@article{ART002004109},
author={CHO SEON RYEONG},
title={Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2015},
number={37},
pages={203-222},
doi={10.17057/kahoma.2015..37.008}
TY - JOUR
AU - CHO SEON RYEONG
TI - Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”
JO - Journal of History of Modern Art
PY - 2015
VL - null
IS - 37
PB - 현대미술사학회
SP - 203
EP - 222
SN - 1598-7728
AB - Since its outset, video art has been regarded as a media to realize ‘immediacy’. This essay reinterprets it and related concept of the real-time as an ‘effect’, referring to William Kaizen’s argument that the concept of immediacy is in fact ‘the illusion of mmediacy’.
Video artists’ purpose of evoking the illusion of immediacy and the real-time effect is to reveal the reality of time through viewers’ feeling of presence in front of video images. One of the artistic values of video art in reference with time is its ability to actualizetime itself which is concealed in daily life. Bruce Nauman’s Art Make-Up, Vito Acconci’s Centers , Douglas Gordon and Philippe Parreno’s Zidane: A 21st Century Portrait, and Christian Marclay’s The Clock provoke boredom, pain, and fading of perception to their viewers. Through these experience, in these artworks, time can be actualized as pure duration or being (according to Heidegger), time of desire and drive (according to Lacan), and the exchange between virtual time and actual one (according to Delueze).
KW - video art;time;immediacy;real time;Bruce Nauman;Vito Acconci;Douglas Gordon;Philippe Parreno;Christian Marclay;Heidegger;Lacan;Delueze
DO - 10.17057/kahoma.2015..37.008
ER -
CHO SEON RYEONG. (2015). Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”. Journal of History of Modern Art, 37, 203-222.
CHO SEON RYEONG. 2015, "Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”", Journal of History of Modern Art, no.37, pp.203-222. Available from: doi:10.17057/kahoma.2015..37.008
CHO SEON RYEONG "Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”" Journal of History of Modern Art 37 pp.203-222 (2015) : 203.
CHO SEON RYEONG. Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”. 2015; 37 : 203-222. Available from: doi:10.17057/kahoma.2015..37.008
CHO SEON RYEONG. "Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”" Journal of History of Modern Art no.37(2015) : 203-222.doi: 10.17057/kahoma.2015..37.008
CHO SEON RYEONG. Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”. Journal of History of Modern Art, 37, 203-222. doi: 10.17057/kahoma.2015..37.008
CHO SEON RYEONG. Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”. Journal of History of Modern Art. 2015; 37 203-222. doi: 10.17057/kahoma.2015..37.008
CHO SEON RYEONG. Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”. 2015; 37 : 203-222. Available from: doi:10.17057/kahoma.2015..37.008
CHO SEON RYEONG. "Video Art and Actualization of Time: “The Illusion of Immediacy” and “the Real-Time Effect”" Journal of History of Modern Art no.37(2015) : 203-222.doi: 10.17057/kahoma.2015..37.008
