[CORPUS LOQUENDI:] PAST/FUTURE SPLIT ATTENTION
Performance
Psychology
Time
This performance, at London's Lisson Gallery, documents Graham's project of psychologically restructuring space and time. Graham writes, 'Two people who know each other are in the same space. While one predicts continuously the other person's behavior, the other person recounts (by memory) the others past behavior. Both performers are in the present, so knowledge of the past is needed to continuously deduce future behavior (in terms of causal relation). For one to see the other in terms of the present (attention), there is a mirror reflection or closed figure-eight feedback/feed ahead loop of past/future. One person's behavior reciprocally reflects/depends upon the other's, so that each one's information is seen as a reflection of the effect that their own just-past behavior has had in reversed tense, as perceived from the other's view of himself'.
Graham, Dan
Jan Peacock
s.n.
1972
Creator: Dan Graham
VHS
English
Artist Video (V)
G72 972a c. 1
G72 972a c. 2
G72 972a c. 3
[CORPUS LOQUENDI:] PLATO NON-A
Llight
Perception
Epilepsy
"The videotape, according to Slopek, 'reproduces the clinical conditions necessary to test for the ciritcal thresholds at which flashing lights are able to induce epileptic seizures. The artist (an epileptic) is seen being subjected to varying strobe-light frequencies. The resulting document of his reactions is a vivid chronicle of facial contortions, agitations and shudders uncontrollably triggered by light.It is no accident that the flickering light which plays over Slopek's face over the course of the tape resembles light emitted from a TV screen, nor that his facial and bodily reactions would remind us of the semi-comatose state of someone who has watched television for too long" (-Video liner notes)
SLOPEK, Edward
Jan Peacock
s.n.
1981
Creator: Edward Slopek
VHS
Artist Video (V)
S66 981ac.1
[CORPUS LOQUENDI:] PLATO NON-A
Llight
Perception
Epilepsy
"The videotape, according to Slopek, 'reproduces the clinical conditions necessary to test for the ciritcal thresholds at which flashing lights are able to induce epileptic seizures. The artist (an epileptic) is seen being subjected to varying strobe-light frequencies. The resulting document of his reactions is a vivid chronicle of facial contortions, agitations and shudders uncontrollably triggered by light.It is no accident that the flickering light which plays over Slopek's face over the course of the tape resembles light emitted from a TV screen, nor that his facial and bodily reactions would remind us of the semi-comatose state of someone who has watched television for too long" (-Video liner notes)
SLOPEK, Edward
Jan Peacock
s.n.
1981
Creator: Edward Slopek
VHS
Artist Video (V)
S66 981ac.2
[CORPUS LOQUENDI:] PLATO NON-A
Llight
Perception
Epilepsy
"The videotape, according to Slopek, 'reproduces the clinical conditions necessary to test for the ciritcal thresholds at which flashing lights are able to induce epileptic seizures. The artist (an epileptic) is seen being subjected to varying strobe-light frequencies. The resulting document of his reactions is a vivid chronicle of facial contortions, agitations and shudders uncontrollably triggered by light.'It is no accident that the flickering light which plays over Slopek's face over the course of the tape resembles light emitted from a TV screen, nor that his facial and bodily reactions would remind us of the semi-comatose state of someone who has watched television for too long" (-Video liner notes)
SLOPEK, Edward
Jan Peacock
s.n.
1981
Creator: Edward Slopek
VHS
Artist Video (V)
S66 981ac.3
[CORPUS LOQUENDI:] POP-POP-VIDEO: GENERAL HOSPITAL /OLYMPIC WOMEN SPEEDSKATING
Television
Sports
Women
In the dynamic Pop-Pop Video tapes, Birnbaum appropriates standard television genres — the soap opera, sports event, action drama — to deconstruct the idiomatic meaning of TV's structural codes and conventions, such as the intercut and reverse shot.
General Hospital/Olympic Women Speed Skating is a fragmented collage that cuts between two sources of off-air television imagery — the TV sports event and the soap opera — to analyze the syntax and gestures of what Birnbaum terms "TV treatment" — in this case, the cross-cut and the reverse shot. The "cross-over" in an Olympic women's speed skating race is juxtaposed with daytime drama General Hospital's "whites" in reverse angle shots. A couple tries to reach an understanding. Skaters continuously return to the starting line. Frustration and exertion combine with originally scored soundtracks of disco, rock and jazz. The female soap opera character's emotional stress, her gestures and rhetoric of paranoia and self-doubt are countered with the pure physical performance of the female sports figures.
BIRNBAUM, Dara
Jan Peacock
s.n.
1980
Creator: Dara Birnbaum
VHS
English
Artist Video (V)
B57 980ac.2
[CORPUS LOQUENDI:] POP-POP-VIDEO: GERNERAL HOSPITAL/OLYMPIC WOMEN SPEEDSKATING
Television
Sports
Women
In the dynamic Pop-Pop Video tapes, Birnbaum appropriates standard television genres — the soap opera, sports event, action drama — to deconstruct the idiomatic meaning of TV's structural codes and conventions, such as the intercut and reverse shot.
