To see Acconci's video of 1973- theme Song, please, follow the link: http://www.ubu.com/film/acconci_theme.html
How does the video image/interface coincide with artist's reflection?
What's the difference between Acconic's and Vasulka's methods of working with video images?
What's the difference between digital visuality of the 1960s and analog visuality of the 1980s?
What is simulation in relation to electronic image?
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Yvonne Spielman starts her article by comparing two Media Artists to each other in terms of style and in terms of their self-reflexivity in their artwork and also in terms of how they define the simulation in their work. Acconci is using his own body as in he is physically there in his video on the link posted on this blog.
ReplyDeleteAcconci style is personal and self-reflexive by him being physically there talking to the camera and to the viewer.
his work is obviously very narcism. there is high interest in his own erotic interest and physical appearance. I think there is a very thin line between pornographic material and Acconics art.
As for Steina Vasulka's relationship with the camera. I tried looking for some of her artwork online.
I found different things:
http://www.youtube.com/watch?v=idNEjaf6UKg
http://www.youtube.com/watch?v=bkhWh3ZzHQY
Those two excerpts from Video Installations by Steina Vasulka
show a totally different appraoch than this of Acconci
She has a more dynamic image which she justifies in Spielmann's article by saying that she had studied music so the motion or the music of the picture has always been interesting for developing her concepts. She uses different elements and makes the image works in synch by composting or what spielmann calls "Layering".
On the other hand Spielmann argues that " In essence Vasulka like Acconci, links the artist's reflection of the media at the level of simulation .."
Like Jean-Louis Baudrey claimed that film (as in Cinema's) technological characteristics as well as the conditions of spectatorship (such as the darkness of the movie theatres and the silence of the motionlessness of theatre audience) have inheret ideological effects. Like the passiveness of the spectator versus his interactivity with Video Art for example. Which is the simulation or the illusion that is created by the imaging of the media arts technlogy. What Speilmann's describes as the difference between a monitor image (video) and a projected image (film). the notion of the artist and the machine.
According to Spielmann simulation is illusion or delusion.
it is "While affirmation merely affirms what is and negation merely negates what is not simulation affirms what is not and dissimulation denies what is.."
Self-reflexivity or artists reflection is reached through Video art and media arts when the narcissitc image or mirror image is one of the elements of the artwork itself.
According to Yvonne Spielmann, Birnbaum "employs the medium of video as an interface between reflection and transformation of image to medium commonly encountered in commercial media in reverse, exposing the mediatisation of the image."
I just want to know where we can get Yvonne's reading...
ReplyDeleteNoha, resend me your email. The following address does not work: porcelain-verbs@hotmail.com
ReplyDeleteI have forwarded the reading by email, but it's also available in the copy center.
my email is porcelain-veins@hotmail.com
ReplyDeletenot verbs...
Spielmann's textual reflection is unable to clearly portrayal the multiplicity within the works of Acconi and Vasulka. After youtubing some Vasulka's creations got a much better understanding of the work of both artists. Vasulka's video work of the 1980s is unveils itself as distorted images we are incapable to quickly identify. Whereas Acconi work is the layering of components that one may understand and can identify, such as words, music, and the human image. Where Acconci seems to be discovering the self through the reflection of 1960 video technology, Vasulka is exploring technology by use of human abstractions. Therefore, although the previous comment refers Acconci's work as treading a very thin line of pornographic material, I must disagree, as I consider Acconci's work to be a purer than that of Acconci's. Yet, I will not deny that it does hold a sexual undertone, however this aligns itself appropriately with the piece because sexuality and sex is also a very natural form of self-discovery.
ReplyDeleteWhen viewing Acconci's work and reading the Spielmann reflection I was reminded of the theater of the Absurd, most notably the following videos...
Last Tape: http://www.youtube.com/watch?v=rPB9_Ql_fzc
Krapp’s Play: http://www.youtube.com/watch?v=NdTjRumkT9k
They highlight the importance of sound, pattern, and silence.