…œÕ}…ʘœÌʈ““i`ˆ>ÌiÞÊ «iÀViˆÛ>LiÊ̅ÀœÕ}…Ê̅iÊΈ˜ÊœvÊ̅iÊw“ˆVʈ“>}i]ʈÃʘœ˜i̅iiÃÃÊȓՏÌ>˜iœÕÏÞÊ«>ÀÌÊ of our understanding of the condition of film. I would argue that when the screen surfaces are manipulated as they are in “>˜ÞÊiÝ«>˜`i`ÊVˆ˜i“>̈VÊܜÀŽÃ]ʜÀÊ܅i˜Ê̅iÞÊ>ÀiʓՏ̈«ˆi`Ê>˜`ʜ˜Ê̅iʓœÛiÊ>ÃÊ ˆ˜Ê/ˆ“Êi>`½ÃÊܜÀŽ]Ê̅iÊw“ˆVʈ“>}iÊÌÕÀ˜Ãʈ˜ÌœÊÃÕÀv>ViÊ`iVœÀ>̈œ˜ÊvœÀÊ̅iÊ`À>“>ʜvÊ Ì…iÊÃVÀii˜ÊˆÌÃiv°Ê
Ê`ˆÀiVÌÊ«…ÞÈV>ÊVœ˜vÀœ˜Ì>̈œ˜Ê܈̅Ê̅iÊÃVÀii˜ÊÜ>ÃÊiÝ«iÀˆi˜Vi`Ê in Bill Viola’s Slowly Turning Narrative (1992) in which a two-sided screen rotated ˆŽiÊ>Ê}ˆ>˜ÌÊÀiۜÛˆ˜}Ê`œœÀʈ˜Ê̅iÊVi˜ÌÀiʜvÊ̅iÊ}>iÀÞ°Ê"˜ÌœÊœ˜iÊÈ`iÊÜ>ÃÊ«ÀœiVÌi`Ê >Êۈ`iœÊ“œ˜Ì>}iʜvÊÃiµÕi˜ViÃÊVœ“«ÀˆÃˆ˜}Ê̅iÊ>À̈Ã̽ÃÊv>Vi]Ê>ʓiÀÀއ}œ‡ÀœÕ˜`Ê>˜`Ê >Ê Vœ˜y>}À>̈œ˜Ê Vœ˜ÃՓˆ˜}Ê v>À“Ê LՈ`ˆ˜}Ã]Ê Ü…ˆiÊ Ì…iÊ œÌ…iÀÊ Ãˆ`iÊ œvÊ Ì…iÊ ÃVÀii˜Ê Ü>ÃÊ i˜ÌˆÀiÞʓˆÀÀœÀi`]ÊÀiyiV̈˜}Ê̅iÊÀœœ“]Ê̅iÊÀivÀ>VÌi`ʓœÛˆ˜}ʈ“>}iÃÊ>˜`Ê>˜ÞÊëiVtators who ventured into the space. The brisk pace of the turning screen made it ˜iViÃÃ>ÀÞÊ̜ÊÌ>ŽiÊ>V̈œ˜Ê̜Ê>ۜˆ`ÊLiˆ˜}ÊÃÜi«ÌÊիʈ˜ÊˆÌÃÊ«>̅°ÊiÀi]Ê̅iʓ>ÌiÀˆ>ˆÌÞÊ œvÊ̅iÊÃVÀii˜Ê«Ài`œ“ˆ˜>Ìi`]ÊiˆVˆÌˆ˜}Ê>˜Êi“Lœ`ˆi`]Êyˆ}…ÌÊÀi뜘Ãiʈ˜Ê̅iÊv>ViʜvÊ̅iÊ «œÌi˜Ìˆ>Ê`>˜}iÀÊ̜ʏˆviÊ>˜`ʏˆ“L°Ê/…iÊ`ˆÃœÀˆi˜Ìˆ˜}ÊivviVÌʜvÊ̅iÊۜÀÌiÝʜvÊÃV>ÌÌiÀi`Ê ˆ“>}iÃÊÃiÀÛi`Ê̜ʈ˜VÀi>Ãiʜ˜i½ÃÊ>˜ÝˆiÌÞ]Ê>˜`ÊÊvœÕ˜`ʈÌÊ>`ۈÃ>LiÊ̜ʏœVŽÊˆ˜ÌœÊ>ÊÀi>`ˆ˜}ʜvÊ̅iÊÃVÀii˜Ê>ÃÊ>ʓœÛˆ˜}ʜLiVÌÊÀ>̅iÀÊ̅>˜ÊLiVœ“iʓiÓiÀˆÃi`ÊLÞʈÌÃÊۈÃÕ>Ê `ˆÃ«>Þ°Ê 7…i˜Ê ̅iÊ ˆ“>}iÊ ÃÕ««œÀÌÊ …>ÃÊ `ˆÃViÀ˜ˆLi]Ê Ì…Àii‡`ˆ“i˜Ãˆœ˜>Ê Vœ˜ÌœÕÀÃÊ œÀÊ Ü…i˜ÊLœ`ˆiÃÊ>ÀiÊÃÕLÃ̈ÌÕÌi`ÊvœÀÊÃVÀii˜Ã]Ê̅iÀiÊÌ>ŽiÃÊ«>ViÊ>ÊۈÀÌÕ>ÞÊȓՏÌ>˜iœÕÃÊ Ài>`ˆ˜}ʜvÊ̅iÊ«…ÞÈV>ÊvœÀ“Ê>˜`Ê̅iÊ«ÀœiVÌi`ʈ“>}iÊ̅>ÌÊÀ՘ÃÊ>VÀœÃÃʈÌÃÊÃÕÀv>Vi°Ê
Ê chiastic fusion ensues in which the image threatens but cannot destroy the solidity œvÊ̅iÊLœ`ÞÉÃVÀii˜]Ê>˜Êi˜ÌˆÌÞÊ̅>ÌÊ«ÀœÛˆ`iÃÊ>˜Ê՘ÃÌ>LiÊvœÕ˜`>̈œ˜ÊvœÀÊ̅iʈ“>}i]Ê muscling through its flickering deceptions. The human form denies the traditional `œ“ˆ˜>˜ViʜvÊ̅iÊw“ˆVʈÕȜ˜]ÊÜi>Àˆ˜}ʈÌʏˆŽiÊ>ʓ>˜ÌiÊ>˜`ÊvœÀVˆ˜}ʈÌʈ˜ÌœÊ«>À̘iÀship with the real. Even narrative cinema consistently reiterates the dimensions of the screen by ˆ˜Ìˆ“>̈˜}Ê iÝ«>˜ÃiÃÊ Liޜ˜`Ê ˆÌÃÊ LœÕ˜`>ÀˆiÃ]Ê >LiˆÌÊ wV̈œ˜>Ê ë>ViÃÊ œvÊ iÃi܅iÀi°Ê

>“iÀ>ÃÊ«>˜Ê̜ʫÀœ}ÀiÃÈÛiÞÊÀiÛi>Ê>ÊÃVi˜iʈ˜ÊœÛiÀ>««ˆ˜}ÊvÀ>}“i˜ÌÃ]Ê܅ˆV…Ê>ÀiÊ

196

INSTALLATION AND THE MOVING IMAGE

then pieced back together by the spectator from recollections of what went before. /…ˆÃÊÀiVœÕÀÃiÊ̜ʓi“œÀÞʈÃʅœÜÊʈ˜ÌiÀ«ÀiÌÊ>Þ>Ê iÀi˜½ÃÊv>“œÕÃÊiÝ«ˆV>̈œ˜ÊœvÊw“Ê ëiVÌ>̜Àň«\ʼ
ÃÊÜiÊÜ>ÌV…Ê>Êw“]Ê̅iÊVœ˜Ìˆ˜ÕœÕÃÊ>VÌʜvÊÀiVœ}˜ˆÌˆœ˜Êˆ˜Ê܅ˆV…ÊÜiÊ>ÀiÊ involved is like a strip of memory unrolling beneath the images of the film itself’.126 /…iʼ`œÕLiÊiÝ«œÃÕÀi½ÊœvÊ܅>ÌÊÜiÊ>ÀiÊ܈̘iÃȘ}ʘœÜÊ>˜`Ê܅>ÌÊÜiÊÀiV>ÊvÀœ“Ê̅iÊ story so far acquires further layers of memory as the present film triggers recollec̈œ˜ÃʜvÊw“ÃÊÜiʅ>ÛiÊÃii˜ÊLivœÀi]ÊÃiÌ̈˜}ÊÕ«ÊiÝ«iVÌ>̈œ˜ÃʜvÊ܅>Ìʓˆ}…ÌÊVœ“iÊÌœÊ pass. The stretching of time through memory finds a correspondence in the spatial iÝ«>˜Ãˆœ˜Ê̅>ÌÊ
˜`ÀjÊ >∘ÊViiLÀ>Ìi`ʈ˜Ê̅iÊ>ÀÌʜvʓœÛˆ˜}Ê«ˆVÌÕÀiðÊ
ÃÊÜiÊÃ>Üʈ˜Ê V…>«ÌiÀÊÌܜ]Ê >∘Ê`iw˜i`Êw“Ê>ÃÊ>ʼVi˜ÌÀˆvÕ}>½Ê“i`ˆÕ“ʈ˜Ê܅ˆV…Ê̅iÊvÀ>“i`ÊۈiÜÊ ¼Ãii“ÃÊ ÌœÊ LiÊ «>ÀÌÊ œvÊ Ãœ“i̅ˆ˜}Ê «Àœœ˜}i`Ê ˆ˜`iw˜ˆÌiÞÊ ˆ˜ÌœÊ ̅iÊ Õ˜ˆÛiÀÃi½°127 The movement of the camera itself and the dynamism of the life unfolding before it both Vœ˜ÌÀˆLÕÌiÊ̜Ê̅ˆÃÊÃi˜ÃiʜvÊLœÕ˜`iÃÃʜvv‡ÃVÀii˜Êë>Vi°Ê˜Êw“ʘœˆÀ]ÊÅ>`œÜÃÊ`ˆÀiVÌÊ Ì…iÊ}>âiÊ>˜`Ê̅iʈ“>}ˆ˜>̈œ˜Ê̜Ü>À`ÃÊ՘̜`Ê̅Ài>ÌÃʏœœ“ˆ˜}ʍÕÃÌʜÕÌÈ`iÊ̅iʈ““i`ˆ>ÌiÊwi`ʜvÊۈȜ˜]Ê>˜`ÊÜ՘`Ê̜œÊ…>ÃÊ«>Þi`ʈÌÃÊ«>ÀÌʈ˜ÊiÝÌi˜`ˆ˜}Ê̅iÊÌiÀÀˆÌœÀÞÊ of film beyond the limits of the frame. The audio track allows viewers to imagine ܅>ÌÊ ˆÛiÊÞiÀÊ`iw˜iÃÊ>Ãʼ̅iÊë>ViʜvÊ̅iÊܜÀ`ʘœÌÊvÀ>“i`½128 – a car approachˆ˜}]Ê>˜Êˆ““ˆ˜i˜ÌÊ>ÌÌ>VŽÊLÞʘ`ˆ>˜Ã]Ê>ÊÜ>ÌiÀv>ÊV>ÃV>`ˆ˜}ʍÕÃÌʜÛiÀÊ̅iʅˆ°Ê˜ÊToute une NuitÊ­£™nÓ®]Ê̅iÊ i}ˆ>˜Êw““>ŽiÀÊ …>˜Ì>Ê
VŽiÀ“>˜ÊܜÛiÊ>ÊÜ՘`ÃV>«iʜÕÌʜvÊ œÛiÀ…i>À`ÊVœ˜ÛiÀÃ>̈œ˜Ã]ÊvœœÌÃÌi«ÃÊ>˜`ÊÏ>““ˆ˜}Ê`œœÀÃ]Ê>˜Êi˜Ãi“LiʜvÊ>Õ`ˆÌœÀÞÊ ˆ˜vœÀ“>̈œ˜Ê̅>ÌÊVœ˜ÕÀi`ÊÕ«Ê̅iÊÃՈÌiʜvʅՓ>˜Ê`À>“>ÃÊ«>ވ˜}ʜÕÌʈ˜Ê>ÊLœVŽÊœvÊ flats without leaving the one room revealed to vision by the camera. 7…iÀiÊ
VŽiÀ“>˜ÊiÝÌi˜`i`Ê̅iʈÕÜÀÞÊë>ViʜÕÌÈ`iÊ̅iÊvÀ>“i]Ê>˜`Ê6ˆœ>Ê>LœˆÃ…i`Ê̅iÊ`ˆÃ̈˜V̈œ˜ÊLiÌÜii˜Ê̅iÊvÀœ˜ÌÊ>˜`ÊL>VŽÊœvÊ̅iÊÃVÀii˜]Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ6
 Ê

8*",/ÊÀiÌÕÀ˜i`Ê̜Ê>Ê̅i>ÌÀˆV>]ÊvÀœ˜Ì>Ê«ÀiÃi˜Ì>̈œ˜ÊLÕÌÊ>V̈Û>Ìi`Ê̅iʼ`i>`½Êë>ViÊ behind the screen while simultaneously asserting the status of the screen as an obiV̰ʘʅiÀÊw“Ê«iÀvœÀ“>˜ViÊCuttingÊ­£™ÈÇqÈn®]Ê Ý«œÀÌÊÕÃi`Ê>ʎ˜ˆviÊ̜ÊVÕÌʜÕÌʜvÊ̅iÊ physical screen a string of words that resolved into Marshall McLuhan’s pronounce“i˜Ì]ʼ̅iÊVœ˜Ìi˜ÌʜvÊÜÀˆÌˆ˜}ʈÃÊëiiV…½°Ê˜ÊGhost RevÊ­£™Èx®]Ê >ÀœiiÊ-V…˜ii“>˜˜Ê similarly hacked through the screen to reveal another screen that was itself then VÕÌÊiÝ«œÃˆ˜}Ê>ÊÌiÀ“ˆ˜>Ê«ÀœiV̈œ˜Ê«>˜i°ÊœÌÌvÀˆi`Ê-V…i““iÀÊ«iÀ«iÌÀ>Ìi`Ê>˜œÌ…iÀÊ knife attack on the screen in The Time for ACTION has Come (1969). The audience Li…i`Ê>Êw“ʈ˜Ê܅ˆV…Ê̅iÊ>À̈ÃÌ]Ê̜Ṏ˜}Ê>ʎ˜ˆvi]Ê>««Àœ>V…i`Ê̅iÊV>“iÀ>Ê܅ˆÃÌÊÀi>`ing a political tract. As the filmed representation of the artist took on monumental «Àœ«œÀ̈œ˜Ãʈ˜ÊVœÃi‡Õ«]Ê̅iÊ>À̈ÃÌʅˆ“Ãiv]Ê՘̈Ê˜œÜÊVœ˜Vi>i`ÊLi…ˆ˜`Ê̅iÊÃVÀii˜]Ê “>`iÊ>˜Êˆ˜VˆÃˆœ˜]ÊÃÌi««i`Ê̅ÀœÕ}…Ê̅iÊ}>ÅÊ>˜`Êi˜ÌiÀi`Ê̅iÊ«ÀœiV̈œ˜Êë>ViÊ>``ÀiÃȘ}Ê̅iÊ>Õ`ˆi˜ViÊ܈̅Ê̅iÊÃ>“iÊ«œi“ˆV>ÊëiiV…]ʜ«Ìˆ“ˆÃ̈V>ÞÊi˜VœÕÀ>}ˆ˜}Ê Ì…i“Ê̜ÊLiVœ“iÊ«œˆÌˆV>ÞÊ>V̈ÛiÊ>˜`ÊV…>˜}iÊ̅iÊܜÀ`°Ê
ÃÊÜiÊÃ>Üʈ˜ÊV…>«ÌiÀÊvœÕÀ]Ê *iÌiÀÊ >“«ÕÃÊ>ÃœÊ«>Þi`ʜ˜Ê̅iÊÌÀ>˜Ã«>Ài˜VÞÊ>˜`Ê܏ˆ`ˆÌÞʜvÊ̅iÊÃVÀii˜]ʓ>Žˆ˜}ʈÌÊ

EXPANDED CINEMA

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difficult to locate the image surface. In Three Transitions]Ê܈̅Ê̅iʅi«ÊœvÊÌܜÊۈ`iœÊ V>“iÀ>ÃÊ>˜`Ê>ÊۈȜ˜Ê“ˆÝiÀ]Ê >“«ÕÃÊ`œÕLi`ʅˆÃʈ“>}iÊ>˜`ʏˆŽiÊ ˆœ˜ÞÃÕÃÊi“iÀ}ˆ˜}Ê vÀœ“Ê…ˆÃÊv>̅iÀ½ÃÊ̅ˆ}…]ÊVœ˜ÌÀˆÛi`Ê̜ÊVÕÌÊ̅ÀœÕ}…Ê…ˆÃʜܘÊL>VŽ]Ê̜ÊLiÊÀiLœÀ˜Êˆ˜ÌœÊ>Êv>Vsimile of himself. Chris Meigh-Andrews emphasised the spatialisation of the video Ãi̇իÊ>˜`ʈ˜ÌiÀ«ÀiÌi`Ê̅iÊܜÀŽÊˆ˜ÊÌiÀ“ÃʜvÊ̅iʼVœ“«iÝÊVœi݈ÃÌi˜ViʜvÊ«…ÞÈV>Ê>˜`Ê virtual spaces manifest via video technology’.129 Campus was working on a screen ܈̅ˆ˜Ê>ÊÃVÀii˜Ê>˜`Ê̅iÊ}>ÃÇvÀœ˜Ìi`Êۈ`iœÊ“œ˜ˆÌœÀÊÀi“>ˆ˜i`ʈ˜Ì>VÌ]ÊÌiÃ̈vވ˜}Ê̜Ê̅iÊ remoteness of the analogue video signal relative to the physical immediacy and tac̈ˆÌÞʜvÊViÕœˆ`Êw“Ê>˜`ʈÌÃÊÃVÀii˜]ÊÜÊivviV̈ÛiÞÊ>ÌÌ>VŽi`ÊLÞÊ 8*",/]Ê-V…i““iÀÊ and Schneemann. The shifting of attention from the infinite recession of the image to the physical ë>ViÊLi…ˆ˜`Ê>˜`ʈ˜ÊvÀœ˜ÌʜvÊ̅iÊÃVÀii˜]Ê>˜`Ê̅iʈ˜ÃˆÃÌi˜Viʜ˜Ê̅iÊ«…i˜œ“i˜œœ}ÞÊ œvÊ̅iÊy>Ì]ÊvÀ>}ˆiÊ«>À̈̈œ˜Êœ˜Ê܅ˆV…ÊÜʓÕV…Ê“>}ˆVʈÃÊi˜>VÌi`]ÊÜ>ÃÊ>ÃœÊ`ˆÃViÀ˜ˆLiÊ ˆ˜ÊܜÀŽÃÊLÞÊi˜Ê>VœLÃ]ÊLÕÌʈ˜ÛœÛi`ʘœÊ«…ÞÈV>Ê`>“>}iÊ̜Ê̅iÊÃVÀii˜°Ê7ˆÌ…Ê…ˆÃÊ 1960s Apparition Theater of New York]Ê>VœLÃÊÃÌ>}i`Ê>ÊÃiÀˆiÃʜvÊiÝ«>˜`i`ÊVˆ˜i“>̈VÊ iÛi˜ÌÃÊ Ì…>ÌÊ >V̈Û>Ìi`Ê >Ê ̅ÀiiÊ «>˜iÃÊ Vœ˜VÕÀÀi˜ÌÞ]Ê vœÀiÊ >˜`Ê >vÌ]Ê >˜`Ê Ì…iÊ «ÀœiV̈œ˜Ê “i“LÀ>˜iÊ ˆ˜Ê LiÌÜii˜°Ê ˜ÛœŽˆ˜}Ê >Û>˜iÃiÊ Ã…>`œÜÊ «Õ««iÌÀÞ]Ê >VœLÃÊ L>VŽˆÌÊ a group of performers behind the screen casting shadow plays onto its posterior surface. The frieze of enigmatic black shapes interacted with superimposed filmic ˆ“>}iÃÊ«ÀœiVÌi`ʜ˜ÌœÊ̅iÊÃVÀii˜ÊvÀœ“ʈ˜ÊvÀœ˜Ì°130 The live elements synchronised ܈̅Ê̅iÊ«Ài‡ÀiVœÀ`i`Ê>˜`Ê̅iÊܜÀŽÊ}iÃÌÕÀi`Ê̜Ü>À`ÃÊ>ʓiï˜}ʜvÊÌi“«œÀ>ˆÌˆiÃ]Ê >˜`Ê >Ê ÌÀ>˜Ã>V̈œ˜Ê LiÌÜii˜Ê ̅iÊ Ài>Ê >˜`Ê Ì…iÊ Ãˆ“Տ>Ìi`]Ê Ì…iÊ iÝ«œÃˆÌœÀÞÊ >˜`Ê Ì…iÊ >ÕÈÛi°Ê
ÌÊ̅iÊÃ>“iÊ̈“i]Ê̅iÊܜÀŽÊ«>Þi`ʜ˜Ê̅iÊ«…ÞÈV>Ê«ÀiÃi˜ViʜvÊ̅iÊÃVÀii˜Ê >˜`Ê̅iÊë>ViÃʈÌÊ`i“>ÀV>Ìi`]Ê>V̈ÛiÊwi`ÃÊ̅>ÌÊVœ˜Ûi˜Ìˆœ˜>ÞÊܜՏ`ÊLiÊiVˆ«Ãi`ÊLÞÊ the filmic image. Game PiecesÊ­Óääή]Ê>ʓœÀiÊÀiVi˜ÌÊܜÀŽÊLÞÊ̅iʘ`ˆ>˜Ê>À̈ÃÌÊ >ˆ˜ˆÊ Malani demonstrated a similar delight in the magic of shadow play. In the path of ÃiÛiÀ>Ê«ÀœiV̈œ˜Ã]ÊÅiʅ՘}ÊÈÝÊÀœÌ>̈˜}Êޏ>ÀÊVޏˆ˜`iÀÃÊ«ˆiÀVi`Ê܈̅Ê̅iÊÅ>«iÃÊ œvʓÞÃ̈V>Êw}ÕÀiÃ]Ê܅ˆV…Ê>VÌi`Ê>ÃÊÃÌ>}ˆ˜}Ê«œÃÌÃ]ÊwÌiÀˆ˜}Ê̅iÊ«Àˆ“>ÀÞÊ«ÀœiV̈œ˜ÃÊ and combining colour with shadows. The images drifted in counter-flowing layers >VÀœÃÃÊiÛiÀÞÊ>Û>ˆ>LiÊÃÕÀv>Viʈ˜Ê̅iÊ}>iÀÞ°Ê/…iÊ«ÀœiV̈œ˜ÃÊVœ˜ÃˆÃÌi`ʜvÊvœœÌ>}iÊ of the nuclear mushroom clouds over Nagasaki and Hiroshima and as the cylinders ÀœÌ>Ìi`]Ê}œ`ÃÊ>˜`Ê`i“œ˜ÃÊVՏi`ÊvÀœ“Ê̅iʈ˜`ÕÊ«>˜Ì…iœ˜Ê`ÀˆvÌi`Ê̅ÀœÕ}…Ê̅iÊw“ÃÊ like impotent shadows unable to prevent the cataclysmic consequences of human destructiveness in the modern age. 7…iÀiÊ 6ˆœ>½ÃÊ ÀœÌ>̈˜}Ê ÃVÀii˜]Ê >˜`Ê >>˜ˆ½ÃÊ Vi˜ÌÀˆvÕ}>Ê ëÀ>ÞÊ œvÊ ˆ“>}iÃ]Ê `ˆÃ«>Vi`Ê Ì…iÊ vÀœ˜Ì>Ê ۈi܈˜}Ê «œÃˆÌˆœ˜Ê œvÊ Vœ˜Ûi˜Ìˆœ˜>Ê Vˆ˜i“>̈VÊ «ÀœiV̈œ˜]Ê Ì…iÊ Canadian Michael Snow compelled viewers to circumnavigate a suspended screen in œÀ`iÀÊ̜ÊVœ˜Ìi“«>ÌiʈÌÃÊÌܜÊ̅i“>̈V>ÞÊ>˜`Ê«…ÞÈV>ÞÊVœ˜˜iVÌi`Êw“ÃÊ«ÀœiVÌi`Ê vÀœ˜Ì>Þ]ʜ˜iʜ˜Êi>V…ÊÈ`i°Ê˜ÊTwo Sides to Every StoryÊ­£™Ç{®]ÊLœÌ…ÊÃÕÀv>ViÃʜvÊ̅iÊ ÃVÀii˜Ê`ˆÃ«>Þi`ÊvœœÌ>}iʜvÊ>˜Ê՘Ž˜œÜ˜Êܜ“>˜Êˆ˜Ê܅ˆÌiÊw“i`]ÊvÀœ˜ÌÊ>˜`ÊL>VŽ]ÊLÞÊ

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ÌܜÊÃi«>À>ÌiÊV>“iÀ>ðÊ7…i˜Ê̅iÊÌܜÊۈiÜÃÊÜiÀiÊ«ÀœiVÌi`ʜ˜ÌœÊ̅iˆÀÊVœÀÀi뜘`ˆ˜}Ê Ãˆ`iÃʜvÊ̅iÊÃVÀii˜]Ê̅iÊ>Õ`ˆi˜ViÊÜ>ÃʜLˆ}i`Ê̜Ê>ÌiÀ˜>ÌiÊLiÌÜii˜Ê̅i“Ê̜Ê}À>Ã«Ê Ì…iÊܜÀŽÊ>ÃÊ>Ê܅œi°Ê Ûi˜Ê̅iÊLiÃÌʜvÊ̅i“ÊVœÕ`ʘœÌÊLiʈ˜ÊÌܜʫ>ViÃÊ>Ìʜ˜Vi]Ê>˜`Ê>ÃÊ -˜œÜʅˆ“ÃivÊÀi“>ÀŽi`]Ê̅iÊܜÀŽÊ«ÀiÛi˜Ìi`Ê̜Ì>Ê¼“>ÃÌiÀÞʜvÊ̅iÊۈÃÕ>Ê“>ÌiÀˆ>½°131 7…ˆÃÌÊ̅iÊ«ÀœiV̈œ˜Ê`Õ«ˆV>Ìi`Ê̅iʜÀˆi˜Ì>̈œ˜ÊœvÊii“i˜ÌÃÊ̅>ÌÊÜiÀiÊ>ÌÊ«>Þʈ˜Ê̅iÊ w“ˆ˜}ʜvÊ̅iÊܜÀŽ]Ê̅iÀiLÞÊLÀˆ˜}ˆ˜}Ê«Ài‡Ê>˜`Ê«œÃ̇«Àœ`ÕV̈œ˜Êˆ˜ÌœÊVœÃiÀÊ>ˆ}˜“i˜ÌÊ ÜˆÌ…Êi݅ˆLˆÌˆœ˜]Ê-˜œÜÊÀi“>ˆ˜i`ÊVi˜ÌÀ>ÞÊVœ˜ViÀ˜i`Ê܈̅Ê̅iÊÃVՏ«ÌÕÀ>Ê«ÀiÃi˜ViʜvÊ Ì…iÊÃVÀii˜°Ê
VVœÀ`ˆ˜}Ê̜Ê>ÌiÊœ˜`œV…]Ê̅iÊܜÀŽÊ>À̈VՏ>Ìi`Ê̅iÊ`iw˜ˆ˜}Ê«>À>`œÝʜvÊ w“]Ê̅>ÌʈÌÊV>˜ÊȓՏ>ÌiÊ}Ài>ÌÊ`i«Ì…ÊLÞʓi>˜ÃʜvÊ>ʓi“LÀ>˜iÊ̅>ÌÊ-˜œÜÊÀi“ˆ˜`ÃÊÕÃÊ ˆÃʼÌÀՏÞ]ÊÛiÀÞ]ÊÛiÀÞÊ̅ˆ˜½°132 ÞÊw˜>ÊiÝ>“«iʜvÊÃVÀii˜‡«>Þʈ˜ÊiÝ«>˜`i`ÊVˆ˜i“>ʈÃÊ6
 Ê 8*",/½Ãʈ˜v>“œÕÃÊ TOUCH CINEMA (1968–71) in which her body doubled as screen and image. EXPORT VœÛiÀi`ʅiÀÊLÀi>ÃÌÃʈ˜Ê>ÊõÕ>ÀiÊLœÝʏˆŽiÊ>ʓˆ˜ˆÊVˆ˜i“>ÊVœ“«iÌiÊ܈̅ÊVÕÀÌ>ˆ˜ÃÊ̅>ÌÊ …>`Ê̜ÊLiÊ«ÕÅi`Ê>È`iÊ̜Ê}>ˆ˜Ê>VViÃÃÊ̜Ê̅iʼˆ“>}i½°Ê6i˜ÌÕÀˆ˜}ʜ˜ÌœÊ̅iÊÃÌÀiiÌÃʜvÊ Û>ÀˆœÕÃÊVˆÌˆiÃ]Ê 8*",/ʈ˜ÛˆÌi`Ê«>ÃÃiÀÃLÞÊ̜ÊÀi>V…ʈ˜Ê>˜`ÊviiÊ̅iÊÃVÀii˜‡ˆ“>}i]ʅiÀÊ bare chest – but only for a proscribed number of seconds rigorously monitored by the artist herself armed with a stopwatch.133 EXPORT reversed the dominance of visuality in film and the basic condition of illusionism whereby you can look but not touch

VALIE EXPORT, TAPP und TASTKINO/TOUCH CINEMA (1968). Courtesy of the artist.

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>˜`Ê>œÜi`ÊëiVÌ>̜ÀÃÊ̜Ê`œÊ܅>Ìʓ>˜Þʓˆ}…Ìʅ>ÛiÊ`Ài>“i`ʜv]ÊLÕÌÊÅiÊȓՏÌ>˜iœÕÏÞÊ`i«ÀˆÛi`Ê̅i“ÊœvÊ̅iÊ«i>ÃÕÀiÃʜvÊÃVœ«œ«…ˆˆ>ÆÊ̅iÞÊVœÕ`Ê̜ÕV…]ÊLÕÌʘœÌʏœœŽ°Ê ˜Ê>ÕÀ>ÊՏÛiÞ½ÃÊÌiÀ“Ã]Ê 8*",/Ê>ÃœÊ¼V>ÃÌÀ>Ìi`Ê̅iÊ}>âi½ÊLÞʏœœŽˆ˜}ÊÃÌÀ>ˆ}…ÌÊL>VŽÊ ˆ˜ÌœÊ i>V…Ê «>À̈Vˆ«>˜Ì½ÃÊ iÞiÃ]Ê iÝ«œÃˆ˜}Ê Ì…iˆÀÊ ÛœÞiÕÀˆÃ̈VÊ `iÈÀi°Ê ˜Ê Vˆ˜i“>]Ê Ãˆ}…ÌÊ ˆÃÊ ˆ˜ÛiÃÌi`Ê܈̅ʅ>«ÌˆVʵÕ>ˆÌˆiÃ]Ê̅iʅ>«ÌˆVÊLiˆ˜}Ê܅>ÌʈiÃÊ iiÕâiÊ`iw˜i`Ê>ÃÊ̅iÊ “œ“i˜ÌÊ܅i˜Ê¼Ãˆ}…ÌÊ`ˆÃVœÛiÀÃʈ˜ÊˆÌÃivÊ>Êv՘V̈œ˜ÊœvÊ̜ÕV…ˆ˜}Ê̅>ÌÊLiœ˜}ÃÊ̜ʈÌÊ>˜`Ê to it alone’.134Ê
ÃÊ̅iʼœœŽ½Ê…>ÃÊLii˜Ê՘`iÀÃ̜œ`]ʅˆÃ̜ÀˆV>Þ]Ê̜ÊLiÊ>ʓ>iÊ«ÀˆÛˆi}i]Ê the denial of its primacy through the resistance of the body has meant that TOUCH CINEMAÊÜ>ÃÊ܈`iÞʈ˜ÌiÀ«ÀiÌi`Ê>ÃÊ>Êvi“ˆ˜ˆÃÌÊVÀˆÌˆµÕi°ÊœÜiÛiÀ]Ê܅ˆiÊ̅iÊÃiÝÕ>ÊœLiV̈wV>̈œ˜Ê œvÊ Ì…iÊ vi“>iÊ Lœ`ÞÊ ˆ˜Ê “>ˆ˜ÃÌÀi>“Ê w“Ê Ü>ÃÊ …iÀÊ “>œÀÊ Ì>À}iÌ]Ê 8*",/Ê Ü>ÃÊ>ÃœÊ`À>܈˜}Ê>˜>œ}ˆiÃÊLiÌÜii˜ÊΈ˜Ê>˜`Ê̅iÊÃVÀii˜]ÊLœÌ…ÊœvÊ܅ˆV…]Ê>VVœÀ`ˆ˜}Ê ÌœÊ>ÕÀ>Ê1°Ê>ÀŽÃÊ>Àiʼˆ“«ÀiÃȜ˜>LiÊ>˜`ÊVœ˜`ÕV̈ÛiÊ°°°ÊÌ>V̈iÊ>˜`ÊVœ˜Ì>}ˆœÕý°135

8*",/ʓ>ÞÊ>ÃœÊ…>ÛiÊ>V…ˆiÛi`ʈ˜ÊiÝ«>˜`i`ÊVˆ˜i“>Ê Õ˜V>˜Ê7…ˆÌi½ÃÊՏ̈“>ÌiÊ>VVœ>`iʜvʼ`i}Àii‡âiÀœ½ÊVˆ˜i“>°136Ê-VÀii˜Ê>˜`ʈ“>}iÊLiV>“iʜ˜i]ʈ˜`ˆÛˆÃˆLi]Ê>˜`Ê̅iÊ ÜœÀŽÊV>˜ÊLiʼÃii˜½]ʘœÌʈ˜Ê̅iÊ«œˆÌˆV>ÞÊÛiÝi`ÊÀi}ˆ“iʜvÊÈ}…Ì]ÊLÕÌʈ˜Ê̅iʈ“>}ˆ˜>̈œ˜Ê `ˆÀiVÌi`ÊLÞÊ̅iÊw˜}iÀÃ]ÊLÞÊ̅iÊÃi˜ÃiʜvÊ̜ÕV…]Ê>ÃÊÜiÊ>ÃÊLÞÊ̅iÊiÝVˆÌi`ʘiÕÀ>Ê“iÃsages answering the call from other parts of the body.

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Gene Youngblood (1970) Expanded Cinema. New York: Dutton. William Raban has also discovered the term in writings by Carolee Schneemann from the same year. i˜iÊ9œÕ˜}Lœœ`Ê­£™Çä®]ʜ«°ÊVˆÌ°]Ê«°Êx{° -iiÊ̅iÊÀ>˜}iʜvʈ˜ÌiÀ«ÀiÌ>̈œ˜ÃʜvÊ̅iÊÌiÀ“Ê>˜`Ê`iw˜ˆÌˆœ˜ÃʜvÊ̅iÊ>V̈ۈÌÞʈ˜Ê
°Ê°Ê,iiÃ]Ê Õ˜V>˜Ê 7…ˆÌi]Ê -ÌiÛi˜Ê >Ê >˜`Ê >ۈ`Ê ÕÀ̈ÃÊ ­i`Ã®Ê ­Ó䣣®Ê Expanded Cinema: Art, Performance, Film°Êœ˜`œ˜\Ê/>Ìi°Ê-iiÊ Õ˜V>˜Ê7…ˆÌi½ÃʅˆÃ̜ÀˆV>Ê“>«ÊvœÀÊ̅iʼŽiÞÊVœœÀ`ˆ˜>ÌiýʜvÊ iÝ«>˜`i`ÊVˆ˜i“>Ê>ÌÊ̅iÊvÀœ˜ÌʜvÊ̅iÊLœœŽÆÊvœÀÊ6
 Ê 8*",/]ÊÃiiÊ«°ÊÓ™ä° œÀÊ>˜ÊiÝÌi˜ÃˆÛiÊ`ˆÃVÕÃȜ˜ÊœvÊ*œˆÃ…Ê"«i˜ÊœÀ“Êw“Ã]ÊÃiiÊ>Ý>ʘ`i`Ê ˆ˜i“>\Ê Ý«>˜`i`Ê,i>ˆÌÞ½]ʈ˜Ê
°Ê°Ê,iiÃ]Ê Õ˜V>˜Ê7…ˆÌi]Ê Steven Ball and David Curtis (eds) (2011) Expanded Cinema: Art, Performance, Film. London: Tate. p. 291. /œ˜ÞÊ œ˜À>`]Ê>ÃÊ>LœÛi° -iiÊi˜iۈiÛiÊ9ÕiÊ­Óä£{®Ê¼ ˆ˜i“>ʈ““i“œÀˆ>\ʺ *, »Ê>˜`Ê̅iÊiÝ«iÀˆ“i˜Ì>Ê“>V…ˆ˜ˆ“>Ê œvÊ*…ˆÊ-œœ“œ˜½]ÊMIRAJ]ÊÎ\Ê£]Ê««°ÊnqÓ{° *iÌiÀÊÕLiŽ>ʵ՜Ìi`ÊLÞÊi˜iۈiÛiÊ9Õi]ʈLˆ`°]Ê«°Ê™° Lˆ`°]Ê«°Ê£ä° -iiÊ>À̈˜iÊ iÕ}˜iÌÊ>˜`ʈ“ʘœÜiÃÊ­Óä£Î®]ʜ«°ÊVˆÌ°]Ê««°ÊxxqÈx° A term used by Nicky Hamlyn (2003) in relation to Castle One]Ê ˆ˜Ê Film Art Phenomena. London: British Film Institute. A similar result was achieved by Ann-Sofi Siden in her video installation Warte Mal! (1998). 7…i˜ÊÃi>Ìi`ʈ˜Êœ˜iʜvÊ̅iÊÜi‡ˆÌ]ÊÌÀ>˜Ã«>Ài˜ÌÊۈi܈˜}ÊLœœÌ…ÃʜÀÊÃÌ>̈œ˜Ã]Ê̅iÊëiVÌ>̜ÀÊ LiV>“iÊ>˜ÊœLiVÌʜvÊVÕÀˆœÃˆÌÞÊvœÀʜ̅iÀÃʈ˜Ê̅iÊë>Vi]ʅiÀʜܘÊëiVÌ>̜Àň«ÊëœÌˆ}…Ìi`° /…iʏˆ}…ÌÃÊ`ˆ`ʍÕÃÌÊ̅>Ì]ÊÜi˜Ìʜ˜Ê>˜`ʜvvʈ˜Ê>˜Êi“«ÌÞÊ}>iÀÞ°Ê/…iÊܜÀŽÊ…>Ãʈ˜Ã«ˆÀi`Ê>ÊÛ>ÃÌÊ À>˜}iÊ œvÊ ˆ˜ÌiÀ«ÀiÌ>̈œ˜Ê ˆ˜VÕ`ˆ˜}Ê >ÕÀˆâˆœÊ >ÌÌi>˜½ÃÊ Óää{Ê Vœ˜iVÌÕÀiÊ Ì…>ÌÊ ˆÌÊ Ü>ÃÊ >LœÕÌÊ “œœ`ÊÃ܈˜}ÃÊ>˜`Ê̅iʼ…Õ“>˜Êˆ˜>LˆˆÌÞÊ̜ʫÀiÃiÀÛiʍœÞ½ÆÊÃiiʅÌÌ«\ÉÉÜÜÜ°“>À̈˜VÀii`°Vœ“É ÈÌiÉܜÀ`ÃÉܜÀŽ‡˜œ‡ÓÓLJ̅i‡ˆ}…ÌÇ}œˆ˜}‡œ˜‡>˜`‡œvvÊ­>VViÃÃi`ÊÓ£Ê>ÀV…ÊÓä£4). ,Õ«iÀÌÊ ÛiÀiÌÌÊ ­QÓääÈRÊ ÓääÇ]Ê Ó˜`Ê i`˜®Ê Red Carpets and Other Banana Skins. London:
L>VÕÃ]Ê«°Î° The cinema was also the setting for other transactions as Denis Norden recounts in his

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32 33Ê

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37 38Ê 39Ê 40Ê 41Ê 42Ê 43Ê 44 45

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autobiography Clips From a Life (2009). In the 1940s when he was manager of the Trocadero >ÌÊ̅iÊ i«…>˜ÌÊ>˜`Ê >Ã̏iʈ˜Êœ˜`œ˜]Ê>ÊÀi}Տ>ÀÊ«>ÌÀœ˜ÊœvÊ̅iÊVˆ˜i“>ʎ˜œÜ˜Ê>Ãʼ/œÃÜvÊ>Ìi½Ê was a woman who offered favours the price of which was dependent on what you paid for ޜÕÀÊÃi>Ì°Ê œÜ>`>ÞÃ]ʈÌÊÃii“ÃÊ̅>ÌʈÌʈÃʓœÃ̏ÞÊÛiÀÞÊޜ՘}ÊÌii˜ÃÊ܅œÊÕÃiÊ̅iÊVˆ˜i“>ÊvœÀÊ Ì…iÊ«ÕÀ«œÃiÃʜvʼ“>Žˆ˜}ʜÕ̽ÆÊi>̈˜}ʏ>À}iʵÕ>˜ÌˆÌˆiÃʜvʓ>œ`œÀœÕÃÊ«œ«VœÀ˜Ê>˜`ÊÌ>Žˆ˜}Ê ˆ˜ÌœÊ“œLˆiÃÊÃii“ÃÊ̜ʅ>ÛiÊÌ>Ži˜ÊœÛiÀÊvÀœ“Ê“œÀiÊ}i˜iÀ>Ê¼Ã«œœ˜ˆ˜}½° Herman Melville ([1851] 1992) Moby Dick°Ê7>Ài\Ê7œÀ`ÃܜÀÌ…Ê `ˆÌˆœ˜Ã]Ê«°Êxx° *iÌiÀÊ ÕLiŽ>Ê µÕœÌi`Ê LÞÊ ÀˆVÊ `iÊ ÀÕÞ˜Ê ­Óää{®Ê ¼/…iÊ Ý«>˜`i`Ê ˆi`Ê œvÊ ˆ˜i“>]Ê œÀÊ iÝiÀVˆÃiʜ˜Ê̅iÊ«iÀˆ“iÌiÀʜvÊ>ÊõÕ>Ài½]ʈ˜Ê8‡-VÀii˜]ÊFilm Installation and Actions in the 1960s and 1970s°Ê6ˆi˜˜>\ÊÕÃiՓʜvÊœ`iÀ˜Ê
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ÀÌÃÊ i˜ÌÀiÊ>˜`Ê œÀ˜iÀ…œÕÃiÊ*ÕLˆV>̈œ˜Ã]Ê«°Ê£Î° Daniel Chandler (2002) Semiotics: The Basics°Êœ˜`œ˜Ê>˜`Ê iÜÊ9œÀŽ\Ê,œÕ̏i`}i]Ê«°Ê£Î° Malcolm Le Grice quoted by Lucy Reynolds in her notes on Filmaktion for the British Artists’ Film and Video Study Collection. Available online: …ÌÌ«\ÉÉÜÜÜ°ÃÌÕ`ÞVœiV̈œ˜°Vœ°ÕŽÉw“>ŽÌˆœ˜ÉÀ>“iÃiÌ£°…Ì“l (accessed 22 February 2014). >VµÕiÃÊ iÀÀˆ`>Ê­Q£™™ÎRÊ£™™{]ÊӘ`Êi`˜®ÊSpectres of Marx. London and New York: Routledge. Robert Whitman (2002) speaking on Robert Whitman: Performances From the 1960s – Part 2. Available online: …ÌÌ«\ÉÉÜÜܰޜÕÌÕLi°Vœ“ÉÜ>ÌV…¶ÛrÈ«܅ÎÝ+ (accessed 9 March 2014).

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œÀÜi}ˆ>˜ÊVÀˆ“iÊ̅ÀˆiÀÃÊv>ۜÕÀÊ>ÊvÀœÃÌÞÊLÕiÊV>ÃÌÊ̜Ê̅iʈ“>}i]Ê>˜Ê>iÃthetic being emulated in recent BBC dramas. 102 See David Batchelor (2000) Chromaphobia. London: Reaktion. 103Ê i˜˜i̅Ê
˜}iÀÊëi>Žˆ˜}Ê>ÌÊ̅iÊœ˜`œ˜Ê œi}iʜvÊ œ““Õ˜ˆV>̈œ˜Êˆ˜ÊÓä䙰 104Ê iÀiŽÊ>À“>˜Ê­£™™x®ÊChroma°Ê iÜÊ9œÀŽ\Ê/…iÊ"ÛiÀœœŽÊ*ÀiÃÃ]Ê«°ÊÎx° 105Ê 9>ޜˆÊÕÃ>“>Ê­£™nȮʈ˜ÊYayoi Kusama; Driving ImageÊV>Ì>œ}Õi]Ê iÜÊ9œÀŽÉ/œŽÞœ\Ê*>ÀVœ]Ê unpaginated. 106 Ibid. 107 Ibid. 108Ê >Vœ“ÊiÊÀˆViÊëi>Žˆ˜}Ê>ÌÊ̅iʼ œœÕÀʈi`ýÊÃޓ«œÃˆÕ“° 109Ê -iiÊ*>ՏÊ-…>ÀˆÌÃÊ­£™È™®Ê¼ œÌiÃʜ˜Êˆ“Ã\Ê£™ÈÈqÈn½]ÊFilm Culture]Ê{Ç]Ê««°Ê£Îq£È°Ê
Û>ˆ>LiÊ online: …ÌÌ«\ÉÉÜÜܰ̅i̅ˆÀ`‡iÞi°Vœ°ÕŽÉVˆ˜i“>É«ˆiVi‡“>˜`>>‡i˜`‡Ü>À‡Lއ«>Տ‡Ã…>ÀˆÌÃÉ (accessed 28 March 2014). 110Ê ÕÀÀ>ÞÊ -“ˆÌ…Ê ­Ó䣣®Ê ¼/Àˆ>˜}Տ>̈˜}Ê
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À̅ÕÀÊ *°Ê -…ˆ“>“ÕÀ>Ê >˜`Ê Stephen E. Palmer (eds) Aesthetic Science: Connecting Minds, Brains, and Experience. New 9œÀŽ\Ê"ÝvœÀ`Ê1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°Ênn°Ê 111Ê /…ˆÃʜ«ÌˆV>ÊivviVÌÊÜ>ÃÊwÀÃÌʘœÌi`ÊLÞÊœi̅i]Ê܅œÊÃÌ>Ài`Ê>ÌÊ>ʅ>˜`ܓiÊ}ˆÀÊˆ˜Ê>ÊÀi`Ê`ÀiÃÃ]Ê >˜`Ê܅i˜ÊÅiʓœÛi`Ê>Ü>Þ]ʅiÊÃ>ÜÊ>}>ˆ˜ÃÌÊ̅iÊ܅ˆÌiÊÜ>ÊLivœÀiÊ܅ˆV…ÊÅiʅ>`ÊÃ̜œ`]ʼ>Ê ÛˆÃˆœ˜>ÀÞÊw}ÕÀi½]Ê>Ê}Àii˜Ê>vÌiÀˆ“>}i°Ê-iiÊGoethe’s Theory of ColoursÊ­£n{ä®]ÊÌÀ>˜Ã°Ê …>ÀiÃÊ œVŽÊ >Ã̏>Ži°Êœ˜`œ˜\Êœ…˜ÊÕÀÀ>Þ]Ê«°ÊÓÓ°Ê 112Ê *>ՏÊ-…>ÀˆÌÃÊ­£™È™®]ʜ«°ÊVˆÌ°Ê 113Ê ÕÀÀ>ÞÊ-“ˆÌ…Ê­Ó䣣®]ʜ«°ÊVˆÌ° 114Ê >ۈ`Ê >ÀÀiÌÌÊ­£™™n®Ê¼ ˆ˜`Ê >Ìi½]ÊFrieze]ÊΙ°Ê
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˜ˆÃ…Ê>«œœÀʈ˜ÌÀœ`ÕVˆ˜}Ê̅iÊܜÀŽÊœ˜Ê …>˜˜iÊ{ʈ˜Ê£™™È° 116Ê -iiÊ>ÃœÊœÃ…Õ>Ê9ՓˆLiÊ­Óä£Î®Ê¼ œœÕÀʓ>}ˆV\ʏÕȜ˜Ê>˜`Ê>LÃÌÀ>V̈œ˜Êˆ˜Êȏi˜ÌÊ>˜`ÊiÝ«iÀˆ“i˜Ì>Êw“½]ÊMIRAJ]ÊÓ\ÊÓ]Ê««°ÊÓÓnqÎÇ° 117 See Simon Morley (ed.) (2010) The Sublime°Ê >“LÀˆ`}i]Ê
\Ê/Ê*ÀiÃÃ]Ê«°Ê£Ó° 118Ê -iiÊ œ…˜Ê >}iÊ ­Óäää®Ê Color and Meaning: Art, Science and Symbolism°Ê iÀŽiiÞ]Ê
\Ê 1˜ˆÛiÀÈÌÞʜvÊ >ˆvœÀ˜ˆ>Ê*ÀiÃÃ]Ê«°ÊnÈÆÊÃiiÊ>ÃœÊ …>ÀiÃÊ >Õ`i>ˆÀiÊ­Q£n{ÈRÊ£™n£®Ê¼/…iÊ->œ˜ÊœvÊ £n{Ƚ]ʈ˜ÊBaudelaire: Selected Writings on Art and Artists. Cambridge: Cambridge University *ÀiÃÃ]Ê««°Ê{Çq£äÇ°Ê 119Ê 7ˆˆ>“Ê,>L>˜Ê˜œÌiÃʜ˜Ê Ý«>˜`i`Ê ˆ˜i“>]ʜ«°ÊVˆÌ° 120Ê ˜Ê9ÛiÃʏiˆ˜½ÃÊAnthropometries of the Blue PeriodÊ­£™Èä®]ʘ>Ži`Êܜ“i˜Ê>VÌi`Ê>ÃʅՓ>˜Ê «>ˆ˜ÌLÀÕÅiÃ°Ê >ÕLi`Ê ˆ˜Ê LÕiÊ «>ˆ˜Ì]Ê Ì…iÞÊ `À>}}i`Ê œ˜iÊ >˜œÌ…iÀÊ >VÀœÃÃÊ >Ê V>˜Û>ÃÊ ÌœÊ Ì…iÊ ÃÌÀ>ˆ˜ÃʜvÊ>ʏˆÛiʜÀV…iÃÌÀ>°Êiˆ˜Ê…>`ʅˆÃʜܘʼ˜ÌiÀ˜>̈œ˜>Êiˆ˜Ê Õi½Ê«ˆ}“i˜Ìʓ>˜Õv>VÌÕred by the Rhone Poulenc pharmaceutical company. 121Ê /…iÊvՏÊÌiÝÌʜvÊBlue is published in Chroma]ʜ«°ÊVˆÌ°]Ê««°Ê£äÎqÓ{°Ê1˜iÃÃʜ̅iÀ܈ÃiÊ>ÌÌÀˆLÕÌi`]Ê >ÊµÕœÌiÃÊ>ÀiÊ`À>ܘÊvÀœ“Ê>À“>˜½ÃÊÌiÝ̰ʘʓÞÊۈiÜ]ÊÀi>`ˆ˜}ʅˆÃʓœ˜œœ}ÕiʈÃÊ«ÀiviÀ>LiÊÌœÊ ˆÃÌi˜ˆ˜}Ê̜Ê̅iÊÜ՘`ÌÀ>VŽ]ʈ˜Ê܅ˆV…Ê̅i>ÌÀˆV>ˆÌÞÊ>˜`ÊÃÕ«iÀy՜ÕÃÊÜ՘`ÊivviVÌÃÊ}iÌʈ˜Ê̅iÊ way of the poetic richness and profound tragedy of the work. I would advocate reading the ÌiÝÌÊ>œ˜iʈ˜Ê>ÊLÕi‡Ü>i`ÊÀœœ“]ʈ˜Ê̜Ì>Êȏi˜Vi°Ê 122Ê >À̈˜Ê >ÌÌiÀÃLÞÊ µÕœÌi`Ê ˆ˜Ê /œ“Ê ՘˜ˆ˜}Ê ­Q£™n™RÊ £™™{®Ê ¼
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of Seeing Film°Ê iÜÊ À՘Ã܈VŽ]Ê \Ê,ÕÌ}iÀÃÊ1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°Ê££Ç° See Richard Wollheim (1987) Painting as an Art°Ê*Àˆ˜Vi̜˜]Ê \Ê*Àˆ˜Vi̜˜Ê1˜ˆÛiÀÈÌÞÊ*ÀiÃÃÉ œ˜`œ˜\Ê/…>“iÃÊEÊÕ`ܘ° 124Ê À>…>“iÊ7iˆ˜LÀi˜Ê­Óä£Ó®Ê¼ œœÕÀi`Ê«>«iÀʈ˜Ê“œ˜Õ“i˜ÌÊÛ>iÞ\Ê œ˜ÌÀ>`ˆV̈œ˜]ÊÀiܘ>˜ViÃÊ >˜`Ê«ÕÀ>ˆÌˆiÃʈ˜Ê̅iÊ>ÀÌʜvÊ*>ÌÊ"½ iˆ½]ÊMIRAJ]ÊÓ\ÊÓ]Ê«°Ê£ÈÓ° 125 Ibid. 126Ê >Þ>Ê iÀi˜Ê­£™Èä®Ê¼ ˆ˜i“>̜}À>«…Þ\Ê/…iÊVÀi>̈ÛiÊÕÃiʜvÊÀi>ˆÌÞ½]ÊDaedalus]Ê܈˜ÌiÀ]Ê«°Ê£x{° 127Ê
˜`ÀjÊ >∘ʭ£™x™®]ʼ*>ˆ˜Ìˆ˜}Ê>˜`Ê ˆ˜i“>½]ʜ«°ÊVˆÌ°Ê«°Ê£È{° 128Ê ˆÛiÊÞiÀÊ­Ó䣣®Ê¼/…iœÀïV>Ê*À>V̈Vi\Ê ˆi}iÈÃʈÃʘœÌÊ>ÊVœ`iʜvÊVˆ˜i“>½]ʈ˜Ê ˆÛiÊÞiÀÊ­i`°®Ê Critical Cinema: Beyond the Theory of Practice°Êœ˜`œ˜\Ê7>yœÜiÀÊ*ÀiÃÃ]Ê«°Ê£È° 129 Chris Meigh-Andrews (2006) A History of Video Art: The Development of Form and Function. "ÝvœÀ`\Ê iÀ}]Ê«°ÊÓxΰ 130Ê ˜Ê>Û>˜iÃiÊ«iÀvœÀ“>˜ViÃ]Ê̅iÊ>Õ`ˆi˜ViÊÜ>ÃÊÃi}Ài}>Ìi`ʈ˜ÌœÊ“i˜ÊÜ>ÌV…ˆ˜}ʜ˜Ê̅iÊ«Õ««iÌÊ side while women had to be content with the shadows. 131Ê ˆV…>iÊ -˜œÜÊ µÕœÌi`Ê ˆ˜Ê >ÌiÊ œ˜`œV…Ê ­Óä£ä®Ê Screens: Viewing Media Installation Art. ˆ˜˜i>«œˆÃ]Ê \Ê1˜ˆÛiÀÈÌÞʜvʈ˜˜iÜÌ>Ê*ÀiÃÃ]Ê«°Ê£x° 132 Ibid. 133Ê ˜Ê …iÀÊ «ÀiÃi˜Ì>̈œ˜Ê vœÀÊ Ì…iÊ Ý«>˜`i`Ê ˆ˜i“>Ê Vœ˜viÀi˜ViÊ >ÌÊ />ÌiÊ œ`iÀ˜Ê ˆ˜Ê
«ÀˆÊ Óää™]Ê Chrissie Iles recounted that EXPORT was often taken for a prostitute when performing this work. 134Ê ˆiÃÊ iiÕâiʵ՜Ìi`ʈ˜Ê >˜>Ê*œ>˜Ê­Óä䣮ʼÀ>˜VˆÃÊ >Vœ˜\Ê/…iʏœ}ˆVʜvÊ-i˜Ã>̈œ˜½]ʈ˜Ê>ÀÞÊ Genosko (ed.) Deleuze and Guattari: Critical Assessments of Leading Philosophers. New 9œÀŽ\Ê,œÕ̏i`}i]Ê«°Ê£È™° 135 Laura U. Marks (2000) The Skin of the Film°Ê ÕÀ…>“]Ê \Ê ÕŽiÊ1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°Ê݈ˆˆ° 136Ê Õ˜V>˜Ê 7…ˆÌiÊ ­Ó䣣L®Ê ¼ i}ÀiiÊ ÀÀ>̈ÛiÊ >˜`Ê Ì…iÊ œ˜ÌiÝÌÕ>Ê “>}i½]Ê ˆ˜Ê
°Ê °Ê ,iiÃ]Ê Õ˜V>˜Ê7…ˆÌi]Ê-ÌiÛi˜Ê >Ê>˜`Ê >ۈ`Ê ÕÀ̈ÃÊ­i`îÊExpanded Cinema: Art, Performance, Film. œ˜`œ˜\Ê/>Ìi]Ê««°Ê££äqÓ{° 123

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CHAPTER TEN

Sound SOUNDINGS I love sounds just as they are ... I don’t want a sound to pretend that it’s a bucket, or the president, or that it’s in love with another sound – I just want it to be a sound. œ…˜Ê >}i]Ê£™n£ Any genealogy of installation and the moving image would be incomplete without a Vœ˜Ãˆ`iÀ>̈œ˜ÊœvÊÜ՘`]ʈ˜ÊˆÌÃÊ>ëiVÌÃÊ>ÃÊLœÌ…Ê«ÀiÃi˜ViÊ>˜`Ê>LÃi˜Vi°Ê˜Ê“>ˆ˜ÃÌÀi>“Ê film and television the synchronisation of the picture to sound serves to promote the credibility of the characters and the vividness of locations and provides what ,œ>˜`Ê >À̅iÃÊÌiÀ“i`Ê>ʼViÀ̈wV>ÌiʜvÊ«ÀiÃi˜Vi½°1 Sound promotes the coherence of ̅iÊÃ̜ÀÞÊ>˜`]ʏˆŽiʓœÛi“i˜Ì]ÊӜœÌ…iÃÊ̅iÊÜ>ÞÊ̅ÀœÕ}…Ê̅iÊ`ˆÃÀի̈œ˜ÊœvÊi`ˆÌÃÊ>˜`Ê ÃVi˜iÊV…>˜}iÃ]Ê>˜`ÊVÀi>ÌiÃʈ˜Ê̅iÊۈiÜiÀÊ>˜ÌˆVˆ«>̈œ˜ÃÊ>««Àœ«Àˆ>ÌiÊ̜Ê̅iÊ՘vœ`ˆ˜}Ê ÃVi˜>Àˆœ°Ê œÌʜ˜ÞÊ`œÊÜ՘`ÌÀ>VŽÃÊi˜…>˜ViÊ̅iÊÛiÀˆÃˆ“ˆˆÌÕ`iʜvÊ̅iÊw“]ÊLÕÌÊ>Ãœ]Ê ˆ˜VÀi>Ș}Þ]Ê̅iÞÊÌiÊÕÃʅœÜÊ̜ÊviiÊ>LœÕÌÊ܅>ÌÊÜiÊÃii°2 In the deconstructive tradʜvÊ̅iÊ>Û>˜Ì‡}>À`i]Ê̅iʓ>ˆ˜ÃÌÀi>“Ê“>˜ˆ«Õ>̈œ˜ÃʜvÊLœÌ…Ê«ˆVÌÕÀiÊ>˜`ÊÜ՘`Ê ÜiÀiÊVœ˜`i“˜i`]Ê>˜`Ê̅iÊ>Õ`ˆœÊÌÀ>VŽÊÜ>ÃÊܜ˜Ê՘VœÕ«i`ÊvÀœ“Ê̅iʈ“>}i°Ê
À̈ÃÌÃÊ ÀiˆiÛi`ÊÜ՘`ʜvʈÌÃʘ>ÀÀ>̈ÛiʜLˆ}>̈œ˜ÃÊ>˜`ÊiÝ«œÀi`ʈÌÃÊ>LˆˆÌÞÊ̜ÊVÕÌÊ>VÀœÃÃÊۈÃÕ>Êˆ˜vœÀ“>̈œ˜]Ê̜ÊVÀi>ÌiÊ>ÊVÀˆÃˆÃʜvʓi>˜ˆ˜}°Ê˜ÊLip Synch (1969) Bruce Nauman «Àœ`ÕVi`Ê Ü…>ÌÊ …iÊ V>i`Ê >Ê ¼«Àœ`ÕV̈ÛiÊ Vœ˜vÕȜ˜½Ê ˆ˜Ê ̅iÊ Ã«iVÌ>̜ÀÊ LÞÊ }À>`Õ>ÞÊ pulling the sound and image out of phase in post-production. 3 The result was a con̈˜ÕœÕÃÊL>VŽ‡>˜`‡Ü…ˆÌiÊÃiµÕi˜ViÊvi>ÌÕÀˆ˜}Ê>˜Ê>LÃÕÀ`ÊիÈ`iÊ`œÜ˜ÊV…ˆ˜]Ê܈̅Ê>˜Ê ˆ˜ÛiÀÌi`ʓœÕ̅Ê՘`iÀ˜i>̅ÊvÀœ“Ê܅ˆV…Êi“>˜>Ìi`Ê̅iʓ>˜ÌÀ>ʼˆ«‡ÃޘV…]ʏˆ«‡ÃޘV…½°Ê
VVœÀ`ˆ˜}Ê̜Ê-ÌiÛi˜Ê œ˜˜œÀ]ʈ˜ÊÛi˜ÌÀˆœµÕˆÃ“]Ê̅iÊۜˆViʈÃʼÀii>Ãi`ÊvÀœ“Ê̅iÊÌi˜ÕÀiÊ of the lips’. 4 Nauman enacted a graduated ventriloquism by slowly easing the picture >˜`ÊÜ՘`ʜÕÌʜvÊÃޘV…ʈ˜ÌœÊÌܜÊÃi«>À>ÌiÊ̈“iÊvÀ>“iÃÊ>˜`Ê̅i˜]ʍÕÃÌÊ>ÃÊ}À>`Õ>Þ]Ê reversing the time-lag and reuniting them. The logic of synchronised audio and video

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tracks was restored and the realism that video technology was designed to serve reasserted its dominance. /…iÊܜÀ`ÊVœ“iÃÊ̜ÊÕÃÊ܈̅ÊۈȜ˜Ê>˜`ÊÜ՘`ʅ>À“œ˜ˆÃi`]Ê>˜`Ê >Փ>˜½ÃÊۈ`iœÊ demonstrated how an unattributed voice or a sound whose origin cannot be identiwi`ʓˆ}À>ÌiÃʈ˜ÌœÊ̅iÊÀi>“ÃʜvÊ̅iÊ՘V>˜˜Þ]Êi˜}i˜`iÀˆ˜}Ê>˜ÝˆiÌÞʈ˜Ê̅iʏˆÃÌi˜iÀ°ÊÌʈÃÊ Ãœ“ï“iÃÊ`ˆvwVՏÌÊ̜ÊÌiÊ܅i̅iÀÊ>˜Ê՘ÃiÌ̏ˆ˜}ÊÜ՘`]ʏˆŽiÊ̅iʅœÜˆ˜}ʜvÊ̅iʘˆ}…ÌÊ Üˆ˜`ʜÀÊ܅ˆÃ«iÀˆ˜}ʈ˜Ê̅iÊÌÀiiÃ]ʈÃÊ̅iÊÀiÃՏÌʜvʘ>ÌÕÀ>ÊvœÀViÃʜÀÊܓiʓ>iۜi˜ÌÊ spirit bent on mischief. Perhaps that eerie sound is simply a product of what David /œœ«Êˆ“>}ˆ˜iÃÊ>ÃÊ̅iʼ«œÞ«…œ˜ˆV½Ê>VœÕÃ̈VÊë>Viʈ˜ÊœÕÀʓˆ˜`ÃÊ̅>ÌÊÀiܘ>ÌiÃÊÜˆÌ…Ê ÛœˆViÃ]ÊÌ՘iÃ]Ê>LÃÌÀ>VÌÊÌÕÀLՏi˜ViÊ>˜`Êi˜“iÅi`ÊÀ…Þ̅“ð5 Ross Brown observed ̅>ÌÊ>ÃÊÜ՘`ÊVÀœÃÃiÃÊ̅iÊL>ÀÀˆiÀÃÊLiÌÜii˜Êˆ˜Ãˆ`iÊ>˜`ʜÕÌÈ`i]ʈÌÊÀiÛiÀLiÀ>ÌiÃʈ˜Ê ̅iʅՓ>˜ÊLœ`Þ]ʈÌÃivÊ>˜Êˆ˜ÃÌÀՓi˜ÌÊ̅>ÌʼÀi뜘`ÃÊ̜Ê>ˆÀLœÀ˜iÊvœÀViý°6 In Small Handphone TableÊ­£™Çn®]Ê>ÕÀˆiÊ
˜`iÀܘÊ`i“œ˜ÃÌÀ>Ìi`ʅœÜÊ̅iÊLœ`ÞʈÃÊ>˜ÊiÝVilent conductor of sound. She embedded a tape player in a stout wooden table so that its sound was inaudible in the gallery space. Only by placing her elbows into indentations carved into the surface of the table and covering her ears with her hands was ˆÌÊ«œÃÈLiÊvœÀÊ̅iÊëiVÌ>̜ÀÊ̜ʅi>À]Ê>ÃʈvÊVœ“ˆ˜}ÊvÀœ“ʈ˜Ãˆ`iʅiÀʜܘʅi>`]Ê̅iÊv>ˆ˜ÌÊ music emanating from the inoffensive-looking piece of furniture. Her arms acted as >ÊVœ˜`ՈÌÊvœÀÊ̅iÊ>Õ`ˆœÊÜ>ÛiÃ]Ê>˜`ʅiÀÊÎՏÊLiV>“iÊ>ʏˆÛˆ˜}ÊiV…œÊV…>“LiÀʘiÃÌi`ʈ˜Ê the larger auditorium that was the installation space.
˜`iÀܘÊ`i“œ˜ÃÌÀ>Ìi`ʅœÜÊÜiÊÅiÊVœÕ`ʓ>˜ˆ«Õ>ÌiÊÜ՘`]ÊLÕÌÊ >ۈ`Ê/œœ«Ê …>ÃÊ>À}Õi`Ê̅>Ì]Ê>ÌÊ̅iÊLiÃÌʜvÊ̈“iÃ]ÊÜ՘`ʈÃʼ`ˆvwVՏÌÊ̜ÊVœ˜ÌÀœÊ>˜`Ê̜ÊÃÕL`Õi½° 7 ˆŽiÊ̅iÊÜi>̅iÀʜÀÊ>ÊLˆÀ`]ʘœˆÃiÊÀiëiVÌÃʘœÊLœÕ˜`>ÀˆiÃÊ>˜`ÊÌÀië>ÃÃiÃʈ˜ÌœÊ>Ài>ÃÊ Ì…>ÌÊ>ÀiÊLiޜ˜`Ê̅iÊ«>iÊ>˜`]Ê>ÃÊœ…˜Ê7ޘ˜iʜLÃiÀÛi`]Ê>ÕÀ>Ê«…i˜œ“i˜>ʼ՘`œÊ̅iÊ lines between public and private’.8 The anarchic properties of the acoustic field were Ãiˆâi`ÊÕ«œ˜ÊLÞÊ>À̈ÃÌÃʈ˜Ê̅iÊ£™ÈäÃÊ>˜`ÊLiޜ˜`]Ê>˜`ʜ˜ViÊÜ՘`Ê>˜`Êȏi˜Viʅ>`Ê Lii˜ÊˆLiÀ>Ìi`ÊvÀœ“Ê̅iˆÀÊVœ˜Ûi˜Ìˆœ˜>ÊÀi>̈œ˜Ã…ˆ«Ê̜Ê̅iʈ“>}i]Ê̅iÊ>Õ`ˆÌœÀÞÊ`ˆ“i˜Ãˆœ˜ÊœvÊ>ÊܜÀŽÊÜ>ÃÊiÝ«œÀi`Ê>ÃÊ>ʓ>ÌiÀˆ>Êˆ˜ÊˆÌÃʜܘÊÀˆ}…ÌÊ̜ÊLiʓœÕ`i`Ê>œ˜}ÊÜˆÌ…Ê ˆ}…Ì]Ê̈“iÊ>˜`Êë>Vi°9 A detailed study of audio art is beyond the scope of the present volume; howiÛiÀ]Ê̅iÀiÊ>ÀiÊܜÀŽÃÊ̅>ÌÊLÀˆ˜}Ê>Õ`ˆÌˆœ˜Êˆ˜ÌœÊvœVÕðʘÊHarmonic BridgeÊ­ÓääÈ®]Ê ˆÊ Fontana created an acoustic sculpture in the Turbine Hall of Tate Modern based on soundings taken from the London Millennium Bridge. Fontana used vibration senÜÀÃÊ̜ÊÀiVœÀ`Ê̅iʼ…ˆ``i˜Ê“ÕÈV>Êˆvi½10 of the bridge created by the impact on the ÃÌÀÕVÌÕÀiʜvÊ}ÕÃÌÃʜvÊ܈˜`Ê>˜`ÊÀ>ˆ˜]Ê>˜`Ê̅iÊvœœÌv>Êœvʈ˜`ˆÛˆ`Õ>ÃÊVÀœÃȘ}Ê̅iÊÀˆÛiÀ°Ê7…iÀiÊœ˜Ì>˜>ÊÌÕÀ˜i`Ê>ÊLÀˆ`}iʈ˜ÌœÊ>˜Ê
iœˆ>˜Ê…>À«]Ê>À̈˜Ê Àii`ÊÀiµÕˆÃˆÌˆœ˜i`Ê >˜ÊiiÛ>̜ÀÊ>˜`ÊVÀi>Ìi`Ê܅>ÌÊ,œÃÃÊ ÀœÜ˜ÊÌiÀ“i`ʼ>ÊÀœœ“ÊvœÀʏˆÃÌi˜ˆ˜}½°11 Work No. 409 Elevator ooh/aah up/down (2005) required its spectators to step into the lift œ˜Ê ̅iÊ }ÀœÕ˜`Ê yœœÀÊ œvÊ Ì…iÊ Žœ˜Ê >iÀÞÊ ˆ˜Ê ˆÀ“ˆ˜}…>“Ê >˜`Ê œ˜ViÊ Ì…iÊ `œœÀÃÊ VœÃi`]Ê >ÊÜiÀiÊi˜Ûiœ«i`ʈ˜Ê̅iÊÜ՘`ʜvÊ>ÊViiÃ̈>ÊV…œˆÀ°Ê
ÃÊ̅iʏˆvÌÊÀœÃiÊÕ«Ê̅iÊLՈ`ˆ˜}]Ê

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INSTALLATION AND THE MOVING IMAGE

the harmonised vocalisation of the singers climbed in pitch correspondingly. On the ÀiÌÕÀ˜ÊœÕÀ˜iÞ]Ê̅iÊۜˆViÃÊLi}>˜Ê>ÌÊ̅iÊ̜«ÊœvÊ̅iˆÀÊÀ>˜}iÊ>˜`Êψ`Ê`œÜ˜Ê̅iÊÃV>iÃÊ Ü…ˆiÊ̅iʏˆvÌÊ`ÀˆvÌi`ÊL>VŽÊ`œÜ˜Ê̜Êi>À̅°Ê˜Ê̅iÊiiÛ>̜À]Ê̅iÊ>Õ`ˆi˜ViÊÜ>ÃʏˆÌiÀ>ÞÊ ¼Àˆ`ˆ˜}Ê Ì…iÊ VÀiÃÌÊ œvÊ >Ê ÃœÕ˜`Ê Ü>Ûi½]Ê ÌœÊ «>À>«…À>ÃiÊ ˆÊ 6ˆœ>°12 The lift’s passengers «ÀœÛˆ`i`Ê̅iÊۈÃÕ>Ê`ˆ“i˜Ãˆœ˜ÊœvÊ̅iÊܜÀŽ]Ê܅ˆÃÌÊ̅iÊȘ}iÀÃÊÀi“>ˆ˜i`Ê>LÃi˜ÌÊLÕÌÊ for their pre-recorded voices. A wry humour underpinned the physical elevation œvÊ̅iÊëiVÌ>̜ÀÃ]Ê}i˜ÌÞʓœVŽˆ˜}Ê̅iÊÕÃiʈ˜ÊVˆ˜i“>ʜvÊ̅iÊV>ÃÈV>ÊÀi«iÀ̜ˆÀiÊÌœÊ create the emotional transports required by the pathos of scenarios from Dracula ­/œ`Ê ÀœÜ˜ˆ˜}]Ê£™Î£ÊqÊ/V…>ˆŽœÛÎޮÊ̜ÊA Clockwork OrangeÊ­-Ì>˜iÞÊÕLÀˆVŽ]Ê£™Ç£Ê qÊ*ÕÀVi]Ê ii̅œÛi˜®°Ê ˜Ê̅iÊ£™™äÃ]ʈœ˜>Ê >˜˜iÀÊÀi“œÛi`Ê̅iÊÜ՘`ÌÀ>VŽÊœvÊ̅iʓœÛˆiÊiÛi˜ÊvÕÀ̅iÀÊ vÀœ“ʈÌÃÊVœ˜Ûi˜Ìˆœ˜>ÊVˆ˜i“>̈VÊi݅ˆLˆÌˆœ˜Êˆ˜ÊܜÀŽÃÊ̅>Ìʈ˜ÛœÛi`ʘiˆÌ…iÀÊ«ˆVÌÕÀiʘœÀÊ sound. In The NamÊ­£™™Ç®]Ê >˜˜iÀʈ˜Ûi˜Ìi`Ê>Ê}i˜ÀiʜvÊ«ÀœÌœ‡ÃVÀˆ«Ì]Ê>ʼܜÀ`ÃV>«i½Ê consisting of her own shot-by-shot written account of a series of Vietnam War films including The Deer HunterÊ ­ˆV…>iÊ ˆ“ˆ˜œ]Ê £™Çn®]Ê Apocalypse Now (Francis Ford

œ««œ>]Ê £™Ç™®Ê >˜`Ê PlatoonÊ ­"ˆÛiÀÊ -̜˜i]Ê £™nÈ®°Ê ˆÀÃÌÊ i݅ˆLˆÌi`Ê ÜˆÌ…ˆ˜Ê >Ê }>iÀÞÊ Ã«>Vi]Ê̅i˜Ê«ÕLˆÃ…i`Ê>ÃÊ>ÊLœœŽ]Ê >˜˜iÀ½ÃÊ«>ˆ˜ÃÌ>Žˆ˜}Ê`iÃVÀˆ«Ìˆœ˜ÃʜvÊiÛiÀÞÊܜÀ`]Ê ÃœÕ˜`Ê>˜`ʈ˜Vˆ`i˜ÌÊ̅>ÌÊvi>ÌÕÀiÃʈ˜Ê̅iʓœÛˆi]ÊvÀœ“Ê̅iʜ«i˜ˆ˜}Ê̜ÊVœÃˆ˜}ÊVÀi`ˆÌÃ]Ê>ÀiÊ reminiscent of the claustrophobic detail of a nouveau roman by Alain Robbe-Grillet with its telescoped universe and reduced field of vision. The disparity between the iÝ«œÃˆÛiʓœÛi“i˜ÌÊ>˜`Ê`ޘ>“ˆÃ“ÊœvÊ̅iʜÀˆ}ˆ˜>Ê“œÛˆiÃÊ>˜`Ê̅iÊ>À̈Ã̽ÃʜLÃiÃÈÛi]ÊܜÀŽ“>˜ˆŽiÊ>VVœÕ˜ÌÃʜvÊ̅iÊw“ÃÊVÀi>ÌiÃÊ܅>ÌÊ-ÌiÛi˜Ê ÕÀÞÊ`iÃVÀˆLi`Ê>Ãʼ>˜Ê >“Lˆ}՜ÕÃÊë>ViÊ«>À>iÊ̜Ê̅iÊw“Ã]Ê`ˆÃÌ>˜Ì]ÊÃi«>À>Ìi]Ê>ÌÊ̅iÊÃ>“iÊ̈“iÊLœÌ…ʈ˜side and outside filmic space’.13 7…iÀiÊ >˜˜iÀÊÀi`ÕVi`ÊLœÌ…Ê«ˆVÌÕÀiÊ>˜`Ê>Õ`ˆœÊÌÀ>VŽÊ̜Ê>˜ÊiÝÌi˜`i`ÊÀiV>«ˆÌՏ>̈œ˜ÊœvÊw“ÃÊ«>ÃÌ]Ê ˆÊ6ˆœ>ÊVÀi>Ìi`Ê>ÊܜÀŽÊ>Žˆ˜Ê̜Ê>ʏˆÛiÊÀ>`ˆœÊLÀœ>`V>ÃÌʈ˜Ê܅ˆV…Ê the production of sound was the centrepiece. In his installation He Weeps for You ­£™ÇÈ®]Ê>Êۈ`iœÊV>“iÀ>ÊwÌÌi`Ê܈̅Ê>ÊVœÃi‡Õ«Êi˜ÃʜLÃiÀÛi`Ê>ÊÓ>Ê`Àœ«ÊœvÊÜ>ÌiÀÊ vœÀ“ˆ˜}ʜ˜Ê̅iÊi˜`ʜvÊ>ÊVœ««iÀÊ«ˆ«i°Ê/…iʏˆÛiʈ“>}iÊÜ>ÃÊÀi>Þi`Ê̜Ê>Êۈ`iœÊ«ÀœiV̜À]Ê which threw it onto a facing wall where it was possible to detect within the substan̈>Þʓ>}˜ˆwi`Ê`Àœ«iÌ]Ê̅iʓˆ˜ˆ>ÌÕÀˆÃi`ʈ“>}iʜvÊ̅iÊ܅œiʈ˜ÃÌ>>̈œ˜Êqʼ̅iÊܜÀ`Ê ˆ˜Ê>Ê}À>ˆ˜ÊœvÊÃ>˜`½°Ê7…i˜Ê̅iÊ`Àœ«iÌÊÀi>V…i`ʈÌÃÊVÀˆÌˆV>Ê“>ÃÃ]ʈÌÊviÊœ˜ÌœÊ>ʅi>Ìi`Ê metal drum rigged up with microphones. The impact was amplified to an ear-splitting Lœœ“]Ê vœœÜi`Ê LÞÊ >Ê “>iۜi˜ÌÊ …ˆÃÃÊ >ÃÊ Ì…iÊ Ü>ÌiÀÊ Û>«œÀˆÃi`°Ê /…iÊ `ˆÃ«Àœ«œÀ̈œ˜>ÌiÊ>VœÕÃ̈VÊÀiܘ>˜ViÊVÀi>Ìi`ÊLÞÊ̅iÊ̈˜ÞʼÌi>À½Ê…>`Ê>˜ÊivviVÌÊ>˜>œ}œÕÃÊ̜Ê܅>ÌÊ 7>ÌiÀÊ i˜>“ˆ˜ÊV>i`ʼ̅iÊÃi˜Ã>̈œ˜ÊœvÊŜVŽ½14ʜ˜iÊiÝ«iÀˆi˜ViÃÊ܅i˜Ê̅iÊ`ˆ˜ÊœvÊ Ì…iʓœ`iÀ˜ÊܜÀ`ÊLÀi>ŽÃÊ̅ÀœÕ}…Ê…Õ“>˜Ê`ivi˜ViðÊœÀÊ6ˆœ>]ʅœÜiÛiÀ]ÊÜ՘`ʼi݈ÃÌÃÊ >Ê>ÀœÕ˜`Êޜս]Ê>˜`]Ê>ÃÊ >}iʜLÃiÀÛi`]ʏˆŽiÊ̅iÊÃÕLVœ˜ÃVˆœÕÃ]ʈÌʅ>ÃʘœÊLœÕ˜`>ÀˆiÃÊ >˜`ʼˆÌʈÃʈ“«œÃÈLiÊ̜ÊÃ>ÞÊ܅i˜ÊQˆÌRÊLi}ˆ˜ÃʜÀÊi˜`ý°15Ê6ˆÃˆœ˜]Ê6ˆœ>Ê>À}ÕiÃʈÃʼÛiÀÞÊ ÃiiV̈ÛiÊ >˜`Ê vœVÕÃi`½]Ê Ü…iÀi>ÃÊ ÃœÕ˜`Ê ˆÃÊ ¼“ÕV…Ê “œÀiÊ `ˆvvÕÃi½Ê >˜`Ê ˆ˜Ê ̅ˆÃÊ ÀiëiVÌÊ

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it is analogous not only to the subterranean workings of the psyche but also to a «iÀVi«ÌÕ>Êwi`]ʜÀÊwi`ʜvÊLiˆ˜}°16Ê7…i˜ÊÊÃ>ÜÊ̅iÊܜÀŽ]ÊÊviÌÊ̅iÊÜ՘`Ê«…ÞÈV>ÞÊ ÀiÛiÀLiÀ>ÌiÊ̅ÀœÕ}…Ê“ÞÊLœ`Þ]ÊLÕÌʈÌÊÜ>ÃÊ̅iÊÌi˜Ãˆœ˜ÊœvÊ̅iÊȏi˜ViÃÊLiÌÜii˜Ê̅iÊ iÝ«œÃˆœ˜ÃʜvÊÜ՘`Ê̅>Ìʅi`Ê>Ê«>À̈VՏ>ÀÊv>ÃVˆ˜>̈œ˜Ê>˜`ÊLÀœÕ}…Ìʈ˜ÌœÊvœVÕÃÊ̅iʘ>ÌÕÀiʜvÊ>ʼ«Ài}˜>˜ÌÊ«>ÕÃi½]Ê̅iʓœ“i˜ÌʜvÊiiVÌÀˆVÊ>˜ÌˆVˆ«>̈œ˜ÊvœÀÊ̅iÊÜ՘`Ê̅>ÌÊ܈Ê once again shatter the peace.

