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digital video: 7 Text passages
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1. ![]() Bill Viola's 1983 «Reverse Television» shows forty-four television viewers for half a minute each. These were shown by WGHB in [more] ![]() |
2. ![]() temporal distance in space. While Nauman and Graham precisely emphasize breaks and discontinuities in the experience of time, Bill Viola produces in his installation «He Weeps For You»[24] (1976) the experience of continuity, constancy, and the [more] ![]() |
3. ![]() up the narrative parameter of time in the media art of the 1980s and 1990s, both acceleration and slowness play special roles. Bill Viola's video installation «The Greeting» (1995) is characterized by a strong deceleration of the image rhythm. The [more] ![]() |
4. ![]() Art and Media Technology—ZKM) in Karlsruhe for many years, has revived this historic concept of the memory theater, as Bill Viola had done a few years before.[31] Importantly, the difference is that Hegedüs offers the visitors to her virtual spaces a [more] ![]() |
5. ![]() projected videotape (Rosemarie Trockel), from narrative tape production to the art-historically charged museum panel picture (Bill Viola, «The City of Man», 1989) and now also–after the video sculpture–from the eccentric film to [more] ![]() |
6. ![]() like «Hello?» (1996), Paik's laser installations, down to the large-scale installations by an artist like Bill Viola, or the large electronic cinema projector: since the 1980s, the question of format has no longer been tied to the [more] ![]() |
7. ![]() [47] Cf. Bill Viola, «The Threshold» (1992). [more] ![]() |