time-based library findings
••• Gary Hill – Circular Breathing (1994)
this video installation uses several projected panels. audience is intended to watch the panels from left to right follows the structure of reading and writing. the images consist of people doing actions, such as reading a book, or a hand writing on a page. the relationship of the sound and the image, as well as the timing of the images is what tears the audience from normal experience of time passing. sequences of images are triggered by specific actions of other images; each action is symbolic of the splitting of the whole, or the ending of one phase and the beginning of another. in each sequence, as the images begin to flicker rapidly, accompanied by a loud, agitated sound, and an obscured narrative appears to build. the flickering and altered speed, like the slow breathing of tai chi, shift the viewer's focus form the habitual linearity that searches for a literal meaning to deep perceptual questioning.
from: Seeing Time: Ross, David A., Robert Riley, Marita Sturken, Chrissie Iles, Thea Westreich. Selections from the Pamela and Richard Kramlich Collection of Media Art. SFMOMA, 1999. pp. 120-123.
••• David Goldenberg – Microwave and Freezerstilts (1992)
surveillance cameras which are ubiquitous in contemporary culter appeared in art galleries in the 1970s in anticipation of what was to come. Goldenberg had his video cameras monitor audiences who could see their images in mirrored chambers they were unable to enter. past, present and future were collapsed in a maelstrom of self projections. present tense is no more readily felt than in seeing oneself all of a suddenon a monitor in the middle of an exhibition. time lapse can also provide immediate experience of time just passed as when a viewer's previously recorded image plays on one monitor as their present image is shown on another.
from: Rush, Michael. New Media in Late 20th-Century Art. Thames and Hudson, 1999. pp.124.
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