IMAGINING CULTURAL HISTORY: STIFF PARADIGMS AND FRAGILE CONTINUITIES

1. How to study culture theories and visual culture? (Visual) Culture Studies Ortodoxies and Heterodoxies
2. Tacitly rasist? Creating and contesting the cultural canon. Culture as Text, Culture as Image
3. Marginal Man? Cash Games in urban Culture

KEY CONCEPTS IN CONTEMPORARY CULTURAL CRITICISM: CULTURALISM AND PHILISTINISM

4. Avant-garde vs. Kitsch, high Culture vs. low Culture, Cult-Value vs. Exhibition Value
5. Philistine # Culture

ART HISTORY AND VISUAL CULTURE IN DIALOGUE

6. Two Cultures? Visual Culture and Bildwissenschaft: Images agents / images as agents.

THINKING CULTURAL THEORIES: BETWEEN TECHNICISM AND NATURALISM

7. Envisioning a post-visual condition? Culture as Capital in Media Democracy
8. Re-creating cultural and national Canon? Comparative cultural Studies

UNDOING CULTURES: CULTURAL, MEDIAL AND SPECULATIVE MATERIALISM

9. Cultural Techniques and Techno Cultures. Cultural Theory and History of Technique
10. Visual Cultures threefold delimitation? Mirrors, Frames, Immediacy

CULTURAL THEORY AND HISTORY OF THE SENSES: A CLOSER LOOK

11. Immediation. Cultures of Immediacy
12. Old Girls Network? Gendering Cultures

CULTURAL HISTORY OF CULTURAL STUDIES

13. Infinity Pool? On Contemporary Cultural Sublime
14. Afslutning Eksamenssprgsml, evaluering
https://www.dropbox.com/s/7
68lo73e7dzaa7z/2015_SK.pdf?
dl=0
https://www.dropbox.com/s/7
68lo73e7dzaa7z/2015_SK.pdf?
dl=0
KOMPENDIUM
Concordances

Philosophical features of main-stream cultural studies (its systematic and

historiography) incl. cultural relativism, anti-foundationalism, deconstruction,
poststructuralism discussed by: Crowther, Bredekamp & Krmer, Hemingway,
Featherstone, Beech & Roberts, Gray
Art history vs. visual culture / material vs. visual culture / text vs. image / discourse
vs. phenomenon discussed by: Bredekamp & Krmer, Elkins, Gray, Hemingway,
Beech & Roberts, Crowther, Quinn, Martin, Werckmeister, Schneider, Milner,
Kacunko, Belting
High vs. low / autonomy vs. mass-culture discussed by: Adorno, Benjamin,
Gunster
Race, gender discussed by: Crowther, Mulvey, Butler, Elkins
Identity, urbanity, nation, cultural canon & -heritage discussed by: Featherstone ,
Simmel, Park, Gray
Culture/technique/technology/nature/art-science/human subject-agency
discussed by: Bredekamp & Krmer, Winthrop-Young, Geoghegan,, Hayles, Simmel,
Tomlinson, Auslander

6
IMAGINING CULTURAL HISTORY: STIFF PARADIGMS AND FRAGILE CONTINUITIES
1. How to study culture theories and visual culture? (Visual) Culture Studies Ortodoxies and Heterodoxies
2. Tacitly rasist? Creating and contesting the cultural canon. Culture as Text, Culture as Image
3. Marginal Man? Cash Games in urban Culture

KEY CONCEPTS IN CONTEMPORARY CULTURAL CRITICISM: CULTURALISM AND PHILISTINISM

4. Avant-garde vs. Kitsch, high Culture vs. low Culture, Cult-Value vs. Exhibition Value
5. Philistine # Culture

ART HISTORY AND VISUAL CULTURE IN DIALOGUE

6. Two Cultures? Visual Culture and Bildwissenschaft: Images agents / images as agents.

THINKING CULTURAL THEORIES: BETWEEN TECHNICISM AND NATURALISM

7. Envisioning a post-visual condition? Culture as Capital in Media Democracy
8. Re-creating cultural and national Canon? Comparative cultural Studies

UNDOING CULTURES: CULTURAL, MEDIAL AND SPECULATIVE MATERIALISM

9. Cultural Techniques and Techno Cultures. Cultural Theory and History of Technique
10. Visual Cultures threefold delimitation? Mirrors, Frames, Immediacy

