Skip to main content
table of contents
Index
- Acconci, Vito, 37, 39
- Adams, Parveen, 29, 34
- Ahtila, Eija Liisa, xii, 40
- Aitken, Doug, xii, 40
- Alberti, Leon Battista, xiii, 63
- alienation: Marxist critique of, 25
- of subject, 34
- Archer, Michael, 55, 113n40
- art: community building in, 120n16
- art history: digital art in, 79
- art institutions: media screens in, xi–xiii, xvi, xviii, 6, 62, 63
- attention: coerced, 35
- avatars, digital, 81, 119n13
- Barthes, Roland, 115n6
- “Leaving the Movie Theater,” 19
- Bateson, Gregory, 103n12
- Baudrillard, Jean, 77, 79
- Baudry, Jean Louis, 61, 74
- Bellour, Raymond, 55
- Benjamin, Walter, 116n16
- “The Work of Art in the Age of Mechanical Reproduction,” 94–95
- Bergson, Henri: on images, 120n23
- bidirectional browsing units (BBUs), 81, 82
- Biesenbach, Klaus: Loop, 58
- Birnbaum, Daniel, 40
- black boxes: in galleries, xii
- body–screen interfaces, xviii, xix, xxi, 17, 41
- Borgmann, Albert, 91
- Brecht, Bertolt, 26
- Bruno, Giuliana, 101n24
- Buchloh, Benjamin, 107n3
- Burnett, Ron, 118n4
- Campus, Peter, xii, 2
- capitalism: and body computer relations, 96
- Cartesianism, 25, 74
- Cavell, Stanley, xii
- cinema: affective transport in, 110n1
- art’s relationship to, xvi
- of attractions, 101n2
- avant garde, 116n9
- Benjamin on, 94–95
- disruptive capacity of, 116n16
- duration in, 42, 110n7
- of exhibition, 52
- institutional context of, xiv, 106n35, 111n9
- as locational, 5–11
- materiality of, 8, 61, 105n23
- nonmateriality of, 15
- phenomenology of, xv, 1
- the sculptural and, 1–2
- shot/reverse-shot technique, 18, 106n33
- spectators of, xvi, xviii, 12–14, 68, 101n2, 110n1. See also film theory cinema, experimental. See experimental film
- closed-circuit video installations, xix, 19
- communication, screen-based, xi, xxi, 12
- computer networks: gaming in, 118n5
- spatiality in, 78. See also Internet
- computer screens, 77–78
- consciousness: cinematic nature of, 113n32
- of spectators, 54
- Construct (Internet design company), 119n8
- Cornwell, Regina, 16, 105n27
- Corral, Maria de: 51st Venice Biennale, xii
- Crary, Jonathan, 96, 109n24
- Debord, Guy, 35
- Deleuze, Gilles, 101n3, 105n24
- on cinema, 36
- on time, 109n30
- on virtuality, 90, 120nn22–23
- Difference Engine #3, The, 79, 81–84
- digital art, 118n2
- in art history, 79
- interactivity of, 78, 119n10
- on Internet, 81–87
- lifespan of, 120n15
- multisited, 80, 81–82, 85, 88, 91
- robotic interfaces in, 85, 89, 90
- space in, 86–87
- surveillance cameras in, 80
- viewer privileges for, 85
- viewing subject of, 87, 89
- as virtual window, 87–88. See also computer screens; installation art, screen-reliant
- discipline: in digital technology, 96
- Douglas, Stan, 53
- Dreyfus, Herbert, 90
- Duguet, Anne Marie, 110n2
- duration: in cinema, 42, 110n7
- Ferguson, Russell, 44
- Fifer, Sally, 56
- film theory, xiv–xv
- film theory, apparatus, xiv, 98n12, 102n6, 111n9
- film theory, feminist, xiv, 98n12
- flicker films, 8, 104nn17,19
- Foster, Hal, 102n4
- Foucault, Michel, 35
- frames: in film theory, xv
- media screens as, 97n2
- Frankfurt School, 94, 107n3
- Franks, David, 6
- Fried, Michael, 5, 62
- “Art and Objecthood,” 1–2
