This week’s article highlights a very interesting phenomenon of video medium that is unique to it and adds another dimension of theory and application to it. Starting from the ‘center’ on a canvas of a painting, the article plunged into talking about mirroring of image. From here on, the phenomenon becomes evolving because video deals with a dynamic medium – voice and picture. An instant of art will change after every milli-second and how quickly this can be captured by an observer, paves way for artistic dimensions. In this context the writer mentions Holt’s work, Boomerang. Reading through the article, Boomerang seemed to be a very apt title for a feature highlighting the applications of echo and feedbacks in a temporal and spatial art form. It discussed its evolution from its text to its new forms with respect to time. I also liked reading about the mem and dor application of this concept that actually explains the technical configuration of security cameras. Till now, I didn’t realize that there is an artistic flare to how our security cameras span! But compared to other tangible art forms, video definitely has a narcissistic aesthetic to it.
Narcissism sounds negative to me prior reading this article. But after reading, I start to reconsider the true intention for the artist to film such a video. Narcissism videos, in another perspective, can also be viewed as a journey to self understanding. Merely with a mirror, the audience will see exactly what the artist see. By looking into the artist’s self reflection, the artist realized something about herself. Then by putting her reflection into the film, it will guide the audience to this self understanding. The realization itself has become the ‘center’ of the TV screen.
When I think of the word narcissism, I think of a word of negative connotation- describing something that is very involved in itself and feels that the world revolves around it. But, as a matter of fact, in the sense of Rosalind Krauss, it can just be simply known as another or different form of perspective. The essay goes into how there is not any real direct link between what is recorded and what is seen by the viewer, but that there is something that affects the direct transmission of performer and viewer. This was described in the film Boomerang and how there was a slight delay in what was being said into the microphone and what was being heard in the headphones. At the same time she also began to discuss how psychology plays a role in film although we didn't readily associate psychology with filmmaking. But ultimately, I believe that the main focal point of this essay was to describe works of film that were narcissistic in the way that the camera and viewers only had one subject to focus on, and one actor/actress/performer to hold their attention to.
This article is about various ways that a subject is focused on in a video, aka narcissism. I feel that the article did not do a very good job of explaining the videos mentioned. I would probably understand better if I personally saw the particular videos in question, because words are not enough to describe the strange techniques used in the shots.
While it was difficult to understand the process, the article did a good job talking about the effect. It turns out that using either the reflexive or reflective take mentioned in the article on a shot will give it a narcissistic aspect.
In the essay "Video"The Aesthetics of Narcissism"Rosalind Krauss makes an argument that the video art is not only the materiel techniques ,but an narcissism with a psychological condition of that inflects so much of the early work done in medium.“In that image of self-regard is configured a narcissism so endemic to works of video that I find myself wanting to generalize it as the condition of the entire genre.” She asks: is ”the medium of video is narcissism”?She encourage me to expanding the definition of "medium" and how it connect with the audience.Medium is not just a sender.With images, voice , different filming technique,audiences will be able to see ,to feel ,to be part of the video. It gives an ability to produce instant images that the artist could identify the distinctly different from any other time-based image,also deliver to the audience emotionally,objectively .The reading reminds me those documentary films we saw from the lecture.I think it is really interesting to learn how the filming techniques and direct transmission connect the performer and the audience through different spaces. The most important,to make a us believe what we see mentally .
In "Video: The Aesthetics of Narcissism," Rosalind Krauss presents the idea of narcissism being the medium of video. What appears to be a seemingly unconventional way of describing a medium at first, psychologically rather than physically, proves to be a somewhat accurate approach. Krauss first explains how the medium of video could be described as narcissism by noting that "unlike the other visual arts, video is capable of recording and transmitting at the same time" (181). She then cited numerous video examples, including videos by Richard Serra and Acconci, in which this idea of mirroring and reflection played a role in the film's content. Krauss describes Peter Campus's 'Mem" and "Dor" films as an interesting response to the mirrored reflection techniques cited in previous examples mentioned. Though it was difficult at times to follow Krauss throughout her essay, she proves the impact narcissism has in video. She concludes that narcissism is used as "a form of bracketing out the world and its conditions at the same time as it can reassert the facticity of the object against the grain of the narcissistic drive toward projection" (190).
I have never thought of "narcissism" in the sense of art, so I was rather surprised when this topic was brought up. I have experienced the "Boomerang" effect, as was described of Richard Serra's video. Talking to people on the phone can sometimes lead to an audio delay, which is extremely distracting. It makes one feel very self-conscious and -aware.
