In Camera Edits

Writer's Block


Naiad

Eqalitarianism and Video Art

Reading the article, I was particularly struck by the various social dimensions raised, particularly regarding the potential for a utopian type of egalitarianism with the advent of video art. In the early years, we see that the availability of affordable camera equipment and the lack of formal norms allowed the empowerment of outsider usually excluded from the more traditional forms of media. However, as it has evolved, I think it has lost much of its egalitarianism. Granted, it is easier than ever for anyone to make video art. However, as the platforms to distribute that art have become more and more corporatized (i.e. YouTube), it becomes harder to reach an audience outside of one’s niche. The search parameters on many video hosting sites favor the videos that are popular. The videos that are popular are more often than not those that are produced and consumed by the status quo. This is explained very well in this mini-course about social media. Relatedly, I was struck the statement: “the history of video art, unlike the history of painting or sculpture, cannot be rewritten with reference to ‘seminal’ or canonical works.” So often what comprises the canon in terms of art or literature is determined by a specific cultural majority. For example, the books that comprise the majority of the canon of American literature are those that espouse “American” ideals—individualism, perseverance, hard work. However, the origins of these values are strongly tied to categories of race, sex, class. Although the genre of video art claims to resist canonization, as seen in one it is popular, the values which add to popularity are oftentimes the same which determine the canon in other genres. 

Video: Bastard Child of the Temporal Arts

I was very taken by the quote Chris Meigh-Andrews first used to describe the video arts. I have never come across the phrase "temporal arts", but i immediately latched on to this idea. The finite lifespan of video, the "transient" and "live" aspects of the art's character add dimensions to the medium that are lacking in the more traditional arts due solely to the nature of their creation. Because of this, I believe video lends itself more readily to performance, especially in the modern world where video can be shared without limits or borders. Additionally, the ability for video to include other arts makes it the most likely candidate for intermedia displays.
The clip below showcases all these aspects of video art. An amazing performance, the scene mixes several arts, some of which don't usually mix or are even seen much today. The impalement arts, a product of the vaudeville stage of yesteryear, is rarely the focus in the modern age. However, paired with skillful movement and the remixed and compage-age music of We Are Shining, it creates a dangerous and poetic mimicry of the music that accompanies it. The performance mixes so many perspectives and mediums to convey the overall message. I love the relationship it demands on the part of the two performers, autonomous and yet both independant artist even within this one piece.



Though an astounding display, what really catches my eye about the piece is where it comes from. Noisy is an internet based, video and music centered outlet including both megastars and burgeoning names. I think this brand in the epitome of counterculture and underground art in the modern world, where ideas and works can be distributed from independent artist. It allows for an immense amount of freedom from the artist while providing a stable and large audience. The ability for this to occur is the very essence of the relationship between technology and the video arts.