Book contents
- Frontmatter
- Contents
- Miscellaneous Frontmatter
- Introduction: Video: Between Technology and Performance
- 1 Volume-Image of Video Technology
- 2 Zones of Modulation: Video as a Space-Critical Medium
- 3 Programmed Life and Racialized Technesis
- 4 Video and the Technological Milieu of Desire
- Conclusion: Performative Images as Objects of Philosophical Inquiry
- Artworks Cited
- Acknowledgements
- Index
1 - Volume-Image of Video Technology
Published online by Cambridge University Press: 20 February 2024
- Frontmatter
- Contents
- Miscellaneous Frontmatter
- Introduction: Video: Between Technology and Performance
- 1 Volume-Image of Video Technology
- 2 Zones of Modulation: Video as a Space-Critical Medium
- 3 Programmed Life and Racialized Technesis
- 4 Video and the Technological Milieu of Desire
- Conclusion: Performative Images as Objects of Philosophical Inquiry
- Artworks Cited
- Acknowledgements
- Index
Summary
Abstract: In this chapter, which thinks in great detail about the technological models of storage, processing, and information transmission, I discuss the work of video pioneer Thierry Kuntzel. I argue that Kuntzel's video work provides alternatives to the entrenched theory of memory in relation to technology. I show how Kuntzel's notion of the videogram along with Bernard Stiegler's notion of idiotext can be productively adapted to the task of addressing performative imagery in relation to memory in the digital present. I discuss Kuntzel's video works as offering multidimensional modalities of writing with light and time. I examine the concept of the “volume-image” to tackle the shift from a prosthetic to an aphaeretic understanding of memory in relation to video technology.
Keywords: memory, technology, time, video, Thierry Kuntzel
Yet since video is a temporal art, the most paradoxical effects of this technological appropriation of subjectivity are observable on the experience of time itself.
– Frederic JamesonIn this context, video is not understood as an image technology based on optical principles but as a machine whose ability to contract and distribute temporal materials in an unfolding present resembles (in a rudimentary way) the working of human memory.
– Ina BlomTransductive Operations
With the advent of video technology in the early 1970s, the relationship between technique and time began to raise critical questions concerning processes of memorization and historicization. This relationship changed according to a long genealogy of accumulated technological supports, such as writing, photography, radio, cinema, and television. These supports, often understood as prosthetic supports, have shaped our modes of knowledge retention and information transmission. Much like machine memory, human memory relies on input (experience), storage (the faculty to recall and remember experience), and processing (the conscious or unconscious act of processing experience). In this sense, both prosthetic and human memory offers a conception of time that is anchored in the layering and intermittence of these three concomitant functions. Central to input, storage, and processing is the retention of information by different means. We remember an event differently depending upon whether it is experienced live, mediated and shot on camera, written on a piece of paper, or shared orally with us. In other words, the means of memory retention are as important as the capacity to process experience; they structure the possibility of processing this information at a later stage.
- Type
- Chapter
- Information
- Performative ImagesA Philosophy of Video Art Technology in France, pp. 47 - 78Publisher: Amsterdam University PressPrint publication year: 2023