That spot in the ‘moving picture’ is you, (perception in time-based art)

Cologni, Elena (2010) That spot in the ‘moving picture’ is you, (perception in time-based art). In: Blood, Sweat & Theory: Research through Practice in Performance. Libri Publishing, pp. 83-107. ISBN 9781907471049

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Abstract

In my video live installations I investigate the perception of time (psychological time), non simultaneous artist and audience interchange in liveness, and the ontology/production of the video document. Particularly, how live recording, pre-recording and their transmission, can all be perceived as overlapping layers of representation of time, and unfold in duration. ‘Wh en we think of this present as what ought to be, it is no longer, and when we think of it as existing, it is already past…all perception is already memory’ (Bergson, Matièr et mémoire, 166-167). I refer mainly to time implied in audience fruition of works of art, where synchronicity of vision is not taken for granted. Where vision is considered only one of the instruments for knowing, as psychological studies have shown. I am thinking of appreciation of painting in Gestald terms for instance (example of use of perspective and distortions), Arnheim, the structuralist theory of perception of space. Aspects of these I have embraced in my art work in the adoption of gaps, the viewer’s diachronic approach to human size objects (sculptures), the kaenesthetics generated by ambients, and the relation between performer and spectator. In particular, the fruition stage I have described in relation to painting in my doctoral thesis, later illustrated, suggests a sort of audience involvement which is rooted in perceptual and psychological dynamics and is conceived as based on time. As my own media of artistic expression moved from 2D into performance and time based territory, the visual paradigm of composition within which I place a gap allowing for audience interaction overlaps with time. In this account I trace this journey of understanding (or research methods embedded) in my art practice. Moreover, I relate to the performance series Mnemonic Present, Un-Folding example of a continuous
shifting of meaning in relation to the deferral of ontological value of performances’ documents, and the current project
Experiential to focus on the adoption of ‘the gap’ in the works. Also, in discussing the document’s ‘performativity’ aspect I look at continuous performance artist-audience exchange in the present. This present is expanded: from performance conception through to its reception, and documentation.

Keywords:document performativity, perception, audience interaction, liveness, presentness
Subjects:W Creative Arts and Design > W100 Fine Art
W Creative Arts and Design > W610 Moving Image Techniques
W Creative Arts and Design > W520 Body Awareness
W Creative Arts and Design > W400 Drama
Divisions:College of Arts > School of Fine & Performing Arts > School of Fine & Performing Arts (Fine Arts)
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ID Code:24358
Deposited On:05 Oct 2016 14:45

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