S. Raoul's study of the projected image, the beam in a box, digital dandruff, pixel lint, horizontal nystagmus and a vicious Tinkerbell. In other words, the beffudling beam of video art is befuddling becaue it quite simply, disrupts our cognitive abilities, especially our temporal comprehension, mental equilibrium and general air of smugness.
“They commonly described diffuse small particles, such as TV static, snow, lines of ants, dots, and rain that lasted for months to years.”
A flood, soft mud, a tremor. A quivering pane, a weather vane, a microscopic tear, a convoluted inner ear, a mechanical beat, a windowless seat, a stuttering pace, a show displaced, unpeeling paint, an artist’s feint, the filmed complaint.
"When we have entopic firing from our retina ... if you look at the white wall and really focus on it with the right lighting, you can see it.”
“They commonly described diffuse small particles, such as TV static, snow, lines of ants, dots, and rain that lasted for months to years.”
A flood, soft mud, a tremor. A quivering pane, a weather vane, a microscopic tear, a convoluted inner ear, a mechanical beat, a windowless seat, a stuttering pace, a show displaced, unpeeling paint, an artist’s feint, the filmed complaint.
"When we have entopic firing from our retina ... if you look at the white wall and really focus on it with the right lighting, you can see it.”
Symptoms of exposure to befuddling videos in white cubes include:
negative afterimages
inability to form a coherent response
inability to make sensible predictions about the future
sugar craving
unbearable urge to urinate
vague sense of irritation
a mental itch
Once the projection has reached the V1 or visual cortex, it proceeds to introduce predatory specimens, perceptive overriders. This is especially effective if wine, beer or fruity cocktails are served at the opening. As a consequence we may end up over-sexed, though still solitary or under-sexed but morally smug
The derangement is most pronounced in those exposed to the trauma of the post-exhibition ‘tear-down’, akin, in effect, to working in an asbestos mine, which is also why curators in particular begin to show accelerated and acute symptoms. Notable symptoms include, the paradoxical yearning for a intangible, enduring work, a substantial gesture, a temporal performance that doesn’t end, a distaste for jargon yet a continuing fidelity to it, and perhaps worst of all, where they begin to imagine art where none exists.
negative afterimages
inability to form a coherent response
inability to make sensible predictions about the future
sugar craving
unbearable urge to urinate
vague sense of irritation
a mental itch
Once the projection has reached the V1 or visual cortex, it proceeds to introduce predatory specimens, perceptive overriders. This is especially effective if wine, beer or fruity cocktails are served at the opening. As a consequence we may end up over-sexed, though still solitary or under-sexed but morally smug
The derangement is most pronounced in those exposed to the trauma of the post-exhibition ‘tear-down’, akin, in effect, to working in an asbestos mine, which is also why curators in particular begin to show accelerated and acute symptoms. Notable symptoms include, the paradoxical yearning for a intangible, enduring work, a substantial gesture, a temporal performance that doesn’t end, a distaste for jargon yet a continuing fidelity to it, and perhaps worst of all, where they begin to imagine art where none exists.
This is why, even if we have mixed feelings towards art (is it of value? Is it beneficial, is it tangible?), we must remember that Judicious management is required. For the art that slips between the gaps may be silent and of no danger to the populace, but if we look closely through the white noise of video, we will see the wank
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