- Friedberg, Anne: on multiple visions, 93
- Fuller, Matthew, 103n12
- galleries: black boxes in, xii
- gaming, computer, 118n5
- Gardner, Colin, 109n30
- gaze: in art history, 98n10
- Geller, Matthew: From Receiver to Remote Control, 102n9
- Gidal, Peter, 61, 106n32
- on structural-materialist film, 115n4
- Gillette, Frank, 2, 19
- Goldberg, Ken: The Telegarden, xx, 79, 84–87
- on telepistemology, 89–90. See also Telegarden, The
- Goldberg, RoseLee, 36
- Golden Nica Award, 79, 119n8
- Gordon, David, 44–45
- Gordon, Douglas, 50
- Graham, Dan, xii, 42
- Grau, Oliver, 79
- Grosz, Elizabeth, 89
- Hall, Doug, 56
- Hanhardt, John, 121n6
- Hansen, Miriam, 94, 95, 116n16
- Hegel, Georg Wilhelm Friedrich, 111n13
- Heim, Michael, 90–91, 121n28
- Hershman, Lynn: awards of, 79, 119n8
- Hitchcock, Alfred: Psycho, 43, 44
- Huhtamo, Erkki, xvii
- human–computer interfaces, 77–78. See also viewer–screen interfaces
- Husserl, Edmund, 112n30
- Iles, Chrissie, 56
- Into the Light, xi
- illusionism, 5, 77
- images: Bergson on, 120n23
- installation art, screen-reliant: aesthetics of play in, 95
- bodily disciplining in, 21, 24
- commodity status of, 95
- connective interfaces in, 90
- critical discourse on, xv, 16, 23, 26, 93
- critical relevance of, 5
- destabilizing effects of, 75
- effect of minimalism on, 3
- film theorists on, xv
- gallery-based, xi–xii, xiv, xvi, xviii, 6, 62, 93
- hybridity of, 4
- interactivity in, 119n10
- machinic presence in, 98n4
- material apparatus of, 64
- medium-specific criteria for, 100n20
- mirrors in, 72, 74
- modes of engagement with, 41–42, 43
- of 1950s, 2
- obsolescence in, 113n34, 121n6
- participation in, xix, 25–26
- political aspects of, 26
- popularity of, 56
- postminimalist, 61
- post 1960s, xviii
- preservation of, 95, 120n15
- process based, 72
- and progressive aesthetics, 26
- public, 121n5
- spatiality of, xiii, xviii, 10, 59, 60, 78
- telepresence in, 118n3
- temporality of, xiii, xviii, 4, 39, 40–42
- terminology for, 98n6
- viewer–screen interfaces in, 2, 3–4, 10
- viewing subject of, 98n13
- virtual window paradigm of, xvi, 87. See also body–screen interfaces; closed-circuit video installations; digital art; spectatorship, screen-reliant
- Interactive Media Festival (1995), 79
- International Urban Screens Association, 121n5
- Internet: spatiality in, 87
- Internet surveillance cameras: in artistic applications, 80
- Manovich, Lev, 87
- Mapping the Studio I (Fat Chance John Cage), xix, 41, 46, 54
- Martinez, Rosa: 51st Venice Biennale, xii
- materiality: in apparatus theory, 3, 61
- McCall, Anthony, 42
- McCarthy, Anna, 103n11
- media: anti illusionist, 60–61
- process based, 60
- media, time based, 40–42
- media ecology, 103n12
- media screens: ambivalence of, xii, 2
- in art history, xvii, 101n23
- in art institutions, xi–xiii, xvi, xviii, 6, 62, 63
- as art objects, xii
- as barriers, 72
- commercial, xii, 57
- in contemporary life, xi
- in digital art, 85
- double sided, 72
- effect on modernism, 2
- everyday viewing of, 31
- as frames, 97n2
- of mass media, 23, 59
- materiality of, 2, 3–4, 62, 67, 68, 97n2, 101n3
- mediating role of, 12, 69, 73–75, 85, 94
- mediation of self, 31, 74–75
- moviegoers’ experience of, 1