CULTURAL THEORY AND HISTORY OF THE SENSES: A CLOSER LOOK

11. Immediation. Cultures of Immediacy
12. Old Girls Network? Gendering Cultures

CULTURAL HISTORY OF CULTURAL STUDIES

13. Infinity Pool? On Contemporary Cultural Sublime
14. Afslutning Eksamenssprgsml, evaluering
THINKING, PERCEIVING AND JUDGING

History and Historiography of Taste, Culture as Capital and the Aesthetic of Capitalism
 Principles Paradigms

Cohesion/Accumulation Dispersion/Dissipation Labour/Production Play/Consumption

Rationalism Empirism
 Principles Paradigms

Cohesion/Accumulation Dispersion/Dissipation Labour/Production Play/Consumption

Rationalism Empirism

TASTE
1710- In the mirror of taste. Play-paradigm and the principles of dispersion
1770 and dissipation
1770- Under steam. Labour-paradigm and the principles of cohesion and
1830 accumulation
FASCINATION
1830- Flashed. Photography, pictures and philosophical toys
1890
1890- Modern times. Labour-paradigm, expression and image
1950
TOTAL RECALL
1950- Postmodern times. Play-paradigm, mirroring and reflection
2010
2010- Recalling resources and faculties. Consumption and production
between abundance and squandering, effort and austerity.
 Principles Paradigms

Cohesion/Accumulation Dispersion/Dissipation Labour/Production Play/Consumption

Rationalism Empirism

ERA OF TASTE
1710-1770 The Taste Dispute in the Italian and
French Academia, Absolutism and
Enlightenment
Taste and Common Sense in England
and Scotland: Enlightenment and
Counter-Enlightenment
Taste Dispute and the German
Enlightenment
The death of Taste and its
resurrection through the birth of
Aesthetics as the Science of Taste
NATURALIZATION OF TASTE
1770-1830 Taste and the Fine Sciences
Taste in the German Classicism and
Romanticism
Taming Taste and Idealism Kant
 Principles Paradigms

Cohesion/Accumulation Dispersion/Dissipation Labour/Production Play/Consumption

Rationalism Empirism

TASTE
1710- In the mirror of taste. Play-paradigm and the principles of dispersion
1770 and dissipation
1770- Under steam. Labour-paradigm and the principles of cohesion and
1830 accumulation
FASCINATION
1830- Flashed. Photography, pictures and philosophical toys
1890
1890- Modern times. Labour-paradigm, expression and image
1950
TOTAL RECALL
1950- Postmodern times. Play-paradigm, mirroring and reflection
2010
2010- Recalling resources and faculties. Consumption and production
between abundance and squandering, effort and austerity.
Frederick C. Beiser
Diotima' s Children
German Aesthetic Rationalism from
Leibniz to Lessing

OXFORD UNIVERSITY PRESS 2009

Introduction:
https://www.dropbox.com/s/2bs7x
y2tzrzkmhg/01%20Kursusgang%20
1%20Beiser_Introduction%2026p.p
df?dl=0
IMAGINING CULTURAL HISTORY: STIFF PARADIGMS AND FRAGILE CONTINUITIES
1. How to study culture theories and visual culture? (Visual) Culture Studies Ortodoxies and Heterodoxies
2. Tacitly rasist? Creating and contesting the cultural canon. Culture as Text, Culture as Image
Concepts of Culture: Culture as Text, Culture as Image
3. Marginal Man? Cash Games in urban Culture

KEY CONCEPTS IN CONTEMPORARY CULTURAL CRITICISM: CULTURALISM AND PHILISTINISM

4. Avant-garde vs. Kitsch, high Culture vs. low Culture, Cult-Value vs. Exhibition Value
5. Philistine # Culture

ART HISTORY AND VISUAL CULTURE IN DIALOGUE

6. Two Cultures? Visual Culture and Bildwissenschaft: Images agents / images as agents.

THINKING CULTURAL THEORIES: BETWEEN TECHNICISM AND NATURALISM

7. Envisioning a post-visual condition? Culture as Capital in Media Democracy
8. Re-creating cultural and national Canon? Comparative cultural Studies

UNDOING CULTURES: CULTURAL, MEDIAL AND SPECULATIVE MATERIALISM

9. Cultural Techniques and Techno Cultures. Cultural Theory and History of Technique
10. Visual Cultures threefold delimitation? Mirrors, Frames, Immediacy

