Affects and medium: re-imagining media differences through Bill Viola's<i>The Quintet of the Astonished</i>

Røssaak, Eivind

doi:10.1080/17400300903047086

Cited by 4 publications

(2 citation statements)

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“…The Quintet of theAstonished (2000) is part of The Passions(2000)(2001)(2002), a series of video works which was shown at these events. My reading of Viola here continues my investigation from two previous publications,Røssaak (2009 and.…”

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confidence: 53%

Thinking Media Aesthetics

Hausken¹

2014

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supporting

confidence: 53%

Thinking Media Aesthetics

Hausken¹

2014

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“…Bill Viola's The Quintet of the Astonished (2000) is part of The Passions (2000)(2001)(2002), a series of video works which was shown at these events. My reading of Viola here continues my investigation from two previous publications, Røssaak (2009 and2010). 5…”

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confidence: 57%

The Moving Image in the Museum:Real-Time, Technology and the Spectator’s Cut. Eivind Røssaak

Hausken¹

Thinking Media Aesthetics

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The art historian Boris Groys has discussed the relationship between the museum and the moving image as a relationship between old and new media. In this model, old media (paintings, sculptures) are viewed as "motionless images" and new media as basically moving images (i.e., images where movement is no longer inferred, but automatic). In the traditional museum, viewers in front of a painting have total control over the time they wish to devote to contemplation. "They can interrupt their examination of a picture at any time and return to it later on […] the immobile picture will remain in an identical state and is thus constantly available for repeated contemplation," Groys writes, and continues: In our culture we have basically two fundamentally different models at our disposal that give us control over the time we spend looking at an image: the immobilization of the image in the museum or the immobilization of the viewer in the movie theatre. Yet both models founder when moving images are transferred into museum surroundings. The images continue to move-but so does the viewer (Groys 2002, p. 25). 1 Groys doesn't analyze Warhol's film any further, and that is perhaps also the reason for his somewhat imprecise description. It might be helpful to distinguish between camera movement, time frame, and the movement of objects within the frame. When Groys calls the film "motionless", he most likely refers to the lack of camera movement and the barely visible movement of objects. The time frame of the film is eight hours, and due to "invisible" editing and the use of high-speed inception, the film produces movement of objects in the form of changes of lighting transitioning from night to day. In addition, there are many particles and scratches in the film that create all kinds of vivid movements. For the sake of argument, however, Groys' point should be clear.

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Estetyka afektu. Video-art Billa Violi

Taczkowska

2021

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Affects and medium: re-imagining media differences through Bill Viola'sThe Quintet of the Astonished

Cited by 4 publications

References 5 publications

Thinking Media Aesthetics

Thinking Media Aesthetics

The Moving Image in the Museum:Real-Time, Technology and the Spectator’s Cut. Eivind Røssaak

Estetyka afektu. Video-art Billa Violi

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