SILENCE In silence thought shouts aloud ... blown into silence. ˆÃÊ,…œ`iÃÊ>˜`Ê
ÕÀ>Ê->Ìâ]ÊvÀœ“ÊIn and Out of SyncÊ­
ÕÀ>Ê->Ìâ]ÊÓä£Ó® -ˆi˜Viʅ>ÃÊ>ÌÌÀ>VÌi`ʈÌÃÊ>`…iÀi˜ÌðÊ-Ì>˜Ê À>Ž…>}iÊVœ˜Ãˆ`iÀi`ÊÜ՘`Ê̜ÊLiʼ>˜Ê>iÃ̅ïVÊiÀÀœÀ½]ʜ˜iÊ̅>ÌÊܜՏ`ʈ˜ÌiÀviÀiÊ܈̅Ê̅iÊ«ˆV̜Àˆ>Ê«œïVÃʜvʅˆÃÊw“ÃÊÀi˜`iÀˆ˜}Ê Ì…i“ʈ˜ÃÌ>˜ÌÞʼˆVŽiÞÊœÕÃiÞ½°17 The rhythm of camera movements and edits that ÃÌÀÕVÌÕÀiÊ À>Ž…>}i½ÃÊw“ÃÊÃ̈“Տ>ÌiÊ܅>ÌʅiÊV>i`Ê̅iʼ“ˆ˜`½ÃÊi>À½°ÊÌʈÃÊ>˜ÊivviVÌÊ œvÊ Ãˆi˜ViÊ Ì…>ÌÊ ˆÌÊ }ˆÛiÃÊ vՏÊ Üiˆ}…ÌÊ ÌœÊ Ì…iÊ ˆ“>}iÊ >˜`Ê œ˜ÞÊ Ü…i˜Ê Ü՘`Ê ˆÃÊ Ài“œÛi`]Ê œLÃiÀÛi`Ê À>Ž…>}i]ÊV>˜Ê̅iÊۈÃÕ>Ê˜Õ>˜ViÃʜvʅˆÃÊw“ÃÊLiÊvՏÞÊ>««Ài…i˜`i`]ʜ˜ÞÊ Ì…i˜Ê¼`œiÃʈÌÊLiVœ“iʓœÀiÊ«œÃÈLiÊ̜ÊÃii½°18 Many artists have courted the open wi`ʜvʘi>À‡Ãˆi˜Vi°Ê>ÀŽÊi܈Ãʅ>ÃÊ>ÃÃiÀÌi`Ê̅>Ìʈ˜Ê>˜Êˆ˜ÃÌ>>̈œ˜]ʼ܅i˜ÊÜ՘`ʈÃÊ loud it silences your thinking’.19 Tacita Dean has evoked the delicious potentiality of £È““Êw“]ʜ˜iÊ̅>ÌʈÃÊ`iÀˆÛi`ÊvÀœ“ʈÌÃÊvÀii`œ“ÊvÀœ“ÊÜ՘`\ʼ7…i˜ÊޜÕÊ}iÌÊޜÕÀÊw“Ê vœœÌ>}iÊL>VŽ]ʈÌʈÃÊȏi˜ÌÊ°°°ÊޜÕÊ>œÜÊޜÕÀÃivʈ˜w˜ˆÌiÊ«œÃÈLˆˆÌÞÊLÞʘœÌʎ˜œÜˆ˜}Ê̅iÊ sound that went with it’.20 The pregnant silence of many cinematic installations returns the audience to the >˜`ÃV>«iʜvÊ̅iˆÀʜܘʈ“>}ˆ˜>̈œ˜Ã]Ê̜Ê̅iˆÀÊ`Ài>“ÃÊ>˜`ʓi“œÀˆiÃ]Ê̜Ê̅iˆÀʵ՜‡ ̈`ˆ>˜Ê«ÀiœVVÕ«>̈œ˜Ã]Ê̜Ê܅>ÌÊ >À̅iÃÊV>i`Ê̅iÊÀˆV…ʈ˜ÌiÀˆœÀʼ˜œˆÃiʜvÊ̅iÊõÕ>Ài½° 21 œiÊœÀ>˜Ê…>ÃʜLÃiÀÛi`Ê̅>ÌÊ̅iÊÌܜ‡“ˆ˜ÕÌiÊȏi˜Viʜ˜Ê,i“i“LÀ>˜ViÊ-՘`>Þʅ>ÃÊ the capacity to evoke the whole range of emotion people pour into the hiatus because ¼ˆÌÃʓi>˜ˆ˜}ÃÊ­>Ài®ÊÜÊ՘ÃÌ>LiÊ>˜`ÊÛ>ÀˆœÕý°22Ê"vÊVœÕÀÃi]Ê̅iʈ˜ÌiÀ˜>ÊÜ՘`ÃV>«iʈÃÊ >Ü>ÞÃÊ>VVœ“«>˜ˆi`ÊLÞÊ̅iʘœˆÃiʜvÊ̅iÊiÝÌiÀ˜>Êi˜ÛˆÀœ˜“i˜Ì]ÊiÛi˜Ê`ÕÀˆ˜}Ê>ÊÌܜ‡ “ˆ˜ÕÌiÊȏi˜Vi°Ê"˜Þʈ˜Ê>˜Ê>˜iV…œˆVÊV…>“LiÀʈÃÊȏi˜ViÊ̜Ì>°Ê˜Ê̅iÊ£™ÈäÃ]Êœ…˜Ê >}i]Ê Ì…iÊ}À>˜`ʓ>ÃÌiÀʜvÊ̅iʼ˜œˆÃiʜvÊVˆÀVՓÃÌ>˜Vi½]23 proclaimed that there was no such thing as silence and encouraged his audiences to tune in to the ambient sounds of ̅iÊܜÀ`Ê̅iÞʈ˜…>LˆÌi`]ʈ˜Ê܅ˆV…]ʅiÊÃ>ˆ`]Êȏi˜Viʼ>“œÃÌÊiÛiÀÞ܅iÀiʈ˜Ê̅iÊܜÀ`Ê is traffic’.24ʘʓœÃÌÊȏi˜Ìʈ˜ÃÌ>>̈œ˜Ã]Ê̅iÊܜÀŽÊˆÃÊ>ÌÌi˜`i`ÊLÞÊ܅>ÌÊ ˆÊ6ˆœ>ʈ`i˜Ìˆwi`Ê>ÃÊ>˜Ê¼Õ˜`iÀÜ՘`½° 25 Viola’s neologism refers to the improvised soundtrack that Àiܘ>ÌiÃʈ˜Ê̅iʼÅ>Ài`Ê>ˆÀ½26ʜvÊ̅iÊLՈ`ˆ˜}]Ê̅iÊ܅ˆÃ«iÀˆ˜}Ê>˜`Êw`}ï˜}ʜvÊviœÜÊ Ã«iVÌ>̜ÀÃ]Ê̅iÊ܅ˆÀÀÊ>˜`ÊV>ÌÌiÀʜvÊ̅iÊ«ÀœiV̜ÀÃ]Ê̅iÊ}Àˆ˜`ˆ˜}ʜvÊۈ`iœÊ«>ÞiÀÃ]Ê̅iÊ

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Nina Danino, Communion (2010), 35 mm film, b/w, silent, 10 min. Cinematographer: Billy Williams BSC. Courtesy of the artist.

rustle and rumble of the spectator’s own body and the sudden intrusion of the world outside every time someone opens a door. The muted chorus of the everyday enables audiences to concentrate on the ÃVÀii˜Ê>˜`]Ê>ÃÊÃ>>VÊՏˆi˜Ê…>ÃÊVœ““i˜Ìi`]Ê܈̅Ê̅iÊ>`Ûi˜ÌʜvÊ̅iʼÌ>Žˆiý]ʼۈÃÕ>Ê cinema’ became the domain of artists.27Ê ÛiÀÊȘVi]Ê>ÊܜÀ`iÃÃÊÀiÛiÀi˜ViÊvœÀÊ̅iʈ“>}iʅ>ÃÊLii˜Ê܈`iëÀi>`]ʘœÌÊÜʓÕV…ʈ˜Ê`iviÀi˜ViÊ̜ʈÌÃʜÀˆ}ˆ˜Ãʈ˜Êȏi˜ÌÊVˆ˜i“>ÊLÕÌÊ >ÃÊ>ʓi>˜ÃÊ̜ʫÀœ“œÌiʈÌÃʘiÜÊÃÌ>ÌÕÃÊ>ÃÊ>ÀÌʜLiVÌÊ>˜`]ʜ˜ViÊi˜ÌiÀi`ʈ˜Ê̅iÊV>˜œ˜]Ê >ÃʜLiVÌʜvÊ>ÀV…ˆÛ>ÊVœ˜ÃiÀÛ>̈œ˜°Ê˜ÃÌ>>̈œ˜ÃÊLÞÊ
˜Ì…œ˜ÞÊV >]Ê ˆÊ6ˆœ>]Ê-ÌiÛiÊ V+Õii˜ÊœÀÊ>ŽˆÊÀۈ˜iʅ>ÛiÊLiVœ“iÊ«>ViÃʜvÊ«ˆ}Àˆ“>}iÊ>ÃÊ̅iʈ“>}iʅ>˜}Ãʈ˜Ê>Ê Vœ˜`ˆÌˆœ˜ÊœvÊÃi“ˆ‡iۈÌ>̈œ˜]ÊÜÀi>̅i`ʈ˜ÊVœ˜Ìi“«>̈ÛiÊȏi˜ViÊÀi>`ÞÊ̜ÊLiÃÃÊ̅iÊ faithful with its transcendent beauty. A recent work by Nina Danino puts ghostly flesh on my devotional analogy. Communion (2010) features the black-and-white ˆ“>}iʜvÊ>ʫՏV…ÀˆÌÕ`ˆ˜œÕÃÊV…ˆ`]Ê̅iÊ>À̈Ã̽ÃÊ`>Õ}…ÌiÀÊ/…>ˆ>]Ê`ÀiÃÃi`ÊvœÀʅiÀÊwÀÃÌÊ Vœ““Õ˜ˆœ˜Êˆ˜ÊۈÀ}ˆ˜>Ê܅ˆÌi]Ê>˜`ÊÜÀ>««i`ʈ˜Ê̅iÊÃ̜˜ÞÊi“LÀ>ViʜvÊ̅iÊ>˜Vˆi˜ÌÊÜ>ÃÊ œvÊ>ÊV…ÕÀV…°Ê/…iʓœ˜œV…Àœ“iʈ“>}i]Êw“i`ÊLÞÊ̅iÊ
V>`i“ÞÊ
Ü>À`‡Üˆ˜˜ˆ˜}ÊVˆ˜i“>̜}À>«…iÀÊ ˆÞÊ7ˆˆ>“Ã]ÊLiÃ̜ÜÃÊ>Êv>`i`ÊœÞܜœ`Ê}œÃÃÊ̜Ê̅iÊ«œÀÌÀ>ˆÌʜvÊ/…>ˆ>]Ê while both her beauty and her rapt interiority command silence of an audience already primed to lower its voices on entering a gallery or a cathedral. There is also a sense that the silence invites an unburdening of the soul enshrined in the Catholic Ã>VÀ>“i˜ÌʜvÊVœ˜viÃȜ˜°Ê7…i˜Ê>ÕÀi˜Ì‡*>ՏÊ,œLiÀÌÊÃ>ÜÊ̅iÊܜÀŽ]ʅiÊ`ˆÃVœÛiÀi`ʈ˜Ê ˆÌÊ>Ê«i>Ș}Ê>LÃÌÀ>V̈œ˜]ʜ˜iÊ̅>ÌʅiÊ>ÌÌÀˆLÕÌi`Ê̜Ê̅iÊw“½ÃʵՈi̘iÃÃ\ʼ9œÕÀÊȏi˜ÌÊ image asks us to leave traditional combinations behind; we are completely alone in front of your piece.’28

SOUND

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œÌÊ Vœ˜Ìi˜ÌÊ ÜˆÌ…Ê iÝVˆÃˆ˜}Ê “>˜Õv>VÌÕÀi`Ê ÃœÕ˜`Ê vÀœ“Ê …ˆÃÊ ÜœÀŽ]Ê ÀÕViÊ >Փ>˜Ê sought deeper silences in his Acoustic Wall (1969) installation. The wall was clad in ˆ˜ÃՏ>̈˜}ʓ>ÌiÀˆ>Ê̅>ÌÊ`i>`i˜i`Ê>ÊÀiyiVÌi`ÊÜ՘`Ê«>ÃÃiÀÇLÞÊܜՏ`ÊiÝ«iVÌÊÌœÊ …i>ÀÊ>ÃÊ̅iÞÊ«Àœ}ÀiÃÃi`Ê>œ˜}ʈÌÃʏi˜}̅°Ê/…iÊÀiÃՏ̈˜}ʼ`i>`Ê>ˆÀ½ÊÜ>ÃÊ̅ÕÃÊ>˜Ê>Ãޓ“iÌÀˆV>Ê iÝ«iÀˆi˜ViÊ ÜˆÌ…Ê Ì…iÊ Ü>Ãˆ`iÊ i>ÀÊ ÀiViˆÛˆ˜}Ê ˜œÊ ÀiyiVÌi`Ê ÃœÕ˜`Ê Ü…ˆiÊ Ì…iÊ other ear could still hear the ambient noise in the room. The brain received contradic̜ÀÞÊ>Õ`ˆÌœÀÞʈ˜vœÀ“>̈œ˜ÆÊ>ÃÊ>ÊÀiÃՏÌ]ÊۈÈ̜ÀÃÊ̜Ê̅iʈ˜ÃÌ>>̈œ˜ÊvœÕ˜`Ê̅i“ÃiÛiÃÊ losing their balance. The work highlights the importance of sound to the aural body vœÀÊ̅iÊ«ÕÀ«œÃiÃʜvʅՓ>˜ÊœÀˆi˜Ì>̈œ˜°Ê-œÕ˜`ÊLœÕ˜ViÃʜvvÊÜ>Ã]ʈÃʓÕvyi`ÊLÞÊÜvÌÊ ÃÕÀv>ViÃÊ>˜`Ê`ˆÃ̜ÀÌi`ÊLÞÊ̅iʜLÃÌÀÕV̈œ˜ÊœvÊÜ>ÌiÀ]ÊÌÀiiÃʜÀÊLœ`ˆiÃÊqÊÜ՘`ʅi«ÃÊ ÕÃÊ̜Ê}iÌʜÕÀÊLi>Àˆ˜}ðÊœÀʓ>˜ÞÊÞi>ÀÃ]Ê̅iÊ«>À̈>Þ‡Ãˆ}…Ìi`Ê>À̈ÃÌÊÕ}…ÊÕ``Þʅ>ÃÊ Lii˜Ê¼…i>Àˆ˜}Ê̅iÊÜ՘`ʜvÊë>Vi]Ê̅iÊÜ՘`ʜvÊ>ÀV…ˆÌiVÌÕÀi½]ÊV…œœÃˆ˜}Ê̜ʓ>ŽiÊ>Ê «>À̈VՏ>Àʈ˜Ûi˜ÌœÀÞʜvÊœ˜`œ˜Ê>ÀÌÊ}>iÀˆiÃÊ܅iÀiʅiʼÃiiýÊ̅iÊë>Viʈ˜Ê̅iÊ}>«ÃÊ LiÌÜii˜ÊÜ>Ã]Ê̅iÊÅ>À«Êi`}iÃʜvÊ`œœÀÃÊ>˜`ʈ˜ÊvœœÌÃÌi«ÃÊ̅>Ìʼˆ}…ÌÊÕ«Ê̅iÊë>Vi½° 29
ÃÊÕ``ÞÊVœ˜w`i`]Ê/>ÌiÊœ`iÀ˜Êœ˜Viʅ>`ʼ>ʏœÛiÞʅՓ½]Ê>LœÕÌÊxäʅiÀÌâ]Ê̅>Ìʅ>ÃÊ Ài}ÀiÌvՏÞÊ`ˆÃ>««i>Ài`]ÊLÕÌʜ˜ÞʅiʘœÌˆVi`Ê̅iʏœÃÃʜvÊ>Ê՘ˆµÕiÊ>VœÕÃ̈VÊvi>ÌÕÀiʜvÊ Ì…iÊë>Vi°Ê
Ì…œÕ}…ÊœÕÀÊÃi˜ÃˆÌˆÛˆÌÞÊ̜ÊÜ՘`ʓ>ÞÊLiʏiÃÃÊ>VÕÌiÊ̅>˜ÊÕ``Þ½Ã]ÊÜiÊÃ̈Ê use our hearing in our apperception of an installation. Sound – whether present or >LÃi˜Ì]Ê«ˆVÌÕÀi‡ÃޘV…Àœ˜ˆÃi`ʜÀÊ՘viÌÌiÀi`ÊqÊÀi“>ˆ˜ÃÊ>ÊVÀˆÌˆV>ÊVœ“«œ˜i˜ÌʜvÊLœÌ…Ê “œÛˆ˜}Ê ˆ“>}iÊ >˜`Ê ˆ˜ÃÌ>>̈œ˜]Ê >˜`Ê ˆ˜Ê ˆÌÃÊ «ÕÀiÀÊ “>˜ˆviÃÌ>̈œ˜ÃÊ >À̈ÃÌÃÊ …>ÛiÊ œvÌi˜Ê concluded that less is more.

VOICE [Voice-over] provides an eternal commentary that escorts the image. /Àˆ˜…ʈ˜…‡…>]Ê£™nÎ /…iʓiœ`ÞʜvʅՓ>˜ÊëiiV…Ê…>ÃÊvœÀ“i`Ê̅iÊL>ÈÃʜvʓ>˜ÞÊ>À̈ÃÌýÊܜÀŽ°Ê"vÌi˜]Ê>ÃÊ we saw in Nauman’s Lip Synch]ÊۜˆViÃÊV>˜ÊLiÊÕÃi`Ê̜Ê`ˆÃÀÕ«ÌÊ̅iʏœ}ˆVʜvÊÜ՘`Ê>˜`Ê «ˆVÌÕÀiÊÃޘV…Àœ˜Þ]ÊLÕÌÊ̅iÞÊV>˜Ê>ÃœÊVÀi>ÌiÊÀˆV…ʏ>ÞiÀÃʜvʓi>˜ˆ˜}°Ê/…iÊVœ˜Ûi˜Ìˆœ˜>Ê ۜˆVi‡œÛiÀʜvÊw“Ê>˜`ÊÌiiۈȜ˜Êi“Lœ`ˆiÃÊ̅iÊ­ÕÃÕ>Þʓ>i®ÊۜˆViʜvÊ>Õ̅œÀˆÌÞ]Ê̅iÊ authenticating testimony of a witness or the musings of a protagonist reminiscing >vÌiÀÊ̅iÊ­ÌÀ>}ˆVʜÀʍœÞœÕîÊiÛi˜ÌÊ܈̅Ê̅iÊ܈Ã`œ“Êœvʅˆ˜`È}…Ì°Ê/…iÊۜˆViʼiÃVœÀÌÃÊ̅iÊ image’ and indeed the spectator towards a pre-determined reading of the film or TV programme – it is like a caption under a photograph that clears up any ambiguities ˆ˜Ê̅iʈ“>}i°ÊˆV…iÊ …ˆœ˜Ê`iw˜iÃÊ̅iÊۜˆVi‡œÛiÀÊ>ÃÊ>˜Ê>VœÕÃÌ>“>̈µÕiÊi˜ÌˆÌÞÊi݈Ã̈˜}ʘiˆÌ…iÀÊ>Ãʈ“>}iʘœÀÊ>ÃÊ«ÕÀiÊÜ՘`]Ê>Ê«…i˜œ“i˜œ˜Ê̅>ÌÊV>Ãʜ˜Ê̅iʈ“>}ˆ˜>̈œ˜Ê to put flesh on the bones of the unseen speaker.30 Artists intuited that once liber>Ìi`ÊvÀœ“ʈÌÃÊÀœiʜÀ}>˜ˆÃˆ˜}Ê>˜`ʘ>ÀÀœÜˆ˜}Ê̅iʓi>˜ˆ˜}ʜvÊ̅iʈ“>}i]Ê̅iʈ˜`iw˜ˆÌiÊ

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ÃÌ>ÌÕÃÊ œvÊ Ì…iÊ ÛœˆVi‡œÛiÀÊ VœÕ`Ê ÜœÀŽÊ >}>ˆ˜ÃÌÊ Ì…iÊ VՏÌÕÀ>Ê }À>ˆ˜]Ê iۜŽˆ˜}Ê ¼>LiÀÀ>˜Ì½Ê ÃÕLiV̈ۈ̈iÃʘœÌÊÀi«ÀiÃi˜Ìi`ÊLÞÊ̅iʓ>ˆ˜ÃÌÀi>“°Ê>À̅>Ê,œÃiÀ]Ê6iÀ>ÊÀi˜Ži]ʈÃÊ ,…œ`iÃ]Ê œ˜>Ê >ÌœÕ“Ê >˜`Ê ˆÃ>Ê -ÌiiiÊ >Ê i“«œÞi`Ê Ì…iˆÀÊ œÜ˜Ê ¼iÕÈÛiÊ Ì…iÀivœÀiÊ dangerous’31 voices to speak of a feminine sensibility. Having escaped the tyranny œvÊ̅iÊiÞiʈ˜ÌœÊ܅>ÌÊi>˜ÊˆÃ…iÀÊV>i`ʼ̅iÊiVœ˜œ“ÞʜvÊ̅iÊi>À½]Ê̅iˆÀÊۜˆViÃÊVœÕ`Ê no longer be subdued. 32 Others eschewed conventional speech and turned to song >˜`Ê`ˆvviÀi˜ÌÊvœÀ“ÃʜvÊۜV>ˆÃ>̈œ˜Êˆ˜VÕ`ˆ˜}ÊÜii«ˆ˜}Ê>˜`ʏ>Õ}…ÌiÀ]Ê̅>Ìʈ˜ÛœÕ˜Ì>ÀÞÊ «…ÞÈV>Êë>ÓÊÕViÊÀˆ}>À>ÞÊV>ˆ“i`ʈÃÊ>ʏœVÕÃʜvÊÀiÈÃÌ>˜ViÊvœÀÊܜ“i˜Ê>˜`ʼ̅iÊ first form of liberation from a secular oppression’. 33 In ReassemblageÊ­£™nÓ®]ʈ˜ÃÌi>`Ê of imposing an authoritative voice-over commonly used in anthropological filmmakˆ˜}]Ê/Àˆ˜…ʈ˜…‡…>Ê`ÀiÜʜ˜Ê̅iʜÀ>Ê>˜`ʓÕÈV>ÊÌÀ>`ˆÌˆœ˜ÃʜvÊ-i˜i}>iÃiÊܜ“i˜ÊÌœÊ build her soundtrack. In Clapping SongsÊ­£™n£®]Ê/ˆ˜>Êi>˜iʓˆ˜i`Ê̅iÊ}>“iÃÊ>˜`Ê Ã̜ÀˆiÃʜvÊ ÀˆÌˆÃ…ÊV…ˆ`Ài˜Ê«>ÃÃi`Ê`œÜ˜ÊvÀœ“Ê“œÌ…iÀÊ̜Ê`>Õ}…ÌiÀÊ>˜`ʈ˜ÊÓää£]Ê̅iÊ African-American artist Lorna Simpson made Easy to Remember]Ê>Êۈ`iœÊˆ˜ÃÌ>>̈œ˜Ê consisting of a rectangular grid of monitors displaying close-ups on fifteen singers’ mouths. Gesturing towards Beckett’s one-mouth play Not IÊ­£™ÇÓ®]Ê̅iÊ«iÀvœÀ“iÀÃÊ …Õ““i`Ê>Ê,œ}iÀÃÊEÊ>ÀÌÊܘ}Ê̅>Ìʜ˜ÞÊ̅iÞÊVœÕ`ʅi>ÀÊ̅ÀœÕ}…Ê…i>`«…œ˜iðÊ/…iˆÀÊ gently overlapping renditions created a sense of communality whist individual voiciÃÊÀi“>ˆ˜i`Ê`ˆÃ̈˜}ՈÅ>Li°Ê/…iÊi“«…>ÈÃʅiÀiÊÜ>Ãʜ˜Ê̅iÊLœ`ÞÊ>ÃÊ>ÊÜ՘`ˆ˜}ÊLœÝ]Ê >˜Êˆ˜`i݈V>]Ê«…ÞÈV>Ê«ÀiÃi˜Vi]Ê̅iÊۜˆViÊi“iÀ}ˆ˜}ʼ̅ÀœÕ}…ÊۜV>ÊVœÀ`ÃÊ>˜`Ê̜˜}ÕiÊ and teeth’.34Ê -ˆ“«Ãœ˜]Ê ˆ˜…‡>Ê >˜`Ê i>˜iÊ >Ê ˆ˜ÛœŽiÊ jm˜iÊ ˆÝœÕݽÃÊ «Ài‡ˆ˜}Õ>Ê Lœ`Þ]ʼȘ}ˆ˜}ÊvÀœ“Ê>Ê̈“iÊLivœÀiÊ̅iʏ>ܽ°35 Rather than reproducing the speech patÌiÀ˜ÃʜvÊ>Ê«>ÌÀˆ>ÀV…>ÊÜVˆ>ÊœÀ`iÀ]ʈÌʈÃʼ̅iʓœÌ…iÀÊ̜˜}ÕiÊ̅>ÌÊÀiܘ>ÌiÃ]Ê̜˜}ÕiʜvÊ “ÞʓœÌ…iÀ]ʏiÃÃʏ>˜}Õ>}iÊ̅>˜Ê“ÕÈV]ʏiÃÃÊÃޘÌ>ÝÊ̅>˜Êܘ}ʜvÊܜÀ`ý° 36 It is through ̅iʓ>ÌiÀ˜>ÊۜˆViÊ̅>ÌÊ̅iÃiÊ>À̈ÃÌÃÊi˜}>}iʈ˜ÊVœ““Õ˜>ÊۜV>Ê>À̈VՏ>̈œ˜Ã]ÊÌÀ>˜Ãmitting from one body to the other(s). The music of human speech provided the material for Susan Hiller’s Witness (2000) in which individuals who have all sighted UFOs are spared any visual repÀiÃi˜Ì>̈œ˜]Ê Ü…ˆiÊ Ì…iˆÀÊ ÛiÀL>Ê ÌiÃÌ>“i˜ÌÃÊ >ÀiÊ Ài>Þi`Ê Ûˆ>Ê >Ê Àœœ“vÕÊ œvÊ Ã«i>ŽiÀÃÊ hanging from the ceiling like an infestation of sonorous spiders. The work asserts ̅iÊ i“Lœ`ˆi`Ê «ÀiÃi˜ViÊ œvÊ Ì…iÊ ÃÕLiVÌÃÊ Ü…ˆÃÌÊ >ۜˆ`ˆ˜}Ê Ì…iÊ ÛˆÃÕ>Ê œLiV̈wV>̈œ˜Ê œvÊ̅iˆÀÊLœ`ˆiÃÊ>œ˜}Ê̅iÊ>ÝiÃʜvÊÀ>Vi]Ê`ˆÃ>LˆˆÌÞ]Ê}i˜`iÀʜÀÊ>}i° 37 William Furlong’s Audio Arts similarly displays the variety of intonation in the human voice through his ÀiVœÀ`i`ʈ˜ÌiÀۈiÜÃÊ܈̅Ê>À̈ÃÌÃ°Ê œiVÌi`ÊȘViÊ£™ÇÎ]ÊÕÀœ˜}ÊÀi}>À`ÃÊ̅iÃiÊ>À̈VՏ>̈œ˜ÃÊ>ÃÊ>ÊÃVՏ«ÌÕÀ>Ê“>ÌiÀˆ>]Ê>˜`ʈ˜ÊTo Hear Yourself as Others Hear YouÊ­Óää£qÓ®]Ê he created a lattice of wires and speakers strung out across the gallery space. A richly layered polyphony of voices and incidental sounds suffused the space. With œ˜ÞÊ̅iÊ>LÃÌÀ>VÌÊÜiLLˆ˜}ʜvÊ̅iÊ܈ÀiÃÊ̜Ê`ˆÃÌÀ>VÌÊ̅iÊiÞi]ʈÌÊÜ>ÃÊ«œÃÈLiÊ̜ʓ>ÀÛi]Ê ˆŽiÊ-ˆ“œ˜Ê >œÜ]Ê̅>Ìʼi>V…Ê«iÀܘ½ÃÊÜ՘`ÊQˆÃRÊVœ“«iݏÞÊ՘ˆµÕi½Ê>˜`ʏˆÃÌi˜Ê̜Ê̅iÊ µÕ>ˆÌˆiÃʈ˜Ê>ÊۜˆViʜvʼÃÕ}}iÃ̈Ûi˜iÃýÊ܅ˆiÊ>««ÀiVˆ>̈˜}ʼˆÌÃÊ>LˆˆÌÞÊ̜Ê}>Û>˜ˆÃi]Ê̜Ê

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ÌiÀÀˆvÞ]Ê̜ÊVœ˜Ãœi½° 38Ê ÞʓœÛˆ˜}Ê՘`iÀʈ˜`ˆÛˆ`Õ>Êëi>ŽiÀÃ]ʈÌÊÜ>ÃÊ«œÃÈLiÊ̜ʈ`i˜ÌˆvÞÊ «>À̈VՏ>ÀÊۜˆViÃ]ʈ˜ÊܓiÊV>ÃiÃ]Êv>“ˆˆ>ÀÊۜˆViÃÊvÀœ“Êles jours d’antan (days of yesÌiÀÞi>À®Êëi˜Ìʈ˜Ê̅iÊiÝ«iÀˆ“i˜Ì>ÊviÀ“i˜ÌÊ̅>ÌÊÜ>Ãʜ˜ViÊ>˜Ê>ÀÌÊÃV…œœÊi`ÕV>̈œ˜°39 i˜iÊ9œÕ˜}Lœœ`ÊLiˆiÛi`Ê̅>ÌÊ̈“iʅ>ÃÊ>ÊܘˆVÊ`ˆ“i˜Ãˆœ˜]Ê>˜`ÊÕÀœ˜}½ÃÊ>ÀV…ˆÛ>Ê ˆ˜ÃÌ>>̈œ˜Ê ÃՓ“œ˜i`Ê «iœ«iÊ >˜`Ê iÛi˜ÌÃÊ vÀœ“Ê ̅iÊ «>ÃÌ]Ê Ì…iÊ “œÀiÊ ÛˆÛˆ`ÞÊ vœÀÊ Ì…iÊ curious sensation that these voices had migrated to our bodies and were speaking to us from inside our own heads. /…iÊ >˜>`ˆ>˜Ê>À̈ÃÌÊ>˜iÌÊ >À`ˆvvʅ>ÃÊÀiw˜i`Ê̅ˆÃÊivviVÌʜvÊ«œÃÃiÃȜ˜ÊLÞʓ>Žˆ˜}Ê binaural voice recordings in which the space between microphones corresponds to the gap between the ears of the future listener. Armed with a pair of binaural head«…œ˜iÃ]ÊÊvœœÜi`ÊThe Missing Voice: Case Study B (1999) treading the same route ̅>ÌÊ >À`ˆvvʅ>`Ê«ÀiۈœÕÏÞÊÜ>Ži`ʈ˜Ê̅iÊÃÌÀiiÌÃʜvÊ7…ˆÌiV…>«iÊˆ˜Êœ˜`œ˜]Ê܅iÀiÊ she made her recordings. The artist’s voice became an imaginary friend leading me ̅ÀœÕ}…Ê>Ê`Õ>ÊܜÀ`]ÊVœ“Lˆ˜ˆ˜}Ê̅iʈ““i`ˆ>ÌiÊÀi>ˆÌÞÊ>VViÃÈLiÊ̜ÊÈ}…Ì]Ê̜ÕV…Ê>˜`Ê Ã“iÊ܈̅Ê>˜œÌ…iÀÊ`ˆ“i˜Ãˆœ˜ÊœvÊÜ՘`ʈ˜…>LˆÌi`ÊLÞÊLiˆ˜}ÃÊÊVœÕ`ʅi>ÀÊ>˜`ʼvii½Ê «>ÃȘ}]ÊLÕÌÊ܅œÊÜiÀiʘœÌÊ̅iÀi°Ê/…iÃiÊ«…>˜Ìœ“Ê«ÀiÃi˜ViÃÊÜiÀiÊÜÊÀi>Ê̅>ÌʈÌÊviÌÊ ˆŽiÊʅ>`ÊÃÌÀ>Þi`]Ê՘Ãii˜]Ê̅ÀœÕ}…Ê>Ê«œÀÌ>Êˆ˜ÌœÊ̅iˆÀÊ̈“i]ÊLÕÌÊ܈̅œÕÌʏi>ۈ˜}Ê̅iÊ «ÀiÃi˜Ì°Ê/…iÀiÊÜ>ÃÊ>ÊÃi˜ÃiʜvʓÕÌÕ>Ê…>՘̈˜}Ê>VÀœÃÃÊ̈“iÊLÞÊ«ÀœÝˆ“>ÌiÊÃÌÀ>˜}iÀðÊ

œÕ`Ê̅iÞʅi>ÀʓiÊ>ÃÊÜiÊ>ÃÊÊVœÕ`ʅi>ÀÊ̅i“¶

VENTRILOQUISM Uncork the body, and God knows what you permit to come tumbling out. Suddenly, you are forever other than you were; and the world becomes such that parents cease to be parents... ->“>˜Ê,ÕÅ`ˆi]ÊMidnight’s Children]Ê£™n£ -«i>Žˆ˜}ʈ˜ÊÓääÈ]Ê->ۜÊ=ˆãiŽÊ>À}Õi`Ê̅>ÌÊ̅iÊÀi>ÊŜVŽÊœvÊ̅iÊÌ>ŽˆiÃÊÜ>ÃʘœÌÊÃœÊ “ÕV…Ê̅>ÌÊ>Õ`ˆi˜ViÃÊÜiÀiÊÃÕ``i˜ÞÊVœ˜vÀœ˜Ìi`Ê܈̅ÊÀi>Ê«iœ«i]ÊLÕÌÊ̅iÊ`ˆÃÀի̈œ˜Ê LÞÊ̅iÊۜˆViʜvÊ̅iʜÀ}>˜ˆVÊ՘ˆÌÞʜvÊ>˜Êœ˜ÃVÀii˜Êˆ˜`ˆÛˆ`Õ>°Ê/…iÊۜˆVi]Ê`iV>Ài`Ê=ˆãiŽ]Ê is not part of the organism.40Ê/…iÊۜˆViʈÃÊ>Ê«>À>È̈VÊi˜ÌˆÌÞ]Ê>˜Ê>ˆi˜ÊvœÀViÊ̅>ÌÊÌ>ŽiÃÊ you over and then departs your body and enters others. There have been times when ʜ«i˜i`ʓÞʓœÕ̅Ê>˜`Ê>ʓˆÃV…ˆiۜÕÃÊ`i“œ˜]ʜÀÊ܅>ÌÊ*>ÕÊ i܅>“ÊV>ÃÊ>ʼÅ>`œÜÊ «iÀܘ>ˆÌÞ½] 41ÊLÕÀÌi`ʜÕÌÊÌ>V̏iÃÃÊ«Àœ˜œÕ˜Vi“i˜ÌÃÊ̅>Ìʈ˜iۈÌ>LÞÊV>ÕÃi`ÊÌÀœÕLi]Ê or indeed when I opened my mouth and my mother’s voice emerged from the deeper recesses of my psyche from whence she regularly launches her visitations. A numLiÀʜvÊ>À̈ÃÌÃʅ>ÛiÊÀiÃÌ>}i`Ê`ˆ>œ}ÕiÃÊ܈̅Ê̅iˆÀʓœÌ…iÀÃ]ÊÃÕV…Ê>ÃÊ …>˜Ì>Ê
VŽiÀ“>˜Ê in Letters Home (1986) and Mona Hatoum in Measures of DistanceÊ­£™nn®]ÊLÕÌʈÌʈÃÊ the ventriloquism of Gillian Wearing’s 2 into 1 (1997) that perfectly demonstrates

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Gillian Wearing, 2 into 1 (1997). Colour video for monitor with sound, 4:30 min. Courtesy of Maureen Paley, London. © the artist.

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the blurring of identities between mother and child and the efforts children make to separate from their parents. Wearing interviewed a woman and her two young ܘÃÊ>˜`]ÊLÞʓi>˜ÃʜvÊۈÀÌ՜Üʓˆ“ˆ˜}ʜ˜Ê̅iÊ«>ÀÌʜvÊ̅iÊ«>À̈Vˆ«>˜ÌÃÊ>˜`ʅiÀÊœÜ˜Ê Õ`ˆVˆœÕÃÊ i`ˆÌˆ˜}]Ê Ã…iÊ Vœ˜ÌÀˆÛi`Ê ÌœÊ ÌÀ>˜Ã«œÃiÊ Ì…iˆÀÊ ÛœˆViÃ°Ê /…iÊ LœÞÃÊ ÕÌÌiÀi`Ê Ì…iˆÀÊ “œÌ…iÀ½ÃÊܜÀ`Ã]Ê>˜`Ê̅iÊܜ“>˜ÊۜˆVi`ʅiÀÊܘýÊiÝÌÀi“iÞÊVÀˆÌˆV>]ʈvʘœÌʈ˜ÃՏ̈˜}Ê >ÃÃiÃÓi˜ÌÃʜvʅiÀʵÕ>ˆÌˆiÃÊ>ÃÊ>Ê«>Ài˜Ì]Êψ}…ÌÃÊ̅>ÌÊLiÌÀ>Þi`Ê̅iÊLœÞýÊ>˜}iÀÊ>ÌÊ Ì…iˆÀÊVœ˜Ìˆ˜Õˆ˜}Ê`i«i˜`i˜Viʜ˜Ê¼…iÀ½°Ê/…iÊ`ˆÃœV>̈œ˜ÊœvÊ̅iÊۜˆViÊvÀœ“ʈÌÃÊ«œˆ˜ÌʜvʜÀˆ}ˆ˜ÊÀi˜`iÀÃʈÌÊ՘V>˜˜ÞÊ>˜`Ê̅iÊ̅ÀœÜˆ˜}ʜvÊ̅iÊۜˆViʼÀi«ÀiÃi˜ÌÃÊ̅iÊ«œÜiÀʜvÊÜ՘`Ê to countermand the evidence of sight’42ÊqÊÜiÊÃiiÊ>Êܜ“>˜]ÊÞiÌÊÅiÊëi>ŽÃÊ>ÃÊ>ÊLœÞ°Ê The ventriloquial voice breaches the natural boundaries of the body and diminishes ̅iÊ`ˆvviÀi˜ViÊLiÌÜii˜ÊÃivÊ>˜`ʜ̅iÀ°Ê/…iÊ̅ÀœÜ˜ÊۜˆViÊi˜>LiÃÊ>À̈ÃÌÃʏˆŽiÊ7i>Àˆ˜}]Ê

>À`ˆvvÊ>˜`Ê >Փ>˜Ê̜ÊÜÜʼ«Àœ`ÕV̈ÛiÊVœ˜vÕȜ˜½ÊœÀ]ʓœÀiÊ«œÃˆÌˆÛiÞ]Ê̜Êi˜VœÕÀ>}iÊ Ì…iÊ`iÛiœ«“i˜ÌʜvʼÃiVœ˜`ÊÈ}…̽Ê`iÀˆÛi`ÊvÀœ“ÊÜ՘`°Ê ÞÊLiVœ“ˆ˜}ʼ>Êi>Àý]ÊÜiÊV>˜Ê Ì՘iʈ˜ÌœÊœÌ…iÀÊ«ÀiÃi˜ViÃÊ̅ÀœÕ}…Ê̅iˆÀÊۜˆViÃÆʈ˜ÊœÕÀʓˆ˜`ýÊiÞi]ʼÜiÊV>˜ÊÃiiÊ̅iˆÀÊ ÃœÕ˜`Ê>˜`ʅi>ÀÊ̅iˆÀÊ«…ÞÈV>ÊÅ>«i]ʏœV>̈œ˜Ê>˜`ʓœÛi“i˜Ì½° 43ÊœÜiÛiÀ]Ê>ÃÊ-ŸŽiÊ ˆ˜Ž>ʅ>ÃʜLÃiÀÛi`]Ê>ÕÀ>Ê«…i˜œ“i˜>ʏiÌʏœœÃiÊvÀœ“Ê̅iˆÀʓœœÀˆ˜}Ãʓ>ŽiÊÕÃÊ>Ü>ÀiÊ œvÊ̅iʼˆ˜ÃÌ>LˆˆÌÞʜvÊ«iÀVi«Ìˆœ˜½ÆʘœÌ…ˆ˜}ʈ˜Ê̅iÊܜÀ`ʜvÊ«ÀiÌiÀ˜>ÌÕÀ>Ê“ÕÀ“ÕÀˆ˜}ʈÃÊ ever quite what it seems. 44

BI−LINGUALISM When Wearing put words into the wrong mouths in 2 into 1]ÊÅiʈ“«ˆi`Ê>ÊvÕȜ˜ÊœvÊ identities and the instability of internal psychic cohesion. Robert Morin’s Yes Sir! Madame...Ê­£™™{®Êi˜>VÌÃÊ>ÊLˆˆ˜}Õ>ÊvœÀ“ÊœvÊÛi˜ÌÀˆœµÕˆÃ“]ÊLÕÌʈ˜Ê̅ˆÃÊV>ÃiÊ̅iÊۜˆViÊ is not thrown into another host – the two identities emerge from the same body. 45 Morin belongs to a Canadian tradition of film and videomaking distinguished by the use of voice-overs that recount myths of arrival and the continuing struggles of immigrants with their identities in a hyphenated nation – Morin identifies himself >ÃÊ>ÊÀi˜V…‡ >˜>`ˆ>˜ÊVˆÌˆâi˜°Ê˜Ê̅iˆÀÊۈ`iœÊܜÀŽ]Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ6iÀ>ÊÀi˜Ži]Ê/œ“Ê Sherman and Steve Reinke provide a first-person running commentary creating a sense of eavesdropping on their creative and sometimes obsessional thought processes. The confidential tone draws the spectator into a fallacious intimacy – the >À̈ÃÌʈÃʘœÌÊ«ÀiÃi˜Ì]ʅiÀÊLœ`ÞʈÃʜÕÌʜvÊÈ}…Ì]ʈ˜Ê>˜œÌ…iÀÊ̈“i°Ê/œ“Ê-…iÀ“>˜Ê…>ÃÊëiVulated that Canadian moving image works favour voice-over because it can solicit i“«>̅ÞÊvœÀÊ̅iÊëi>ŽiÀÊ>˜`Ê>VÌÊ>ÃÊ>ÊÈ}˜>ÌÕÀi]Ê>ÊÜ>Þʜvʼ«>À̈VՏ>ÀˆÃˆ˜}Ê̅iʓi`ˆÕ“½Ê with the artist’s imprint. 46 With the United States an overbearing cultural and political «ÀiÃi˜Vi]ÊVœ˜ÃÌ>˜ÌÞÊiÝiÀ̈˜}Ê«ÀiÃÃÕÀiʜ˜Ê̅iˆÀÊLœÀ`iÀÃ]Ê >˜>`ˆ>˜Ê>À̈ÃÌÃ]Ê>ÃÃiÀÌÃÊ -…iÀ“>˜]Ê w˜`Ê >Ê «>À̈VՏ>ÀÊ ¼˜ii`Ê ÌœÊ `iV>ÀiÊ Ì…i“ÃiÛiÃ½Ê ˆ˜Ê ̅iˆÀÊ ÜœÀŽ° 47 In Morin’s case the declaration is one of hybridity – with one Francophone and one Anglophone

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«>Ài˜Ì]ÊœÀˆ˜ÊˆÃÊLˆˆ˜}Õ>Ê>˜`ʈ˜ÊYes Sir! Madame... he recounts the trials and tribul䜘ÃʜvʅˆÃÊ>ÌiÀÊi}œ]Ê >ÀÊ/Ài“L>Þ]ʈ˜ÊLœÌ…ʏ>˜}Õ>}iÃÊȓՏÌ>˜iœÕÏÞ]ÊvœÀ}ˆ˜}Ê܅>ÌÊ …iÊV>Ãʼ>ÊÀi>ÊvÕVŽˆ˜}Ê >˜>`ˆ>˜Ê“œÛˆi½° 48 The story is told as a series of flashbacks ܈̅Ê̅iÊ>À̈ÃÌÊÌ>Žˆ˜}ʜÛiÀÊÀi‡“>ÃÌiÀi`Ê-Õ«iÀÊnʓœÛˆiÃÊŜÌʈ˜Ê>˜`Ê>ÀœÕ˜`Ê+ÕjLiVÊ over a number of years. Morin as narrator slides effortlessly between English and Ài˜V…]Ê܈̅ÊL>ÀiÞÊ>Ê«>ÕÃiÊ̜Ê`À>ÜÊLÀi>̅ʈ˜ÊLiÌÜii˜°Ê
ÌÊwÀÃÌÊ̅iÊÌܜʘ>ÀÀ>̈ÛiÃÊ>ÀiÊ `ˆÀiVÌÊÌÀ>˜Ã>̈œ˜Ãʜ˜iʜvÊ̅iʜ̅iÀ]ÊLÕÌÊ>ÃÊ̅iÊܜÀŽÊ«Àœ}ÀiÃÃiÃ]ÊÀi˜V…Ê>˜`Ê ˜}ˆÃ…Ê `ˆÛiÀ}iÊ>˜`Ê/Ài“L>ÞÊ`iÛiœ«ÃÊ>Ê돈ÌÊ«iÀܘ>ˆÌÞ]ʅˆÃÊÀ>˜Vœ«…œ˜iÊÃivÊȘŽÃʈ˜ÌœÊ «i˜ÕÀÞÊ>˜`ÊLiVœ“iÃʼ>ÊLՓ½Ê܅ˆiʅˆÃÊ
˜}œ«…œ˜iÊ«iÀܘ>Ê̅ÀˆÛiÃÊ>Ãʼ>˜Êœ««œÀÌ՘ˆÃÌ]Ê>˜Ê>ÀÀˆÛˆÃÌi½°49 œÀˆ˜½ÃÊ ÌÜœÊ Ü>ÀÀˆ˜}Ê «iÀܘ>ˆÌˆiÃÊ œÀˆ}ˆ˜>ÌiÊ vÀœ“Ê ̅iÊ Ã>“iÊ Lœ`Þ]Ê i“iÀ}ˆ˜}Ê >ÃÊ a two headed-hydra in which one individual is apparently swallowed by the other only to be itself ingested to make way for the resurgence of the original. The switch œÛiÀʈÃÊÜÊÀ>«ˆ`Ê̅>ÌʏˆŽiÊ̅iÊV…ˆVŽi˜Ê>˜`Ê̅iÊi}}]ʈÌʈÃʈ“«œÃÈLiÊ̜ÊiÃÌ>LˆÃ…Ê܅ˆV…Ê V>“iÊwÀÃÌ]Ê܅ˆV…ʈÃÊœÀˆ˜½ÃʼÌÀÕi½Êˆ`i˜ÌˆÌÞʭ̅iÊ>˜ÃÜiÀ]ʜvÊVœÕÀÃi]ʈÃʘiˆÌ…iÀÊ>˜`ÊLœÌ…®°Ê -ÌiÛi˜Ê œ˜˜œÀÊ …>ÃÊ >À}Õi`Ê Ì…>ÌÊ >Ê `ˆÃi“Lœ`ˆi`]Ê Õ˜œV>Ìi`Ê ÛœˆViÊ ¼ˆÃÊ iÝ«iÀˆi˜Vi`Ê >ÃÊ i˜ˆ}“>̈VʜÀÊ>˜ÝˆœÕÏÞʈ˜Vœ“«iÌiÊ՘̈ÊˆÌÃÊÜÕÀViÊV>˜ÊLiʈ`i˜Ìˆwi`½°50 Once the voice is reunited with the body from which it was emitted we perceive a whole individual ܈̅Ê܅œ“ÊÜiʓˆ}…ÌÊiÃÌ>LˆÃ…Ê>Ê`i}ÀiiʜvÊÜVˆ>Êˆ˜ÌiÀ>V̈œ˜°ÊœÜiÛiÀ]Ê܅i˜Ê̅iÊLœ`ÞÊ ˆÃÊVœ˜ÃÌ>˜ÌÊLÕÌÊ̅iÊۜˆViÊÀivÕÃiÃÊ̜ʓ>ˆ˜Ì>ˆ˜Ê>˜ÞÊVœ˜Ìˆ˜ÕˆÌÞʜvʏ>˜}Õ>}iʜÀÊV…>À>VÌiÀ]Ê then the stability of the union of voice to its physical anchorage is compromised. The V…>“iiœ˜‡ˆŽiʘ>ÌÕÀiʜvÊ̅iÊ«œÞ}œÌ]Ê̅iÊ܈`ʜÃVˆ>̈œ˜ÃʜvÊ̅iÊÃV…ˆâœ«…i˜ˆV]Ê̅iÊ Õ˜Vœ˜ÌÀœ>LiÊiۈÊÌ܈˜Ê̅>ÌÊ`œ}ÃÊ̅iÊ>Vœ…œˆV]Ê̅iʓœ˜ÃÌiÀÊLi…ˆ˜`ÊiÛiÀÞÊÌܜ‡Þi>À‡ œ`½ÃÊ }Àˆ˜]Ê >Ê ̅iÃiÊ `Õ>ˆÌˆiÃÊ …>ÛiÊ Ì…iÊ ivviVÌÊ œvÊ `iÀ>ˆˆ˜}Ê Ì…iÊ «iÀViˆÛi`Ê ˆ˜Ìi}ÀˆÌÞÊ œvÊ …Õ“>˜ÊÃÕLiVÌðÊ/…iÊۜˆViÃÊÜiʅi>ÀÊV>˜Ê˜œÊœ˜}iÀÊVœ˜wÀ“Ê܅>ÌÊ̅iÊiÞiÊ>««Ài…i˜`Ã°Ê The discomfort of an encounter with the fluctuating vocalisations of ambiguous perܘ>ˆÌˆiÃʏˆŽiʼ/Ài“L>Þ½Ê>ÀˆÃiÃÊvÀœ“Ê̅iÊ`iwVˆÌʜvÊ>ÊÃÌ>LiÊÜVˆ>Ê«ÀiÃi˜ViÊ>}>ˆ˜ÃÌÊ which we might establish and maintain a correspondingly viable sense of ourselves.

WHERE TO WITH SOUND? /…iÊ`iÃÌ>LˆˆÃ>̈œ˜Ê̅ÀœÕ}…ÊÜ՘`ʜvÊ̅iÊ«iÀViˆÛi`ʈ˜Ìi}ÀˆÌÞʜvÊ̅iʅՓ>˜ÊÃÕLiVÌÊÊ>˜`Ê Ì…iÊ܈vՏÊ`iÃÌÀÕV̈œ˜ÊœvÊ̅iʼ˜>ÌÕÀ>½ÊÃޘV…Àœ˜ˆÃ>̈œ˜ÊœvÊ«ˆVÌÕÀiÊ>˜`ÊÜ՘`]ÊÊÃÌÀ>Ìi}ˆiÃÊvœÀ“Տ>Ìi`Ê̜ʼ«ÕÌÊ̅iÊܜÀ`ʜÕÌʜvʍœˆ˜Ì½]51 may well have driven the avant-garde «ÀœiVÌ°Ê œÜ>`>ÞÃÊ̅iÀiÊ>ÀiÊ>ʘՓLiÀʜvÊ>À̈ÃÌÃÊ܅œ]ʏˆŽiÊ>ÕÀˆiÊ
˜`iÀܘʜÀÊ-Ìiˆ˜>Ê 6>ÃՏŽ>]Ê>ÀiÊ>ÃœÊ“ÕÈVˆ>˜Ã]Ê>˜`ÊÀœVŽ]ʫ՘Ž]Ê«œ«Ê>˜`ÊV>ÃÈV>Ê“ÕÈVʅ>ÛiÊLii˜Ê̅iÊ ÃÕLiVÌʜvÊܜÀŽÃÊLÞÊ>À̈ÃÌÃÊÃÕV…Ê>ÃÊ>ˆ˜ÊœÀÃÞ̅ÊEÊ>˜iÊ*œ>À`]Ê œÕ}>ÃÊœÀ`œ˜Ê>˜`Ê >˜œ˜Ê`iÊ œiÀ°ÊœÜiÛiÀ]Ê>Ê̜œÊœvÌi˜ÊÜ՘`ÊÃiÀÛiÃÊ>ʓœÀiÊVœ˜Ûi˜Ìˆœ˜>Ê«ÕÀ«œÃiÊ in moving image installations. Contemporary gallery-based artists are faced with a

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Semiconductor, Black Rain (2009). Installation view, Royal Academy of Arts, London. Photo: Semiconductor. Courtesy of the artists.

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dilemma. Silence endows a work with a certain ecclesiastical gravitas; but without Ü՘`]Ê܈Ê̅iʈ“>}iʜ˜ÊˆÌÃʜܘʅœ`Ê̅iÊ>ÌÌi˜Ìˆœ˜ÊœvÊ̅iÊۈiÜiÀ¶Ê/…ˆÃʅ>Ãʏi`Ê̜Ê̅iÊ ˆ˜ÌÀœ`ÕV̈œ˜ÊœvÊ܅>ÌÊÊ`iw˜iÊ>ÃÊ>ÊܘˆVʏÕLÀˆV>˜Ì]Ê>˜Ê>Õ`ˆœÊÌÀ>VŽÊ`œ“ˆ˜>Ìi`ÊLÞÊ>Ê«œÀÌi˜ÌœÕÃÊiiVÌÀœ˜ˆVÊ`Àœ˜iʜÀÊ>ʘœ˜‡Ã«iVˆwVÊÀ…Þ̅“ˆVÊLi>Ì]Êܓï“iÃÊ>VVœ“«>˜ˆi`Ê LÞʵÕ>ÛiÀˆ˜}ÊۜˆViÃʜÀʜÀ˜>“i˜Ìi`ÊLÞʜ“ˆ˜œÕÃÊVˆVŽÃ]ʓiÌ>ˆVÊ}Àˆ˜`ˆ˜}]Ê̅iÊÌÀˆVŽˆ˜}Ê of water or distant rumbles of thunder setting up Gothic tensions that are never re܏Ûi`°Ê*ÕLˆVˆÃÌÃÊ}À>˜`ÞÊÀiviÀÊ̜Ê̅iÊi˜ÌˆÀiÊܘœÀœÕÃÊVœ˜viV̈œ˜Ê>ÃʼÜ՘`Ê`iÈ}˜½°Ê The often stunning visuals in contemporary works by well-established artists such >ÃÊÀˆ˜>Ê …ˆ“ˆ]Ê ˆÊ6ˆœ>]ÊÃ>>VÊՏˆi˜ÊœÀʈŽiÊ>ÀÅ>Ê>ÀiÊ«ÀœÛˆ`i`Ê܈̅Ê>˜Ê>ÕÀ>Ê “>˜Ìi]Ê Ü…>ÌÊ VÕÀ>̜ÀÊ
V…ˆ“Ê œÀV…>À`̇ՓiÊ œ˜Ê >Ê 7…ˆÌiV…>«iÊ «Àœ“œÌˆœ˜>Ê ۈ`iœÊ `iÃVÀˆLiÃÊ>ÃÊ>ʼÃ̈ÀÀˆ˜}Ê>˜`Ê>̓œÃ«…iÀˆVÊÜ՘`ÌÀ>VŽ½°52 These interchangeable audio ÌÀ>VŽÃÊ>ÀiÊiµÕˆÛ>i˜ÌÊ̜Ê̅iʼ>̓œÃ½ÊœvÊ̅iÊw“ÊLÕȘiÃÃ]ʈ˜Vˆ`i˜Ì>ÊÜ՘`Ê`iÈ}˜i`Ê ÌœÊÃiÌÊիʘ>ÀÀ>̈ÛiÊiÝ«iVÌ>̈œ˜Ã]Êi˜…>˜ViÊ̅iÊÀi>ˆÃ“ÊœvÊ̅iʈ“>}iÊ>˜`ÊV>«ÌÕÀiÊ>Õ`ˆences already well-versed in the grammar of mainstream film. 53 œÜiÛiÀ]ʓ>˜ÞÊ>À̈ÃÌÃÊVœ˜Ìˆ˜ÕiÊ̜Ê>««Àœ>V…Ê̅iÊܘˆVÊi˜ÛˆÀœ˜“i˜ÌʘœÌÊ>ÃÊ>ÊÃÕLordinate prop to the regime of the image but as a critical component in the creation of the meaning of a work. In Black RainÊ­Óä䙮]Ê̅iÊ ÀˆÌˆÃ…Ê`՜Ê-i“ˆVœ˜`ÕV̜Àʅ>ÛiÊ iÝV>Û>Ìi`Ê̅iÊÜ՘`ÃʜvÊ̅iÊ՘ˆÛiÀÃi]ʅˆ``i˜ÊLiޜ˜`Ê̅iÊÀ>˜}iʜvÊÃÌ>˜`>À`ʅՓ>˜Ê perception.54Ê >ۈ˜}Ê ÃiVÕÀi`Ê >VViÃÃÊ ÌœÊ Ì…iÊ
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Ê -«>ViÊ -Vˆi˜ViÃÊ >LœÀ>̜ÀˆiÃ]Ê the artists gathered information about solar activity beamed to earth from a satiˆÌi]Ê >˜`Ê Ài˜`iÀi`Ê ˆÌÊ >Õ`ˆLiÊ >ÃÊ >Ê Vœ“«iÝÊ >LÃÌÀ>VÌÊ ÃœÕ˜`ÃV>«iÊ “>ÀÀˆi`Ê ÌœÊ `>Ì>Ê ÛˆÃÕ>ˆÃ>̈œ˜ÃÊ œvÊ Ãœ>ÀÊ y>ÀiÃ°Ê /…iÊ ÜœÀŽ]Ê >ÃÊ >˜Ê >VÌÊ œvÊ ÌÀ>˜Ã>̈œ˜]Ê Ü>ÃÊ `i«i˜`i˜ÌÊ entirely on advanced scientific instruments capable of taking readings of a soundless universe.55Ê œÃiÀÊ ÌœÊ …œ“i]Ê …ÀˆÃ̈˜>Ê ÕLˆÃV…Ê ˆÃÊ >˜Ê >À̈ÃÌÊ Ü…œÊ …>ÃÊ ˆ˜…iÀˆÌi`Ê >˜iÌÊ >À`ˆvv½ÃÊ Ài܏ÛiÊ ÌœÊ Õ˜VœÛiÀÊ Ì…iÊ ÃiVÀiÌÊ >VœÕÃ̈VÊ ˆviÊ œvÊ Ì…iÊ VˆÌÞ]Ê Ì…ˆÃÊ Ìˆ“iÊ ˆ˜Ê ˆÀ“ˆ˜}…>“°Ê˜ÊÕLˆÃV…½ÃÊElectrical WalksÊ­ÓääÈ®]ÊëiVˆ>ˆÃi`ʓ>}˜ïVʅi>`«…œ˜iÃÊ enabled participants to tune into the invisible electromagnetic fields generated by automated systems in use throughout the metropolis. Hot spots included traffic ˆ}…ÌÃ]ÊÃÕÀÛiˆ>˜ViÊV>“iÀ>Ã]Ê>Õ̜“>̈VÊ`œœÀÃÊ>˜`]Ê܅i˜ÊÊÜ>ÃÊ̅iÀi]Ê«œˆViʓœÌœÀÊ bikes that revealed intricate electro-sonic rhythms of their own. From these random Ài>`ˆ˜}Ã]Ê̅iÊ«iÀˆ«>ÌïVÊëiVÌ>̜ÀÊÜ>ÃÊ>LiÊ̜Ê`iÛiœ«Ê…iÀʜܘʼ>LÃÕÀ`ÊV>À̜}À>phy’56ʜvÊ̅iÊVˆÌÞ]Ê>Ê«ÀœViÃÃÊÀiyiVÌi`ʈ˜ÊܜÀŽÊLÞÊ >˜`ˆViÊ ÀiˆÌâ°Ê
ÃÊÜiÊÃ>Üʈ˜ÊV…>«ÌiÀÊ iˆ}…Ì]Ê Becoming (2003) involved visitors donning radio headphones and moving amongst a scattering of monitors showing a selection of canonical movie clips. ˆÃÌi˜ˆ˜}]ÊÃÕ}}iÃÌi`Ê >ۈ`Ê/œœ«]ʈÃÊ>ÊvœÀ“Êœvʼ“i`ˆÕ“Ã…ˆ«½]ʈ˜Ê܅ˆV…ʼ̅iÊi>ÀÊ>ÌÌ՘iÃÊ ˆÌÃivÊ̜Ê`ˆÃÌ>˜ÌÊÈ}˜>Ã]Êi>ÛiÃ`Àœ««ˆ˜}ʜ˜Ê}…œÃÌÃÊ>˜`Ê̅iˆÀÊV…>ÌÌiÀ½° 57 Where Damiel (Bruno Ganz) in Wings of DesireÊ­7ˆ“Ê7i˜`iÀÃ]Ê£™nÇ®ÊÌ՘i`ʈ˜Ê̜ʫiœ«i½ÃÊ̅œÕ}…ÌÃÊ ˆ˜Ê̅iʓœ“i˜ÌÃÊLivœÀiÊ̅iˆÀÊ`i>̅Ã]ʈ˜ÊBecoming]ÊëiVÌ>̜ÀÃÊVœÕ`ÊV>ÌV…Ê̅iÊ`ˆÃi“Lœ`ˆi`ÊۜˆViÃʜvÊ̅iÊœÞܜœ`ÊÈÀi˜ÃÊ ÀiˆÌâÊÜÊ>`“ˆÀiÃÊ­Տˆ>Ê,œLiÀÌÃ]Ê >“iÀœ˜Ê ˆ>â]Ê,iiViÊ7ˆÌ…iÀ뜜˜®]ÊÃÌ>ÀÃÊ܅œÊ>ÀiÊ>Ài>`ÞÊv>`ˆ˜}ÊvÀœ“ÊۈiÜ°

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À̈ÃÌÃÊÃÕV…Ê>ÃÊœ…˜Ê-“ˆÌ…]Ê œÕ}>ÃÊœÀ`œ˜Ê>˜`Ê …ÀˆÃ̈>˜Ê>ÀV>Þʅ>ÛiÊ>ÃœÊ>««Àœ«Àˆ>Ìi`Ê ÃœÕ˜`ÌÀ>VŽÃÊ vÀœ“Ê ̅iÊ V>˜œ˜Ê œvÊ «œ«Õ>ÀÊ VՏÌÕÀi]Ê LÕÌÊ ÕÃi`Ê Ì…i“Ê ˜œÌÊ >ÃÊ smoothing agents for the visual image but as instruments with which to interrogate the conventional relationship of picture and sound. In Lost SoundsÊ ­£™™nqÓää£]Ê ÜˆÌ…ÊÀ>i“iʈiÀ®]Ê-“ˆÌ…Êw“i`Ê`ˆÃV>À`i`Ê>Õ`ˆœÊV>ÃÃiÌÌiÃʅiÊvœÕ˜`ʜ˜Ê̅iÊÃÌÀiiÌÃÊ œvÊ >ÃÌÊœ˜`œ˜]Êi˜Ì>˜}i`ʈ˜ÊÀ>ˆˆ˜}ÃÊ>˜`Ê>ÀœÕ˜`ʏ>“««œÃÌðÊ/…iÊÜ՘`ÌÀ>VŽÊœvÊ̅iÊ w“ÊÜ>Ãʓ>`iÊիʜvÊ܅>ÌʅiÊÜ>ÃÊ>LiÊ̜ÊÀiÌÀˆiÛiÊvÀœ“Ê̅iÊ`ˆÃ}œÀ}i`ÊÀˆLLœ˜ÃʜvÊÌ>«i]Ê creating a medley of song fragments representing the musical tastes of successive waves of immigrants passing through the East End. In a reversal of the traditional À>˜Žˆ˜}]ʜ˜ÞÊ̅ÀœÕ}…Ê̅iÊÜ՘`ÊVœÕ`Ê̅iÊ>««>Ài˜ÌÊÀ>˜`œ“˜iÃÃʜvÊ̅iʈ“>}iÃʜvÊ street corners be decoded. In Gordon’s Between Darkness and LightÊ ­£™™Ç®]Ê Ì…iÊ soundtrack was robbed even of its interpretive function. A screen was suspended in ̅iʓˆ``iʜvÊ̅iÊë>Viʜ˜ÌœÊ܅ˆV…ÊÜiÀiÊ«ÀœiVÌi`ÊÌܜÊw“Ã]ʜ˜iʜ˜ÊiˆÌ…iÀÊÈ`i°Ê/…iÊ horrors of The ExorcistÊ­7ˆˆ>“ÊÀˆi`Žˆ˜]Ê£™ÇήÊÜi˜ÌÊL>VŽÊ̜ÊL>VŽÊ܈̅Ê̅iÊëˆÀˆÌÕ>Ê purity of The Song of BernadetteÊ­i˜ÀÞʈ˜}]Ê£™{ήÊVÀi>̈˜}Ê>˜Êˆ˜Vœ˜}À՜ÕÃÊ`ÕiÊ œvÊ>Õ`ˆœÊÌÀ>VŽÃ]Ê>ÊL>Ì̏iʜvÊ}œœ`Ê>˜`ÊiۈÊ̅>ÌÊÜ>ÃÊܜ˜ÊLÞʘiˆÌ…iÀÊÈ`i°Ê˜Ê̅iÊÀiÃՏ̈˜}ÊV>Vœ«…œ˜Þ]Êi>V…ÊÜ՘`ÌÀ>VŽÊÜ>ÃÊ`i«ÀˆÛi`ʜvʈÌÃÊ>Õ`ˆÌœÀÞÊVœ…iÀi˜Vi]ÊivviV̈ÛiÞÊ returning the films to silence and leaving the field clear for the images to regain their sovereignty. -ÌiÛi˜Ê œ˜˜œÀÊ …>ÃÊ >À}Õi`Ê Ì…>ÌÊ Ü…iÀiÊ Ãiiˆ˜}Ê ˆÃÊ ¼«ÕÀ«œÃˆÛi½Ê >˜`Ê ÀiµÕˆÀiÃÊ Ì…iÊ ÛˆiÜiÀÊ̜ÊÃÌi«ÊL>VŽÊ>˜`ÊVÀi>ÌiÊ>ÊÃi«>À>̈œ˜ÊvÀœ“Ê̅iʈ“>}i]ÊvÀ>“ˆ˜}ʈÌÊ>˜`Ê>VVœ““œ`>̈˜}ʈÌÊ̜Ê̅iÊwi`ʜvÊۈȜ˜]ʏˆÃÌi˜ˆ˜}ʼÀiÃ̜ÀiÃÊÕÃÊ̜Ê>ÊÃi˜ÃiʜvÊLiˆ˜}ʈ˜Ê̅iʓˆ``iÊ of the world’.58Ê
˜Êˆ“>}iʈÃÊÌÀ>««i`Ê܈̅ˆ˜Ê̅iÊVœ˜w˜iÃʜvʈÌÃÊvÀ>“i]Ê܅iÀi>ÃÊÜ՘`Ê «iÀ“i>ÌiÃÊiÛiÀÞÊVœÀ˜iÀʜvÊ>Êë>ViÊ>˜`Ê«i˜iÌÀ>ÌiÃʜÕÀÊLœ`ˆiÃ]Ê>˜`Ê̅ˆÃÊVÀi>ÌiÃÊ>Ê ViÀÌ>ˆ˜Ê ՘ˆÌÞÊ œvÊ >Õ`ˆÌˆœ˜°Ê
˜Ê ˆ˜Ìi˜Ãˆwi`Ê >Ü>Ài˜iÃÃÊ œvÊ Ì…>ÌÊ Ãœ˜ˆVÊ ¼“ˆ˜}ˆ˜}Ê œvÊ ÃÕLstances’59ÊÜ>ÃʓÕV…ʈ˜Êiۈ`i˜ViÊ`ÕÀˆ˜}Ê>ÊÀiVi˜ÌÊÃiÀˆiÃʜvÊiÝ«>˜`i`ÊVˆ˜i“>ÊiÛi˜ÌÃÊ at Tate Britain in London. 60Ê/…iÊ>Û>˜Ì‡}>À`iÊ>V̈Ûiʈ˜Ê ÀˆÌ>ˆ˜Êˆ˜Ê̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃ]Ê ˆŽiÊ̅iˆÀÊVœÕ˜ÌiÀ«>ÀÌÃÊiÃi܅iÀi]Êi˜}>}i`ʈ˜Ê̅iÊVÀi>̈œ˜Êœvʣȓ“Ê…>˜`“>`iÊw“Ã]Ê working directly onto the photographic area of the filmstrip but also intervening in ̅iÊ>`>Vi˜ÌÊÜ՘`ÊÃÌÀˆ«i°Ê/…ˆÃʓi>˜ÌÊ̅>ÌÊ̅iÊ>À̈Ã>˜>Ê>V̈œ˜ÊœvÊ̅iʅ>˜`ÊVÀi>Ìi`Ê>Ê `ˆÀiVÌÊ>Õ`ˆÌœÀÞÊiµÕˆÛ>i˜Ì]Ê̅iÊ«ÀœiV̜Àʈ˜ÌiÀ«Àï˜}Ê̅iÊÃVÀ>ÌV…iÃ]ʅœiÃÊ>˜`ÊLi“ishes as a patchwork of abstract sounds. This body of work represents what Steven >ÊV>ÃÈwi`Ê>Ãʼœ«ÌˆV>ÊÜ՘`Êw“ýÊ>˜`ʈ˜Ê̅iˆÀÊiÝ«>˜`i`ÊvœÀ“]ʏˆŽiÊ>˜Êˆ˜ÃÌÀՓi˜Ì]Ê Ì…iˆÀÊVœ˜Ã̈ÌṎÛiÊii“i˜ÌÃʼ>ÀiÊ«>Þi`Ê>ÌÊ̅iÊ̈“iʜvÊ«iÀvœÀ“>˜Vi½]ʈ˜Ê̅iʓœ“i˜ÌÊ of creation.61 Vicky Smith’s Bicycle Tyre Track (2012–14) elegantly integrated into œ˜iÊȓ«iÊ>V̈œ˜Êi>V…Ê«…>Ãiʈ˜Ê̅iÊ«Àœ`ÕV̈œ˜Ê>˜`Êi݅ˆLˆÌˆœ˜ÊœvÊ>Êw“°Ê/…iÊ>À̈ÃÌÊ inked up the tyres of a bicycle and proceeded to ride it up and down a single strip of Vi>Àʣȓ“Êw“ʏ>ˆ`ʜÕÌÊ`ˆ>}œ˜>ÞÊ>VÀœÃÃÊ̅iÊyœœÀ°Ê˜iۈÌ>LÞ]Ê̅iÊL>VŽÊˆ˜ŽÊëÀi>`Ê unevenly across both the optical and soundstripe as Smith struggled to keep on a ÛiÀÞʘ>ÀÀœÜÊÌÀ>VŽ°Ê/…iÊÀiÃՏ̈˜}ʼw“½ÊÜ>Ãʈ““i`ˆ>ÌiÞÊvi`ʈ˜ÌœÊ>Ê«ÀœiV̜ÀÊ>˜`Ê̅iÊ

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Greg Pope, Cipher Screen (2009–14), performed at the Never or Now Festival, Bergen, Norway (January 2011). Sound collaborator: John Hegre. Courtesy of the artist. Photographer unknown.