CULTURAL THEORY AND HISTORY OF THE SENSES: A CLOSER LOOK

11. Immediation. Cultures of Immediacy
12. Old Girls Network? Gendering Cultures

CULTURAL HISTORY OF CULTURAL STUDIES

13. Infinity Pool? On Contemporary Cultural Sublime
14. Afslutning Eksamenssprgsml, evaluering
Hemingway, A 2008, From Cultural Studies to Visual Culture Studies: An Historical and
Political Critique. In A Hemingway & N Schneider (eds), Bildwissenschaft und Visual Culture
Studies in der Diskussion. Kunst und Politik. Jahrbuch der Guernica-Gesellschaft, vol 10. V&R
unipress Osnabrck, pp. 11-20.
1. Explain the paradox context for the work of CCCS in the 1970s and 80s, including the rise of
Thatcherism.
2. Describe the relationship between authoritarian populism and ideologism in the context
of S. Halls explanation pattern.
3. What is populist in Visual- and Cultural studies, according to the author (A. Hamingway)?

Andrew Hemingway (ed.): Marxism and the History of Art. From William Morris to the New
Left, London: Pluto Press 2006

Milner, A (2014/2002), Re-imagining Cultural Studies: The Promise of Cultural Materialism

162-181
1. Describe Williams cultural materialism in its possible relations to media materialism.
2. Explain the terms nation, state, nation-state and society and relate Williams
understanding to your own (tacitly) understanding.
Hemingway, A 2008, From Cultural Studies to Visual Culture Studies: An Historical and
Political Critique. In A Hemingway & N Schneider (eds), Bildwissenschaft und Visual Culture
Studies in der Diskussion. Kunst und Politik. Jahrbuch der Guernica-Gesellschaft, vol 10. V&R
unipress Osnabrck, pp. 11-20.
1. Explain the paradox context for the work of CCCS in the 1970s and 80s, including the rise of
Thatcherism.
2. Describe the relationship between authoritarian populism and ideologism in the context
of S. Halls explanation pattern.
3. What is populist in Visual- and Cultural studies, according to the author (A. Hamingway)?

Andrew Hemingway (ed.): Marxism and the History of Art. From William Morris to the New
Left, London: Pluto Press 2006

Milner, A (2014/2002), Re-imagining Cultural Studies: The Promise of Cultural Materialism

162-181
1. Describe Williams cultural materialism in its possible relations to media materialism.
2. Explain the terms nation, state, nation-state and society and relate Williams
understanding to your own (tacitly) understanding.
Hemingway, A 2008, From Cultural Studies to Visual Culture Studies: An Historical and
Political Critique. In A Hemingway & N Schneider (eds), Bildwissenschaft und Visual Culture
Studies in der Diskussion. Kunst und Politik. Jahrbuch der Guernica-Gesellschaft, vol 10. V&R
unipress Osnabrck, pp. 11-20.
1. Explain the paradox context for the work of CCCS in the 1970s and 80s, including the rise of
Thatcherism.
2. Describe the relationship between authoritarian populism and ideologism in the context
of S. Halls explanation pattern.
3. What is populist in Visual- and Cultural studies, according to the author (A. Hamingway)?

Andrew Hemingway (ed.): Marxism and the History of Art. From William Morris to the New
Left, London: Pluto Press 2006

Milner, A (2014/2002), Re-imagining Cultural Studies: The Promise of Cultural Materialism

162-181
1. STRUCTURALISM, POSTSTRUCTURALISM, describe the concept of
2. PARALLELES & DIFFERENCES HABERMAS-WILLIAMS
3. PARALLELES & DIFFERENCES FOUCAULT-WILLIAMS
4. PARALLELES & DIFFERENCES BOURDIEU-WILLIAMS
IMAGINING CULTURAL HISTORY: STIFF PARADIGMS AND FRAGILE CONTINUITIES
1. How to study culture theories and visual culture? (Visual) Culture Studies Ortodoxies and Heterodoxies
2. Tacitly rasist? Creating and contesting the cultural canon. Culture as Text, Culture as Image
Concepts of Culture: Culture as Text, Culture as Image
3. Marginal Man? Cash Games in urban Culture