For me, the blurring of the line between "object" and "subject" can be attributed to the medium that is used, namely video. As viewers, we are able to see a person sit or stand before a mirror, conversing with themselves. But if we allow ourselves to be lost in the film, we can see either the reflection or the actual person before the mirror as the subject. I believe this phenomenon is more pronounced because we are not standing with the subject and mirror but are viewing the entire ordeal through a screen. This sense of detachment makes it much easier to believe the reflection is the "real" person, or vice versa. In this thread, both the reflection and person can become an object. On the other hand, they might also be the subject. Which one we look at and decide is the one we should focus on is our choice.
As a whole, this article made me think about what makes me "me," and where I cease to be myself, but an outsider, watching in on my life. It's kind of a bizarre idea....
In Rosalind Krauss article, she introduces the idea that narcissism is the medium of videos, and that it is more of a psychological condition, rather physical. In addition, she also emphasizes on the idea that video monitor can be used as a mirror, recording and transmitting at the same time. This is an effective technique used in order for the viewers to believe that they are either seeing the reflection of the object or subject, or the actual object/ subject, which Krauss explains in her article that, "the notion of a medium contains the concept of an object-state"(180). Thus, I found the article quite fascinating to understand the technique used in videos in a condition that focuses primarily on a psychological stand point, allowing the audience, like myself to question what we really see through the screen.
In Rosaling Krauss’s “Video: The Aesthetics of Narcissism”, a new point of view is explicated regarding “narcissism”. I am sure this is true to other readers, but before I read this essay, I always believed that “narcissism” was something that was negative. However, after reading the essay, I realized that “narcissism” can be very beautiful if used in a proper way. It is very interesting to point out the role “narcissism” plays in the arts. For example, the film “Boomerang” shows how a person gets “distracted” by his or her own voice when they listen to their voice through earphones. This shows the power of “narcissism” when used in a proper method. As the person constantly tries to talk, the person is distracted by his or her own voice. Krauss is simply showing a different side of “narcissism”. One that many of us choose to ignore. Another interesting point in Krauss’s essay is the example Krauss uses which is Lynda Benglis’s Now (1973). While watching the film, the audience cannot tell whether the sound of the voice (“Now!” or “Is it now?”) is live or has been already recorded. The main point as Krauss points out is the question “Which ‘now’ is intended?”. Because the way Benglis created this film collapses time which I thought was very interesting and confusing at the same time. The idea that time itself collapsing is very fascinating to me.
At first glance, I thought Rosalind Krauss's "Video: The Aesthetics of Narcissism" was going to be a hard-hitting expose on the egos of filmmakers. In a way, I suppose it is, as it describes video as largely a narcissistic projection of self on a screen. Ultimately, though, Krauss explores how the medium of video influences our self perception. An important question indeed, especially as video media becomes an ever-larger part of our day-to-day lives. As a general rule, video is often considered to be an accurate record of events. This can often be a dangerous assumption, because as Krauss points out, video is almost inevitably a distorted view of reality.
Her example of video projection as a mirror emphasizes this point. Focal length, camera angle, type of stock, and myriad other variables affect the resulting image. Perhaps the greatest downfall of this method is the inevitable lag between the capture and mirroring of the image on screen. Here, she implies that experiments with this peculiar trait of video objectifies your image as a separate entity on a screen. Where once was one, now is two.
After reading this article, I couldn't help but wonder how our perceptions in our everyday lives are distorted by our own "flaws." In this respect, I feel that video art can truly define much of what it means to be human.
After reading Krauss's article, I began to realize that narcissism isn't really negative, but it's just a way to express how an individual sees himself or herself. Krauss also emphasizes that narcissism is truly necessary in all different forms of media. The medium is the psychological experience, and mirroring helps differentiate the subject and the object. They are definitely not the same thing, as Krauss implies and clearly states. You have a skewed view of yourself and that view changes when others see you as well. The essay was overall interesting because Krauss separated the subject and the object, when I though they were basically the same thing.
Krauss contends that video art can be a narcissitic medium--in that video creates a potential no other medium can--the ability to analyze and manipulate her work in realtime. This can be attained by utilizing various forms of instantaneous visual feedback, including mirroring, reflection, or projection. This feedback allows for the artist to (narcissistically) self-evaluate, and respond accordingly.