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audience was regaled with a few seconds of abstract film dominated by leaping black Å>«iÃÊ>˜`Ê>˜ÊiÝ«œ`ˆ˜}ÊÜ՘`ÌÀ>VŽ]Ê̅iÊi˜Ãi“LiÊVÀi>Ìi`ÊLÞÊ̅iʈ˜ÌiÀ>V̈œ˜ÊœvÊ̅iÊ >À̈Ã̽ÃÊÀˆ`ˆ˜}ÊΈÃÊ܈̅Ê̅iʜ«iÀ>̈œ˜ÃʜvÊ>ÊLˆVÞVi°ÊˆÃÊ,…œ`iÃʅ>ÃÊVœ““i˜Ìi`Ê̅>Ì]Ê Vœ˜Ûi˜Ìˆœ˜>Þ]ʈ˜Êw“]ʼˆ“>}iÊ>˜`ÊÜ՘`Ê>Àiʈ˜w˜ˆÌiÞÊψ««>LiÊ>˜`ʓœÛi>Li½°62 In -“ˆÌ…½ÃÊ ÜœÀŽ]Ê ÃœÕ˜`Ê >˜`Ê ˆ“>}iÊ LiV>“iÊ œ˜i]Ê ¼ˆ˜ÌiÀV…>˜}i>Li½]Ê Ì…iˆÀÊ Ài>̈œ˜Ã…ˆ«Ê wÝi`ʈ˜ÊLœÌ…Ê̅iÊ«Àœ`ÕV̈œ˜Ê>˜`ÊÃVÀii˜ˆ˜}ʜvÊ̅iÊw“°Ê ÊÅ>Êi˜`Ê̅ˆÃÊŜÀÌÊiÝVÕÀȜ˜Êˆ˜ÌœÊÜ՘`Ê܈̅ÊCipher Screen (2009–14) by Greg *œ«i]Ê Ì…iÊ ÜœÀŽÊ ̅>Ì]Ê vœÀÊ “i]Ê ÃÕÃÌ>ˆ˜i`Ê Ì…iÊ œ˜}iÃÌÊ >vÌiÀˆviÊ Liޜ˜`Ê Ì…iÊ iÛi˜ÌÃÊ >ÌÊ />ÌiÊ ÀˆÌ>ˆ˜°Ê*œ«iÊÜ>ÃÊÃÌ>̈œ˜i`ÊLi…ˆ˜`Ê>Ê«>ˆÀʜvÊ«ÀœiV̜ÀÃÊÀ՘˜ˆ˜}ʏœœ«ÃʜvÊL>VŽi`Ê w“]ʏˆ˜Ži`ÊLÞÊ>ÊL>vyˆ˜}ʓˆÃVi>˜ÞʜvÊÜ՘`ÊiµÕˆ«“i˜Ì]Ê܅ˆiʅˆÃÊVœ>LœÀ>̜ÀÊiiÊ *>ÌÌiÀܘÊ>««i>Ài`Ê̜ÊLiʈ˜ÊV…>À}iʜvÊ̅iʏ>«Ìœ«ÊVœ““>˜`ÊVi˜ÌÀi°Ê-iÌ̈˜}Ê̅iÊ«ÀœiV̜ÀÃʈ˜Ê“œÌˆœ˜]Ê*œ«iÊ>``i`Ê̜Ê̅iÊV>ÌÌiÀʜvÊ̅iʏœœ«ˆ˜}ÊvœœÌ>}iÊ>˜Ê>>À“ˆ˜}Êvii`L>VŽÊ …Õ“ÊLÞÊV>ÀiÃȘ}Ê̅iÊ«ÀœiV̜ÀÃÊ܈̅Ê>ʏˆÛiʓˆVÀœ«…œ˜i°ÊˆÃʘiÝÌʓœÛiÊÜ>ÃÊ̜Ê>}gress the filmstrips with a scalpel as they passed across the flat surface of the desk ˆ˜Ê̅iÊVœÕÀÃiʜvʏœœ«ˆ˜}Ê>ÀœÕ˜`°Ê œÀÀi뜘`ˆ˜}ÊÃVÀ>ÌV…iÃÊ>««i>Ài`ʈ˜Ê̅iÊ«ÀœiVÌi`Ê w“]Ê>ÊviLÀˆiÊiÝ«ÀiÃȜ˜ˆÃÌʏ>˜`ÃV>«iÊ՘vœ`ˆ˜}ʈ˜ÊÀi>Ê̈“iÆʓi>˜Ü…ˆi]Ê̅iÊÜ՘`ÃÌÀˆ«i]ÊÃÕvviÀˆ˜}ÊiµÕ>Ê`>“>}iÊvÀœ“Ê̅iÊ>ÌÌi˜Ìˆœ˜ÃʜvÊ*œ«i½ÃÊÃV>«i]ÊLi}>˜Ê̜ʅˆÃÃÊ >˜`ÊVÀ>VŽi]ʈ“LÀˆV>Ìi`Ê܈̅Ê̅iÊ܈`ÊÌ>««ˆ˜}ʜvÊ̅iʘiÝÌÊ«ÀiVˆÃˆœ˜Ê̜œÊ܈̅Ê܅ˆV…Ê Pope assaulted the celluloid. By now the patterns onscreen were building up into a Žˆ˜`ʜvÊvÀi˜âˆi`]ÊVÀœÃDž>ÌV…i`ÊÌ>ÀÌ>˜Ê>˜`Ê*œ«iÊ«Àœ}ÀiÃÃi`Ê̜Ê>Êw˜iÊ}Àˆ˜`ˆ˜}Ê̜œÊ ܅ˆV…Ê…iÊ>««ˆi`Ê̜Ê̅iÊw“]Ê̅iʘiÜÊܜ՘`Ãʓ>˜ˆviÃ̈˜}Ê>VÀœÃÃÊLœÌ…Ê«ˆVÌÕÀiÊ>˜`Ê ÃœÕ˜`]Ê>``ˆ˜}Ê>˜œÌ…iÀʏ>ÞiÀÊ̜Ê̅iÊivviVÌÃʜvÊ̅iÊ«ÀiۈœÕÃÊ«iÀvœÀ>̈œ˜ÃÊ>˜`Ê}>ÅiÃ°Ê /…iÊ>À̈ÃÌʏœœŽi`ʏˆŽiÊ>Ê`i“i˜Ìi`Ê}œ`ӈ̅Ê>ÃʅiÊvÀ>˜ÌˆV>ÞÊLÀÕÌ>ˆÃi`Ê̅iÊw“ÃÌÀˆ«]Ê Ì…iÊi“ՏÈœ˜Ê`ÕÃÌÊvÀœ“Ê̅iÊ}Àˆ˜`ˆ˜}Ê>V̈œ˜ÊÀˆÃˆ˜}ÊiiÀˆÞÊ̅ÀœÕ}…Ê̅iÊ«ÀœiV̈œ˜ÊLi>“°Ê /…iÊL>˜Ã…iiÊÃVÀiiV…ˆ˜}ʈ˜VÀi>Ãi`]Ê̅iÊÌi˜Ãˆœ˜Ê}ÀiÜÊ>ÃÊ̅iÊw“ÊÀœÃiÊ̜Ê>ÊVÀiÃVi˜`œÊ of crackling sounds and strobing abstractions. When Pope dealt the final coup de grace]Ê̅iÊÌܜÊw“ÃÊÃÌÀˆ«ÃÊØ>««i`]Ê}ˆÛˆ˜}ÊÕ«Ê̅iÊ}…œÃÌʈ˜Ê>ʓœ“i˜ÌʜvʜÀV…iÃÌÀ>Ìi`Ê simultaneity marking the end of the artful mayhem. As the film apparatus fell silent >˜`Ê̅iʈ“>}iÊ`ˆi`]ÊÜiÊ>ÊiÌʜÕÌÊ>ÊVœiV̈ÛiÊÈ}…°Ê˜Ê̅ˆÃʈ˜ÃÌ>˜Vi]Ê̅iÊ>Õ`ˆœÊii“i˜ÌʜvÊ̅iÊܜÀŽÊ…>`Ê>ÃÃiÀÌi`ʈÌÃivÊvœÀVivՏÞ]Ê>ÃÊ >ۈ`Ê/œœ«ÊܜՏ`ÊÃ>Þʼ܈̅Ê>˜ÊˆÀœ˜Ê wÃ̽]63Ê>˜`ÊÞiÌÊÊÜ>ÃÊi݅ˆ>À>Ìi`ÊLÞÊw˜`ˆ˜}ʓÞÃivʼˆ˜Ê̅iʓˆ``iʜvÊ>ÊܜÀ`½ÊœvÊÜ՘`]Ê «>À̈Vˆ«>̈˜}ʈ˜Ê>˜Ê>ÀV>˜i]ÊVœ˜ÛՏÈÛiÊÀˆÌÕ>]Ê܈̅Ê>ÊVœ˜Vi«ÌÕ>ÊÌ܈ÃÌʭ̅iÊViÛiÀ˜iÃÃÊ of the manipulations was never occluded by the sensory overload). Cipher ScreenÊVÀi>Ìi`Ê>Ê«œÜiÀvՏÊ>VœÕÃ̈VÊë>Viʈ˜Ê܅ˆV…Ê>ÊÜVˆ>Ê¼Vœ˜Ìˆ}ՈÌÞ½]64 œÀʓœ“i˜Ì>ÀÞÊVœ…iȜ˜]ʜVVÕÀÀi`Ê>ÃÊ̅iÊÜ՘`Ê̜œŽÊ…œ`ʜvÊ>Ê܅œÊÜiÀiÊ«ÀiÃi˜Ì°Ê /…iÊܜÀŽÊ̜ÕV…i`Ê>ÊÀ>ÜʘiÀÛiʜvʜÕÀÊVœiV̈ÛiʅՓ>˜ˆÌÞ]Ê>Ê̅iʓœÀiÊÜÊvœÀÊ̅œÃiÊ ÃÌ>Ü>ÀÌÃÊ܅œÊ…>ÛiÊLii˜ÊV>ÀÀވ˜}Ê̅iÊ̜ÀV…ÊœvÊiÝ«>˜`i`ÊVˆ˜i“>ÊvœÀÊ>Ê̅iÃiÊÞi>ÀÃ\Ê ˆVŽÞÊ>“Þ˜]Ê7ˆˆ>“Ê,>L>˜]ʈÃÊ,…œ`iÃ]ÊÕÞÊ-…iÀ܈˜Ê>˜`ÊޘÊœœÊ>ÃÊÜiÊ>ÃÊ̅iʘiÜÊ >`…iÀi˜ÌÃʏˆŽiÊ6ˆVŽÞÊ-“ˆÌ…Ê>˜`Ê/œÀÃÌi˜Ê>ÕÃV…“>˜˜°Ê
vÌiÀÊwvÌÞÊÞi>ÀÃ]Ê>LÃÌÀ>VÌÊw“Ê ˆ˜ÊˆÌÃÊiÝ«>˜`i`ÊvœÀ“Ê…>ÃÊ`iÛiœ«i`ʈÌÃʜܘÊÛiÀ˜>VՏ>ÀÊÀiۜÛˆ˜}Ê>ÀœÕ˜`Ê̅iÊlingua

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francaʜvÊ̅iʏˆÛiʓ>˜ˆ«Õ>̈œ˜ÊœvÊ̅iÊw“ÃÌÀˆ«Ê>˜`Ê̅iÊ«ÀœiV̜À]Ê̅iʓˆÃVi}i˜>̈œ˜Ê of sound and picture. This common vocabulary served to consolidate the sense of participating in a visceral ceremony where most of the congregation knew the drill. ˆŽiʓ>˜ÞʜvÊ̅i“]ÊÊ̜œŽÊ>Ü>ÞÊ>ÊÓ>ÊÃÌÀˆ«ÊœvÊ*œ«i½ÃÊw“]Ê>Ê`ii«ÞÊÃV>ÀÀi`ÊÀiˆVʜvʈÌÃÊ “>ÀÌÞÀ`œ“Ê>˜`ÊÌÀˆi`ʘœÌÊ̜ÊÀi>`Ê̜œÊ“ÕV…ʈ˜ÌœÊ̅iÊvÀ>}ˆˆÌÞʜvÊ̅iÊViÕœˆ`Êw>“i˜Ì]Ê its resemblance to skin and the analogies that could be so easily drawn between its œÀ`i>Ê>˜`Ê̅iÊÃÌÀiÃÃiÃʜvʓœ`iÀ˜Êˆvi°Ê
ÃÊܓi̅ˆ˜}ʜvÊ>˜ÊœÕÌÈ`iÀÊ̜Ê̅iÊiÝ«>˜`i`Ê w“ÊVÕL]Êʓ>Þʅ>ÛiʓˆÃÃi`ÊܓiʜvÊ̅iʘÕ>˜ViÃʜvÊ̅iÊ}i˜Ài]ÊLÕÌÊÊÜ>Ãʘœ˜i̅iiÃÃʓœÛi`ÊLÞÊ̅iÊ`ii«iÀÊÜ՘`ˆ˜}ÃʜvÊ̅ˆÃÊVœiV̈ÛiÊVˆ˜i“>̈VÊiÝ«iÀˆi˜Vi°Ê

NOTES 1

Roland Barthes (1981) Camera Lucida: Reflections on Photography]ÊÌÀ>˜Ã°Ê,ˆV…>À`ÊœÜ>À`°Ê iÜÊ9œÀŽ\Ê>ÀÀ>À]Ê-ÌÀ>ÕÃÊ>˜`ʈÀœÕÝ]Ê«°Êx° 2 The surging soundtracks of contemporary blockbusters attempt to manipulate audiences ̜Ê̅iÊ«œˆ˜Ìʜvʓ>˜˜iÀˆÃ“]Ê̅ÕÃÊVœ“«Àœ“ˆÃˆ˜}Ê̅iÊÀi>ˆÃ“ÊœvÊ̅iÊ`ˆi}iÃˆÃ°Ê Ûi˜Ê¼µÕ>ˆÌÞÊ television’ suffers. The BBC political thriller The Honourable WomanÊ­Óä£{]ÊÕ}œÊ ˆVŽ®]ʅ>ÃÊ >ʏœÕ`]ʈ˜ÃˆÃÌi˜ÌʓÕÈV>ÊÃVœÀiÊ`iÈ}˜i`Ê̜ÊVÀi>ÌiÊÃÕëi˜ÃiÊ>˜`Ê̅iÊ>V̜ÀÃÊëi>ŽÊˆ˜Ê܅ˆÃ«iÀðÊ
ÃÊ>ÊÀiÃՏÌ]ʈÌʈÃʘiViÃÃ>ÀÞÊ̜Ê>ÌiÀ˜>ÌiÞÊÌÕÀ˜Ê̅iÊÜ՘`ÊÕ«Ê̜ʅi>ÀÊ̅iÊ>V̜ÀÃÊ>˜`Ê down to escape the soundtrack in dialogue-free episodes. 3Ê 1˜ˆŽiÊw“Ê܅iÀiÊ̅iÊÜ՘`ʈÃÊÀi}ˆÃÌiÀi`ÊÃi«>À>ÌiÞ]ʈ˜Ê>˜>œ}ÕiÊۈ`iœ]Ê«ˆVÌÕÀiÊ>˜`ÊÜ՘`Ê are recorded simultaneously. 4 Steven Connor (2000) Dumbstruck: A Cultural History of Ventriloquism°Ê "ÝvœÀ`\Ê "ÝvœÀ`Ê 1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°ÊÓä° 5Ê >ۈ`Ê /œœ«Ê ëi>Žˆ˜}Ê >ÌÊ œ˜`œ˜Ê œi}iÊ œvÊ œ““Õ˜ˆV>̈œ˜ÃÊ ­

®]Ê ÈÊ œÛi“LiÀÊ Óä£äÆÊ ÃiiÊ >ÃœÊ …ˆÃÊ LœœŽ]Ê Sinister Resonance: The Mediumship of the ListenerÊ ­Óä£ä®]Ê œ˜`œ˜\Ê Continuum. 6Ê ,œÃÃÊ ÀœÜ˜Êëi>Žˆ˜}Ê>ÌÊ

]Ê>ÃÊ>LœÛi°Ê 7Ê >ۈ`Ê/œœ«Êëi>Žˆ˜}Ê>ÌÊ

]Ê>ÃÊ>LœÛi° 8Ê /…iÊÜ՘`Ê>À̈ÃÌÊœ…˜Ê7ޘ˜iÊëi>Žˆ˜}Ê>ÌÊ

]Ê>ÃÊ>LœÛi°Ê 9Ê /…ˆÃÊÃi˜ÃˆÌˆÛˆÌÞÊ̜ÊÜ՘`ʈÃʘœÌÊ>ÃÊ܈`iëÀi>`Ê>Ãʜ˜iʓˆ}…ÌÊ܈ŰʘʓÞÊiÝ«iÀˆi˜ViÊ>ÃÊ>˜Ê >ÀÌÊÃV…œœÊÌÕ̜À]ÊÃÌÕ`i˜ÌÃʜvÊ̅iʓœÛˆ˜}ʈ“>}iÊÀ>ÀiÞÊVœ˜Ãˆ`iÀÊÜ՘`Ê܅i˜Ê«>˜˜ˆ˜}Ê̅iˆÀÊ work. They often leave the problem of audio to last and solve it by overlaying the visuals with a track from their favourite band. 10Ê ˆÊœ˜Ì>˜>Ê­ÓääÈ®]ÊÃÌ>Ìi“i˜Ì]Ê/>ÌiÊœ`iÀ˜°Ê 11Ê ,œÃÃÊ ÀœÜ˜Êëi>Žˆ˜}Ê>ÌÊ

]Ê>ÃÊ>LœÛi° 12 Bill Viola interviewed in Chris Darke (2000) Light Readings: Film Criticism and Screen Arts. œ˜`œ˜\Ê7>yœÜiÀÊ*ÀiÃÃ]Ê«°Ê£nÇ° 13Ê -Ìi«…i˜Ê ÕÀÞÊ­£™™Ç®Ê¼/…iÊ >“½]ÊArt Monthly]ÊÓäÇ]Ê«°Ê{È°

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7>ÌiÀÊ i˜>“ˆ˜Ê i>LœÀ>Ìi`Ê …ˆÃÊ Vœ˜Vi«ÌÊ œvÊ Ã…œVŽÊ ˆ˜Ê …ˆÃÊ £™Î™Ê iÃÃ>ÞÊ ¼"˜Ê -œ“iÊ œÌˆvÃÊ ˆ˜Ê >Õ`i>ˆÀi½]Ê«ÕLˆÃ…i`ʈ˜ÊIlluminations: Essays and ReflectionsÊ­£™Èn®]ÊÌÀ>˜Ã°Ê>ÀÀÞʘ˜>…Ê
Ài˜`ÌÊ­i`°®°Ê iÜÊ9œÀŽ\Ê-V…œVŽi˜]Ê««°Ê£xxqÓää° œ…˜Ê >}iÊ ­£™n£®Ê ˆ˜ÌiÀۈiÜi`Ê >ÌÊ Ì…iÊ 7>ŽiÀÊ
ÀÌÃÊ i˜ÌÀi]Ê ˆ˜˜i>«œˆÃ°Ê
Û>ˆ>LiÊ œ˜ˆ˜i\Ê …ÌÌ«Ã\ÉÉÜÜܰޜÕÌÕLi°Vœ“ÉÜ>ÌV…¶Ûr< «8ʈ˜ÌiÀۈiÜi`ʈ˜Ê …ÀˆÃÊ >ÀŽiÊ­Óäää®]ʜ«°ÊVˆÌ°]Ê«°Ê£nÇ° Phil Solomon discussing Stan Brakhage in the documentary BrakhageÊ­ˆ“Ê-i``œ˜]Ê£™™n®° -Ì>˜Ê À>Ž…>}iÊÌ>Žˆ˜}Ê̜Ê*…ˆÊ-œœ“œ˜]ʈLˆ`° Mark Lewis speaking at the Moving Image as ArtÊVœ˜viÀi˜Vi]Ê/>ÌiÊ>iÀÞ]Êœ˜`œ˜]ÊÓÊ՘iÊ 2001. />VˆÌ>Ê i>˜ÊÌ>Žˆ˜}Ê̜ÊÃ>>VÊՏˆi˜Êˆ˜ÊGuide to Artists’ Filmmaking]Ê Ê,>`ˆœÊ{]Ê£nÊ>˜Õ>ÀÞÊ 2011. Roland Barthes ([1973] 1975) The Pleasure of the Text]ÊÌÀ>˜Ã°Ê,ˆV…>À`ʈiÀ°Ê iÜÊ9œÀŽ\ʈÊ >˜`Ê7>˜}]Ê«°{™° œiÊœÀ>˜Ê­ÓääÈ®]ʼ+ՈiÌÊ*i>Ãi½]ÊThe Guardian]Ê££Ê œÛi“LiÀ° ,œÃÃÊ ÀœÜ˜½ÃÊÌiÀ“]Êëi>Žˆ˜}Ê>ÌÊ

]Ê>ÃÊ>LœÛi° œ…˜Ê >}iÊ­£™n£®Êˆ˜ÌiÀۈiÜi`Ê>ÌÊ̅iÊ7>ŽiÀÊ
ÀÌÃÊ i˜ÌÀi]Ê>ÃÊ>LœÛi°Ê ˆÊ6ˆœ>ʈ˜ÌiÀۈiÜi`ʈ˜Ê …ÀˆÃÊ >ÀŽiÊ­Óäää®]ʜ«°ÊVˆÌ°]Ê«°Ê£nÇ° David Toop’s term in Sinister Resonance]ʜ«°VˆÌ°]Ê«°Ê£{n° Ã>>VÊՏˆi˜Êëi>Žˆ˜}ʜ˜ÊA Guide to Artists’ Filmmaking]Ê>ÃÊ>LœÛi° >ÕÀi˜Ì‡*>ՏÊ,œLiÀÌÊëi>Žˆ˜}ʈ˜Ê>ÊÀœÕ˜`Ì>LiÊ`ˆÃVÕÃȜ˜]ʼ/…iÊ>vviVÌÃʜvÊ̅iÊ>LÃÌÀ>VÌʈ“>}iʈ˜Êw“Ê>˜`Êۈ`iœÊ>À̽ʭÓä£Ó®]ÊV…>ˆÀi`ÊLÞÊ>Ý>ÊÊ«iÀ“>˜i˜Ì]Ê̅Àii‡ÃVÀii˜Êˆ˜ÃÌ>>̈œ˜ÊLÞÊ ˆÊ6ˆœ>Ê>ÌÊ-Ì°Ê*>Տ½ÃÊ >̅i`À>Ê ˆ˜Êœ˜`œ˜]Ê>ÃœÊˆ˜ÛœŽiÃÊ̅iÊÌÀ>`ˆÌˆœ˜Ãʜvʓi`ˆÌ>̈œ˜Ê>˜`Ê«À>ÞiÀÊ>ˆ`i`ÊLÞÊ̅iÊVœ˜Ìi“«>̈œ˜Ê of devotional imagery. Õ}…ÊÕ``ÞÊëi>Žˆ˜}Ê>ÌÊ

]Ê>ÃÊ>LœÛi° ˆV…iÊ …ˆœ˜Ê`ˆÃVÕÃÃi`ÊLÞÊ-ÌiÛi˜Ê œ˜˜œÀÊ­Óäää®]ʜ«°ÊVˆÌ°]Ê«°ÊÓä° 6iÀ>ÊÀi˜Ži]ÊiÝViÀ«ÌÊvÀœ“ÊThe Last Screening Room: A Valentine (1984). i>˜ÊˆÃ…iÀÊ­£™™ä®Ê¼,iyiV̈œ˜Ãʜ˜Ê V…œÊqÊÜ՘`ÊLÞÊܜ“i˜Ê>À̈ÃÌÃʈ˜Ê ÀˆÌ>ˆ˜½]ʈ˜ÊSigns of the TimesÊV>Ì>œ}Õi]Êœ
]Ê"ÝvœÀ`]Ê««°ÊÈäqÇ° Luce Irigaray (1985) This Sex Which Is Not One]ÊÌÀ>˜Ã°Ê >̅iÀˆ˜iÊ*œÀÌiÀ°Ê̅>V>]Ê 9\Ê œÀ˜iÊ 1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°Ê£Èΰ ˆÃÊ,…œ`iÃ]ÊۜˆVi‡œÛiÀʈ˜ÊLight Reading (1978). jm˜iÊ ˆÝœÕÝÊ ­£™™£®Ê Coming to Writing and Other Essays]Ê ÌÀ>˜Ã°Ê iLœÀ>…Ê i˜Ãœ˜°Ê

>“LÀˆ`}i]Ê
\Ê>ÀÛ>À`Ê1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°ÊÓ£° Lˆ`°]Ê«°ÊÓÓ° "vÊVœÕÀÃi]Ê̅iÊÜVˆiÌ>Ê“>ÀŽiÀÃʜvÊi̅˜ˆVˆÌÞÊ>˜`ÊV>ÃÃÊ>ÀiʘœÌÊÜÊi>ȏÞÊiÀ>`ˆV>Ìi`ÊvÀœ“Ê̅iÊ ÛœˆVi°Ê/…iÊ܈`iëÀi>`ÊÕÃiʜvʓœÀiʘiÕÌÀ>Ê
“iÀˆV>˜]Ê >˜>`ˆ>˜]Ê
ÕÃÌÀ>ˆ>˜ÊœÀÊiÛi˜ÊVœ“puter-generated voice-overs in British work may account for a sensitivity to the lingering iniquities of the class system. Simon Callow (2006) reviewing The Human VoiceÊLÞÊ
˜˜iÊÀ>«v]ÊThe Guardian]Ê£ÊՏް Memories of the Slade School of Art stirred for me when I heard the familiar voice of Stuart ÀˆÃiÞ]ʓÞÊvœÀ“iÀÊÌÕ̜À° Contested Territories]Ê `ˆÃVÕÃȜ˜Ê LiÌÜii˜Ê ÀˆÃi`>Ê *œœVŽÊ >˜`Ê ->ۜÊ =ˆãiŽ]Ê V…>ˆÀi`Ê LÞÊ

INSTALLATION AND THE MOVING IMAGE

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>ÀŽÊ œÕȘÃ]Êœ˜`œ˜]Ê/>ÌiÊ ÀˆÌ>ˆ˜]ÊÓxÊ>ÞÊÓääÈ°Ê/…iÃiÊiÝViÀ«ÌÃÊ>ÀiÊÌ>Ži˜ÊvÀœ“Ê“ÞʘœÌiÃÊ and are not recorded verbatim. *>ÕÊ i܅>“Ê­£™™ä®Ê¼/…iÊ6œˆViÊ>˜`Ê̅iÊ-…>`œÜ½]ÊPerformance]ÊÈä]Ê«°Ê{Ó° -ÌiÛi˜Ê œ˜˜œÀÊ­Óäää®]ʜ«°ÊVˆÌ°]Ê«°Ê£x° Lˆ`°]Ê«°ÊÓä° -ŸŽiÊ ˆ˜Ž>Ê ­ÓääÓ®Ê ¼/…iÊ
ÀÌÊ œvÊ >ÀÀ>̈ÛiÊ qÊ /œÜ>À`ÃÊ Ì…iÊ œ>̈˜}Ê 7œÀŽÊ œvÊ
À̽]Ê ˆ˜Ê >À̈˜Ê Rieser and Andra Zapp (eds) New Screen Media: Cinema/Art/Narrative. London: British Film ˜Ã̈ÌÕÌi]Ê«°ÊΣ° -iiÊ >̅iÀˆ˜iÊ ÜiÃÊ ­Óääx®Ê ¼6ˆ`iœÊ œ˜w`i˜Ìˆ>\Ê 6œˆVi‡œÛiÀÊ ÕȘ}ÃÊ ˆ˜Ê ̅iÊ 7œÀŽÊ œvÊ /œ“Ê -…iÀ“>˜Ê>˜`Ê,œLiÀÌÊœÀˆ˜½]ÊVertigo]ÊÓ\ʙ]Ê««°ÊxÇqn° /œ“Ê-…iÀ“>˜Êˆ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê̅iÊ>Õ̅œÀʈ˜Êœ˜`œ˜]ÊÓääx° /œ“Ê-…iÀ“>˜]Ê>ÃÊ>LœÛi° ,œLiÀÌÊœÀˆ˜Êˆ˜ÌiÀۈiÜi`ÊLÞÊœiÊ*œ“iÀi>Õ]Ê£ÇÊ>ÀV…Ê£™™nÊ­“ÞÊÌÀ>˜Ã>̈œ˜®]ʵ՜Ìi`ʈ˜Ê Video Confidential]ʜ«°ÊVˆÌ°Ê ,œLiÀÌÊœÀˆ˜]ʈLˆ`°Ê -ÌiÛi˜Ê œ˜˜œÀÊ­Óäää®]ʜ«°ÊVˆÌ°]Ê«°ÊÓä° >ۈ`Ê/œœ«Êëi>Žˆ˜}Ê>ÌÊ̅iÊ

]Ê>ÃÊ>LœÛi° Whitechapel promotional video (2012). Available online: …ÌÌ«\ÉÉÜÜܰ܅ˆÌiV…>«i}>iÀÞ° œÀ}Éi݅ˆLˆÌˆœ˜ÃÉâ>Àˆ˜>‡L…ˆ“i (accessed 11 April 2014).
VVœÀ`ˆ˜}ÊÌœÊ >ۈ`Ê/œœ«]ʼ>̓œÃ½Êˆ˜Êw“Ê…>ÃÊ>˜ÊiµÕˆÛ>i˜Ìʈ˜Ê̅iʼVœ“vœÀÌʘœˆÃi½ÊœvÊ̅iÊÌiiVœ““Õ˜ˆV>̈œ˜ÃÊ ˆ˜`ÕÃÌÀÞ]Ê Ì…iÊ L>VŽ}ÀœÕ˜`Ê ÃœÕ˜`Ê Ì…>ÌÊ ÜiÊ ˜ii`Ê ÌœÊ “>ŽiÊ >Ê Ìii«…œ˜iÊ conversation seem natural. See Sinister Resonance]ʜ«°ÊVˆÌ°]Ê««°Ê£{Çqn° -i“ˆVœ˜`ÕV̜ÀʈÃÊ>Ê«>À̘iÀň«ÊLiÌÜii˜Ê,Õ̅Ê>À“>˜Ê>˜`ÊœiÊiÀ…>À`Ì°
}>ˆ˜]Ê Ê ÀiviÀÊ Ì…iÊ Ài>`iÀÊ ÌœÊ >˜Ê ˆ˜‡`i«Ì…Ê `ˆÃVÕÃȜ˜Ê œvÊ -i“ˆVœ˜`ÕV̜À½ÃÊ «À>V̈Vi\Ê ˆÞÊ ÕÃL>˜`ÃÊ­Óä£Î®Ê¼/…iʓiÌ>‡«…ÞÈVÃʜvÊ`>Ì>\Ê*…ˆœÃœ«…ˆV>ÊÃVˆi˜Viʈ˜Ê-i“ˆVœ˜`ÕV̜À½ÃÊ>˜ˆ“>Ìi`Êۈ`iœÃ½]ÊMIRAJ]ÊÓ\ÊÓ]Ê««°Ê£™nqÓ£Ó°

…ÀˆÃ̜«…ÊiÌâ}iÀÊÜÀˆÌˆ˜}Ê>LœÕÌÊÕLˆÃV…½ÃÊܜÀŽ]ʵ՜Ìi`ʈ˜Ê >ۈ`Ê/œœ«Ê­Óä£ä®]ʜ«°ÊVˆÌ°]Ê«°Ê 229. >ۈ`Ê/œœ«Ê­Óä£ä®]ʜ«°ÊVˆÌ°]Ê«°Êۈˆ°Ê -ÌiÛi˜Ê œ˜˜œÀÊ­Óäää®]ʜ«°ÊVˆÌ°]Ê«°Ê£x°Ê >ۈ`Ê/œœ«Ê­Óä£ä®]ʜ«°ÊVˆÌ°]Ê«°Ê£x° Assemby: A Survey of Recent Artists’ Film and Video in Britain, 2008–2013 was curated by iˆÃÃ>Ê >˜V…yœÜiÀ]ÊiœÀ}iÊ >ÀŽ]Ê-ÌÕ>ÀÌÊ œ“iÀ]Ê-ˆ“œ˜Ê*>ޘiÊ>˜`Ê
˜`ÀiÜÊ6>>˜ViÊ>˜`Ê Ü>ÃÊÃÌ>}i`Ê>ÌÊ/>ÌiÊ ÀˆÌ>ˆ˜Êˆ˜Êœ˜`œ˜]Ê œÛi“LiÀÊÓä£Îq>ÀV…ÊÓä£{°Ê -ÌiÛi˜Ê >Ê­Ó䣣®Ê¼ œ˜`ˆÌˆœ˜ÃʜvÊÕÈV\Ê œ˜Ìi“«œÀ>ÀÞÊ
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°Ê °Ê ,iiÃ]Ê Õ˜V>˜Ê 7…ˆÌi]Ê -ÌiÛi˜Ê >Ê >˜`Ê >ۈ`Ê ÕÀ̈ÃÊ ­i`Ã®Ê ­Ó䣣®Ê Expanded Cinema: Art, Performance, Film°Êœ˜`œ˜\Ê/>Ìi]Ê«°ÊÓÈnÆÊÃiiÊ>ÃœÊOramicsÊ­Ó䣣®]Ê>Êw“Ê«œÀ‡ ÌÀ>ˆÌÊLÞÊ
ÕÀ>Ê->ÌâʜvÊ >«…˜iÊ"À>“Ê­£™ÓxqÓääή]Ê>Ê«ˆœ˜iiÀʜvÊiiVÌÀœ˜ˆVʓÕÈVÊ܅œÊVœ‡vœÕ˜`i`Ê̅iÊ Ê,>`ˆœ«…œ˜ˆVÊ7œÀŽÃ…œ«Ê>˜`ÊVÀi>Ìi`ʼ…>˜`ÜÀœÕ}…̽ÊVœ“«œÃˆÌˆœ˜ÃÊLÞÊ`À>܈˜}Ê directly onto celluloid. Lis Rhodes speaking about her own optical sound film Light MusicÊ­£™Çx®]ʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê ܈̅Ê
ÕÀ>Ê->Ìâ]Ê/>ÌiÊ ÀˆÌ>ˆ˜]ÊÓÓÊ-i«Ìi“LiÀÊÓä£{° >ۈ`Ê/œœ«Ê­Óäää®]ʜ«°ÊVˆÌ°]Ê«°Ê£x° Ibid.

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CHAPTER ELEVEN

Video Installation Never before has an artist been able to summon instantaneously an image, which reconstitutes itself ceaselessly before our eyes... ,i˜jÊ >ÕiÀ“iˆÃÌiÀ]Ê£™ÇÈ

TELEVISION ROOTS ÞÊ̅iʓˆ`‡£™ÈäÃ]Ê̅iÊ}i˜iÀ>Ê«œ«Õ>̈œ˜ÊœvÊ̅iÊ1ÊÜ>ÃÊÜ>ÌV…ˆ˜}Ê>Ê«œÌi˜Ìˆ>ÊiiÛi˜Ê hours of broadcast television per day. Gallery-goers were already familiar with the }i>“ˆ˜}Êv>ViʜvʼiÃi܅iÀi½ÊÌÀ>««i`ʈ˜Ê>ÊLœÝ]ʈÌÃʵÕ>ˆÌÞʜvʈ˜ÃÌ>˜Ì>˜iˆÌÞ]ʈÌÃÊ«Àœ“ˆÃiÊ œvÊVœ˜˜iV̈ۈÌÞ]ʈÌÃʼVœ““Õ˜ˆÌÞʜvÊ>``ÀiÃý°1 The viewing public was already fluent in the representational language and spectatorial codes of television when artists i˜}>}i`Ê܈̅Ê>˜`ÊÀi‡V>ÃÌÊÌiiۈȜ˜Ê>Ãʈ˜ÃÌ>>̈œ˜Ê>ÀÌ°Ê
Ìʅœ“i]Ê̅iÊÌiiۈȜ˜Ê`ˆÃ«>Vi`Ê̅iʅi>À̅Ê>ÃÊ̅iÊvœVÕÃʜvÊv>“ˆÞʏˆvi°Ê/…iʼLœÝ½]ʘiÃÌi`Ê܈̅ˆ˜Ê̅iÊvœÕÀ‡Ü>i`Ê i˜VœÃÕÀiÊ œvÊ Ì…iÊ …œ“i]Ê wÀÃÌÊ >««i>Ài`Ê >ÃÊ >Ê …Õ“LiÊ «ˆiViÊ œvÊ vÕÀ˜ˆÌÕÀiÊ Ãœ“ï“iÃÊ equipped with a sliding door that could be drawn across the screen at night to allow ̅iʘœÀ“>Ê«>ÌÌiÀ˜ÃʜvʅՓ>˜Êˆ˜ÌiÀVœÕÀÃiÊ̜ÊÀiÃՓi°Ê¼6ˆi܈˜}Ê>Ê/6ÊÀiViˆÛiÀ]½Ê“ÕÃi`Ê >ۈ`Ê>]ʈÃʏˆŽiÊ œœŽˆ˜}Ê >ÌÊ >Ê «ˆVÌÕÀi‡LœÝÊ °°°Ê ܓi̅ˆ˜}Ê ÜiÊ …>ÛiÊ >ÌÊ i>ÃÌÊ }œÌÊ “>˜Õ>Ê Vœ˜ÌÀœÊ œÛiÀ]ʈvʘœÌÊ̅iÊVœ˜Ìi˜Ì°ÊÌʈÃÊ>˜ÊœLiVÌÊ܅ˆV…Êi݈ÃÌÃʈ˜Ê̅iÊÃ>“iÊVœ˜Ìˆ˜ÕՓÊ>ÃÊ œÕÀÃiÛiðÊ7iÊV>˜ÊLiVœ“iʈ˜ÛœÛi`ʈ˜ÊˆÌ]ÊLÕÌʘiÛiÀʏœÃÌʈ˜ÊˆÌ° 2 The home television of the 1960s formed part of a well-lit domestic installation ÃÕÀÀœÕ˜`i`Ê LÞÊ Ì…iÊ «>À>«…iÀ˜>ˆ>Ê œvÊ iÛiÀÞ`>ÞÊ ˆvi]Ê vÕÀ˜ˆÃ…ˆ˜}Ã]Ê œÀ˜>“i˜ÌÃÊ >˜`Ê ˆ˜terior design embelishments that all competed for attention with the eerily glowing ÃVÀii˜°Ê ˜Ê >``ˆÌˆœ˜]Ê v>“ˆÞÊ Vœ“ˆ˜}ÃÊ >˜`Ê }œˆ˜}ÃÊ «iÀˆœ`ˆV>ÞÊ LÀœŽiÊ ˆ˜ÌœÊ ̅iÊ yœÜÊ œvÊ LÀœ>`V>ÃÌʓ>ÌiÀˆ>ÊÀiÃՏ̈˜}ʈ˜Ê*iÌiÀÊ"ÃLœÀ˜i½Ãʼ`ˆÃÌÀ>VÌi`ÊëiVÌ>̜À½°Ê
˜ÊiÛi˜ˆ˜}½ÃÊ

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ۈi܈˜}Ê Ü>ÃÊ ˆÌÃivÊ vÀ>}“i˜Ìi`]Ê ˆ˜ÌiÀÀÕ«Ìi`Ê LÞÊ Vœ““iÀVˆ>Ê LÀi>ŽÃ]Ê ˜iÜÃÊ LՏï˜ÃÊ >˜`Ê>˜˜œÕ˜Vi“i˜ÌðʘÊ̅iÊi>ÀÞÊ`>ÞÃ]ʈÌÊÜ>ÃʘœÌÊ>Ü>ÞÃÊi>ÃÞÊ̜ÊÀi>`Ê̅iÊyˆVŽiÀˆ˜}]ÊL>VŽ‡>˜`‡Ü…ˆÌiÊ«ˆVÌÕÀiÃÊ>ÃÊ>Ê܈˜`œÜʜ˜ÌœÊ>˜œÌ…iÀ]Ê«>À>iÊÀi>ˆÌÞ°Ê/…iʈ“>}iÊ Ài܏Ṏœ˜ÊÜ>ÃÊ«œœÀÊ>˜`ʜ˜iÊ«iiÀi`ʈ˜ÌœÊ̅iÊiµÕˆÛ>i˜ÌʜvÊ>݈“ÊœÀŽÞ½Ãʼˆ˜}`œ“Ê œvÊ-…>`œÜýÊ}ˆ“«Ãi`Ê̅ÀœÕ}…Ê>Êœ˜`œ˜Êvœ}]Ê>˜Êunheimlich netherworld in the heart of the home. 3Ê/…iÊvÀœ˜Ì>Êۈi܈˜}Ê«œÃˆÌˆœ˜]Ê`iÌiÀ“ˆ˜i`ÊLÞÊ̅iʘœÀ“>Êœ«ÌˆV>ÊÀ>˜}i]Ê >˜`Ê̅iʓœ`iÃÌÊÈâiʜvÊ̅iÊÃÌ>˜`>À`ÊÌiiۈȜ˜ÊÃVÀii˜ÊÃiÌʈ˜Ê>Ê̅ˆVŽÊV>Ș}]Ê«ÀœÛˆ`i`Ê further conditions of distanciation. Owing to the constellation of factors compromisˆ˜}ÊۈiÜiÀýÊ>ÌÌi˜Ìˆœ˜Ê̜ÊLÀœ>`V>ÃÌÊVœ˜Ìi˜Ì]Êi>ÀÞÊÌiiۈȜ˜ÊÜ>Ãʅi>ۈÞÊ`i«i˜`i˜ÌÊ œ˜Ê ˜>ÀÀ>̈ÛiÊ Vœ`iÃÊ `iÀˆÛi`Ê vÀœ“Ê ̅i>ÌÀiÊ >˜`Ê Vˆ˜i“>]Ê Ài«ï̈ÛiÊ vœÀ“>ÌÃÊ >˜`]Ê VÀÕVˆ>Þ]Ê`ˆ>œ}ÕiÊ̅>ÌÊVœÕ`ÊLiÊvœœÜi`ÊiÛi˜Ê܅ˆiʈ˜Ê̅iʎˆÌV…i˜Ê“>Žˆ˜}Ê>ÊVիʜvÊÌi>°Ê The ability of sound to penetrate beyond the immediate vicinity of the television set contributed to the success of early broadcasting. Àœ“Ê̅iʜÕÌÃiÌ]Ê̅iʼˆÛi˜iÃýʜvÊÌiiۈȜ˜Ê>˜`Ê̅iÊ`ˆÀiVÌÊ>``ÀiÃÃÊ̜Ê̅iÊ>Õ`ˆi˜ViÊ LÞÊ «ÀiÃi˜ÌiÀÃÊ VÀi>Ìi`Ê Ü…>ÌÊ œ…˜Ê ˆÃÊ …>ÃÊ V>i`Ê >Ê Ã«ÕÀˆœÕÃÊ ¼Vœ‡«ÀiÃi˜Vi½Ê across the technological divide. 4Ê -ˆ“ˆ>ÀÞ]Ê >iÛiÊ œ˜˜œÞÊ …>ÃÊ ˜œÌi`Ê Ì…>ÌÊ ¼Ìiiۈsion separated people and connected them simultaneously’.5 The human scale of the head and shoulders onscreen enhanced this effect of untouchable intimacy. ˆŽiÊ>Ê`ˆÃÌ>˜ÌÊvÀˆi˜`ʜvÊ̅iÊv>“ˆÞ]ʼ
՘̈iÊ iiL½ÊV…>ÌÌi`ÊvÀœ“ʼ̅iÊLœÝ½Êi˜VœÕÀ>}ˆ˜}Ê iÛiÀޜ˜iÊ̜ÊÈÌÊL>VŽÊ>˜`Êi˜œÞÊ̅iÊÅœÜ°Ê ÞÊ̅iÊi˜`ʜvÊ̅iÊ£™ÈäÃ]Ê̅iÊÃiÀˆœÕØiÃÃÊ of tone adopted by early public service broadcasting was entirely abandoned in faۜÕÀʜvʼ>««ÞÊ/>Ž½]Ê̅iʍ>՘ÌÞÊ`iˆÛiÀÞÊÜiÊ>ÀiÊv>“ˆˆ>ÀÊ܈̅Ê̜`>Þ°6 David Hendy has >ÌÌÀˆLÕÌi`Ê̅iÊ«œÜiÀʜvÊÀ>`ˆœÊ>˜`]ÊLÞÊiÝÌi˜Ãˆœ˜]ʜvÊÌiiۈȜ˜]Ê̜Ê̅iÊÜ>À“Ê̈“LÀiʜvÊ Ì…iÊ«ÀiÃi˜ÌiÀýÊۜˆViÃ]ʜLÃiÀۈ˜}Ê̅>Ìʼ̅iÊvÀˆi˜`ˆiÀÊ̅iÊۜˆVi]Ê̅iʓœÀiÊ̅iʏˆÃÌi˜ers obey its commands’.7 Peggy Gale has emphasised the anthropomorphism of the /6ÊÃiÌ]Ê܅ˆV…ʼ«ÀœiVÌÃʈÌÃʓiÃÃ>}iÊvÀœ“Ê܈̅ˆ˜Ê>ÃÊܜՏ`Ê>Ê«iÀܘÊ܅œÊˆÃʈ˜ÌiÀ>V̈˜}Ê directly with us’.8 Chantal Akerman attributes the human effect to the frontality of ̅iÊ`iۈVi\ʼ7…i˜ÊÊ>“Êv>Vˆ˜}Êޜս]ÊÅiÊ`iV>ÀiÃ]ʼÜiʅ>ÛiÊ>ÊÃÌÀœ˜}ÊÀi>̈œ˜Ã…ˆ«½]ʜ˜iÊ that is non-threatening.9 The manufactured camaraderie of the TV host assumes a common culture un`iÀÜÀˆÌÌi˜ÊLÞÊ>Ê«ÕÌ>̈ÛiÊ«œˆÌˆV>Ê˜iÕÌÀ>ˆÌÞ]ÊiÝi“«ˆwi`ʈ˜Ê̅iÊ1ÊLÞÊ̅iÊ Ê>˜`ÊLÞÊ œÌ…iÀÊÃÌ>ÌiÊLÀœ>`V>ÃÌiÀÃÊÃÕV…Ê>ÃÊÀ>˜ViʘÌiÀÊ>VÀœÃÃÊ̅iÊV…>˜˜i°Ê
ÌʈÌÃʈ˜Vi«Ìˆœ˜]Ê the BBC established a laudable Reithian commitment to the continuing education of ̅iÊ ÀˆÌˆÃ…Ê«iœ«iÊ>˜`Ê>ÃœÊ՘`iÀ̜œŽÊ̅iÊܓi܅>Ìʈ“«iÀˆ>ÊÌ>ÎʜvʼëÀi>`Qˆ˜}RÊ throughout the world the doctrine of common sense’. 10 Early video artists accused the Corporation and commercial television stations of serving the interests of the iÃÌ>LˆÃ…“i˜ÌÊÀ>̅iÀÊ̅>˜Ê̅œÃiʜvÊۈiÜiÀðÊ°Ê°Ê >>À`Ê>À}Õi`Ê̅>Ìʼ̅iÊÀi>Ê>ˆ“ÊœvÊ TV is fulfilling its own needs’.11 Promoting loyalty to familiar TV faces kept the viewing w}ÕÀiÃʅi>Ì…Þ]Ê܅ˆV…ʈ˜Ê̅iÊV>ÃiʜvÊVœ““iÀVˆ>ÊÌiiۈȜ˜ÊÃ̈“Տ>Ìi`ÊVœ˜ÃՓiÀism and guaranteed the flow of advertising revenue.12ʘʣ™ÇÎ]ÊLÞʓi>˜ÃʜvÊÃVÀœˆ˜}Ê

VIDEO INSTALLATION

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ÌiÝÌÃ]Ê,ˆV…>À`Ê-iÀÀ>½ÃÊi«œ˜Þ“œÕÃÊۈ`iœÊ«ÀœV>ˆ“i`]ʼÌiiۈȜ˜Ê `iˆÛiÀÃÊ«iœ«i½ÊÌœÊ Ì…iÊVœÀ«œÀ>̈œ˜ÃÊ>˜`Ê̜Ê>``ʈ˜ÃՏÌÊ̜ʈ˜ÕÀÞ]ʼ̅iÊۈiÜiÀÊ«>ÞÃÊvœÀÊ̅iÊ«ÀˆÛˆi}iʜvʅ>Ûing himself sold’.13Ê /iiۈȜ˜]Ê Vœ˜Ìˆ˜Õi`Ê -iÀÀ>]Ê ¼ˆÃÊ Ì…iÊ L>ÈÃÊ œ˜Ê 7 Ê 9"1Ê 
 Ê 1   /-°Ê ÞÊ܅ˆV…ÊޜÕÊ̅ˆ˜Ž°½ÊÀ>“i`ÊLÞÊ>Ê`iV>Ài`ÊVÀˆÌˆµÕiʜvÊ̅iÊ«iÀÛ>ÈÛiÊ >˜`Ê«iÀ˜ˆVˆœÕÃʈ˜yÕi˜ViʜvÊÌiiۈȜ˜]ÊLÕÌÊwÀi`ÊLÞÊ>Ê}i˜Õˆ˜iÊv>ÃVˆ˜>̈œ˜Ê܈̅Ê̅iÊ VÀi>̈ÛiÊ«œÃÈLˆˆÌˆiÃʜvÊ>ʘiÜʓi`ˆÕ“]Ê£™ÈäÃÊ>À̈ÃÌÃÊLi}>˜Ê̜ʈ˜ÛiÃ̈}>Ìi°Ê

A SHORT HISTORY OF VIDEO 7…i˜Ê>À̈ÃÌÃÊwÀÃÌʈ˜ÃÌ>i`ÊÌiiۈȜ˜Ãʈ˜Ê>Ê}>iÀÞ]Ê̅iÞÊÜiÀiÊvœœÜˆ˜}Ê̅iÊÌÀ>`ˆÌˆœ˜Ê œvÊvœÕ˜`ʜLiVÌÃÊiÃÌ>LˆÃ…i`ÊLÞÊ>ÀViÊ ÕV…>“«½ÃÊFountain – the infamous urinal ̅>ÌʅiÊi݅ˆLˆÌi`ʈ˜Ê£™£ÇÊ>ÌÊ̅iÊ-œVˆiÌÞÊvœÀʘ`i«i˜`i˜ÌÊ
À̈ÃÌÃʈ˜Ê iÜÊ9œÀŽ°Ê œÌ…Ê ÕÀˆ˜>Ê >˜`Ê ÌiiۈȜ˜Ê >ÀiÊ “>ÃÇ«Àœ`ÕVi`Ê œLiVÌÃ]Ê ÜˆÌ…Ê /6Ê ÀiViˆÛiÀÃÊ >ÃœÊ V>ÀÀވ˜}Ê the association of the home environment in which female influence traditionally holds sway. David A. Ross described the introduction of monitors into the gallery >ÃÊ>ʼ`ˆÃܘ>˜Ìʓœ“i˜Ì½14 in art and its association with domesticity may well account for the distinct lack of status attached to the device itself.15ʼ7…i˜Ê«iœ«iÊÃ>ÜÊ Ì…œÃiÊÃVÀii˜Ãʈ˜Ê̅iÊ}>iÀÞ½]ʜLÃiÀÛi`Ê-ÌiÛiÊ>܏iÞ]ʼ̅iÞʍÕÃÌÊ̅œÕ}…ÌÊ>LœÕÌÊ̅iÊ `œ“iÃ̈V]Ê̅iÞÊ̅œÕ}…ÌÊ>LœÕÌʅ>ۈ˜}Ê̅iˆÀÊÌi>½°16 The French LettristeÊ>À̈ÃÌÊ jÃ>ÀÊ `ˆÃ«>Þi`Ê՘>œÞi`ʅœÃ̈ˆÌÞÊ̜Ü>À`ÃÊ̅iʘiÜʜ˜i‡Ü>ÞÊVœ““Õ˜ˆV>̈œ˜Ê`iۈVi]Ê>˜`Ê in Télévision (1962) he mounted a stripped-down working television on a scrap met>Ê«ˆ˜Ì…]Êi˜V>Ãi`ʈÌʈ˜Ê*iÀëiÝÊ>˜`ʈ˜Ê>Ê«ÕLˆVÊ}iÃÌÕÀi]Ê̅Ài>Ìi˜i`ʈÌÊ܈̅Ê>Ê}՘°Ê
Ê Þi>Àʏ>ÌiÀ]Ê7œvÊ6œÃÌi]Ê>Ê«Àœ«œ˜i˜ÌʜvÊ̅iʏÕÝÕÃÊ«Àˆ˜Vˆ«iʜvÊdé-collage]17 insulted a working television by throwing cream cakes at it. He then wrapped it in barbed wire and gave it a ritualised burial in a nearby field by way of a finale.18 No less critical of ̅iÊL>LLˆ˜}ÊLœÝ]ʈ˜ÊUntitledÊ­£™Çä®ÊœÃi«…Ê iÕÞÃÊVœÛiÀi`Ê̅iÊÃVÀii˜Êˆ˜ÊviÌ]Ê`œ˜˜i`Ê LœÝˆ˜}Ê}œÛiÃÊ>˜`Ê>VVœ“«>˜ˆi`ÊLÞÊ̅iʓÕvyi`ÊÜ՘`ÃʜvÊ>Ê`>Þ̈“iÊ/6Ê«Àœ}À>““i]Ê repeatedly punched himself in the face. If we disregard for the moment the issue of

jÃ>ÀÊ>˜`Ê6œÃÌi½Ãʓi˜>Vˆ˜}ÊLi…>ۈœÕÀ]Ê>˜`Ê iÕÞýÃÊ>ÌÌi“«ÌÃÊ̜ÊÜ>Žiʅˆ“ÃivÊvÀœ“Ê >ÊÌiiۈȜ˜‡ˆ˜`ÕVi`Ê̜À«œÀ]ÊÜiÊV>˜ÊVœ˜Ãˆ`iÀʅœÜÊ̅iÊëiVÌ>ViʜvÊ̅iÊ/6ÊÃiÌÊ«>Vi`Ê centre stage in a temple of culture altered the viewer’s perception of a very familiar `œ“iÃ̈VÊ>««ˆ>˜Vi°Ê1˜ˆŽiÊ̅iʅœ“iÊi˜ÛˆÀœ˜“i˜Ì]Ê̅iÊ}>iÀÞÊÜ>ÃÊÀ>ÀiÞÊvÕÀ˜ˆÃ…i`Ê ÜˆÌ…ÊÃi>̈˜}]ʏi>ۈ˜}ÊۈiÜiÀÃÊÃÌ>˜`ˆ˜}Ê̜Ê>ÌÌi˜Ìˆœ˜ÊLivœÀiÊ̅iʘi܏ÞÊÀiˆwi`ÊLœÝ°Ê/…iÊ absence of a sofa highlighted the conventional spatiality of television viewing deˆ˜i>Ìi`ÊLÞÊ>ÊVÀiÃVi˜ÌʜvÊVœ“vœÀÌ>LiÊV…>ˆÀÃÊÃÕÀÀœÕ˜`ˆ˜}Ê̅iÊ/6Ʌi>À̅Ê܅ˆiÊ̅iÊ ˜iÜÊ vÀii`œ“Ê ÌœÊ VˆÀVՓ>“LՏ>ÌiÊ Ì…iÊ Ì…Àii‡`ˆ“i˜Ãˆœ˜>Ê ¼LœÝ½Ê LÀœÕ}…ÌÊ ÌœÊ “ˆ˜`Ê ˆÌÃÊ “œÀiÊVœ““œ˜Ê«œÃˆÌˆœ˜ÊÜi`}i`ʈ˜ÌœÊ̅iÊVœÀ˜iÀʜvÊ>ÊÀœœ“]ʈÌÃÊV>Lˆ˜}ÊVœÞÞÊ«ÀiÃÃi`Ê to the wall. Artists not only snatched the set from its natural habitat and stripped ˆÌʜvʈÌÃÊ«iÀܘ>ˆÃi`Ê`œ“iÃ̈VÊ`iVœÀ>̈œ˜Ã]ÊLÕÌʈ˜ÊVœ˜vœÀ“ˆÌÞÊ܈̅Ê̅iʓœ`iÀ˜ˆÃÌ]Ê

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INSTALLATION AND THE MOVING IMAGE

`iVœ˜ÃÌÀÕV̈ÛiÊ«ÀœiVÌ]Ê̅iÞÊ>ÃœÊvœÀi}ÀœÕ˜`i`Ê̅iʓ>ÌiÀˆ>ÃÊ̅>ÌÊVÀi>ÌiÊ̅iʈ“>}i]Ê iÝ«œÃˆ˜}Ê̅œÃiÊ«>ÀÌÃʜvÊ̅iÊ>««>À>ÌÕÃÊ̅>ÌÊ>ÀiʘœÀ“>ÞÊVœ˜Vi>i`ʜÀʈ}˜œÀi`\Ê̅iÊ ÜˆÀiÃ]ÊV>Ș}Ê>˜`ÊVœ˜ÌÀœÊŽ˜œLÃ]Ê>ÃÊÜiÊ>ÃÊ̅iÊÌiiۈȜ˜½ÃÊiiVÌÀœ˜ˆVʈ˜˜>À`ð /…iÊ >˜Ì>}œ˜ˆÃ“Ê >À̈ÃÌÃÊ `ˆÃ«>Þi`Ê ÌœÜ>À`ÃÊ Ì…ˆÃÊ œLiVÌÊ œvÊ “>ÃÃÊ i˜ÌiÀÌ>ˆ˜“i˜ÌÊ V>˜ÊLiʈ˜ÌiÀ«ÀiÌi`Ê>ÃÊ>ÊV…>i˜}iÊ̜Ê̅iÊ«œÜiÀʜvÊÌiiۈȜ˜]Ê>ʓi`ˆÕ“Ê̅>ÌÊ>ÀÅ>Ê McLuhan warned would compromise human interaction and transform social behaviours.19Ê jÃ>ÀÊ>˜`Ê6œÃÌiÊÜiÀi]Ê«iÀ…>«Ã]Êȓ«ÞÊ`ivi˜`ˆ˜}Ê̅i“ÃiÛiðÊ
Ãʈ˜`ˆV>Ìi`Ê ˆ˜ÊV…>«ÌiÀÊÈÝ]Êۈ`iœ“>ŽiÀÃʜvÌi˜ÊÀi…i>ÀÃi`ʓ>˜ÞʜvÊ̅iÊÃ>“iÊ>À}Փi˜ÌÃÊ>LœÕÌÊ̅iÊ pernicious effects of television viewing that structural filmmakers aimed at mainÃÌÀi>“Êw“°Ê
À̈ÃÌÃÊÀiÈÃÌi`Ê̅iÊi݅œÀÌ>̈œ˜ÃʜvÊVœ““iÀVˆ>ÊÌiiۈȜ˜Ê̜ʫÕÀV…>ÃiÊ Û>ÃÌÊ VœiV̈œ˜ÃÊ œvÊ ˜œ˜‡iÃÃi˜Ìˆ>Ê Vœ˜ÃՓiÀÊ }œœ`ÃÊ >˜`Ê ÃiÀۈViÃÆÊ vi“ˆ˜ˆÃÌ]Ê L>VŽÊ and gay activists lamented the lack of representation in the medium for minorities beyond the standard stereotypes; and the traditional status of television as the me`ˆÕ“ÊœvÊÌÀÕ̅]Ê܈̅Ê̅iʈÕȜ˜Êœvʼˆ˜w˜ˆÌiÊVœÛiÀ>}i½20 drew further criticism. By the >ÌiÊ£™ÈäÃÊ>˜`Êi>ÀÞÊ£™ÇäÃ]ÊÌiiۈȜ˜Ê…>`Ê>Ài>`ÞʜÛiÀÌ>Ži˜ÊÀ>`ˆœÊ>ÃÊ̅iÊÌÀÕÃÌi`Ê «œÀÌ>Êœ˜ÌœÊ˜iÜÃʜvÊ̅iÊܜÀ`Ê>˜`ÊLÀœ>`V>ÃÌiÀÃÊÜiÀiÊvÀ>“ˆ˜}ʜÕÀÊ«ˆVÌÕÀiʜvÊÀi>ˆÌÞ]Ê >˜`ʈ˜Êi˜`Þ½ÃÊiÃ̈“>̈œ˜]ʼϜ܏ÞÊÀi܈Àˆ˜}ʜÕÀʓˆ˜`ý° 21 Colin Perry has argued that ˆ˜Ê̅iÊ>}iʜvÊ̅iʘÌiÀ˜iÌ]ʼÌiiۈȜ˜½ÃÊ«œÜiÀʅ>ÃʘœÌÊÜ>˜i`½Ê>˜`ÊVœÀ«œÀ>ÌiÊÌiiۈȜ˜Êˆ˜Ê«>À̈VՏ>Àʼ…>ÃÊ܈`i˜i`ʈÌÃÊ«œÌi˜Ìˆ>ÊÀi>V…½Êœ˜ˆ˜i°22Êœ˜>̅>˜Ê À>ÀÞʅ>ÃÊ}œ˜iÊ >ÊÃÌi«ÊvÕÀ̅iÀÊ>˜`ÊÃÕ}}iÃÌi`Ê̅>ÌʘœÜ>`>ÞÃʈÌʈÃʈ“«œÃÈLiÊ̜Ê>V…ˆiÛiʼ«iÀVi«ÌÕ>Ê >˜`ÊVœ}˜ˆÌˆÛiÊiÝ«iÀˆi˜ViÃʜÕÌÈ`iÊ`œ“ˆ˜>˜ÌÊ«œÃÈLˆˆÌˆiÃʜvviÀi`ÊLÞÊVœ˜Ìi“«œÀ>ÀÞÊ media and technology’.23Ê >ÀÞÊۈ`iœÊˆ˜ÃÌ>>̈œ˜Ê>À̈ÃÌÃÊÜiÀiʘœÌÊÞiÌÊiÝ«œÃi`Ê̜Ê̅ˆÃÊ `i}ÀiiʜvÊ«ÃÞV…ˆVÊ«œṎœ˜ÊvÀœ“Ê̅iʓ>ˆ˜ÃÌÀi>“]ÊLÕÌÊ̅iÞÊ>VVÕÀ>ÌiÞÊ«Ài`ˆVÌi`Ê̅iÊ gradual encroachment of televisual reality into our own. Those who were motivated by strong political conviction fielded counter-cultur>]ʼ>}ˆÌ‡«Àœ«½ÊV>“«>ˆ}˜ÊÌ>«iÃÊÃÕ««œÀ̈˜}ÊV>ÕÃiÃÊvÀœ“ʼ>LœÀ̈œ˜Êœ˜Ê`i“>˜`½]Ê̅ÀœÕ}…Ê racial equality to the miner’s strike. 24Ê"̅iÀÃʓ>`iʓœÀiÊÃÕLiV̈ÛiÊܜÀŽÃÊ«Àœ“œÌˆ˜}Ê >ÌiÀ˜>̈Ûi]ʓˆ˜œÀˆÌÞÊܜÀ`ۈiÜðÊ
˜ÌˆVˆ«>̈˜}Ê̅iÊ}œL>ÊÀi>V…ÊœvÊ̅iʘÌiÀ˜iÌ]ʓ>˜ÞÊ artists sought wider audiences through broadcasting and alternative social netܜÀŽÃÊqÊ̅iÊ՘ˆœ˜Ã]Êܜ“i˜½ÃÊ}ÀœÕ«ÃʜÀÊÀiÈ`i˜ÌýÊ>ÃÜVˆ>̈œ˜ÃÊqÊ>ÌÊ̅iÊÃ>“iÊ̈“iÊ …>ÀLœÕÀˆ˜}Ê>ʘ>ÌÕÀ>Ê“ˆÃÌÀÕÃÌʜvÊ̅iʼV>«ˆÌ>ˆÃ̽Ê}>iÀÞÊÃÞÃÌi“°25ÊœÜiÛiÀ]Ê>À̈ÃÌÃÊ ÜiÀiÊ`À>ܘÊ̜Ê̅iʓi`ˆÕ“ÊvœÀʓœÀiÊ̅>˜ÊˆÌÃÊ`ˆÃVÕÀÈÛiÊV>«>LˆˆÌˆiÃ]ʈÌÃÊ«œÜiÀÃʜvÊ >`ۜV>VÞÊ>˜`Ê՘œÀ̅œ`œÝÊ`ˆÃÌÀˆLṎœ˜Ê˜iÌܜÀŽÃ°ÊÕÃÌÊ>ÃÊ̅iÊ`iۜÌiiÃʜvÊiÝ«>˜`i`Ê cinema built their critique of Hollywood whilst mining the hidden potentialities of celÕœˆ`Êw“]Ê̅iʘiÜÊ«œÀÌ>LiÊۈ`iœÊÌiV…˜œœ}ÞʜvviÀi`ÊÃVœ«iÊvœÀÊVÀi>̈ۈÌÞ°Ê œÌ…Ê̅iÊ sculptural apparatus of television and the luminous quality of its image fed the imagˆ˜>̈œ˜ÊœvÊ>À̈ÃÌðʘÊ̅iÊi>ÀÞÊ£™näÃ]ÊLÀœ>`V>Ã̈˜}Ê«ÀœÛˆ`i`Ê >À>Ê ˆÀ˜L>ՓÊ܈̅Ê̅iÊ À>Üʓ>ÌiÀˆ>ÊvœÀʅiÀʓˆÃV…ˆiۜÕÃÊÌiiۈȜ˜Ê>««Àœ«Àˆ>̈œ˜ÃʜvÊ7œ˜`iÀÊ7œ“>˜]Ê̅iÊ 7ˆ˜ÌiÀÊ"Þ“«ˆVÃÊ>˜`Êœ>Ž°Ê ÞÊ`ˆÃ«>Vˆ˜}Ê>˜`ÊÀiܜÀŽˆ˜}Ê̅iÃiʼ̈“iÊÀi>`ޓ>`iý26 ˆ˜Ê>ʘiÜÊVœ˜ÌiÝÌ]Ê̅iʼ˜>ÌÕÀ>½ÊÀi>̈œ˜Ã…ˆ«ÊLiÌÜii˜Ê/6ʈ“>}iÃÊ>˜`Ê̅iˆÀÊVœ˜Ûi˜Ìˆœ˜>Ê

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“i>˜ˆ˜}ÊÜ>ÃÊ`ˆÃÀÕ«Ìi`]Ê>˜`Ê>ÃÊ ˆÀ˜L>ՓÊVœ˜ÌiÃÌi`]ʅiÀÊۈ`iœÃʼV>i`ʈ˜ÌœÊµÕiÃ̈œ˜Ê television’s claims to authenticity’.27Ê /…iÊ œÀˆ}ˆ˜>Ê ¼«ˆÀ>ÌiÀÊ œvÊ «œ«Õ>ÀÊ VՏÌÕÀ>Ê ˆ“>}es’28ÊÜ>ÃʵՈVŽÞÊvœœÜi`ʈ˜Ê̅iÊ1ÊLÞÊ̅iʼÃVÀ>ÌV…Êۈ`iœ½Ê“œÛi“i˜ÌÊëi>À…i>`i`ÊLÞÊ iœÀ}iÊ >ÀLiÀ]Ê->˜`À>Êœ`L>V…iÀ]Ê̅iÊ ÕÛiÌÊ ÀœÌ…iÀÃÊ>˜`ÊœÀˆ>Ê/>«iðÊ-VÀ>ÌV…]Ê>ÃÊ “ÕV…Ê>Ê«Àœ`ÕVÌʜvÊ6ÊVՏÌÕÀiÊ>ÃÊ>ÀÌ]ʅ>ÃÊVœ˜Ìˆ˜Õi`Ê̜ÊiۜÛi]ÊÀi>V…ˆ˜}Ê՘̜`Ê«ˆV̜Àˆ>ÊÜ«…ˆÃ̈V>̈œ˜Êˆ˜Ê̅iÊ>}iʜvÊÃ>“«ˆ˜}Ê>˜`Ê`ˆ}ˆÌ>Ê¼“>ÅÊիý°Ê/…iʜÀˆ}ˆ˜>ÊÃVÀ>ÌV…Ê >À̈ÃÌÃʘœÌʜ˜Þʅˆ>VŽi`ʓ>ˆ˜ÃÌÀi>“ÊvœœÌ>}iÊ­œvÌi˜Êˆi}>Þ®ÊLÕÌÊ̅iÞÊ>ÃœÊ`iÛiœ«i`Ê>ʘiÜÊvœÀ“>Ê>˜}Õ>}iʜvÊvÀ>}“i˜Ì>̈œ˜]Ê܈̅ʈÌÃÊLii`ˆ˜}ÊVœœÕÀÃ]ÊÛiÀ̈}ˆ˜œÕÃÊ >ÞiÀˆ˜}Ê>˜`ÊÃÌÕÌÌiÀˆ˜}ÊÀi«i>ÌÊi`ˆÌÃ]Ê>ÊœvÊ܅ˆV…ÊÜiÀiÊ>“œÃÌʈ““i`ˆ>ÌiÞÊ>««Àœ«Àˆated by the burgeoning music video industry. Maeve Connolly holds the view that œ««œÃˆÌˆœ˜>Ê >À̈ÃÌÃÊ Ã>ÜÊ ÌiiۈȜ˜Ê «Àˆ“>ÀˆÞÊ >ÃÊ >˜Ê ¼œLiVÌÊ œvÊ ÀivœÀ“½Æ29Ê …œÜiÛiÀ]Ê ˆÀ˜L>ՓÊÌiÃÊÕÃÊ̅>Ìʈ˜Ê̅iÊi>ÀÞÊ£™näÃ]ÊÅiʼV…œÃiÊ̜ÊÀiˆ˜ÛiÃÌʈ˜Ê
“iÀˆV>˜Ê/6]ÊLœÌ…Ê formally and politically.30 Like many women of her generation she had to contend ܈̅ʜÛiÀ‡iÀœÌˆVˆÃi`ʓi`ˆ>ÊÃÌiÀiœÌÞ«iÃʜvÊvi“ˆ˜ˆ˜ˆÌÞ]ÊÜÊÅiÊ«ÕÀœˆ˜i`ʜ˜iʜvÊ̅iÊ viÜʈ“>}iÃʜvÊ>Ê«œÜiÀvՏÊܜ“>˜Ê̜ÊLiÊvœÕ˜`ʜ˜Ê
“iÀˆV>˜ÊÌiiۈȜ˜]Ê>LiˆÌÊL>Ãi`Ê œ˜Ê>ÊV>À̜œ˜ÊV…>À>VÌiÀ°Ê˜ÊVœ““œ˜Ê܈̅ʓ>˜ÞÊvi“ˆ˜ˆÃÌÊ>À̈ÃÌÃʜvÊ̅iÊ`>Þ]Ê ˆÀ˜L>Õ“Ê V…œÃiÊ̜ʼÜÀiÃ̏iÊ܈̅Ê̅iʈVœ˜]ÊVœ˜Ìˆ˜Õ>Þ\Ê>˜`Ê܈̅ʅiÀÊvՏÊLœ`ÞÊÜiˆ}…̽] 31 a struggle perfectly encapsulated by her image of the determinedly and comically spinning Wonder Woman.32 œÀÊ>Ê̅iˆÀÊ>˜Ì>}œ˜ˆÃ“]Ê iÕÞÃ]Ê6œÃÌiÊ>˜`Ê jÃ>ÀʜvviÀi`ÊÕ«Ê>Ê`œ“iÃ̈VÊ>««ˆ>˜ViÊ>ÃÊ>˜ÊœLiVÌʜvÊ>iÃ̅ïVÊVœ˜Ìi“«>̈œ˜Ê>ÃÊÜiÊ>ÃÊ>Êܜ˜`iÀʜvÊVœ˜Ìi“«œÀ>ÀÞÊ `iÈ}˜°Ê >˜ÞÊ œÌ…iÀÊ >À̈ÃÌÃ]Ê ˜œÌ>LÞÊ *iÌiÀÊ œ˜iL>ÕiÀÊ ˆ˜Ê ̅iÊ 1]Ê Ì…iÊ 6>ÃՏŽ>ÃÊ ˆ˜Ê

ÕÀœ«iÊ >˜`Ê >“Ê ՘iÊ *>ˆŽÊ ˆ˜Ê ̅iÊ 1-]Ê ÜiÀiÊ ˆ˜ÃÌÀՓi˜Ì>Ê ˆ˜Ê `iÛiœ«ˆ˜}Ê «ˆœ˜iiÀˆ˜}Ê ˆ“>}iÊ«ÀœViÃȘ}ÊÌiV…˜œœ}ˆiÃÊvœÀÊ>˜>œ}ÕiÊۈ`iœ]ÊÃޘ̅iÈÃiÀÃÊ̅>ÌÊÜiÀiÊÃÕLÃiquently taken up by industry. It could be argued that the counter-cultural generation condemned the institutional conservatism of national broadcasting while enacting >ÊÀiÃVÕiʜvÊ̅iÊÌiiۈÃÕ>°Ê ˆÀ˜L>ՓʼÀi‡«>̈VՏ>ÀˆÃi`½33Ê>˜Êˆ`œÊœvÊ̅iÊÓ>ÊÃVÀii˜]Ê Ü…ˆiÊ jÃ>ÀÊ«ÕVŽi`ʜ˜iʏœ˜iÞÊÀiViˆÛiÀÊvÀœ“Ê̅iʜLÃVÕÀˆÌÞʜvʓ>ÃÃÊ«Àœ`ÕV̈œ˜Ê>˜`Ê ˆ˜ÛiÃÌi`ʈÌÊ܈̅Ê>ÊÌÀ>}ˆV]Êy>Þi`Ê«œiÌÀÞ]ʓ>Žˆ˜}Ê>ÊV>ˆ“ÊvœÀʈÌÃʼ>iÃ̅ïVÊ>Õ̜˜œ“Þ½° 34 /…iÀiʈÃÊ>“Lˆ}ՈÌÞʈ˜Ê jÃ>À½ÃÊ>À“i`ÊVœ˜vÀœ˜Ì>̈œ˜Ê܈̅Ê>Ê/6°Êiʓ>Þʅ>ÛiÊLii˜ÊVÀˆÌˆµÕˆ˜}Ê̅iʓi`ˆÕ“Ê̅>ÌÊÜ>ÃÊÃiÌÊ̜Ê`œ“ˆ˜>ÌiʜÕÀÊVœ˜Vi«Ìˆœ˜ÊœvÊ̅iÊܜÀ`]ÊLÕÌʅiÊÜ>ÃÊ also celebrating the technological miracle that made it possible.

