Investigations of the Phenomenal World-Space, Sound and Light 0+

Various, USA 2000, English version / simultaneous translation to Czech, 116 min

1. Black and White Tapes
Paul McCarthy | 7 min | 1972
McCarthy's auto-erotic art was influenced by body art and the physicality of artists like filmmaker and performer Carolee Schneeman. The Black and White Tapes derive from a series of performances Paul McCarthy undertook in his Los Angeles studio from 1970 to 1975. In this excerpt, McCarthy paints a white line on the floor with his face, dragging his body from one end of the studio to the other.

2.Stamping In The Studio
Bruce Nauman | 5 min | 1968
From an inverted position, high above the floor, the camera records Nauman's trek back and forth and across the studio. Isolated in his studio, his actions have no apparent reason or cause beyond his aesthetic practice. Nauman explored video as a theatrical stage and a surveillance device within an installation context.

3. Double Vision
Peter Campus | 15 min | 1971
Peter Campus investigates the metaphoric overlap between properties of the video camera and processes of human perception. Double Vision inventories strategies for comparing simultaneous images of a loft space produced by two video cameras. Double Vision is an elegant and systematic exploration of vision using basic video technology.

4. Boomerang
Richard Serra | 10 min | 1974
Serra produced several films before making videotapes in the early 70s. His early works, including Television Delivers People (1973), Prisoner's Dilemma (1974), and Boomerang (1974), are structural examinations of the medium as a vehicle for communication. The language of Boomerang, and the relation between the description and what is being described, is not arbitrary. Language and image are being formed and revealed as they are organized.

5. Island Song
Charlemagne Palestine | 16 min | 1976
Strapping a video camera to himself as he drives a motorcycle around an island, Palestine harmonizes with the engine, maniacally repeating the phrase, "Gotta get outta here..." Palestine creates a kind of composite instrument in motion as well as an "articulated personal drama". Trained as a cantor, he often used his moving body and sustained vocalizing to generate a physical and aural intensity in his musical/video performances of this period.

6. Cycles of 3's and 7's
Tony Conrad | 3 min | 1976
Cycles of 3's and 7's is a performance in which the harmonic intervals that would ordinarily be performed by a musical instrument are represented through the computation of their arithmetic relationships or frequency ratios. Conrad and the other members of the Theater of Eternal Music were a major influence on what became known as minimalist music.

7. The Children's Tapes
Terry Fox | 30 min | 1974
Phenomenolgocial dramas involving household objects unfold with an extreme economy of gesture. Fox balances a spoon and a piece of ice on top of a bent fork. We watch as the ice melts and the spoon is thrown off balance and falls. Fox posits these works as an alternative to commercial children's television—a critique of the pace of television, which never affords the time to see the processes develop.

8. Soundings
Gary Hill | 18 min | 1979
Soundings is a meditation on the phenomenology of sound. The speaker delivers sound, both audibly and visibly, with the camera revealing the minute vibrations of the speaker's cone. Hill proceeds to bury, puncture, burn, and drown the audio speaker in an effort to physically alter or overwhelm the sound of his own voice coming out of it.

9. Lightning
Paul and Marlene Kos | 1 min | 1976
Filmed inside a car, this tape focuses on observation of natural phenomena. Does observation change the course of events? In this experiment, the camera occupies a privileged position— showing the woman and what she sees, as well as what she cannot see. Paul and Marlene Kos´s installation works treated the video monitor as an essentially sculptural element with its own inherent structural language.

10. Sweet Light
Bill Viola | 9 min | 1977
Viola has referred to Sweet Light and other tapes from this period as "songs"-personal lyrical statements. Articulated through precise editing, Sweet Light incorporates symbolic imagery, changes of scale, and a radically mobile camera suggesting shifting points of view. The tape is grounded in common references to illumination-incandescent lamp light, daylight, flashlight, firelight-that serve as metaphors for artistic inspiration.

moderated by: P. Míčová and F. Cenek


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