Reading response #3: video art
Projection: vanishing and becoming
In the first article, Sean Cubitt begins by discussing the mythological origins of painting in Greek and Buddhist traditions. Despite their differences, each story shares a commonality in their incorporation of projection. In the Pliney version, a woman copies the beloved portrait of her fleeting lover, which was projected on the wall in the form of his shadow with candlelight.In the Buddhist version, reflection is used as a reference to copy Buddha's portrait. He then discusses the first historical instances of painting: cave paintings from the Paleolithic world. However, Cubitt suggests that the first art form could have been experimentation with shadows and, thus, projection and moving pictures rather than painting as previously thought. (However, because we know very little about the people, cultures, and lifestyles of prehistoric people, there is no way to verify this hypothesis.) Additionally, the use of projection is a vital part of our early development. As children, we lack the vocabulary and regulation to express our thoughts and feelings appropriately. By projecting our feelings onto others, we communicate our needs and ensure our survival. These points place the concept and action of projection in an integral part of our world and humanity.
Later in the article, Cubitt discusses how the invention and circulation of the camera allowed for enhanced communication and broadened the reach of all kinds of cinema and video art. He states that with satellite transmission, Earth orbit telemetry, and live broadcast, "it became apparent that human beings were not the only ones to be engaged in projecting images." He points out that the universe projects light, radio, and other spectra, just as we do, and has been completing these tasks far longer than the earth has existed. This assertion would imply that perhaps projection is an inherent part of our humanity, which the mere spectacle of moving pictures alone cannot explain.
Introduction to video art
In this article, Lea Collet collects and discusses many iconic examples of original and modern video art. From some of the first moving picture clips ever made to Beyoncé music videos and modern video art installations, she incorporates a wide variety of video art to provide a brief compendium of the medium. While the bulk of this article comprises external links to the works she included, the comments and captions provide insight into the history, purpose, and content of the clips. Some captions are the descriptions of the videos from the artist or exhibit holders, which offer a more intimate insight from those who made the clips.
While I am not personally drawn to or interested in video art, I can appreciate it as an art form. I love movies, tv, music videos, and modern video content, but have little personal interest in creating video art. For me, installation exhibits have implications about immersion and (generally) deal with subject matter that I am not particularly interested in. Additionally, while I enjoy watching videos, I typically don't choose to create them in the same way that I like sculpture, but would not necessarily venture to create one. That being said, I can appreciate the spectacle of video art and its use to convey ideas and show events that could not be as easily communicated through traditional 2D art. There is a particular power in the moving image as it allows us to experience events, consider information, and feel emotional response in the moment as we watch a story unfold. In the digital age, the ability to rewind, replay, and redistribute videos has revolutionized the way we consume media and engage with the world around us