In Rosalind Krauss’s “Video: The Aesthetics of Narcissism,” she begins by discussing Centers (1971) in order to introduce the narcissism of video art. When questioning whether it is the medium of the art, she goes on to describe “the word medium [as] the image of a human receiver (and sender) of communications arising from an invisible source” (180). When you are watching yourself on a screen, such as in the Love Tapes by Wendy Clark we saw in lecture, it is as though the video camera is a mirror. To demonstrate this Krauss used the example Now (1973) by Lynda Benglis where the entire work is focused on the mirroring and symmetry of her actions. It made clear the idea of a “collapsed present” (181) where there is no separation of past and present. The discussion we had in class about the lack of “difference between subject and object” (184) was most interesting to me. I find it intriguing to think about the way you become an object when you are the subject of a video.
I found it interesting when Rosalind Krauss described the effects on the subject in "Boomerang." The subject, or object of the video, had to speak into the camera, while wearing a head set where she heard her words being fed back to her with a slight delay. She felt as if she couldn't escape herself and was trapped in the present. This reminded me of "The Love Tapes" where people had to talk about the meaning of love, while watching themselves speak. It can be an uncomfortable thing to watch yourself talking, especially about a subject like love. It can also seem a bit narcissistic, which is the subject Krauss's essay. However, Krauss does not necessarily portray narcissism as a bad thing, but as a medium for an artist, or film maker, to show his/her thoughts and views. The article was a little difficult to follow, but with various examples of films, such as "Mem" and "Dor" which use mirror reflection techniques, Krauss establishes the need and importance of narcissism in video.
In The Aesthetics of Narcissism, Rosalind Krauss discusses the film/video medium and its use by artists employing its narcissistic qualities. What differentiates video from most other art, as Krauss points out, is the fact that it can employ a feedback loop. Rather than being a one-way medium from artist to viewer, as with painting, video can include the subject and the viewer simultaneously. In fact, in many video pieces, artists place themselves directly in the medium in a way not possible with other mediums. Boomerang(1974) by Nancy Holt expertly discusses this strategy by drawing attention to the feedback loop in a dysfunctional way. Rather than have herself being filmed through a mirror or something similar, she creates an audio delay in which she hears herself during the course of the film, but only after a period of time. In this way there is a detachment from the loop, and although she is placed in the film herself, it almost pulls her out of it, and draws attention to the medium for the viewer. Suddenly, it becomes much more apparent how the medium lives and breathes: in a narcissistic loop, like a mirror. The reason I like boomerang so much is it is a classic piece which subverts the medium from its intended purpose, thereby drawing attention to itself. Krauss has a good point about narcissism in video art. In most mediums, there is a subject separate from the artist, but video art generally uses the body of the artist themselves. This means that the artist becomes not only the creator, but the receiver, and defines the medium by their very existence. Being center-stage in front of a camera can be very narcissistic in itself, but when combined with the art world where the subject is to be scrutinized at great deal, it elevates this focus on the subject/artist/medium.
In Rosalind Krauss' article "Video: The Aesthetics of Narcissism" I found her argument that the medium of video, especially when viewing oneself, is a psychological experience to be quite interesting. To view your objectified self in a subjective way - a looping or mirroring of oneself - creating a sort of self encapsulation.
In Rosalind Krauss's article, she talks about video's medium and it's mirroring aspect. She narrows in on the humanistic ability to reflect the data that is being presented to us through a film medium. In the process of intaking the information, we begin to reflect that data upon ourselves and relate it to our lives. She states that this is a narcissistic quality of within ourselves however, she means it without a dark undertone or negative way. However, I think this aspect of video that she is talking about is within every art medium. While looking at any medium of art, we all relate these pieces to ourselves and question. I guess in a sense, the film or video medium is something that we truly engulf ourselves in and in that process, it makes us "more" narcissistic.
The author's point of the narcissistic qualities of a self centered medium is reflected clearly in the the examples of mem and dor. Both address the critical need for the subject to be the center point. In dor, the distortion of the viewer is displaced while the mem illusion allows the viewer to only see himself as a blurred image as moves away from the plane. He is only in focus when he cannot see himself. Both examples would not exist without the subject as a self centered object.
Rosalind Krauss’ “Video: The Aesthetics of Narcissism” provides a sharp insight to the prevalence of narcissism in video art. The central idea to video medium is, in Freudian terms, an obsession with the self. Krauss took a psychological approach to explain the video medium because video is experienced psychologically rather than physically. For example, video installations use humans as a central instrument by creating a pictorial relation to a body of responding viewers. Also, video allows for instant playback, which essentially turns the video monitor into a mirror. The mirror psychologically dissipates the feeling of separateness and creates a never-ending narcissism for the viewer.
