Note pg. 5-17

• video installation = most complex art form
• the part that collapses whenever the instillation isn't installed, is the art....the video its self
• place where installation is ground over which a conceptual, figural, embodied, and temporalized space that is the installation breaks
• artist vacates the scene
•  however detailed a video installation becomes in conception, there remains an element of uncertainty and risk at the level of the material execution and installation of its elements conceived by the artist, and an element of surprise in the actual bodily experience of the visitor
• Video installation can be seen as part of a larger shift in art forms toward "liveness"
• distinguishing art from life (isn't life art?)
• a new built environment for the purpose of reflection
• the massive difference between the two worlds of a traditional theater, in which the audience receives the events on stage as happening safe in an "elsewhere," and a theater in which events happen on the same plane of here and now as the audience inhabits.
• two types of video instaltion:
• "Closed-circuit video plays with "presence." A "live" camera can relay the image and sound of visitors in charged positions in installation space to one or more monitors. Shifting back and forth between two and three dimensions, closed-circuit installation exp lores the fit between images and the built environment and the process of mediating identity and power."
•  "The recorded-video art installation, can be compared to the spectator wandering about on a stage, in a bodily experience of conceptual propositions and imaginary worlds of memory and anticipation. A conceptual world is made manifest as literal objects and images set in physical relation to each other. That is, the technique for raising referent worlds to consciousness is not mimesis, but simulation. In general, the mode of enunciation in video installation in terms of speech act theory is performative or declarative. ....It need not match the world outside (i.e., be constative), nor does installation video command the visitor nor commit the artist nor merely express some state of mind."
• can be further divded into referent worlds
• what truly differentiates video installations? viewer entering into a space created for them to experience the video or no space created
• not sure i agree with this but... tv monitor counts toward a new space being reated because of lighting of screen, unless it is used as a sculptural object
• "The physical arrangement of television monitors into sculptural objects continues to be significant in installation video" 
• replication and repetition of images as poetic to the world of video installation
• "To describe the things we can learn from installation art requires each experience itself and its interpretation"
• repeating cycles that allow the visitor to enter and leave at any point: cycle repetition and transcendence repetition
•  Installation art in this setting reinvigorates all the spaces- in-between, so that the museum visitor becomes aware of the museum itself as a mega- installation
•  self-critique: "an installation full of spatial positions charged with power, full of fetish-objects transposable anywhere, a site that oils the fluid transpositions of concepts and commodity-objects between ontological realms".

notes! pg 20-25, 36,54, 68, 76...oye

Movie Video pg. 20-25

• new ideas for film set ups to introduce a new aspect to intrigue audience
• 1990s- hand made uncut films..dogma
• 1965- projector with tiny pieces
• layers of film and new inspiring ways to get into different way of interpreting film and the viewer or listener
• multiple layering of images or sounds to make the viewer have to focus or not on several different layers
• screens that can be viewed from other sides and all around them hide the viewer from the perspective of the camera....inspired by the Trueman show
• younger generations coming back to the performative approach
• human body still a point of reference
• artists reacting to changing realities
• past ten years video has become and gotten the title of becoming original
• TODAY! video= contradiction, either exclusive or mass produced 

Mother + Father pg. 36

• Candice Breitz
• highlights the international community contioned by mass media
• two rows
• taken out of people from Hollywood films
• she focuses on pop scene
• sees pop music as an essential parameter of our globalized world

Dan Graham Video piece for two glass office buildings pg. 54

• pure presence and self suffiecny
• both feilds represent types of codes giving info about social orders and his own self esteem
• his work represents convergence of private and public spheres
• the subjected one dimensional view loses importance
• creates the process of continuous learning and the subjective sense of an endless present time in flux
• 1950s he reintroduced historical memory into his art

Arenout Mik Dispersion Room pg. 68

• random people doing random things and minding their business and then double projection starts this all over again
• instincts and unconscious reactions
•  unforeseeable reactions
• simultaneously humorous and shocking (kitchen and men beating each other)
• unfettered frame work of individuals
• imbeds his projects in architecture
• viewers caught in possible flow 
• expands the field of action and the world mass media network, copy, stage for the abyss  

Tony Oursler Get Away Number 2 pg. 76

• best known american video artist
• makes dolls (projection of guys face on fabric man at Carnegie)
• exists only as head shapes and have their own characteristics (despair of existence)
• head under mattress (trapped person)
• viewers ready-ness to help
• "hey you get out of here"
• similar to people passing homeless on street talking to themselves
• testifyies to human perspective of human eye and mechanical eye
• demonstrating the act of seeing
• "eye see"

hallelujah