MIRROR, MIRROR /…iʓˆÀÀœÀˆ˜}ÊivviVÌʜvÊۈ`iœ]ʈÌÃʏˆÛiʈ“>}i‡vii`L>VŽ]ÊÜ>Ãʜ˜iʜvÊ̅iÊ«Àˆ˜Vˆ«>ÊV…>À>VÌiÀˆÃ̈VÃÊ̅>ÌÊ`ˆÃ̈˜}ՈÅi`Ê̅iʓi`ˆÕ“ÊvÀœ“Êw“°Êœ…˜Ê >`iÃÃ>ÀˆÊ`iV>Ài`Ê̅>ÌÊ ¼Ûˆ`iœÊ܈ÊLiVœ“iʏˆŽiÊ>Ê«i˜VˆÊˆ˜Ê̅iÊ>À̈Ã̽Ãʅ>˜`½° 35Ê7ˆÌ…ʏˆÛiÊÀi>ÞʜvÊ̅iʈ“>}i]ʈÌÊÜ>ÃÊ ˆ˜`ii`Ê«œÃÈLiÊ̜ÊܜÀŽÊ`ˆÀiV̏ÞÊ܈̅Ê̅iÊV>“iÀ>]Ê>Ãʈ˜Ê>Ê`À>܈˜}]Ê>ÌiÀˆ˜}Ê̅iʈ“>}iÊ

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according to what emerged on the monitor. Live feedback also enabled artists to see themselves as they appeared to others and contemplate parts of their bodies – the L>VŽÊœvÊ̅iʅi>`Ê­6ˆÌœÊ
VVœ˜Vˆ®]Ê>˜ÕÃÊ­*ˆiÀÀˆVŽÊ-œÀˆ˜®]Êi«ˆ`iÀ“ˆÃÊ­ >˜ÊœœÛiÀ®Ê>˜`]Ê >ÌiÀ]ʈ˜ÌiÀ˜>ÊœÀ}>˜ÃÊ­œ˜>Ê>̜Փ®ÊqÊ̅>Ìʜ˜ÞÊ>ÊVœ“«ˆV>Ìi`Ê>ÀÀ>˜}i“i˜ÌʜvʓˆÀÀœÀÃ]ʜÀÊ>ʓˆVÀœÃVœ«iʜÀÊ݇À>ÞÊܜՏ`Ê«ÀiۈœÕÏÞÊ>œÜ°Ê/…iÊLi˜iwÌÃʜvÊ>˜>œ}ÕiÊۈ`iœÊ ˆ˜VÕ`i`Ê̅iÊ>LˆˆÌÞÊ̜ÊܜÀŽÊˆ˜`i«i˜`i˜ÌÞ]ÊvœœÜˆ˜}Ê̅iʓœÃÌÊL>ÈVʈ˜`ÕV̈œ˜Ê̜Ê̅iÊ technology. In the privacy of a studio or at home it was possible to proceed without >ÊVÀiÜÊ>˜`ÊÀiVœÀ`ÊvœÀÊÕ«Ê̜Ê>˜Ê…œÕÀÊ՘ˆ˜ÌiÀÀÕ«Ìi`]Ê܈«ˆ˜}Ê̅iÊÌ>«iÊVi>˜Ê>˜`ÊÃÌ>ÀÌing again if the initial attempt proved unsatisfactory. 36 The immediacy and intimacy ܈̅Ê̅iÊۈ`iœÊˆ“>}iÊ«Àœ“œÌi`Ê̅iÊÃi˜ÃiʜvÊ̅iʓi`ˆÕ“Ê>ÃÊ>˜ÊiÝÌi˜Ãˆœ˜ÊœvÊ̅œÕ}…Ì]Ê ÜˆÌ…Ê¼˜œÌ…ˆ˜}Ê«ÀˆœÀ½°37 The investigative and spontaneous nature of video recording particularly benefitted artists engaged in identity politics in the 1960s and 1970s. /…iÞÊ՘`iÀ̜œŽÊ>Ê«Àœ}À>““iʜvÊÃiv‡ÃVÀṎ˜Þ]Ê`À>܈˜}ʜ˜Ê>Õ̜Lˆœ}À>«…ˆV>Ê“>ÌiÀˆ>Ê >ÃÊÜiÊ>ÃÊiÝ>“ˆ˜ˆ˜}Ê̅iˆÀÊVՏÌÕÀ>Þʼ“>ÀŽi`½ÊLœ`ˆiÃ]Ê>Ãʈ˜Ê>ʓˆÀÀœÀ°Ê/…iÊiÝ«iÀˆi˜ViÊ œvÊÀ>VˆÃ“ÊÌÀˆ}}iÀi`ÊLÞÊ̅iÊVœœÕÀʜvÊ̅iÊ>À̈Ã̽ÃÊΈ˜ÊÜ>ÃÊ̅iÊÃÕLiVÌʜvÊœÜ>À`i˜>Ê Pindell’s Free White and 21 (1980). The work intersects racial and gender discrimin䜘Ê>ÃÊ̅iÊ>À̈ÃÌ]ʈ˜Ê>Êȓ«iÊ̜‡V>“iÀ>ÊÌiÃÌ>“i˜ÌÊÀiVœÕ˜ÌÃÊ>ÊV…ˆ`…œœ`ʈ˜Ê܅ˆV…Ê>Ê L>LÞÈÌÌiÀÊÌÀˆi`Ê̜ÊÜ>ÅʅiÀʼ`ˆÀÌÞ½ÊL>VŽÊΈ˜Ê܈̅ʏÞiÊÀiÃՏ̈˜}ʈ˜Ê«iÀ“>˜i˜ÌÊÃV>ÀÀˆ˜}°Ê-…iÊ>ÃœÊ`iÃVÀˆLiÃÊ̅iÊ`ˆÃ“ˆÃÃ>ÊœvʅiÀÊiÝ«iÀˆi˜ViÃÊ>ÃÊ>ÊL>VŽÊܜ“>˜ÊLÞÊ܅ˆÌiÊ feminists.38 Pindell’s confident narration recalls Patricia Mellancamp’s observation ̅>ÌÊ>À̈ÃÌÃÊÃÕV…Ê>ÃÊ iVˆˆ>Ê œ˜`ՈÌÊ>˜`Ê6
 Ê 8*",/ʼÌÕÀ˜i`ÊLiˆ˜}ʏœœŽi`Ê>Ìʈ˜ÌœÊ>˜Ê >}}ÀiÃÈÛiÊ>V̽]39Ê>˜`]ʵ՜̈˜}Ê>ÀÞÊ,ÕÃÜ]ÊÅiÊ>``i`]Ê̅iÞʼ«ÕÌʜ˜Êvi“ˆ˜ˆ˜ˆÌÞÊ܈̅Ê>Ê Ûi˜}i>˜Vi½]Ê܅ˆV…ʈ˜ÊÌÕÀ˜Ê¼ÃÕ}}iÃÌÃÊ̅iÊ«œÜiÀʜvÊÌ>Žˆ˜}ʈÌʜvv½°40 Video artists driven by diverse agendas embarked on the wholesale deconstruction and reconstruction œvÊ̅iˆÀÊLœ`އˆ“>}i]ʈ˜Ê>ÊLˆ`Ê̜ÊÀi˜i}œÌˆ>ÌiÊ̅iÊÌiÀ“ÃʜvÊ̅iˆÀÊۈÈLˆˆÌÞ° 41 ˜Ê̅iÊi>ÀÞÊÞi>ÀÃ]Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ ÀÕViÊ >Փ>˜]Ê >ۈ`Ê>]Ê,œ}iÀÊ >À˜>À`Ê>˜`Ê Peter Campus enabled viewers similarly to interact with their own image by means œvʏˆÛiÊÀi>Þ°Ê/…iÃiÊۈ`iœÊÃiv‡«œÀÌÀ>ˆÌÃÊÜiÀiʜvÌi˜Ê“Տ̈«ˆi`]ʏ>ÞiÀi`ʜÀʈ˜ÌiÀVÕÌÊÜˆÌ…Ê «Ài‡ÀiVœÀ`i`ʓ>ÌiÀˆ>]ʜÀÊ>Ê̈“iÊ`i>ÞÊÜ>Ãʈ˜ÌÀœ`ÕVi`]ÊVœ˜vÕȘ}ÊۈiÜiÀýÊVœ˜Vi«tions of events as linear and obscuring the time code governing the technology. As ̅iÞÊܜՏ`ʈ˜Ê>ʅ>ÊœvʓˆÀÀœÀÃ]ÊۈiÜiÀÃÊLiV>“iÊ`ˆÃœÀˆi˜Ìi`]ʘœÌʎ˜œÜˆ˜}Ê܅iÀiÊ̅iÞÊ Ã̜œ`Ê Ài>̈ÛiÊ ÌœÊ Ì…iÊ ÀiÃÌÊ œvÊ Ì…iÊ ÜœÀ`]Ê Ì…iˆÀÊ Ãi˜ÃiÊ œvÊ i“«>Vi“i˜ÌÊ `iÃÌ>LˆˆÃi`°Ê >Փ>˜½ÃÊÃÌ>Ìi`Ê>ˆ“ÊÜ>ÃÊ̜ÊL>>˜ViÊ}>iÀއ}œiÀÃʼœ˜Ê̅iÊi`}iʜvʜ˜iʎˆ˜`ʜvÊÜ>ÞʜvÊ Ài>̈˜}Ê̜Ê̅iÊë>ViÊ>˜`Ê>˜œÌ…iÀ½]Ê>˜`Ê̅iÞÊÜiÀiʼ˜iÛiÀʵՈÌiÊ>œÜi`Ê̜Ê`œÊiˆÌ…iÀ½° 42 This form of cognitive disturbance was also a side effect of Roger Barnard’s Corridor (1974) in which a camera above a narrow passageway recorded the progress of a ëiVÌ>̜ÀÊÜ>Žˆ˜}Ê>œ˜}ʈÌÃʏi˜}̅°Ê/…iʈ“>}iÊÜ>ÃÊ̅i˜Ê“ˆÝi`Ê܈̅ʏˆÛiÊvœœÌ>}iʜvÊ Ì…iʘiÝÌÊۈiÜiÀÊÌÀ>Ûiˆ˜}Ê̅iÊÃ>“iÊÀœÕÌiÊ>ÃÊ̅iÊwÀÃÌ°Ê/…iÊÀiÃՏ̈˜}ʏ>ÞiÀˆ˜}ʜvÊ̅iÊ ˆ“>}iÊ>««i>Ài`Ê̜Ê̅iÊwÀÃÌÊۈÈ̜Àʜ˜Ê>ʓœ˜ˆÌœÀʍÕÃÌÊLiޜ˜`Ê̅iÊVœÀÀˆ`œÀ°Ê˜Ê >À˜>À`½ÃÊ ˆ˜ÃÌ>>̈œ˜]Ê Ì…iÊ Ü…œi˜iÃÃÊ >˜`Ê ˆ˜Ìi}ÀˆÌÞÊ Ì…>ÌÊ Ì…iÊ Ûˆ`iœÊ “ˆÀÀœÀÊ «Àœ“ˆÃiÃÊ Ì…iÊ i}œÊ

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was ruptured by the collapse of time and space as the recent past was inscribed in the present and phantom companions traversed spaces in which viewers believed ̅i“ÃiÛiÃÊ̜ÊLiÊ>œ˜i°Ê ÞÊۈÀÌÕiʜvÊiÝ«iÀˆi˜Vˆ˜}Ê̅iÊܜÀŽÊ>˜`Ê`À>܈˜}ʜ˜Ê>ÊL>ÈVÊ Ž˜œÜi`}iʜvÊ̅iÊÌiV…˜œœ}Þ]Ê̅>Ìʈ˜ˆÌˆ>Ê«iÀ«i݈ÌÞÊVœÕ`ÊLiÊ`ˆÃ«ii`Ê>ÃÊëiVÌ>̜ÀÃÊ ¼i>À˜i`½Ê̅iÊܜÀŽ°Ê/…iÞÊLi}>˜Ê>ÃÊ܅>ÌÊ/…œ“>ÃÊ Ã>iÃÃiÀʅ>Ãʘœ“ˆ˜>Ìi`Ê>ʼÀÕLi½]Ê the dupe of early cinema who confuses illusion and reality and leaps from his seat to embrace the beautiful dancer onscreen. 43Êœ“i˜Ì>ÀˆÞÊ̅i˜]Ê̅iʼÀÕLi½ÊëiVÌ>̜ÀÊ of CorridorÊw˜`ÃÊÅiÊV>˜Ê˜œÊœ˜}iÀÊÌÀÕÃÌʅiÀÊ«Àœ«ÀˆœVi«ÌœÀÃ]Ê̅iÊÃi˜ÃœÀÃÊ`ˆÃÌÀˆLÕÌi`Ê throughout her body that locate her in space and establish the boundaries of her Lœ`Þ]Ê՘̈]Ê̅>ÌʈÃ]ÊÅiʼ}iÌýÊ̅iÊܜÀŽÊ>˜`ʏi>À˜Ãʼ>vÀiÅÊQ>RÊ`ˆvviÀi˜ÌÊÀœiÊ>˜`ÊvœÀ“Ê of spectatorship’. 44 The artist and critic Stuart Marshall suggested that installations employing the mirroring effect of closed-circuit video return the viewer to the moment psycho>˜>ÞÃÌÊ >VµÕiÃÊ >V>˜Ê `iÃVÀˆLi`Ê >ÃÊ Ì…iÊ ¼“ˆÀÀœÀÊ «…>Ãi½°Ê
ÃÊ ÜiÊ Ã>ÜÊ ˆ˜Ê V…>«ÌiÀÊ ÃˆÝ]Ê this marks the first encounter of the still-uncoordinated infant with its own image ˆ˜Ê ̅iÊ “ˆÀÀœÀ°Ê /…iÊ ˆ˜Ìi}À>Ìi`]Ê Vi˜ÌÀi`Ê i˜ÌˆÌÞÊ Ì…iÊ V…ˆ`Ê «iÀViˆÛiÃÊ }ˆÛiÃÊ LˆÀÌ…Ê ÌœÊ Ì…iÊ v>˜Ì>ÃÞʜvÊ>˜Êˆ`i>ˆÃi`]ʓ>ÃÌiÀvՏÊÃivÊ̅>ÌÊ̅iʈ˜`ˆÛˆ`Õ>ÊÃÌÀˆÛiÃÊ̜Êi“Lœ`ÞÊ̅ÀœÕ}…œÕÌʏˆvi°Ê>ÀÅ>Ê«œÃÌՏ>Ìi`Ê̅>ÌÊۈ`iœÊ>À̈ÃÌÃÊ܅œÊÃiv‡`ˆÃ«>Þ]Ê>˜`ÊLÞÊiÝÌi˜Ãˆœ˜]Ê }>iÀއ}œiÀÃÊ܅œÊ>ÀiÊØ>Ài`ÊLÞÊ̅iÊۈ`iœÊ“ˆÀÀœÀ]Ê>Êˆ˜`Տ}iʈ˜Ê>ʘœÃÌ>}ˆVÊÀiÌÕÀ˜ÊÌœÊ Ì…iʓˆÃ‡ÀiVœ}˜ˆÌˆœ˜ÊœvÊ̅>Ìʈ`i>Ê¼œÌ…iÀ½ÊÃiv°45Ê,œÃ>ˆ˜`ÊÀ>ÕÃÃÊv>“œÕÏÞʜLiVÌi`ÊÌœÊ Ü…>ÌÊÅiÊV>i`ʼÃiv‡i˜V>«ÃՏ>̈œ˜½Êˆ˜Ê܅ˆV…ÊۈiÜiÀÃÊLiVœ“iÊwÝ>Ìi`ʜ˜Ê̅iˆÀÊœÜ˜Ê Ûˆ`iœ‡ˆ“>}iÊ VÕÌ̈˜}Ê Ì…i“Ê œvvÊ vÀœ“Ê œÌ…iÀÊ œLiVÌÃ]Ê …ˆÃ̜ÀˆiÃÊ >˜`Ê Ì…iÊ ÃœVˆ>Ê ë…iÀi°Ê /…iÞÊi˜ÌiÀÊ>ÊVœÃi`ÊVˆÀVՈÌÊ̅>ÌÊ«Àœ`ÕViÃÊ>ʼVœ>«Ãi`Ê«ÀiÃi˜Ì½Êˆ˜Ê܅ˆV…Ê̅iÊۈiÜiÀÊ iÝ«iÀˆi˜ViÃÊ̅iÊÃivÊ>ÃʼœÌ…iÀ½Êˆ˜ÊiiVÌÀœ˜ˆVÊ«iÀ«iÌՈÌÞ°46ÊÀ>ÕÃýÃÊVÀˆÌˆµÕiʅ>ÃÊȘViÊ Lii˜ÊV…>i˜}i`]ʘœÌ>LÞÊLÞÊ
˜˜iÊ°Ê7>}˜iÀÊ܅œÊ«œˆ˜Ìi`ʜÕÌÊ̅>ÌÊ>ʓœ˜ˆÌœÀʼˆÌÃivÊ >ÎÊvœÀʓœ˜ˆÌœÀˆ˜}½] 47 implying a future spectator and an interpersonal connection across time that breaks the closed circuit. In Corridor]ʘ>ÀVˆÃÈÃ̈VÊ>LÜÀ«Ìˆœ˜ÊˆÃÊÌi“pered by the electronic layering and fracturing of the spectators’ video reflections. Narcissism is also inhibited by the technical imperfections and low resolution of the >˜>œ}ÕiÊ L>VŽ‡>˜`‡Ü…ˆÌiÊ ˆ“>}i]Ê VÀi>̈˜}Ê >Ê Žˆ˜`Ê œvÊ «œÃ̇“iÓiÀˆVÊ Vœ˜`ˆÌˆœ˜]Ê Ì…iÊ spectatorial ego dissociated through its awareness of process. Corridor also reintroduced a social dimension with the added frisson of uncertainty about the physical ÃÌ>ÌÕÃʜvÊ̅œÃiʼœÌ…iÀ½ÊLiˆ˜}ÃÊ܈̅Ê܅œ“Ê̅iÊëiVÌ>̜ÀÊÅ>Ài`Ê̅iÊë>ViʜvÊÀiVi«Ìˆœ˜°Ê À>ÕÃÃʅiÀÃivÊVœ˜Vi`i`Ê̅>ÌÊ̅iʈ˜ÌiÀÀի̈œ˜Êœvʓ>ÌiÀˆ>ÊÀi>ˆÌÞÊqÊV>LiÃ]ʓœ˜ˆÌœÀÃ]Ê walls and other people – breaks through the hermetic seal of the video bubble. She finds another mitigating structural element in Richard Serra’s BoomerangÊ ­£™Ç{®]Ê in which Nancy Holt listens to her own voice fed back to her on headphones with a ψ}…ÌÊLÕÌÊ`ˆÃœÀˆi˜Ìˆ˜}Ê`i>Þ°ÊÀ>ÕÃÃʈ`i˜ÌˆwiÃÊ̅iÊÕÃiʜvÊ>Õ`ˆœÊvii`L>VŽÊ>ÃÊ̅iʎiÞÊ ÌœÊVÀi>̈˜}ʼ>˜Ê>˜}iʜvÊۈȜ˜½ÊvœÀÊ̅iÊëiVÌ>̜ÀÊ̅>ÌÊ>œÜÃʅiÀÊ̜ʼœœŽÊœ˜ÌœÊˆÌÊvÀœ“Ê œÕÌÈ`i½]Ê̅ÕÃÊLÀi>Žˆ˜}Ê̅iʘ>ÀVˆÃÈÃ̈Vʏœœ«° 48

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vÊ̅iÃiÊ`ˆÃÌ>˜Vˆ˜}ÊivviVÌÃÊÜiÀiʘœÌÊÃÕvwVˆi˜ÌÊ̜ÊÃÌ>ÛiʜvvÊۈ`iœÊÛ>˜ˆÌˆiÃ]Ê̅iÊÌiV…˜œœ}ÞÊVœÕ`Ê>ÃœÊi˜>VÌÊ>Ê`iVi˜ÌiÀˆ˜}ʜvÊ̅iÊÃÕLiVÌ]ÊvœÀʈ˜ÃÌ>˜Vi]Ê̅ÀœÕ}…Ê̅iʈ˜w˜ˆÌiÊ Ài}ÀiÃȜ˜ÃʜvÊۈ`iœÊvii`L>VŽ]Ê>˜ÊœÛiÀÕÃi`ÊivviVÌÊ>V…ˆiÛi`ÊLÞÊ«œˆ˜Ìˆ˜}Ê̅iÊV>“iÀ>Ê`ˆÀiV̏ÞÊ>ÌÊ̅iʓœ˜ˆÌœÀÊ̜Ê܅ˆV…ʈÌʈÃÊVœ˜˜iVÌi`°Ê/…iʓˆÀÀœÀʈ“>}iÊvÀ>VÌÕÀiÃʈ˜ÌœÊ>ÊۜÀÌiÝʜvÊ iÛiÀ‡ÀiVi`ˆ˜}ʓՏ̈«iÃ]Ê>˜ÊivviVÌÊv>“ˆˆ>ÀÊ̜ÊۈiÜiÀÃʜvÊi>ÀÞÊDr. Who (BBC 1963–presi˜Ì®]ʈ˜Ê܅ˆV…Ê̅iÊ}œœ`Ê œV̜ÀÊÀi}Տ>ÀÞÊ«Õ˜}i`Ê̅ÀœÕ}…Ê…œiÃʈ˜Ê̈“i°Ê/…iÊ«ÀœˆviÀ>̈œ˜Ê of selves might well carry sinister overtones of the doppelgänger as a portent of death; …œÜiÛiÀ]ÊÜiʘœÜÊÀi>`Êۈ`iœÊvii`L>VŽÊ˜œÃÌ>}ˆV>ÞÊ>ÃÊ>ʼ˜>vv½ÊëiVˆ>ÊivviVÌʜvÊi>ÀÞÊ sci-fi television and the mind-bending psychedelia of the epoch. The more consequential impact of closed circuit video systems relates to today’s pervasive surveillance œvÊ«ÕLˆVÊë>Vi]Êi˜>V̈˜}ʈV…iÊœÕV>Տ̽ÃÊۈȜ˜ÊœvÊ̅iÊ*>˜œ«ÌˆVœ˜Ê̅>ÌÊÃÌÀÕVÌÕÀiÃÊ Ì…iÊ >‡Ãiiˆ˜}]Ê Vœ˜ÌÀœˆ˜}Ê iÞiÊ œvÊ >Õ̅œÀˆÌÞ°49 Lisa Akervall has suggested that the ¼Vœ“«iÌiÊۈÃÕ>ˆÌ޽ʜvʜÕÀÊVœ˜Ìi“«œÀ>ÀÞʼ˜iÌܜÀŽi`ÊÃiÛiýÊÀi«ÀiÃi˜ÌÃÊ>˜Ê¼ˆ˜ÛiÀÌi`Ê «>˜œ«ÌˆVœ˜½Êˆ˜Ê܅ˆV…ÊÜiÊ>ÀiÊÀiÜ>À`i`ÊvœÀÊVœ˜ÃÌ>˜ÌÊÃiv‡iÝ«œÃÕÀi°50 Here appearance is «>À>“œÕ˜ÌÊ>˜`Ê̅iʈ˜ÌÀœiVÌi`ʈ`i>Êi}œÊœÀˆ}ˆ˜>̈˜}ʈ˜Ê̅iʓˆÀÀœÀÊ«…>Ãi]ʘœÜÊVœ˜y>Ìi`Ê ÜˆÌ…ÊVÕÀÀi˜ÌÊÜVˆiÌ>Ê˜œÀ“Ã]Ê>VÌÃÊ>ÃÊ>ÊVœ˜ÃÌ>˜ÌÊVœ“«>˜ˆœ˜]Ê>˜`ÊÜiÊ«ÕLˆVÞÊÃiv‡y>}i>ÌiÊvœÀʜÕÀÊv>ˆÕÀiÃÊ̜ÊLiVœ“iÊ̅iÊv>ˆÀiÃÌ]ÊÀˆV…iÃÌÊ>˜`ʓœÃÌÊÃÕVViÃÃvՏʜvÊ̅i“Ê>°Ê

VIDEO PERFORMANCE − LIVE ˜ÊV…>«ÌiÀÊvœÕÀ]ÊÊ̜ÕV…i`ʜ˜Ê̅iÊ>˜ViÃÌÀ>Êˆ˜ŽÃÊLiÌÜii˜Ê«iÀvœÀ“>˜ViÊ>˜`ʈ˜ÃÌ>>̈œ˜]Ê>˜`Ê>À̈ÃÌýÊÕÃiʜvÊۈ`iœÊ>ÃÊ>ÊÛi…ˆViÊvœÀÊ̅iˆÀʜܘÊ`iV>“>̈œ˜ÃÊ̜ÊV>“iÀ>°ÊÊ>ÃœÊ discussed the combination of live and pre-recorded material in the work of artists ÃÕV…Ê>ÃÊœ˜>Ê>̜Փ]Ê,œÃiÊ>ÀÀ>À`Ê>˜`Ê6ˆÌœÊ
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i“«…>ÈÃÊÜ>ÃʘœÌʜ˜ÊÀi“œÌiÊVœ˜˜iV̈ۈÌÞÊi˜>Li`ÊLÞÊÌiV…˜œœ}Þ]ÊLÕÌʜ˜Ê̅iÊÀi‡ˆ˜scription of the social in a live encounter with the work. Video performance was not intended as a simple antidote to the perceived narcissism of the medium; instead it «>Þi`ʜ˜Ê̅iÊ՘ViÀÌ>ˆ˜ÊÀՏiÃʜvÊi˜}>}i“i˜ÌÊ̅>ÌÊ>ÌÌi˜`Ê«iÀvœÀ“>˜ViÊ>ÀÌÊ>˜`]ÊLÞÊ iÝÌi˜Ãˆœ˜]ÊÌiÃÌi`Ê̅iÊLœÕ˜`>ÀˆiÃʜvÊ«iÀܘ>Êë>ViÊ>˜`Ê«ÕLˆVÊLi…>ۈœÕÀðÊÀ>…>“½ÃÊ video performances also signalled the difficulties that arise with the misalignment LiÌÜii˜Ê̅iʈ˜ÌiÀˆœÀÊܜÀ`ʜvÊiÝ«iÀˆi˜ViÊ>˜`Ê܅>Ìʈ˜`ˆÛˆ`Õ>ÃÊÃÕVVii`ʈ˜ÊVœ““Õ˜ˆV>̈˜}Ê ÌœÊ œÌ…iÀÃÊ Ì…ÀœÕ}…Ê ̅iÊ LÕ˜ÌÊ ˆ˜ÃÌÀՓi˜ÌÊ œvÊ >˜}Õ>}i]Ê ÛiÀL>]Ê Ã>À̜Àˆ>Ê >˜`Ê }iÃÌÕÀ>°Êˆ˜>Þ]ÊPerformer/Mirror/AudienceÊÃÌ>}i`Ê̅iÊ«œÜiÀʜvʈ˜Ã̈ÌṎœ˜ÃÊ̜ÊwÝÊ ˆ`i˜ÌˆÌÞ°Ê/…iʏ>Ü]Ê̅iʓi`ˆ>]ÊÀiˆ}ˆœ˜]Êi`ÕV>̈œ˜Ê>˜`Êi“«œÞ“i˜ÌÊ>Êi˜vœÀViÊ̅iʅˆiÀarchical organisation of human typologies through the allocation of specific roles to ëiVˆwVʈ˜`ˆÛˆ`Õ>Ã°Ê˜Ê…ˆÃÊۈ`iœÊ«iÀvœÀ“>˜Vi]ÊÀ>…>“Ê>ÃÃՓi`Ê̅iÊ«œÜiÀÊ̜ʘ>“iÊ œÌ…iÀÃʈ˜Ê̅iÊVœ˜ÌiÝÌʜvʅˆÃÊ>ÀÌÊ>˜`Ê̅ÀœÕ}…Ê̅iʍÕ`}i“i˜ÌÃʜvʅˆÃÊVœ““i˜Ì>ÀÞ]ÊÃޓbolically established the value of each human presence he put in the spotlight.53 /…iʼ«ÀiÃi˜Ì˜iÃýʜvÊÀ>…>“½ÃÊ«iÀvœÀ“>˜ViÊ՘`iÀˆ˜i`Ê̅iÊV>«>VˆÌÞʜvÊۈ`iœÊÌœÊ «>À>iÊÀi>Ê̈“i]Ê̜ÊÀ՘Ê>œ˜}È`iʜÕÀʜܘʫ>ÃÃ>}iÊ̅ÀœÕ}…ʏˆvi]ʈ˜ÊÃޘV…Ê܈̅Ê܅>ÌÊ >ۈ`Ê>ÊV>i`Ê̅iʼÀi>‡Ìˆ“iÊVœ˜Ìˆ˜ÕՓ½°54ʘÊ̅iʏ>ÌiÊ£™ÈäÃ]Êۈ`iœÊ«Àœ}ÀiÃÃi`ʈ˜Ê horological time because artists had no access to editing. The work ended when the Ì>«iÊÀ>˜ÊœÕÌ]ʈ˜ÃVÀˆLˆ˜}Ê>˜ÊiµÕˆÛ>i˜ViÊLiÌÜii˜Ê̅iÊÌi“«œÀ>ˆÌˆiÃʜvÊÀiVœÀ`ˆ˜}Ê>˜`Ê Ûˆi܈˜}°Ê7…iÀiÊw“ÊÜ>ÃÊ>ÊvÀ>“i‡LއvÀ>“iÊ`œVՓi˜ÌʜvÊ«>ÃÌÊiÛi˜ÌÃ]ʼ̅iÊiœ˜}>Ìi`Ê frame of the video image’55ÊVÀi>Ìi`Ê>ÊyՈ`ÊۈȜ˜ÊœvÊ̈“i‡ˆ˜‡Ì…i‡“>Žˆ˜}]ÊiÛi˜Ê܅i˜Ê pre-recorded. Video editing became available in the late 1970s and enabled artists ̜Ê`iÛiœ«Ê¼“i̅œ`œœ}ˆiÃÊvœÀÊÃÌÀÕVÌÕÀˆ˜}Ê̈“i½56Ê̅ÀœÕ}…ÊVœ“«ÀiÃȜ˜]Ê>VViiÀ>̈œ˜]Ê œœ«ˆ˜}Ê>˜`Ê`iViiÀ>̈œ˜ÊqÊ̅iÊÕLˆµÕˆÌœÕÃÊϜÜʓœÌˆœ˜°Ê/…iÊ«…i˜œ“i˜>ʜvʼÃiiˆ˜}Ê time’ in single screen works (David Ross)57Ê>˜`ʼÃÌ>}ˆ˜}½Ê̈“iʈ˜Ê̅iÊë>ViÃʜvÊۈ`iœÊ ˆ˜ÃÌ>>̈œ˜Ê­>ÌiÊœ˜`œV…®Ê>ÀiÊ>ÃœÊ>ÌÊ«>Þʈ˜ÊˆÛiÊÀi>ÞÊ>˜`Ê«iÀvœÀ“>̈ÛiÊܜÀŽÃ°Ê
Ê “œÀiÊ ÀiVi˜ÌÊ Ãi“ˆ‡ÃVÀˆ«Ìi`Ê «iÀvœÀ“>˜ViÊ LÞÊ iۈ˜Ê
̅iÀ̜˜Ê i˜V>«ÃՏ>ÌiÃÊ “>˜ÞʜvÊ̅iÊV…>À>VÌiÀˆÃ̈VÃÊÌÞ«ˆV>ÊœvÊi>ÀÞÊۈ`iœÊ>ÀÌ\ʏˆÛiÊÀi>Þ]ʼÃiv‡«iÀvœÀ“>˜Vi½58 and the manipulation of time as a material. Atherton’s In Two Minds – Past Version ­£™ÇnÉÓääÈ®ÊVœ“Lˆ˜i`Ê̅iʏˆÛiÊ܈̅Ê̅iÊ«Ài‡ÀiVœÀ`i`]ʘœÌÊȓ«ÞÊ>ÃÊ>˜ÊiÝiÀVˆÃiʈ˜Ê ÃÌÀiÌV…ˆ˜}ʜÀÊVœ˜`i˜Ãˆ˜}ʅˆÃ̜ÀÞÊ̜ÊwÌÊ̅iÊ`ˆ“i˜Ãˆœ˜ÃʜvÊ̅iÊܜÀŽ]ÊLÕÌÊ̜Êi˜>VÌÊ̅iÊ enfolding of the past in the present. The first iteration of In Two Minds (1978) featured ̅iÊ>À̈ÃÌÊ«iÀvœÀ“ˆ˜}ʏˆÛi]Êi˜}>}i`ʈ˜Ê>ʅi>Ìi`Ê`iL>ÌiÊ܈̅Ê>Ê«Ài‡ÀiVœÀ`i`ÊÛiÀȜ˜ÊœvÊ …ˆ“Ãivʜ˜Ê>ʓœ˜ˆÌœÀ°Ê˜ÊÓääÈ]Ê̅iʘœÜÊVœ˜Ãˆ`iÀ>LÞʜ`iÀÊ
̅iÀ̜˜ÊÃÕL“ˆÌÌi`Ê̜Ê̅iÊ Ã>“iÊ}Àˆˆ˜}ÊLÞʅˆÃÊޜ՘}iÀÊÃivÊ>VÀœÃÃÊ̅iÊ̈“i‡Ã«>ViʜvʜÛiÀÊÌÜi˜ÌÞÊÞi>ÀÃ]ÊÜˆÌ…Ê Ì…iÊޜÕ̅vՏʈ˜ÌiÀœVÕ̜ÀʘœÜÊ`ˆ}ˆÌˆÃi`Ê>˜`Êۈ`iœÊ«ÀœiVÌi`ʜ˜ÌœÊ>ÊÃVÀii˜ÊLi…ˆ˜`Ê̅iÊ older Atherton’s lean frame. The temporal gap between now and then was marked by the ageing of the artist’s face set against the nostalgic patina of the analogue black >˜`Ê܅ˆÌiÊvœœÌ>}i]Ê̅iʏ>ÌÌiÀ½ÃÊÜ>ÛiÀˆ˜}ÊÃV>˜Êˆ˜iÃÊÃ>Ṏ˜}ÊLœÌ…Ê
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INSTALLATION AND THE MOVING IMAGE

Kevin Atherton, In Two Minds – Past Version (1978/2006). Video performance, Tate Britain, London. Photo: Catherine Elwes. Courtesy of the artist.

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œÀ}>˜ˆÃ>̈œ˜ÊœvÊ>ÊÌiiۈȜ˜ÊÃÌÕ`ˆœ]Ê܈̅ʈÌÃÊȓՏ>Ìi`Ê`œ“iÃ̈VÊë>ViÃÊ>˜`ÊÃÌÀ>̈wi`Ê Vœ““Õ˜ˆÌÞʜvʜ«iÀ>̈ÛiÃ]Ê>˜`Ê̅iʓˆˆœ˜ÃʜvÊVÀœÜ`i`ʅœ“iÃÊ̜Ê܅ˆV…Ê̅iÊÃÌÕ`ˆœÊˆÃÊ connected via the umbilical cord of the broadcast signal.62 This parallelism survived ̅iÊÌÀ>˜Ã“ˆ}À>̈œ˜ÊœvÊۈ`iœÊÌiV…˜œœ}ÞÊ̜Ê̅iÊ}>iÀÞ°ÊiÀi]Ê>ÊVœ˜}ÀÕi˜ViÊi“iÀ}i`Ê LiÌÜii˜Ê̅iÊ>À̈Ã̽ÃÊÃÌÕ`ˆœÊ>˜`Ê̅iÊ}>iÀÞÊë>Vi]Ê«>À̈VՏ>ÀÞÊ܅i˜Ê̅iÊÌܜʏœV>̈œ˜ÃÊÜiÀiÊVœ>«Ãi`Ê>ÃÊ>À̈ÃÌÃʏˆŽiÊ*iÌiÀÊ >“«ÕÃ]Êœ>˜Êœ˜>ÃʜÀÊ >˜ÊÀ>…>“Ê̜œŽÊ up residence in the gallery. The gallery was transformed temporarily into the artists’ laboratory and the work occurred only in the moment of encounter between ̅iÊÌiV…˜œœ}Þ]Ê̅iÊ>À̈ÃÌɓ>ÃÌiÀʜvÊViÀi“œ˜ˆiÃÊ>˜`Ê̅iÊëiVÌ>̜ÀðʘʓœÀiÊÀiVi˜ÌÊ Ìˆ“iÃ]Ê>À̈ÃÌÃÊÃÕV…Ê>ÃÊ
i݈ÃÊÕ`}ˆ˜ÃÊ>˜`Ê>ŽÃ…“ˆÊÕ̅À>ʅ>ÛiÊÕÃi`Ê}>iÀˆiÃÊ>ÃÊ/6Ê ÃÌÕ`ˆœÃ]Ê>˜`ʈ˜ÊReverse CutÊ­Óä£ä®Ê̅iÞÊVÀi>Ìi`Ê>ÊܜÀŽˆ˜}ÊÀi>ˆÌÞÊ/6ÊÃiÌ]ÊVœ“«iÌiÊ ÜˆÌ…ÊVœ˜ÌÀœÊÀœœ“Ê>˜`ʼ}Àii˜ÊÃVÀii˜½Êˆ˜ÌiÀۈiÜÊÀœœ“Êœ«iÀ>Ìi`ÊLÞÊ«ÀœviÃȜ˜>ÊÌiV…nicians.63Ê7ˆÌ…Ê̅iÊ>`Ûi˜ÌʜvÊ̅iʘÌiÀ˜iÌ]Ê̅iʅœ“iʈÌÃivʅ>ÃÊLii˜ÊÌÀ>˜ÃvœÀ“i`ʈ˜ÌœÊ >ÊÌiiۈȜ˜ÊÃÌÕ`ˆœÊ܈̅ʈ˜`ˆÛˆ`Õ>Ãʼ`ˆÀiV̈˜}Ê̅iˆÀʜܘÊVœ˜Ìˆ˜Õˆ˜}ʓˆ˜ˆ‡`À>“>ýÊvÀœ“Ê their bedrooms.64Ê-ÕÀÀœÕ˜`i`ÊLÞÊ̅iʏ>ÌiÃÌÊÜ՘`Ê>˜`Êۈ`iœÊiµÕˆ«“i˜Ì]Ê̅iÞʏ>՘V…Ê ̅iˆÀÊ “>˜Õv>VÌÕÀi`Ê «iÀܘ>ÃÊ œ˜ÌœÊ >˜Ê ՘ÃÕëiV̈˜}Ê ÜœÀ`]Ê œvÌi˜Ê ÜiLV>Ã̈˜}Ê ˆÛiÊ from their laptops. >VŽÊˆ˜Ê̅iÊ>}iʜvʓœ˜œVՏÌÕÀ>ÊLÀœ>`V>Ã̈˜}]ÊViÀÌ>ˆ˜Ê>À̈ÃÌÃÊÀiÛiÀÃi`Ê̅iʜ˜i‡ way street of television by persuading the public and commercial stations to cede them some precious airtime. A few gained access to professional studios enabling ̅i“Ê ÌœÊ iÝ«œÀiÊ Ì…iÊ «œÌi˜Ìˆ>ˆÌˆiÃÊ œvÊ }œL>Ê Vœ““Õ˜ˆV>̈œ˜Ê ÃÞÃÌi“Ã°Ê ˜Ê œÃ̜˜]Ê Stan VanDerBeek’s Violence Sonata (1970) was broadcast on two WGBH channels simultaneously making it possible to create a two-screen installation in the home LÞÊ«>Vˆ˜}Ê̜}i̅iÀÊÌܜÊÌiiۈȜ˜ÃÊÌ՘i`ÊÀiëiV̈ÛiÞÊ̜ÊV…>˜˜iÊÓÊ>˜`Ê{{°Ê˜Ê£™È™]Ê œ…˜Êœ«Žˆ˜ÃÊ>˜`Ê-ÕiÊ>ÊvœÕ˜`i`Ê/68]Ê>˜Ê>V̈ۈÃÌÊ}ÀœÕ«ÊÌ>VŽˆ˜}ÊÜVˆ>ÊˆÃÃÕiÃÊÃÕV…Ê >ÃʅœÕȘ}°Ê >Ãi`ʈ˜Êœ˜`œ˜]Ê̅iÊ}ÀœÕ«ÊÜ>ÃÊ>ÃœÊ`i`ˆV>Ìi`Ê̜ʼ̅iʏˆLiÀ>̈œ˜ÊœvÊVœ“munications technology for public access’.65 Although the BBC broadcast two of their «Àœ`ÕV̈œ˜Ã]Ê̅iÞÊ`ÀiÜÊ̅iʏˆ˜iÊ܅i˜Ê/68Ê̜œŽÊ“iÃV>ˆ˜iʈ˜Ê>ÊÃÌÕ`ˆœÊ>ÌÊ/iiۈȜ˜Ê

i˜ÌÀiÊ>˜`ÊVÀi>Ìi`Ê>ÊÌÀˆ««ÞʓˆÝʜvÊ`>˜Vˆ˜}]Ê`iL>̈˜}Ê>˜`ʘ>ÀVœÌˆVÊ`Àˆv̈˜}ʈ˜ÌiÀVÕÌÊ ÜˆÌ…Ê>ÀV…ˆÛiÊvœœÌ>}i°Ê i>˜Ü…ˆi]Ê 7 ,Ê œœ}˜iÊ LÀœ>`V>ÃÌÊ
`œÊ/>“Liˆ˜ˆÊ>˜`Ê"ÌÌœÊ Piene’s Black Gate CologneÊ ­£™Èn®]Ê >˜Ê i>LœÀ>ÌiÊ ˆ˜ÃÌ>>̈œ˜Ê vi>ÌÕÀˆ˜}Ê >Ê ˆÛiÊ >Õ`ˆi˜Vi]Ê ˆ˜y>Ì>LiÃÊ >˜`Ê w“Ê «ÀœiV̈œ˜ÃÊ Ì…>ÌÊ ˆ˜VÕ`i`Ê ˜iÜÃÊ vœœÌ>}iÊ œvÊ Ì…iÊ i˜˜i`ÞÊ assassination.66 The most famous incursion into the monolith of public broadcasting was the short-lived Television Gallery created by Gerry Schum and Ursula Wevers ˆ˜Ê£™È™]Ê>˜`ʅœÃÌi`ÊLÞÊ̅iÊ7iÃÌÊ iÀˆ˜ÊÃÌ>̈œ˜Ê-i˜`iÀÊÀiˆiÃÊ iÀˆ˜°Ê˜Ê>ʓœ“i˜ÌÊ œvʏˆLiÀ>ˆÃ>̈œ˜ÊLivœÀiÊ>˜ÝˆiÌÞÊ>LœÕÌÊۈi܈˜}Êw}ÕÀiÃÊÃ̈yi`Ê>ÀÌÃÊ«Àœ}À>““ˆ˜}]Ê- Ê LÀœ>`V>ÃÌÊ>Ê«Àœ}À>““iʜvʼˆ˜ˆ“>Ê>ÀÌÊvœÀÊ̅iʓˆˆœ˜Ã]Ê«iÀvœÀ“>˜ViÊ>ÀÌÊvœÀÊۈiÜiÀÃÊ>ÌÊ …œ“iʈ˜ÊvÀœ˜ÌʜvÊ̅iÊLœÝ½°67 Land Art (1969) and Identifications (1970) included work LÞÊÃÕV…ʏՓˆ˜>ÀˆiÃʜvʓœ`iÀ˜Ê>ÀÌÊ>ÃʈLiÀÌÊ>˜`ÊiœÀ}i]Ê,ˆV…>À`Êœ˜}]ʏ>ÕÃÊ,ˆ˜ŽiÊ >˜`Ê,ˆV…>À`Ê-iÀÀ>]ÊLÕÌʈÌÊÜ>ÃÊ ÕÌV…Ê>À̈ÃÌÊ>˜Ê ˆLLiÌÃÊ܅œÊ«Àœ`ÕVi`Ê̅iÊi“Li“>̈VÊ

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David Hall, TV Interruptions (7 TV Pieces) (1971, Scottish TV). Installation view (2006), at REWIND, Duncan of Jordanstone, UK. Photo: Catherine Elwes.

work of artists’ television with his elegantly minimal TV as Fireplace (1969). The image beamed into thousands of German homes consisted of nothing but a flickering wÀi°Ê
ÌÊ>ÊÃÌÀœŽi]Ê ˆLLiÌÃÊVœ˜ÛiÀÌi`Ê`œ“iÃ̈VÊÌiiۈȜ˜ÃÊL>VŽÊˆ˜ÌœÊ̅iʅi>À̅ÃÊ̅iÞÊ …>`Ê`ˆÃ«>Vi`]Êi˜VœÕÀ>}ˆ˜}Ê̅iÊÀiÃՓ«Ìˆœ˜ÊœvÊVœ˜ÛiÀÃ>̈œ˜]ÊÃ̜ÀÞÌiˆ˜}Ê>˜`ÊVœ““Õ˜>ÊȘ}ˆ˜}Ê̅>Ì]ʈ˜Ê̅iÊ«>ÃÌ]ʅ>`ÊVi“i˜Ìi`Êv>“ˆÞÊ՘ˆÌÞ° ˜ÊVœ˜ViÀÌÊ܈̅Ê̅iÊâiˆÌ}iˆÃÌʜvÊ̅iÊ>Û>˜Ì‡}>À`i]Ê-V…Õ“Ê>˜`Ê7iÛiÀÃÊÜiÀiÊVœ““ˆÌÌi`Ê̜Êv>VˆˆÌ>̈˜}Ê>˜Ê¼ˆ““>ÌiÀˆ>ÊvœÀ“ÊœvÊ>ÀÌÊVœ˜ÃՓ«Ìˆœ˜½Ê̅>ÌʼÀi>V…i`Ê̅iʏ>À}iÃÌÊ audience possible’.68Ê“«œÀÌ>˜ÌÞ]Ê̅ˆÃÊÜ>ÃÊ>Ê«À>V̈ViÊ̅>ÌÊLÞ«>ÃÃi`Ê̅iÊV>«ˆÌ>ˆÃÌÊ >ÀÌʓ>ÀŽiÌÊLÞʜ«iÀ>̈˜}ʼ܈̅œÕÌÊ>˜Ê>À̈Ã̈VÊ«Àœ`ÕVÌÊvœÀÊÃ>i½69 beyond the moment of ÌÀ>˜Ã“ˆÃȜ˜°Ê/…iÊ/iiۈȜ˜Ê>iÀÞÊiÛi˜ÌÃ]Ê>˜`ʏ>ÌiÀÊLÀœ>`V>Ã̈˜}ʈ˜ÌiÀÛi˜Ìˆœ˜Ãʈ˜Ê ̅iÊ1]ʈ˜VÕ`ˆ˜}Ê >ۈ`Ê>½ÃÊTV Interruptions (7 TV Pieces)Ê­£™Ç£]Ê-VœÌ̈ÅÊ/6®]ʓ>ÞÊ ÜiÊ…>ÛiÊVÀi>Ìi`Ê>˜Ê¼ˆ““>ÌiÀˆ>ÊvœÀ“ÊœvÊ>À̽ÊLÕÌÊۈiÜiÀÃÊVœÕ`ʘœÌÊ>VViÃÃÊ̅iÊܜÀŽÊ ܈̅œÕÌÊ̅iÊۜÕ“iÌÀˆVʜLiVÌ]Ê̅iÊ«ˆiViʜvʎˆÌÊ̅>ÌÊÜ>Ãʈ˜VÀi>Ș}ÞÊ`œ“ˆ˜>̈˜}Ê̅iˆÀÊ ˆÛˆ˜}ÊÀœœ“ðÊ
ÃÊiÀi“ÞÊ7iÃ…Ê…>ÃÊ>À}Õi`]Êۈ`iœÊ>ÀÌ]Ê܅i̅iÀÊLi>“i`ʈ˜ÌœÊ̅iʅœ“iÊ œÀÊÀi“œÛi`Ê̜Ê̅iÊ}>iÀÞ]ʼ«Õi`Ê̅iÊÌÀˆVŽÊœvÊi˜V>Ș}Ê̅iʈ““>ÌiÀˆ>Êˆ˜Ê>ʓ>ÌiÀˆ>Ê vœÀ“Ê °°°Ê >˜`Ê Ì…iÊ ˆ˜`ˆÛˆ`Õ>]Ê “>ÌiÀˆ>Ê «ÀiÃi˜ViÊ œvÊ Ì…iÊ >ÀÌÊ œLiVÌÊ Ü>ÃÊ «>À>`œÝˆV>ÞÊ firmly re-established during the video decade’.70 Some artists emphasised the body of the technology by reducing the power of the televisual image. Following Richard >“ˆÌœ˜½ÃÊ >`ۈViÊ Ì…>ÌÊ ¼ˆÌÊ ˆÃÊ LiÃÌÊ ÌœÊ >ۜˆ`Ê Vœ˜Ìi˜ÌÊ œ˜Ê ÌiiۈȜ˜½]71 they adopted a

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«>Ài`‡`œÜ˜Ê“ˆ˜ˆ“>ˆÃ“ʈ˜Êvi>ÌÕÀiiÃÃʏ>˜`ÃV>«iÃÊ­œ˜}]ʍÕÃÌÊÜ>Žˆ˜}®]ÊvœÀ“>]ÊÀipetitive gestures (Gilbert and George sitting under a tree) and conceptual conceits (Hall slowly filling the screen with water). This restrained visual language displaced ̅iʈ˜Ìi˜Ãi]ÊÀi…i>ÀÃi`ʈ˜Ìˆ“>VÞʜvÊÌiiۈȜ˜Ê«ÀiÃi˜ÌiÀÃ]Ê>ÃÊÜiÊ>ÃÊ̅iʼ˜ii`i‡ˆŽiÊ dissection’72ʜvÊiÛiÀÞ`>ÞʏˆviÊ̅>ÌÊLÀœ>`V>Ã̈˜}Ê«ÀiÃÃiÃʜ˜ÊœÕÀÊVœ˜ÃVˆœÕØiÃÃ]Ê`ˆÃtracting us from the political realities of our times. /…iÊ ÀivÕÃ>Ê œvÊ Vœ˜Ûi˜Ìˆœ˜>Ê ˜>ÀÀ>̈ÛiÊ ÌÀœ«iÃ]Ê Ì…iÊ `i}À>`i`]Ê œÌ…ˆVÊ L>VŽ‡>˜`‡ ܅ˆÌiʈ“>}iÀÞ]Ê̅iÊVœœˆ˜}ʜvÊۈÃÕ>Êˆ˜vœÀ“>̈œ˜Êˆ˜ÌœÊ`ˆÛiÀÃiÊvœÀ“ÃʜvÊ>LÃÌÀ>V̈œ˜Ê put the screen content of analogue video at one remove. Through the sculptural œÀ}>˜ˆÃ>̈œ˜ÊœvÊ̅iʓ>ÌiÀˆ>Êii“i˜ÌÃʜvÊ̅iÊÌiV…˜œœ}Þ]Ê>À̈ÃÌÃÊi˜}i˜`iÀi`Ê>ÊȓՏÌ>˜iœÕÃÊ>««ÀiVˆ>̈œ˜ÊœvÊ̅iÊVÕLœˆ`ʼœLiV̘iÃýʜvʓœ˜ˆÌœÀÃ]ÊÃÕÀÀœÕ˜`i`ÊLÞÊÀˆÛՏiÌÃÊ of cables. The illusion of recessional space onscreen constantly played against the ÛiÀˆw>Li]ʎ˜œÜ˜Ê`ˆ“i˜Ãˆœ˜ÃʜvʈÌÃÊLՏŽÞÊÃÕ««œÀÌÆÊ>ÃʘœÌi`ʈ˜ÊV…>«ÌiÀÊÃiÛi˜]Êœ…˜Ê 7iÃ…“>˜Êˆ`i˜Ìˆwi`Ê̅ˆÃÊÌi˜Ãˆœ˜Ê>Ãʼ̅iÊL>Ì̏iwi`ÊLiÌÜii˜Ê`i«Ì…Ê>˜`ÊÃÕÀv>Vi½°73 1˜“>Îi`Ê>˜`ʓ>Àœœ˜i`ʈ˜Ê̅iÊ}>ÀiʜvÊ>iÃ̅ïVÊ>ÌÌi˜Ìˆœ˜]Ê̅iÊÌiiۈȜ˜ÊÀiÛi>i`Ê ˆÌÃivÊ >ÃÊ >Ê LœÝÊ œvÊ “>}ˆVÊ ÌÀˆVŽÃÊ œvÊ Li܈`iÀˆ˜}Ê ÌiV…˜œœ}ˆV>Ê Vœ“«i݈ÌÞ]Ê >Ê VՏÌÕÀ>Ê signifier (the medium as the message) and a defamiliarised domestic appliance. œÌ…ÊiÝ«œÃi`Ê>˜`ÊÛi˜iÀ>Ìi`]Ê̅iÊ>˜>œ}ÕiÊۈ`iœÊ“œ˜ˆÌœÀ]Ê̅ÕÃÊȘ}i`ʜÕÌ]ʈ˜ÛˆÌi`Ê VÀˆÌˆV>ÊÀiyiV̈œ˜ÊÕ«œ˜Ê̅iÊÀi>̈œ˜Ã…ˆ«ÊÜiʓ>ˆ˜Ì>ˆ˜i`Ê܈̅ʓ>ˆ˜ÃÌÀi>“]ÊVœÀ«œÀ>ÌiÊ ÌiiۈȜ˜]Ê>Ài>`ÞÊ>ÊÈ}˜ˆwV>˜ÌÊvœÀViʈ˜ÊVœ˜Ìi“«œÀ>ÀÞÊVՏÌÕÀi°Ê
VVœÀ`ˆ˜}Ê̜Ê,œLiÀÌÊ Õ}…iÃ]ÊÌiiۈȜ˜ÊÜ>ÃÊ>ʓi`ˆÕ“Ê̅>ÌÊ«Àœ`ÕVi`ÊvœÀ“ÃʜvÊëiVÌ>̜Àň«ÊiµÕˆÛ>i˜ÌÊ ÌœÊ¼«>ÃÈÛiÊӜŽiʈ˜…>>̈œ˜½°74 Video artists hoped to offer a cure.