In the article, "Video: the Aesthetics of Narcissism," by Rosaland Krauss, she describes the bracketing of oneself and self-encapsulation. Krauss describes how the camera equipement isn't the medium itself, but the tools for the artist to use to transmit their bodies/movements/actions. The artist is the medium while the camera is just a mere tool. The artist can capture something psychologically stimulating through video because of the collapsed present. In other words, there is no difference between the past and present. What the artist does in the past and what he does in the present is presented together simultaneously, closing the space in between the making of the piece and presenting it. Furthermore, the use of video can bring reflection and reflexiveness. Reflection of oneself with video can combine the two separate entities, the reflected self and the artist, together. A meshing of oneself and their perceived consciousness. The reflexiveness is of two separate entities interacting with one another, but staying separate.
In this article Kruass describes Narcissism as a medium for film. In making her point, she compares the difference between Acconci's Centers and Jasper John's American Flag. Her description of reflections and reflexiveness highlights both the strategy to achieve asymmetry and the method used to fuse the artist and his double. I found her views based on psychoanalysis interesting, especially the part where she states that feedback coil of video is the instrument of "double repression".
In the article, Rosalind Krauss talk about narcissism of video medium based on the feedbacks. It is brand-new aspect for me when she talks about parapsychology as "Everyday speech contains an example of the word medium used in a psychological sense…" I've never thought of the inner connect between parapsychology and medium. And the Boomerang, the example she stated to help explain her point of view that video is unlike other visual arts for it is capable of recording and transmitting at the same time. Along with the other videos she mentioned, the Centers and the Air Time, on the other hand, they make me think more about the information a simple video can bring out to people. Although these two videos are short and old, but they give people a very clear sense of what the film maker want to say, regardless it is ironic or profound.
"The prison of a collapsed present(181)" that Rosalind Krauss points out in her article, "Video: the Aesthetics of Narcissism," is very interesting as it never really crossed my mind before till now. As she describes in the "Boomerang" tape made by Nancy Holt, the delay between the sound of the recording and the actual video lead to frustration. I can imagine if I was in the same situation, I would also be frustrated and annoyed as well as I would definitely have a hard time trying to keep up with what I just said now by listening to my own voice while also having to continuously talk over my voice. I believe this is what Krauss meant by "the prison of a collapsed present" as hearing your voice of what you said before (the past) somewhat distracts and interferes with the present time as you're trying to talk over "the past voice". I agree when Holt illustrates this concept as, "I'm throwing things out in the world and they are boomeranging back... boomeranging... eranginging... anginging.(181)"
note to Ela (TA) I posted this post, and the comment posts for the 1st and 2nd articles (Antin and Eisenstein) now as I switched in your section after around week 2) and now I was finally able to login to this Blogger website and post up comments so I believe I shouldn't get participated points deducted.
Rosalind Krauss depicts video as narcissism, that film is a grotesque self portrait of oneself. This would be a problem as film becomes more about self satisfaction. With todays increase in technology, cameras are able to increasingly cater to this reoccurring narcissism that poses a threat to depth in film. She mentions that since this narcissism its almost as if it is generalized to all of film media. People become more self centered in representing themselves in media rather than creating some sort of overlying focus. In this way film would not have much meaning to it.
When first reading the title of this essay “The Aesthetics of Narcissim” by Rosalind Krauss I had expected a critique of video culture and its focus on human kind. After reading the article however it’s apparent that the article is not a critique of human culture but an analysis of video and how it allows us to see into ourselves. It explains the characteristics of cinematography where the video acts as a mirror upon which we can then analyze ourselves. It examines the auto-reflexive use if film that mirrors itself or its intent. Like in the piece Now by Lynda Beglis the artist says the word now yet through the technique in which the video image and audio is simultaneously transmitted and receive the question of when and which now is important becomes the subject. The method of using the camera not as a tool to target an object but as a reflectivist tool to examine its own characteristics presents interesting opportunities to understand the “medium” of film itself and its implications.
