Index
Table of Contents:
12 Introduction
20 I. Video—I See
24 Three Approaches
25 1 Heterogeneity
26 1.1 Medial Struggles
31 1.2 Practical Struggles
39 2 Technology
40 2.1 “Seeing Electric”: Video avant la lettre
44 2.2 Optics
44 2.2.1 The Camera Obscura
49 2.2.2 The “Electric Eye”
51 2.2.3 Cameras and Warfare
58 2.3 Electronic Medium
61 2.3.1 The Emergence of Video
62 2.3.2 Simultaneity/Immediacy
64 2.3.3 Storage
72 2.4 Convergence/Positioning
74 3 Etymology
74 3.1 Video—I see
76 3.2 Audio—I hear
78 II. Medium and Index
81 1 The Medium
83 1.1 The Third
86 1.2 Erosion
90 1.3 Process/Psyche
94 2 The Index
96 2.1 Video and Index
97 2.2 Contact
100 2.3 Trace
104 2.4 Shadow
108 2.5 On Indexical Circulation in Video
112 III. The Aesthetics of Narcissism: Medium, Perspective, Subject, Body
115 Aesthetics of Narcissism—An Introduction
119 1 “A Commonplace of Criticism”— Two Moments of Video’s Aesthetic Heritage
120 1.1 Aesthetics of Acknowledgement
120 1.1.1 Cavell/Fried: On Re-present-ation
123 1.1.2 Hegel and the Dialectic Movement of Acknowledgement (Anerkennung)
126 1.1.3 Symmetry and Modern Art
128 1.2 Pointing at the Center
133 1.2.1 The Representational Regime
136 1.2.2 Central Perspective as “Symbolic Form”
139 1.2.3 “Shattering One-Point Perspective into a Thousand Pieces”
144 2 Medium, Subject, Body
148 2.1 Medium: Specificity and Matter
152 2.2 Body/Subject
159 2.3 Bracket and Parenthesis: On Object/Subject
167 2.4 Collapsed Present
169 3 The Aesthetics of Narcissism
169 3.1 On Narcissism
171 3.1.1 Ovid’s Narcissus and Echo
176 3.1.2 Freud on Narcissism
182 3.1.3 Lacan on Narcissism: Schema L
184 3.2 On the Other
188 IV. Video: The Aesthetics Of Phantasm
191 On Si[gh]t(e): The Video Condition
201 1 Apparatus
212 2 From the Imaginary to the Phantasm
220 2.1 Phantasma
226 2.2 The Scene
238 2.3 Grammar I (Phantasy)
243 2.4 Grammar II (Drive)
248 3 The Phantasm—$ ◊ a
249 3.1 Repetition: Missed Encounter
256 3.2 The Veil/Screen
272 3.3 Aphanisis
277 3.4 Eye (I)/Gaze
290 3.5 Encircling the Hole: Drive
298 Transformation of a Missed Encounter: Circulation, Lack, Drive
312 Appendix. Bodies, Testifying:The Performance Works of Alexandra Pirici and Anne Imhof
330 Bibliography
344 Illustrations
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