KEY CONCEPTS IN CONTEMPORARY CULTURAL CRITICISM: CULTURALISM AND PHILISTINISM

4. Avant-garde vs. Kitsch, high Culture vs. low Culture, Cult-Value vs. Exhibition Value
5. Philistine # Culture

ART HISTORY AND VISUAL CULTURE IN DIALOGUE

6. Two Cultures? Visual Culture and Bildwissenschaft: Images agents / images as agents.

THINKING CULTURAL THEORIES: BETWEEN TECHNICISM AND NATURALISM

7. Envisioning a post-visual condition? Culture as Capital in Media Democracy
8. Re-creating cultural and national Canon? Comparative cultural Studies

UNDOING CULTURES: CULTURAL, MEDIAL AND SPECULATIVE MATERIALISM

9. Cultural Techniques and Techno Cultures. Cultural Theory and History of Technique
10. Visual Cultures threefold delimitation? Mirrors, Frames, Immediacy

CULTURAL THEORY AND HISTORY OF THE SENSES: A CLOSER LOOK

11. Immediation. Cultures of Immediacy
12. Old Girls Network? Gendering Cultures

CULTURAL HISTORY OF CULTURAL STUDIES

13. Infinity Pool? On Contemporary Cultural Sublime
14. Afslutning Eksamenssprgsml, evaluering
1. Apparatus
Basic & special lightning; number, type & positioning of recording apparatus; sound;
Additional apparatus employed or not (e.g. projecition screens, mixers, computers etc.)

2. Positioning of the apparatus in the room

absolute relations (overall constellation of the apparatus within the space) &
relative relations (distances, angles etc.) between the apparatus, the visitor and the
Projected images

3. Positioning of the visitor in the room

Degree of freedom of movement in relation to the recording and/or broadcasting
Apparatus and projection surfaces; degree of immersion of the viewer in the space
and the image; kinaesthetic experience; planned course of events and deviations

4. Positioning of the video image in the room

In relation to the overall space and to what is recorded
Interface, 1972
Elemente:
1 -Videokamera, Stativ
1 Amphicon Videoprojektor
1 transparente Glasplatte, transparent (121,92 x 182,88 x 0,6 cm)
Abgedunkelter Raum
Bykert Gallery, New York, 1972
Describing Diachrony
Media Art Installation Formal View (according to S. Kacunko [2004])

1. Apparatus
Basic & special lightning; number, type & positioning of recording apparatus; sound;
Additional apparatus employed or not (e.g. projecition screens, mixers, computers etc.)

2. Positioning of the apparatus in the room

absolute relations (overall constellation of the apparatus within the space) &
relative relations (distances, angles etc.) between the apparatus, the visitor and the
Projected images

3. Positioning of the visitor in the room

Degree of freedom of movement in relation to the recording and/or broadcasting
Apparatus and projection surfaces; degree of immersion of the viewer in the space
and the image; kinaesthetic experience; planned course of events and deviations