This week’s article highlights a very interesting phenomenon of video medium that is unique to it and adds another dimension of theory and application to it. Starting from the ‘center’ on a canvas of a painting, the article plunged into talking about mirroring of image. From here on, the phenomenon becomes evolving because video deals with a dynamic medium – voice and picture. An instant of art will change after every milli-second and how quickly this can be captured by an observer, paves way for artistic dimensions. In this context the writer mentions Holt’s work, Boomerang. Reading through the article, Boomerang seemed to be a very apt title for a feature highlighting the applications of echo and feedbacks in a temporal and spatial art form. It discussed its evolution from its text to its new forms with respect to time. I also liked reading about the mem and dor application of this concept that actually explains the technical configuration of security cameras. Till now, I didn’t realize that there is an artistic flare to how our security cameras span! But compared to other tangible art forms, video definitely has a narcissistic aesthetic to it.
ReplyDeleteNarcissism sounds negative to me prior reading this article. But after reading, I start to reconsider the true intention for the artist to film such a video. Narcissism videos, in another perspective, can also be viewed as a journey to self understanding. Merely with a mirror, the audience will see exactly what the artist see. By looking into the artist’s self reflection, the artist realized something about herself. Then by putting her reflection into the film, it will guide the audience to this self understanding. The realization itself has become the ‘center’ of the TV screen.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteWhen I think of the word narcissism, I think of a word of negative connotation- describing something that is very involved in itself and feels that the world revolves around it. But, as a matter of fact, in the sense of Rosalind Krauss, it can just be simply known as another or different form of perspective. The essay goes into how there is not any real direct link between what is recorded and what is seen by the viewer, but that there is something that affects the direct transmission of performer and viewer. This was described in the film Boomerang and how there was a slight delay in what was being said into the microphone and what was being heard in the headphones. At the same time she also began to discuss how psychology plays a role in film although we didn't readily associate psychology with filmmaking. But ultimately, I believe that the main focal point of this essay was to describe works of film that were narcissistic in the way that the camera and viewers only had one subject to focus on, and one actor/actress/performer to hold their attention to.
ReplyDeleteThis article is about various ways that a subject is focused on in a video, aka narcissism. I feel that the article did not do a very good job of explaining the videos mentioned. I would probably understand better if I personally saw the particular videos in question, because words are not enough to describe the strange techniques used in the shots.
ReplyDeleteWhile it was difficult to understand the process, the article did a good job talking about the effect. It turns out that using either the reflexive or reflective take mentioned in the article on a shot will give it a narcissistic aspect.
In the essay "Video"The Aesthetics of Narcissism"Rosalind Krauss makes an argument that the video art is not only the materiel techniques ,but an narcissism with a psychological condition of that inflects so much of the early work done in medium.“In that image of self-regard is configured a narcissism so endemic to works of video that I find myself wanting to generalize it as the condition of the entire genre.” She asks: is ”the medium of video is narcissism”?She encourage me to expanding the definition of "medium" and how it connect with the audience.Medium is not just a sender.With images, voice , different filming technique,audiences will be able to see ,to feel ,to be part of the video. It gives an ability to produce instant images that the artist could identify the distinctly different from any other time-based image,also deliver to the audience emotionally,objectively .The reading reminds me those documentary films we saw from the lecture.I think it is really interesting to learn how the filming techniques and direct transmission connect the performer and the audience through different spaces. The most important,to make a us believe what we see mentally .
ReplyDeleteIn "Video: The Aesthetics of Narcissism," Rosalind Krauss presents the idea of narcissism being the medium of video. What appears to be a seemingly unconventional way of describing a medium at first, psychologically rather than physically, proves to be a somewhat accurate approach. Krauss first explains how the medium of video could be described as narcissism by noting that "unlike the other visual arts, video is capable of recording and transmitting at the same time" (181). She then cited numerous video examples, including videos by Richard Serra and Acconci, in which this idea of mirroring and reflection played a role in the film's content. Krauss describes Peter Campus's 'Mem" and "Dor" films as an interesting response to the mirrored reflection techniques cited in previous examples mentioned. Though it was difficult at times to follow Krauss throughout her essay, she proves the impact narcissism has in video. She concludes that narcissism is used as "a form of bracketing out the world and its conditions at the same time as it can reassert the facticity of the object against the grain of the narcissistic drive toward projection" (190).
ReplyDeleteI have never thought of "narcissism" in the sense of art, so I was rather surprised when this topic was brought up. I have experienced the "Boomerang" effect, as was described of Richard Serra's video. Talking to people on the phone can sometimes lead to an audio delay, which is extremely distracting. It makes one feel very self-conscious and -aware.
