Current investigation is about main optical effects of experimental video-art, such as optical feedback, split-screen, and distortion. Based on a wide spectrum of both written and video-sources, it proposes its own definition of these objects. Initially, optical feedback is being presented as primarily physical term, widely used in a historical background as well as in a nowadays reality of contemporary art. Well-known as fractal structure, loop or interference, it means an overall structure with inner elements that repeat this structure on various micro- and macro-levels. Secondly, split-screen is being viewed from the paper's 'personal' viewpoint as a multi-sector screen or screen, divided onto numerous segments for the specific purposes of art. Afterward, distortion is being regarded as a 'spoiled' optical effect, correlated with both glitch-art and scratch combinations. Accordingly, after the 'difining' chapter we are now begin to analyze how these observations on optical issues can be applied to the video-art perspective, along with the names of famous artists which works belong to the spheres of our interest in that work. So, optical feedback as an experimental effect was used by different artists from antiquity, but its implementation to video-art can be suggested to become from the 'Fluxus' group experiments and, in extraordinary manner, from Nam June Paik's creativity. (especially, his late 'For Ruichi Sacamoto,' 1994) This prominent artist, along with Malcolm le Grice video 'Berlin horse,' (1970) was tended to use effect of optical feedback to promote an idea that everything changes, but these changes are cyclic, so the first avant-garde concept of event as invention of newly born connotations in the reality is totally wrong: changeable nature of everything is at the same time changeable in the substantial frame and artificial form due to the spacial and temporal order of its fluidity. Then, split-screen, being participated at Peter Greenaway live-performances as well as, for example, Michael Figgis famous film, 'The hotel', was used in the first French avant-garde history with its solid representative potentials since Abel Hanse hyper-intensive movie, 'Napoleon,' 1927. Particularly, split-screen signified a unique paradigm in modern as well as postmodern art, when the subject splits with a means of self-destructed objects or vice versa, identifying disorder in a mental and social situation of deviance in case of split subject, collective or individual one. Ultimately, distortion technique, from older optic till new digital media, show us 'spoil' non-commercial sides of commodified everything in the consumerists' society. Due to the efforts of Marcel Duchamp, Man Ray (from the time of the first French avant-garde), then Nam June Paik, Bill Etra, Steina & Woody Vasulka, ('The Kitchen') - to Malcolm le Grice, Benedict Tatti and Bill Viola for achieving the new shape's amplification in video-art theory and practice, this effect was enough sustainable to propose itself as a way of remaking the images into the new meaningful directions, I mean such methods as rescanning, blurring, editing, keying, morphing, etcetera. It was useful enough for the means of struggle with political propaganda or social intolerance, prejudice or direct oppression because of its optical ability of turning over the meanings of verbal, virtual and non-verbal images toward the infinite agenda of video-art 'industry.'
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Experimental Conversationsby tbuckley664232 views
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