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Technology and Spectacle false
By:Zinzi Kennedy
Published on 2014 by

Video art is a continually developing practice that evolves alongside everchanging technological advancements. Rather than consider these ever-presentdevelopments my research considers what contributions can be made to therelationship between art and technology by revisiting the use of'obsolete' analogue video equipment. What can an investigation into the history of equipment in early video art practice reveal about the use of recording technology in the digital age? What can a reexamination of analogue equipment contribute to the current ecological dialogue? And how would the production, reception and development of an outdated discourse contribute to practice in the current age of abstract digitisation?Society's consumption of electronics has prospered since the initial retailintroduction oftelevisions, cameras, mobiles and computers. Electronics are freely disposed of due to the growing desire to own the latest gadget or update.Guy Debord founding member of the Situationists critiqued this commodityculture and its social organisation in his key theory of the spectacle. Illustratingthe hegemony of the media industry and the economic driving force of capitalism. Debord articulated that technology is a core proponent of modern societies existence in the spectacle causing widespread alienation. The false privation instilled by commodity culture has contributed to an unsustainableover abundance of electronic waste becoming a significant ecological concern.The disposal of analogue equipment specifically CRT television's is a growingissue due to the progressive closure of the analogue signal across Australia.Electronic waste from televisions to computers contains hazardous substancesas well as valuable minerals, which can be recycled. This unsustainable growth inwaste gives cause for a reexamination of analogue recording technology that isswiftly being replaced by the digital due to it being considered merely a transitional phase between film and hypermedia.The use of obsolete technology has been central to my own practice-led researchprojects. A key concern is analogue specificity, its historical positioning in the meta-narrative of video art and how this can contribute to the current digitalfield of discourse. Through a discussion of seminal works by John Cage and Nam June Paik as well as contemporary installation practices I will examine how the inherent reflexivity of the pictorial field provides rich terrain for an investigation into the potential subversion or manipulation of obsolete viewing and recording technologies. This ability to subvert and manipulate the audiovisual language of obsolete technology engages with the inherent reflexivity of video, opening the medium toward transformative phenomena that is unique to this obsolete analogue technology.

This Book was ranked at 35 by Google Books for keyword Video Art.

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