ReplyDeleteFor me, the blurring of the line between "object" and "subject" can be attributed to the medium that is used, namely video. As viewers, we are able to see a person sit or stand before a mirror, conversing with themselves. But if we allow ourselves to be lost in the film, we can see either the reflection or the actual person before the mirror as the subject. I believe this phenomenon is more pronounced because we are not standing with the subject and mirror but are viewing the entire ordeal through a screen. This sense of detachment makes it much easier to believe the reflection is the "real" person, or vice versa. In this thread, both the reflection and person can become an object. On the other hand, they might also be the subject. Which one we look at and decide is the one we should focus on is our choice.
As a whole, this article made me think about what makes me "me," and where I cease to be myself, but an outsider, watching in on my life. It's kind of a bizarre idea....
In Rosalind Krauss article, she introduces the idea that narcissism is the medium of videos, and that it is more of a psychological condition, rather physical. In addition, she also emphasizes on the idea that video monitor can be used as a mirror, recording and transmitting at the same time. This is an effective technique used in order for the viewers to believe that they are either seeing the reflection of the object or subject, or the actual object/ subject, which Krauss explains in her article that, "the notion of a medium contains the concept of an object-state"(180). Thus, I found the article quite fascinating to understand the technique used in videos in a condition that focuses primarily on a psychological stand point, allowing the audience, like myself to question what we really see through the screen.
ReplyDeleteIn Rosaling Krauss’s “Video: The Aesthetics of Narcissism”, a new point of view is explicated regarding “narcissism”. I am sure this is true to other readers, but before I read this essay, I always believed that “narcissism” was something that was negative. However, after reading the essay, I realized that “narcissism” can be very beautiful if used in a proper way. It is very interesting to point out the role “narcissism” plays in the arts. For example, the film “Boomerang” shows how a person gets “distracted” by his or her own voice when they listen to their voice through earphones. This shows the power of “narcissism” when used in a proper method. As the person constantly tries to talk, the person is distracted by his or her own voice. Krauss is simply showing a different side of “narcissism”. One that many of us choose to ignore. Another interesting point in Krauss’s essay is the example Krauss uses which is Lynda Benglis’s Now (1973). While watching the film, the audience cannot tell whether the sound of the voice (“Now!” or “Is it now?”) is live or has been already recorded. The main point as Krauss points out is the question “Which ‘now’ is intended?”. Because the way Benglis created this film collapses time which I thought was very interesting and confusing at the same time. The idea that time itself collapsing is very fascinating to me.
ReplyDeleteAt first glance, I thought Rosalind Krauss's "Video: The Aesthetics of Narcissism" was going to be a hard-hitting expose on the egos of filmmakers. In a way, I suppose it is, as it describes video as largely a narcissistic projection of self on a screen. Ultimately, though, Krauss explores how the medium of video influences our self perception. An important question indeed, especially as video media becomes an ever-larger part of our day-to-day lives. As a general rule, video is often considered to be an accurate record of events. This can often be a dangerous assumption, because as Krauss points out, video is almost inevitably a distorted view of reality.
ReplyDeleteHer example of video projection as a mirror emphasizes this point. Focal length, camera angle, type of stock, and myriad other variables affect the resulting image. Perhaps the greatest downfall of this method is the inevitable lag between the capture and mirroring of the image on screen. Here, she implies that experiments with this peculiar trait of video objectifies your image as a separate entity on a screen. Where once was one, now is two.
After reading this article, I couldn't help but wonder how our perceptions in our everyday lives are distorted by our own "flaws." In this respect, I feel that video art can truly define much of what it means to be human.
After reading Krauss's article, I began to realize that narcissism isn't really negative, but it's just a way to express how an individual sees himself or herself. Krauss also emphasizes that narcissism is truly necessary in all different forms of media. The medium is the psychological experience, and mirroring helps differentiate the subject and the object. They are definitely not the same thing, as Krauss implies and clearly states. You have a skewed view of yourself and that view changes when others see you as well. The essay was overall interesting because Krauss separated the subject and the object, when I though they were basically the same thing.
ReplyDeleteKrauss contends that video art can be a narcissitic medium--in that video creates a potential no other medium can--the ability to analyze and manipulate her work in realtime. This can be attained by utilizing various forms of instantaneous visual feedback, including mirroring, reflection, or projection. This feedback allows for the artist to (narcissistically) self-evaluate, and respond accordingly.
