[-empyre-] x 3

i would like to open the conversation to these 3 [recent/art historical] [trajectories/entry points] related to the existence of video art + cinema in formulations of artware, code-based theorypraxis or more generally new media + [digital/computational] arts...

//begin excerpts from:
//title: Cinema and the Code
//date: 1989
//developer: Gene Youngblood

"Cinema is the art of organizing a stream of audiovisual events in time. It's an event-stream, like music. [3] There are at least four media through which we can practice cinema --- film, video, holography, and structured digital code --- just as there are many instruments through which we can practice music."


"Thus, the basic phenomenology of the moving image --- what Vasulka calls "the performance of the image on the surface of the screen" --- remains historically continuous across all media. Digital code, for example, has radically altered the epistemology and ontology of the moving image, but has not fundamentally changed its phenomenology."


"The code is a metamedium; through it, high-level aesthetic constructs from previous media become the primitives of the new medium."


"We are not trying to be the Clement Greenberg of the code . The phenomenology of the moving image remains constant across all media, but each new medium brings about a shift of emphasis or accent . Through the code, we can unfold the potential of formal strategies that were possibile but limited in previous media, thereby expanding the richness of cinematic language."

//end excerpts
//begin excerpt from:
//title: Subject: Re: <nettime> questions to nettime
//date: Fri, 20 Feb 2004 11:44:02 +0100
//developer: Florian Cramer

"Am Donnerstag, 19. Februar 2004 um 17:25:46 Uhr (+0100) schrieb David Gonzalez:

 does anybody know why there's such a mess with the terms

 media arts
 new media arts
 digital art
 interactive art

...because these terms are, in the first case, institutional monikers rather than thorough concepts.

On could consider the term "media arts" redundant as there is no art without media. On the other hand, it could be narrowed down to art that is made to specifically fit a certain medium."


"But it seems to me that the term "media art" is rarely being used in this transhistorical sense, but as a simple abbreviation of "new media art". But since a medium is new only in a specific time - so that it doesn't make much sense anymore to speak of radio, TV and video as "new media" today - one could even argue that the "Hypnerotomachia" and the "Ship of Fools" are new media art because they engaged with a medium that was new at the time of their creation.

The hidden truth between the terms "media" and "new media" is that they are largely products of media studies as they were invented by McLuhan. As a matter of fact, everything seems to count as "new media" and "new media arts" that was conceived as such since McLuhan, although throwing TV, radio, video and Internet into one bag rarely makes much theoretical and practical sense. Assumptions that digital "multimedia" works are "interactive" for example only make sense from the media studies perspective, if you conceive of the computer as a successor to film, radio and television, but don't make any sense if you take performance, games and theater into account. - So "interactive art" is probably shorthand for art, where the interaction between the art work/process is realized as human-machine interaction (and should perhaps be more precisely called "cybernetical art").

"Digital art" is, in my opinion, the clearest and most useful term of the ones you mention, since it means quite precisely that an artwork is encoded as digital information (the aesthetical implications of which are nontrivial, starting [but not ending] with the identity of original and copy). However, the term "digital art" is problematic as it seduces to falsely identify "digital" with "computer-based". An example of digital art in a very literal, but non-electronic and non-computational sense is Peter Kubelka's 1959 experimental film "Arnulf Rainer" which simply is an edit of single monochrome white and black frames. "


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//end excerpt
//begin text:
//date: 1966
//developer: Nam June Paik

Cybernated art is very important, but art for cybernated life is more important, and the latter need not be cybernated. (Maybe George Brecht`s simplissimo is the most adequate.)

But if Pasteur and Robespierre are right that we can resist poison only through certain built-in poison then some specific frustrations, caused by cybernated life, require accordingly cybernated shock and catharsis. My everyday work with videotape and the cathode-ray tube convinces me of this.

Cybernetic, the science of pure relations, or relationship itself, has its origin in karma. Marshall McLuhan's famous phrase "Media is message" was formulated by Nobert Wiener in 1948 as "The signal, where the message is sent, plays equally important role as the signal, where message is not sent."

As the Happening is the fusion of various arts, so cybernetics is the exploitation of boundary regions between and across various existing sciences.

Newton's physics is the mechanics of power and the unconciliatory two-party system, in which the strong win over weak. But in the 1920s a German genius put a tiny third -party (grid) between these two mighty poles (cathode and anode) in a vacuum tube, thus enabling the weak to win over the strong for the first time in human history. It might be a Buddhistic "third way," but anyway this German invention led to cybernetics, which came to the world in the last war to shoot down German planes from the English sky.

The Buddhists also say Karma is samsara Relationship is metempsychosis

We are in open circuits

//end text

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