TECHNOLOGICAL TAMPERINGS /…ÀœÕ}…œÕÌÊ̅iÊ«ÀiVi`ˆ˜}ÊV…>«ÌiÀÃ]Êۈ`iœÊˆ˜ÃÌ>>̈œ˜Ê…>ÃÊ«iÀˆœ`ˆV>ÞÊi˜ÌiÀi`Ê̅iÊ discussion and I have several times rehearsed the now-familiar political critique of “>ˆ˜ÃÌÀi>“ÊLÀœ>`V>Ã̈˜}]Ê>˜`Ê£™ÇäÃÊ>À̈ÃÌýÊ>ÌÌi“«ÌÃÊ̜Ê՘`iÀ“ˆ˜iÊ̅iÊ«œÜiÀʜvÊ ÌiiۈȜ˜Ê܈̅Ê̅iÊÀiyi݈ÛiÊÀiÛi>̈œ˜ÊœvʈÌÃʓi̅œ`ʜvÊ«Àœ`ÕV̈œ˜°Ê/…ˆÃÊÜ>ÃʓœÃÌÊ actively pursued by artists who tampered with the workings of the technology itself qʼˆ˜ÊœÀ`iÀÊ̜ʅ>ÌiʈÌʓœÀiÊ«Àœ«iÀÞ½Ê>ÃÊ >“Ê՘iÊ*>ˆŽÊœvÌi˜ÊÃ>ˆ`°Ê˜Ê£™ÈÎ]ʅiÊ܈Ài`ÊÕ«Ê >ÊÀ>`ˆœÊ̜Ê>Ê/6ÊÃiÌ]Ê܅ˆV…ʈ˜ÌiÀ«ÀiÌi`Ê̅iÊÜ՘`ÊÈ}˜>Ê>ÃÊ>Ê«œˆ˜Ìʜvʏˆ}…Ìʜ˜Ê̅iÊ`>ÀŽi˜i`ÊÃVÀii˜°Ê ÞÊÌÕÀ˜ˆ˜}Ê̅iÊۜÕ“iÊVœ˜ÌÀœÃʜ˜Ê*>ˆŽ½Ãʼ«Ài«>Ài`½ÊÃiÌ]ÊۈiÜiÀÃÊVœÕ`Ê iÝ«>˜`Ê>˜`ÊVœ˜ÌÀ>VÌÊ̅iʏˆ}…Ì°ÊPoint of Light brought spectators into more intimate Vœ˜Ì>VÌÊ܈̅Ê̅iÊܜÀŽˆ˜}ÃʜvÊ̅iÊÌiV…˜œœ}Þ]ʈ˜ÛˆÌˆ˜}Ê̅i“Ê̜Ê>`ÕÃÌÊ̅iÊÃiÌ]ÊLÕÌʅiÊ `i˜ˆi`Ê̅i“Ê̅iÊÀi܏Ṏœ˜ÊœvÊ>˜Ê¼ˆ“«ÀœÛi`½Ê«ˆVÌÕÀi°ÊÊ
ÌÊ >Ê «ÃÞV…œœ}ˆV>Ê iÛi]Ê Ì…iÊ `ˆÃ>««i>Àˆ˜}Ê «œˆ˜ÌÊ œvÊ ˆ}…ÌÊ Ã̈ÀÃÊ vi>ÀÃÊ >ÃÜVˆ>Ìi`Ê ÜˆÌ…Ê>LÃÌÀ>V̈œ˜]ÊÜÊvÀiµÕi˜ÌÞÊ>`œ«Ìi`ÊLÞÊۈ`iœÊ>À̈ÃÌÃÊ̜Ê`ˆÀiVÌÊ>ÌÌi˜Ìˆœ˜Ê̜Ê̅iÊ œLiV̘iÃÃʜvÊ̅iʓœ˜ˆÌœÀ°ÊՏˆ>ÊÀˆÃÌiÛ>ʏˆ˜Ži`Ê>LÃÌÀ>V̈œ˜Ê̜Ê̅iÊÀiÕ`ˆ>˜ÊVœ˜Vi«ÌÊ

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of thanatos]Ê̅iÊ`i>̅Ê`ÀˆÛi°Ê¼/…iÊܜÀŽÊœvÊ`i>̅]½ÊÅiÊÜÀœÌi]ʼV>˜ÊLiÊëœÌÌi`Ê«ÀiVˆÃiÞÊ ˆ˜Ê̅iÊ`ˆÃÜVˆ>̈œ˜ÊœvÊvœÀ“ʈÌÃiv]Ê܅i˜ÊvœÀ“ʈÃÊ`ˆÃ̜ÀÌi`]Ê>LÃÌÀ>VÌi`]Ê`ˆÃw}ÕÀi`]ʅœlowed out’.75 Paik’s sabotage of individual sets created a sense of the world as we Ž˜œÜʈÌÊv>ˆ˜}Ê>«>À̰ʘÊ̅iÊVœ˜ÌiÝÌʜvÊ̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃ]Ê̅iʓ>v՘V̈œ˜ˆ˜}ʜvÊ the broadcast signal evoked not only some generalised sense of entropy but also ̅iÊ `Ài>`i`Ê ÌiiۈȜ˜Ê L>VŽœÕÌ]Ê Ì…>ÌÊ >«œV>Þ«ÌˆVÊ “œ“i˜ÌÊ Ü…i˜Ê À>`ˆœÊ >˜`Ê ÌiiۈȜ˜Ê ܜՏ`Ê }œÊ `i>`Ê …iÀ>`ˆ˜}Ê >Ê ˜ÕVi>ÀÊ >ÌÌ>VŽÊ ̅>Ì]Ê `ÕÀˆ˜}Ê Ì…iÊ œ`Ê 7>À]Ê Ãii“i`Ê imminent.76 ˜Ê̅iÊ1]Ê̅iÊÃÌÀ>Ìi}ÞʜvÊ«ÀiVˆ«ˆÌ>̈˜}ÊÌiV…˜œœ}ˆV>Ê“>v՘V̈œ˜Ã]Ê܈̅Ê̅iÊ>Õ`ˆi˜ViÊ>ÃÊ>VVœ“«ˆVi]ÊÜ>ÃʓœÀiʏÕ`ˆVÊqÊ>˜`ʜvviÀi`Ê}Ài>ÌiÀÊ«œÌi˜Ìˆ>ÊvœÀÊÀ>ÕÃýÃÊ ¼˜>ÀVˆÃÈÃ̈V½Êˆ˜ÌiÀ>V̈œ˜°Ê1˜`iÀÊ̅iÊ̈̏iÊVidicon InscriptionsÊ­£™Çx®]Ê >ۈ`Ê>ÊiÝ«œˆÌi`Ê>ÊL>ÈVÊv>ՏÌʜvÊ>˜>œ}ÕiÊV>“iÀ>ðÊ7…i˜Ê«œˆ˜Ìi`Ê>ÌÊ>ÊLÀˆ}…ÌÊÜÕÀViʜvʏˆ}…Ì]Ê Ì…iÊV>“iÀ>ÊÜ>ÃʵՈVŽÞʜÛiÀœ>`i`Ê>˜`Ê̅iʈ“>}iʼLÕÀ˜i`½]ʏi>ۈ˜}Ê>Ê}…œÃ̏ÞÊ`œÕLiÊ of itself permanently etched onto the vidicon tube. The light spots would overlay any ÃÕLÃiµÕi˜ÌÊÃVi˜iÊ̜Ê܅ˆV…Ê̅iÊV>“iÀ>ÊÜ>ÃÊiÝ«œÃi`]Ê̅iʅˆÃ̜ÀÞʜvʈÌÃʏˆ}…̇}>∘}Ê vœÀ“ˆ˜}Ê>Ê«>ˆ“«ÃiÃÌʜvÊÌi“«œÀ>Êˆ“>}iðʘʜÀ`iÀÊ̜ÊiÝ«œˆÌÊ̅ˆÃÊv>ՏÌ]Ê>ÊÃiÌÊÕ«Ê >Êۈ`iœÊV>“iÀ>Ê܅œÃiʏi˜Ãʜ«i˜i`ʜ˜Ê̅iÊ>««Àœ>V…ÊœvÊ>ÊۈiÜiÀ]Ê>ÃœÊÌÀˆ}}iÀˆ˜}Ê>Ê L>˜ŽÊœvÊLÀˆ}…Ìʏˆ}…ÌÃÊ̅>ÌʼiÝ«œÃi`½Ê̅iÊÃVi˜iÊvœÀÊ>ÊviÜÊÃiVœ˜`ðÊ/…iÊvÀœâi˜Êˆ“>}iʜvÊ the viewer was then routed to a monitor and temporarily superimposed over slowlyfading images of others who had similarly imprinted their likeness in the technology. -œ“iʓ>Þʅ>ÛiÊ>««ÀiVˆ>Ìi`Ê̅iÊ`>ÀŽiÀʜÛiÀ̜˜iÃʜvÊ̅iÊܜÀŽ]ÊÀi>`ˆ˜}Ê̅iÊvÕ}ˆÌˆÛiÊ ˜>ÌÕÀiʜvÊ̅iʈ“>}iÊ>ÃÊ>ʓiÌ>«…œÀÊvœÀÊ̅iʓÕÌ>LˆˆÌÞʜvʏˆvi°ÊœÜiÛiÀ]ʓ>˜ÞÊۈiÜiÀÃÊ Ài뜘`i`Ê܈̅ʫ>ÞvՏÊ>˜`Ê՘ˆ˜…ˆLˆÌi`Ê«Àii˜ˆ˜}ÊLivœÀiÊ̅iˆÀʼÃ>“i‡Ìˆ“iʈ“>}iý°77 ÌÊÜ>Ãʅ>À`Ê̜ÊÀiÈÃÌÊ̅iÊ«i>ÃÕÀiÃʜvÊLiVœ“ˆ˜}]ÊvœÀÊ>ÊviÜÊÃiVœ˜`Ã]Ê̅iʼÃÌ>À½ÊœvÊ>Ê LÀœ>`V>ÃÌʓi`ˆÕ“Ê̅>Ìʈ˜Ê̅iÊi>ÀÞÊ£™ÇäÃÊiÝVÕ`i`Ê>ÊLÕÌÊ̅iʓœÃÌÊ«ÀˆÛˆi}i`°78

THE MONITOR MULTIPLE The postmodern world-view revolved around the dissolution of the autonomous obiVÌ]Ê Ì…iÊ `iVi˜ÌÀˆ˜}Ê œvÊ Ì…iÊ ÃÕLiVÌÊ >˜`Ê Ì…iÊ Vœ>«ÃiÊ œvÊ Ì…iÊ “>ÃÌiÀÊ ˜>ÀÀ>̈ÛiÃÊ Ì…>ÌÊ sustained teleological notions of scientific and social progress in the earlier part of ̅iÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞ°Ê7>ÌiÀÊ i˜>“ˆ˜Ê«ÀœV>ˆ“i`Ê̅iÊ`i>̅ÊLÞÊ`ÀœÜ˜ˆ˜}ʜvÊ̅iÊ>ÀÌÊ œLiVÌÊ>ÃʈÌÊÃ>˜ŽÊˆ˜ÌœÊ̅iʈ˜w˜ˆÌiÊÀi`Õ«ˆV>̈œ˜ÊœvÊVՏÌÕÀ>Ê>ÀÌiv>VÌÃʈ˜ÊLœÌ…ʈ˜`ÕÃÌÀˆ>Ê production and photographic reproduction. The cost of the new accessibility to visu>ÊVՏÌÕÀiÊÜ>ÃÊ̅iÊVœ˜VÕÀÀi˜ÌʏœÃÃʜvÊ̅iʜLiV̽ÃʈÀÀi`ÕVˆLiÊÜՏ]ʈÌÃʼ>ÕÀ>½Ê>˜`]Ê>ÃÊ>Ê ÀiÃՏÌ]ʼ̅iʵÕ>ˆÌÞʜvʈÌÃÊ«ÀiÃi˜ViʈÃÊ>Ü>ÞÃÊ`i«ÀiVˆ>Ìi`½°79 In a sea of simulacra and «Àœ`ÕV̈œ˜‡ˆ˜iÊ Vœ˜iÃ]Ê Ì…iÊ ÌiiۈȜ˜Ê “œ˜ˆÌœÀÊ Ü>ÃÊ Ãˆ“ˆ>ÀÞÊ ˆ˜ÌiÀV…>˜}i>LiÊ ÜˆÌ…Ê any other and the mimetic impressions animating its screen were themselves copies from nature. A reading of televisions as multiple cultural signifiers in an alienated

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ܜÀ`ʜvʈÕȜ˜ÊÜ>ÃÊ>««ˆV>Liʈ˜Êˆ˜ÃÌ>>̈œ˜ÃÊ̅>ÌʓՏ̈«ˆi`Ê/6Ãʈ˜ÌœÊVœ“«iÝÊÃVՏ«tural installations. Tricolor VideoÊ­£™nÓ®]Ê >“Ê՘iÊ*>ˆŽ½ÃʓœÃÌÊ>“LˆÌˆœÕÃÊëiVÌ>ViÊ œvÊ “iV…>˜ˆV>Ê Ài«Àœ`ÕV̈œ˜]Ê ˆ˜ÛœÛi`Ê În{Ê Õ«ÌÕÀ˜i`Ê “>ÌV…i`‡“œ˜ˆÌœÀÃ°Ê V…œˆ˜}Ê
˜`ÞÊ7>À…œ½ÃÊÀi«i>Ìi`ʈ“>}iÃʜvÊ >“«Li½ÃÊÜիÊ̈˜Ã]Ê*>ˆŽ½Ãʓœ˜ˆÌœÀÃÊ`ˆÃ«>Þi`Ê identical video sequences in groups of four fed by eight tape-decks featuring fastVÕÌÊ>ÃÃi“L>}iÃʜvÊvœÕ˜`ÊvœœÌ>}iʈ˜VÕ`ˆ˜}Ê>˜ÊiÝViÀ«ÌÊvÀœ“ÊCasablanca (Michael

ÕÀ̈â]Ê£™{Ó®ÊÃÌ>ÀÀˆ˜}ÊՓ«…ÀiÞÊ œ}>ÀÌÊ>˜`Ê>ÕÀi˜Ê >V>°Ê-ii˜ÊvÀœ“Ê>LœÛiÊ>ÌÊ̅iÊ *œ“«ˆ`œÕÊ i˜ÌÀiʈ˜Ê*>ÀˆÃ]Ê̅iÊV>À«iÌʜvÊyˆVŽiÀˆ˜}ʓœ˜ˆÌœÀÃÊÀi`ÕVi`Ê̅iÊLÀœ>`V>ÃÌÊ footage to abstract colour bursts that together made up the bleu, blanc, rouge of ̅iÊÀi˜V…Êy>}Ê>˜`]Ê>VVœÀ`ˆ˜}Ê̜ʘ>Ê œ“]ʼiÝ«ˆVˆÌÞÊiۜŽi`Ê̅iÊiVÃÌ>̈VʵÕ>ˆÌÞʜvÊ TV’.80Ê*>ˆŽ½Ãʓœ˜ˆÌœÀÃÊVÀi>Ìi`Ê>Ê«>ÞʜvÊVՏÌÕÀ>ÊÈ}˜ˆwiÀÃ]ʈ˜VÕ`ˆ˜}Ê>ʓi̜˜Þ“ˆVÊÈ}˜Ê vœÀÊÀi˜V…ʘ>̈œ˜>Êˆ`i˜ÌˆÌÞ]ÊVœ˜ÕÀi`ÊvÀœ“Ê>ÊۜÀÌiÝʜvʜ«ÌˆV>ÊivviVÌÃ°Ê iޜ˜`Ê̅iÊ familiar dialogue between televisual illusionism and the sheer bulk of the massed “œ˜ˆÌœÀÃ]Ê̅iÊܜÀŽÊÃii“i`Ê̜ÊÃÕ}}iÃÌÊ̅>ÌÊ`iۜ̈œ˜Ê̜ÊLÀœ>`V>ÃÌʓi`ˆ>ÊÜ>ÃÊÌ>Žing over from allegiance to la patrie]ʜÀÊiÛi˜Ê̅>ÌÊ>ʘiÜ]ʘiv>ÀˆœÕÃÊ>ˆ>˜ViÊLiÌÜii˜Ê politics and entertainment was corrupting a medium that Paik was doing his best to …ˆ}…>VŽÊvœÀʅˆÃʜܘÊi˜`Ã°Ê ˜Ê ̅iÊ “œÀiÊ >ÕÃÌiÀiÊ i˜ÛˆÀœ˜“i˜ÌÊ œvÊ Ì…iÊ 1]Ê >ۈ`Ê >Ê `i˜ˆi`Ê ÛˆiÜiÀÃÊ Ì…iÊ ÛˆÃÕ>Ê «i>ÃÕÀiÃÊ œvÊ Ì…iÊ ÃVÀii˜Ê LÞÊ iÀiV̈˜}Ê >Ê Ü>Ê œvÊ ˆ`i˜ÌˆV>Ê ÌiiۈȜ˜Ã]Ê LÕÌÊ ÜˆÌ…Ê Ì…iˆÀÊv>ViÃÊÌÕÀ˜i`Ê>Ü>Þʈ˜ÌœÊ̅iÊ>˜}iʜvÊ>ÊÀœœ“]ʏi>ۈ˜}Ê̅iÊۈiÜiÀÊ̜ÊVœ˜Ìi“«>ÌiÊ the curiously vulnerable bare backs of the sets. The Situation Envisaged: The Rite II (1989) insisted on the phenomenological presence of the machines and by tunˆ˜}Ê i>V…Ê ÃiÌÊ ÌœÊ >Ê `ˆvviÀi˜ÌÊ œvv‡>ˆÀÊ V…>˜˜i]Ê >Ê Ài`ÕVi`Ê Ì…iÊ LÀœ>`V>ÃÌÊ “>ÌiÀˆ>Ê ÌœÊ an inchoate cacophony of mediated sounds. Many artists have since multiplied the “œ˜ˆÌœÀ°Ê
ÃÊÜiÊÃ>Üʈ˜ÊV…>«ÌiÀʘˆ˜i]Ê
˜}i>Ê ÕœV…½ÃÊۈ`iœÊÜ>ÊZ-Point depicted the Vˆ“>V̈Vʓœ“i˜ÌʜvÊ̅iÊiÝ«œÃˆœ˜Êˆ˜Ê
˜Ìœ˜ˆœ˜ˆ½ÃÊZabriskie Point]Ê̅iʈ“>}iʓ>}˜ˆwi`Ê`ˆ}ˆÌ>ÞÊ>˜`Ê`i«œÞi`Ê>VÀœÃÃÊ>ÊL>˜ŽÊœvʓœ˜ˆÌœÀÃ]ÊÀi`ÕVˆ˜}Ê̅iÊw“ˆVʓ>ÌiÀˆ>ÊÌœÊ “œ`Տ>ÀÊLœVŽÃʜvÊ>LÃÌÀ>VÌÊVœœÕÀ]Ê̜Ê̅iÊVœ˜`ˆÌˆœ˜Êœvʏˆ}…ÌÊLœÝiðÊ"̅iÀÊ>À̈ÃÌÃʅ>ÛiÊ varied the scale of the monitors. In Inasmuch as It Is Always Already Taking Place ­£™™ä®]Ê̅iÊ
“iÀˆV>˜Ê>ÀÞʈÊ>ÃÃi“Li`Ê>˜Ê>ÃÜÀ̓i˜ÌʜvÊÌiiۈȜ˜ÊÃiÌÃ]ÊÃÌÀˆ««i`Ê them of their casings and devoted their screens to images of fragmented body parts. ˆÊÀiˆÌiÀ>Ìi`Ê̅iÊÃVÀii˜ÉΈ˜Ê>˜>œ}ÞÊ>˜`Ê̅iÊiÌiÀ˜>ÊÌiiۈÃÕ>ÊÌi>ÃiʜvʼœœŽÊLÕÌÊ `œ˜½ÌÊ̜ÕV…½]Ê܅>ÌÊ/…œ“>ÃÊ Ã>iÃÃiÀʈ`i˜ÌˆwiÃÊ>Ãʼ̅iʘiÛiÀ‡Ìœ‡Li‡Ã>̈Ãwi`Ê`iÈÀiÊ for palpability’.81 In Family of Robot: Mother and FatherÊ­£™nÈ®]Ê >“Ê՘iÊ*>ˆŽÊVœ“bined different sized television sets to construct effigies of a family so enamoured œvÊ̅iˆÀÊ/6ÃÊ̅>ÌÊ̅iÞÊÌÕÀ˜i`ʈ˜ÌœÊ̅i“°Ê˜ÊLœÌ…ÊV>ÃiÃ]Ê̅iʏœÃÃʜvÊ՘ˆvœÀ“ˆÌÞÊÃiÀÛi`Ê to personalise the technology and allowed the work to embody monumentality when Ì>Ži˜Êˆ˜Ê>ÃÊ>Ê܅œiÊ>ÃÊÜiÊ>Ãʈ˜Ìˆ“>VÞÊ܅i˜ÊÓ>iÀʓœ˜ˆÌœÀÃÊÜiÀiÊiÝ>“ˆ˜i`ÊVœÃiÊ up. Family of Robot: Mother and Father was overlaid with classic Paik irony giving rise to the absurd thought that the small monitors might one day grow up to reach

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David Hall, 1001 TV Sets (End Piece) (1972–2012). Installation view, Ambika P3 gallery, London. Photo: Catherine Elwes.

̅iʣӇˆ˜V…Ê«Àœ«œÀ̈œ˜ÃʜvÊ̅iˆÀÊi`iÀðʘÊ̅iʘiÜʓˆi˜˜ˆÕ“]ÊÃÕV…ÊܜÀŽÃÊÌ>Žiʜ˜Ê>Ê Ûˆ˜Ì>}iÊ}œÃÃʜvÊ̅iʜL܏iÌi]ʘœÜÊ̅>ÌÊ̅iÊLՈ`ˆ˜}‡LœVŽÊ/6ÃÊ>ÃÃi“Li`ÊLÞÊ*>ˆŽÊ>˜`Ê Hall have become collectors’ items. The sets also embody the cultural memory of a generation raised on television and memorialise the artists who first imprinted the medium with their own creativity. David Hall’s monumental 1001 TV Sets (End Piece) (1972–2012) has come to ÃޓLœˆÃiÊ̅iÊ«iÀˆœ`ʜvÊۈ`iœÊˆ˜ÃÌ>>̈œ˜ÊLivœÀiÊ̅iʓœ˜ˆÌœÀʼLœÝ½ÊÜ>ÃÊVœ˜w˜i`ÊÌœÊ Ì…iÊ`ii«Ê>ÃÊ>À̈ÃÌÃÊ>`œ«Ìi`Êy>ÌÊÃVÀii˜ÃÊ>˜`ÊiÛiÀ‡…ˆ}…iÀÊÀi܏Ṏœ˜Êۈ`iœÊ«ÀœiV̜ÀÃ°Ê 1001 TV SetsÊȓՏÌ>˜iœÕÏÞÊViiLÀ>Ìi`Ê̅iʏˆviÊ>˜`Ê`i>̅ʜvÊ>˜>œ}ÕiÊÌiiۈȜ˜]ÊvœÀÊ ÃœÊ“>˜ÞÊÞi>ÀÃÊ̅iʼL>`ʜLiV̽ʜvÊVœÕ˜ÌiÀ‡VՏÌÕÀ>Êۈ`iœÊ>ÀÌÊ>ÃÊÜiÊ>ÃʈÌÃÊÜÕÀViʜvʈ˜Ã«ˆÀ>̈œ˜°Ê-Ì>}i`ʈ˜Ê̅iÊV>ÛiÀ˜œÕÃÊ
“LˆŽ>ÊÎÊ}>iÀÞʈ˜Êœ˜`œ˜]Ê>Êˆ˜ÃÌ>i`Ê>ÊÃi>ʜvÊ £]ää£ÊÕ«ÌÕÀ˜i`ÊV>̅œ`iÊÀ>ÞÊ/6ÊÃiÌÃ]ʈÀÀi}Տ>ÀÞÊ>˜}i`Ê>˜`ÊÀ>˜`œ“ÞÊÌ՘i`Ê̜Ê`ˆvviÀent terrestrial channels creating a wall of sound that reached the viewer before the installation proper came into view. As the national switchover from analogue to digiÌ>ÊLÀœ>`V>Ã̈˜}Ê̜œŽÊ«>Viʈ˜Ê̅iÊ1]ÊÃÌ>}}iÀi`Ê>VÀœÃÃÊÌܜÊ`>ÞÃʈ˜Ê
«ÀˆÊÓä£Ó]Ê̅iÊ L>LLiʜvÊV…>ÌÌiÀˆ˜}ʓœ˜ˆÌœÀÃÊ}À>`Õ>ÞÊÀiÛiÀÌi`Ê̜Ê>Êwi`ʜvÊ܅ˆÌiʘœˆÃi]Ê̅iʈ“>}iÃÊ >̜“ˆÃi`ʈ˜ÌœÊ¼>˜Ê>}ˆÌ>Ìi`Ê؜ÜʜvÊ՘Ì՘i`ÊÈ}˜>Ã½°82ʘʍÕÃÌÊ>ÊviÜÊ`>ÞÃ]Ê̅iʈ˜ÃÌ>>̈œ˜ÊLiV>“iÊ>ʍ՘ŽÞ>À`ʜvʜL܏iÌiÊ/6Ã]Ê>ÃÊÜiÊ>ÃÊ>˜Êii}>˜ÌÊ>ÀÀ>˜}i“i˜ÌʜvÊLœÝiÃÊ Ài“ˆ˜ˆÃVi˜ÌÊ œvÊ œ˜>`Ê Õ``½ÃÊ Õ“ˆ˜œÕÃÊ “iÌ>Ê ÃVՏ«ÌÕÀiÃ°Ê ˜Ê -ÌiÛi˜Ê >½ÃÊ iÃ̈“>̈œ˜]Ê̅iÊLi>ÕÌÞʜvÊ̅iÊܜÀŽÊÀiÈ`i`ʈ˜Ê̅iÊv>VÌÊ̅>Ìʼ̅iʓi`ˆÕ“Ê«iÀvœÀ“i`ʈÌÃiv½°83 Hall devised an ingenious method of marking the passing of a transmission signal ̅>Ìʅ>`ÊVœ“iÊ̜ÊÀi«ÀiÃi˜ÌÊ̅iÊ>V…ˆiÛi“i˜ÌÃʜvÊ>˜>œ}ÕiÊۈ`iœ]Ê>ÊLÀˆiv]ÊvœÀÌއÞi>ÀÊ

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efflorescence now subsumed in the multimedia digital landscape we witness today. /…iÊ ¼}À>ÛiÞ>À`Ê œvÊ >˜>œ}ÕiÊ ÌiiۈȜ˜Ã½84Ê Ài«ÀiÃi˜Ìi`Ê vœÀÊ >Ê >Ê ¼ÃiˆÃ“ˆV½Ê VՏÌÕÀ>Ê ňvÌÊ>ÃʓÕV…Ê>ÃÊ̅iÊÌÀ>˜ÃˆÌˆœ˜ÊvÀœ“Ê>˜>œ}ÕiÊ̜Ê`ˆ}ˆÌ>°Ê/…iÊVœ““Õ˜>ÊiÝ«iÀˆi˜ViʜvÊ vœÕÀ‡V…>˜˜iÊÌiÀÀiÃÌÀˆ>ÊLÀœ>`V>Ã̈˜}]Ê̅iʼȘ}Տ>Àʈ˜«Õ̽ʜvÊwÀiÈ`iÊi˜ÌiÀÌ>ˆ˜“i˜ÌÊ has slowly given way to a proliferation of TV stations and the online distribution of “Տ̈«i]ÊLœÀ`iÀiÃÃÊVœ˜Ìi˜ÌÊ}i˜iÀ>Ìi`ÊLÞÊLœÌ…ÊVœ““iÀVˆ>Ê>˜`ÊÃiv‡v՘`i`Ê«Àœ`ÕViÀÃ°Ê >Ê…>ÃÊV…>À>VÌiÀˆÃi`Ê̅iʘiÜÊVœ˜`ˆÌˆœ˜ÊœvÊÌiiۈȜ˜Ê>ÃʼvՏÞÊÀi“i`ˆ>Ìi`ʈ˜Ê>Ê VÀœÃÇ«>ÌvœÀ“Ê`ˆ}ˆÌ>Ê>vÌiÀˆvi½] 85ʓ>˜ˆviÃ̈˜}ʜ˜Ê>˜Ê>ÀÀ>ÞʜvÊÃVÀii˜‡L>Ãi`Ê`iۈViÃ]Ê «œÀÌ>LiÊ>˜`ÊwÝi`]Ê>VViÃÃi`ʈ˜Ãˆ`iÊ̅iʅœ“iÊ>˜`ʜ˜Ê̅iʓœÛi°Êi>˜Ü…ˆiÊ̅iÊÌiiۈsion archive is being picked over by both the corporations and by artists whose own histories are inscribed in the TV anthems of the 1970s and beyond.

A TELEVISION RE−RUN: FAMILY HISTORY -ÌiÛi˜Ê >ÊiÝ«ÀiÃÃi`Ê>ÊÌ܈˜}iʜvʘœÃÌ>}ˆ>Ê܅i˜Ê…iÊV>Õ}…ÌÊ̅iʼÃÕÃÌ>ˆ˜i`ÊÌÀՓ«iÌÊ from the theme tune to Coronation Street’86ÊV…œÀÕÃi`ÊLÞʅ՘`Ài`ÃʜvÊ>½ÃÊ£]ää£Ê TVs. Gillian Wearing looked for echoes of her own childhood in the development of observational documentaries at the BBC and their portrayal of working-class life. In Family HistoryÊ­ÓääÈ®]Ê7i>Àˆ˜}ÊÀiV>i`Ê̅iʓœ“i˜ÌÃʈ˜Ê܅ˆV…]Ê>ÃÊ>ÊÓ>ÊV…ˆ`]Ê Ã…iÊ܈̘iÃÃi`Ê̅iÊwÀÃÌÊyއœ˜‡Ì…i‡Ü>Ê`œVՓi˜Ì>ÀÞÊLÀœ>`V>ÃÌʈ˜Ê̅iÊ1°ÊThe Family ­£™Ç{]Ê ]Ê«Àœ`ÕViÀ]Ê*>ՏÊ7>Ìܘ®]ÊÌÀ>VŽi`Ê̅iÊ`>ˆÞʏˆÛiÃʜvÊ>ÊܜÀŽˆ˜}‡V>ÃÃÊv>“ˆÞÊ living in a council flat in Reading. Maeve Connolly has observed that in these circumÃÌ>˜ViÃ]Ê̅iÊÃÕLiVÌÃÊ>Àiʼ«iÀvœÀ“ˆ˜}ÊLœÌ…Ê>ÃÊ̅i“ÃiÛiÃÊ>˜`Ê>ÃÊÀi«ÀiÃi˜Ì>̈ÛiÃÊ of marginalised social groups’.87 Wearing identified with the 15-year-old daughter of ̅iʅœÕÃi]Êi>̅iÀÊ7ˆŽˆ˜Ã]Ê«>À̈VՏ>ÀÞʅiÀÊÃՏi˜ÊÀiLiˆœ˜Ê>}>ˆ˜ÃÌÊ̅iÊ«iÀViˆÛi`Ê restrictions placed on her by her teachers and parents. Wearing chose to locate the restaging of this moment of personal and televisual history in a high-rise in ˆÀ“ˆ˜}…>“]ÊVœÃiÊ̜Ê܅iÀiÊÅiÊÜ>ÃʏˆÛˆ˜}Ê>ÃÊ>ÊV…ˆ`ʈ˜Ê̅iÊ£™Çäðʘʜ˜iÊÀœœ“]Ê>Ê Ã“>Êy>̇ÃVÀii˜Ê“œ˜ˆÌœÀÊŜÜi`Ê>ʏˆÌ̏iÊ}ˆÀ]Ê>ÊÃÌ>˜`‡ˆ˜ÊvœÀÊ7i>Àˆ˜}]ÊÜ>ÌV…ˆ˜}Ê̅iÊ original documentary on a TV placed in a mocked-up sitting room. The Family footage Ü>ÃÊܓï“iÃÊÀ>Ü]Ê̅iÊ«ÀœÌ>}œ˜ˆÃÌÃÊLi…>ۈ˜}Ê܈̅ʘœ˜iʜvÊ̅iʎ˜œÜˆ˜}Ê>À̈wViʜvÊ Ì…iÊ>À`>ň>˜ÃÊ>˜`ʜ̅iÀÊVœ˜Ìi“«œÀ>ÀÞÊÀi>ˆÌÞÊ/6ÊV>˜Ã°Ê/…iÊ7ˆŽˆ˜ÃiÃÊ`ˆ`ʏˆÌ̏iÊÌœÊ Vœ˜Vi>Ê̅iÊ«œÛiÀÌÞʜvÊ̅iˆÀÊÃÕÀÀœÕ˜`ˆ˜}Ã]Ê̅iˆÀʏ>VŽÊœvÊ>ÊL>̅Àœœ“]Ê̅iÊiÝ«œÃˆÛiÊ v>“ˆÞÊ>À}Փi˜ÌÃÊ̅>ÌÊܓï“iÃÊi˜`i`ʈ˜Êۈœi˜Vi°Ê˜Ê>˜Ê>`>Vi˜ÌÊÀœœ“]Ê7i>Àˆ˜}Ê «>Vi`Ê>Ê܈`iÃVÀii˜Ê“œ˜ˆÌœÀÊ`iۜÌi`Ê̜Ê>˜Êˆ˜ÌiÀۈiÜÊLiÌÜii˜Ê̅iʼ+Õii˜ÊœvÊVÀވ˜}‡ ̈“iÊ/6½] 88Ê̅iÊV…>ÌÊŜÜʅœÃÌÊ/ÀˆÃ…>Êœ``>À`Ê>˜`Êi>̅iÀÊ7ˆŽˆ˜Ã]ʘœÜʈ˜Ê…iÀʏ>ÌiÊ vœÀ̈iÃ]ÊVœÃˆÞÊVœ˜w`ˆ˜}ʈ˜Ê>˜œÌ…iÀÊiÀÃ>ÌâʼÈÌ̈˜}ÊÀœœ“½ÊÃiÌ°Êi>̅iÀÊÀiVœÕ˜ÌÃÊ̅iʈ“pact of the original documentary on the family. They became instant celebrities but ÜiÀiÊVÀˆÌˆVˆÃi`ÊLÞÊ̅iÊ«ÀiÃÃÊvœÀÊ̅iˆÀʼL>`½ÊLi…>ۈœÕÀ]Ê>˜`Ê̅iÞÊv>Ài`ʘœÊLiÌÌiÀÊ܈̅Ê

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Gillian Wearing, Family History (2006). Colour video for projection: 35:32 min., 16mm film transferred to DVD for monitor: 2:52 min. Installation view; a high rise flat, Birmingham, UK. Photo: Catherine Elwes. Courtesy Maureen Paley, London.

>V>`i“ˆ>]ʜ˜iÊÜVˆœœ}ˆÃÌÊ`iÃVÀˆLˆ˜}Ê̅i“Ê>ÃÊ>ʼ˜œ˜‡ÛiÀL>ÊܜÀŽˆ˜}‡V>ÃÃÊv>“ˆÞ½° œÜ]Ê̅ˆÀÌÞÊÞi>ÀÃʏ>ÌiÀ]Êi>̅iÀʅ>ÃʏœÃÌʅiÀʈ˜˜œVi˜ViÊ>˜`ʈÃʓœÀiÊ/6ÊÃ>ÛÛÞ°Ê -…iʎ˜œÜÃʅœÜÊ̅iˆÀʼ˜œÌÊ>V̈˜}½ÊV>“iÊ>VÀœÃÃʈ˜Ê̅iÊw˜>ÊVÕÌÆÊÅiʎ˜œÜÃÊ̅>ÌÊÌiiۈȜ˜Ê ¼Ài>ˆÌÞ½Ê ˆÃÊ ˆ“ˆÌi`Ê œ˜ÞÊ LÞÊ Ì…iÊ «iÀvœÀ“>˜ViÊ ÃŽˆÃÊ œvÊ Ì…iÊ «>À̈Vˆ«>˜ÌÃÆÊ Ã…iÊ ÜˆÃ…iÃʅiÀÊ£x‡Þi>À‡œ`ÊÃivʅ>`Êȓ«ÞʼÅÕÌÊÕ«½°Êi>̅iÀʅ>ÃÊ>L>˜`œ˜i`ʅiÀÊܜÀŽˆ˜}‡V>ÃÃÊ>VVi˜ÌÊvœÀÊ̅iÊL>˜`ʼiÃÌÕ>ÀÞÊ ˜}ˆÃ…½Ê̅>ÌʘœÜÊ`œ“ˆ˜>ÌiÃÊ̅iÊ>“œÀ«…œÕÃÊ “>ÃÃʜvÊΈi`Ê>˜`ʘœ˜‡ÃŽˆi`Ê ÀˆÌœ˜ÃÊ܅œÊÀi}>À`Ê̅i“ÃiÛiÃʼ“ˆ``iÊV>Ãý°Ê-…iÊ Ài뜘`ÃÊ̜Êœ``>À`½ÃÊΈvՏʵÕiÃ̈œ˜ˆ˜}Ê܈̅Ê}Ài>ÌÊV>Ài°Ê Ý«œÃÕÀiÊ̜ÊLÀœ>`V>Ã̈˜}ʈ˜Ê̅iʈ˜ÌiÀÛi˜ˆ˜}ÊÞi>ÀÃʅ>ÃʓœÕ`i`Êi>̅iÀ½ÃÊ«iÀܘ>Ê>˜`]Ê>ÃÊ>Àˆ>Ê7>Ã…Ê Ài“>ÀŽi`]ʼ…iÀÊÀi«iÀ̜ˆÀiʜvÊ}iÃÌÕÀiÃÊ>ÀiÊ̅iʈ˜Ûi˜Ìˆœ˜ÊœvÊÌiiۈȜ˜½° 89 Heather inÈÃÌÃÊ̅iÊv>“ˆÞÊÜ>Ãʼ˜œÀ“>]ʅ>««Þ½Ê>˜`Ê̅iÞÊܜՏ`Ê>Ü>ÞÃʼ«ÀœÌiVÌÊi>V…ʜ̅iÀ½ÆÊ sequences reflecting this reality did not make the final cut. The anthropologist Chris Wright has shown how families whose ancestors feature in colonial films view the footage quite differently than do academics. Indigenous communities do ˜œÌÊÃiiÊ̅iʅˆÃ̜ÀÞʜvÊVœœ˜ˆ>ˆÃ“]ÊLÕÌÊ̅iˆÀʜܘÊv>“ˆÞʅˆÃ̜ÀˆiÃ]Ê>˜`Ê̅iÞÊV…iÀˆÃ…Ê ̅iÊ œvÌi˜Ê œ˜ÞÊ iÝÌ>˜ÌÊ ÛˆÃÕ>Ê ÀiVœÀ`ÃÊ œvÊ Ì…iˆÀÊ >˜ÌiVi`i˜ÌÃ°Ê ˜Ê >``ˆÌˆœ˜]Ê Ì…iÞÊ ˆ˜ÌiÀ«ÀiÌÊ̅iÊvœœÌ>}iʈ˜ÊÌiÀ“ÃʜvÊ܅>ÌʈÌʓˆ}…ÌÊÃ>Þʼ>LœÕÌÊ̅iÊ«ÀiÃi˜Ì]Ê̅iÊÜVˆ>]Ê «œˆÌˆV>Ê>˜`ÊiVœ˜œ“ˆVÊVœ˜`ˆÌˆœ˜Ãʈ˜Ê܅ˆV…Ê̅iÞÊVÕÀÀi˜ÌÞÊi݈Ã̽° 90 The Family now forms part of the history of television documentary but it has a double function.

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œÀÊ̅iÊ7ˆŽˆ˜ÃʅœÕÃi…œ`]ʈÌʈÃÊi˜Ì܈˜i`ʈ˜Ê̅iÊv>LÀˆVʜvÊ̅iˆÀʈ`i˜ÌˆÌˆiÃÆʈÌʅ>ÃÊ«ÕÌÊ yiÅʜ˜Ê̅iˆÀʓi“œÀˆiðʼÌʈÃÊܓi̅ˆ˜}ÊÜiʅ>Ûi½]Ê`iV>ÀiÃÊi>̅iÀÆʈÌʈÃʼ̅iÊv>“ˆÞÊ`œVՓi˜Ì½°Ê ÞÊÕ«`>̈˜}Êi>̅iÀ½ÃÊÃ̜ÀÞ]Ê7i>Àˆ˜}Ê`i“œ˜ÃÌÀ>Ìi`ʅœÜÊ«iÀܘ>Ê ˜>ÀÀ>̈ÛiÃʈ˜ÌiÀÜi>ÛiÊ܈̅ʓi`ˆ>Ê>˜`ÊÜVˆ>Ê…ˆÃ̜ÀÞ]Ê>˜`ʅœÜÊ>˜Êˆ˜`ˆÛˆ`Õ>ÊÃ̜ÀÞÊ V>˜Ê LiÊ ¼Ài«ÀiÃi˜Ì>̈ÛiÊ œvÊ >Ê >À}iÀÊ VՏÌÕÀ>Ê iÝ«iÀˆi˜Vi½° 91Ê œÜiÛiÀ]Ê Ì…iÃiÊ Vœ˜Ìˆ˜}i˜Ìʓi“œÀˆiÃÊi݈ÃÌʈ˜ÊiÝViÃÃʜvʜvwVˆ>Ê…ˆÃ̜ÀˆV>ÊÀiVœÀ`ÃÊ>˜`ÊFamily History also interrogates the role broadcast media still plays in shaping the beliefs we hold about the world beyond the membrane of our homes. Where earlier videomakers differentiated their practice from the commercial im«iÀ>̈ÛiÃʜvÊ̅iʓ>ˆ˜ÃÌÀi>“]ʈ˜ÊFamily History]Ê7i>Àˆ˜}Êi˜}>}i`Ê܈̅Ê̅iʓi`ˆ>ʈ˜Ê ÌiÀ“ÃʜvÊ̅iʓ>ÌiÀˆ>ÊÅiÊÌÀi>Ìi`Ê>˜`ʈ˜Ê…iÀÊVœ>LœÀ>̈œ˜Ê܈̅Êœ``>À`°Ê
ʓ>ÌÀˆÝʜvÊ celebrity was at play: the once-famous child-star of The Family making a modest Vœ“iL>VŽ]Ê̅iÊ`œÞi˜˜iʜvÊ>vÌiÀ˜œœ˜Ê/6Ê«Þˆ˜}ʅiÀÊÌÀ>`iÊ>˜`Ê̅iÊ Ài˜œÜ˜i`Ê>À̈ÃÌÊ progressing her creative enterprise. These players were all engaged in a process œvʓÕÌÕ>Ê>Õ̅i˜ÌˆV>̈œ˜°Ê/…iʍœˆ˜ÌÊÛi˜ÌÕÀiÊ}À>˜Ìi`Ê7i>Àˆ˜}Ê>VViÃÃÊ̜ʓ>ÃÃÊ>Õ`ˆi˜ViÃÊ>˜`Ê>ʅi>Ì…ÞÊLÕ`}iÌ]Êœ``>À`Ê>VµÕˆÀi`Ê̅iʈ˜ÌiiVÌÕ>Êi˜`œÀÃi“i˜Ìʜvʅˆ}…Ê art and Wilkins finally told her side of the story. The position of Wearing herself was >“Lˆ}՜ÕðÊiÀÊ>ÀÌÊܜÀ`ÊÃÌ>ÌÕÃÊÜ>ÃÊ̅iÊV>Ì>ÞÃÌÊvœÀÊ̅iÊ«ÀœiVÌ]ÊÞiÌÊÅiÊÀi“>ˆ˜i`Ê >ʓÕÌi`Ê«ÀiÃi˜Viʈ˜Ê̅iÊܜÀŽÊˆÌÃiv°Ê ÞÊV>ˆ˜}Ê̅iÊŜÌÃ]ÊÅiÊÜ>ÃÊ>LiÊ̜Ê>ۜˆ`Ê̅iÊ

Gillian Wearing, Family History (2006). Colour video for projection: 35:32 min., 16mm film transferred to DVD for monitor: 2:52 min. Courtesy Maureen Paley, London. © the artist.

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INSTALLATION AND THE MOVING IMAGE

œÛiÀiÝ«œÃÕÀiÊ ÌœÊ Ü…ˆV…Ê 7ˆŽˆ˜ÃÊ Ü>ÃÊ Õ˜ÜˆÌ̈˜}ÞÊ ÃÕLiVÌi`Ê >ÃÊ >Ê Ìii˜>}iÀÆÊ 7i>Àˆ˜}Ê ÃÕÀÛiÞi`ʅiÀÊÃÕLiVÌÊvÀœ“Ê>ÊÃ>viÊ`ˆÃÌ>˜Vi°Ê

THE POST−EVERYTHING ERA Television and cinema history are beginning to converge. The generation of the £™™äÃ]ʈ˜VÕ`ˆ˜}Ê œÕ}>ÃÊœÀ`œ˜]Ê >˜`ˆViÊ ÀiˆÌâÊ>˜`ʈˆ>˜Ê7i>Àˆ˜}]Ê`ˆvviÀi`ÊvÀœ“Ê ̅iÊ «ÀiۈœÕÃÊ }i˜iÀ>̈œ˜Ê ˆ˜Ê ̅>ÌÊ Ì…iÞÊ iÝ«iÀˆi˜Vi`Ê Ì…iÊ œÞܜœ`Ê L>VŽÊ V>Ì>œ}ÕiÊ ¼ˆ˜ÊLi`Ê°°°Ê̅ÀœÕ}…Ê̅iÊVœ˜`ՈÌʜvÊÌiiۈȜ˜½]92 and indeed interactively via the VCR. œÜ>`>ÞÃ]Ê Ì…iÊ V>˜œ˜Ê œvÊ “>ˆ˜ÃÌÀi>“Ê “œÛˆ˜}Ê ˆ“>}iÊ VՏÌÕÀiÊ ˆÃÊ i>ȏÞÊ >VViÃÃi`Ê œ˜ˆ˜i]Ê Ûˆ>Ê >˜ÞÊ `ˆ}ˆÌ>Ê `iۈViÊ >˜`]Ê >ÃÊ ÀˆŽ>Ê >Ãœ“Ê …>ÃÊ Ài“>ÀŽi`]Ê Ì…iÃiÊ «ÀˆÛ>ÌiÊ Ûˆi܈˜}ÃÊ>ÀiÊÀi˜`iÀi`ʼ}ˆ}>˜ÌˆV½Ê܅i˜ÊÀiÌÕÀ˜i`Ê̜Ê̅iÊ«ÕLˆVÊë>ViʜvÊ̅iÊ}>iÀÞ° 93 >iÛiÊ œ˜˜œÞʅ>Ãʈ`i˜Ìˆwi`Ê>ʘiÜÊ}i˜iÀ>̈œ˜ÊœvÊ>À̈ÃÌÃÊ܅œ]ʏˆŽiÊ7i>Àˆ˜}]ʼiÝ«œÀiÊ interconnections between familial and national histories involving material drawn vÀœ“ÊLÀœ>`V>ÃÌÊ>ÀV…ˆÛiý] 94 and who reposition their findings in the arena of art. She cites in particular the work the Finnish artist Laura Horelli whose mother worked as a presenter on children’s television in the 1980s. In contrast to comparable practices vÀœ“Ê̅iÊ£™ÈäÃÊ̜Ê̅iÊ£™näÃ]Ê̅iʼÌiiۈÃÕ>ÊÌÕÀ˜½]Ê>À}ÕiÃÊ œ˜˜œÞ]ʈÃÊ«Ài`ˆV>Ìi`Ê ˜œÌÊÜʓÕV…Êœ˜Ê>ÊVÀˆÌˆµÕiʜvÊÌiiۈȜ˜Ê>Ãʼ>˜ÊœLiVÌʜvÊÀivœÀ“½95ÊLÕÌʜ˜Ê̅iÊiÝV>Û>tion of television and its archives as a creative resource. The TV studio is adopted >ÃÊ>ʼë>ViʜvÊ«iÀvœÀ“>˜Vi½96Ê>˜`ʜvÊiÝ«iÀˆ“i˜Ì>̈œ˜]Ê>˜`Ê«ÀœÛˆ`iÃÊ>˜Êœ««œÀÌ՘ˆÌÞÊ vœÀÊ VœiV̈ÛiÊ ÜœÀŽˆ˜}Ê «À>V̈ViÃ°Ê œ˜Ìi“«œÀ>ÀÞÊ >À̈ÃÌÃÊ ÃÕV…Ê >ÃÊ >̅>˜ˆiÊ iœÀÃ]Ê ,Þ>˜Ê /ÀiV>À̈˜Ê EÊ ˆââˆiÊ ˆÌV…]Ê ˆV…iiÊ ˆ}˜>˜Ê >˜`Ê -Õ«iÀyiÝ]Ê >ÀiÊ ˜œÜÊ i“«œÞˆ˜}Ê professional TV technicians and performers and embracing mainstream production values.97Ê iÛiÀ̅iiÃÃ]Ê̅iÊÜVˆ>Êi˜}>}i“i˜ÌʜvÊ̅iÊ>Û>˜Ì‡}>À`iÊÃ̈ÊÃÕÀۈÛiÃÆÊ -Õ«iÀyiÝ]Ê܅œÊܜÀŽÊ܈̅ÊÌi˜>˜ÌÊ}ÀœÕ«Ã]ʅ>Ûiʈ˜`ˆV>Ìi`Ê>Ê«œˆÌˆV>Ê>}i˜`>Ê܅i˜Ê̅iÞÊ iÝ«ÀiÃÃi`Ê̅iˆÀÊvÀÕÃÌÀ>̈œ˜Ê̅>ÌÊ̅iˆÀÊ«ÀœiVÌÊtenantspin (2001–2) failed to prevent the demolition of the residents’ homes. 98 While some artists embrace the glossy surface of hi-res contemporary televiȜ˜]ʜ̅iÀÃÊÃÕV…Ê>ÃÊ-Ìiv>˜œÃÊ/Èۜ«œÕœÃÊÀiÌÕÀ˜Ê˜œÃÌ>}ˆV>ÞÊ̜Ê̅iÊVՓLiÀܓiÊ analogue technologies of early television. Gerard Byrne memorialises television LÞÊ >`œ«Ìˆ˜}Ê œÕ̓œ`i`Ê >˜>œ}ÕiÊ Ûˆ`iœÊ ivviVÌÃ]Ê Ü…ˆiÊ ˆ˜Ê 19:30 (2010) Aleksandra DomanovimÊ ÀiˆÛiÃÊ V…ˆ`…œœ`Ê “i“œÀˆiÃÊ œvÊ Ü>À‡Ìˆ“iÊ ˜iÜÃÊ LÀœ>`V>ÃÌÃ°Ê -…iÊ Ài“ˆÝes Bosnian and Croatian television news idents that stylistically recall the 1980s -VÀ>ÌV…Êۈ`iœÊ“œÛi“i˜Ìʈ˜Ê̅iÊ1]Ê܅ˆV…Ê“>Þʈ˜ÊÌÕÀ˜Ê…>Ûiʈ˜yÕi˜Vi`Ê̅iÊ`iÛiœ«ment of television graphics. Thomas Elsaesser has argued that media archaeology offers artists and audii˜ViÃÊ>˜Êœ««œÀÌ՘ˆÌÞÊ̜Ê`ˆÃVœÛiÀʼ̅iÊÀi«ÀiÃÃi`Ê«œÌi˜Ìˆ>ˆÌˆiýʜvÊ̅iÊVˆ˜i“>Ê>˜`Ê ÌiiۈȜ˜Ê>ÀV…ˆÛi]Ê>˜`ʜ«ˆ˜iÃÊ̅>ÌÊ>ʼ“œÀiʜ«i˜‡i˜`i`Ê«>Ã̽ʓˆ}…ÌÊ̅i˜Êi>`Ê̜Ê>Ê

VIDEO INSTALLATION

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¼“œÀiÊ œ«i˜‡i˜`i`Ê vÕÌÕÀi½Ê vœÀÊ “œÛˆ˜}Ê ˆ“>}iÊ VՏÌÕÀi°99Ê iÛiÀ̅iiÃÃ]Ê ˆÌÊ ÜœÕ`Ê LiÊ >Ê “ˆÃÌ>ŽiÊ vœÀÊ >À̈ÃÌÃÊ ÌœÊ ÃÕëi˜`Ê VÀˆÌˆV>ˆÌÞÊ >˜`Ê ˆ}˜œÀiÊ Ì…iÊ ˜œÀ“>̈ÛiÊ «ÀiÃÃÕÀiÊ iÝerted by television today (X-Factor]Ê̅iÊ>À`>ň>˜Ã]ÊiÀi“ÞÊޏi®]ʘœÀÊŜՏ`Ê̅iÞÊ overlook the mirroring of state power and the framing of world events in what David œÃiˆÌÊV>ÃÊ̅iʼœVŽi`‡`œÜ˜ÊÌiÀÀ>ˆ˜ÊœvÊÌiiۈȜ˜½°100 The co-opting of artists’ creative strategies in television’s own navel gazing should also be an area of concern.101 At the 2014 ScreenÊVœ˜viÀi˜Viʈ˜Ê>Ã}œÜ]ʈÃ>Ê
ŽiÀÛ>Ê>À̈VՏ>Ìi`Ê>ʘœÌˆœ˜Êœvʼ̅iÊ redistribution of the critical’ in which artists attempt to reveal what are naturalised «À>V̈ViÃÊ܈̅ˆ˜ÊLÀœ>`V>Ã̈˜}Ê>˜`ʘÌiÀ˜iÌÊVՏÌÕÀi]ÊܜÀŽˆ˜}ÊvÀœ“Ê̅iʈ˜Ãˆ`iʜ˜Ê̅iÊ basis that it is no longer possible to occupy an outsider position. As many artists `ˆÃVœÛiÀi`ʈ˜Ê̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃ]Ê̅ˆÃʓi̅œ`ʈÃÊ>Ü>ÞÃÊ>Ài>`ÞÊVœ“«Àœ“ˆÃi`Ê and only rigorous attention to the workings of televisual language will avoid simply Ài«Àœ`ÕVˆ˜}Ê̅iʜLiVÌʜvÊVÀˆÌˆµÕi°Ê7…>ÌiÛiÀÊÃÌÀ>Ìi}ˆiÃÊ>À̈ÃÌÃÊ>`œ«Ìʈ˜Ê̅iÊvÕÌÕÀi]Ê Ì…iʈ˜`ˆV>̈œ˜ÃÊ>ÀiÊ̅>ÌÊLÀœ>`V>ÃÌÊVՏÌÕÀiÊ>˜`]Ê>ÃÊ̅iÊÀiVi˜ÌÊë>ÌiʜvÊ«>Ã̈V…iÃÊ>˜`Ê Ài‡i˜>V̓i˜ÌÃÊ>ÌÌiÃÌ]ʅˆÃ̜ÀˆV>Ê>˜>œ}ÕiÊۈ`iœÊ>ÀÌÊ܈ÊVœ˜Ìˆ˜ÕiÊ̜ʫÀœÛˆ`iÊVÀi>̈ÛiÊ V>«ˆÌ>Ê̜ÊÀiˆ˜ÛiÃÌʈ˜Ê̅iʼ̅i>ÌÀiÃʜvÊ/6½102 that contemporary galleries and museums have latterly become.

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œ…˜Ê ˆÃ½ÃÊÌiÀ“ÊÕÃi`Ê̅ÀœÕ}…œÕÌÊSeeing Things: Television in the Age of Uncertainty (2000). London: I.B. Tauris. >ۈ`Ê>Ê­£™Çx®Ê¼6ˆ`iœÊ
ÀÌÊ>˜`Ê̅iÊ6ˆ`iœÊ-…œÜ½]ÊFilm Video Extra]Ê{]Ê«°ÊÓ° /…ˆÃʈÃʅœÜÊ>݈“ÊœÀŽÞÊ`iÃVÀˆLi`ʅˆÃÊwÀÃÌÊi˜VœÕ˜ÌiÀÊ܈̅Êw“ʈ˜Ê£n™È\ʼÌʈÃʘœÌʏˆviÊLÕÌʈÌÃÊ Ã…>`œÜ]ʈÌʈÃʘœÌʓœÌˆœ˜ÊLÕÌʈ̽ÃÊÜ՘`iÃÃÊëiVÌÀi°½Ê
Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉÜÜÜ°Ãii̅ˆ˜Ž° Vœ“ÉÃÌÀ>ÞÚ`ˆÀɎˆ˜}`œ“ÚœvÚÅ>`œÜð…Ì“l (accessed 22 August 2012) . -iiÊœ…˜Ê ˆÃÊ­Óäää®]ʜ«°ÊVˆÌ°ÆÊ>ÃœÊޘ˜Ê-«ˆ}iÊ­£™™Ó®ÊMake Room for TV: Television and the Family Ideal in Postwar America. Chicago: University of Chicago Press. >iÛiÊ œ˜˜œÞÊëi>Žˆ˜}Ê>ÌÊ18]Êœ˜`œ˜]Ê£ÇÊ>ÞÊÓä£{° See Maeve Connolly (2014) TV Museum: Contemporary Art and the Age of Television. Bristol: ˜ÌiiVÌÆʼՓ>˜Êˆ˜ÌiÀiÃÌÊÃ̜ÀˆiÃ]ÊL>˜ÌiÀÊLiÌÜii˜ÊVœ‡>˜V…œÀÃÊ>˜`ÊV…>˜}iÃʈ˜ÊۜV>Ê`iˆÛiÀÞʈ˜VÕ`ˆ˜}Ê̅iÊÕÃiʜvÊ>˜Êi˜iÀ}ïV]ÊÕ«Li>ÌÊ̜˜i½ÊÜ>ÃÊvœÕ˜`Ê̜ʅ>ÛiÊ>Ê«œÃˆÌˆÛiʈ“«>VÌʜ˜Ê À>̈˜}Ã]Ê«°Ê£Î{° David Hendy (2010) The Cultivated Mind°Ê Ê,>`ˆœÊ{]ÊwÀÃÌÊLÀœ>`V>ÃÌÊ£nÊ՘i°Ê *i}}ÞÊ>iÊ­£™™x®Ê¼6ˆ`iœÊ…>ÃÊ >«ÌÕÀi`ʜÕÀÊ“>}ˆ˜>̈œ˜½]ʈ˜Ê*i}}ÞÊ>iÊ>˜`ʈÃ>Ê-ÌiiiÊ­i`Ã®Ê Video re/View°Ê/œÀœ˜Ìœ\Ê
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INSTALLATION AND THE MOVING IMAGE

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>ۈ`Êi˜`ÞÊ­Óä£ä®]ʜ«°ÊVˆÌ°Ê °Ê°Ê >>À`]ʈ˜ÌiÀۈiÜi`ÊLÞÊ>“iÃÊ6iÀ˜ˆiÀiʈ˜Ê£™nn°Ê
Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉÜÜÜ°}L>>À`° V>ɓi`ˆ>É£™nnڍ՘iÚÌ܈ˆ}…ÌÚ✘iړ>}>∘i°…Ì“l (accessed 1 September 2013). In Bad ScienceÊ­Óää™]Ê>À«iÀÊ*iÀi˜˜ˆ>®]Ê i˜Êœ`>VÀiÊ>ÃÃiÀÌi`Ê̅>ÌÊ܅iÀiÊ̅iÞÊvœÀ“>ÞÊ `i>ÌÊ܈̅Ê`œV̜ÀÃ]Ê«…>À“>ViṎV>ÊVœ“«>˜ˆiÃʈ˜Ê
“iÀˆV>ʅ>Ûiʈ˜VÀi>Ãi`Ê̅iˆÀÊëi˜`ˆ˜}Ê œ˜Ê`ˆÀiV̜̇‡Vœ˜ÃՓiÀÊ>`ÛiÀ̈Ș}]ÊLiV>ÕÃiÊ«>̈i˜ÌÃÊ̅i˜Ê«ï̈œ˜Ê̅iˆÀÊ*ÃÊvœÀÊ̅iÊ`ÀÕ}Ã]Ê thereby increasing sales. +՜ÌiÃÊ>ÀiÊvÀœ“Ê̅iÊÌiÝÌʜvÊ̅iÊܜÀŽÊˆÌÃiv°Ê >ۈ`Ê
°Ê,œÃÃʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê*iÌiÀÊ >“«ÕÃÊ>˜`Ê œÕ}>ÃÊœÀ`œ˜]Ê£ÇÊ
«ÀˆÊÓään]Ê/>ÌiÊ œ`iÀ˜]Êœ˜`œ˜° ˜Ê̅iÊ£™ÇäÃ]Ê>˜>œ}Õiʓœ˜ˆÌœÀÃÊ}i˜iÀ>ÞÊ`ˆÃ«>Þi`ʜ˜ÞʏœV>Þʈ˜«ÕÌÌi`Êۈ`iœÊÈ}˜>ÃÊ from a camera or video player. Monitors were soon developed that could both receive broadV>ÃÌÊÈ}˜>ÃÊ>˜`Ê`ˆÃ«>ÞÊvœœÌ>}iÊvÀœ“Ê>˜ÊiÝÌiÀ˜>Ê`iۈVi°Ê Steve Hawley quoted in Catherine Elwes (2005a) Video Art: A Guided Tour. London: I.B. />ÕÀˆÃ]Ê«°Ê£{£° Dé-collage was derived from the torn posters of the French affichistes]Ê ˜œÜÊ >««ˆi`Ê ÌœÊ œÌ…iÀÊVœ˜ÃՓiÀʜLiVÌðÊ-iiÊœ…˜Ê°Ê>˜…>À`ÌÊ­£™™ä®Ê¼ i‡Vœ>}iÉ œ>}i\Ê œÌiÃÊ/œÜ>À`ÃÊ>Ê ,iiÝ>“ˆ˜>̈œ˜ÊœvÊ̅iÊ"Àˆ}ˆ˜ÃʜvÊ6ˆ`iœÊ
À̽]ʈ˜Ê œÕ}Ê>Ê>˜`Ê->ÞʜʈviÀÊ­i`îÊIlluminating Video: An Essential Guide to Video Art°Ê iÜÊ9œÀŽ\Ê
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6 ]Ê««°ÊÇ£q™° /…iÊ`iÃÌÀÕV̈œ˜ÊœvÊÌiiۈȜ˜ÊÃiÌÃÊ`iÛiœ«i`ʈ˜ÌœÊܓi̅ˆ˜}ʜvÊ>Ê}i˜Ài]ÊiÝi“«ˆwi`ÊLÞÊ
˜ÌÊ >À“ʈ˜Ê->˜ÊÀ>˜VˆÃVœ]Ê܅œÊˆ˜ÊMedia Burn (1975) drove a Cadillac through a wall of burning TVs. See Marshall McLuhan (1964) Understanding Media: The Extensions of Man. New York: McGraw-Hill.

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Õ̜i̅˜œ}À>«…Þ\ÊœÕÀ˜iÞÃʜvÊ̅iÊ-iv½]ʈ˜Ê-ÌiÛiÊ,iˆ˜ŽiÊ>˜`Ê/œ“Ê Taylor (eds) Lux: A Decade of Artists’ Film & Video°Ê/œÀœ˜Ìœ\Ê*i>ÃÕÀiÊ œ“iÉ99ۈ`Êi˜`Þ]The Ethereal MindÊ­Óä£ä®]Ê Ê,>`ˆœÊ{]ÊwÀÃÌÊLÀœ>`V>ÃÌÊ£{Ê՘i°

œˆ˜Ê*iÀÀÞÊ­Ó䣣q£Ó®Ê¼/6Ê>ŽiœÛiÀ½]ÊArt Monthly]ÊÎxÓ]Ê«°Ê£Î° œ˜>̅>˜Ê À>ÀÞ]ʈ˜Ê…ˆÃÊvœÀiܜÀ`ÊÌœÊ ˆVœ>ÃÊ`iÊ"ˆÛiˆÀ>]ÊÜˆÌ…Ê ˆVœ>Ê"ݏiÞÊ>˜`ʈV…>iÊ*iÌÀÞÊ (2003) Installation Art in the New Millennium: The Empire of the Senses. London: Thames EÊÕ`ܘ]Ê««°ÊÈq££°Ê
Êȓˆ>ÀÊۈiÜʈÃÊiÝ«ÀiÃÃi`ʈ˜Ê/…iœ`œÀÊ
`œÀ˜œ½ÃÊ£™x{ÊiÃÃ>Þ]ʼœÜÊÌœÊ œœŽÊ>ÌÊ/iiۈȜ˜½Êˆ˜Ê°°Ê iÀ˜ÃÌiˆ˜Ê­i`°®]ÊThe Culture IndustryÊ­Óä䣮°Ê iÜÊ9œÀŽ\Ê,œÕ̏i`}i]Ê pp. 158–77. œÀÊiÝ>“«i]ʈ˜Ê£™n{ʈŽiÊ-ÌÕLLÃ]Ê,œ>˜`Ê i˜˜ˆ˜}Ê>˜`ʈŽiÊ,ÕÅ̜˜ÊVœ“«ˆi`Ê̅iÊMiner’s Tapes from their own actuality footage inluding interviews with strikers and their families. /…iÊÌ>«iÃÊÜiÀiÊi`ˆÌi`Ê>ÌÊœ˜`œ˜Ê6ˆ`iœÊ
ÀÌÃ]Ê>˜Ê>À̈Ã̇À՘ÊVœ‡œ«iÀ>̈Ûi]Ê>˜`Ê`ˆÃÌÀˆLÕÌi`ÊLÞÊ the National Union of Mineworkers. -œ“iÊ>À̈ÃÌýÊÌ>«iÃÊÜiÀiÊ>ˆÀi`ʜ˜ÊÌiiۈȜ˜]Ê«Ài`œ“ˆ˜>˜ÌÞÊV>LiÊ/6ʈ˜Ê
“iÀˆV>]ÊLÕÌʈ˜Ê̅iÊ 1]Ê …>˜˜iÊ{ÊLÀˆiyÞÊV…>“«ˆœ˜i`ÊiÝ«iÀˆ“i˜Ì>Êۈ`iœ°Ê-iiÊ,œ`Ê-̜˜i“>˜Ê­£™™È®Ê¼˜VÕÀȜ˜ÃÊ >˜`ʘVÕȜ˜Ã\Ê/…iÊ
Û>˜Ì‡>À`iʜ˜Ê …>˜˜iÊ{]Ê£™nÎq™Î½]ʈ˜ÊˆV…>iÊ"½*À>ÞÊ­i`°®ÊThe British Avant-Garde Film, 1926 to 1995°Êœ˜`œ˜\Ê/…iÊ
ÀÌÃÊ œÕ˜VˆÊœvÊ ˜}>˜`Éœ…˜ÊˆLLiÞÊi`ˆ>]Ê pp. 285–96. >˜Ã‡1ÀˆV…Ê "LÀˆÃ̽ÃÊ ÌiÀ“Ê µÕœÌi`Ê ˆ˜Ê >ÌiÊ œ˜`œV…Ê ­Óä£ä®Ê Screens: Viewing Media Installation Art°Êˆ˜˜i>«œˆÃ]Ê \Ê1˜ˆÛiÀÈÌÞʜvʈ˜˜iÜÌ>Ê*ÀiÃÃ]Ê«°{ΰ

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“iÀˆV>˜ÊÌiiۈȜ˜ÊVœ“«>˜ÞÊ܅iÀi]ʈ˜Ê£™Ç™]ÊÅiʼLœÀÀœÜi`½ÊLÀœ>`V>ÃÌÊvœœÌ>}iÊ vœÀʅiÀʼÌiV…˜œœ}ˆV>ÊÌÀ>˜ÃvœÀ“>̈œ˜Ã½° Ibid. >iÛiÊ œ˜˜œÞÊ­Óä£{®]ʜ«°ÊVˆÌ°Ê«°ÊÓxÎ°Ê >À>Ê ˆÀ˜L>Փʵ՜Ìi`ʈ˜Ê …ÀˆÃÊiˆ}…‡
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œˆ˜Ê*iÀÀÞ½ÃÊÌiÀ“ʈ˜Ê¼/6Ê>ŽiœÛiÀ½Ê­Ó䣣q£Ó®]ʜ«°ÊVˆÌ°]Ê«°Ê££° œ…˜Ê >`iÃÃ>ÀˆÊ µÕœÌi`Ê LÞÊ Ã>>VÊ Տˆi˜]Ê Guide to Artists’ Filmmaking]Ê Ê ,>`ˆœÊ {]Ê £nÊ >˜Õ>ÀÞÊÓ䣣° œÀʓi]Ê̅iÊȓ«ˆVˆÌÞʜvÊ̅iÊÌiV…˜œœ}ÞÊÜ>ÃʎiÞ°Êʅ>`ʘœÊ˜ii`ʜvÊ>ʏˆ}…ÌʓiÌiÀ]Ê܅ˆV…ÊÊ `ˆ`ʘœÌÊ՘`iÀÃÌ>˜`]Ê>˜`ÊÊVœÕ`ÊܜÀŽÊ>œ˜i°ÊœÜiÛiÀ]Ê̅iÊÜiˆ}…ÌʜvÊ̅iʼ«œÀÌ>Li½Ê«œÀÌ>«>ŽÊ was a problem. Inspired by the heroic image of Bill Viola facing the desert with the camera …œˆÃÌi`ʜ˜ÌœÊœ˜iÊŜՏ`iÀÊ>˜`Ê̅iÊ«œÀÌ>«>ŽÊÏ՘}Ê>VÀœÃÃÊ̅iʜ̅iÀ]Êʓ>`iÊSpring (1988) ˆ˜Ê܅ˆV…]Ê܈̅Ê̅iÊÃ>“iÊiµÕˆ«“i˜Ì]ÊÊ>ÌÌi“«Ìi`Ê̜ÊvœœÜÊ>Êޜ՘}Ê}ˆÀÊi>`ˆ˜}ʓiÊ̅ÀœÕ}…Ê>Ê Üœœ`°Ê/…iÊ«>ÕÃiÃʈ˜Ê“ÞʍœÕÀ˜iÞÊVœÀÀi뜘`Ê̜Ê̅iʓœ“i˜ÌÃÊ܅i˜ÊÊV>˜Ê˜œÊœ˜}iÀÊV>ÀÀÞÊ̅iÊ iµÕˆ«“i˜Ì]Ê>˜`ʅ>ÛiÊ̜ÊÃ̜«Ê>˜`ÊV>ÌV…Ê“ÞÊLÀi>̅°Ê

>̅iÀˆ˜iÊ,ÕÃÃiÊ­Óäää®]ʜ«°ÊVˆÌ°]Ê«°Ê£äÓ° I am grateful to Catherine Long for drawing my attention to Pindell’s video. Patricia Mellancamp (1990) Indiscretions: Avant-Garde Film, Video & Feminism. Blooming̜˜]Ê \ʘ`ˆ>˜>Ê1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ]Ê«°Ê£Ó™° >ÀÞÊ,ÕÃÜʵ՜Ìi`ÊLÞÊ*>ÌÀˆVˆ>Êi>˜V>“«]ʈLˆ`° For further discussion of the uses of video in liberation movements of the 1960s and £™ÇäÃ]ÊÃiiÊ >̅iÀˆ˜iÊ ÜiÃÊ­Óääx>®]ʜ«°ÊVˆÌ° ÀÕViÊ >Փ>˜ÊµÕœÌi`ʈ˜Ê >ˆÀiÊ ˆÃ…œ«Ê­Óääx>®Ê¼ ÕÌʈÃʈÌʘÃÌ>>̈œ˜Ê
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C H A P T E R T W E LV E

Closing Thoughts Euthyphro: But, Socrates, I don’t know how to convey to you what I have in mind. Whatever we put forward somehow keeps on shifting its position and refuses to stay where we laid it down. Plato1

THE DEATH AND RESURRECTION OF ANALOGUE I shall now edge towards some closing observations based on three issues left œÕÌÃÌ>˜`ˆ˜}Ê ˆ˜Ê ̅ˆÃÊ }i˜i>œ}ÞÊ œvÊ ˆ˜ÃÌ>>̈œ˜Ê >˜`Ê Ì…iÊ “œÛˆ˜}Ê ˆ“>}i°Ê ˆÀÃ̏Þ]Ê Ì…iÊ consequences of the displacement of analogue technology by the digital age merit VœÃiÀÊ iÝ>“ˆ˜>̈œ˜°Ê /…iÊ `i“ˆÃiÊ œvÊ ViÕœˆ`Ê w“Ê }>ÛiÊ ÀˆÃiÊ ÌœÊ iÝ«ÀiÃȜ˜ÃÊ œvÊ }ÀˆivÊ vÀœ“ÊÃi˜ˆœÀÊw““>ŽiÀÃÊ܅œ]ÊVœ“ˆ˜}ʜvÊ>}iʈ˜Ê̅iÊ£™ÇäÃ]ʅ>`ÊL>Ãi`Ê̅iˆÀÊ«À>V̈ViÊ on medium specificity. They related viscerally to both the filmic apparatus and the V…>À}i`ʓœ“i˜ÌʜvÊ«ÀœiV̈œ˜°Ê6iÀÞÊviÜÊۈ`iœ“>ŽiÀÃÊÃÕvviÀi`ÊiµÕˆÛ>i˜ÌÊ܈̅`À>Ü>Ê Ãޓ«Ìœ“ÃÊ œ˜Ê ̅iÊ œÃÃÊ œvÊ >˜>œ}ÕiÊ Ûˆ`iœÌ>«i]Ê >ÃÊ Ê …>ÛiÊ `ˆÃVÕÃÃi`Ê iÃi܅iÀi°2 7…iÀiÊ>ÀÌÞÊ-Ì°Ê>“iÃÊi“LÀ>Vi`Ê̅iʼœ˜Vi‡Ài“œÛi`½]Ê>LÃÌÀ>VÌʘ>ÌÕÀiʜvÊ̅iÊۈ`iœÊ È}˜>]3Êi˜Ê>VœLÃÊ`iV>Ài`Ê̅>Ìʓ>Žˆ˜}Ê>Êw“ʈÃʼ>˜Ê>VÌʜvÊVœ˜}ÀiÃý]Ê>``ˆ˜}ÊÀ…i̜ÀˆV>Þ]ʼ܅œÊˆÃ˜½ÌÊ>ÊVˆ˜i«…ˆˆ>VÊ̅iÃiÊ`>Þö½4Êœ˜>̅>˜Ê7>iÞʅ>Ãʈ˜ÌiÀ«ÀiÌi`Ê̅iÊ ÀiÌÀœÃ«iV̈œ˜ÊœvÊ>ÀV…ˆÛ>ÊܜÀŽÃÊ>ÃÊ>ʓœÛiÊ̜ʼÀiÃ̜ÀiÊw“Ê̜Ê̅iÊVi˜ÌÀiʜvÊ̅iÊVˆ˜i“>̈VÊ«À>V̈Vi½]Ê>˜`Ê܈̅ˆ˜Ê̅iÊVՏÌÕÀ>Ê>LœÀ>̜ÀÞʜvÊ̅iÊ}>iÀÞ]ÊLiÃ̜ÜÊÕ«œ˜ÊˆÌÊ܅>ÌÊ iÀÀˆ`ˆ>˜Ê«œÃÌÃÌÀÕVÌÕÀ>ˆÃÌÃÊ`ii“i`Ê՘Ìi˜>Li]Ê>Ê`i}Àiiʜvʼ>iÃ̅ïVÊ>Õ̜˜œ“Þ½°5 i>˜Ü…ˆi]ʈ˜Ê,œÃ>ˆ˜`ÊÀ>ÕÃýÃÊ«œÃ̇“i`ˆÕ“Ê՘ˆÛiÀÃi]Ê̅iʜÕ̓œ`i`]ʘœÜÊÀii>Ãi`Ê vÀœ“ʈÌÃÊṎˆÌÞÊÛ>Õi]ʈÃʓˆ˜i`ÊvœÀʈÌÃʜÛiÀœœŽi`Ê«œÌi˜Ìˆ>ˆÌˆiÃ]6ʼ>ÌiÀ˜>̈ÛiÊ«œÃÈLˆˆÌˆiý]Ê>VVœÀ`ˆ˜}Ê̜Ê/…œ“>ÃÊ Ã>iÃÃiÀÊ̅>ÌʼÜiÀiÊ>VÌÕ>ÞÊÃÕ««ÀiÃÃi`ʈ˜Êi>ÀÞÊw“½°7 In Ó䣣]Ê/>VˆÌ>Ê i>˜]Êi>}iÀÊ̜ÊiÝV>Û>ÌiÊ̅œÃiÊ«œÃÈLˆˆÌˆiÃʈ˜Ê…iÀʜ˜}œˆ˜}Êw“Ê«À>V̈Vi]Ê spearheaded a sadly unsuccessful protest against the closure of the last 16mm film

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Sandra Gibson and Luis Recoder, Light Spill (2005), 16mm film projector, 16mm film, screen. Lonely at the Top: Graphology Chapter 4, curated by Edwin Carels, M HKA, Antwerp, Belgium, August 25–September 25, 2011. Photo: Courtesy of M HKA and the artists.