ReplyDeleteIn Rosalind Krauss’s “Video: The Aesthetics of Narcissism,” she begins by discussing Centers (1971) in order to introduce the narcissism of video art. When questioning whether it is the medium of the art, she goes on to describe “the word medium [as] the image of a human receiver (and sender) of communications arising from an invisible source” (180). When you are watching yourself on a screen, such as in the Love Tapes by Wendy Clark we saw in lecture, it is as though the video camera is a mirror. To demonstrate this Krauss used the example Now (1973) by Lynda Benglis where the entire work is focused on the mirroring and symmetry of her actions. It made clear the idea of a “collapsed present” (181) where there is no separation of past and present. The discussion we had in class about the lack of “difference between subject and object” (184) was most interesting to me. I find it intriguing to think about the way you become an object when you are the subject of a video.
ReplyDeleteI found it interesting when Rosalind Krauss described the effects on the subject in "Boomerang." The subject, or object of the video, had to speak into the camera, while wearing a head set where she heard her words being fed back to her with a slight delay. She felt as if she couldn't escape herself and was trapped in the present. This reminded me of "The Love Tapes" where people had to talk about the meaning of love, while watching themselves speak. It can be an uncomfortable thing to watch yourself talking, especially about a subject like love. It can also seem a bit narcissistic, which is the subject Krauss's essay. However, Krauss does not necessarily portray narcissism as a bad thing, but as a medium for an artist, or film maker, to show his/her thoughts and views. The article was a little difficult to follow, but with various examples of films, such as "Mem" and "Dor" which use mirror reflection techniques, Krauss establishes the need and importance of narcissism in video.
ReplyDeleteIn The Aesthetics of Narcissism, Rosalind Krauss discusses the film/video medium and its use by artists employing its narcissistic qualities. What differentiates video from most other art, as Krauss points out, is the fact that it can employ a feedback loop. Rather than being a one-way medium from artist to viewer, as with painting, video can include the subject and the viewer simultaneously. In fact, in many video pieces, artists place themselves directly in the medium in a way not possible with other mediums. Boomerang(1974) by Nancy Holt expertly discusses this strategy by drawing attention to the feedback loop in a dysfunctional way. Rather than have herself being filmed through a mirror or something similar, she creates an audio delay in which she hears herself during the course of the film, but only after a period of time. In this way there is a detachment from the loop, and although she is placed in the film herself, it almost pulls her out of it, and draws attention to the medium for the viewer. Suddenly, it becomes much more apparent how the medium lives and breathes: in a narcissistic loop, like a mirror. The reason I like boomerang so much is it is a classic piece which subverts the medium from its intended purpose, thereby drawing attention to itself. Krauss has a good point about narcissism in video art. In most mediums, there is a subject separate from the artist, but video art generally uses the body of the artist themselves. This means that the artist becomes not only the creator, but the receiver, and defines the medium by their very existence. Being center-stage in front of a camera can be very narcissistic in itself, but when combined with the art world where the subject is to be scrutinized at great deal, it elevates this focus on the subject/artist/medium.
ReplyDeleteIn Rosalind Krauss' article "Video: The Aesthetics of Narcissism" I found her argument that the medium of video, especially when viewing oneself, is a psychological experience to be quite interesting. To view your objectified self in a subjective way - a looping or mirroring of oneself - creating a sort of self encapsulation.
ReplyDeleteIn Rosalind Krauss's article, she talks about video's medium and it's mirroring aspect. She narrows in on the humanistic ability to reflect the data that is being presented to us through a film medium. In the process of intaking the information, we begin to reflect that data upon ourselves and relate it to our lives. She states that this is a narcissistic quality of within ourselves however, she means it without a dark undertone or negative way. However, I think this aspect of video that she is talking about is within every art medium. While looking at any medium of art, we all relate these pieces to ourselves and question. I guess in a sense, the film or video medium is something that we truly engulf ourselves in and in that process, it makes us "more" narcissistic.
ReplyDeleteThe author's point of the narcissistic qualities of a self centered medium is reflected clearly in the the examples of mem and dor. Both address the critical need for the subject to be the center point. In dor, the distortion of the viewer is displaced while the mem illusion allows the viewer to only see himself as a blurred image as moves away from the plane. He is only in focus when he cannot see himself. Both examples would not exist without the subject as a self centered object.