General Hospital/Olympic Women Speed Skating is a fragmented collage that cuts between two sources of off-air television imagery — the TV sports event and the soap opera — to analyze the syntax and gestures of what Birnbaum terms "TV treatment" — in this case, the cross-cut and the reverse shot. The "cross-over" in an Olympic women's speed skating race is juxtaposed with daytime drama General Hospital's "whites" in reverse angle shots. A couple tries to reach an understanding. Skaters continuously return to the starting line. Frustration and exertion combine with originally scored soundtracks of disco, rock and jazz. The female soap opera character's emotional stress, her gestures and rhetoric of paranoia and self-doubt are countered with the pure physical performance of the female sports figures.
BIRNBAUM, Dara
Jan Peacock
s.n.
1980
Creator: Dara Birnbaum
VHS
English
Artist Video (V)
B57 980ac.1
[CORPUS LOQUENDI:] POP-POP-VIDEO: GERNERAL HOSPITAL/OLYMPIC WOMEN SPEEDSKATING
Television
Sports
Women
In the dynamic Pop-Pop Video tapes, Birnbaum appropriates standard television genres — the soap opera, sports event, action drama — to deconstruct the idiomatic meaning of TV's structural codes and conventions, such as the intercut and reverse shot.
General Hospital/Olympic Women Speed Skating is a fragmented collage that cuts between two sources of off-air television imagery — the TV sports event and the soap opera — to analyze the syntax and gestures of what Birnbaum terms "TV treatment" — in this case, the cross-cut and the reverse shot. The "cross-over" in an Olympic women's speed skating race is juxtaposed with daytime drama General Hospital's "whites" in reverse angle shots. A couple tries to reach an understanding. Skaters continuously return to the starting line. Frustration and exertion combine with originally scored soundtracks of disco, rock and jazz. The female soap opera character's emotional stress, her gestures and rhetoric of paranoia and self-doubt are countered with the pure physical performance of the female sports figures.
BIRNBAUM, Dara
Jan Peacock
s.n.
1980
Creator: Dara Birnbaum
VHS
English
Artist Video (V)
B57 980ac.3
[CORPUS LOQUENDI:] RED TAPES, THE
Performance
Identity
Cultural landscapes
The Red Tapes is Acconci's masterwork, a three-part epic that is one of the major works in video. Designed originally for video projection, the work is structured to merge video space—the close-up—with filmic space—the landscape. Acconci maps a topography of the self within a cultural and social context, locating personal identity through history, cultural artifacts, language and representation. Stating that the work moves "from Vito Acconci to a larger Americanism, between a psychological personal space and a cultural personal space," he constructs a dense, poetic text in this search for self and America.
Opening with the image of Acconci, blindfolded, the tapes evolve as a complex amalgam of narrative strategies, photographic images, music and spoken language. The formal system is the alteration of blank screen and image; grey screen is paired with voice, which leads to image, which leads back to grey screen with voice, etc. In Tape 1: Common Knowledge, the focus is on representation and self (as Acconci is seen in close-up), landscape is a photographic image, and the narrative is that of a mystery story. Tape 2: Local Color is essayistic, analytical; the perspective is widened, the body is seen in context, architectural and sculptural space become manifestations of the psychological. In the conclusion, Tape 3: Time Lag, the space is theatrical and the action is communication, as Acconci and actors act out a "rehearsal of America." From the autobiographical to the social, from the "I" to the "we," through the discourses of literature, psychoanalysis, cinema, art and popular culture, The Red Tapes is an extraordinary chronicle in which Acconci locates the self within the mythic constructions of culture and history.
(-Electronic Arts Intermix website)
ACCONCI, Vito
Jan Peacock
s.n.
1976
Creator: Vito Acconci; with Ericka Beckman, Ilona Granet, Richie O'Halloran, Kathy Rusch, David Salle, Michael Zwack;Camera: Ed Bowes; Sound: Tom Bowes; Music: Charles Ives
VHS
English
Artist Video (V)
A33976a
[CORPUS LOQUENDI:] SEMIOTICS OF THE KITCHEN
Feminism
Kitchens
Women
"From A to Z, Rosler 'shows and tells' the ingredients of the housewife's day, giving us a tour that names and mimics the ordinary with movements more samurai than suburban. Rosler's slashing gesture as she forms the letters of the alphabet in the air with a knife and fork, is a rebel gesture, punching through the 'system of harnessed subjectivity' from the inside out.'I was concerned with something like the notion of 'language speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.' -Martha Rosler" (-Video DataBank website)
ROSLER, Martha
Jan Peacock
s.n.
1975
Creator: Martha Rosler
VHS
English
Artist Video (V)
R674 975ac.1
[CORPUS LOQUENDI:] SEMIOTICS OF THE KITCHEN
Feminism
Kitchens
Women
"From A to Z, Rosler 'shows and tells' the ingredients of the housewife's day, giving us a tour that names and mimics the ordinary with movements more samurai than suburban. Rosler's slashing gesture as she forms the letters of the alphabet in the air with a knife and fork, is a rebel gesture, punching through the 'system of harnessed subjectivity' from the inside out.'I was concerned with something like the notion of 'language speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.' -Martha Rosler" (-Video DataBank website)
ROSLER, Martha
Jan Peacock
s.n.
1975
Creator: Martha Rosler
VHS
English
Artist Video (V)
R674 975ac.2