Immersed in the Single Channel


I never actively thought about how the transition from showing experimental films at festivals to galleries and museums would impact the media's use large-scale. If the majority of media artists now make films with a certain institutional aesthetic, how do/will the works reflect this?

the financial situation
what does a "traditional distributor" of experimental media mean? I'm still confused by the distribution process Marks talks about.
I had also never considered media like film being sold at auction -- how do you protect a $500,000 purchase of a video from being replicated?

some personal reflections on the shift
the idea of experimental film becoming a "ghetto," or at least a "voluntary displacement" is something I'm curious about. How has this happened/is happening?

aesthetics of duration
I thought I was just compulsive or something, but I liked reading that having a set duration in a film provides the viewer with some freedom. Knowing how you will spend a certain amount of time allows the mind to focus; or to distract and return back to the duration more quickly.

temporality vs. spatiality
theatrical exhibition champions time over space; gallery exhibition privileges space over time.


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