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Digitale Kunst: 9 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»fireplace.» The latter was broadcast at Christmas, and turned the domestic TV set into a flickering fire in a fireplace. Peter Weibel and Valie Export were able to place several acts of intervention with ORF from 1969 to 1972, all relating directly to the home [more]  |
| 2. Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life» free from power structures. Valie Export's «Tapp- und Tastkino,» a street action staged in collaboration with Peter Weibel as market-crier («Leap over the boundaries!») in 1968, illustrates the enduring power of such direct-action [more] |
| 3. Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life» creation of environments and, to use the current term, open platforms. Art was what spectators and participants made it. In Peter Weibel's «Action Lecture» (1968), the audience interactively—over its own volume frequency—regulated the [more] |
| 4. Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life» [25] Cf. the works by Peter Weibel («The Endless Sandwich» and «TV-News») and Valie Export («Facing a Family»). [more] |
| 5. Heike Helfert «Technological Constructions of Space-Time
Aspects of Perception» This means self-perception is mediated through a camera eye that can change the perspective in an irritating way, as in Peter Weibel's installation «Beobachtung der Beobachtung: Unbestimmtheit» (1973). Time space body The effect of technologically [more] |
| 6. Heike Helfert «Technological Constructions of Space-Time
Aspects of Perception» by drugs) and by integrating the observer anticipates immersive perception spaces, which are usually computer supported.[42] Peter Weibel, himself an important proponent of the action-referential art of this period, describes the then current notion of media [more] |
| 7. Inke Arns «Interaction, Participation, Networking: Art and Telecommunication» own concurrent with the transition from happenings to performance in the 1970s. Artists like Dan Graham, Peter Campus and Peter Weibel used closed-circuit installations to confront spectators with their own mediated image, while in Bruce Nauman's [more] |
| 8. Inke Arns «Interaction, Participation, Networking: Art and Telecommunication» interaction between body and (static or dynamic) data realm, as in Jeffrey Shaw's «The Legible City» (1988), Peter Weibel's «Die Wand, der Vorhang (Grenze, die) fachsprachlich auch: Lascaux» (1993), Christa Sommerer & Laurent [more] |
| 9. Rudolf Frieling Dieter Daniels «Milestones of Media-Art» Nam June Paik, »Global Groove«, Author: Anja Oßwald Installation Peter Weibel, »Beobachtung der Beobachtung: Unbestimmtheit« Autoren: Rudolf Frieling/Claudia Giannetti Closed-Circuit Dan [more] |