«ÀœViÃȘ}ʏ>Lʈ˜Ê̅iÊ1°ÊiÀÊVœ˜VÕÀÀi˜Ìʈ˜ÃÌ>>̈œ˜ÊFilmÊ­Ó䣣®]Ê>ʣ·“iÌÀiÊÃVÀii˜Ê ˆ˜Ê ̅iÊ vœÀ“Ê œvÊ >Ê ÛiÀ̈V>Ê w“ÃÌÀˆ«Ê Vœ“«iÌiÊ ÜˆÌ…Ê ­`ˆ}ˆÌ>®Ê ëÀœVŽiÌÊ …œiÃ]Ê Ã̜œ`Ê >ÃÊ a monument to the glories of both analogue cinema and the creative enterprise of iÝ«iÀˆ“i˜Ì>Êw““>ŽiÀÃʜÛiÀÊ̅iʏ>ÃÌʅ՘`Ài`ÊÞi>ÀðÊFilmÊ>ÃœÊViiLÀ>Ìi`Ê̅iʼLÕÀdensome physicality’8ʜvÊ̅iʓi`ˆÕ“]Ê>Êvi>ÌÕÀiÊ̅>ÌÊ>À̈ÃÌÃʏˆŽiÊ i>˜ÊV…iÀˆÃ…Ê܅ˆiÊ David Hall’s epic 1,001 TV Sets (see chapter eleven) affirmed the similarly cumberܓiʓ>ÃÃʜvÊ>˜>œ}ÕiÊÌiiۈȜ˜Ã]Ê`iۈViÃÊ̅>ÌÊÀiµÕˆÀi`ÊVœ˜Ãˆ`iÀ>LiʓÕÃVՏ>ÌÕÀiÊ to transplant to a gallery. Tributes to analogue media have taken many forms. In Light Spill (2005) Sandra ˆLÜ˜Ê >˜`Ê ՈÃÊ ,iVœ`iÀÊ ÃÕLiVÌi`Ê >Ê À>˜`œ“Ê ÃiiV̈œ˜Ê œvÊ œ`Ê w“ÃÊ ÌœÊ ¼`i>Ì…Ê LÞÊ «ÀœiV̈œ˜½]9Ê À՘˜ˆ˜}Ê i>V…Ê œ˜iÊ Ì…ÀœÕ}…Ê >Ê «ÀœiV̜ÀÊ ÜˆÌ…Ê ˜œÊ «ˆVŽÊ Õ«Ê Àii]Ê ÃœÊ Ì…>ÌÊ the films spilled out onto the floor gradually creating a tangled burial mound un`iÀÊ̅iÊ«ÀœiV̈œ˜ÊLi>“Ê̅>Ìʅ>`Ê>VVœÀ`i`Ê̅i“Ê>ʏ>ÃÌÊ}>ëʜvʏˆvi°Ê
ÃÊ`ˆÃVÕÃÃi`Ê ˆ˜ÊV…>«ÌiÀÃÊÈÝÊ>˜`Êiˆ}…Ì]ʓ>˜ÞÊ>À̈ÃÌÃÊv>ňœ˜i`ÊÀiVœ˜ÃÌÀÕV̈œ˜ÃÊ>˜`Ê«>Ã̈V…iÃÊ of classic movies attesting to the interpenetration of Hollywood and their creative ˆ“>}ˆ˜>̈œ˜Ã°Ê7…iÀiʈ˜ÊÓäää]Ê>ÀŽÊi܈ÃÊVÀi>Ìi`Ê>ʼ«>À̇Vˆ˜i“>½ÊÛiÀȜ˜ÊœvʈV…>iÊ Powell’s Peeping Tom]ʈ˜ÊDr. Jekyll and Mr. Hyde (Episodes from the Life of)Ê­Óä䣮]Ê Paul Bush fashioned a witty remake of key scenes from the eponymous 1941 horror film. The image flickers between two amateur performances of the same scenes ÜÊ̅>ÌÊ̅iÊ>V̜ÀÃÊÃii“Ê̜ÊۈLÀ>Ìi]Ê>ÃʈvÊ̅iÞÊ>ÀiÊÃÕvviÀˆ˜}ÊvÀœ“Ê>ÊvœÀ“ÊœvÊ>ÀV…ˆÛ>Ê

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epilepsy while the original soundtrack provides the anchorage. According to Chris >ÀŽi]Ê̅iÃiʓˆ“ïVÊܜÀŽÃÊ>VÌʜÕÌÊ>ÊvṎiʼ`iÈÀiÊ̜ÊÀi«i>ÌÊ̅iÊ}iÃÌÕÀiÃʜvÊ̅iÊ “>ÃÌiÀ‡`ˆÀiV̜À½]10 or perhaps they betray an Oedipal ambivalence compelling the artists to both acknowledge and challenge the authority of the father figures of Hollywood. />VˆÌ>Ê i>˜Ê>ÃœÊÌ>À}iÌi`ʈ˜y>Ìi`ʓ>ÃVՏˆ˜ˆÌˆiÃ]Ê`À>܈˜}Ê>˜>œ}ˆiÃÊLiÌÜii˜Ê̅iÊ obsolescence of analogue film and the grand failures of human enterprise. In Bubble HouseÊ­£™™™®]ÊÅiÊÜÕ}…Ìʼ̅iÊVœ˜˜iV̈œ˜ÊLiÌÜii˜Ê̅iÊÃÕLiVÌÊ>˜`Ê̅iÊ`ˆÃ>««i>À>˜ViÊ œvÊ Ì…iÊ ÃÕLiV̽11 in the remains of a spherical house on the Cayman Islands LՈÌÊLÞÊ>ÊÀi˜V…Êi“LiââiÀÊVÕÀÀi˜ÌÞʏ>˜}Ոň˜}ʈ˜Ê>˜Ê
“iÀˆV>˜Ê>ˆ°Ê˜ÊTeignmouth ElectronÊ ­£™™™®]Ê i>˜Ê ÌÕÀ˜i`Ê …iÀÊ >ÌÌi˜Ìˆœ˜Ê ÌœÊ œ˜>`Ê ÀœÜ…ÕÀ̽ÃÊ Lœ>ÌÊ Ü>Åi`Ê Õ«Êˆ˜Ê>ÊÃ̜À“°Ê iëiÀ>ÌiÊ̜Ê܈˜Ê>ÊÀœÕ˜`‡Ì…i‡ÜœÀ`ÊÀ>Vi]Ê̅iÊÞ>V…ÌÓ>˜Ê…>`Êv>Ãˆwi`Ê …ˆÃÊ «œÃˆÌˆœ˜Ê ՘̈Ê iÝ«œÃÕÀiÊ LiV>“iÊ ˆ˜iۈÌ>LiÊ >˜`]Ê VÕÌV…ˆ˜}Ê …ˆÃÊ ˜>ۈ}>̈œ˜>Ê iµÕˆ«“i˜Ì]ʅiʍՓ«i`ʜÛiÀLœ>À`ʘiÛiÀÊ̜ÊLiÊÃii˜Ê>}>ˆ˜°Ê i>˜ÊVœ“Lˆ˜i`ÊV>ÌÌiÀˆ˜}Ê «ÀœiV̜ÀÃ]Êi˜V>Ãi`ʈ˜Ê}>ÃÃʏˆŽiÊi˜`>˜}iÀi`ÊëiVˆiÃ]Ê܈̅ʈ“>}iÃʜvÊ܅>ÌÊiÀ“>ˆ˜iÊ ÀiiÀÊÌiÀ“i`ʼ>˜Êˆ˜Ãi˜Ìˆi˜ÌÊÀiˆVʜvÊ>ʓ>˜½ÃÊ}Ài>ÌÊv>ˆÕÀi½°12 The artist called atten̈œ˜Ê̜Ê̅iÊvÀ>}ˆˆÌÞʜvÊw“Êœ˜Ê̅iÊLÀˆ˜ŽÊœvÊiÝ̈˜V̈œ˜Ê>˜`ÊÃii“i`Ê̜ÊÃÕ}}iÃÌÊ̅>ÌʏˆŽiÊ

ÀœÜ…ÕÀÃ̽ÃÊLÀœŽi˜Ê>“LˆÌˆœ˜Ã]ÊViÕœˆ`Ê`Ài>“Ãʓ>ŽiÊ՘ÃÌ>LiÊvœÕ˜`>̈œ˜ÃÊvœÀÊ̅iÊ business of life. The notion that looking into the past delivers a better understanding of the presi˜ÌÊ ˆÃÊ œvÌi˜Ê ˆ˜ÛœŽi`]Ê >˜`Ê i>˜Ê ViÀÌ>ˆ˜ÞÊ ÀiyiVÌÃÊ «Àœ`ÕV̈ÛiÞÊ œ˜Ê …Õ“>˜Ê ˜>ÌÕÀiÊ Ì…ÀœÕ}…Ê…iÀʅˆÃ̜ÀˆV>Êˆ˜ÛœV>̈œ˜Ã°ÊœÜiÛiÀ]ʈÌʈÃÊ՘Vi>ÀÊ܅>Ìʈ˜Ãˆ}…ÌÃÊV>˜ÊLiÊ`iÀˆÛi`Ê >LœÕÌÊVœ˜Ìi“«œÀ>ÀÞʏˆviÊvÀœ“]ÊvœÀʈ˜ÃÌ>˜ViÊi˜Ê>VœLýÃÊTom Tom, the Piper’s Son ­£™È™q£™Ç£ÉÓään®]ʈ˜Ê܅ˆV…Ê>Êȏi˜ÌÊŜÀÌÊvÀœ“Ê£™äxÊvi>ÌÕÀˆ˜}Ê̅iÊ>˜ÌˆVÃʜvÊ>Ê̅ˆivÊ ˆ˜Ê>ÊLÕÃÞÊۈ>}iʈÃÊi˜`iÃÏÞÊÀiܜÀŽi`°Ê `܈˜Ê >ÀiÃʅ>ÃÊëiVՏ>Ìi`Ê̅>ÌÊ>VœLýÃÊ w“ʈÃÊ>˜Ê>ÃÃiÀ̈œ˜ÊœvÊ̅iÊ>À̈Ã̽ÃÊÀˆ}…ÌÊ̜ʅˆÃʼ>Õ̜˜œ“ÞʜvÊۈȜ˜]Ê>Ê«iÀܘ>ˆÃi`Ê perception’.13 This aligns with the 1970s scratch video ethos of the guerrilla artist >``ˆ˜}ʅiÀÊÈ}˜>ÌÕÀiÊ̜ʫˆviÀi`ʜÀÊ`ˆÃV>À`i`ÊÌiiۈȜ˜ÊvœœÌ>}i]Ê܅>Ìʈ̜Ê-ÌiÞiÀÊ >ÌiÀÊÀi˜>“i`Ê̅iʼ«œœÀʈ“>}i½]ʜÀÊ>ÊVœ«Þʼˆ˜Ê“œÌˆœ˜½°14Ê/…iÊÀiVÞVˆ˜}]ʜÀÊÀi“i`ˆ>̈œ˜]Ê of found footage arguably offers some resistance to the commercial world of unÀii˜Ìˆ˜}ÊVœ““œ`ˆÌÞÊVœ˜ÃՓ«Ìˆœ˜ÊL>Ãi`ʜ˜Ê˜œÛiÌÞ]Ê>Ì…œÕ}…Ê>ÃÊÀi…i>ÀÃi`ʓ>˜ÞÊ Ìˆ“iÃʈ˜Ê̅ˆÃÊۜÕ“i]Ê>ÃÊ>ÊۈÃÕ>ÊÃÌÀ>Ìi}ÞʈÌʈÃÊ>Ài>`ÞÊÜiÊˆ˜Ìi}À>Ìi`ʈ˜ÌœÊ̅iʏ>˜guage and purpose of advertising.15 7…ˆiʈ˜`ˆÛˆ`Õ>Ê>À̈ÃÌÃÊvœÀ}iÊ«œˆ}˜>˜Ìʓi“œÀˆ>ÃÊ̜ÊVˆ˜i“>Ê>˜`ÊViÕœˆ`]Êw“Ê ̅iœÀˆÃÌÃÊ܅œÊ…>Ûiʈ˜VÀi>Ș}ÞÊi“LÀ>Vi`Ê>À̈ÃÌýʫÀ>V̈Vi]ʅ>ÛiʘœÜʏœÃÌÊ̅iˆÀʜ˜‡ }œˆ˜}Ê œLiVÌÊ œvÊ ÃÌÕ`Þ°Ê 1˜`iÌiÀÀi`]Ê Ì…iÞÊ >ÀiÊ i˜iÀ}ïV>ÞÊ V…>“«ˆœ˜ˆ˜}Ê Ì…iÊ Vœ˜ÃiÀÛ>̈œ˜Ê œvÊ >À̈ÃÌÃ½Ê w“Ê ˆ˜Ê “ÕÃiՓÃÊ >˜`Ê >ÀV…ˆÛiÃ]Ê >˜`Ê i˜`œÀȘ}Ê >À}iÊ ÃÕÀÛiÞÊ shows that enthrone selected works in the canon.16 Academics have also provided >Ê`ˆÃVÕÀÈÛiÊVœ˜ÌiÝÌÊvœÀÊ>À̈ÃÌÃÊÃÕV…Ê>ÃʈLܘÊ>˜`Ê,iVœ`iÀÊ܅œÊi˜}>}iʈ˜Ê¼“i`ˆ>Ê >ÀV…>iœœ}Þ½]Ê >Ê «À>V̈Vi‡L>Ãi`Ê …ˆÃ̜ÀˆVˆÃ“]Ê “œÃÌÊ i˜iÀ}ïV>ÞÊ Ì…iœÀˆÃi`Ê ˆ˜Ê w“Ê

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INSTALLATION AND THE MOVING IMAGE

studies by Thomas Elsaesser.17Ê
ÃÊʅ>ÛiÊ`i“œ˜ÃÌÀ>Ìi`]Ê>ʘՓLiÀʜvʈ˜ÃÌ>>̈œ˜ÃÊ ÀiܜÀŽÊ̅iÊL>VŽÊV>Ì>œ}ÕiʜvÊVˆ˜i“>Ê܈̅ʅՓœÕÀÊ>˜`ÊVœ˜ÃՓ“>ÌiÊΈÆʅœÜiÛiÀ]Ê “>˜ÞÊiÝ«i`ˆÌˆœ˜Ãʈ˜ÌœÊw“Ê…ˆÃ̜ÀÞÊV>˜ÊLiÊÃi˜Ìˆ“i˜Ì>]ÊvïňÃ̈VÊ>˜`ʓœÕÀ˜vՏÊiÝiÀVˆÃiÃÊqÊ>ÃÊ-Ìj«…>˜iÊ iœÀ“iʜLÃiÀÛi`\ʼ̅iÊ>`“ˆÀi`ʜLiVÌÊQˆÃRʘiÛiÀÊ>ÃÊLi>ṎvÕÊ than when threatened with disappearance’.18 The corpus of such necrophilic works }ˆÛiÃÊÀˆÃiÊ̜ÊÌ>Õ̜œ}ˆV>ÊVœ˜ÛiÀÃ>̈œ˜ÃÊ܈̅Ê̅iÊ«>ÃÌ]Ê>˜`ʈ˜Ã«ˆÀiÃʈ˜Ê ÀˆŽ>Ê >Ãœ“Ê “i>˜V…œˆVÊÀiyiV̈œ˜Ãʜ˜Ê̅iʼ«>̅œÃʜvÊ̅iʈ˜`iݽ19 and human senescence. Like >Ãœ“]Êœ˜>̅>˜Ê7>iÞÊi“«…>ÈÃiÃÊ̅iʓœÀÌ>ˆÌÞʜvÊw“]Ê>˜`ʈÌÃÊÀœiÊ>ÃÊ>Êmemento mori]ÊÀi“ˆ˜`ˆ˜}ÊÕÃÊ̅>ÌÊViÕœˆ`ÊÅ>ÀiÃʜÕÀʜÀ}>˜ˆVʘ>ÌÕÀiÃ]Ê>˜`Ê`i}i˜iÀ>ÌiÃÊ over time as we do. 20 A less morbid discourse arises from work that mobilises the artisanal traditions of hand-made films. These offer a counterweight to the anonymity of “>ÃÇ«Àœ`ÕVi`ʜLiVÌÃ]Ê̅iÊ`ˆÃ«œÃ>LˆˆÌÞʜvÊ`ˆ}ˆÌ>Êˆ“>}iÃÊ>˜`Ê Ì…iÊÃÕ«iÀwVˆ>ˆÌÞÊ œvʓ>ˆ˜ÃÌÀi>“Êi˜ÌiÀÌ>ˆ˜“i˜Ì°Ê>À̈˜iÊ iÕ}˜iÌÊ>˜`ʈ“ʘœÜiÃʅ>ÛiÊ>À}Õi`Ê«iÀsuasively that manipulated films by contemporary artists such as Alia Syed and Àj`jÀˆµÕiÊ iÛ>ÕÝÊÀ>ˆÃiʵÕiÃ̈œ˜ÃÊ>LœÕÌÊ̅iʼ«Àœ`ÕV̈œ˜ÊœvʜL܏iÃVi˜Vi½Êˆ˜Ê̅iÊ wider culture. 21ÊœÜiÛiÀ]ʈÌʈÃÊ«œÃÈLiÊ̜ʜÛiÀiÃ̈“>ÌiÊ̅iʈ“«>VÌʜvÊÃÌޏˆÃ̈Vʵ՜tations from a time when painted and scratched filmic images formed part of an ˆ`i˜Ìˆw>LiÊ>˜Ìˆ‡˜>ÀÀ>̈Ûi]ʓ>ÌiÀˆ>ˆÃÌʓœÛi“i˜Ì°Ê iޜ˜`Ê>Ê«œÃ̓œ`iÀ˜Ê«Ài`ˆÃ«œÃˆÌˆœ˜ÊvœÀʵ՜Ì>̈œ˜]Ê܅>ÌÊܜՏ`ÊLiÊ̅iÊ«œˆÌˆV>ÊÀiiÛ>˜ViʜvÊÀi‡i˜>V̓i˜ÌÃÊ̜`>ÞÊ œvÊ i>ÀÞÊ ÜœÀŽÃÊ LÞÊ 6ˆÌœÊ
VVœ˜Vˆ]Ê >ÀœiiÊ -V…˜ii“>˜˜]Ê œˆÃÊ À>“«Ìœ˜Ê œÀÊ >Àˆ˜>Ê Abramovim¶22Ê
ÃʈÃÊ,…œ`iÃÊ«œ˜`iÀi`]ʼˆvÊiÝ«>˜`i`ÊVˆ˜i“>ÊÜ>ÃÊ>ÊÀi>V̈œ˜Ê>}>ˆ˜ÃÌÊ the status quo then]Ê܅>ÌʈÃʈÌÊnow¶½23 The argument that such works challenge the ˆ“«iÀ>̈ÛiʜvÊ«Àœ}ÀiÃÃÊ>˜`ÊÀiV>ÃÌʜÕÀÊVœ˜Vi«Ìˆœ˜Êœvʏˆ˜i>ÀÊ̈“iʈ˜ÌœÊvœ`Ã]ʏœœ«ÃʜÀÊ ÀiVÕÀÈÛiÊÀi}ÀiÃȜ˜Ã]ÊÃii“ÃÊ̜Ê`ˆÃ>ۜÜÊ̅iÊ`ii«iÀʈ˜Ìˆ“>̈œ˜ÃʜvʓœÀÌ>ˆÌÞÊ̅>ÌÊ Balsom and Walley have intuited in archival practices. Colin Perry has interrogated ̅iʼ>ÀV…>ˆVÊ`i>̅‡}Àˆ«½Ê̅>ÌÊ>˜>œ}ÕiÊw“Ê>««i>ÀÃÊ̜ʅ>Ûiʜ˜Ê>À̈ÃÌÃ]ÊVœ˜VÕ`ˆ˜}Ê that an archival work should be read not as a political response but as a psychoœ}ˆV>Ê œ˜iÊ L>Ãi`Ê œ˜Ê ¼ˆ˜ÛœV>̈œ˜ÃÊ œvÊ ÃÕLiV̈ÛiÊ `iÈÀi]Ê ˜œÃÌ>}ˆ>Ê >˜`Ê “i“œÀÞ½° 24 There is no reason why such allegories of mortality and nostalgic returns should not be indulged and I have appreciated the charm of Lindsay Seers’ Extramission (Black Maria)Ê ­Óä䙮]Ê >Ê ÃV>iÊ “œ`iÊ œvÊ /…œ“>ÃÊ `ˆÃœ˜½ÃÊ w“Ê ÃÌÕ`ˆœ‡VÕ“Ê ­ÛiÀÞÊ stuffy) micro-cinema accompanied by the narrative of the artist’s childhood desire ̜ʓiÌ>“œÀ«…œÃiÊvÀœ“Ê>ÊV>“iÀ>ʈ˜ÌœÊ>Êw“Ê«ÀœiV̜À°ÊÞÊVœ˜ViÀ˜ÊˆÃÊ̅>ÌÊ̅iʓœÀiÊ time artists spend peering down the retrospectoscope of the cinema and televiȜ˜Ê>ÀV…ˆÛi]ÊÃiiŽˆ˜}Ê̅iˆÀÊ«iÀܘ>ˆÃi`ʼÃ>Û>}iʓi“œÀˆiýʜvʅˆÃ̜ÀˆV>ÊiÛi˜ÌÃ] 25 …œ˜ˆ˜}Ê̅iˆÀÊ>˜>ÞÃiÃʜvÊV>ÃÈVÊw“ÃÊ>˜`Ê/6Ê«Àœ}À>““iÃʈ˜Ê̅iʼ>Õ̜«ÃÞÊÀœœ“½ÊœvÊ Ì…iÊ}>iÀÞʜÀÊ̈˜ŽiÀˆ˜}Ê܈̅Ê̅iÊÌiV…˜œœ}ˆV>Ê̜ÞÃʜvÊÞiÃÌiÀÞi>À]Ê̅iʏiÃÃÊ̈“iÊ̅iÞÊ spend forging a language to address the more urgent issues that attend the perilœÕÃ]Ê՘Vœ“vœÀÌ>LiÊÀi>ˆÌˆiÃʜvÊ̅iʓœ`iÀ˜ÊܜÀ`°26

CLOSING THOUGHTS

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Medium specificity in the age of code Digital is not the analogue of analogue. />VˆÌ>Ê i>˜]ÊÓ䣣 One of the unintended consequences of the digital era has been the ironing out of technical and procedural differences between artists’ film and video by means of standardised digital equipment and universal data conformity. The trace-like quality œvÊ̅iʈ˜`iÝÊ̅>ÌÊ °Ê-°Ê*iˆÀViʈ`i˜Ìˆwi`ʅ>ÃÊ>ÃœÊÜ>ÛiÀi`ʘœÜÊ̅>ÌÊ>˜Êˆ“>}iÊV>˜ÊLiÊ generated entirely by a computer with no originary moment of capture from nature. >˜Ê …ÀˆÃ̈iʅ>ÃÊÀiˆÌiÀ>Ìi`Ê >ۈ`Ê,œ`œÜˆVŽ½ÃÊVœ˜Ìi˜Ìˆœ˜Ê̅>Ìʈ˜Ê̅iÊ`ˆ}ˆÌ>ÊiÀ>]ÊÌiV…˜ˆV>Þ]Ê̅iÀiʈÃʘœÊœ˜}iÀÊ>˜Êˆ“>}i]Ê>˜`ʜ˜Þʼ>˜Ê>ÃÃi“L>}iʜvÊVœ`i½°27 The autonomy of the image is further compromised by the infinite malleability of digitised material. 7ˆÌ…œÕÌÊ >Ê ÛiÀˆw>LiÊ œÀˆ}ˆ˜>]Ê Ì…iÊ ¼ˆÌˆ˜iÀ>˜ÌÊ ˆ“>}iÊ QˆÃRÊ Ì…ÀÕÃÌʈ˜ÌœÊ `ˆ}ˆÌ>Ê ՘ViÀÌ>ˆ˜ty’28Ê >˜`Ê Ì…iÊ Vœ˜Ûi˜Ìˆœ˜Ê œvÊ >Ê Õ˜ˆµÕiÊ >ÀÌiv>VÌÊ }i˜iÀ>Ìi`Ê LÞÊ >Ê Ãˆ˜}Տ>À]Ê ÛiÀˆw>LiÊ >ÕÌiÕÀÊLiVœ“iÃÊ՘Ìi˜>Li°Ê
ÃÊÜiʅ>ÛiÊÃii˜]Ê̅iÊ̅Ài>Ìi˜i`ʏœÃÃʜvÊViÕœˆ`Êw“½ÃÊ i˜>“ˆ˜ˆ>˜Ê¼>ÕÀ>½Ê>˜`Ê̅iÊiÀœÃˆœ˜ÊœvÊ>À̈Ã̈VÊiÝVi«Ìˆœ˜>ˆÃ“Ê…>ÛiÊLii˜Ê“ˆÌˆ}>Ìi`Ê LÞÊ̅iÊÌÀ>˜ÃvœÀ“>̈œ˜ÊœvÊ̅iʓœÛˆ˜}ʈ“>}iʈ˜ÌœÊ>˜ÊœLiVÌʜvÊ>iÃ̅ïVÊVœ˜Ìi“«>̈œ˜Ê>˜`]ÊLi}ˆ˜˜ˆ˜}ʈ˜Ê̅iÊ£™™äÃ]ʈÌÃÊ}À>`Õ>Êˆ˜VœÀ«œÀ>̈œ˜Êˆ˜ÌœÊ“>ˆ˜ÃÌÀi>“Ê}>iÀÞÊ VՏÌÕÀi°Ê/…iÊ`ˆ}ˆÌ>ÊˆÌÃivʜvviÀÃÊVœ“«i˜Ã>̜ÀÞÊvi>ÌÕÀiÃ°Ê >ۈ`Ê °Ê>“iÃʅ>ÃÊ>ÃÃiÀÌi`]Ê̅iÊivviVÌÃÊ«ÕÀÃÕi`ÊLÞÊiÝ«iÀˆ“i˜Ì>Êw““>ŽiÀÃÊÃÕV…Ê>ÃÊœÀ}>˜ÊˆÃ…iÀÊ>˜`Ê*>ÌÊ "½ iˆÊV>˜ÊLiʼÀiVÀi>Ìi`Ê`ˆ}ˆÌ>ÞÊ܈̅ÊLÀi>̅Ì>Žˆ˜}ÊivwVˆi˜VÞ½°29ʘÊÓäää]Ê,œÃ>ˆ˜`Ê À>ÕÃýÃʼ«œÃ̇“i`ˆÕ“ÊVœ˜`ˆÌˆœ˜½ÊÜ>ÃÊÀœœÌi`ʈ˜Ê̅iÊiÝ«ÀiÃÈÛiÊ«œÌi˜Ìˆ>ÊœvÊ>Ê}ˆÛi˜Ê «À>V̈ViÊ>ÌÌ>V…i`Ê̜]ÊLÕÌʘœÌÊ`iw˜i`ÊLÞ]ʈÌÃʼ“>ÌiÀˆ>ÊÃÕ««œÀ̽ÆʅiÀiÊ>˜Ê>À̈ÃÌÊÜ>ÃÊ >LiÊ̜Ê`À>Üʜ˜ÊˆÌÃʼ>ÞiÀˆ˜}ʜvÊVœ˜Ûi˜Ìˆœ˜Ã½° 30 What mattered now was not the me`ˆÕ“Ê>˜Ê>À̈ÃÌÊV…œÃiÊLÕÌÊ܅>ÌÊ«ÕÀ«œÃiʈÌÊÃiÀÛi`Ê>˜`]Ê>ÃÊ œlÊ >ÀÀœÊ“>ˆ˜Ì>ˆ˜i`]Ê̅iÊ ÜœÀŽÊŜՏ`ÊLiʍÕ`}i`Ê>VVœÀ`ˆ˜}Ê̜ʈÌÃʼ>iÃ̅ïV]ʓœÀ>ÊœÀʈ˜ÌiiVÌÕ>ÊÛ>Õi½]ʘœÌʜ˜Ê its ability to enumerate the unique properties of a given technology. 31 This has suited those postmodern and millennial artists who are largely indifferent to the vehicle they flag down as long as it fits their creative purposes. 32 Balsom has put a more «œÃˆÌˆÛiÊ}œÃÃʜ˜Ê̅iÊVՏÌÕÀiʜvÊ«ˆVŽÊ¼˜½Ê“ˆÝ]Ê>À}Ո˜}Ê̅>ÌʈvÊ>˜Ê>À̈ÃÌÊÃiiVÌÃÊ>ʓi`ˆÕ“]ÊÅiʈÃʼ˜iViÃÃ>ÀˆÞÊi˜}>}ˆ˜}ʈÌÃÊëiVˆwVʵÕ>ˆÌˆiý° 33 I would make a distinction between artists who use media uncritically for their mimetic and phantasmagorical «Àœ«iÀ̈iÃ]ʜvÌi˜Ê̜ÊÃ>ÞÊ܅>Ìʅ>ÃÊLii˜ÊÃ>ˆ`ÊLivœÀi]Ê>˜`Ê̅œÃiÊ܅œÊVœ˜Ìˆ˜ÕiÊ̜ʈ˜ÛiÃtigate the codes and relations of power embedded in the manufacture and function œvÊVœ˜Ìi“«œÀ>ÀÞʈ“>}ˆ˜}ÊÌiV…˜œœ}Þ°ÊœÜiÛiÀ]ÊÊLœÜÊÌœÊ ˆVŽÞÊ>“Þ˜]Ê܅œÊVœ˜VÕÀÃÊ ÜˆÌ…Ê >Ãœ“\ʼ«À>V̈̈œ˜iÀý]ʅiÊÜÀˆÌiÃ]ʼ…œÜiÛiÀʓՏ̈«i]ʓˆÝi`ʜÀÊ«œÃ̇“i`ˆ>Ê̅iˆÀÊ ÜœÀŽÊ“>ÞÊLi]ÊV>˜Ê˜iÛiÀÊiÃV>«iÊ̅iʵÕiÃ̈œ˜Êœvʓi`ˆÕ“½° 34 The octogenarian filmmaker Michael Snow briskly silenced all opposition when he declared at a recent Vœ˜}ÀiÃÃ]ʼÌiV…˜œœ}ˆV>ÊiÃÃi˜Ìˆ>ˆÃ“ʈÃÊV>i`Ê̅ˆ˜Žˆ˜}½° 35

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>ÞÊ >ۈ`Ê œÌiÀÊ …>ÃÊ Ì…iœÀˆÃi`Ê Ì…iÊ Vœ˜ÛiÀ}i˜ViÊ œvÊ `ˆÃ«>À>ÌiÊ >˜>œ}ÕiÊ ÌiV…˜œœ}ˆiÃʈ˜Ê̅iÊ`ˆ}ˆÌ>Ê`œ“>ˆ˜Ê>ÃÊ̅iʘœÜÊv>“ˆˆ>ÀÊ«ÀœViÃÃʜvʼÀi“i`ˆ>̈œ˜½Êˆ˜Ê܅ˆV…Ê the cinematic and televisual canon are not lost but suspended in the amber of the `ˆ}ˆÌ>°Ê “LiˆÃ…i`ÊLÞÊVœ“«ÕÌiÀÊ}À>«…ˆVÃ]Ê̅iʈ“>}iÊLiVœ“iÃʈ˜w˜ˆÌiÞʓ>i>LiÊ and increasingly accessible.36Ê
VVœÀ`ˆ˜}Ê̜Ê9ۜ˜˜iÊ-«ˆi“>˜˜]ʼˆ˜ÌiÀ“i`ˆ>ˆÌ޽ʅ>ÃÊ Ã«>ܘi`ÊiÝVˆÌˆ˜}ʼ˜iÜÊvœÀ“Ãʜvʓi`ˆ>Ê>ÀÌý° 37ÊœœÜˆ˜}Ê ˆVŽÊˆ}}ˆ˜Ã]Ê-«ˆi“>˜˜Êˆ˜VÕ`iÃʼ«>ˆ˜Ìˆ˜}]Ê«…œÌœ}À>«…ÞÊ°°°Ê>˜`ÊVœ“«ÕÌiÀÊ>˜ˆ“>̈œ˜½Êˆ˜Ê̅iʼë>̈>ˆÃi`½Ê`ˆ}ˆÌ>Ê Üի]Ê>˜`Ê܅ˆiÊ̅iÊLœÕ˜`>ÀˆiÃÊLÕÀÊLiÌÜii˜Ê̅iÊ>˜>œ}ÕiʜÀʓ>ÌiÀˆ>ÊœÀˆ}ˆ˜>Ã]Ê̅iÞÊ nonetheless maintain their disciplinary associations. œÌÊiÛiÀޜ˜iÊLiˆiÛiÃÊ̅>ÌÊ̅iÊ`ˆ}ˆÌ>ÊÈ}˜>ÊˆÃÊ>ʘiÕÌÀ>Êi˜Vœ`iÀ]ʈ˜`ˆÃVÀˆ“ˆ˜>ÌiÞÊ iÛiˆ˜}Ê iÛiÀÞ̅ˆ˜}Ê ˆ˜Ê ˆÌÃÊ Ü>Ži°Ê ˜Ê >Ê ÀiVi˜ÌÊ >À̈Vi]Ê -i>˜Ê ÕLˆÌÌ]Ê >˜ˆiÊ Palmer and Les Walkling have insisted that the digital is a specific medium in ˆÌÃʜܘÊÀˆ}…Ì]ÊÃÕLiVÌÊ̜Ê̅iÊÃ>“iʈ˜Ã̈ÌṎœ˜>Ê>˜`ÊiVœ˜œ“ˆVÊi݈}i˜VˆiÃÊ>ÃÊ>˜ÞÊ analogue equivalent. 38 The development of codecs has been spearheaded by Vœ““iÀVˆ>Ê Vœ“«>˜ˆiÃÊ ÃÕV…Ê >ÃÊ
««iÊ >˜`Ê
`œLi]Ê >˜`Ê Ì…iÃiÊ Vœ`iVÃÊ ¼iÃÌ>LˆÃ…Ê an aesthetic: they are the frames through which we observe and construct the ܜÀ`Ê>˜`ʜÕÀÊiÝ«iÀˆi˜Viʜvʈ̽° 39Ê/…iÃiÊ՘v>̅œ“>LiÊ>}œÀˆÌ…“Ã]ÊVœ˜Ìi˜`Ê ÕLˆÌÌ]Ê *>“iÀÊ >˜`Ê 7>Žˆ˜}]Ê >ÀiÊ ˜œÌÊ Õ˜>ÃÃ>ˆ>LiÊ >˜`Ê Ì…iÞÊ VˆÌiÊ ÌiV…˜ˆVˆ>˜ÃÊ >˜`Ê >À̈ÃÌÃÊ ÃÕV…Ê>ÃÊ
iÝÊœ˜ÌiˆÌ…Ê>˜`ÊޘiÌÌiÊ7>ÜœÀ̅Ê܅œÊ¼V…ˆ«Ê>Ü>ÞÊ>ÌÊ̅iʘœÀ“>̈ÛiÊÌi˜dencies inherent in technical innovation processes ... and create new uses and applications’40 for digital information. Practitioners such as the Net-based artist ˆ“Ê*՘ŽÊ…>ÛiÊ`iÛiœ«i`Ê>ʼ}ˆÌV…½Ê>iÃ̅ïV]ʘœÌÊ՘ˆŽiÊ̅iÊ-VÀ>ÌV…Êۈ`iœÊœvÊ̅iÊ £™näÃ]ÊLÕÌÊ̅ˆÃÊ̈“iÊ̅iʈ“>}iÊ`ˆÃ̜À̈œ˜ÃÊ>ÀiÊVÀi>Ìi`ÊLÞÊÌ>“«iÀˆ˜}Ê܈̅Ê`ˆ}ˆÌ>Ê Vœ`iÊ>˜`ÊLÞÊ«Àœ}À>““ˆ˜}ÊvœÀʼÀ>˜`œ“ÊLÀi>Ž`œÜ˜ÊœvÊVœ“«ÕÌiÀÊ«ÀœViÃÃiýÊ̅iÀiLÞÊ `i“œ˜ÃÌÀ>̈˜}ʼ̅iÊ`ˆ}ˆÌ>Ê“i`ˆÕ“½ÃÊ«…ÞÈV>Êˆ˜ÃÌ>LˆˆÌÞ½° 41ʘÊ̅iÊ£™™äÃ]ʅ>VŽiÀÃÊ broke into obsolete technologies such as Atari ST computers and Gameboys to re>ÀÀ>˜}iÊ Ì…iˆÀÊ œÕÌ«ÕÌÊ >˜`Ê “œÀiÊ ÀiVi˜ÌÞ]Ê œÀÞÊ
ÀV>˜}iÊ “œ`ˆwi`Ê ˆ˜Ìi˜`œÊ ۈ`iœÊ games for his gallery works such as Super Mario Clouds (2002). 42 Building on the >V…ˆiÛi“i˜ÌÃÊ œvÊ «ˆœ˜iiÀÃÊ qÊ ˆ˜VÕ`ˆ˜}Ê Ì…iÊ 6>ÃՏŽ>Ã]Ê ˆVœiÊ -Ìi˜}iÀÊ >˜`Ê 7ˆˆ>“Ê >̅>“ÊqÊ >˜Ê >˜`ˆ˜ÊÕÃiÃÊVœ`iÊvœÀÊ̅iÊÀ>˜`œ“Ê}i˜iÀ>̈œ˜ÊœvÊ>LÃÌÀ>VÌʈ“>}iÀÞ]Ê a unique function of electronic media. Genevieve Yue has pointed out that like the >˜>œ}Õiʈ“>}i]Ê`ˆ}ˆÌ>Êˆ˜vœÀ“>̈œ˜ÊˆÃÊ՘ÃÌ>LiÊ>˜`Ê«Àœ˜iÊ̜ʼ}ˆÌV…iÃ]ÊiÀÀœÀÃÊ>˜`Ê œÃÃÞÊVœ“«ÀiÃȜ˜]ʘœÌÊ̜ʓi˜Ìˆœ˜Ê̅iÊ`iÛ>ÃÌ>̈˜}ÊivviVÌÃʜvÊVœ“«ÕÌiÀÊۈÀÕÃiÃ]Ê system failures and hard drive crashes’. 43 The digital environment even suffers ˆÌÃʜܘÊvœÀ“ÊœvÊ>}iˆ˜}°ÊˆŽiÊ̅iÊ`iV>ÞʜvÊViÕœˆ`Ê>˜`Êۈ`iœÌ>«iʜÛiÀÊ̈“i]Ê`>Ì>Ê degradation means that code has a material finitude comparable to its analogue «Ài`iViÃÜÀÃ°Ê ÕLˆÌÌ]Ê *>“iÀÊ >˜`Ê 7>Žˆ˜}Ê Ã…ˆvÌÊ Ì…iÊ `ˆÃVÕÃȜ˜Ê >Ü>ÞÊ vÀœ“Ê >˜ÞÊ Greenbergian quest for essences towards a consideration of the distinctive enÃi“LiʜvÊii“i˜ÌÃÊ̅>Ìʓ>ŽiÊÕ«Ê>ʓi`ˆ>ʈ˜ÃÌ>>̈œ˜°Êi`ˆÕ“ÊëiVˆwVˆÌÞ]Ê̅iÞÊ ÃÕ}}iÃÌ]ʏˆiÃʘœÌʈ˜Ê̅iÊ«ÀiVˆÃiʘ>ÌÕÀiʜvÊ`ˆ}ˆÌ>ÊVœ`iÊLÕÌʈ˜Ê̅iÊ՘ˆµÕiÊ`i«œÞ“i˜ÌÊ

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œvÊ ÌiV…˜œœ}ˆiÃÊ ­œ`Ê >˜`Ê ˜iÜ®]Ê “>ÌiÀˆ>Ã]Ê ˜iÌܜÀŽÃ]Ê «ÀœViÃÃiÃÊ >˜`Ê iÛi˜ÌÃÊ Ì…>ÌÊ make up an individual installation.
˜iV`œÌ>Êiۈ`i˜ViÊÃÕ}}iÃÌÃÊ̅>ÌÊ>À̈ÃÌÃÊÀiÌ>ˆ˜Ê̅iÊ`iÈÀiÊvœÀÊ>˜ÊœLiV̇œÀˆi˜Ìed (human) relationship with the materials from which they fashion a work. Where i˜Ê>VœLÃÊVœ˜viÃÃiÃÊ̜Ê>˜ÊiÀœÌˆVÊ>ÌÌ>V…“i˜ÌÊ̜Ê̅iÊw“ˆVÊdispositif]Ê>ÀŽÊ-ÌÀiiÌʈÃÊ `À>ܘÊ̜ʼ̅iÊÌiÝÌÕÀiʜvʈÌÊ°°°Ê܅i˜ÊޜÕÊŜœÌÊ>ÊÀœÊœvÊw“]ʈÌÊLiVœ“iÃÊ>ÊëiVˆwVÊi˜tity and it’s unlike any other thing. It has its own weight and characteristics’.44 When Vœ˜Ìi“«œÀ>ÀÞÊ>À̈ÃÌÃÊ}>̅iÀÊ`ˆÛiÀÃiʜLiVÌÃ]ʓiV…>˜ˆÃ“Ã]ʈ˜`ˆÛˆ`Õ>ÃÊ>˜`ʓœÛˆ˜}Ê image mediums in a spatialised environment with prescribed dimensions and condÃ]Ê̅iÞʘœÌʜ˜ÞÊÀi‡ˆ˜ÛœŽiÊ̅iʓ>ÌiÀˆ>Ê«ÀiÃi˜ViÃʜvÊ̅iÊ>˜>œ}ÕiÊ>}iÊLÕÌÊ>ÃœÊ Ã>̈ÃvÞÊ>ʘii`]ʏˆÌiÀ>ÞÊ>˜`ʓiÌ>«…œÀˆV>Þ]Ê̜Ê}iÌÊ̅iˆÀʅ>˜`ÃÊ`ˆÀÌÞ°Ê

COGNITIVE SCIENCE AND SPECTATORSHIP The eye wants help. The eye says to the brain, ‘Something is happening which I do not in the least understand. You are needed.’ 6ˆÀ}ˆ˜ˆ>Ê7œœv]ÊCinema (1926) ˜Ê
«ÀˆÊ Óää™]Ê >ÃÊ Ì…iÊ Ý«>˜`i`Ê ˆ˜i“>Ê œ˜viÀi˜ViÊ >ÌÊ />ÌiÊ œ`iÀ˜Ê Ü>ÃÊ Üˆ˜`ˆ˜}Ê `œÜ˜]Ê>ÊÜi>ÀÞÊ«>˜iÊœvÊ>V>`i“ˆVÃÊ>˜`Êw““>ŽiÀÃÊi`}i`Ê̜Ü>À`ÃÊ̅iÊVœ˜VÕȜ˜Ê ̅>Ìʈ˜Ê̅iʵÕiÃÌÊvœÀÊ՘`iÀÃÌ>˜`ˆ˜}Ê̅iÊÃÕLiV̽ÃÊÀi>̈œ˜Ã…ˆ«Ê̜Ê̅iʓœÛˆ˜}ʈ“>}i]Ê the limits of speculation had been reached. None of the theories of spectatorship so v>ÀÊ«Àœ«œÃi`ÊL>Ãi`ʜ˜ÊÃÌÀÕVÌÕÀ>É“>ÌiÀˆ>ˆÃ“]Êvi“ˆ˜ˆÃ“]Ê«ÃÞV…œ>˜>ÞÈÃ]ʘœÀÊ̅œÃiÊ Ì…>ÌÊi“«…>ÈÃi`Ê̅iÊÜVˆ>ÉÀi>̈œ˜>Ê`ˆ“i˜Ãˆœ˜]Ê̅iʅ>«ÌˆV]Ê̅iʅˆÃ̜Àˆœ}À>«…ˆV]Ê}iœ}À>«…ˆiÃʜvÊi“œÌˆœ˜Ê­Ոˆ>˜>Ê À՘œ®]Ê̅iʼ«i˜ÃˆÛiÊëiVÌ>̜À½Ê­,>ޓœ˜`Ê iœÕÀ®]Ê œLiVÌÊ Ài>̈œ˜ÃÊ ­À>…>“Ê >À“>˜®Ê VœÕ`Ê «ÀœÛiÊ Liޜ˜`Ê `œÕLÌÊ Ì…>ÌÊ Ì…iÞÊ ÜiÀiÊ VœÀrect. Had the moment arrived when we might profitably turn to brain sciences for ܓiʘiÜÊ>˜ÃÜiÀÃÊqÊ܅ˆV…]ʈvʘœÌÊVœ˜VÕÈÛi]Ê>Ìʏi>ÃÌÊܜՏ`ÊÃÕ}}iÃÌʘiÜÊ>Ûi˜ÕiÃÊ œvʈ˜ÛiÃ̈}>̈œ˜¶Ê It is in the field of cognitive science that empirical research is been carried out to …i«Ê`iÌiÀ“ˆ˜iʅœÜÊÜiÊÜ>ÌV…Êw“Ã]Ê>˜`Ê̅iÊ`i}ÀiiÊ̜Ê܅ˆV…Ê“>ˆ˜ÃÌÀi>“Êw““>ŽiÀÃÊ>˜`Ê>À̈ÃÌÃÊV>˜Ê«Ài`ˆVÌÊ>˜`ʼVÀ>vÌÊ̅iÊۈi܈˜}ÊiÝ«iÀˆi˜Vi½° 45 Cognitive film theory began in 1985 with the publication of David Bordwell’s Narration in Fiction Film] 46 but it was Uri Hasson et al.’s influential studies in neurocinematics 47 that introduced the use of eye-tracking to plot visual attentiveness and fMRI (functional magnetic Àiܘ>˜Viʈ“>}ˆ˜}®Ê̜ÊÀiVœÀ`ÊLÀ>ˆ˜Ê>V̈ۈÌÞÊ>VÀœÃÃÊ>ʘՓLiÀʜvÊÃÕLiVÌÃÊۈi܈˜}Ê the same film. 48Ê ÞÊ “i>ÃÕÀˆ˜}Ê `i}ÀiiÃÊ œvÊ VœÀÀi>̈œ˜Ê LiÌÜii˜Ê ÃÕLiVÌÃ]Ê >ÃÜ˜Ê et al. were able to identify those film styles that were most successful in directˆ˜}ÊëiVÌ>̜Àˆ>Ê>ÌÌi˜Ìˆœ˜°Ê1˜ÃÕÀ«ÀˆÃˆ˜}Þ]ʈÌV…VœVŽˆ>˜Ê˜œˆÀÊV>“iʜÕÌʜ˜Ê̜«°Ê-ˆ˜ViÊ

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Tim Smith. Illustration from the article ‘The Attentional Theory of Continuity Editing’ (2012), Projections: The Journal for Movies and the Mind, 6: 1. © Paramount Vintage. Courtesy of Tim Smith.

̅i˜]ÊiÝÌi˜ÃˆÛiÊi“«ˆÀˆV>Ê>˜`Ê̅iœÀïV>ÊÀiÃi>ÀV…Ê…>ÃÊLii˜Ê՘`iÀÌ>Ži˜Êˆ˜ÊVˆ˜i“>Ê Ã«iVÌ>̜Àň«]ʘœÌʏi>ÃÌÊLÞÊ̅iʓi“LiÀÃʜvÊ̅iÊ-œVˆiÌÞÊvœÀÊ œ}˜ˆÌˆÛiÊ-ÌÕ`ˆiÃʜvÊ̅iÊ œÛˆ˜}Ê“>}iÊ­- -®Êˆ˜VÕ`ˆ˜}Ê >ۈ`Ê œÀ`Üi]ÊÕÀÀ>ÞÊ-“ˆÌ…Ê>˜`Ê*>ՏÊ/>LiÀ…>“° 49 ˜Êœ˜`œ˜]Ê̅iÊ«ÃÞV…œœ}ˆÃÌÊ/ˆ“Ê-“ˆÌ…Ê…>ÃÊ>ÃœÊÕÃi`ÊiÞi‡ÌÀ>VŽˆ˜}ÊÌiV…˜œœ}ÞÊÌœÊ ÃÌÕ`ÞÊÃVÀii˜‡L>Ãi`Ê>ÌÌi˜Ìˆœ˜>ÊÃޘV…Àœ˜Þʈ˜Ê>`ՏÌÃ]Ê>˜`ʓœÀiÊÀiVi˜ÌÞʈ˜Êˆ˜v>˜ÌÃ]Ê hoping to determine how screen literacy develops alongside children’s understanding of the environment. 50 Steven Hinde and colleagues in the Interdisciplinary 6ˆÃˆœ˜Ê}ÀœÕ«Ê>ÌÊ ÀˆÃ̜Ê1˜ˆÛiÀÈÌÞÊ>Àiʈ˜ÛiÃ̈}>̈˜}ÊëiVÌ>̜Àʼ«ÀiÃi˜Vi½Ê“i>ÃÕÀi`Ê ˆ˜Ê`i}ÀiiÃʜvʈ““iÀȜ˜]Ê>˜`Ê>ÌÌi“«Ìˆ˜}Ê̜Ê`iÌiÀ“ˆ˜iʅœÜÊÃVÀii˜Êi˜}>}i“i˜ÌʈÃÊ modulated by shot length in both 2D and 3D footage. Even artists’ film and video >««i>ÀÃÊ̜ÊÃÕLÃVÀˆLiÊ̜Ê}Ո`i`ʈ“>}iÀްʘʣ™™{]Ê>`œ«Ìˆ˜}Ê>ÊVœ˜ÃÌÀÕV̈ۈÃÌʓœ`iÊ œvÊ Vœ}˜ˆÌˆœ˜]Ê >“iÃÊ *iÌiÀÜ˜Ê wÀÃÌÊ ˆ`i˜Ìˆwi`Ê ¼ÃÌÀ>Ìi}ˆiÃÊ œvÊ Vœ“«Ài…i˜Ãˆœ˜½Ê ̅>ÌÊ VœÕ`ÊLiʏi>À˜i`]Êi˜>Lˆ˜}ÊëiVÌ>̜ÀÃÊ̜Êw˜`ʓi>˜ˆ˜}ʈ˜ÊiÛi˜Ê̅iʓœÃÌÊ>LÃÌÀ>VÌÊ or dismantled structural films. 51ÊœœÜˆ˜}Ê*iÌiÀܘ]ÊÕÀÀ>ÞÊ-“ˆÌ…Ê…>ÃÊ«œÃÌՏ>Ìi`Ê Ì…>ÌÊ>Û>˜Ì‡}>À`iÊܜÀŽÃÊi˜}>}iʜÕÀʼ«ÀœLi“Ê܏ۈ˜}½Ê>LˆˆÌˆiÃÊ>˜`ÊÜiÊÃi>ÀV…ÊvœÀÊ̅iÊ ¼Õ˜ˆµÕiʏœ}ˆVʜvÊ̅iÊܜÀŽ½]ʅœÜiÛiÀÊiÜÌiÀˆV° 52Êi>˜Ü…ˆi]Ê>ÌÊ i>Žˆ˜Ê1˜ˆÛiÀÈÌÞʈ˜Ê iLœÕÀ˜i]ÊÀiÃi>ÀV…ʈ˜ÌœÊ¼ÛˆÃˆœ˜ÊÀi}ˆ“iýʈÃÊi“iÀ}ˆ˜}]ʏi`ÊLÞÊ-i>˜Ê,i`“œ˜`Ê>˜`Ê œ`ˆÊ-ˆÌ>°53Ê/…iÊ
ÕÃÌÀ>ˆ>˜ÊÌi>“ÊÀi‡ˆ“>}ˆ˜iÃÊ̅iʘœÌˆœ˜Êœvʼ`œÕLiÊۈȜ˜½Êˆ˜Ê܅ˆV…Ê the spectator is able to apprehend the narrative of the mise-en-scène whilst re“>ˆ˜ˆ˜}ÊÃi˜ÃˆÌˆÛiÊ̜Ê̅iʈ˜Vˆ`i˜Ì>Ê`iÌ>ˆÃʜ˜Ê̅iʓ>À}ˆ˜ÃʜvÊ̅iÊ>V̈œ˜\ʼ>˜ÊœLÃVÕÀiÊ «>ÌÌiÀ˜Êœ˜Ê>ÊÜ>Ê°°°Ê>Ê`ˆÃÌ>˜Ì]ʓˆ˜œÀʜÀʈÀÀiiÛ>˜ÌÊÜ՘`ʍÕÃÌʜvv‡ÃVÀii˜½° 54 This sug}iÃÌÃÊ>˜Ê>ÌÌi˜ÌˆÛi˜iÃÃÊ̜Ê܅>ÌÊ >À̅iÃÊV>i`Ê̅iʼÃÕ««i“i˜Ì>À޽ʓi>˜ˆ˜}ʜvÊ>Ê

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w“Ê>˜`ÊVœÕ`ÊÜiÊ>VVœÕ˜ÌÊvœÀÊ̅œÃiÊ>˜œ“>œÕÃ]ʘœ˜‡VœÀÀi>̈œ˜>ÊÀi뜘ÃiÃÊ̅>ÌÊ Hasson et al. ÀiVœÀ`i`ÊLÕÌÊ`ˆ`ʘœÌÊiÝ«>ˆ˜°55 Tim Smith has suggested that not only `œiÃÊ Ì…iÊ ¼˜œˆÃi½Ê ˆ˜Ê >ÃÜ˜Ê et al.½ÃÊ `>Ì>Ê >ÀˆÃiÊ vÀœ“Ê ¼ˆ˜`ˆÛˆ`Õ>Ê `ˆvviÀi˜ViÃÊ ˆ˜Ê ܅>ÌÊ Ã«iVÌ>̜ÀÃÊ>ÀiÊ>ÌÌi˜`ˆ˜}Ê̜½]ÊLÕÌÊ>ÃœÊÛ>Àˆ>̈œ˜Ãʈ˜Ê¼…œÜÊ̅iÞÊ>ÀiÊ«ÀœViÃȘ}Ê܅>ÌÊ they are attending’. 56

œ}˜ˆÌˆÛiÊ ÃVˆi˜ViÊ …>ÃÊ ÌiÃÌi`Ê >˜`Ê ˜Õ>˜Vi`Ê VÀ>vÌÊ ÜˆÃ`œ“Ê >LœÕÌÊ …œÜÊ ˆ}…̈˜}]Ê sound and editing techniques are used by mainstream filmmakers to orchestrate ̅iÊÌÀ>iV̜ÀÞʜvʜÕÀÊ}>âi°ÊœÀʈ˜ÃÌ>˜Vi]ʜ˜ÃVÀii˜Êv>ViÃÊ}ˆÛiÊÀˆÃiÊ̜Ê>˜Êˆ““i`ˆ>Ìiʈ˜Ìi˜ÃˆwV>̈œ˜ÊœvÊ>ÌÌi˜Ìˆœ˜°Ê>ViÃʼ«Õ˜VÌÕ>ÌiÊ̅iÊÃVi˜i½ÊœLÃiÀÛi`Ê>“iÃÊ Žˆ˜Ã]Ê̅iÞÊ Ài«ÀiÃi˜Ìʼ>ÊVi˜ÌiÀʜvÊ«œÜiÀ]Ê>ʓœ“i˜ÌʜvÊVœ˜Vi˜ÌÀ>Ìi`ʓi>˜ˆ˜}Ê>}>ˆ˜ÃÌÊ̅iÊL>VŽ`Àœ«ÊœvÊiÛiÀÞ`>ÞʜLiVÌý°57 Tim Smith confirms that the eye is also drawn irresistibly ̜ʅœÌÊëœÌÃʜvʏˆ}…Ì]Ê>ÃÊÜiÊ>ÃÊ}iÃÌÕÀiÃÊ>˜`ʓœÛi“i˜Ì]Ê̅iˆÀÊ`ޘ>“ˆÃ“ÊœvÌi˜ÊÕÃi`Ê ÌœÊ`ˆÃ}ՈÃiÊi`ˆÌÃ]Ê̅œÃiÊwÃÃÕÀiÃʈ˜Ê̅iÊyœÜʜvÊiÛi˜ÌÃÊ̅>ÌÊ̅Ài>Ìi˜Ê̜Ê`ˆÃÀÕ«ÌÊ̅iÊ narrative. An action begins on one side of the cut and ends on the other; attention ˆÃÊ`À>ܘÊ̜Ê̅iʓœÛi“i˜Ì]ʘœÌÊ̅iÊi`ˆÌ°58ʘÊw“ʘœˆÀ]ÊÅ>`œÜÃÊÃiÌÊÕ«ÊÌi˜Ãˆœ˜Ãʈ˜Ê ̅iÊ>Õ`ˆi˜ViÊLiV>ÕÃiʜvÊ̅iÊ՘Ž˜œÜ˜Ê̅Ài>ÌÃÊ̅iÞʓˆ}…ÌÊVœ˜Vi>ÊÕÃÌʜÕÌÈ`iÊ̅iÊ vÀ>“i°Ê/…iÊÅ>`œÜʈ˜ÊVˆ˜i“>]ÊÜÀœÌiÊ6ˆÀ}ˆ˜ˆ>Ê7œœv]ʈÃÊ>ʼ“œ˜ÃÌÀœÕÃʵՈÛiÀˆ˜}ÊÌ>`«œi½Ê ̅>ÌÊi“Lœ`ˆiÃʼvi>ÀʈÌÃiv]Ê>˜`ʘœÌÊ̅iÊÃÌ>Ìi“i˜ÌʺÊ>“Ê>vÀ>ˆ`»½°59 Matthew Sweet obÃiÀÛi`Ê̅>ÌÊ܅i˜ÊVÕÌ̈˜}Ê>VÀœÃÃÊ>Êv>Vi]Ê>ÊÅ>`œÜÊV>˜ÊÀi`ÕViÊ>˜Ê>V̜ÀÊ̜ʼ“i>Ìʜ˜Ê>Ê Ã>L½Ê>˜`ÊVœ˜VÕ`iÃÊ̅>ÌÊÅ>`œÜʼ`ˆÃ“i“LiÀÃÊ«iœ«i½° 60Ê-…>`œÜÃ]ʏˆŽiÊw“ÊÃVœÀiÃ]Ê «iÀvœÀ“>˜ViÊÃÌޏiÃ]ʘ>ÀÀ>̈ÛiÊ>ÀVÃÊ>˜`ÊVœÃÌՓiÊvœÀ“Ê«>ÀÌʜvÊ̅iÊiÝÌi˜ÃˆÛiÊۜV>LՏ>ÀÞʜvÊ̅iÊVˆ˜i“>̈Vʏ>˜}Õ>}iÊÜiʅ>ÛiÊ>Êi>À˜i`]ʏi>`ˆ˜}Ê̜ÊÃVÀii˜ÊˆÌiÀ>VÞÊ܅œÃiÊ œÀˆ}ˆ˜ÃÊ/ˆ“Ê-“ˆÌ…ʈÃÊÃi>ÀV…ˆ˜}ÊvœÀʈ˜Ê…ˆÃʈ˜v>˜ÌÊÃÕLiVÌð61 ˜Ê ÀiVi˜ÌÊ Þi>ÀÃ]Ê ÛˆÃˆœ˜Ê ÃVˆi˜ÌˆÃÌÃÊ …>ÛiÊ ÃœÕ}…ÌÊ ÌœÊ Õ˜`iÀÃÌ>˜`Ê Ì…iÊ ˆ“«>VÌÊ œvÊ Vœ˜Ìi“«œÀ>ÀÞʓœÛˆ˜}ʈ“>}iÊi`ˆÌˆ˜}ÊÌiV…˜ˆµÕiðÊ7ˆ`iÊiÃÌ>LˆÃ…ˆ˜}ÊŜÌÃ]ʏi˜}̅ÞÊ `ˆ>œ}ÕiÊ>˜`ÊiÝÌi˜`i`Ê`ÕÀ>̈œ˜ÃÊv>“ˆˆ>ÀÊ̜Ê>Õ`ˆi˜ViÃʈ˜Ê̅iÊ£™{äÃÊ>˜`Ê£™xäÃʅ>ÛiÊ Lii˜Ê}À>`Õ>ÞʜÛiÀÌ>Ži˜Êˆ˜Ê“>ˆ˜ÃÌÀi>“Ê“œÛˆiÃÊ>˜`Ê/6ÊLÞÊÀ>«ˆ`Êi`ˆÌˆ˜}]ÊÀi`ÕVi`Ê ˆÕ“ˆ˜>̈œ˜]ÊviÜiÀÊܜÀ`ÃÊ>˜`ʈ˜VÀi>Ãi`ʓœÌˆœ˜Ê}i˜iÀ>Ìi`ÊLÞÊLœÌ…Ê>ʓœÀiʓœLˆiÊ camera and amplified action within the frame. We are also witnessing a greater use œvʓÕÈVÊ̜ʓ>˜ˆ«Õ>ÌiÊi“œÌˆœ˜Ã]Ê̈}…ÌiÀÊvÀ>“ˆ˜}]Ê>˜`Ê>ÃÊ/ˆ“Ê-“ˆÌ…Ê…>ÃʜLÃiÀÛi`]Ê a concentration of visual attention in the centre of the picture and a concomitant reduction in peripheral visual information. 62 Together with David Bordwell in the £™ÇäÃ]Ê̅iÊw“ÊÃÌ>̈Ã̈Vˆ>˜Ê >ÀÀÞÊ->ÌÊ`iÛiœ«i`Ê̅iÊ>ÀÌʜvʼVˆ˜i“iÌÀˆVýÊ܈̅Ê܅ˆV…Ê ̅iÞÊV…>ÀÌi`Ê̅iÊiۜṎœ˜ÊœvÊw“ˆVÊÃÌޏiÃʜÛiÀÊ̅iÊÞi>ÀÃ] 63Ê>˜`Ê>“iÃÊ ÕÌ̈˜}ʅ>ÃÊ registered the reduction of shot lengths between 1935 and 2010 from an average of 15 seconds to 3.5 seconds.64Ê
VVœÀ`ˆ˜}Ê̜Ê-“ˆÌ…]Ê̅iÊÀiÃՏÌʜvÊ̅ˆÃÊňvÌʈ˜ÊVˆ˜i“>̈VÊ}À>““>ÀʈÃÊ̅>ÌÊ̅iÊëiVÌ>̜ÀÊLiVœ“iÃÊ«>ÃÈÛiÆʼޜÕÊÜ>ˆÌÊvœÀÊ̅iʈ˜vœÀ“>̈œ˜Ê ÌœÊ Vœ“iÊ ÌœÊ ÞœÕÊ À>̅iÀÊ Ì…>˜Ê ܜÀŽÊ ÌœÊ `ˆÃVœÛiÀÊ ˆÌÊ Ì…ÀœÕ}…Ê ޜÕÀÊ «iÀVi«ÌÕ>ÉVœ}˜ˆÌˆÛiÊ system’.65ÊÀœ“Ê̅iÊ«iÀëiV̈ÛiʜvÊ>À̈ÃÌýÊw“Ê>˜`Êۈ`iœ]Ê̅iʈÀœ˜ÞʈÃÊ̅>ÌʅˆÃ̜ÀˆV>Þ]ÊÀ>«ˆ`‡wÀiÊi`ˆÌˆ˜}ÊÜ>ÃÊi“«œÞi`Ê«ÀiVˆÃiÞÊ̜ÊŜVŽÊëiVÌ>̜ÀÃʜÕÌʜvÊ̅iˆÀÊ«>ÃÈÛiÊ

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consumption of film and televisual narratives. The gap between the manipulation of >Õ`ˆi˜ViÊ>ÌÌi˜Ìˆœ˜Êˆ˜Ê̅iʓ>ˆ˜ÃÌÀi>“Ê>˜`Ê̅iʼ«Àœ`ÕV̈Ûi½Ê`ˆÃܘ>˜ViÃÊi˜}i˜`iÀi`Ê by avant-garde techniques to produce in the viewer a critical awareness of process appears to be narrowing.66
ÃÊÜiÊÃ>Üʈ˜ÊV…>«ÌiÀÊiˆ}…Ì]ʈ˜Ê…ˆÃÊiÃÃ>ÞÊThe Photoplay: A Psychological Study]Ê Õ}œÊؘÃÌiÀLiÀ}Ê>À}Õi`Ê̅>ÌÊw“ˆVʏ>˜}Õ>}iÊÀi«Àœ`ÕViÃÊÜ>ÞÃʜvÊÃiiˆ˜}Ê̅>ÌÊ>ÀiÊ >˜>œ}œÕÃÊ ÌœÊ Ì…iÊ Vœ}˜ˆÌˆÛiÊ “iV…>˜ˆÃ“ÃÊ ÜiÊ ÕÃiÊ ÌœÊ «iÀViˆÛiÊ Ì…iÊ ÜœÀ`°Ê œÜiÛiÀ]Ê ˆ˜Ê ̅iÊ ˆ}…ÌÊ œvÊ Ì…iÊ iۜÛˆ˜}Ê >˜}Õ>}iÊ œvÊ “>ˆ˜ÃÌÀi>“Ê “i`ˆ>Ê ÛˆÃˆœ˜]Ê /ˆ“Ê -“ˆÌ…]Ê ˆŽiÊ *iÌiÀܘÊLivœÀiʅˆ“]ʈÃʘœÜÊVœ˜VÕ`ˆ˜}Ê܅>Ìʈ˜ÌՈ̈œ˜Ê>ÃœÊVœ˜wÀ“ÃÊqÊ̅>ÌÊVˆ˜i“>̈VÊ ˆÌiÀ>VÞʈÃʈ˜`ii`Ê>VµÕˆÀi`°Ê-“ˆÌ…Ê…>ÃʅޫœÌ…iÈÃi`Ê̅>ÌʅœÀÀœÀÊLÕvvÃ]ÊvœÀʈ˜ÃÌ>˜Vi]Ê `iÛiœ«Ê >˜Ê ¼iÝ«iÀ̈ÃiÊ ˆ˜Ê ۈi܈˜}½]Ê >˜ÌˆVˆ«>̈˜}Ê iÛi˜ÌÃÊ ˆ˜Ê ̅iÊ `ˆi}iÈÃÊ Ü…iÀiÊ Ì…œÃiÊ new to the genre might account for divergent attentional eye patterns. 67 Smith also i“«…>ÈÃiÃÊ̅iÊÀœiʜvʓi“œÀÞʈ˜Ê̅iÊ>««iÀVi«Ìˆœ˜ÊœvÊw“ˆVÊVœ˜Ìi˜Ì\ʼ"ÕÀʓi“œÀˆiÃÊ >ÀiÊ Vœ˜ÃÌ>˜ÌÞÊ Liˆ˜}Ê Õ«`>Ìi`Ê LÞÊ ˜iÜÊ «iÀVi«ÌÕ>Ê iÝ«iÀˆi˜ViÃÊ >˜`Ê œÕÀÊ «iÀVi«ÌÕ>Ê iÝ«iÀˆi˜ViÃÊ>ÀiÊ>Ü>ÞÃÊV>ÃÌʈ˜Ê̅iÊÅ>`œÜʜvʜÕÀʓi“œÀˆið½68Ê/…iÊ«Ài‡i݈ÃÌi˜ViÊ œvʈ˜`ˆÛˆ`Õ>Ê“i“œÀÞ]ÊLœÌ…ÊVՏÌÕÀ>Ê>˜`Ê«iÀܘ>]Ê>ÃÊÜiÊ>ÃʼiÝ«iÀ̈Ãiʈ˜Êۈi܈˜}½Ê L>Ãi`ʜ˜Ê«ÀiۈœÕÃÊiÝ«œÃÕÀiÊ̜Ê̅iÊw“ÊV>˜œ˜Ê…>Ãʏi`Ê>˜Ê …ÀˆÃ̈iÊ̜Êi“«…>ÈÃiÊ̅iÊ `ˆÛiÀÈÌÞʜvÊëiVÌ>̜Àˆ>ÊiÝ«iÀˆi˜ViðÊ+՜̈˜}ʘ>̈œ˜>Ê>Õ`ˆi˜ViÊÃÕÀÛiÞÃ]Ê …ÀˆÃ̈iÊ >À}ÕiÃÊ̅>Ìʼfilms mean different things to different peopleÆʜÀʓœÀiÊ«ÀiVˆÃiÞ]ÊV>˜Ê …>ÛiÊ `ˆvviÀi˜ÌÊ “i>˜ˆ˜}ÃÊ >VVœÀ`ˆ˜}Ê ÌœÊ Vœ˜ÌiÝÌÊ >˜`Ê ÃÕLiV̇«œÃˆÌˆœ˜½°69 Christie’s >ÃÃiÀ̈œ˜Ê>ˆ}˜ÃÊ܈̅ʘœÌˆœ˜ÃʜvÊëiVÌ>̜Àň«Ê`iÛiœ«i`ʈ˜Ê̅iÊVœ˜ÌiÝÌʜvʓœÛˆ˜}Ê ˆ“>}iÊ>ÀÌÊ`ˆÃVÕÃÃi`ʈ˜ÊV…>«ÌiÀÊiˆ}…Ì°ÊœÜiÛiÀ]Ê̅iÊw˜`ˆ˜}ÃʜvÊ>Õ`ˆi˜ViÊÃÕÀÛiÞÃÊ>ÀiÊ based on verbal evidence provided by respondents after the event and can neither LiÊ«ÀœÛi`ʘœÀÊ`ˆÃ«ÀœÛi`ÊLÞÊ̅iʓi>ÃÕÀi“i˜ÌʜvÊyÕVÌÕ>̈œ˜Ãʈ˜ÊœÛiÀÌÊ>ÌÌi˜Ìˆœ˜]ʘœÀÊ LÞÊV…>À̈˜}ÊVœÀÀi뜘`i˜ViÃʈ˜ÊLÀ>ˆ˜Ê>V̈ۈÌÞÊ>VÀœÃÃÊ>ʘՓLiÀʜvÊÃÕLiVÌÃ°Ê This introduces some drawbacks to the empirical approach. If scientists measure only neuronal activity in the anterior brain (whose functions are still largely a mysÌiÀޮʜÀÊÀiÃÌÀˆVÌÊ̅iˆÀÊÃÌÕ`ÞÊ̜ʓœ˜ˆÌœÀˆ˜}ÊiÞiʓœÛi“i˜ÌÃÊ`ÕÀˆ˜}ÊÃVÀii˜Êۈi܈˜}]Ê they can deduce neither the quality of attention that is being brought to bear on the w“ÊÃiµÕi˜Vi]ʘœÀÊ̅iÊi“œÌˆœ˜>ÊœÕÀ˜iÞÊ>˜Êˆ˜`ˆÛˆ`Õ>Ê“ˆ}…ÌÊLiÊ՘`iÀÌ>Žˆ˜}Ê>ÃÊÅiÊ Ü>ÌV…iðÊ/…iʏˆ“ˆÌ>̈œ˜ÃʜvÊÃÌ>̈Ã̈VÃÊL>Ãi`ʜ˜Ê>ÌÌi˜Ìˆœ˜>ÊiÝVˆÌ>̈œ˜Ê>œ˜iʅ>Ûi]Ê>ÃÊ /ˆ“Ê-“ˆÌ…ÊVœ˜wÀ“Ã]ʏi`ʓ>˜Þʼ…Þ«œÌ…iÈÇ`ÀˆÛi˜ÊÃÌÕ`ˆiÃÊ̜ʓ>ÌV…ÊiÞiʓœÛi“i˜ÌÃÊ œÀÊLÀ>ˆ˜Ê>V̈ۈÌÞÊ̜ÊLi…>ۈœÕÀ>Ê“i>ÃÕÀiÃÊÃÕV…Ê>ÃÊÃiv‡Ài«œÀÌi`Êi“œÌˆœ˜>ÊÃÌ>ÌiÃ]Ê «iÀVi«Ìˆœ˜]ÊVœ“«Ài…i˜Ãˆœ˜ÊœÀʓi“œÀÞ½°70 The Deakin group is supplementing eyeÌÀ>VŽˆ˜}Ê܈̅ÊÌÀˆ>˜}Տ>̈œ˜Ê«œˆ˜ÌÃÊ>`ۜV>Ìi`ÊLÞÊÕÀÀ>ÞÊ-“ˆÌ…]ʈ˜VÕ`ˆ˜}ʓi>ÃÕÀiÃÊ œvÊ«Õ«ˆÊ`ˆ>̈œ˜]ʅi>ÀÌÊÀ>ÌiÊ>˜`ÊÀiëˆÀ>̈œ˜]Êv>V̜ÀÃÊ̅>Ìʓˆ}…ÌÊ«ÀœÛˆ`iÊiۈ`i˜ViʜvÊ >vviV̈ÛiÊëiVÌ>̜Àˆ>ÊiÝ«iÀˆi˜Vi°71 Gareth Polmeer has identified another problem ܈̅Ê̅iÊVœ}˜ˆÌˆÛiÊÃVˆi˜ViÊ>««Àœ>V…]Ê>À}Ո˜}Ê̅>ÌÊiÛi˜Ê̅iÃiÊVœ‡œÀ`ˆ˜>Ìi`Êi“«ˆÀˆV>Ê “i̅œ`ÃʜvÌi˜Êv>ˆÊ̜Ê`ˆvviÀi˜Ìˆ>ÌiÊ>“œ˜}ÊÃÕLiVÌÃÊ>˜`ÊÀiviÀÊ̜ʼ̅i½ÊÃÕLiVÌÊ܅i˜]Ê ˆ˜Êv>VÌ]ÊÛ>Àˆ>̈œ˜ÃÊi݈ÃÌÊLiV>ÕÃiʼ«À>V̈ViÊ>˜`ʈ`iœœ}ÞÊ°°°Êˆ“«>VÌʜ˜Ê̅iÊ«>À̈VՏ>À]Ê