4. Positioning of the video image in the room

In relation to the overall space and to what is recorded
Peter Campus, Interface (1972)
Negative Crossing, 1974
Elemente:
1 Videokamera
1 Monitor
1 Amphicon Videoprojektor
1 Projektionsschirm (182,88 x 243,84 cm)
Abgedunkelter Raum
Everson Museum, Syracuse, New York 1974
Shadow Projection, 1974
Elemente:
1 Videokamera
1 Amphicon Projektor
1 Projektionsschirm (182,88 x 243,84 cm)
1 Scheinwerfer (500 Watt)
Abgedunkelter Raum; Lnge ca. 12 m
Everson Museum, Syracuse, New York 1974
dor, 1975
Elemente:
1 Videokamera
1 Amphicon Projektor
1 Projektionsschirm (182,88 x 243,84 cm)
Abgedunkelter Raum
Bykert Gallery, New York 1975
mem, 1974/75
Elemente:
1 Videokamera
1 Amphicon Projektor
Projektionsgre: ca. 365 x 650 cm
Infrarotes Licht
Abgedunkelter Raum
Bykert Gallery, New York 1975
sev, 1975
Elemente:
1 lichtsensitive Videokamera
1 Scheinwerfer
1 Videoprojektor
Projektionsgre: 91,4 x 121,92 cm
Abgedunkelter Raum: H 365 x L 650 x B 700 cm
Leo Castelli Gallery, New York 1976
cir, 1975
Elemente:
1 lichtsensitive CC-Videokamera
1 Scheinwerfer
1 Videoprojektor
Projektionsgre: 91,4 x 121,92 cm
Abgedunkelter Raum
Leo Castelli Gallery, New York 1976
bys, 1975
Elemente:
1 lichtsensitive CC-Videokamera
1 Scheinwerfer
1 Videoprojektor
Projektionsgre: 91,4 x 121,92 cm
Abgedunkelter Raum:
Leo Castelli Gallery, New York 1976
num, 1976
Elemente:
1 lichtsensitive Videokamera
1 Lichtquelle (der Kamerarichtung entlang, um ein flaches Bild zu produzieren)
1 Videoprojektor
Erstausstellung: Hayden Gallery, MIT, Cambridge, Massachusetts 1976
Die Gerteanordnung und Beleuchtung sind vergleichbar mit aen und lus,
mit dem Unterschied in der Lichtfhrung.
In a closed-circuit video situation one is no longer dealing with images of a
temporarily finite nature. The duration of the image becomes a property of the
room (P. Campus 1974).
Recognizing that painting and sculpture were now actualizing their viability as
species through their introduction of issues of temporality, Campus reversed
priorities. He imposed a static vision of painting and sculpture, one might say a
Formalist vision, upon issues of technology and temporality by which video art
had previously identified itself
(R. Pincus-Witten 1974)
Im getting to the point where Im interested in eliminating movement, and
theres just a transformation of energy...I think my installations...they eliminate
the mind-body dichotomy, the Cartesian flaw, because you are thinking with
your body in those pieces- well, not exactly; you are thinking with your
mind/body. They dont make that separation
(Peter Campus in: KAT. Ars Electronica 1992, S.86, Artikel von Johanna
Branson Gill.)
If we are to avoid the problem of creating a visual system that will reduce the
capacity of the eye, it is necessary to disassociate the video camera from the
eye and make it an extension of the room [...] instead of limiting the amount of
visual information coming to the eye-brain by replacing the natural field of vision
with an abstracted one, it is possible to include the video information in the
viewers field of vision, increasing the potential of the visual situation.
(Campus 1974)
 Bill Viola &
Closed Circuit Video
Unseen Images & untold Processes
 Synapse (1970 1981)
Syracuse, NY

Everson Museum of Art, Syracuse, NY. (1968)

Architekt: I.M. Pei
The crucial thing for me was the process []
I never thought about [video] in terms of images so much as electronic process, a signal.

Bill Viola 1985

Bill Viola realized Closed Circuit Videoinstallations

Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde
Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Mock Turtles, 1974. The Kitchen Center, New York, 19.23.02.1974
Decay Time, 1974. The Kitchen Center, New York, 19.23.02.1974
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark
University, Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York,
November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976
He Weeps for You, 1976. Synapse Video Center, Syracuse University, NY, Mai 1976 (ausgestellt
fr drei Tage, inoffiziell) The Kitchen Center, New York, 11.01.-22.01.1977;
Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
Bill Viola ausgefhrte Closed Circuit Videoinstallationen

Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Bruce Nauman,
Walk with
Contrapposto

Slow angle walk /

Beckett walk

1968

Nicholas Wilder Installation, LA 1970

Bill Viola realized Closed Circuit Videoinstallations

Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde
Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Mock Turtles, 1974. The Kitchen Center, New York, 19.23.02.1974
Decay Time, 1974. The Kitchen Center, New York, 19.23.02.1974
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark
University, Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York,
November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976
He Weeps for You, 1976. Synapse Video Center, Syracuse University, NY, Mai 1976 (ausgestellt
fr drei Tage, inoffiziell) The Kitchen Center, New York, 11.01.-22.01.1977;
Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
Bill Viola realized Closed Circuit Videoinstallations

Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde
Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Steina Vasulka Michael Snow
Allvision DeLa
1976 1971
Bill Viola realized Closed Circuit Videoinstallations

Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde
Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Mock Turtles, 1974. The Kitchen Center, New York, 19.23.02.1974
Decay Time, 1974. The Kitchen Center, New York, 19.23.02.1974
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark
University, Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York,
November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976
He Weeps for You, 1976. Synapse Video Center, Syracuse University, NY, Mai 1976 (ausgestellt
fr drei Tage, inoffiziell) The Kitchen Center, New York, 11.01.-22.01.1977;
Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
Frank Gillette, Video: Process and Meta-Process Einzelausstellung 1973
Everson Museum of Art, Syracuse, N.Y.
Dan Graham, Video Delay Room 1 & 4 1974

