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History of VR film
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Within new media, there exists the desire and possibility to produce new effects upon the viewer, to grant new experiences. Pipilotti Rist seeks the creation of virtual utopias within the limitations of the video medium in installations such as her recent work at the Museum of Modern Art, Pour Your Body Out (7354 Cubic Meters) in 2009. The work transforms the typically bare atrium of the Museum of Modern Art into an active environment, where a reciprocal relationship between the viewer and the projection can take place. Communication between viewers also forms an essential component in the work; discourse becomes the mediator in the spectator’s relationship to the imagery.
The formal characteristics of the work are crucial in their produced effect upon the audience. It is a four panel screen landscape, whose size of 7354 cubic meters is made referent in the title. Despite its monumental size, the work does not function as an oppressive weapon but rather a positive force, one that is able to free us from our inhibitions. Rist frequently experiments with the various ways in which video can be projected onto surfaces. Though she does not push the technical boundaries of the video medium medium, she nonetheless pushes the limits within video projection. Requiring seven different projectors to be linked seamlessly, her work is a technical achievement for this feat alone. A large circular couch occupies the center of the exhibition space. Its shape is meant to be reminiscent of the human iris, but also bring to mind the iris of the camera as well.
The camera is presented as a living eye in her work, capable of bending and twisting, contorting reality in its own light. It is at the same time a sensuous device, one that exp...
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Works Cited
Bickers, Patricia. Caressing SPACE. Art Monthly no. 350 (October 2011): 1-4. Art Full Text (H.W. Wilson), EBSCOhost (accessed May 28, 2012).
Harris, Jane. "Psychedelic, baby: an interview with Pipilotti Rist." Art Journal 59, no. 4 (December 15, 2000): 68-79. Art Full Text (H.W. Wilson), EBSCOhost (accessed May 28, 2012).
Hayden, Malin Hedlin. "Pipilotti Rist. Gravity, Be My Friend." Konsthistorisk Tidskrift 77, no. 3 (January 2, 2008): 200-207. Art Full Text (H.W. Wilson), EBSCOhost (accessed May 28, 2012).
Iles, Chrissie. You are a Queen: The Selfless Spaces of Pipilotti Rist. Pipilotti Rist:Eyeball Massage. Edited by Stephanie Rosenthal. London, UK: Hayward Publishing, 2011.
Rosenthal, Stephanie. Be My Friend!. Pipilotti Rist:Eyeball Massage. Edited by Stephanie Rosenthal. London, UK: Hayward Publishing, 2011.
This essay offers a contextual, and theoretical explanation as to why Stereoscopes are a product of modernity: drawing particular attention to the stereoscope - that enables what many viewers perceive as a greater level of realism in the cinematic image -, existing arguments around the topic which have been developed to interpret and explain its social significance within the modern period. The discussion begins with an informative differentiation of both ideologies, which we identify as Modernism and Modernity; the second paragraph, is a brief background of the optical instrument which hopefully bleeds into the main body of ideas conceived from thorough research via David Trotter, Jonathan Crary and Goethe. My interest in this particular subject arose out of empirical knowledge of cameras from studying Photography at A Level and a prior thesis I conducted in regards to Capitalism: Slavery, an excerpt by filmmaker Ken Jacobs. A metaphorical screening considering the relationship of both fields not only in their shared money form but also the difference surrounding these two highly charged and complex kinds of bodies: the slave body and the corporate body which in reality are the a biological form and a wealth form.
The role of photography is questioned; he asks, what about photography makes it a valid medium? We read about the operator (the photographer), spectrum (the subject) and spectator (the viewer), also about the stimulus (what we see in the photograph) and the punctum (the unclassifiable, the thing that makes the photograph important to the viewer). According to Barthes, the photograph is an adventure for the viewer, but it is ultimately death, the recording of something that will be dead after the picture is taken. This idea is the main focus of Barthes’ writing, the photograph “that-has-been”, in Latin “interfuit: what I see has been here, in this place which extends between infinity and the subject; it has been here, and yet immediately separated; it has been absolutely, irrefutably present, and yet already deferred” (Barthes, 76).... ...
The Art Bulletin, Vol. 57, No. 2 (Jun., 1975), pp. 176-185. (College Art Association), accessed November 17, 2010. http://www.jstor.org/stable/3049368.
Artists are masters of manipulation. They create unimaginably realistic works of art by using tools, be it a paintbrush or a chisel as vehicles for their imagination to convey certain emotions or thoughts. Olympia, by Manet and Bierstadt’s Sierra Nevada Mountains both are mid nineteenth century paintings that provide the viewer with different levels of domain over the subject.
Hofmann, Albert. "LSD — My Problem Child." The Psychedelic Library. Web. 10 Jan. 2011. .