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concrete circumstances of the individual’.72 Polmeer contends that the role of his̜ÀˆV>]Ê«œˆÌˆV>Ê>˜`ʈ`iœœ}ˆV>ÊvœÀViÃʜ˜ÊVœ}˜ˆÌˆœ˜Ê“ÕÃÌÊ>ÃœÊLiÊÌ>Ži˜Êˆ˜ÌœÊ>VVœÕ˜ÌÊ ˆvÊ̅iÃiÊiÝ«iÀˆ“i˜ÌÃÊ>ÀiÊ̜Ê`iˆÛiÀʘœÌʜ˜ÞÊÃÌ>̈Ã̈V>ÞÊÈ}˜ˆwV>˜ÌÊÀiÃՏÌÃ]ÊLÕÌÊ>ÃœÊ knowledge that is socially relevant. Tim Smith reminds us that in averaging responsiÃÊ>VÀœÃÃÊ«>À̈Vˆ«>˜ÌÃ]ʵÕ>˜ÌˆÌ>̈Ûiʓi̅œ`ÃÊÀiÛi>Ê̅iʼÃÌ>̈Ã̈V>Ê`ˆÃÌÀˆLṎœ˜ÊœvÊ the sample’.73Ê /…ˆÃÊ >Ài>`ÞÊ ÌiÃÊ ÕÃÊ ¼…œÜÊ ºˆ˜`ˆÛˆ`Õ>»Ê >Ê «>À̈Vˆ«>˜Ì½ÃÊ iÝ«iÀˆi˜ViÊ ˆÃ½]Ê …œÜÊv>ÀʈÌÊ`ˆÛiÀ}iÃÊvÀœ“Ê̅iʓi>˜°Ê œÌ܈̅ÃÌ>˜`ˆ˜}]Ê-“ˆÌ…Ê>VŽ˜œÜi`}iÃÊ̅iʈ“«œÀÌ>˜ViʜvÊÌÀˆ>˜}Տ>̈œ˜ÊÀiÃi>ÀV…Ê“i̅œ`ÃÊ̅>ÌÊ>ÃœÊˆ˜VœÀ«œÀ>ÌiÊÛ>Àˆ>LiÃʜvÊ>}i]Ê i̅˜ˆVˆÌÞÊ>˜`Ê}i˜`iÀ]Ê>˜`ʈ˜ÊëˆÌiʜvÊÀiÃiÀÛ>̈œ˜ÃÊ>LœÕÌÊ̅iÊÀiˆ>LˆˆÌÞʜvÊwÀÃ̇…>˜`Ê >VVœÕ˜ÌÃ]Ê>ÃÊ-“ˆÌ…ÊÀi«œÀÌÃ]ÊÀiÃi>ÀV…iÀÃÊ>ÀiÊLi}ˆ˜˜ˆ˜}Ê̜ʈ˜VÕ`iʵÕiÃ̈œ˜˜>ˆÀiÃʈ˜Ê ̅iˆÀÊÃÌÕ`ˆiÃÊ>œÜˆ˜}Ê«>À̈Vˆ«>˜ÌÃÊ̜ÊÀiVœÀ`Ê̅iˆÀÊÃÕLiV̈ÛiÊÀi뜘ÃiÃ]ʈ˜`ˆV>̈˜}Ê Ì…iʏiÛiÃʜvÊviiˆ˜}Ê>˜`Ê>vviVÌÊLiˆ˜}ÊiÝ«iÀˆi˜Vi`ʈ˜Êi>V…ÊV>Ãi° I will end this brief foray into cognitive science and the moving image with some µÕiÃ̈œ˜ÃÊ̅>ÌÊVœÕ`ÊÕÃivՏÞÊLiÊÀ>ˆÃi`ʈ˜Ê>˜Êi“«ˆÀˆV>ÊÀiÃi>ÀV…ÊVœ˜ÌiÝÌ°Ê7ˆÌ…ÊܓiÊ ˜œÌ>LiÊiÝVi«Ìˆœ˜ÃÊÃÕV…Ê>ÃÊ̅iÊܜÀŽÊœvÊ>“iÃÊ*iÌiÀܘÊ>˜`ÊÕÀÀ>ÞÊ-“ˆÌ…]ÊVœ}˜ˆÌˆÛiÊ research has concentrated on mainstream film and television and the methodology i“«œÞi`Ê ˆÃÊ }i>Ài`Ê ÌœÜ>À`ÃÊ Ì…iÊ ˆ˜`ÕÃÌÀÞ°Ê ˜Ê ̅iÊ ¼>ÌÌi˜Ìˆœ˜Ê iVœ˜œ“Þ½]Ê Ì…iÊ «ÀˆœÀˆÌÞÊ is to find ever more precise techniques for maintaining spectatorial engrossment ˆ˜Ê̅iÊŜÀÌÊÌiÀ“]ÊvœÀʼVÀ>v̈˜}Ê̅iÊۈi܈˜}ÊiÝ«iÀˆi˜Vi½Ê>˜`ÊVœ˜ÌÀœˆ˜}Ê`iÈÀi]Êiëicially the desire for consumer products and services. This is where a concern with ethics returns. Having demonstrated the capability of certain cinematic modes to …œ`ÊëiVÌ>̜Àˆ>Ê>ÌÌi˜Ìˆœ˜]Ê܅>ÌʈÃÊ̅iÊÀi뜘ÈLˆˆÌÞʜvÊ̅iʈ“>}i‡“>ŽiÀÊ܅œÊÕÃiÃÊ Ì…i“ʈ˜ÊiˆÌ…iÀÊ>ÊVœ““iÀVˆ>ÊœÀÊ>˜Ê>ÀÌÊVœ˜ÌiÝ̶Ê/…ˆÃʵÕiÃ̈œ˜Êi>`ÃÊ̜Ê̅iÊ«iÀi˜˜ˆ>Ê ˆÃÃÕiÊ œvÊ Ài«ÀiÃi˜Ì>̈œ˜Ê >˜`Ê ˆÌÃÊ «œÜiÀÊ ÌœÊ “œÕ`Ê iÝ«iÀˆi˜Vi°Ê /œÊ “ÞÊ Ž˜œÜi`}i]Ê Àisearchers in the cognitive sciences rarely consider the content of the filmic stimulus ̜Ê܅ˆV…Ê̅iÞÊiÝ«œÃiÊÃÕLiVÌÃ]ÊLiޜ˜`ʈÌÃÊÃÌޏˆÃ̈VÊ}i˜Ài°ÊœÀʈ˜ÃÌ>˜Vi]Ê̅iÊ i>Žˆ˜Ê ÜiLÈÌiÊŜÜÃÊ>ÊVˆ«ÊvÀœ“Ê>ÊÀiVi˜ÌÊi«ˆÃœ`iʜvÊ̅iÊ ÀˆÌˆÃ…ÊÃiÀˆ>]ÊSherlock (2012) in which criminals break into Sherlock’s home and his elderly housekeeper Mrs. Hudson (Una Stubbs) is physically intimidated by the thugs while an unruffled and supercilious Sherlock (Benedict Cumberbatch) mocks Mrs. Hudson for betraying her fear. The narrative accompanying the analysis of this clip does not mention the content and fails to consider how it might impact differently on male and female spectators.
˜œÌ…iÀÊ«ÀœLi“ÊÀi>ÌiÃÊ̜Ê̅iÊVÕÀÀi˜ÌÊiÝ«iÀˆ“i˜Ì>Ê“i̅œ`œœ}ˆiÃÊ̅>ÌÊÀiVœÀ`ʜ˜ÞÊ Ì…iʈ““i`ˆ>ÌiÊÀi뜘ÃiÃʜvÊ̅iʅՓ>˜ÊÃi˜ÃœÀˆÕ“Ê̜Ê>ÊȘ}iÊw“ÊVˆ«ÊÀ>̅iÀÊ̅>˜]Ê >ÃÊÕÀÀ>ÞÊ-“ˆÌ…ÊÃÕ}}iÃÌÃ]Ê̅iÊVՓՏ>̈Ûiʈ“«ÀiÃȜ˜Êœvʼ܅œiʓœÛˆiý°74 One might >Î]Ê܅>Ì]Ê>VÀœÃÃÊ>ʏˆvï“iʜvÊÌiiۈȜ˜Êۈi܈˜}]ʈÃÊ̅iÊivviVÌʜvÊÃÕÃÌ>ˆ˜i`ÊiÝ«œÃÕÀiÊ ÌœÊ“i`ˆ>̈Ãi`ʈ“>}iÃʜv]ÊÃ>Þ]Êۈœi˜ViÊ>˜`Ê̅iÊ>LÕÃiʜvÊܜ“i˜Ê>˜`ÊV…ˆ`Ài˜¶Ê/…ˆÃÊ >ÃÌʵÕiÃ̈œ˜ÊV>˜ÊLiÊÀiVœ}˜ˆÃi`Ê>Ãʜ˜iÊ̅>ÌʓœÛˆ˜}ʈ“>}iÊ>À̈ÃÌÃ]ÊÜVˆœœ}ˆÃÌÃÊ>˜`Ê `iÛiœ«“i˜Ì>Ê«ÃÞV…œœ}ˆÃÌÃʅ>ÛiÊLii˜Ê>Έ˜}ÊvœÀÊ>ÊÛiÀÞʏœ˜}Ê̈“i]Ê>˜`ʜ˜iÊ̅>ÌÊÊ …>ÛiÊÀi…i>ÀÃi`Ê>ÌÊÛ>ÀˆœÕÃʍ՘VÌÕÀiÃʈ˜Ê̅ˆÃÊÌiÝÌ°75

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In spite of the reservations one might have about the wider implications of a Vœ}˜ˆÌˆÛiÊÃVˆi˜ÌˆwVÊ>««Àœ>V…]ÊÊLiˆiÛiÊ̅>ÌʈÌʅ>ÃÊ̅iÊ«œÌi˜Ìˆ>Ê̜Ê̅ÀœÜÊܓiʏˆ}…ÌÊ œ˜Ê̅iÊÃÕLiVÌʜvÊ̅ˆÃÊLœœŽ°Ê
Ì…œÕ}…Ê
Û>Ê œlÊ>˜`ʰʰʈLܘʅ>ÛiÊVœ˜Ãˆ`iÀi`Ê̅iÊ “œLˆˆÌÞʜvÊ̅iÊ«iÀViˆÛˆ˜}Ê>}i˜Ì]76 most of the empirical research into film reception …>ÃÊVœ˜Vi˜ÌÀ>Ìi`ʜ˜ÊÃÌ>̈VÊÃÕLiVÌÃÊ܈Ài`ÊÕ«Ê̜ÊȘ}iÊÃVÀii˜Ã°Ê œÕ`Ê«…ÞȜœ}ˆV>Ê “œ˜ˆÌœÀˆ˜}ÊLiÊÕÃivՏÞÊ>««ˆi`ʈ˜Ê̅iÊVœ˜ÌiÝÌʜvÊ>ʓœÛˆ˜}ʈ“>}iʈ˜ÃÌ>>̈œ˜Êˆ˜Ê܅ˆV…Ê viewers are free to wander through a space and where they encounter a series of ÃVÀii˜Ã]ÊȘ}ÞʜÀʈ˜ÊVÕÃÌiÀö77Ê
ÌÊ̅ˆÃÊ«œˆ˜Ì]ʜ̅iÀÊv>V̜ÀÃÊܜՏ`ÊVœ“iʈ˜ÌœÊ«>Þ]Ê ÃÕV…Ê>ÃÊ̅iÊÜVˆ>Êë>ViʜvÊ̅iÊ}>iÀÞ]Ê܅>ÌÊ«iŽÊ>ޘ>ÀÊV>ÃÊ̅iʼVœiV̈ÛiÊÜVˆ>Ê iÝ«iÀˆi˜Vi½°78ÊiÀi]ÊViÀÌ>ˆ˜Ê«Ài‡ÃiÌÊLi…>ۈœÕÀ>ÊVœ˜Ûi˜Ìˆœ˜ÃÊ>««ÞÊ>˜`Ê̅iÃiÊܜՏ`Ê discipline how spectators negotiate the space of galleries. Seating undoubtedly influences where and how long they linger and the architecture of the space also modulates those decisions. So much depends on what else a spectator can see out of the corner of her eye and this is where the role of peripheral vision would come into ̅iÊiµÕ>̈œ˜°Ê Þi‡ÌÀ>VŽˆ˜}ÊÌiV…˜œœ}ÞʏœVŽÃÊ̜Ê̅iÊ«œÃˆÌˆœ˜ÊœvÊ̅iÊvœÛi>]Ê̅iÊVi˜ÌÀiÊ œvÊۈȜ˜]Ê>˜`ʈ}˜œÀiÃÊ«iÀˆ«…iÀ>ÊۈȜ˜]Ê܅ˆV…ʈÃÊ>`>«Ìi`Ê̜ʫiÀViˆÛiʓœÌˆœ˜]ÊiëiVˆ>Þʈ˜ÊÀi`ÕVi`ʏˆ}…ÌÊVœ˜`ˆÌˆœ˜Ã]Ê>ÊÀiw˜i`Êv>VՏÌÞʜvÊۈȜ˜Ê̅>ÌʈÃÊVÀˆÌˆV>Ê̜Ê>ʓœLˆiÊ spectator traversing a poorly lit installation space. Even when viewing a frontally«ÀiÃi˜Ìi`ÊVˆ˜i“>ÊÃVÀii˜]Ê«iÀˆ«…iÀ>ÊۈȜ˜Ê“ÕÃÌÊÃ̈ÊLiÊ«>ވ˜}Ê>ÊÀœi]ÊV…iVŽˆ˜}Ê̅iÊ œÕÌiÀÊi`}iÃʜvÊ̅iʈ“>}i]Ê>˜`ʈ˜ÌiÀ˜>Þ]ÊÀi}ˆÃÌiÀˆ˜}Ê̅œÃiÊ`ˆÃÌ>˜ViÊVÕiÃÊ̅>ÌʜÀˆi˜ÌÊ Ì…iʜ˜ÃVÀii˜Êw}ÕÀiÃʈ˜Ê>ʏœ}ˆV>Ê̅Àii‡`ˆ“i˜Ãˆœ˜>Êë>ViÆÊ̅iÊVÕÀÛiʜvÊ>ÊÃÌ>ˆÀV>Ãi]Ê Ì…iÊvÀ>“iʜvÊ>Ê܈˜`œÜ]Ê>Ê܈˜`ˆ˜}ʏ>˜iÊ>˜ÌˆVˆ«>̈˜}Ê̅iʍœÕÀ˜iÞÊ>ÊV…>À>VÌiÀÊ܈ÊÌ>ŽiÊ as the narrative concludes.79 Could it be that those anomalous readings Tim Smith >˜`ʜ̅iÀÃʅ>ÛiÊ܈̘iÃÃi`ʈ˜Ê܅ˆV…ÊܓiÊÃÕLiVÌÃÊ>««i>ÀʘœÌÊ̜ÊLiÊvœœÜˆ˜}Ê̅iÊ main action are simply instances when they are momentarily verifying information ̅>ÌÊ«iÀˆ«…iÀ>ÊۈȜ˜Ê…>ÃÊÈ}˜>i`¶ Murray Smith has also raised questions about empathy80 and the role of mirÀœÀʘiÕÀœ˜ÃÊ̅>ÌÊ«Àœ`ÕViÊ܅>ÌʅiÊV>Ãʼ“œÌœÀʓˆ“ˆVÀÞ½]Ê>˜Ê>vviV̈ÛiÊÀi뜘ÃiÊ̅>ÌÊ v>ÃÊŜÀÌʜvÊi“«>̅Þ]ÊLÕÌÊV>˜Ê«ÀœÛˆ`iÊ̅iʼÃV>vvœ`½ÊvœÀʼۜˆÌˆœ˜>½Êi“«>̅ް 81ʼ/…iÊ Õ˜`iÀÞˆ˜}ʅޫœÌ…iÈý]Ê-“ˆÌ…ÊiÝ«>ˆ˜Ã]ʼˆÃÊ̅>ÌÊw““>ŽiÀÃʅ>ÛiÊ>˜Êˆ˜ÌՈ̈ÛiÊ՘`iÀÃÌ>˜`ˆ˜}ʜvÊ̅iÃiÊ`ˆvviÀi˜ÌÊLÕÌÊÀi>Ìi`ʓiV…>˜ˆÃ“Ã]Ê>˜`ÊV>˜Ê̅ÕÃÊÅ>«iÊ̅iˆÀÊw“ÃÊ ÌœÊiˆVˆÌÊ«>À̈VՏ>ÀÊ«>ÌÌiÀ˜Ãʜvʓˆ“ˆVÀÞ]Ê>˜`Êi“«>̅޽° 82 The artist clearly has an inÛiÃ̓i˜Ìʈ˜Ê̅iÊivwV>VÞʜvʅiÀÊ«À>V̈Vi]ʈ˜ÊˆÌÃÊ>LˆˆÌÞÊ̜ÊÀœÕÃiÊÃޓ«>̅ïVÊÀi>V̈œ˜ÃÊ ˆ˜Ê>˜Ê>Õ`ˆi˜Vi]Ê܅i̅iÀÊi“œÌˆœ˜>ÊœÀʈ˜ÌiiVÌÕ>]Ê«>À̈VՏ>ÀÞÊ܅i˜Ê̅>ÌÊ>Õ`ˆi˜ViÊ is to be guided through a field of multiple elements in the built environment of an installation. Although both Bordwell and Peterson have intuited what filmmakers ¼ÕÃÕ>ÞÊV>˜½ÌÊÌiÊÕýÊ>LœÕÌÊ̅iˆÀʈ˜ÛiÃ̓i˜ÌÃʈ˜Ê>ÊܜÀŽ] 83 the cognitive research I …>ÛiÊ̜ÕV…i`ʜ˜ÊvœVÕÃiÃÊiÝVÕÈÛiÞʜ˜Ê̅iÊÀi뜘ÃiÃʜvÊ̅iÊëiVÌ>̜À°Ê-œ]ÊÊ܈Êi˜`Ê …iÀiÊ܈̅Ê>Êw˜>ÊµÕiÃ̈œ˜\Ê>«>ÀÌÊvÀœ“Ê̅iʓ>ÌiÀˆ>Ê>`Û>˜Ì>}iÃʜvÊÃÕVViÃÃ]Ê܅>ÌʈÃʈ˜Ê ˆÌÊvœÀÊ̅iÊ>À̈Ã̶

CLOSING THOUGHTS

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THE ROLE OF THE ARTIST ...the colonel was certainly not going to waste his time and energy making love to beautiful women unless there was something in it for him. œÃi«…ÊiiÀ]ÊCatch 22 (1961) ˜Ê̅iʏ>ÌiÊÌÜi˜Ìˆi̅ÊVi˜ÌÕÀÞ]ʓ>˜ÞÊVՏÌÕÀ>Ê̅iœÀˆÃÌÃÊÃÕLÃVÀˆLi`Ê̜Ê̅iÊ«œÃ̇ÃÌÀÕVÌÕÀ>Ê ۈiÜÊ Ì…>ÌÊ >˜Ê >ÀÌܜÀŽÊ ˆÃÊ LÕÌÊ >Ê «Àœ`ÕVÌÊ œvÊ ˆ˜ÌiÀÌiÝÌÕ>Ê ˜iÌܜÀŽÃÊ œvÊ “i>˜ˆ˜}°Ê /…iÊ >À̈ÃÌ]Ê “i>˜Ü…ˆi]Ê Ü>ÃÊ Ài`ÕVi`Ê ÌœÊ >Ê Žˆ˜`Ê œvÊ Ûi˜ÌÀˆœµÕˆÃÌ]Ê Liˆ˜}Ê ¼Ã«œŽi˜½Ê LÞÊ language.84Ê/…iʈ˜`ˆÛˆ`Õ>ÊiÝ«ÀiÃÈÛiÊ>}i˜VÞʜvÊ̅iʓ>ŽiÀÊÜ>ÃÊ`ˆÃ>ۜÜi`ʈ˜Ê>V>`i“ˆVÊ ÜÀˆÌˆ˜}]Ê Ü…ˆiÊ £™ÈäÃÊ >˜`Ê £™ÇäÃÊ >À̈ÃÌÃ]Ê œvÌi˜Ê ܜÀŽˆ˜}Ê ˆ˜Ê VœiV̈ÛiÃ]Ê Ã>ÜÊ Ì…i“ÃiÛiÃÊ>ÃʼVՏÌÕÀ>ÊܜÀŽiÀýÊ܈̅Ê̅iÊi“«…>ÈÃʜ˜Ê}ÀœÕ«ÊVÀi>̈ۈÌÞÊÀ>̅iÀÊ̅>˜Ê singular achievement. Feminists did not wish to replicate the spurious art world meritocracy based on male artists’ unique endowment with what Linda Nochlin termed ¼Ì…iÊ}œ`i˜Ê˜Õ}}iÌʜvÊ>À̈Ã̈VÊ}i˜ˆÕý° 85ÊœÜiÛiÀ]Ê̅iÊVՏÌÕÀ>ÊV>«ˆÌ>Êœvʓœ`iÀ˜ˆÃÌÊ artists working in painting and sculpture remained undiminished and towards the i˜`ʜvÊ̅iÊ£™™äÃ]Ê̅iÊÃÌ>ÌÕÃʜvʓœÛˆ˜}ʈ“>}iÊ>À̈ÃÌÃÊ>ÃœÊLi}>˜Ê̜ÊÀˆÃiÊ܅i˜Ê«À>V̈̈œ˜iÀÃÊÃÕV…Ê>ÃÊ ˆÊ6ˆœ>]Ê>À̅>Ê,œÃiÀÊ>˜`ÊÃ>>VÊՏˆi˜]ʜ˜ViÊÛ>ˆ>˜ÌÞÊÃÌÀÕ}}ˆ˜}ʜ˜Ê ̅iʓ>À}ˆ˜ÃʜvÊiÝ«iÀˆ“i˜Ì>Êۈ`iœ]Ê}>ˆ˜i`ʈ˜ÌiÀ˜>̈œ˜>ÊÀiVœ}˜ˆÌˆœ˜°ÊœÜiÛiÀÊÃiv‡ ivv>Vˆ˜}ÊܓiÊ>Û>˜Ì‡}>À`iÊ«À>V̈̈œ˜iÀÃʈ˜Ìi˜`i`Ê̜ÊLiʈ˜Ê̅iÊi>ÀÞÊ`>ÞÃ]Ê>ÃʈV…>iÊ iܓ>˜ÊÀi“>ÀŽi`]ʈ˜Ê̅iÊ«œÃ̇Vœ˜Vi«ÌÕ>Ê>}i]Ê̅iÊ>À̈ÃÌʘœÜʼ>VŽ˜œÜi`}iÃÊ̅iÊ impossibility of disappearing’.86 -ˆ˜ViÊ̅iÊ£™xäÃ]Ê̅iÀiʅ>ÃÊi݈ÃÌi`Ê>ʓˆÃÌÀÕÃÌʜvÊÃÌ>Ìi“i˜ÌÃÊLÞÊ>À̈ÃÌÃ°Ê i>À`ÏiÞÊ >˜`Ê7ˆ“Ã>Ì̽Ãʼv>>V޽ʜvÊ>Õ̅œÀˆ>Êˆ˜Ìi˜ÌÊÃÌÀ>Þi`ÊvÀœ“ʏˆÌiÀ>ÀÞÊVÀˆÌˆVˆÃ“ʈ˜ÌœÊ̅iÊ>ÀÌÃ]Ê and the maker was regarded by critics as the least qualified to discuss her work. 87 œÜiÛiÀ]Ê«À>V̈̈œ˜iÀÃÊ>ÀiÊLiˆ˜}ʏˆÃÌi˜i`Ê̜ʜ˜ViÊ>}>ˆ˜Ê>Ì…œÕ}…Ê̅iˆÀÊÕÌÌiÀ>˜ViÃÊ are not all treated equally. When artists are also writers or cultural theorists in their œÜ˜ÊÀˆ}…ÌÊqÊvœÀʈ˜ÃÌ>˜Vi]Êi>˜Ê «ÃÌiˆ˜Êˆ˜Ê̅iÊ£™ÎäÃʜÀʈ̜Ê-ÌiÞiÀÊ̜`>ÞÊqÊ̅i˜Ê̅iˆÀÊ hypotheses about practice are given greater credence and commentators will establish a dialogue as much with the artists’ writings as with their practice.88 Where >˜Ê>À̈ÃÌʈÃʏiÃÃÊ>V>`i“ˆV]ÊLÕÌÊ̅iÊVœ˜Ìi˜ÌʜvÊ̅iÊܜÀŽÊˆÃÊ`œVՓi˜Ì>ÀÞʈ˜Ê˜>ÌÕÀiʜÀÊ `À>ÜÃʜ˜Ê…ˆÃ̜ÀˆV>Ê>ÀV…ˆÛiÃ]ʜÀÊÌ>ŽiÃÊ>ÃʈÌÃÊÃÕLiVÌÊ>ÊVՏÌÕÀ>Êˆ˜Ã̈ÌṎœ˜Ê>˜`Êi“«œÞÃÊ VÕÀÀi˜ÌÊ ÀiÃi>ÀV…Ê “i̅œ`œœ}ˆiÃ]Ê Ì…i˜Ê >V>`i“ˆVÃÊ w˜`Ê ˆÌÊ Vœ˜`ÕVˆÛiÊ ÌœÊ Ì…iˆÀÊ œÜ˜ÊvÀ>“iÃʜvÊÀiviÀi˜Vi°Ê/°Ê°Ê i“œÃʅ>ÃÊV…>“«ˆœ˜i`Ê̅iÊ`œVՓi˜Ì>ÀÞÊܜÀŽÃʜvÊ -Ûi˜Ê
Õ}ÕÃ̈˜i˜]ÊvœÀʈ˜ÃÌ>˜Vi]Ê>˜`ÊiˆÃÃ>ÊÀœ˜Õ˜`ʅ>ÃÊÀiyiVÌi`ʜ˜Ê̅iʜLÃiÀÛ>̈œ˜>Êw“ÃʜvÊ i>ÌÀˆViʈLܘ]Ê
˜˜>ÊÕV>ÃÊ>˜`Ê ˆâ>Li̅Ê*ÀˆVi° 89ÊœÜiÛiÀ]ÊiÛi˜Êˆ˜Ê ̅ˆÃÊ«Àœ`ÕV̈ÛiÊÃޘiÀ}Þ]Ê̅iÊ>À̈ÃÌýʓœÌˆÛiÃÊ>ÀiÊÀ>ÀiÞʵÕiÃ̈œ˜i`Ê>˜`Ê̅iˆÀÊÀœiʈ˜Ê managing the responses of an audience is generally passed over unremarked.90 There are film theorists like Catherine Fowler who de-emphasise the role of the >À̈ÃÌÊLÞÊ>««i>ˆ˜}Ê̜ÊVœ˜Vi«ÌÃʜvʼˆ˜ÌiÀ‡Ài>̈œ˜>ˆÌÞ½Ê>˜`ÊÀi>œV>ÌiÊ>}i˜VÞÊ̜Ê̅iÊ

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INSTALLATION AND THE MOVING IMAGE

>Õ`ˆi˜ViʜÀÊ̜ʼ«>À̈Vˆ«>˜Ìý]91ʜ˜Ê̅iÊL>ÈÃÊ̅>ÌÊLÞÊ>««i>Àˆ˜}ʈ˜Ê̅iÊܜÀŽÊœvÊ>˜Ê>À̈ÃÌ]Ê ¼Ì…œÃiÊ܅œÊÜiÀiʜ˜ViÊ̅iÊ>Õ`ˆi˜Vi½Ê>ÀiÊÌÀ>˜ÃvœÀ“i`ʈ˜ÌœÊ¼Ì…iÊ«iÀvœÀ“iÀÃÊvœÀÊ>Õ`ˆences of their own’. 92Ê /iÃÃÊ />Ž>…>ÅˆÊ …>ÃÊ ˆ`i˜Ìˆwi`Ê Ì…iÊ ¼v>Ži½Ê >ÀV…ˆÛ>Ê ÌiV…˜ˆµÕiÃÊ >`œ«Ìi`ÊLÞÊ7>ˆ`Ê,>½>`ʜvÊ̅iÊ
̏>ÃÊÀœÕ«Ê>ÃÊ>˜œÌ…iÀÊÃÌÀ>Ìi}ÞÊ̅>Ìʼ`ˆÃ«>ViÃÊ̅iÊ artist’s personal voice’.93ÊœÜiÛiÀ]ÊÊܜՏ`ÊÃÕ}}iÃÌÊ̅>ÌÊ̅iÃiÊVœ˜ÌÀˆÛ>˜ViÃʅ>ÛiÊ>Ê largely cosmetic effect and the authorial voice is simply replaced by authorial in}i˜ÕˆÌÞ]Ê܈ÌÊ>˜`ÊΈ]Ê>˜`ʜ˜ÞÊ̜Ì>Ê>˜œ˜Þ“ˆÌÞÊܜՏ`ÊiÀ>`ˆV>ÌiÊ,>½>`½Ãʈ˜`ˆÛˆ`Õ>Ê creativity from his work. In his study of documentary films that deliberately or ˜œÌÊ …>`Ê >˜Ê ˆ“«>VÌÊ œ˜Ê ̅iÊ VˆÀVՓÃÌ>˜ViÃÊ Ì…iÞÊ ÜiÀiÊ ÀiVœÀ`ˆ˜}]Ê -ÌiÛi˜Ê >ÃÌܜœ`Ê iÃÌ>LˆÃ…i`Ê Ì…iÊ Ài>«œˆÌˆŽÊ œvÊ Vœ>LœÀ>̈œ˜\Ê œÛiÀÊ Ì…iÊ œ˜}iÀÊ ÌiÀ“]Ê …iÊ Vœ˜Ìi˜`i`]Ê ¼w“‡“>ŽiÀÃÊÕÃÕ>ÞÊLi˜iwÌʓœÀiÊ̅>˜Ê̅iˆÀÊÃÕLiVÌý°94 There has been surprisingly scant discussion of either what those privileges and benefits might involve for the >À̈ÃÌ]ʜÀÊ܅>ÌÊÃ>̈Ãv>V̈œ˜ÃÊ>˜`Ê>˜ÝˆïiÃʓˆ}…ÌÊ>ÌÌi˜`Ê̅iˆÀÊ«ÕÀÃՈ̰Ê7…ˆiÊ>ÌÌi“«ÌÃÊ ÌœÊ`iw˜iÊ̅iÊÃÕLiVÌÊ«œÃˆÌˆœ˜ÊœvÊ̅iÊëiVÌ>̜ÀÊ>Àiʏi}ˆœ˜]ÊÜiʅi>ÀʏiÃÃÊ>LœÕÌÊ܅>ÌÊ motivates the artist to create a moving image installation for public consumption. 7…>Ìʓ>˜˜iÀʜvÊVÀi>ÌÕÀiÊܜՏ`ÊLiÊ`ÀˆÛi˜Ê̜ÊÃÕV…Ê>˜Êi˜ÌiÀ«ÀˆÃi¶Ê

Assertions of self ÀiÕ`ÊÀi}>À`i`Ê>À̈ÃÌÃÊ>ÃÊ`>˜}iÀœÕÃ]Ê՘viÌÌiÀi`Êi}œˆÃÌÃʼ܅œÊ…>ÛiʘœÊœVV>Ȝ˜ÊÌœÊ submit their inner life to the strict control of reason’.95ʘÃÌi>`]ʜ«ˆ˜i`Ê̅iÊ}Ài>Ìʓ>˜]Ê Ì…iÞÊ >ˆÀÊ Ì…iˆÀÊ `iÈÀiÃÊ ˆ˜Ê «ÕLˆV]Ê LiVœ“ˆ˜}Ê ÃÕLiVÌÃÊ œvÊ Ì…iˆÀÊ œÜ˜Ê v>ÃVˆ˜>̈œ˜°Ê œÃÌÊ Vœ˜Ìi“«œÀ>ÀÞÊ >À̈ÃÌÃÊ Ài“>ˆ˜Ê ՘>«œœ}ïVÊ >LœÕÌÊ Ì…iˆÀÊ «ÕLˆVÊ «ÀœiV̈œ˜ÃÊ œvÊ Ãiv°Ê
ÀÌ]ÊiÀi“ÞÊ iiÀÊÃ>ÞÃ]ʈÃʼ>Ê«iÀܘ>Ê̅ˆ˜}Ê°°°ÊޜÕÊ`œÊˆÌÊ̜ÊÃ>̈ÃvÞÊޜÕÀÃiv½° 96 Over ̅iÊ VœÕÀÃiÊ œvÊ >Ê ÃÕVViÃÃvÕÊ V>ÀiiÀ]Ê >˜Ê >À̈ÃÌÊ ˆŽiÊ iiÀÊ ÜˆÊ >VVՓՏ>ÌiÊ >Ê ÃÕLÃÌ>˜Ìˆ>Ê«iÀܘ>‡«ÕLˆVÊ>ÀV…ˆÛiʓi“œÀˆ>ˆÃˆ˜}ʅˆÃÊÃÕLiV̈ۈÌÞÊ>˜`ʏˆviÊiÝ«iÀˆi˜Vi°ÊvÊ̅iÊ “œÛˆ˜}ʈ“>}i]Ê>ʓi`ˆÕ“ÊÃ̈Êi˜`œÜi`Ê܈̅Ê>ÊÛi˜iiÀʜvʼÌÀÕ̅½]ʈÃÊ>ÊVi˜ÌÀ>Êii“i˜Ìʈ˜Ê ̅iÊܜÀŽ]Ê̅iʏˆviÊ«ÀiÃiÀÛi`ʈ˜Ê̅iÊ>ÀÌÊ>VµÕˆÀiÃÊ>˜Ê>``ˆÌˆœ˜>Ê“>˜ÌiʜvÊ>Õ̅i˜ÌˆVˆÌÞ°Ê Some artists adopt directly autobiographical material within the frame of identity «œˆÌˆVÃÊ­ˆ˜`>Êœ˜Ì>˜œ®]Ê܅ˆiʜ̅iÀÃÊi“«œÞÊÃÌ>˜`‡ˆ˜ÃʜÀʈ˜ÌÀœÃ«iVÌʓœÀiʜLˆµÕiÞÊ through investigations of cultural phenomena coeval with incidents in their own lives ­ˆˆ>˜Ê 7i>Àˆ˜}]Ê ÃiiÊ V…>«ÌiÀÊ iiÛi˜®°Ê "̅iÀÃÊ ÃÕV…Ê >ÃÊ -Ì>˜Ê À>Ž…>}iÊ iÝ«œÀiÊ Ì…iˆÀÊ œÜ˜Ê“i˜Ì>Ê>˜`ÃV>«iÃ]Ê>˜`Ê̅ÀœÕ}…Ê̅iʓi`ˆÕ“ÊœvÊ̅iʅ>˜`‡…i`]ʼÃÕLiV̈Ûi½ÊV>“iÀ>]ÊÃiiŽÊ̜ÊÌÀ>˜ÃˆÌˆœ˜Ê¼`ˆÀiV̏ÞÊvÀœ“Ê̅œÕ}…ÌÊ̜Êw“½° 97ÊʘÊ̅iÊV>ÃiʜvÊi˜˜i̅Ê
˜}iÀ]Ê the artist mines the underground rumblings of his own subconscious. Speaking to >Ê}ÀœÕ«ÊœvÊœ˜`œ˜ÊÃÌÕ`i˜ÌÃʈ˜ÊÓää™]Ê
˜}iÀÊÀiÛi>i`Ê̅>ÌÊ>Ê…ˆÃÊw“ÃÊ>ÀiÊL>Ãi`ʜ˜Ê his dreams whose essence he notes down and faithfully reproduces in his work. His `Ài>“ÃÊ>ÀiÊÌÀœÕLi`Ê>˜`Êۈœi˜Ì]Ê>˜`ʏˆŽiÊ>Ê`Ài>“iÀÃ]ʅiÊV>˜˜œÌÊVœ˜ÌÀœÊ̅iˆÀÊVœ˜tent or outcome – until he turns them into films.

CLOSING THOUGHTS

265

Art therapy /…iÊ̅iÀ>«iṎVÊLi˜iwÌÃʜvÊ>ÀÌÊvœÀÊ̅iÊ>À̈ÃÌÊ>ÀiÊ>݈œ“>̈VÊ>˜`ʘœ˜iʅ>ÛiÊLii˜Ê“œÀiÊ œÕÌ뜎i˜Êˆ˜Ê̅ˆÃÊÀiëiVÌÊ̅>˜Ê9>ޜˆÊÕÃ>“>Ê܅œÊÃÌ>Ìi`ÊLÕ˜ÌÞ\ʼˆvʈÌÊÜiÀi˜½ÌÊvœÀÊ>ÀÌ]Ê I would have killed myself a long time ago’.98ÊÕÃ>“>ÊÕÃiÃÊ>ÀÌÊ̜ÊÃÌ>ÛiʜvvʅiÀÊÃՈVˆ`>Êˆ“«ÕÃiÃÊLÕÌÊ«À>V̈̈œ˜iÀÃÊV>˜Ê>ÃœÊw˜`Ê܏>ViÊvœÀʏœÜiÀʏiÛiÃʜvÊ>˜ÝˆiÌÞʈ˜Ê̅iÊ «ÕLˆVÊi݅ˆLˆÌˆœ˜ÊœvÊ̅iˆÀÊܜÀŽ°Ê>˜ÞÊ>À̈ÃÌÃʅ>ÛiÊ뜎i˜ÊœvÊ̅iˆÀÊviiˆ˜}ÃʜvÊ`ië>ˆÀÊ at being able to control events in their lives and assert that they gain a modicum of self-determination only through the manipulation of elements in their work – as the «iÀvœÀ“>˜ViÊ>À̈ÃÌÊ>ÀÞÊ-ÌiÛi˜ÃÊVœ˜w`i`]ʅiÊviiÃʓœÀiʈ˜ÃiVÕÀiÊ>ÌÊÜVˆ>ÊiÛi˜ÌÃÊ than when working live.99Ê
˜Ê>À̈ÃÌʓ>ÞÊiÝ«iÀˆi˜ViÊ>ÊÃi˜ÃiʜvÊi“«œÜiÀ“i˜ÌÊ܅i˜Ê ÅiÊÌ>ŽiÃÊ«œÃÃiÃȜ˜ÊœvÊ>Ê}>iÀÞÊë>ViʜÀÊÃÌ>}iÃÊ>ʏˆÛiÊ«iÀvœÀ“>˜ViÆÊ>Ìʏ>ÃÌ]ÊÅiÊ is calling the shots. She creates an environment in a pocket of time in which she >À}iÞÊ`ˆÀiVÌÃÊ̅iʜÕÌVœ“iʜvÊiÛi˜ÌðÊ-œ“iÊÌ>ŽiÊ̅iʜ««œÀÌ՘ˆÌÞÊ̜ʫÀi>V…Ê­iۈ˜Ê Atherton); others set a trap for the audience (Vito Acconci). There are those who VÀi>ÌiÊ>ʅœ“iÊvÀœ“Ê…œ“i]Ê`ÀiÃȘ}Ê̅iÊÃiÌÃÊ܈̅Ê̅iÊVœ˜Ìi˜ÌÃʜvÊ̅iˆÀÊÃÌÕ`ˆœÃʜÀÊ Ì…iˆÀʅœÕÃiÃÊ­
˜˜>LiÊ ˆVœÃœ˜]Ê
>˜Ê>«ÀœÜ®ÆÊ܅ˆiʜ̅iÀÃÊVÀi>Ìiʈ˜ÌiÀ>V̈ÛiÊۈ`iœÊ «>Þ}ÀœÕ˜`ÃÊ ­ ÀÕViÊ >Փ>˜]Ê >ۈ`Ê >®ÆÊ œÀÊ V>“ˆ˜}Ê “i`ˆ>Ê œÕ˜}iÃ]Ê VœÕÀ̈˜}Ê Ì…iÊ «i>ÃÕÀ>LiÊi˜}>}i“i˜ÌʜvÊ̅iÊ>Õ`ˆi˜Viʭ̅iÊ>L>ŽœÛÃ]Ê*ˆ«ˆœÌ̈Ê,ˆÃÌ®°Ê

Play−grounds
ÊV…ˆ`Ài˜ÊLՈ`ʈ“«ÀœÛˆÃi`Ê`i˜Ã]ÊÌÀiiʅœÕÃiÃ]ÊÅiÌiÀÃʈ˜Ê̅iÊܜœ`Ã]ʜÀÊȓ«ÞʜÀganise a small part of a shared room into a magical domain. They create miniature kingdoms (and queendoms) where they reign supreme and the terrifying power of adults is re-enacted and diffused in childhood games. Michael Rosen has observed that children’s play represents a shift from the rules made by adults to rules made by children themselves.100 Artists similarly rewrite the rulebook when they invite others to enter into their art games. The psychologist Adam Phillips observed that like ̅iÊV…ˆ`]Ê̅iÊ>À̈ÃÌʼÜ>˜ÌÃÊ̜ÊLiÊÀiVœ}˜ˆÃi`Ê>˜`ÊvœÕ˜`]ÊLÕÌÊ̅iÊV…ˆ`]ʏˆŽiÊ̅iÊ>À̈ÃÌ]Ê >ÃœÊÜ>˜ÌÃÊ̜ÊLiÊ>LiÊ̜ʅˆ`i]Ê̜ʎ˜œÜÊ̅iÞÊV>˜Ê…ˆ`i½°101 Artists thus adopt different iÛiÃʜvÊ`ˆÃ}ՈÃiʈ˜Ê̅iʈ˜ÃÌ>>̈œ˜Ê}>“iʜvʅˆ`i‡>˜`‡ÃiiŽ]ÊvÀœ“ÊÕÃ>“>ÊȓՏ>̈˜}Ê …iÀÊ`ˆÃ>««i>À>˜Viʈ˜Ê>ÊÃi>ʜvÊ`œÌÃ]Ê̅ÀœÕ}…Ê7i>Àˆ˜}½ÃÊV…ˆ`…œœ`ÊÃÕÀÀœ}>ÌiÊ̜Ê/œ˜ÞÊ Oursler’s doll-like doppelgängers. An element of the playground popularity contest persists in works that create social environments. The worst that can happen is that ˜œ‡œ˜iÊŜÜÃÊÕ«]Ê̅>Ìʘœ‡œ˜iÊÜ>˜ÌÃÊ̜ÊLiʈ˜ÊޜÕÀÊ}>“i°Ê /…iÊÜVˆ>Ê«ÃÞV…œœ}ˆÃÌÊ ÀˆV…ÊÀœ““ʈ`i˜Ìˆwi`Ê̅iÊÕÀ}iÊ̜ʼœÛiÀVœ“iʅˆÃÊÃi«>À>Ìi˜iÃÃ]Ê ÌœÊ i>ÛiÊ Ì…iÊ «ÀˆÃœ˜Ê œvÊ …ˆÃÊ >œ˜i˜iÃÃÊ Q>ÃRÊ Ì…iÊ `ii«iÃÌÊ ˜ii`Ê œvÊ “>˜½°102 ,i>V…ˆ˜}Ê œÕÌÊ ÌœÊ >V…ˆiÛiÊ ¼Õ˜ˆœ˜Ê ÜˆÌ…Ê Ì…iÊ }ÀœÕ«½Ê “>ÞÊ ¼œÛiÀVœ“iÊ Ãi«>À>Ìi˜iÃý]Ê >ÃÊ

266

INSTALLATION AND THE MOVING IMAGE

Àœ““ÊÃÕ}}iÃÌÃ]103ÊLÕÌʈÌÊ>ÃœÊÀ>ˆÃiÃÊ̅iÊvi>ÀʜvÊÀiiV̈œ˜]Ê܅ˆV…Ê“>ÞÊLiÊ>˜œÌ…iÀÊ reason why artists take shelter in acting out different personas. While Eleanor Antin `ˆÃ«iÀÃiÃʈ˜ÌœÊÛ>ÀˆœÕÃÊ>ÌiÀ‡i}œÃÊqÊ̅iÊ >iÀˆ˜>]Ê̅iʈ˜}Ê>˜`ʼœÀi˜ViÊ ˆ}…̈˜}>i½Ê q Ê Ê̅iÊV>“iÀ>ʈÌÃivÊV>˜Êv՘V̈œ˜Ê>ÃÊ>Ê܈̘iÃÃÊvœÀÊ̅iÊ>À̈ÃÌ]ÊÀi}ˆÃÌiÀˆ˜}Ê̅iÊ`ˆ“i˜Ãˆœ˜ÃʜvʅiÀÊLœ`Þ\Ê̅iÊiÝÌi˜ÌʜvʅiÀÊÀi>V…]Ê̅iʏi˜}̅ʜvʅiÀÊÃÌÀˆ`i]Ê̅iʓi>ÃÕÀiʜvÊ …iÀÊÃÌ>“ˆ˜>°Ê/…iÊLœ`ˆÞʈ˜ÃVÀˆ«Ìˆœ˜Ãʈ˜Ê̅iÊܜÀŽÊÀiV>Ê7>ÌiÀÊ i˜>“ˆ˜½ÃʜLÃiÀÛ>̈œ˜Ê̅>Ìʼ̅iÊÌÀ>ViÃʜvÊ̅iÊÃ̜ÀÞÌiiÀÊVˆ˜}Ê̜Ê̅iÊÃ̜ÀÞÊ̅iÊÜ>ÞÊ̅iʅ>˜`«Àˆ˜ÌÃʜvÊ the potter cling to the clay vessel’.104 Paul Taberham has suggested that beyond ̅iÊ Ài}ˆÃÌÀ>̈œ˜Ê œvÊ >À̈ÃÌÃ½Ê Ì…ˆ˜ÞÊ `ˆÃ}ՈÃi`Ê Ãiv‡«œÀÌÀ>ˆÌÃ]Ê `œVՓi˜Ìˆ˜}Ê Ì…iˆÀÊ ÛˆÌ>Ê ÃÌ>̈Ã̈VÃÊ>˜`ÊÃÌ>ÌiÃʜvʅi>Ì…]Ê>ÀÌÊV>˜Êv՘V̈œ˜Ê>ÃÊ>ÊVÀÕ`iÊvœÀ“ÊœvÊÃiÝÕ>Ê`ˆÃ«>Þ]Ê œ˜iÊ Ì…>ÌÊ iÝÌi˜`ÃÊ Liޜ˜`Ê Ì…iÊ ÃiÝÕ>Ê œÀ}>˜Ã\Ê ¼iÀi½ÃÊ “ÞÊ >ÀÌ]Ê i̽ÃÊ “>ŽiÊ L>Lˆið½105 7ˆÌ…œÕÌÊÀi>V…ˆ˜}Ê̅ˆÃʏiÛiÊœvÊLœ`˜iÃÃ]ÊiœÀ}iÊÕV…>ÀÊÕÃi`Ê̅iÊV>“iÀ>Ê>ÃÊ>ÊÜVˆ>Ê ÕLÀˆV>˜ÌÊ …i«ˆ˜}Ê …ˆ“Ê ÌœÊ “iiÌÊ «iœ«i\Ê ¼iÛiÀÞÊ Ã…œÌÊ œvÊ >˜œÌ…iÀÊ «iÀÜ˜Ê LiVœ“iÃÊ >˜Ê encounter.’106Ê6ˆÌœÊ
VVœ˜VˆÊȓˆ>ÀÞÊLiÌÀ>Þi`ʅˆÃÊÜVˆ>Ê>܎Ü>À`˜iÃÃʈ˜Ê…ˆÃʼvṎi½Ê `iÈÀiÊ̜ÊV…>˜}iʈ˜ÌœÊ>Êܜ“>˜°Ê˜ÃÌi>`]ʅiʼ«>Þi`ʜÕÌʓ>i˜iÃý107 by attempting to seduce the putative female viewer in Theme SongÊ­£™Çή]Ê܅ˆV…Ê…iÊ`iÃVÀˆLi`Ê>ÃÊ>Ê ¼ÃVi˜iÊvœÀÊ>ÊVœ“i‡œ˜½Êi˜>Lˆ˜}ʅˆ“Ê̜ʼLÀˆ˜}ʓÞʏi}ÃÊ>ÀœÕ˜`]ÊÜÀ>««ˆ˜}ʓÞÃivÊ>ÀœÕ˜`Ê the viewer’.108ÊœÜiÛiÀÊVÕ“ÃÞʜÀʈÀœ˜ˆVÊ̅iÃiÊ}i˜`iÀi`Ê>`Û>˜ViÃ]Ê̅iÞÊ`œÊiÝ«ÀiÃÃÊ Ì…iÊ>˜}ՈÅʜvÊ̅iÊ«iÀi˜˜ˆ>ÊœÕÌÈ`iÀ]ʓœÀiÊÕÃi`Ê̜ÊÀiiV̈œ˜Ê̅>˜Ê…>««Þʈ˜Ìi}À>̈œ˜Ê ˆ˜ÌœÊ̅iÊ}ÀœÕ«°Ê¼/…iÀiʈÃÊ>ÊVœ“«ÕÃˆœ˜Ê̜ʓ>ÌV…ʜ̅iÀý]ÊÜÀœÌiÊÀiÕ`]ʼ̜ÊÃÌ>Þʈ˜ÊÌ՘iÊ ÜˆÌ…Ê̅iʓ>˜Þ]Ê̅iʓ>ÃÃiý]109Ê>˜`ÊÞiÌÊ̅iÊ>À̈ÃÌÊÀi“>ˆ˜ÃÊÃi«>À>Ìi]Ê܈̅`À>ܘʈ˜ÌœÊ …iÀÊiÝVi«Ìˆœ˜>ˆÃ“°ÊˆLiÀÌÊ>˜`ÊiœÀ}iÊVœ˜Ãˆ`iÀÊ̅iÊëi˜`ˆ`ʈ܏>̈œ˜ÊœvÊ̅iÊ«À>V̈̈œ˜iÀÊ̜ÊLiÊ>ʘiViÃÃ>ÀÞÊVœ˜`ˆÌˆœ˜ÊœvÊ̅iÊVÀi>̈ÛiÊ«ÀœViÃÃ]ʜ˜iÊ̅>ÌÊi˜>LiÃÊ̅i“Ê ̜ʼviiÊ̅iÊܜÀ`ʈ˜Ê>Ê`ˆvviÀi˜ÌÊÜ>Þ½]Ê܅ˆV…ʈ˜ÊÌÕÀ˜ÊµÕ>ˆwiÃÊ̅i“Ê̜Ê>ۜˆ`Ê̅iÊv>ÌiʜvÊ LiVœ“ˆ˜}ʼ>ÊLœÀˆ˜}Ê«iÀܘʏˆŽiÊiÛiÀޜ˜iÊiÃi½°110Êi>Ûi˜ÊvœÀLˆ`t

Above the law ¼ˆŽiÊÃVˆi˜ÌˆÃÌÃʈ˜ÊœÕÀÊVՏÌÕÀi½]ÊÜÀœÌiÊ-ÕâˆÊ>LˆŽ]ʼ>À̈ÃÌÃʅ>ÛiÊLii˜Êi˜VœÕÀ>}i`ʘœÌÊ to worry about the applications or consequences or moral purpose of their activity.’111Ê
Ê ¼“œ˜œVi˜ÌÀˆVÊ “Þ̅œœ}ÞÊ œvÊ Ì…iÊ >À̈ÃÌ½Ê …>ÃÊ iۜÛi`]Ê >LˆŽÊ Vœ˜Ìˆ˜ÕiÃ]Ê œ˜iÊ that appears to grant them total licence. The landscape artist Christo confirms this ۈiÜ\Ê ¼Ê Ì…ˆ˜ŽÊ ̅iÊ >À̈ÃÌÊ V>˜Ê `œÊ >“œÃÌÊ >˜Þ̅ˆ˜}Ê …iÊ Ü>˜ÌÃÊ ÌœÊ `œ°½112 Robert Hughes ÌÀ>ViÃÊ̅iÊÀˆÃiʜvʼ̅iÊ,œ“>˜ÌˆVÊܜÀň«ÊœvÊ̅iÊ>À̈Ã̽ÃÊVÀi>̈ÛiÊ«œÜiÀýÊ̜Ê̅iÊ`i“ˆÃiÊ œvÊÀiˆ}ˆœÕÃÊLiˆivʈ˜Ê̅iʘˆ˜iÌii˜Ì…ÊVi˜ÌÕÀÞÆÊ̅iÊ}œ`…i>`½ÃʼÌÀ>ˆÌÃʜvʜ“˜ˆ«œÌi˜ViÊ and self-sufficiency became displaced onto the figure of the painter or sculptor’.113 6ˆÌœÊ
VVœ˜VˆÊ…>ÃÊ뜎i˜Êœvʼ̅iÊv>˜Ì>ÃÞʜvʜ“˜ˆ«œÌi˜Vi½Ê̅>ÌʅiÊV>˜Êˆ˜`Տ}iÊ܅i˜Ê holding the viewer enthralled to his video performances. This leads to instances of mistreating collaborators (as in Acconci’s PryingsÊQ£™Ç£R]Ê>ÊÌ>«iʈ˜Ê܅ˆV…Ê…iÊÌÀˆiÃÊ

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to prise open a woman’s eyes) and to varying degrees of assault on the audience. œÜ>`>ÞÃ]Ê viÜÊ ÜœÕ`Ê Vœ>ÌÊ Ãi>ÌÃÊ ÜˆÌ…Ê }ÕiÊ ÌœÊ >}}À>Û>ÌiÊ >˜Ê >Õ`ˆi˜ViÊ >ÃÊ `ˆ`Ê Ì…iÊ ÕÌÕÀˆÃÌʈˆ««œÊ>Àˆ˜iÌ̈]114ÊLÕÌÊÊV>˜Êw˜`ʘœÊ«ÕLˆÃ…i`ʜLiV̈œ˜ÃÊ̜ʜՈÃiÊ-Õ`i½ÃÊ Black Lift (1998) in which she adapted a lift so that visitors became trapped when ̅iÞÊ«ÀiÃÃi`Ê̅iÊLÕÌ̜˜]Ê̅iˆÀÊ«>˜ˆVŽi`Êv>ViÃÊLiˆ˜}ÊÀi>Þi`Ê̜Ê>ʓœ˜ˆÌœÀʜÕÌÈ`i°Ê ÌÊ “>ÞÊ Ãii“Ê …iÀïV>Ê ÌœÊ œLiVÌÊ ÌœÊ Ì…iÊ “>}˜ˆwVi˜ÌÊ ˆV…>iÊ -˜œÜ½ÃÊ “œÀiÊ iÝÌÀi“iÊ optical-acoustic works such as TriageÊ­Óää{®]Ê>ÊÌܜ‡ÃVÀii˜ÊܜÀŽÊ“>`iʈ˜ÊVœ>LœÀ>̈œ˜ÊÜˆÌ…Ê >ÀÊ ÀœÜ˜°Ê-˜œÜ½ÃÊVœ˜ÌÀˆLṎœ˜Ê̜Ê̅iÊܜÀŽÊÜ>ÃʼÓ{ʈ“>}iÃÊ«iÀÊÃiVœ˜`Ê œvÊ iÛiÀÞ̅ˆ˜}½]115Ê >Ê À>«ˆ`‡wÀiÊ “œ˜Ì>}iÊ œvÊ vœÕ˜`Ê ˆ“>}iÃÊ ˆ˜VÕ`ˆ˜}Ê >˜ˆ“>Ã]Ê VœœÕÀÊ V…>ÀÌÃ]Ê >˜`ÃV>«iÃÊ >˜`Ê «œÀ˜œ}À>«…Þ]Ê yˆVŽiÀˆ˜}Ê ˆ“«ÀiÃȜ˜ÃÊ L>ÀiÞÊ LÀi>Žˆ˜}Ê ˆ˜ÌœÊ ̅iÊ«iÀVi«ÌˆLiÊwi`]Ê>˜`Ê>VVœ“«>˜ˆi`ÊLÞÊ>˜Êi>À‡Ã«ˆÌ̈˜}ÊÜ՘`ÊÌÀ>VŽ°ÊÊÃÕL“ˆÌÌi`Ê to the work as long as I could bear it. I had a similar feeling of being out of synch with the prevailing consensus in London at a screening of work by Luther Price who ÃÕLiVÌÃÊvœÕ˜`ÊvœœÌ>}iÊ̜Ê̅iÊÃÌ>˜`>À`Ê«…ÞÈV>Ê>LÕÃiÊqÊLÕÀވ˜}]ʅ>˜`‡«>ˆ˜Ìˆ˜}Ê>˜`Ê ÃVÀ>ÌV…ˆ˜}]ÊÀiÃՏ̈˜}ʈ˜Ê>ÊÃi>ʜvʜ«ÌˆV>ÊL>LLi°Ê ÀˆŽ>Ê >Ãœ“ÊÜÀœÌiʜvʼLi>ṎvՏÞÊ assaultive films’116Ê>˜`Ê>Ì…œÕ}…ÊÊVœÕ`Ê>««ÀiVˆ>ÌiÊ̅iˆÀʅˆÃ̜ÀˆV>ÊÛ>Õi]Ê̅iˆÀÊÕÃiʜvÊ Ì…iʏˆLiÀ>̈˜}ÊiVÃÌ>̈VÃʜvÊ>LÃÌÀ>V̈œ˜Ê>˜`]ÊvœœÜˆ˜}Ê >Ãœ“]Ê̅iÊVÕÀ>̜Àˆ>Êˆ˜Ìi}ÀˆÌÞÊ œvÊ̅iÊÃVÀii˜ˆ˜}ʈÌÃiv]ʜ˜Ê̅iÊ`>ÞÊÊiÝ«iÀˆi˜Vi`Ê>Ê܏ˆ«ÃˆÃ̈VÊܜÀŽÊ̅>ÌÊ̜œŽÊ˜œÊ>VVœÕ˜ÌʜvÊ̅iÊëiVÌ>̜À½ÃÊiÝ«iÀˆi˜Vi]Ê̅iÊ>À̈ÃÌÊLˆÌ…iÞÊLˆ˜`ˆ˜}Ê>˜`Ê`i>vi˜ˆ˜}Ê̅iÊ compliantly seated audience.117 /…iʼVœiÀVˆÛiʘ>ÌÕÀiʜvÊÃVÀii˜‡L>Ãi`Êۈi܈˜}½Ê…>ÃÊLii˜ÊÜiÊ`œVՓi˜Ìi`]Ê«Àˆ˜Vˆ«>ÞÊLÞÊ>ÌiÊœ˜`œV…Ê܅œÊiÝÌi˜`i`ʅiÀʘœÌˆœ˜ÊœvÊ>Õ`ˆi˜ViÊVœ˜ÌÀœÊ̜Ê>˜Ê>˜>ÞÈÃÊ of the configuration of installed works.118 Bruce Nauman’s Performance Corridor ­£™È™®Êˆ˜Ê܅ˆV…ÊۈÈ̜ÀÃÊÜiÀiʜLˆ}i`Ê̜ÊõÕiiâiÊ`œÜ˜Ê>ʘ>ÀÀœÜ]ÊV>ÕÃÌÀœ«…œLˆ>‡ˆ˜`ÕVˆ˜}ʜ«i˜ˆ˜}ÊLiÌÜii˜ÊÌܜÊ̅i>ÌÀiÊy>ÌÃ]Êœ˜`œV…Ê`iÃVÀˆLi`Ê>ÃÊ>˜ÊiÝ>“«iʜvʼ̅iÊ bullying of built structures’.119Ê
««>Ài˜ÌÞ]Ê >Փ>˜ÊÜ>ÃʘœÌÊÃ>̈Ãwi`Ê܈̅Ê̅iÊܜÀŽÊ >˜`ÊvœÕ˜`ÊÜ>ÞÃÊ̜ʼVœ˜ÌÀœÊ̅iÊÈÌÕ>̈œ˜½Ê“œÀiÊivviV̈ÛiÞʈ˜ÊvÕÌÕÀiÊÛiÀȜ˜ÃÊÕȘ}Ê saturated coloured lights and CCTV.120 Robert Smithson observed how film already ¼ÜÀ>«ÃÊÕÃʈ˜Ê՘ViÀÌ>ˆ˜ÌÞ½]121Ê>˜`Ê?Ã⏝Êœ…œÞ‡ >}ÞÊ«>˜˜i`Ê>˜Ê՘Ài>ˆÃi`Êw“ʈ˜Ê £™ÎÈÊ̅>ÌÊܜՏ`ʈ˜VÕ`iʼŜVŽÃ]ÊÃÕÀ«ÀˆÃiÃ]Ê՘i>ȘiÃÃÊ>˜`ʜ««ÀiÃȜ˜½]ÊVՓՏ>̈ÛiÞÊ`iÈ}˜i`Ê̜ʼÃV>Ài½Ê̅iÊ«ÕLˆV°122 However instructive or thrilling the resulting Vˆ˜i“>̈VÊiÝ«iÀˆi˜Viʓˆ}…ÌÊLiʍÕ`}i`]Ê̅ˆÃÊ`œiÃʘœÌÊV…>˜}iÊ̅iÊv>VÌÊ̅>ÌÊ̅iÊ>ÀÌist wielding the moving image is holding a sensory weapon with which it is possible ̜ʈ˜`Տ}iÊ>}}ÀiÃÈÛiʈ˜Ã̈˜VÌÃ]ʓ>ÌÀi>̈˜}Ê̅iÊۈiÜiÀÊ܈̅ʈ“«Õ˜ˆÌÞ°Ê
˜`Ê܅ˆÃÌʈ˜Ê Ãiv‡«ÀiÃiÀÛ>̈œ˜Ê“œ`i]Ê̅iÊëiVÌ>̜ÀÊw˜`ÃʈÌÊ`ˆvwVՏÌÊ̜Ê̅ˆ˜Ž°Ê These belligerent works are regularly staged in the international network of ho“œ}i˜ˆÃi`Ê}>iÀˆiÃÊ>˜`ʓÕÃiՓðÊiÀi]ÊVi>˜Ê܅ˆÌiÊ­œÀÊL>VŽ®ÊLœÝiÃÊv՘V̈œ˜ÊˆŽiÊ ˜iÕÌÀ>ˆÃi`ʼvÀii½ÊÌÀ>˜ÃˆÌˆœ˜>Êë>ViÃ]Ê܅iÀi]Ê>ÃÊ
“>˜`>Ê iiV…ÊœLÃiÀÛi`]Ê>˜Þ̅ˆ˜}Ê V>˜Ê…>««i˜Ê¼>ÃÊ̅œÕ}…Ê}>iÀˆiÃÊÜiÀiÊ>ÊÜÀÌʜvÊi̅ˆV>Ê«Àœ«…ޏ>V̈V½°123 Where any Ài>ÊVÀˆÌˆVˆÃ“Ê…>ÃÊLii˜ÊiÛii`Ê>ÌÊ̅iÊVœ˜Ã̈ÌṎœ˜>Ê…ÕLÀˆÃʜvÊ̅iÊ>À̈ÃÌ]ʈÌʅ>ÃÊÌ>Ži˜Ê

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the form of renewed accusations of narcissism.124Ê iޜ˜`Ê À>ÕÃýÃÊ œÀˆ}ˆ˜>Ê ŜÌÊ œÛiÀÊ̅iÊLœÜÃʈ˜Ê£™ÇÈ]ʈܜ˜Êܜ˜Ê…>Ãʏ>“i˜Ìi`Ê̅iÊiÝÌi˜ÌÊ̜Ê܅ˆV…ÊVœ˜Ìi“«œÀ>ÀÞÊ>ÀÌʼÀiÃ̜ÀiÃÊ̅iÊVi˜ÌÀ>ˆÌÞʜvÊ̅iÊ>À̈ÃÌÊ>ÃÊ̅iÊ«Àœ}i˜ˆÌœÀʜvʓi>˜ˆ˜}½°125ÊœÀʅiÀ]Ê Ì…iʼÀi˜iÜi`ÊvœVÕÃʜ˜Ê̅iÊ>À̈ÃÌʏi>`ÃÊ̜Ê>ʅiÀ“ïVʈ“«œÃˆœ˜ÊœvÊ­>Õ̜®Lˆœ}À>«…ˆV>Ê >˜`Ê ÃÕLiV̈ۈÃÌÊ ˆ˜`Տ}i˜ViÃ]Ê >˜`Ê “Þœ«ˆVÊ ˜>ÀVˆÃÃˆÃ“Ê ˆÃÊ “ˆÃÀi«ÀiÃi˜Ìi`Ê >ÃÊ Ãiv‡Àiyi݈ۈÌÞ½°126 How should an artist avoid this regression into apolitical individu>ˆÃ“¶Ê˜Ê̅iÊ£™näÃ]Êiۈ˜Ê
̅iÀ̜˜ÊÃ>ÜÊ̅iÊ܏Ṏœ˜Êˆ˜Ê̅iÊÃÌÀ>Ìi}ˆiÃʅiÊ>`œ«Ìi`Ê vœÀÊ«œÃˆÌˆœ˜ˆ˜}ʅˆÃÊܜÀŽ°ÊiÊVœ˜`i“˜i`ʘ>̈œ˜>Ê>ÀÌÊë>ViÃÊ>Ãʼ>˜ÊiÛiÀ‡`ˆ“ˆ˜ˆÃ…ˆ˜}Ê centre or so-called centre of creativity’.127ÊiÊÀiÈÃÌi`ʼLiˆ˜}Ê`À>ܘʈ˜ÌœÊ̅>ÌÊVi˜ÌÀi½]ÊLiV>ÕÃiÊvœÀʅˆ“]ʼˆÌ½ÃʘœÌÊ̅iÊVi˜ÌÀi]ʈ̽ÃÊ̅iÊ«Õ}ʅœi°Ê/…iÊÀi>ÊVi˜ÌÀiʈÃÊ>ÌÊ̅iÊ edge and that’s where I want to be.’128 Whether or not Atherton still subscribes to this «Àˆ˜Vˆ«i]ÊÊV>˜˜œÌÊÃ>Þ]ÊLÕÌʈÌʈÃÊVi>ÀÞÊ՘Ài>ˆÃ̈V°Ê Ûi˜Ê`>˜Vˆ˜}Ê>ÀœÕ˜`Ê̅iÊi`}iÃÊ œvÊ̅iÊ«Õ}…œi]Ê>À̈ÃÌÃÊV>˜˜œÌʓ>ŽiÊܜÀŽÊ܈̅œÕÌʈ“«ÀiÃȘ}Ê̅iˆÀÊۈiÜÃÊÕ«œ˜Ê>˜Ê >Õ`ˆi˜ViÊqÊ>˜`ʈ˜Ê̅ˆÃÊÀiëiVÌ]Ê
̅iÀ̜˜Ê…>Ãʅ>À`ÞÊLii˜ÊÃ…Þ°Ê >ÀVˆÃÈÓʜÀʅÕLÀˆÃÊ are inevitable outcomes of the desire to create and the wish for others to witness one’s enterprise is a fundamental human characteristic. This does not absolve artˆÃÌÃÊvÀœ“Ê̅iÊi̅ˆVÃÊ̅>ÌÊÀi}Տ>ÌiÊi˜VœÕ˜ÌiÀÃÊ܈̅Ê̅iÊ«ÕLˆVʈ˜ÊœÌ…iÀÊë…iÀiÃ]ʘœÀÊ does it blind us to displays of unfettered amour propre°ÊœÜiÛiÀ]ʈÌÊ`œiÃÊÈ}˜>Ê̅iÊ ÜˆÊœvÊ̅iÊ>À̈ÃÌÊ>ÃÊ>Ê`ޘ>“ˆVÊvœÀViʈ˜Ê̅iÊVœ˜Vi«Ìˆœ˜]ÊiÝiVṎœ˜Ê>˜`ÊÀiVi«Ìˆœ˜ÊœvÊ >ÊܜÀŽ]Ê>ÊVœ˜Ãˆ`iÀ>̈œ˜ÊœvÊ܅ˆV…ÊŜՏ`ÊvœÀ“Ê«>ÀÌʜvÊ>˜ÞÊiÝ«>˜`i`Ê>˜>ÞÈÃʜvÊ̅iÊ work. Artists are lured by the opportunity installation offers to create a temporary «…ÞÈV>Ê՘ˆÛiÀÃi]Ê>Ê̜Ì>ˆÃˆ˜}Êi˜ÛˆÀœ˜“i˜ÌÊL>̅i`ʈ˜Ê̅iÊi˜V…>˜Ì“i˜ÌÃʜvÊ̅iʓœÛing image. Installations function as a mirror to the subterranean phantasmagoria and the waking dreams of the artist’s creative imagination. Art can provide a sense of (temporary) agency and those few who achieve even partial material and critical ÃÕVViÃÃÊi˜œÞÊ̅iÊÀiVœ}˜ˆÌˆœ˜Êœvʜ̅iÀÃÊ>˜`Ê̅iÞʓ>ˆ˜Ì>ˆ˜Ê̅>ÌÊVœ˜˜iV̈œ˜Ê܈̅Ê>Ê Üˆ`iÀÊ«ÕLˆVÊvœÀÊ>Ãʏœ˜}Ê>ÃÊ̅iˆÀÊLÀ>˜`ÊÃiÃ°ÊÊÃÕ}}iÃÌÊ̅>ÌÊLiޜ˜`Ê>Ê̅iʍœÞÃÊ>˜`Ê >}œ˜ˆiÃÊ œvÊ Ì…iÊ VÀi>̈ÛiÊ «ÀœViÃÃ]Ê ˆ““i`ˆ>ÌiÊ ÀiVœ}˜ˆÌˆœ˜Ê >˜`Ê i˜`œÀÃi“i˜ÌÊ LÞÊ …iÀÊ peers is what is in it for the artist.129

Last words ˜Ê ̅iÃiÊ «>}iÃ]Ê Ê …>ÛiÊ >ÌÌi“«Ìi`Ê ÌœÊ V…>ÀÌÊ Ì…iÊ Û>ÀˆœÕÃÊ …ˆÃ̜ÀˆV>Ê >˜`Ê `ˆÃVˆ«ˆ˜>ÀÞÊ strands that run through contemporary practices of moving image installation. I have reviewed the political and theoretical ideas that inform the work at different ̈“iÃ]ʈ˜Ê̅iʅ>˜`ÃʜvÊ>ÊÛ>ÀˆiÌÞʜvÊ>À̈ÃÌÃÊ>˜`ÊvÀœ“Ê̅iÊ«iÀëiV̈ÛiÃʜvÊ>ÊÀ>˜}iʜvÊVÀˆÌics and commentators. My question for ongoing research revolves around debates >LœÕÌÊëiVÌ>̜Àň«°Ê7…i˜Ê>˜`Ê ÌœÊ܅>ÌÊ iÝÌi˜ÌÊ ÜiÊV>˜Ê >ÃVÀˆLiÊ >}i˜VÞÊ ÌœÊ ÛˆiÜiÀÃÊ >˜`ɜÀÊ«>À̈Vˆ«>˜ÌÃʈ˜Ê̅iÊi“LÀ>ViʜvÊ>˜Êˆ˜ÃÌ>i`ÊܜÀŽ¶Ê/…ˆÃʵÕiÃ̈œ˜Ê…>Ãʏi`ʓiÊ

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ÌœÊ Vœ˜Ãˆ`iÀÊ Ì…iÊ `ˆÃVÕÀÈÛi]Ê iÝ«ÀiÃÈÛiÊ >˜`Ê «iÀܘ>Ê «œÜiÀÊ Üˆi`i`Ê LÞÊ Ì…iÊ >À̈ÃÌ°Ê Further investigation is needed into the dynamic between her individual will and the point of both reception and resistance that constitutes the spectator. I would like to see cognitive science applied to a triangulated study of the physical emplacement of the moving image in the gallery space and the use of empirical methods to measure ëiVÌ>̜Àˆ>ÊV…œˆViÊ>˜`ʏiÛiÃʜvÊ>ÌÌi˜ÌˆÛi˜iÃðʈ˜>Þ]ÊÃÌ>̈Ã̈V>Ê“i̅œ`ÃÊVœÕ`Ê usefully be applied to formally investigate the gap between the artists’ intentions >˜`Ê̅iʜÕÌVœ“iʜvÊ>ÊVÀi>̈ÛiÊ«ÀœiVÌ]ʈ˜Ê̅iÊyiÅÊqÊ>ʎˆ˜`ʜvʓiÌ>‡“>ÀŽiÌÊÀiÃi>ÀV…Ê for fine art. In any study I would like to see maintained the principle set down by the «…ˆœÃœ«…iÀÊœ…˜ÊœVŽiʈ˜Ê̅iÊÃiÛi˜Ìii˜Ì…ÊVi˜ÌÕÀÞ]Ê̅>Ìʼ̅iÊÀ>̈œ˜>Ê“>˜Ê܈Ê…œ`Ê …ˆÃʜ«ˆ˜ˆœ˜ÃÊ܈̅Êܓiʓi>ÃÕÀiʜvÊ`œÕL̽ÆÊ̅>ÌʈÃ]ÊÊܜՏ`Ê>`ۜV>ÌiÊ̅>ÌÊÜiÊ«ÀœVii`Ê with a degree of reasonable scepticism.130