- objecthood of, 15
- performative, 2, 98n9
- role in viewer interaction, 23
- in sculptural installations, xvii, xix, xx, 1–3, 23, 62
- spatiality of, 4, 70–71, 75, 1117n24, 118n24
- as subjects, 65
- as surfaces, 117n24
- as technical devices, xvii
- as thresholds, 4
- in urban spaces, 121n5
- as windows, xiii, 71, 75, 88. See also computer screens; installation art, screen-reliant
- Metz, Christian, 64, 102n6, 111n9
- Michalka, Matthias: X-Screen, xi
- Michelson, Annette, 61, 103n15, 110n1
- minimalism: death of author in, 114n47
- mirrors: in film theory, xv
- Mitchell, William J., 85
- modernism: effect of screens on, 2
- Morse, Margaret, 30, 94
- Mulvey, Laura, 64
- Nauman, Bruce, xii, 2
- Live-Taped Video Corridor, 26–31, 33
- Mapping the Studio I (Fat Chance John Cage), xix, 41, 46, 54
- Mapping the Studio II with color shift, flip, flop, & flip/flop (Fat Chance John Cage), 111n14
- Performance Corridor, 26, 27
- phenomenological works of, 117n22
- on screen–spectator relationships, 108n20
- Video Corridor for San Francisco (Come Piece), 31–34, 109n21
- video corridors of, xix, 25–35, 65, 81, 107nn11–12. See also Mapping the Studio I (Fat Chance John Cage); Video Corridor for San Francisco (Come Piece)
- Neshat, Shirin, 50
- Turbulent, 113n40
- Paik, Nam June, 2
- Païni, Dominique, 17, 54–55, 101n2
- perception: attention in, 21
- subjectivity of, 8
- perspective, Renaissance, 61, 63, 64, 114n2
- phenakistiscopes, 55
- Ping Pong, xx, 64, 65–69
- ping pong: as cultural trope, 116n15
- play: in screen-reliant installations, 95
- PONG (video game), 116n15
- postminimalism: anti-illusionism in, 102n4
- poststructuralism: critiques of authorship, 25
- windows in, xv
- Present Continuous Past(s), xix, 35–39
- public art, screen-reliant, 121n5
- Schjeldahl, Peter, 45
- Schneider, Ira, 24
- screen studies, xvii, 101n23
- future of, xx
- sculpture: cinema and, 1–2
- sculpture, screen-reliant, xvii, xix, 1–3, 23, 62
- viewers of, 20–21
- self: construction of, xi
- Sharits, Paul, 61, 103nn13–14
- Shaw, Jeffrey, 110n2
- Future Cinema, xii
- Silverman, Kaja, xv, 99n17
- Sitney, P. Adams, 8, 103n15, 115n4
- Film Culture Reader, 104n15
- Snow, Michael, xii, 42, 61
- Sobchack, Vivian, xi, xiv–xv, 106n35
- social relations: effect of technology of attention on, 35
- Soundstrip/Filmstrip, xviii, 5, 8–10
- space: behind media screens, 117n24
- bodily experience of, 91
- deconstruction of, 50
- on flat surfaces, 63
- in front of screen, 75, 118n4
- gallery, 3, 53, 54–56, 57, 72, 110n5
- illusionistic, 5, 61, 62, 72–73, 92
- inside screens, 75, 76
- installation of time in, 40
- proximal and mediated, 91
- simultaneous experience of, 65
- in Soundstrip/Filmstrip, 10
- virtual, 86–87
- warped, 63, 116n12
- spatiality: of closed-circuit installations, 33, 36, 78
- spectators: control of reality, 92
- spectators, screen: attention of, 21–24
- avatars of, 81, 119n13
- boundary with those viewed, 82
- of closed-circuit installations, 23–24, 31, 33–34, 39, 109n21
- of commercial media, 57
- determination of duration, 41, 51, 57
- digital interactions of, 80, 81–87, 92, 119n10
- empowerment of, 42
- experience of duration, 47–48, 52–59
- experience of space, 67–69