Even though an individual’s response is subjective, hermeneutical aesthetics focuses on interpretive incompleteness as part of the way human, viewers of artworks included, are in the world. An artwork is always experienced in the present from a particular present point of view and its interpretation is the transmission of meanings across time. In this way the artworks discussed in this thesis bear witness to particular historical events and allow for possible projections of those past events into the future. Contemporary life is permeated with a diversity of visual information. In such an atmosphere the hermeneutic approach provides a way of understanding the applications of the meaning we make of visual input. In light of it, the responsibility of both artist and viewer is among the issues discussed in the last part ‘Beyond Horizons’. Here the perspective moves to weave together the threads of ideas and issues that have been identified in the ‘Fusion of Horizons’ section, and reflects on aspects that reverberate beyond the shifting possibilities within the
On April 16, 1943, Dr. Hoffman decided to do further research with the LSD compound (Dye, 1992 p. 5). While handling the drug, he accidentally ingested an unknown amount. Then he experienced the world’s first LSD trip. About eight hours later Hoffman drifted back into normal reality and the Psychedelic Revolution was born. (Encarta 98) Three days later, in an attempt to prove that the previous episode was indeed caused by the ingestion of LSD, Dr. Hoffman ingested what he thought would be a small quantity of LSD, 250 micrograms. In actuality, this is approximately five times the dosage necessary to produce heavy hallucinations in the average adult male (Solomon, 1964, p. 34). The drug produced effects that were much more intense than the first time Hoffman took the LSD. He noted that he felt unrest, dizziness, visual disturbances, a tendency to laugh at inappropriate times, and a difficulty in concentration (Dye, 1992, p.7). Dr. Hoffman’s condition improved six hours after taking the drug, although visual disturbances and distortion continued.
“Key events in the history of psychedelic therapy(sidebar).” Issues and controversies. Facts on file news services, (11 July 2011). Web.19 Feb.2014.
Performance artist Patty Chang creates pieces that deal with scopophilia or voyeurism, best described as “the love of looking”, a topic that goes hand in hand with the issues of gender roles in society that Chang also represents in her work. Chang particularly addresses issues of gender roles through her confrontation of female representation in art, film and popular culture as a whole. In Chang’s video clip entitled, “Shaved (At a Loss)”, she sits herself on a chair in front of her audience, hikes up her dress to expose her vagina and then proceeds to, very roughly, shave off her pubic hair. The entire duration of “Shaved (At a Loss), Chang is blindfolded. In this piece Chang presents consumer culture’s fetishization of the ”flawless” female figure, which is outlined by the unattainable body ideals that are portrayed not only in most mainstream pornography, but also in almost all media connected to our society’s popular culture sphere.
This essay will seek to outline my findings on movie and theatre by looking at still image and moving image. I will discuss the relationship between cinema and film, and also compare some works of artists in order to answer the question which how might photography be contextualized as image on the threshold of still and moving – as an object incorporating the temporal and the narrative, the writing of history, or the presentation of documentation as record.
Dezeuze, Anna. “Walking the Line.” Art Monthly 323 (2009):1-6. Academic Search Premier. Web. 21 Oct. 2013
In the article “Visual Pleasure and Narrative Cinema,” Laura Mulvey discusses the relationships amongst psychoanalysis (primarily Freudian theory), cinema (as she observed it in the mid 1970s), and the symbolism of the female body. Taking some of her statements and ideas slightly out of their context, it is interesting to compare her thoughts to the continuum of oral-print-image cultures.
Pratt, Mary Louise. “Arts of the Contact Zone.” Ways of Reading: An Anthology for Writers. 9th ed. David Bartholomae and Anthony Petrosky, Ed. Boston: Bedford/St. Martin’s, 2008. 485-497. Print.
When I saw Vermeer's Girl with a Pearl Earring about five years ago at the National Gallery in Washington, D.C., I felt something about the painting that I had never felt before when looking at artwork. I felt as if this girl, this young woman in the painting was real, hiding in the museum behind this canvas. She was in the flesh. Her skin was still dewy from three hundred-something years ago, the light across her face still glowing. She was in the round, her eyes followed mine, she was real. She was about to speak, she was in a moment of thought, she was in reflection. This girl was not crimson red or titanium white, she was flesh. Vermeer caught her, a butterfly in his hand. She was not just recorded on canvas, she was created on canvas. She was caught in a moment of stillness. Vermeer creates moments in his paintings. When viewing them, we step into a private, intimate setting, a story. Always, everything is quiet and calm. I realize now it is no wonder I had such a strong reaction to Vermeer the first time I saw him: he is a stillness seeker.
Women desire to become beautiful and powerful, even if they don’t say it in words. And the Photographer plays with that concept and creates that desire, that you can become that person you see in the photograph. And live that lifestyle. Photographers use techniques from the cinema/cinematic, to create the desire of viewers/Buyer/Consumers. The cinematic techniques made it possible the way people lived and the...