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Tv Garden
Author: Nam June Paik
Year: 1974 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
Tv Garden
Author: Nam June PaikYear: 1974 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
In the most interesting postmodernist works, however, one can detect a more positive conception of relationship, which restores its proper tension to the notion of difference itself. This new mode of relationship through difference may sometimes be an achieved new and original way of thinking and perceiving; more often it takes the form of an impossible imperative to achieve that new mutation in what can perhaps no longer be called consciousness. I believe that the most striking emblem of this new mode of thinking relationships can be found in the work of Nam June Paik, whose stacked or scattered television screens, positioned at intervals within lush vegetation, or winking down at us from a ceiling of strange new video stars, recapitulate over and over again prearranged sequences or loops of images which return at dyssynchronous moments on the various screens.
In the most interesting postmodernist works, however, one can detect a more positive conception of relationship, which restores its proper tension to the notion of difference itself. This new mode of relationship through difference may sometimes be an achieved new and original way of thinking and perceiving; more often it takes the form of an impossible imperative to achieve that new mutation in what can perhaps no longer be called consciousness. I believe that the most striking emblem of this new mode of thinking relationships can be found in the work of Nam June Paik, whose stacked or scattered television screens, positioned at intervals within lush vegetation, or winking down at us from a ceiling of strange new video stars, recapitulate over and over again prearranged sequences or loops of images which return at dyssynchronous moments on the various screens.
Source type: picture
Source type: picture
Source type: pictureThe Man Who Fell To Earth
Author: Nicolas Roeg
Year: 1976 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
The Man Who Fell To Earth
Author: Nicolas RoegYear: 1976 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
The postmodernist viewer, however, is called upon to do the impossible, namely, to see all the screens at once, in their radical and random difference; such a viewer is asked to follow the evolutionary mutation of David Bowie in The Man Who Fell to Earth (who watches fifty-seven
television screens simultaneously) and to rise somehow to a level at which the vivid perception of radical difference is in and of itself a new mode of grasping what used to be called relationship: something for which the word collage is still only a very feeble name.
The postmodernist viewer, however, is called upon to do the impossible, namely, to see all the screens at once, in their radical and random difference; such a viewer is asked to follow the evolutionary mutation of David Bowie in The Man Who Fell to Earth (who watches fifty-seven
television screens simultaneously) and to rise somehow to a level at which the vivid perception of radical difference is in and of itself a new mode of grasping what used to be called relationship: something for which the word collage is still only a very feeble name.
Source type: pictureInfo: David Bowie in The Man Who Fell to Earth (1976)
Original size: 960x540 px. Edit
Source type: pictureInfo: David Bowie in The Man Who Fell to Earth (1976)
Original size: 1280x800 px. Edit
Source type: pictureInfo: David Bowie in The Man Who Fell to Earth (1976)
Original size: 830x467 px. Edit
Source type: pictureInfo: David Bowie in The Man Who Fell to Earth (1976)
Original size: 2400x1350 px. Edit