(im Studio)
Bill Viola realized Closed Circuit Videoinstallations

Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde
Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Mock Turtles, 1974. The Kitchen Center, New York, 19.23.02.1974
Decay Time, 1974. The Kitchen Center, New York, 19.23.02.1974
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark
University, Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York,
November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976
He Weeps for You, 1976. Synapse Video Center, Syracuse University, NY, Mai 1976 (ausgestellt
fr drei Tage, inoffiziell) The Kitchen Center, New York, 11.01.-22.01.1977;
Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
Christin Lahr, Augenzeugen XXX 1996 Face to Face 2000 Kunsthalle Bremen
Concha Jerez, Polyphemus Eye 1997-8
Bill Viola realized Closed Circuit Videoinstallations

Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
I wanted to create a piece which relied on an event that only happened once, an irreversible
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
temporal one-way street. Until the occurrence of this event, there would exist a constant state
Quadrants, 1973. Everson
of great anticipation Museum
and tension, of Art,
where timeSyracuse, NY, 01.21.12.1973;
would become New York
palpable and where thisAvantgarde
single
Festival 1974;dramatically
event would Rotonda di via Basana,
change the Mailand
nature and5.8. Mrz
effect of1975
the work. (No mouse ever wandered
Bank
into theImage Bank,
trap in 1974. Lincoln
Switzerland.) First
People Bank,
place Rochester,out
mousetraps Newall York, 7. Januar
the time, 1.moment
yet the Februarof1974
violence
Mock is never1974.
Turtles, directly
Thewitnessed and the
Kitchen Center, results
New York,are always quickly disposed of. It is never
19.23.02.1974
placed continuously
Decay Time, 1974. before our eyes
The Kitchen as inNew
Center, the closed circuit video situation. As with broadcast
York, 19.23.02.1974
television, this work also plays on the morbid fascination that people have in being a voyeur to
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
situations of violence and death.
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark
University,
Bill Viola Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York,
November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976
He Weeps for You, 1976. Synapse Video Center, Syracuse University, NY, Mai 1976 (ausgestellt
fr drei Tage, inoffiziell) The Kitchen Center, New York, 11.01.-22.01.1977;
Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
Bruce Nauman
Learned Helplessness in Rats (Rock and Roll Drummer) 1988
Galerie Konrad Fischer, Dsseldorf 1988
Sammlung Elaine & Werner Dannheisser
Bill Viola ausgefhrte Closed Circuit Videoinstallationen

Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde
Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Mock Turtles, 1974. The Kitchen Center, New York, 19.23.02.1974
Decay Time, 1974. The Kitchen Center, New York, 19.23.02.1974
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark
University, Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York,
November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976
He Weeps for You, 1976. Synapse Video Center, Syracuse University, NY, Mai 1976 (ausgestellt
fr drei Tage, inoffiziell) The Kitchen Center, New York, 11.01.-22.01.1977;
Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
Bill Viola ausgefhrte Closed Circuit Videoinstallationen
Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Mock Turtles, 1974. The Kitchen Center, New York, 19.23.02.1974
Decay Time, 1974. The Kitchen Center, New York, 19.23.02.1974
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark University, Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York, November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976
He Weeps for You, 1976. Synapse Video Center, Syracuse University, NY, Mai 1976 (ausgestellt fr drei Tage, inoffiziell) The Kitchen Center, New York, 11.01.-22.01.1977;
Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
Bill Viola realized Closed Circuit Videoinstallations

Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde
Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Mock Turtles, 1974. The Kitchen Center, New York, 19.23.02.1974
Decay Time, 1974. The Kitchen Center, New York, 19.23.02.1974
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark
University, Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York,
November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976
He Weeps for You, 1976. Synapse Video Center, Syracuse University, NY, Mai 1976 (ausgestellt
fr drei Tage, inoffiziell) The Kitchen Center, New York, 11.01.-22.01.1977;
Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
Bill Viola ausgefhrte Closed Circuit Videoinstallationen
Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Mock Turtles, 1974. The Kitchen Center, New York, 19.23.02.1974
Decay Time, 1974. The Kitchen Center, New York, 19.23.02.1974
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark University, Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York, November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976
He Weeps for You, 1976. Synapse Video Center, Syracuse University, NY, Mai 1976 (ausgestellt fr drei Tage, inoffiziell) The Kitchen Center, New York, 11.01.-22.01.1977;
Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
Bill Viola realized Closed Circuit Videoinstallations

Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde
Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Mock Turtles, 1974. The Kitchen Center, New York, 19.23.02.1974
Decay Time, 1974. The Kitchen Center, New York, 19.23.02.1974
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark
University, Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York,
November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976
He Weeps for You, 1976. Synapse Video Center, Syracuse University, NY, Mai 1976 (ausgestellt
fr drei Tage, inoffiziell) The Kitchen Center, New York, 11.01.-22.01.1977;
Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
Bill Viola ausgefhrte Closed Circuit Videoinstallationen
Instant Replay, 1972. Experimental Studios, School of Art, Syracuse University, NY 1972
Walking Into The Wall, 1973. Synapse, Syracuse University, NY, Herbst
Localization, 1973, Noble Room/Watson Theatre, Syracuse University, NY, Herbst 1973
Quadrants, 1973. Everson Museum of Art, Syracuse, NY, 01.21.12.1973; New York Avantgarde Festival 1974; Rotonda di via Basana, Mailand 5.8. Mrz 1975
Bank Image Bank, 1974. Lincoln First Bank, Rochester, New York, 7. Januar 1. Februar 1974
Mock Turtles, 1974. The Kitchen Center, New York, 19.23.02.1974
Decay Time, 1974. The Kitchen Center, New York, 19.23.02.1974
Peep Hole, 1974. The Kitchen Center, New York, 19.23.02.1974
Separate Selves, 1974. Synapse Video Center, Syracuse University, NY, Frhling 1974; Clark University, Worchester, Mass., Sommer 1974; Albright-Knox Gallery, Buffalo, New York, November 1974 (Performance mit Alvin Lucier)
Trapped Moments, 1974. Muse des Arts Dcoratifs, Lausanne, November 1974
Il Vapore, 1975. Galerie Zona, Florenz, Juni 1975
Rain Three Interlocking Systems 1975. Everson Museum of Art 1975
Olfaction, 1976. The Art Gallery, California State University, Long Beach, CA, 13.09.10.10.1976

He Weeps for You, 1976. The Kitchen Center, New York, 11.01.-22.01.1977
He Weeps for You, 1976. Documenta Kassel, 24.06.-02.10.1977 (Kurator: Wulf Herzogenrath)
In a closed-circuit video situation one is no longer dealing with images of a temporarily finite
nature. The duration of the image becomes a property of the room.
Peter Campus 1974

In how thought is a function of time, there is a moment when the act of perception becomes
conception, and that is thought.
Bill Viola 1985
Bill Viola, The Sleepers, 1992
Ausstellung Bill Viola Unseen Images
Kunsthalle Dsseldorf 1992
Heaven and Earth, 1992
 Ascending Angel 64m - 75m

Birth Angel 51m - 62m

Fire Angel 25m - 36m

Creation Angel
38m - 49m

Departing Angel 12m - 23m

Bill Viola, Five Angels for the Millenium

17.5.-19.10.2003
Gasometer Oberhausen
Five Angels for the Millenium 17.5.-19.10.2003
Gasometer Oberhausen
Ascending Angel 64m - 75m

Birth Angel 51m - 62m

Fire Angel 25m - 36m

Creation Angel
38m - 49m

Departing Angel 12m - 23m

[Drawings: Bianca Gravel]

Departing Angel
Departing Angel
Birth Angel
Birth Angel
Fire Angel
Fire Angel
Ascending Angel
Ascending Angel
Creation Angel
Creation Angel
Five Angels for the Millenium 17.5.-19.10.2003
Gasometer Oberhausen
Ascending Angel 64m - 75m

Birth Angel 51m - 62m

Fire Angel 25m - 36m

Creation Angel
38m - 49m

Departing Angel 12m - 23m

[Zeichnungen: Bianca Gravel]

Links

He Weeps For you:

http://www.youtube.com/watch?v=S8EkqHa7R8c&feature=related
http://www.youtube.com/watch?v=rBYWVY-R9RU&feature=related
http://www.youtube.com/watch?v=qSFzoJK-_ro

The Reflecting Pool:

http://www.youtube.com/watch?v=D_urrt8X0l8&feature=related
Inter. Med. Inst: http://www.youtube.com/watch?v=yLRiIuSuwIg