- loss of self, 30
- as mediators, 15–16
- perceptual expectations of, 29
- of screen-reliant sculptures, 20–21
- as screen subjects, xxi
- self regulation by, 34–35
- of video corridors, 27, 29
- spectatorship, xii, 25, 64
- in apparatus theory, 62, 99n15
- architecture of, 23, 107n5
- in art history, 93, 95, 98n10, 107n10
- cinematic, xvi, xviii, 12–14, 68, 101n2, 110n1
- as content, 3
- embodied, 76, 106n35
- in film apparatus theory, 62
- ideal, 113n41
- ideological, 62
- masculinist, 99n15
- mediated, 72
- in minimalism, 62, 110n5
- modes of, xii, xiv, xviii, 99n14
- passive, 26, 42, 109n24, 114n50
- post 1960, xvi
- process of, 61
- psychoanalytic models of, 99n15
- temporal experiences of, 41, 42, 110n5
- theatrical, xviii, 62
- theories of, xiii–xiv
- as window shopping, 57, 58, 110n4
- spectatorship, screen-reliant, xvi, xvii–xviii
- and art spectatorship, 64
- attention in, 21–24
- coercive nature of, 24, 31, 34, 109n24
- in completion of works, 65
- conditions of, 23
- as content, 18
- critical framework for, 63
- disciplinary aspects of, 21, 24, 26, 96
- doubleness in, 64, 72, 73–74, 76, 115n7
- effect of electronic telecommunication on, 78–80
- emancipatory, 52
- embodied nature of, 19
- flow of consciousness in, 54
- via Internet, 80, 81–87, 92
- of mass media, 59, 71–72
- material conditions of, 74
- modes of, 17, 24, 63
- narcissism in, 110n34
- obligatory, 117n19
- participatory, 31, 33–34, 39, 109n21, 115n3
- passive, 23, 42, 114n50
- of public art, 121n5
- regulation of, 35
- screen-based conditions for, 34
- spatiality in, xix, xx, 62–64, 67–70, 72–76
- of tele vision, 21, 71, 103n11, 106n1, 108n15
- temporal expe riences of, 37, 41, 57–58
- theories of, 62–64
- in visual arts, xi–xii
- Steigler, Bernard, 113n32
- Streible, Dan, 121n6
- structural film, 5, 60, 103n15, 104n19
- structuralism, 103n15
- subjectivity: in apparatus theory, 115n6
- subjects: alienation of, 34
- subjects, viewing, xv, 98n13
- Sutherland, Ivan, 77
- suture. See film theory
- technocracy: compulsory participation in, 34
- technologies: of attention, 35, 39
- technology, media, xiii, 19
- telecommunication, electronic: effect on spectators, 78–80
- Telegarden, The, xx, 79, 84–87
- television: disciplinary conditions in, 37, 38
- Variable Media Network, 121n6
- Venice Biennale (1999), installation art at, 55
- video: noninstallation forms of, 56
- spatial relationships in, 101n23. See also closed-circuit video installations
- Video Corridor for San Francisco (Come Piece), 31–34, 109n21
- Vidler, Anthony, 88–89, 116n12
- viewers. See spectators; subjects, viewing
- viewer–screen interfaces, 2, 3–4, 10, 18–19
- Virilio, Paul, 4, 119n9
- visual culture: critiques of, xiv
- visuality: media-based, xiii, 30
- Vostell, Wolf, 2
- Warhol, Andy, 43, 111n13
- Weber, Samuel, 29, 108n15
- Weibel, Peter: Future Cinema, xii
- Whitman, Robert: Shower, 2
- Windhausen, Federico, 103n14
- windows: computer screens as, 77–78, 88
- window shopping: as mode of viewership, 57, 58, 110n4
- of time based objects, 41
- Windows operating system, 57, 116n10
- Wipe Cycle, xix, 20, 21, 22–24, 25
- wipe cycles, 20
- Wittgenstein, Ludwig, 93
- Wollen, Peter, 115n4, 116n9, 117n20