Video: The Reflexive Medium

Yvonne Spielmann

  • 出版商: MIT
  • 出版日期: 2007-11-21
  • 售價: $1,360
  • 貴賓價: 9.8$1,333
  • 語言: 英文
  • 頁數: 384
  • 裝訂: Hardcover
  • ISBN: 0262195666
  • ISBN-13: 9780262195669
  • 相關分類: 電子學 EletronicsComputer Vision
  • 立即出貨 (庫存 < 3)



Winner, 2009 The Lewis Mumford Award for Outstanding Scholarship in the Ecology of Technics, given by the Media Ecology Association (MEA). and Winning entry, Professional Cover/Jacket Category, in the 2008 New England Book Show sponsored by Bookbuilders of Boston.

Video is an electronic medium, dependent on the transfer of electronic signals. Video signals are in constant movement, circulating between camera and monitor. This process of simultaneous production and reproduction makes video the most reflexive of media, distinct from both photography and film (in which the image or a sequence of images is central). Because it is processual and not bound to recording and the appearance of a "frame," video shares properties with the computer. In this book, Yvonne Spielmann argues that video is not merely an intermediate stage between analog and digital but a medium in its own right. Video has metamorphosed from technology to medium, with a set of aesthetic languages that are specific to it, and current critical debates on new media still need to recognize this.

Spielmann considers video as "transformation imagery," acknowledging the centrality in video of the transitions between images—and the fact that these transitions are explicitly reflected in new processes. After situating video in a genealogical model that demonstrates both its continuities and discontinuities with other media, Spielmann considers three strands of video praxis: documentary, experimental art, and experimental image-making (which is concerned primarily with signal processing). She then discusses selected works by such artists as Vito Acconci, Ulrike Rosenbach, Joan Jonas, Nam June Paik, Peter Campus, Dara Birnbaum, Nan Hoover, Lynn Hershman, Gary Hill, Steina and Woody Vasulka, Bill Seaman, and others. These works serve to demonstrate the spectrum of possibilities in video as a medium and point to connections with other forms of media. Finally, Spielmann discusses the potential of interactivity, complexity, and hybridization in the future of video as a medium.


2009年,媒體生態學協會(MEA)頒發的2009年度路易斯·蒙福德優秀技術生態學學術獎(The Lewis Mumford Award for Outstanding Scholarship in the Ecology of Technics)得主。同時,該書也獲得2008年新英格蘭書展(由波士頓書籍建造者協會贊助)專業封面/封套類別的獲獎作品。

影片是一種依賴電子信號傳輸的電子媒介。影片信號不斷流動,從攝像機到監視器之間循環。這種同時生產和再現的過程使得影片成為最具反思性的媒體,與攝影和電影(其中圖像或圖像序列是核心)有所不同。由於它是過程性的,並且不受錄製和“幀”外觀的限制,影片與計算機具有相似的特性。在本書中,Yvonne Spielmann認為影片不僅僅是模擬和數字之間的中間階段,而是一種獨立的媒體。影片已經從技術轉變為媒體,具有特定於它的一套美學語言,當前對新媒體的批評辯論仍然需要認識到這一點。

Spielmann將影片視為“轉換圖像”,承認在影片中圖像之間的過渡的核心地位,以及這些過渡在新的過程中明確地反映出來的事實。在將影片置於一個展示其與其他媒體的連續性和不連續性的系譜模型中之後,Spielmann考慮了影片實踐的三個方面:紀錄片、實驗藝術和實驗圖像製作(主要關注信號處理)。然後,她討論了諸如Vito Acconci、Ulrike Rosenbach、Joan Jonas、Nam June Paik、Peter Campus、Dara Birnbaum、Nan Hoover、Lynn Hershman、Gary Hill、Steina和Woody Vasulka、Bill Seaman等藝術家的作品。這些作品展示了影片作為一種媒體的可能性範圍,並指出了與其他形式媒體的聯繫。最後,Spielmann討論了影片作為一種媒體在未來互動性、複雜性和混合性方面的潛力。