Introduction To Video Art by Lea Collet, a French artist and filmmaker provides an overview of video art as an artistic medium and explores its history, characteristics, and different forms. It discusses how video art challenges traditional art forms and how it has been used to explore various social, political, and cultural issues.
The document also covers the technical aspects of video art, including equipment, software, and editing techniques. It describes how video artists use different techniques such as fragmentation, repetition, and layering to create complex and thought-provoking works.
The author also discusses the role of video art in contemporary society and how it has been used to address issues such as globalization, consumerism, and social inequality. The document includes examples of video art works by various artists and provides resources for further exploration of the medium.
Overall, this introduction to video art provides a comprehensive overview of the medium and its significance in contemporary art and society.
The origins of art are explored through various myths and stories, including Pliny's story of a maiden tracing her lover's silhouette on the wall and the Buddhist story of a young man painting the reflection of the Buddha in a pool. Both tales are about absences, with Pliny emphasizing light's absence and the Buddhist tale emphasizing light itself. The idea of projection is also discussed, as seen in the ancient "Hands of Pechemerle" and in psychoanalytic theory. Projection is seen as a vital step in human development, allowing individuals to transfer their inner emotions onto external objects. For me this reminds me of Lacans theory on the “Mirror stage”
Lacan's Mirror stage seeks to explain how infants gain subjectivity. It starts around the age of six to eighteen months. Around this time, an infant will experience its reflection for the first time. Sometimes this is accompanied by a parent that describes the image before the child–" That is you… you are seeing yourself". At this moment, the child begins to assemble the seemingly fragmented pieces of its experience–and see an image of themselves for the first time as a separate entity from their mother. They do not see their true self but an image of themselves, which they attribute to their experience. In a way, this subjectivity is an illusion because the image of oneself is not how one experiences the world and society but how the world, society, one's mother, and authority experience you. This moment of subjectification essentially codes people into the proper citizen within a society. The Mirror Stage is essentially the preparation for the later subjugation of individuals. Alienation in the Marxian sense only becomes possible after the birth of subjectivity. For one's authentic inherent experience as a species-being is replaced with an image of yourself–of how other people experience you. According to Lacan, the unconscious is structured similarly to language--as a force that signifies experience. When subjectivity is born out of the mirror stage, the signification of emotion draws further from the signifier--leading to the repression of the unconscious.
I wonder how this theory of the manufacturing of the individual through projection of certain characteristics can be explored through video art, especially projection based art
"Projecting" by Martin Lefebvre is about the concept of projection, its various meanings and its role in the ways we construct our conception of humanity. Lefebvre explores three types of origin of projection - mythical, archeological, and psychological - and how projection has a powerful place in our lives, from the idea of the self and its masks that recurs throughout social and anthropological reports, to our aspirations to beam our existence out to the furthest reaches of the galaxy. He also discusses the more critical perspective on projection, which sees it as necessarily and forever an ideological action. The essay touches on various references from Plato's alegory of the cave in The Republic to Jean Baudrillard's three phases of the icon, and how projection is related to the duty to represent, which can lead us towards nihilism. Ultimately, the essay reflects on the idea that where projection rules, there is no self to generate a world, no world to determine a self.
This passage also discusses the concept of "projection" in different contexts, from the ill-fated Star Wars weapons program to science fiction movies and the use of maps. The author argues that projection is not just a peaceful or leisure activity but can also be a weapon, and that the lack of contemporary concern with it is strange. It highlights the dual nature of projection as both a peaceful and a weaponized tool, citing examples such as the Star Wars weapons program and George Pal's depiction of Martians equipped with ray guns. The author also discusses projection in the context of maps, which must make compromises in representing the three-dimensional world in two dimensions, and notes that the use of projection in video art often needs to be more varied and varied. The article concludes by pointing out the potential for creative experimentation with projection and the need for artists to be aware of its history and possibilities.
In art, virtuality refers to the act of projection, where the projector is no longer obviously in the same room as the image. The virtual image has traditionally been seen as a vanishing point, which is a constitutive absence in the technology of projection. This absence is the simpler truth behind Baudrillard's nihilistic vision, where it is not God or the world that has vanished, but the dead who we sought so hard to replicate and keep alive. Instead of making death the center of life, Hannah Arendt proposed a concept of natality, which suggests that projection can be a process of becoming, not vanishing. Our projection technologies can participate in generating worlds and the production of meaning as the articulation of points of becoming one with another. Remaking projection practices will be one of the most fascinating elements of the development of new media in the twenty-first century.
will be uploading video art examples soon
gummygunk
areudirty
origamiaround
ellievsbear
baratheonpilled
blakekathryn
kaledo-art
