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sound art: 7 Text passages
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1.  Dieter Daniels «Television-Art or anti-art?
Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»Bill Viola's 1983 «Reverse Television» shows forty-four television viewers for half a minute each. These were shown by WGHB in [more]  |
| 2. Heike Helfert «Technological Constructions of Space-Time
Aspects of Perception» 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. Söke Dinkla «Virtual Narrations
From the crisis of storytelling to new narration as mental potentiality» 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. Oliver Grau «Immersion and Interaction
From Circular Frescoes to Interactive Image Spaces» 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. Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art» 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. Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art» 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. Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art» [47] Cf. Bill Viola, «The Threshold» (1992). [more] |