ReplyDeleteRosalind Krauss’ “Video: The Aesthetics of Narcissism” provides a sharp insight to the prevalence of narcissism in video art. The central idea to video medium is, in Freudian terms, an obsession with the self. Krauss took a psychological approach to explain the video medium because video is experienced psychologically rather than physically. For example, video installations use humans as a central instrument by creating a pictorial relation to a body of responding viewers. Also, video allows for instant playback, which essentially turns the video monitor into a mirror. The mirror psychologically dissipates the feeling of separateness and creates a never-ending narcissism for the viewer.
ReplyDeleteIn the article, "Video: the Aesthetics of Narcissism," by Rosaland Krauss, she describes the bracketing of oneself and self-encapsulation. Krauss describes how the camera equipement isn't the medium itself, but the tools for the artist to use to transmit their bodies/movements/actions. The artist is the medium while the camera is just a mere tool. The artist can capture something psychologically stimulating through video because of the collapsed present. In other words, there is no difference between the past and present. What the artist does in the past and what he does in the present is presented together simultaneously, closing the space in between the making of the piece and presenting it.
ReplyDeleteFurthermore, the use of video can bring reflection and reflexiveness. Reflection of oneself with video can combine the two separate entities, the reflected self and the artist, together. A meshing of oneself and their perceived consciousness. The reflexiveness is of two separate entities interacting with one another, but staying separate.
In this article Kruass describes Narcissism as a medium for film. In making her point, she compares the difference between Acconci's Centers and Jasper John's American Flag. Her description of reflections and reflexiveness highlights both the strategy to achieve asymmetry and the method used to fuse the artist and his double. I found her views based on psychoanalysis interesting, especially the part where she states that feedback coil of video is the instrument of "double repression".
ReplyDeleteIn the article, Rosalind Krauss talk about narcissism of video medium based on the feedbacks. It is brand-new aspect for me when she talks about parapsychology as "Everyday speech contains an example of the word medium used in a psychological sense…" I've never thought of the inner connect between parapsychology and medium. And the Boomerang, the example she stated to help explain her point of view that video is unlike other visual arts for it is capable of recording and transmitting at the same time. Along with the other videos she mentioned, the Centers and the Air Time, on the other hand, they make me think more about the information a simple video can bring out to people. Although these two videos are short and old, but they give people a very clear sense of what the film maker want to say, regardless it is ironic or profound.
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ReplyDelete"The prison of a collapsed present(181)" that Rosalind Krauss points out in her article, "Video: the Aesthetics of Narcissism," is very interesting as it never really crossed my mind before till now. As she describes in the "Boomerang" tape made by Nancy Holt, the delay between the sound of the recording and the actual video lead to frustration. I can imagine if I was in the same situation, I would also be frustrated and annoyed as well as I would definitely have a hard time trying to keep up with what I just said now by listening to my own voice while also having to continuously talk over my voice. I believe this is what Krauss meant by "the prison of a collapsed present" as hearing your voice of what you said before (the past) somewhat distracts and interferes with the present time as you're trying to talk over "the past voice". I agree when Holt illustrates this concept as, "I'm throwing things out in the world and they are boomeranging back... boomeranging... eranginging... anginging.(181)"
ReplyDeletenote to Ela (TA)
I posted this post, and the comment posts for the 1st and 2nd articles (Antin and Eisenstein) now as I switched in your section after around week 2) and now I was finally able to login to this Blogger website and post up comments so I believe I shouldn't get participated points deducted.
Rosalind Krauss depicts video as narcissism, that film is a grotesque self portrait of oneself. This would be a problem as film becomes more about self satisfaction. With todays increase in technology, cameras are able to increasingly cater to this reoccurring narcissism that poses a threat to depth in film. She mentions that since this narcissism its almost as if it is generalized to all of film media. People become more self centered in representing themselves in media rather than creating some sort of overlying focus. In this way film would not have much meaning to it.
ReplyDeleteWhen first reading the title of this essay “The Aesthetics of Narcissim” by Rosalind Krauss I had expected a critique of video culture and its focus on human kind. After reading the article however it’s apparent that the article is not a critique of human culture but an analysis of video and how it allows us to see into ourselves. It explains the characteristics of cinematography where the video acts as a mirror upon which we can then analyze ourselves. It examines the auto-reflexive use if film that mirrors itself or its intent. Like in the piece Now by Lynda Beglis the artist says the word now yet through the technique in which the video image and audio is simultaneously transmitted and receive the question of when and which now is important becomes the subject. The method of using the camera not as a tool to target an object but as a reflectivist tool to examine its own characteristics presents interesting opportunities to understand the “medium” of film itself and its implications.
ReplyDeleteBy Michael Boulrice