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Digitale Kunst: 4 Text passages
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1.  Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life»in a studio without an audience now became a performative act in which the viewer was likewise isolated (as in «Live-Taped Video Corridor» 1970). This attitude, which isolates the first person in both the processes of production and reception, was in line [more]  |
| 2. Heike Helfert «Technological Constructions of Space-Time
Aspects of Perception» camera is particularly powerful in spatial situations that include the observer. For example, Bruce Nauman produces in «Live-Taped Video Corridor» (1969–1970) irritations of the experience of space and time caused by the feeling of physical presence or [more] |
| 3. Inke Arns «Social Technologies
Deconstruction, subversion, and the utopia of democratic communication» treatments of social surveillance devices include Vito Acconci («Following Piece,» 1969), Bruce Nauman («Live-Taped Video Corridor,» 1969–1970; «Video Surveillance Piece: Public Room, Private Room,» 1969–1970) and Dan Graham [more] |
| 4. Inke Arns «Interaction, Participation, Networking: Art and Telecommunication» closed-circuit installations to confront spectators with their own mediated image, while in Bruce Nauman's «Live-taped Video Corridor» (1970) the viewers found themselves being radically conditioned. These interactive installations were the first to meet [more] |