Five Angels:
http://www.youtube.com/watch?v=RQi1yOnGEvs&feature=related
http://www.youtube.com/watch?v=LaQhdOrF-EI
- Departing Angel: http://www.youtube.com/watch?v=NKT_cFnxRBo

The Greeting:
http://www.youtube.com/watch?v=Dg0IyGUVXaQ&feature=related
Bill Viola, Buried Secrets
Hall of Whispers
Hall of Whispers
Hall of Whispers
Hall of Whispers
Hall of Whispers
Bill Viola, Buried Secrets
Bill Viola, Buried Secrets
The Greeting, 1995
Link
Bill Viola, Buried Secrets


Jacopo Pontormo,
Visitation
1528-29
l auf Holz, 202 x 156 cm
 Emotionale Erfahrung

Sympathy of subjects with characters in The Greeting (n=49)

15%
24% Woman in red

Woman in blue

Woman in yellow

Men in rear

20%
no one
42%
 Emotionale Erfahrung

Intensity of "pity" related to characters in The Greeting

(n=49)
self-reported intensity of "pity" (mean)

4
3.17
2.91 Woman in red
3 2.5
Woman in blue
2
Woman in yellow
1
1 Men in rear

0 no one

Woman in Woman in Woman in Men in rear no one

red blue yellow
AESTHETICAL AUTONOMY vs. AESTHETICAL HETERONOMY

- Aesthetical Autonomy - Aesthetical Heteronomy

- Aesthetical Objectivism - Aesthetical Subjectivism

- Objectivistic Work Concept - Resistance against an objectivistic Work

Concept

- Aesthetical Modernism - Aesthetical Postmodernism

- (Media-)Installativ Art is being - (Media-)Installative Art is being defended

rejected as not-any-more-autonome

- Art History - Culture Studies

The central Strategies of the (Media-)
Installation Art
- Time- and Space relation (the
double time structure),
AESTHETICAL HETERONOMY
- Aesthetical Heteronomy
- Aesthetical Subjectivism

- anti-objectivistic Impulse, - Resistance against an objectivistic Work

Concept
- Impulse for dissolving the Work-
notion - Aesthetical Postmodernism

- Model-building - (Media-)Installative Art is being defended

-Inclusion of the
implicite and - Culture Studies
explicite Perceivers,

- Mediahybridity
Bill Violas Medieninstallation:
Modell & Metapher for
postmodern Art and Aesthetic &
cognitive Praxis

Postmodern / Postsstructuralism
(Basic Properties)

- Deconstruction
- Uncertainty
- Ambivalence
- Heterogenity
- Difference
- Fragmentarisation
- Discontinuity
- Hybridisation
IMAGINING CULTURAL HISTORY: STIFF PARADIGMS AND FRAGILE CONTINUITIES
1. How to study culture theories and visual culture? (Visual) Culture Studies Ortodoxies and Heterodoxies
2. Tacitly rasist? Creating and contesting the cultural canon. Culture as Text, Culture as Image
3. Marginal Man? Cash Games in urban Culture

KEY CONCEPTS IN CONTEMPORARY CULTURAL CRITICISM: CULTURALISM AND PHILISTINISM

4. Avant-garde vs. Kitsch, high Culture vs. low Culture, Cult-Value vs. Exhibition Value
5. Philistine # Culture

ART HISTORY AND VISUAL CULTURE IN DIALOGUE

6. Two Cultures? Visual Culture and Bildwissenschaft: Images agents / images as agents.

THINKING CULTURAL THEORIES: BETWEEN TECHNICISM AND NATURALISM

7. Envisioning a post-visual condition? Culture as Capital in Media Democracy
8. Re-creating cultural and national Canon? Comparative cultural Studies

UNDOING CULTURES: CULTURAL, MEDIAL AND SPECULATIVE MATERIALISM

9. Cultural Techniques and Techno Cultures. Cultural Theory and History of Technique
10. Visual Cultures threefold delimitation? Mirrors, Frames, Immediacy

CULTURAL THEORY AND HISTORY OF THE SENSES: A CLOSER LOOK

11. Immediation. Cultures of Immediacy
12. Old Girls Network? Gendering Cultures

CULTURAL HISTORY OF CULTURAL STUDIES

13. Infinity Pool? On Contemporary Cultural Sublime
14. Afslutning Eksamenssprgsml, evaluering