NOTES 1Ê

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ÀˆŽ>Ê >Ãœ“Ê­Óä£Î®]ʜ«°ÊVˆÌ°]Ê«°ÊÇ{°Ê Nicky Hamlyn (2010) Medium Practices]Ê՘«ÕLˆÃ…i`]Ê՘«>}ˆ˜>Ìi`° Ê>“Ê}À>ÌivՏÊ̜Ê>˜ˆ˜iÊ>ÀV…iÃÃ>ՏÌÊvœÀÊÀi«œÀ̈˜}Ê-˜œÜ½Ãʈ˜ÌiÀÛi˜Ìˆœ˜Ê>ÌÊ̅iÊÓä£äʘÌiÀ‡ ˜>̈œ˜>Ê Ý«iÀˆ“i˜Ì>Êi`ˆ>Ê œ˜}ÀiÃÃʈ˜Ê/œÀœ˜Ìœ° >ÞÊ >ۈ`Ê œÌiÀÊ­Óä䣮ÊWriting Space: Computers, Hypertext and the Remediation of Print. >…Ü>…]Ê \Ê>ÜÀi˜ViÊ ÀL>ՓÊ
ÃÜVˆ>Ìið 9ۜ˜˜iÊ-«ˆi“>˜˜Ê­Óä䣮ʼ˜ÌiÀ“i`ˆ>ʈ˜Ê iVÌÀœ˜ˆVÊ“>}iý]ÊLeonardo]ÊÎ{\Ê£]Ê«°Êxx° -iiÊ-i>˜Ê ÕLˆÌÌ]Ê >˜ˆiÊ*>“iÀÊ>˜`ÊiÃÊ7>Žˆ˜}Ê­Óä£Ó®Ê¼,iyiV̈œ˜Ãʜ˜Êi`ˆÕ“Ê-«iVˆwVˆÌÞÊ "VV>Ȝ˜i`ÊLÞÊ̅iÊ-ޓ«œÃˆÕ“Ê¿½ ˆ}ˆÌ>Êˆ}…Ì\Ê/iV…˜ˆµÕi]Ê/iV…˜œœ}Þ]Ê Ài>̈œ˜½½]ÊiLœÕÀ˜iÊ Ó䣣½]ÊMIRAJ]Ê£\Ê£]Ê««°ÊÎÇq{™° Lˆ`]Ê«°ÊΙ° Ibid. Sean Cubitt speaking at the Exhibiting VideoÊVœ˜viÀi˜Vi]Ê7iÃ̓ˆ˜ÃÌiÀÊ1˜ˆÛiÀÈÌÞ]Êœ˜`œ˜]Ê 24 March 2012.
ÀV>˜}iÊiÀ>Ãi`Ê>ÊLÕÌÊ̅iÊVœÕ`ÃʜvÊ>Ê-Õ«iÀÊ>ÀˆœÊ}>“i]Ê>˜`ʜ˜Ê…ˆÃÊÜiLÈÌi]ʅiʅ>ÃʏivÌÊ instructions for others to make the work themselves: …ÌÌ«\ÉÉÜÜÜ°VœÀÞ>ÀV>˜}i°Vœ“É ̅ˆ˜}Lj‡“>`iÉÃÕ«iÀ“>ÀˆœVœÕ`ÃÉÊ­>VViÃÃi`ÊÓxÊՏÞÊÓä£{®° i˜iۈiÛiÊ9ÕiÊ­Óä£{®Ê¼ ˆ˜i“>ʈ““i“œÀˆ>\ʺ *, »Ê>˜`Ê̅iÊiÝ«iÀˆ“i˜Ì>Ê“>V…ˆ˜ˆ“>ʜvÊ *…ˆÊ-œœ“œ˜½]ÊMIRAJ]ÊÎ\Ê£]Ê«°Ê£ä° >ÀŽÊ -ÌÀiiÌÊ ˆ˜Ê Vœ˜ÛiÀÃ>̈œ˜Ê ÜˆÌ…Ê ޘ˜iÊ ->V…Ã]Ê ՈÃÊ ,iVœ`iÀ]Ê i˜Ê >VœLÃ]Ê >Vœ“Ê /ÕÀÛiÞÊ>˜`Êi`iÀˆVœÊ7ˆ˜…>ÕÃi˜Ê­Ó䣣®Ê¼,œÕ˜`Ì>Liʜ˜Ê ˆ}ˆÌ>Ê Ý«iÀˆ“i˜Ì>Êˆ““>Žˆ˜}½]Ê October]Ê ÃՓ“iÀ°Ê
Û>ˆ>LiÊ œ˜ˆ˜i\Ê …ÌÌ«\ÉÉÜÜÜ°“ˆÌ«ÀiÃ͜ÕÀ˜>Ã°œÀ}É`œˆÉ«`vɣ䰣£ÈÓÉ " /"Ú>Úäääx7 (accessed 12 May 2014). /ˆ“Ê-“ˆÌ…ʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê̅iÊ>Õ̅œÀ]Ê ˆÀŽLiVŽ]Ê1˜ˆÛiÀÈÌÞʜvÊœ˜`œ˜]ÊÓä£Î°Ê -iiÊ >ۈ`Ê œÀ`Üi½ÃÊiÝVii˜ÌʅˆÃ̜ÀˆV>ÊÃÕÀÛiÞʜvÊ̅iÊwi`\ʼ/…iÊ6ˆiÜiÀ½ÃÊ-…>Ài\Êœ`iÃÊ œvʈ˜`½]ʈ˜ÊExplaining Film (May 2012). Available online: …ÌÌ«\ÉÉÜÜÜ°`>ۈ`LœÀ`Üi°˜iÌÉiÃÃ>ÞÃÉۈiÜiÀÃÅ>Ài°«…pÊ­>VViÃÃi`Ê{ÊՏÞÊÓä£{®° 1ÀˆÊ>Ãܘ]Ê"…>`Ê>˜`iÓ>˜]Ê >ÀL>À>ʘ>««“iÞiÀ]Ê}˜>VˆœÊ6>ˆ˜iÃ]Ê >Û>Ê,ÕLˆ˜Ê>˜`Ê >ۈ`Ê °Êii}iÀÊ­Óään®Ê¼ iÕÀœVˆ˜i“>̈VÃ\Ê/…iÊ iÕÀœÃVˆi˜Viʜvʈ“½]ÊProjections]ÊÓ\Ê£]Ê««°Ê£qÓÈ°Ê I am grateful to Murray Smith for his close reading of this section. ÕÀ̅iÀÊÀiÃi>ÀV…ÊV>˜ÊLiÊvœÕ˜`ʈ˜Ê̅iʍœÕÀ˜>ÊProjections: The Journal for Movies and Mind and Ted Nannicelli and Paul Taberham (eds) (2014) Cognitive Media Theory. New York: Routledge. -iiÊ vœÀÊ ˆ˜ÃÌ>˜Vi]Ê /ˆ“Ê -“ˆÌ…Ê >˜`Ê ->“Ê 6°Ê 7>ÃÃÊ ­Óä£{®Ê ¼˜`ˆÛˆ`Õ>Ê ˆvviÀi˜ViÃÊ ˆ˜Ê ˜v>˜ÌÊ "VՏœ“œÌœÀÊ i…>ۈœÀÊ ÕÀˆ˜}Ê̅iÊ6ˆi܈˜}ʜvÊ œ“«iÝÊ >ÌÕÀ>ˆÃ̈VÊ-Vi˜iý]ÊInfancy. Available online: …ÌÌ«\Éɜ˜ˆ˜iˆLÀ>Àް܈iÞ°Vœ“É`œˆÉ£ä°££££Éˆ˜v>°£Óä{™É>LÃÌÀ>Vt (accessed 25 >ÞÊÓä£{®°Ê
Ãœ]Ê/ˆ“Ê-“ˆÌ…Ê>˜`Ê->“Ê6°Ê7>ÃÃÊ­vœÀ̅Vœ“ˆ˜}®Ê¼6ˆÃÕ>ÊœÌ…iÀiÃi¶Ê-ˆ}˜>‡Ìœ‡ œˆÃiÊ,>̈œÃʈ˜Ê/œ``iÀ‡`ˆÀiVÌi`Ê/iiۈȜ˜½]ÊDevelopmental Science. >“iÃÊ *iÌiÀÜ˜Ê ­£™™{®Ê Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema°Ê iÌÀœˆÌ]Ê\Ê7>ޘiÊ-Ì>ÌiÊ1˜ˆÛiÀÈÌÞÊ*ÀiÃðÊ*iÌiÀܘ½ÃÊÃÌÀÕVÌÕÀ>Ê>««Àœ>V…ÊÜ>ÃÊiÝ«>˜`i`ʈ˜ÊÓ䣣ÊLÞÊœViÞ˜Ê >““>VŽÊ܅œÊVœ˜Ìi˜`ÃÊ̅>Ìʼ՘ÃÌ>Li½Ê>LÃÌÀ>VÌÊ w“ÃÊÀiÌÕÀ˜ÊÕÃÊ̜ÊVœ˜`ˆÌˆœ˜ÃʜvÊ՘ViÀÌ>ˆ˜ÌÞÊ>ÃÜVˆ>Ìi`Ê܈̅Êi>ÀˆiÀÊvœÀ“ÃʜvÊ«iÀVi«Ìˆœ˜]Ê and productively mobilise the powers of the imagination; see …ÌÌ«Ã\ÉɈÀˆÃ°ÕV°>V°ÕŽÉˆÀˆÃÉ

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˜Ê ˜ÌÀœÊ ÌœÊ Ì…iÊ 7œÀŽÊ œvÊ Ì…iÊ Eye-Tracking and Moving Image Research Group’. Available online: …ÌÌ«\ÉÉVÃ̜˜ˆ˜i°ÌÛÉÅiÀlockian-eyes (accessed 26 May 2014). Ibid. -iiÊ >À̅iýÊiÃÃ>Þʼ/…iÊ/…ˆÀ`Êi>˜ˆ˜}½Ê­Q£™ÇÇRÊ£™Ç™®ÊÌÀ>˜Ã°ÊEÊi`°Ê-Ìi«…i˜Êi>̅]ÊImageMusic-Text°Êœ˜`œ˜\Êœ˜Ì>˜>É œˆ˜Ã]Ê««°ÊxÓqÈn°Ê /ˆ“Ê-“ˆÌ…]Êi“>ˆÊVœÀÀi뜘`i˜ViÊ܈̅Ê̅iÊ>Õ̅œÀ]ÊÓÇÊ-i«Ìi“LiÀÊÓä£{° >“iÃÊ Žˆ˜ÃÊ­£™™È®ÊThe Object Stares Back°Ê iÜÊ9œÀŽ\Ê-ˆ“œ˜ÊEÊ-V…ÕÃÌiÀ]Ê«°Ê£È™° -ii]Ê /ˆ“Ê °Ê -“ˆÌ…Ê >˜`Ê °Ê °Ê i˜`iÀÜ˜Ê ­Óään®Ê ¼ `ˆÌÊ ˆ˜`˜iÃÃ\Ê/…iÊ Ài>̈œ˜Ã…ˆ«Ê LiÌÜii˜Ê >ÌÌi˜Ìˆœ˜Ê >˜`Ê }œL>Ê V…>˜}iÊ Lˆ˜`˜iÃÃÊ ˆ˜Ê `ޘ>“ˆVÊ ÃVi˜iý]Ê Journal of Eye Movement Research]ÊÓ\ÊÊÈ]Ê««°Ê£q£Ç°Ê Virginia Woolf (1926) The Cinema. Available online: …ÌÌ«\ÉÉÜÜܰܜœvœ˜ˆ˜i°Vœ“ɶµr«Àˆ˜ÌÉ LœœŽÉiÝ«œÀÌɅ̓É£ää7 (accessed 29 October 2012). >Ì̅iÜÊ-ÜiiÌÊ­ÜÀˆÌiÀÉ«ÀiÃi˜ÌiÀ®Ê¼/…iÊ,ՏiÃʜvʈ“Ê œˆÀ½]Ê Ê{]ÊÓÎÊ
Õ}ÕÃÌÊÓä䙰ÊÊ Smith does not claim that infants are fully screen literate; this facility is discernible only in œ`iÀÊV…ˆ`Ài˜ÆÊi“>ˆÊVœÀÀi뜘`i˜ViÊ܈̅Ê̅iÊ>Õ̅œÀ]ÊÓÇÊ-i«Ìi“LiÀÊÓä£{° /ˆ“Ê-“ˆÌ…ʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê>˜Ê …ÀˆÃ̈iÊ­Óä£Ó®Ê¼ Ý«œÀˆ˜}ʘ˜iÀÊ7œÀ`Ã\Ê7…iÀiÊ œ}˜ˆÌˆÛiÊ *ÃÞV…œœ}ÞÊ>ÞÊ/>ŽiÊ1ý]ʈ˜Ê>˜Ê …ÀˆÃ̈iÊ­i`°®ÊAudiences. Amsterdam: Amsterdam University *ÀiÃÃ]Ê««°Ê£Çäqn{°Ê
Û>ˆ>Liʜ˜ˆ˜i\ʅÌÌ«\ÉÉ`>Ài°ÕÛ>°˜É`œVՓi˜ÌÉ{ÈÎä{£Ê­>VViÃÃi`ÊÓÈÊ May 2014). At the 2014 ScreenÊVœ˜viÀi˜Vi]ÊivvÊ>˜}ˆiʜLÃiÀÛi`Ê̅>ÌÊÀiÃÌÀˆV̈˜}ÊۈȜ˜Êˆ˜Ê w“Ê…>ÃÊLÕ`}iÌ>ÀÞʈ“«ˆV>̈œ˜ÃÊ>ÃʈÌʜLۈ>ÌiÃÊ̅iʘii`ÊvœÀÊVœÃ̏ÞÊÃiÌÃÆÊiÝÌi˜`i`ÊÌÀ>Ûiˆ˜}Ê shots also pad out a film for little added outlay. œÀÊ̅iÊiۜṎœ˜ÊœvÊw“ÊÃÌޏiÃʈ˜ÊVœ˜Ìi“«œÀ>ÀÞÊVˆ˜i“>]ÊÃiiÊ >ۈ`Ê œÀ`ÜiÊ­ÓääÈ®ÊThe Way Hollywood Tells It: Story and Style in Modern Movies°Ê iÀŽiiÞ]Ê
\Ê1˜ˆÛiÀÈÌÞʜvÊ >ˆvœÀ˜ˆ>Ê Press. See Barry Salt on the Cinemetrics website: …ÌÌ«\ÉÉÜÜÜ°Vˆ˜i“iÌÀˆVðÛÉÃ>Ì°«…pÆÊ>˜`Ê>“iÃÊ Cutting: …ÌÌ«\ÉÉÜÜÜ°Vˆ˜i“iÌÀˆVðÛÉVÕÌ̈˜}ڜ˜ÚÃ>Ì°«…p (both accessed 26 May 2014). /ˆ“Ê-“ˆÌ…ʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê̅iÊ>Õ̅œÀ]ÊÓä£Ó° ÕÀÀ>ÞÊ-“ˆÌ…Ê…>ÃÊVœ˜Ìi˜`i`Ê̅>ÌʼLiޜ˜`ÊÃÕ«iÀwVˆ>Êȓˆ>ÀˆÌˆiÃ]Ê̅iÊ՘`iÀÞˆ˜}Ê>iÃ̅ïVÊ goals of the mainstream and the avant-garde remain very different’; email correspondence ܈̅Ê̅iÊ>Õ̅œÀ]ÊÓxÊ՘iÊÓä£{°Ê/…ˆÃʈÃÊViÀÌ>ˆ˜ÞÊÌÀÕiʜvÊ̅iÊ£™ÈäÃÊ>˜`Ê£™ÇäÃÊ}i˜iÀ>̈œ˜]Ê but a new alignment is occurring as contemporary work increasingly adopts stylistic approaches and production values that originate in narrative film and television (see Connolly 2014). /ˆ“Ê-“ˆÌ…ʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê>˜Ê …ÀˆÃ̈iÊ­Óä£Ó®]Ê>ÃÊ>LœÛi°Ê

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ÀÌÊ Shimamura (eds) Aesthetic Science°Ê "ÝvœÀ`\Ê "ÝvœÀ`Ê 1˜ˆÛiÀÈÌÞÊ *ÀiÃÃ]Ê ««°Ê näq£äÈ°Ê -“ˆÌ…Ê iÝÌi˜`ÃÊ̅iÊ«…ÞȜœ}ˆV>Ê“i>ÃÕÀiÃÊ̜ʈ˜VÕ`iÊ«…i˜œ“i˜œœ}ˆV>Êiۈ`i˜ViÊ`iÀˆÛi`ÊvÀœ“Ê Ài«œÀÌi`ÊiÝ«iÀˆi˜ViÊ>˜`Ê«ÃÞV…œœ}ˆV>Êiۈ`i˜ViÊ`i`ÕVi`ÊvÀœ“Ê«iÀVi«ÌÕ>ÊLi…>ۈœÕÀ° >Ài̅Ê*œ“iiÀÊ­Óä£Ó®Ê¼-Ì>ÌiÃʜvʏÕÝ\ÊCognitive Science and the Moving Image Symposium]Ê ÎäÊ>ÀV…ÊÓ䣣]Ê …iÃi>Ê œi}iʜvÊ
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Û>ˆ>Liʜ˜ˆ˜i°Ê…ÌÌ«\ÉÉÜÜܰޜÕÌÕLi°Vœ“ÉÜ>ÌV…¶Ûr8Ü£˜ˆµÛ*s. Accessed 13 February 2014. ˆ˜i]Ê œÀ`iˆ>Ê­Óä£ä®]ÊDelusions of Gender: The Real Science Behind Sex Differences]Êœ˜`œ˜\Ê Icon Books. ˆÃ…iÀ]Êi>˜Ê­£™™ä®]ʼ,iyiV̈œ˜Ãʜ˜Ê V…œÊqÊÜ՘`ÊLÞÊܜ“i˜Ê>À̈ÃÌÃʈ˜Ê ÀˆÌ>ˆ˜½]ʈ˜ÊSigns of the TimesÊV>Ì>œ}Õi]Êœ
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ÀÌ]Ê̅iʈ“>}ˆ˜>ÀÞÊ>˜`Ê̅iÊ«>ÀœiÊۈ`i½]ÊStudio International]Ê>ÞÉ ՘i]Ê««°ÊÓ{{qx° >ÃÃՓˆ]Ê Àˆ>˜Ê­Óään®ÊA User’s Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari°Ê >“LÀˆ`}i]Ê
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Õ̅œÀň«½]ÊSenses of Cinema,ʈÃÃÕiÊÓÎ]Ê iVi“LiÀ° >âˆiÀi]ʈV…>iÊ­ÓääÇ®]ÊThe Dispersed Subject]Ê
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˜Ê >ÀÌÊ œvÊ Ài«ÀˆÃ>Ê Ài>««À>ˆÃi`½]Ê MIRAJ]Ê 2:1. Vi>˜‡iÀÀˆÃ]Ê>ÕÀ>Ê­Óä£Î®Ê¼˜`ˆvviÀi˜ÌÊ"LiVÌý]ÊArt Monthly]ÊÎÈn]Ê««°ÊÇq£ä° VՅ>˜]Ê>ÀÅ>Ê­£™È{®]ÊUnderstanding Media: The Extensions of Man]ÊVÀ>܇ˆ° V+Õii˜]Ê-ÌiÛiÊ­£™™Ç®]ʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Ê*>ÌÀˆVˆ>Ê ˆVŽiÀÃ]Ê>˜Õ>ÀÞ]ÊArt Monthly]ʘœ°ÊÓäÓ°Ê Available online. …ÌÌ«\ÉÉÜÜÜ°>À̓œ˜Ì…Þ°Vœ°ÕŽÉ“>}>∘iÉÈÌiÉ>À̈ViÉÃÌiÛi‡“VµÕii˜‡ˆ˜ÌiÀۈiÜi`‡Lއ«>ÌÀˆVˆ>‡LˆVŽiÀÇ`iV‡>˜‡™È‡™Ç. Accessed 14 October 2013. V,œLLˆi]Ê
˜}i>Ê­Óä䙮]ÊThe Aftermath of Feminism]Êœ˜`œ˜\Ê->}iÊ*ÕLˆV>̈œ˜Ã° iˆ}…‡
˜`ÀiÜÃ]Ê …ÀˆÃÊ ­ÓääÈ®Ê A History of Video Art: The Development of Form and Function. "ÝvœÀ`\Ê iÀ}° i>˜V>“«]Ê*>ÌÀˆVˆ>Ê­£™™ä®ÊIndiscretions: Avant-Garde Film, Video & Feminism°Ê œœ“ˆ˜}̜˜]Ê IN: Indiana University Press. iÛˆi]ÊiÀ“>˜Ê­Q£nx£RÊ£™™Ó®]ÊMoby Dick]Ê7œÀ`ÃܜÀÌ…Ê `ˆÌˆœ˜Ã° iÌâ]Ê …ÀˆÃ̈>˜Ê ­Q£™ÈÇRÊ £™Ç{®]Ê Film, Language: A Semiotics of the Cinema]Ê ˆV…>iÊ />ޏœÀÊ ­ÌÀ>˜Ã°®]Ê iÜÊ9œÀŽ\Ê"ÝvœÀ`Ê1˜ˆÛiÀÈÌÞÊ*ÀiÃÃ°Ê ÚÚÚÚÚÚÊ­£™ÇÇ®]ÊPsychoanalysis and Cinema: The Imaginary Signifier]Ê iˆ>Ê ÀˆÌ̜˜]Ê
˜˜ÜޏÊ7ˆˆ>“Ã]Ê i˜Ê ÀiÜÃÌiÀÊ>˜`Ê
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Û>˜Ì‡>À`iʈ“½]ʈ˜Ê ˆ˜>Ê >˜ˆ˜œÊ>˜`ʈV…>iÊ>âˆiÀiÊ ­i`î]ÊThe Undercut Reader]Ê7>yœÜiÀÊ*ÀiÃð "½,ˆiÞÊ­£™™n®]ʼ,i«ÀiÃi˜Ìˆ˜}ʏÕȜ˜Ã\Êë>Vi]ʘ>ÀÀ>̈ÛiÊ>˜`Ê̅iÊëiVÌ>̜À½]ʈ˜Ê>ÌÞÊ>Vœi`Ê>˜`Ê ˆ˜Êœ`Àˆ`}iÊ­Óääx®Ê­i`î]ÊThinking Through Art: Reflections on Art as Research]Ê,œÕ̏i`}i° "`i˜]Ê …ÀˆÌˆ˜iÊ­£™xή]ʼ"˜Ê
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“ÃÌiÀ`>“Ê 1˜ˆÛiÀÈÌÞÊ *ÀiÃÃ°Ê Available online. …ÌÌ«\ÉÉ`>Ài°ÕÛ>°˜É`œVՓi˜ÌÉ{ÈÎä{£. Accessed 26 May 2014. -“ˆÌ…Ãœ˜]Ê,œLiÀÌÊ­£™™È®ÊRobert Smithson: The Collected Writings°Ê iÀŽiiÞ]Ê
\Ê1˜ˆÛiÀÈÌÞʜvÊ California Press. -œLV…>VŽ]Ê 6ˆÛˆ>˜Ê ­£™™n®Ê ¼/…iÊ -Vi˜iÊ œvÊ Ì…iÊ -VÀii˜\Ê ˜ÛˆÃˆœ˜ˆ˜}Ê ˆ˜i“>̈VÊ >˜`Ê iVÌÀœ˜ˆVÊ º*ÀiÃi˜Vi»½]Ê ˆ˜Ê ˆVŽÊ ÀœÜ˜iÊ ­i`°®Ê Refiguring American Film Genres: History and Theory. iÀŽiiÞ]Ê
\Ê1˜ˆÛiÀÈÌÞʜvÊ >ˆvœÀ˜ˆ>Ê*ÀiÃÃ]Ê««°Ê{Óqnn° -«iV̜À]Ê>VŽÊ°Ê­£™ÇÓ®ÊThe Aesthetics of Freud. New York: Praeger. -«ˆi“>˜˜]Ê9ۜ˜˜iÊ­Óä䣮ʼ˜ÌiÀ“i`ˆ>ʈ˜Ê iVÌÀœ˜ˆVÊ“>}iý]ÊLeonardo]ÊÎ{\£]Ê««°ÊxxqÈ£° -«ˆ}i]Ê ޘ˜Ê ­£™™Ó®]Ê Make Room for TV: Television and the Family Ideal in Postwar America]Ê Chicago and London: University of Chicago Press. -Ì>>LÀ>ÃÃ]ÊՏˆ>˜Ê­£™™™®ÊHigh Art Lite: British Art in the 1990s. London: Verso. -ÌiÞiÀ]Ê ˆÌœÊ ­Óä䙮]Ê In Defence of the Poor Image. Available online. …ÌÌ«\ÉÉÜÜÜ°i‡yÕÝ°Vœ“É œÕÀ˜>Éˆ˜‡`ivi˜Ãi‡œv‡Ì…i‡«œœÀ‡ˆ“>}iÉ. Accessed 21 May 2014. -Ì°Ê>“iÃ]Ê>ÀÌÞÊ­Óä䣮ʼ6ˆ`iœÊ/ii«>̅ˆiý] Filmwaves]Ê£{]Ê«°Êx™° -̜˜i“>˜]Ê,œ`Ê­£™™È®Ê¼˜VÕÀȜ˜ÃÊ>˜`ʘVÕȜ˜Ã\Ê/…iÊ
Û>˜Ì‡>À`iʜ˜Ê …>˜˜iÊ{]Ê£™nÎq™Î½]ʈ˜Ê Michael O’Pray (ed.) The British Avant-Garde Film, 1926 to 1995. London: The Arts Council of

˜}>˜`Éœ…˜ÊˆLLiÞÊi`ˆ>]Ê««°ÊÓnxq™È° -ÌÀiiÌ]Ê>ÀŽÊˆ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Êޘ˜iÊ->VŽÃ]ÊՈÃÊ,iVœ`iÀ]Êi˜Ê>VœLÃ]Ê>Vœ“Ê/ÕÀÛiÞÊ>˜`Ê i`iÀˆVœÊ 7ˆ˜…>ÕÃi˜Ê ­Ó䣣®]Ê ¼,œÕ˜`Ì>LiÊ œ˜Ê ˆ}ˆÌ>Ê Ý«iÀˆ“i˜Ì>Ê ˆ““>Žˆ˜}½]Ê October]Ê summer. -ÌÕÀŽi˜]Ê>Àˆ>Ê­£™™™®]ʼ,iˆ“>}ˆ˜ˆ˜}Ê̅iÊ
ÀV…ˆÛi½]ʈ˜ÊSeeing Time: selections from the Pamela & Richard Kramlich collection of Media Art]Êi݅ˆLˆÌˆœ˜ÊV>Ì>œ}Õi]Ê->˜ÊÀ>˜VˆÃVœÊÕÃiՓʜvÊ Modern Art. -ÕLÀ>…“>˜Þ>“]Ê°Êet alÊ­Óä䣮]ʼ/…iʈ“«>VÌʜvÊVœ“«ÕÌiÀÊÕÃiʜ˜ÊV…ˆ`Ài˜½ÃÊ>˜`Ê>`œiÃVi˜ÌÃ½Ê development’, in Applied Developmental Psychology]Êۜ°ÊÓÓ° -ܜvvœÀ`]Ê
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̏>ÃÊÀœÕ«\Ê/…iÊ«…œÌœ}À>«…Ê>˜`Ê̅iÊ>ÀV…ˆÛiʈ˜Ê iÝ«iÀˆ“i˜Ì>Ê`œVՓi˜Ì>ÀÞ½]ÊMIRAJ]ÊÓ\Ê£]Ê««°ÊÈnqÇn° The Futurist Manifesto (1909) Available online: …ÌÌ«\ÉÉÛÃiÀÛiÀ£°VÃVðÃ>°Õ“ˆV…°i`ÕÉHVÀÅ>ˆâˆÉ /{*ÉvÕÌÕÀˆÃ̇“>˜ˆviÃ̜°…Ì“ (accessed 28 October 2013). /…œ“«Ãœ˜]ÊÀˆÃ̈˜Ê>˜`Ê >ۈ`Ê œÀ`ÜiÊ­Q£™™{RÊÓääή]ÊFilm History; An Introduction]Ê iÜÊ9œÀŽ\Ê McGraw-Hill. /œÃ̜Þ]Ê iœÊ ­Q£n{™RÊ Óä䙮]Ê Anna Karenin]Ê ,œÃi“>ÀÞÊ `“œ˜`ÃÊ ­ÌÀ>˜Ã°®]Ê œ˜`œ˜\Ê *i˜}Ո˜Ê Books.

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œ˜Ìˆ˜ÕՓʘÌiÀ˜>̈œ˜>Ê*ÕLˆÃ…ˆ˜}ÊÀœÕ«]ʘV° /Ài`i˜˜ˆVŽ]Ê Õ}…]Ê ­ÌÀ>˜Ã°]Ê ˆ˜ÌÀœ`ÕV̈œ˜®Ê ­Q£™x{RÊ £™x™®]Ê Plato: The Last Days of Socrates]Ê œ˜`œ˜]Ê*i˜}Ո˜Ê >ÃÈVð 1ÀœÃŽˆi]Ê
˜`ÀiÜÊ6°Ê­Óään®Ê¼-ˆÌˆ˜}Ê ˆ˜i“>½]ʈ˜Ê/>˜Þ>Êiˆ}…Ìœ˜Ê­i`°®ÊArt and the Moving Image: A Critical Reader°Êœ˜`œ˜\Ê/>ÌiÊ*ÕLˆÃ…ˆ˜}É
vÌiÀ>]Ê««°ÊÎnÈq{ää° 6ˆœ>]Ê ˆÊ­Óääή]ʈ˜ÊVœ˜ÛiÀÃ>̈œ˜Ê܈̅Êœ…˜Ê7>Ã…]ÊThe Eye of the Heart]Ê>ÀŽÊˆ`iÊ­`ˆÀiV̜À®]Ê BBC 4. ÚÚÚÚÚÚ ­£™nÈ®]ÊThe sound of one line scanning. Available online. …ÌÌ«\ÉÉÜÜÜ°ˆi“i`°œÀ}É«ÕLˆV>Vˆœ˜ÃÉ µÕ>`iÀ˜ÃÉ£ÓÉ/…i¯Óä-œÕ˜`¯Óäœv¯Óä"˜i¯Ó䈘i¯Óä-V>˜˜ˆ˜}Ú ˆ¯Óä6ˆœ>°«`f. Accessed 10 May 2011. 6ˆÀˆˆœ]Ê*>Տʭ£™n™®]ÊWar and Cinema: The Logistics of Perception, Verso. 6ˆÃV…iÀ]Ê ,œLiÀÌÊ ­Q£nÇÎRÊ £™™{®Ê ¼"˜Ê ̅iÊ "«ÌˆV>Ê -i˜ÃiÊ œvÊ œÀ“\Ê
Ê œ˜ÌÀˆLṎœ˜Ê ̜Ê
iÃ̅ïVý]Ê in H. F. Mallgrave and E. Ikonomou (eds) Empathy, Form and Space: Problems in German Aesthetics 1873–1893°Ê ->˜Ì>Ê œ˜ˆV>]Ê
\Ê iÌÌÞÊ i˜ÌiÀÊ vœÀÊ Ì…iÊ ˆÃ̜ÀÞÊ œvÊ
ÀÌÃÊ >˜`Ê Ì…iÊ Փ>˜ˆÌˆiÃ]Ê««°Ên™q£Óΰ ۜ˜Êœi̅i]Êœ…>˜˜Ê7œv}>˜}]Ê­Q£n£äRÊ£n{ä®]ÊZur Farbenlehre]Ê …>ÀiÃÊ >Ã̏>ŽiÊ­ÌÀ>˜Ã°®]Êœ…˜Ê Murray. 7>}˜iÀ]Ê
˜˜iÊ°Ê­Óäää®Ê¼*iÀvœÀ“>˜Vi]Ê6ˆ`iœ]Ê>˜`Ê̅iÊ,…i̜ÀˆVʜvÊ*ÀiÃi˜Vi½]ÊOctober]ʙ£]Ê««°Êxäqnä° 7>iÞ]Êœ˜>̅>˜Ê­Óääήʼ/…iÊ>ÌiÀˆ>Êœvʈ“Ê>˜`Ê̅iÊ`i>ʜvÊ ˆ˜i“>\Ê œ˜ÌÀ>Ã̈˜}Ê*À>V̈ViÃʈ˜Ê ̅iÊ-ˆÝ̈iÃÊ>˜`Ê-iÛi˜ÌˆiÃÊ
Û>˜Ì‡>À`iʈ“½]ÊOctober]Ê£äÎ]Ê««°Ê£xqÎä°Ê ÚÚÚÚÚÚÊ­Ó䣣®Ê¼ œÌÊ>˜Ê“>}iʜvÊ̅iÊ i>̅ʜvʈ“\Ê œ˜Ìi“«œÀ>ÀÞÊ Ý«>˜`i`Ê ˆ˜i“>Ê>˜`Ê Ý«iÀˆ“i˜Ì>Ê ˆ“½]ʈ˜Ê
°Ê°Ê,iiÃ]Ê Õ˜V>˜Ê7…ˆÌi]Ê-ÌiÛi˜Ê >Ê>˜`Ê >ۈ`Ê ÕÀ̈ÃÊ­i`îÊExpanded Cinema: Art, Performance, Film°Êœ˜`œ˜\Ê/>Ìi]Ê««°ÊÓ{£qx£° ÚÚÚÚÚÚÊ­Óä£{®Ê¼ Ý«iÀˆ“i˜Ì>ÊVˆ˜i“>½ÃʈÕÈÛiʈÕȜ˜½]ÊMIRAJ]ÊÓ\ÊÓ]Ê««°ÊÓΙqxä° 7>Ã…]Ê>Àˆ>Ê­ÓääȮʼˆˆ>˜Ê7i>Àˆ˜}½]ÊArt Monthly]ÊÎää]Ê««°ÊÓÈqÇ° 7>ÌiÀ]Ê >Ì>Å>Ê­Óä£ä®]ÊLiving Dolls: The Return to Sexism]Êœ˜`œ˜\Ê6ˆÀ>}œ° 7>À…œ]Ê
˜`ÞÊ­£™Çx®ÊThe Philosophy of Andy Warhol (From A to B and Back Again). New York: >ÀVœÕÀÌÊ À>ViÊœÛ>˜œÛˆV…° 7iˆ˜LÀi˜]ÊÀ>…>“iÊ­Óä£Ó®Ê¼ œœÕÀi`Ê«>«iÀʈ˜Ê“œ˜Õ“i˜ÌÊÛ>iÞ\Ê œ˜ÌÀ>`ˆV̈œ˜Ã]ÊÀiܘ>˜ViÃÊ >˜`Ê«ÕÀ>ˆÌˆiÃʈ˜Ê̅iÊ>ÀÌʜvÊ*>ÌÊ"½ iˆ½]ÊMIRAJ]Ê£\ÊÓ]Ê««°Ê£xxqÈÈ° 7iÃLÞ]Ê …ÀˆÃÊ­Óä£Î®Ê¼˜Ê œ˜ÛiÀÃ>̈œ˜ÊÜˆÌ…Ê >̅iÀˆ˜iÊ Üiý]ÊMIRAJ]ÊÓ\ÊÓ]Ê««°ÊÎänqÓ{° 7iÃ…]Ê iÀi“ÞÊ ­£™™È®Ê ¼"˜iÊ >̈œ˜Ê 1˜`iÀÊ >Ê 7ˆÊ ­œvÊ Àœ˜®]Ê œÀ\Ê /…iÊ -…ˆ˜ÞÊ /œÞÃÊ œvÊ /…>ÌV…iÀ½ÃÊ

…ˆ`Ài˜½]ʈ˜ÊՏˆ>ʘˆ}…ÌÊ­i`°®ÊDiverse Practices: A Critical Reader on British Video Art. Luton: Õ̜˜Ê*ÀiÃÃÉ
ÀÌÃÊ œÕ˜VˆÊœvÊ ˜}>˜`]Ê««°Ê£ÓÎq{x° 7…ˆÌi]Ê Õ˜V>˜Ê ­Ó䣣>®Ê ¼"˜Ê ̅iÊ iÛiœ«“i˜ÌÊ œvÊ -˜œÜÃÊ >˜`Ê "̅iÀÊ >ÀÞÊ Ý«>˜`i`Ê ˆ˜i“>Ê 7œÀŽÃ½]ʈ˜Ê
°Ê°Ê,iiÃ]Ê Õ˜V>˜Ê7…ˆÌi]Ê-ÌiÛi˜Ê >Ê>˜`Ê >ۈ`Ê ÕÀ̈ÃÊ­i`îÊExpanded Cinema: Art, Performance, Film°Êœ˜`œ˜\Ê/>Ìi]Ê««°Ênxq™ä° ÚÚÚÚÚÚÊÊ­Ó䣣L®Ê¼ i}ÀiiÊÀÀ>̈ÛiÊ>˜`Ê̅iÊ œ˜ÌiÝÌÕ>Ê“>}i½]ʈ˜Ê
°Ê°Ê,iiÃ]Ê Õ˜V>˜Ê7…ˆÌi]Ê Steven Ball and David Curtis (eds) Expanded Cinema: Art, Performance, Film°Êœ˜`œ˜\Ê/>Ìi]Ê pp. 110–24. ÚÚÚÚÚÚÊ Ê ­Ó䣣V®Ê ¼ Ý«>˜`i`Ê ˆ˜i“>Ê 1«Ê /œÊ >˜`Ê ˜VÕ`ˆ˜}Ê ˆÌÃÊ ˆ“ˆÌÃ\Ê *iÀVi«Ìˆœ˜]Ê *>À̈Vˆ«>̈œ˜Ê >˜`Ê /iV…˜œœ}Þ½]Ê ˆ˜Ê
°Ê °Ê ,iiÃ]Ê Õ˜V>˜Ê 7…ˆÌi]Ê -ÌiÛi˜Ê >Ê >˜`Ê >ۈ`Ê ÕÀ̈ÃÊ ­i`Ã®Ê Expanded Cinema: Art, Performance, Film°Êœ˜`œ˜\Ê/>Ìi]Ê««°ÊÓÓÈq{ä°

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°°Ê ,iiÃ]Ê Õ˜V>˜Ê7…ˆÌi]Ê-ÌiÛi˜Ê >Ê>˜`Ê >ۈ`Ê ÕÀ̈ÃÊ­i`î]ÊExpanded Cinema; Art Performance Film]Ê London: Tate Publishing. Ý>]Ê Àˆ`}iÌÊ Àœ˜i]Ê ˆ˜>Ê >˜ˆ˜œ]Ê>ë>ÀÊœÃi«…‡iÃÌiÀÊ>˜`Ê,ÕLi`œÊ­Óä£Ó®]ʼ/…iÊ>vviVÌÃÊ œvÊ̅iÊ>LÃÌÀ>VÌʈ“>}iʈ˜Êw“Ê>˜`Êۈ`iœÊ>À̽]ÊÀœÕ˜`Ì>LiÊ`ˆÃVÕÃȜ˜]ÊMIRAJ]Ê£\£]Ê««°ÊǙqnÇ°

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Index
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INDEX

297

Ý«ÀiÃȜ˜ˆÃ“ÊÊÊÎÎ]ʙ£ Extramission (Black Maria) 255 iÞi‡ÌÀ>VŽˆ˜}ÊÊÊ{x]ÊÓxnq™]ÊÓÈÎ]ÊÓÇ{˜°ÇÇ >ˆÌ…vՏ]Ê-ˆ“œ˜ÊÊÊÈ Family History Ó{Óq{]ÊÓx£˜°™£Ê Family of Robot: Mother and Father 240–1 Family] The 242–4 Fantasy Factory 6 >ÀœVŽˆ]Ê>À՘ÊÊÊ£n >ÀÀiÀ]Ê-ÌiÛiÊÊÊ{™]Ên{]ʙ™]Ê£äΘ°˜°Çä]Ç£]Ê£nÎ]Ê £nxqÈ]Ê£nn >ÃÌ]Ê"“>ÀÊÊÊÈÊÊÊ vi“ˆ˜ˆÃ“ÊÊÊn]ÊÈÎ]Ê£ä™]Ê££Î]ÊÓxn viÀ“i˜ÌÊÊÊ{ä]Ê{Ó]Ên™]ÊÓ£{Ê ˆwi`]ÊiœÀ}iÊÊÊ£x™ Film Ambiente 180 Finger Gloves 60 ˆ˜˜‡iViÞ]Ê,œÃiÊÊÊÈn ˆÃV…ˆ˜}iÀ]Ê"Î>ÀÊÊÊÎÎ]ʙÓÊÊÊÊ ˆÃ…iÀ]ÊœÀ}>˜ÊÊÊnÎ]ʙÈ]ÊÓxÈ ˆÌV…]ʈââˆiÊÊÊ£x™]ÊÓ{x Flat Prune 170 flicker films 115 Flicker] The 187 ÕÝÕÃÊÊÊ££]Êx£˜°£È]ÊxÇ]ÊÈ£]ÊÓÓn œiÌÌ]Ê >ÀL>À>ÊÊÊ£än Foregrounds £Î{]Ê£Îx œÀÃÞ̅]Ê>ˆ˜ÊEÊ>˜iÊ*œ>À`ÊÊÊ œÕV>ՏÌ]ʈV…iÊÊÊÓÎÎ]ÊÓ{™˜°{™ vœÕ˜`ʜLiVÌÃÊÊÊÈ]Ê{£]Ê{Ç]ÊÓÓn Fountain Ι]ÊÓÓnÊ 4 X LOOPS 184 À>“«Ìœ˜]ÊœˆÃÊÊÊ££È]Ê££n]ÊÓxx]ÊÓÇ£˜°ÓÓ Free White and 21 231 Ài˜Ži]Ê6iÀ>ÊÊÊÈn]ÊÓ£Î]ÊÓ£È vÀiÃVœÊÊÊÓn]ÊÎäq£]ÊÎ{ÊÊÊÊÊÊ ÀiÕ`]Ê-ˆ}“Õ˜`ÊÊʙ£]Ê££ä]Ê£ÓȘ°xx]Ê£xÓ]Ê£n£]Ê £™Ó]ÊÓÎx]ÊÓΙ]ÊÓÈx]ÊÓÈÇ Fulcrum 44–4 ÕÀœ˜}]Ê7ˆˆ>“ÊÊÊӣΠÕÃÌiÀ]ÊœÃjÊÊÊÎ{]ÊÎx Futurism 91 >i]Ê*i}}ÞÊÊÊÓÓÇ }>iÀÞÊ`iÈ}˜ÊÊÊ£Èq£n]Ê{x Game Pieces 198 >˜Vi]Ê
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298

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Garden of Unearthly Delights 85 >ÀÀ>À`]Ê,œÃiÊÊÊÈnqÇä]ÊÓÎÎ >ÌiÃ]Ê/…i>ÃÌiÀÊÊʣΠGathering 159 >ÌÌi˜]Ê >ۈ`ÊÊʣș >Õ`Ài>ՏÌ]Ê
˜`ÀiÊÊʣ䣘°Ó{ Geography 123 Ghost Rev £nä]Ê£™Ç ˆLܘÊ>˜`Ê,iVœ`iÀÊÊÊÈ]ÊnÎ]Ê£nn]ÊÓx{ ˆLܘ]Ê i>ÌÀˆViÊÊÊÓÈ{ ˆLܘ]Ê°°ÊÊÊÓÈÎ ˆLiÀÌÊ>˜`ÊiœÀ}iÊÊÊÈÓ]ÊÓÎÇqn]ÊÓÈÇ ˆˆVŽ]ʈ>“ÊÊÊ£{Ó ˆ˜˜>]Ê
À˜>`œÊÊÊxn ˆœÀ˜œ]Êœ…˜ÊÊÊ££n ˆœÌ̜ÊÊÊÓnqΣ]ÊÎÎ Glass of Absynthe 46 glitch aesthetic 257 œ`>À`]Êi>˜‡ÕVÊÊÊ£Îä œ``>À`]Ê/ÀˆÃ…>ÊÊÊÓ{Óq{ Go! Go! Go! 116 œ`L>V…iÀ]Ê->˜`À>ÊÊÊÓÎä œÀ`œ˜]Ê œÕ}>ÃÊÊÊ££™]Ê£{™]Ê£xÇqn]ÊÓ£Ç]ÊÓÓä]Ê 245 Gorilla Tapes 230 œÀŽÞ]Ê>݈“ÊÊÊÓÓÇ]ÊÓ{Ș°Î œÕ`>]Êi>˜ÊÊ檂 À>…>“]Ê >˜ÊÊÊÈ]ÊÇä]Ê£nä]ÊÓÎÎq{]ÊÓÎÈ]Ê Ó{™˜°˜°xÎ]È£ ÀiiÀ]ÊiÀ“>ˆ˜iÊÊÊÓx{ Àˆvw̅]Ê °7°ÊÊÊÎȘ°£Ç]ʙä Àœ«ˆÕÃ]Ê7>ÌiÀÊÊÊÈä ÕiÀ˜iÞ]Ê-ˆÀÊœ`ÃܜÀ̅ÞÊÊÊnÎ ÕÌ>ˆÊ}ÀœÕ«ÊÊÊÈ£]Ê£Èx ÞȘ]Ê Àˆœ˜ÊÊÊ£nnÇ >]Ê-ÕiÊÊÊÓÎÈ >“ˆÌœ˜]Ê,ˆV…>À`ÊÊÊÓÎÇqn >˜Ãi˜]ʘ}iʈÃiÊÊÊÓÈ haptic memory 45 >À“>˜]ÊÀ>…>“ÊÊÊ{n]Êxx]ÊxÈ]ÊÇ£˜°Ç]Ê£{Ç]ÊÓxn Harmonic Bridge 208 >ÀÛiÞ]Ê>ÀVÕÃÊÊÊÈ{ >Ãi`i˜]Ê,œ˜ÊÊʣǙ hauntology 175 >܏iÞ]Ê-ÌiÛiÊÊÊÓÓn i>`]Ê/ˆ“ÊÊʣǙ]Ê£™È iˆ˜]Ê7ˆi“Ê>˜`Ê ˆÀ}ˆÌÊÊÊ£È{ iiÀ]ÊœÃi«…ÊÊÊÓÈ{

i““ˆ˜}Ã]Ê ““ÞÊÊÊxÈ i«ÜœÀ̅]Ê >ÀL>À>ÊÊÊÎ{]ʙΠiÀ>VˆÌÕÃÊÊÊÎÎ]ÊÈÈ He Weeps for You 209 ˆ}}ˆ˜Ã]Ê ˆVŽÊÊÊÓxÇ ˆiÀ]Ê-ÕÃ>˜ÊÊÊÓ£Î]Ê£ÓȘ°xx ˆ]Ê>ÀÞÊÊÊx{]ÊǙqnä]ÊnÇ]Ê£x™]ÊÓ{äÊÊÊÊÊÊ ˆ]Ê/œ˜ÞÊÊÊ£ÎÈ ˆ˜`i]Ê-ÌiÛi˜ÊÊÊÓx™ ˆÀÃÌ]Ê >“ˆi˜ÊÊÊÈ{]ÊÈn]ÊÇx˜°Çx holomovement 180 œœÛiÀ]Ê >˜ÊÊÊÓΣ œœÞŽ>>Ã]Ê>`iiˆ˜iÊÊÊ{™ÊÊ œ«Žˆ˜Ã]Êœ…˜ÊÊÊÓÎÈ œÀiˆ]Ê>ÕÀ>ÊÊÊÓ{x œÀ˜]Ê,iLiVV>ÊÊÊÈäq£ œÀÀˆ}>˜]Ê7ˆˆ>“ÊÊÊ£xÈqÇ Horror Film 1 177–8 œÀÛ>̈V]ÊÀۜiÊÊÊ£ÓÎ œÕÃiÜ>ÌV…ÊÊÊnÎ]ʣ䣘°Ó£ Õ``Þ]ÊÕ}…ÊÊÊÓ£Ó Õ`}ˆ˜Ã]Ê
i݈ÃÊÊÊÓÎÈ …ÞLÀˆ`ˆÃ>̈œ˜ÊÊÊ{äqÓ]Ê£È{ I am Crazy And You’re Not Wrong 98 Identifications 236 I Dish 112 iÃ]Ê …ÀˆÃÈiÊÊÊ£ÈÈqÇ Impressionism 25 Inasmuch as It Is Always Already Taking Place 240 In Camera 171 ˆ˜`i݈V>ˆÌÞÊÊÊ£ä™q£ä Influence Machine] The n£]Ê£Ç{ Instant Film 169 ˆ˜ÌiÀ>V̈ۈÌÞÊÊÊÓn]Êx{]Ê£x™]Ê£nÇ intermediality 257 ˜ÌiÀ˜>̈œ˜>Ê-ÕÀÀi>ˆÃÌÊ Ý…ˆLˆÌˆœ˜ÊÊÊ££ In Two Minds – Past Version 234–5 Àۈ˜i]Ê>ŽˆÊÊÊÓ££ À܈˜]Ê,œLiÀÌÊÊÊ£nÇqn >>À]Ê
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̅>˜>ÈÕÃÊÊÊÇÈ]ÊǙqnä Kiss] The {{]Ê{È >…À]Êi܈ÃÊÊÊnÓÊ iˆ˜]Ê9ÛiÃÊÊÊ£™£]Ê£™x]ÊÓäx˜°£Óä Klipperty Klop 59 Klütterkammer 43 ˜œÝ]Ê-œ˜ˆ>ÊÊÊx™]ÊÈä]ÊÇΘ°{£Ê œV…]Ê …ÀˆÃ̜vÊÊÊ£xÇ ŸÌ̈˜}]Ê
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INDEX

299

Legacy 103n.62 i}}iÌÌ]ʈŽiÊÊÊ££Ç iÊÀˆVi]Ê>Vœ“ÊÊÊÇä]Ênä]Ê£ä{]Ê££Î]Ê££{]Ê ££n]Ê£Óä]Ê£Ó£qÓ]Ê£ÎÇ]Ê£{{]Ê£xÓ]Ê£xx]Ê £ÈxqÈ]Ê£Çäq£]Ê£Ç{]Ê£ÇÇq™]Ê£nÈqn]Ê 191–3 Letter from an Unknown Woman 81 Letters Home 214 i܈˜ÃŽˆ]Ê ˆÊÊÊ£{nq™ i܈Ã]Ê>ÀŽÊÊʣΙ]Ê£{™]Ê£xä]Ê£xn]ÊÓ£ä]ÊÓxÎ Liberate Tate 19n.8 Liberty Leading the People 31 Light Music 183 Light Reading ££Ó]ÊÓ£ä Lights Going On and Off £Çä]Ê£™ä Lights in the City 190 Light Spill 253 Light Wall 186 Line Describing a Cone 172 Lip Synch ÓäÇ]ÊÓ£Ó ˆÃÈÌâŽÞ]Ê ÊÊÊ££ ˆÃÌiÀ]Ê
`iiÊÊÊÈÎ ˆÌ̓>˜]Ê-ÌiÛiÊÊÊ{™ œVŽi]Êœ…˜ÊÊÊ£{{]ÊÓÇä Lonely Villa 90 œ˜}]Ê >̅iÀˆ˜iÊÊÊÈÎ Long Film for Ambient Light 190 Long Film for Four Projectors 174 œ˜}]Ê,ˆV…>À`ÊÊÊÓÎÇ œœ]ÊޘÊÊÊÓÓÓ loops and repetition 121 œÀ`]Ê >LÃÊÊÊ£{ä˜°È Lost Sounds 220 ÕV>Ã]Ê
˜˜>ÊÊÊÓÈ{ ՓˆmÀiÊLÀœÌ…iÀÃÊÊÊnÈ]ÊnÇ]ʙÈ]Ê£ÇÈ Õ̅À>]Ê>ŽÃ…“ˆÊÊÊÓÎÈ Þi]Êi˜ÊÊÊÎÎ]ʙÓÊ ÞÌ̜˜]Ê œ˜ÃÌ>˜ViÊÊÊxn Machine] The n{]Ê£äΘ°Çä >VˆÕ˜>Ã]ÊiœÀ}iÊÊÊx£˜°£È >V“ˆ>˜]Ê/ˆ“ÊÊÊ£n˜°™]Ê£ÎÈ “>}ˆVʏ>˜ÌiÀ˜ÃÊÊÊǙ]Ênä >}˜Õܘ]Ê
˜˜ÊÊÊ£{™ >>˜ˆ]Ê >ˆ˜ˆÊÊÊ£™n >iۈV…]Ê>∓ˆÀÊÊÊÓÎ]Ê{Ç Man with a Movie Camera 66 Marca RegistradaÉTrademark 59 >ÀV>Þ]Ê …ÀˆÃ̈>˜ÊÊÊÈ]Ê{Ç]Ê££™]ÊÓÓä

300

INSTALLATION AND THE MOVING IMAGE

>Àˆ˜iÌ̈]ʈˆ««œÊÊÊxÇqn]ÊÇ£˜°Óä]ÊÓÈn >ÀÅ>]ʈŽiÊÊÊÓ£™ >À̈˜]Ê
}˜iÃÊÊʣΠMasstransiscope 81–3 Matches 190 “>ÌiÀˆ>ˆÃ“ÊÊÊÇ£˜°£Ó]Ê££Î]ʣΙ]Ê£{{]Ê£Èn]Ê 258 >̈ÃÃi]Êi˜ÀˆÊÊÊ£™£ Matrix 191 >Ì̅ii]Êi>˜ÊÊÊ£ÎÇ V >]Ê
˜Ì…œ˜ÞÊÊÊ{x]Ê{Ç]ÊÈ£]Ê£ÇÓq{]Ê£ÇÈ]Ê £™ä]ÊÓ££ VœÜ>˜]Ê>ÀŽÊÊÊÈä]ÊÇӘ°Ó™ Vi>˜‡iÀÀˆÃ]Ê>ÕÀ>ÊÊÊ{n VՅ>˜]Ê>ÀÅ>ÊÊÊ£™Ç]ÊÓә V+Õii˜]Ê-ÌiÛiÊÊʙ˜°£n]Ê{Ç]ʣΙ]Ê£xÓ]Ê£xÎ]Ê £™ä]ÊÓ££Ê Measures of Distance 214 Media Burn 247n.18 iŽ>Ã]Êœ˜>ÃÊÊÊ£ÎÈ jˆmÃ]ÊiœÀ}iÃÊÊÊnÈ]ʙä iœÀÃ]Ê >̅>˜ˆiÊÊÊÓ{x iÀi>Շ*œ˜ÌÞ]Ê>ÕÀˆViÊÊÊ£nÇ Merzbau 41 Meshes of the Afternoon 92 iÌâ]Ê …ÀˆÃ̈>˜ÊÊʙä]Ê£äxqÇ iÌâ}iÀ]ÊÕÃÌ>ÛÊÊÊ£ÈÇ iޘi]Ê>ÌiÊÊÊ£{£˜°ÓÈ ˆV…iÃœ˜]Ê
˜˜iÌÌiÊÊʙ™ ˆŽ]Ê
iÀ˜œÕÌÊÊÊÈ Miner’s Tapes 247n.24 Ming Green 121 ˆ˜…‡…>]Ê/Àˆ˜…ÊÊÊÓ£Ó]ÊӣΠmirror neurons 263 Mirror Performance 183 Missing Voice (Case Study B®]ÊThe xÇ]ÊÓ£{Ê œ…œÞ‡ >}Þ]Ê?Ã⏝ÊÊÊÓÈn œ˜`œV…]Ê>ÌiÊÊÊ££™]Ê£{È]Ê£{n]Ê£xÇ]Ê£™™]Ê ÓÎ{]ÊÓÈn œ˜Àœi]Ê>ÀˆÞ˜ÊÊÊ£Îä]ÊÓÇ£˜°£x œ˜Ì>˜œ]ʈ˜`>ÊÊÊÓÈx œ˜ÌiˆÌ…]Ê
iÝÊÊÊÓxÇ œÀˆ˜]Ê,œLiÀÌÊÊÊÓ£ÈqÇ œÀÀˆÃ]Ê,œLiÀÌÊÊÊÎn]ÊΙ]Ê{Î]Ê{È]Êx{]Ê£{ÇÊ Movie-Drome £nÎ] Multi-media sculpture 186 ՏÛiÞ]Ê>ÕÀ>ÊÊÊ£än]Ê£££q£Î]ÊÊ£x£]ÊÓää ÕÞLÀˆ`}i]Ê >`Üi>À`ÊÊÊÓÈ]Ê£ÎÈ

Nam] The 209 Nantes Triptych 152 Napoleon 95 ˜>ÀVˆÃÈÓÊÊÊÈ{]Ê£x™]Ê£Çn]ÊÓÎÓq{]ÊÓș >Å>ňLˆ]Ê,œÃ>ˆ˜`ÊÊÊ£În naturalism 104–7 >Փ>˜]Ê ÀÕViÊÊÊÎ{]ÊÈÇ]ÊÓäÇ]ÊÓän]ÊÓ£Ó]ÊÓ£È]Ê ÓΣ]ÊÓÈÈ]ÊÓÈn iÃœ˜]ʈŽiÊÊÊ£Î]Ê{ÎÊ iÅ>Ì]Ê-…ˆÀˆ˜ÊÊÊÎ{]Ê£ÎnÊ neurocinematics 258 iܓ>˜]Ê>ޏiÞÊÊÊÈÓ New Ocean 189 New York World’s Fair 11 ˆVœÃœ˜]Ê
˜˜>LiÊÊÊ{™]Ênx]ÊnÈ]Ê££{]Ê£ÎÇ]Ê£™ä]Ê 266 19:30 245 œ>˜`]Êi˜˜i̅ÊÊÊÎÎ Nosferatu 91 Not I 213 "LiVÌÊÀi>̈œ˜ÃÊÊÊÓxnÊ Object (Le déjeuner en fourrure) 4 œL܏iÃVi˜ViÊÊÊ{™]ʣș]ÊÓx{]ÊÓxxÊ "ˆÌˆVˆV>]ÊjˆœÊÊÊ££]Ê{£ 100-to-One Shot, The 90 "½ iˆ]Ê*>ÌÊÊÊ£ÓÓ]Ê£Îä]Ê£Î{]Ê£Îx]ÊÓxÈ]ÊÓxn 1001 TV Sets 241 "˜œ]Ê9œŽœÊÊÊxÇ]ÊÈÓ "««i˜…iˆ“]ÊjÀiÌÊÊÊ{{ Optical sound films 220 "ÀœÜ]Ê1ÀˆiÊÊÊ£În]ʣΙ "ÕÀÏiÀ]Ê/œ˜ÞÊÊÊ{™]Ên£]Ê£Ç{]Ê£n£]Ê£nÓ]ÊÓÈÈ *>ˆŽ]Ê >“Ê՘iÊÊÊÈ]Ê{n]Ê£ÎÎ]Ê£xÇ]Ê£ÇÈ]ÊÓÎä]Ê 238–41 *>“iÀ]Ê >˜ˆiÊÊÊÓxÊ *>˜i]ʈ˜>ÊÊÊx{]Êx™Ê *>˜œ«ÌˆVœ˜ÊÊÊÓÎÎ]ÊÓ{™˜°{™ «>À>Vˆ˜i“>ÊÊÊ£xÇ]ʣǙ]Ê£nÈ]Ê£™äq£]Ê£™{]Ê£™ÈÊ *>Ài˜Ìi]ÊïVˆ>ÊÊÊx™]ÊÈäÊ *>ÀŽiÀ]Ê œÀ˜iˆ>ÊÊÊ£n£ *>ÀŽiÀ]Ê>ޘiÊÊʙÓ]Ê££Ó]Ê££Î]Ê£xÇÊ Park Film 117 Passion Series 30 Passions] The 119 Patterson, Lee 222 *>ޘi]Ê-ˆ“œ˜ÊÊÊ£Î]Ê£{]ʙÎ]ʣΙ]Ê£™£Ê *i>Ž]ʏœÀi˜ViÊÊÊ{£

Peeping Tom £{™]Ê£xä]ÊÓxÎ *iÀvœÀ“>˜ViÊÊÊÓ]Ê{ä]ÊxÎqÇӘ°˜°Ón]Î{]Ê ÇΘ°˜°ÎÈ]{£]ÊÇ{˜°˜°˜°˜°xÓ]x{]xn]È£]Ê Çx˜°˜°Èn]Çä]Ênä]Ênx]Ênn]ʙn]Ê£äΘ°È£]Ê £ÓÎq£Ó{˜°™]Ê£Îä]ʣΣ]Ê£x™]Ê£È䘰Ç]Ê £È{]Ê£Èx]Ê£ÈÇ]Ê£ÇÈ]Ê£Çnqn£]Ê£nÎ]Ê£n{]Ê £nn]Ê£™x]Ê£™Ç]ÊÓÓä]ÊÓÎÎ]ÊÓÎ{qÈ]ÊÓ{Î]Ê Ó{x]ÊÓ{n]ÊÓ{™˜°˜°xÎ]È£]ÊÓxÎ]ÊÓÈä]Ê ÓÈÈqn]ÊÓÇ£˜°ÓÓ]ÊÓÇx˜°™™Ê Performance Corridor 268 «iÀvœÀ“>̈ۈÌÞÊÊÊÈÎ]ÊÈ{Ê «iÀˆ«…iÀ>ÊۈȜ˜ÊÊÊ£äÈ]Ê£xÈ]ÊÓÈÎ]ÊÓÇ{˜°Ç™ *iÀÀÞ]Ê œˆ˜ÊÊʙ˜°£È]ʣ䘰ÓÎ]ÊÇ{˜°È£]ʣә]Ê £ÎÎ]Ê£Î{]Ê£ÈÈ]ÊÓә]ÊÓxx]ÊÓÇ£˜°Ó{]Ê 276n.117 «iÀÈÃÌi˜ViʜvÊۈȜ˜ÊÊÊnÎ]ʣ䣘°ÓÓ]Ê£nx Phantasmagorie 80 photogénie 78 *ˆV>ÃÜ]Ê*>LœÊÊÊÓx]ÊÎ{]Ê{ÈÊ *ˆVŽiÀˆ˜}]Ê
˜`ÀiÜÊÊÊxÈ]ÊÇ£˜°˜°È]£Ó pictorial turn 157 *ˆi˜i]Ê"Ì̜ÊÊÊÓÎÈ *ˆ«iÀ]Ê
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INDEX

301

Quad 34 +Ո˜˜]ÊՏÕÊÊʣ䣘°Ó£ ,>½>`]Ê7>ˆ`ÊÊÊÓÈx ,>L>˜]Ê7ˆˆ>“ÊÊÊ{]ÊÓÈ]ʙx]ʙ™]Ê££{]Ê££Ç]Ê£Èx]Ê £™x]ÊÓ䣘°£Ó]ÊÓÓÓ ,>˜VˆmÀi]Ê>VµÕiÃÊÊÊ£x{Ê ,>ÕÃV…i˜LiÀ}]Ê,œLiÀÌÊÊÊΙ ,>Þ]Ê>˜ÊÊÊxn Reassemblage 213 Reel Time nx]ÊnÈ Àiyi݈ۈÌÞÉÃiv‡Àiyi݈ۈÌÞÊÊʣΣ]Ê£Ç{]Ê£n£]Ê £nÓ]ÊÓș Région Centrale] La 47 ,iˆ˜Ži]Ê-ÌiÛiÊÊÊÓ£È ,i>̈œ˜>Ê>iÃ̅ïVÃÊÊÊxÈ]ÊÇ£˜°™ Ài“i`ˆ>̈œ˜ÊÊÊÓx{]ÊÓxÇ ,i˜œˆÀ]Êi>˜ÊÊʙ£ Retinal Memory Volume £nÈ]Ê£™{ Reverse Cut 236 Rhythm 5 54 Rhythmus 21 92 ,ˆV…>À`ܘ]Ê “ˆÞÊÊÊÓÈ]ÊÎȘ°Óä]Ê££n]Ê££™ Riddles of the Sphinx 113 ,ˆiÞ]Ê Àˆ`}iÌÊÊÊ£Î]ÊÎÓ]ÊÎÎ ,ˆiÞ]Ê,œLiÀÌÊ,°ÊÊÊÈÇ ,ˆ˜Ži]ʏ>ÕÃÊÊÊÓÎÇ ,ˆÃÌ]Ê*ˆ«ˆœÌ̈ÊÊÊÈ]Ê£n™]ÊÓÈÈ ,ˆÛiÀ>]Ê ˆi}œÊÊÊÎ{ ,ˆÛiÀÃ]Ê i˜ÊÊÊ£Èn ,œL>ŽœÜΈ]ʝÃivÊÊÊ£nÎ]Ê£nÈ ,œLLi‡ÀˆiÌ]Ê
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302

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À`i˜}œÊÊÊÓÈÊ SONG 1 20n.20 -œÀˆ˜]Ê*ˆiÀÀˆVŽÊÊÊÓΣ Sounds from Beneath £În]ʣΙ ëiVՏ>̈ÛiÊÀi>ˆÃ“ÊÊÊ{n]Êxx]ÊÇ£˜°Ç]Ê£{{ÊÊ -«ˆ˜œâ>]Ê >ÀÕV…ÊÊÊ£ÎÇ Spring 248n.36 -Ì>ViÞ]Ê>VŽˆiÊÊÊ£x£ -Ì>`i˜]Ê>Ì̅iÜÊÊÊÓÇǘ°£Ó{ Stamping the Studio 34 Standing Film/Moving Film 167 -Ì>˜Ãwi`]Ê Ã>ÊÊÊ{™ Station House Opera 40 -Ìiii]ʈÃ>ÊÊÊӣΠSteenbecket 52n.41 -Ìiˆ˜Ž>“«]Êi˜˜ˆviÀÊÊʣΠ-Ìi˜}iÀ]Ê ˆVœiÊÊÊÓxÇ -ÌiÛi˜Ã]Ê>ÀÞÊÊÊÓÈÈ]ÊÓxǘ°™™ -ÌiÞiÀ]ʈ̜ÊÊÊÈ]ÊÓx{]ÊÓÈ{ -Ì°Ê>“iÃ]Ê>ÀÌÞÊÊÊÓxÓ -ÌÀiiÌ]Ê>ÀŽÊÊÊÓxn ÃÌÀÕVÌÕÀ>ˆÃ“ÊÊÊ££È]Ê£ÎÎ -ÌÕLLÃ]ʈŽiÊÊÊÈ -ÌÕLLÃ]Ê1˜>ÊÊÊÓÈÓ -Õ`i]ʜՈÃiÊÊÊÓÈn Suffragettes 58 -Õ«iÀyiÝÊÊÊÓ{x Super Mario Clouds 257 ÃÕÀÀi>ˆÃ“ÊÊÊ{Ó]ʙ£ -ۈœÛ>]Ê9iˆâ>ÛiÌ>ÊÊʙΠ-ÜiiÌ]Ê>Ì̅iÜÊÊÊÓÈä -Þi`]Ê
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`œÊÊÊÓÎÈÊ Tap and Touch Cinema 199 />ÀÀ>˜Ì]Ê*>ÌÀˆVŽÊÊÊ£ÈnÊ />ޏœÀ‡7œœ`]Ê->“ÊÊÊÈ]ÊnÇ]Ê£Óǘ°nn]Ê£xÇ]Ê£nÓ Teignmouth Electron 254 Télévision 228 Television Delivers People 228 Television Interruptions 237 tenantspin 245

Ten Drawings 186 Theatre of Cruelty 59 Theme Song 267 Three Transitions xn]Ê£™n Thriller 113 /ˆiÞ]Ê œÀœÌ…ÞÊ°ÊÊÊÇΘ°{Ó Time Code 88 Time for ACTION has Come] The 197 /ˆÀ>Û>˜ˆ>]Ê,ˆÀŽÀˆÌÊÊÊxÈ To Hear Yourself as Others Hear You 213 Tom Tom, the Piper’s Son 254 Toute une Nuit 197 Towards the Sky 60 /À>˜}“>À]Ê-ÕÃ>˜ÊÊÊ£™ä transmedia 98 /ÀiV>À̈˜]Ê,Þ>˜ÊÊÊÓ{x Triage 268 Tricolor Video 240 trompe l’oeil £Î]ÊÎ{ /Àœ«ˆV?ˆ>ÊÊÊ{£ /ÀÕvv>ÕÌ]ÊÀ>˜XœˆÃÊÊʙ£ /Èۜ«œÕœÃ]Ê-Ìiv>˜œÃÊÊÊÓ{x /Õv˜i]ʈÀ>˜`>ÊÊʣǙ /ÕÀÀi]Ê>“iÃÊÊÊ£nÈ]Ê£™Î]Ê£™{ /ÕÀÛiÞ]Ê>Vœ“ÊÊÊ{ TV as Fireplace 237 T_Visionarium ÓÇ]ÊÓn 24 Hour Psycho ££™]Ê£{™ 2 into 1 214–16 Two Sides to Every Story 198 Two Years at Sea 168 /Þܘ]ÊiˆÌ…ÊÊÊ£Î]Ê£n™ /â>À>]Ê/ÀˆÃÌ>˜ÊÊÊxÇ Untitled 228 1ÌÌiÀL>VŽ]Ê >“ˆiÊÊÊ£x™ 6>>À>]Ê,œˆÊÊÊÈä 6>Ê`iÊ"“>À]ÊœÃjÊÊÊ£È{ 6>`œÃiÀ>]Ê Õ>ˆ>ÊÊÊ{n 6>˜ iÀ iiŽ]Ê-Ì>˜ÊÊÊ{ä]ÊnÓ]Ê£È{]Ê£nÎ]Ê£nn]Ê 236 6>˜Ê`iÀÊ,œ…i]ʈiÃÊÊÊ£È 6>˜ÌޏiÀ]ÊœÃÊÊÊ£ÓΘ°™ 6>ÃՏŽ>]Ê-Ìiˆ˜>ÊÊÊÈn]ʙÎ]Ê£xn]ÊÓ£Ç]ÊÓÎä]ÊÓxÇÊ 6>ÃՏŽ>]Ê7œœ`ÞÊÊʙÎ]Ê£xn]ÊÓÎä]ÊÓxÇ 6iÀ̜Û]Ê âˆ}>ÊÊÊÈÈ]ʙÎÊ Vidicon Inscriptions 239 Viewer 54

INDEX

303

6ˆœ>]Ê ˆÊÊÊx]ÊÓnqÎä]ÊΣ]ÊÎ{]ʙÇ]Ê££™]Ê£xä]Ê £xÓ]Ê£xÎ]Ê£xn]Ê£ÇÇ]Ê£nÓ]Ê£™Èqn]Ê Óä™q££]ÊÓ£™]ÊÓÓ{˜°Ón]ÊÓ{n˜°ÎÈ]ÊÓÈ{ Violence Sonata 236 Vita Futurista 58 6œÃÌi]Ê7œvÊÊÊÓÓn]ÊÓә]ÊÓÎä 7>Žiwi`]Ê iۈi 7>ŽiÀ]Ê>Ìi 7>Žˆ˜}]Êià 7>ÜœÀ̅]ÊޘiÌÌiÊÊÊÓxÇ 7>Ã…]Êœ…˜ÊÊÊΣ 7>À…œ]Ê
˜`ÞÊÊÊ{ä]ÊÈÇ]Ê££n]Ê£Ó£]Ê£ÓÎ]Ê£nn]Ê 240 Warte Mal! 201n.28 Water Lilly Pond 23–4 7i>Àˆ˜}]ʈˆ>˜ÊÊÊÈn]Ê£x{qx]Ê£xn]ÊÓ£{qÈ]Ê Ó{Óqx]ÊÓÈxqÈ Weather Project] The £È]Ê£™{ 7i`iŽˆ˜`]ÊÀ>˜ŽÊÊÊxÇ Wedgework III 193 We Have Art so that We Do Not Perish by Truth 13 7iˆLi]Ê*iÌiÀÊÊÊÓÇ]Ê££{]Ê£È{]ʣș 7iÃLÞ]Ê …ÀˆÃÊÊÊÓÈ]ʙx]Ê££Çq£n]Ê£Çnq™ 7iÃLÞ]Ê,ˆV…>À`ÊÊʣǙ 7iÃ…“>˜]Êœ…˜ÊÊÊ£Îä]ÊÓÎn Western Reversal {™]Ê£nä 7iÛiÀÃ]Ê1ÀÃՏ>ÊÊÊÓÎÈqÇ What the Water Said, nos. 1-3 169 7…ˆÌi…ÕÀÃÌ]Ê
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7ˆi>˜`]ÊœÞViÊÊÊ££Ó]Ê££x 7ˆŽˆ˜Ã]Êi>̅iÀÊÊÊÓ{Ó]ÊÓ{{]ÊÓ{xÊ 7ˆˆ>“Ã]ʈV…>i>ÊÊÊ£nn 7ˆÃœ˜]Ê,ˆV…>À`ÊÊʣΠWindow Piece 13–14 Wings of Desire £Ç]ÊÓ£™ Witness 213 7œi˜]Ê*iÌiÀÊÊÊ£ä{]Ê£ä™]Ê££Î 7œœ`Ã]Ê*iÌiÀÊÊÊ£{ä˜°Ç Woolworths Choir of 1979] The 94 Work No. 409 Elevator ooh/aah up/down 208 Workshop of the Film Form 164 Wounds and Absent Objects 194 7Àˆ}…Ì]Ê …ÀˆÃÊÊÊ£™ä]ÊÓ{Î 7Àˆ}…Ì]ʈœ˜>ÊÊÊÓÇ{˜°n£ 7Þ˜Ê Û>˜Ã]Ê iÀˆÌ…ÊÊʣΠ7ޘ˜i]Êœ…˜ÊÊÊÓän yBas 64 Yellow Movie 169 Yes Sir! Madame… Ó£È]Ê Zen For Film £ÎÎ]Ê£ÇÈ ˜i]ÊۜÊÊÊ£äÇ]Ê£än]ÊÓ£{]ÊÓÎx âœiÌÀœ«iÊÊÊ£Ó]ÊnÎqx]ʣ䣘°ÓÎ]Ê£nx Z-Point £™£]ÊÓ{ä