In
‘Clock time’, Krauss begins with a very clear standpoint as to her terming of
Marclay’s use of the cinematic medium what she terms to be ‘technical support’. Here Kruass defines her notions (via
footnoting herself in the first paragraph) of the post-medium centric practices
that she has observed in the contemporary period. A play if you will on the
Greenburgian notions of medium specificity as the true notion of arts intent.
Instead here we are asked to observe the very means of using the post-produced as
to allow for production and critical engagement with what is presented before
us (213).
In
order to begin this analysis and terming of the framework we are asked to
observe Marclay’s piece ‘Video Quartet’ (a four channel projection). By breaking down the ‘synchronicity of the pieces flow the reader is
subtly asked to observe an evolutionary point in which the medium of cinema has
progressed from a voiceless visual to that of a medium with a voice.[1]
As
to further exemplify the medium of ‘cinema’ we are asked to consider the
‘masterpiece’ work of ‘the clock’ 2010
(214).[2]
The introduction of the piece as ‘Projected in video on a wall as a
segmented twelve by twenty-one foot image’ is one
that I believe again plays on the very notions of medium specifity as to
question, ‘what happens when the medium is bigger than the message’ or
paradoxly from a viewing point ‘What happens when the message is bigger than the medium’?
In the use of the two works the reader is
asked to take into account both ‘sound’ and ‘time’ with a particular importance
drawn to the notion of 'synchronicity' (214, 216) as I believe to draw attention to the notion of the gaze.[3]
What
is perception when essentially what has occurred is the highlighting of the
parallax. The parallel space here being that of the very space of observation,
the viewer is aware that the notion of the film has to have a cycle and I don't
believe . The notion of the viewer and the hyper-real movement of a camera
seamlessly floating through space only serve as to distance the viewer form the
event and more specifically draw attention to a focus on the medium.[4] A
period of self awareness is created in the hope to actually allow for the
viewer to become aware of the self and its mere significance in the advent of
the ‘suspenseful’ spectacle at hand.
[1] Essentially
an elevation of the mediums role upon the viewer or consumer. This could be
likened to the post-post-production of Tim and Eric and their acceptance of the
glitch as a means of causing a rupture in the typical viewing cycle of the
television medium, how ever in this case a historiographical shift as to serve as a
counterpoint in order to consider the very means of the abiity to post produce
upon a medium.
[2] I
would provide a breakdown of the format of the piece how ever this would serve
to simply to undermined the very notions of the work being a masterpiece. It is
via this label that I believe that anybody drawn to consider the article would
have a clear understanding of the piece.
[3] Not only a
feminist framework of interpretation as seen in the bond movies when the male
spectator is also compelled to take on the role of the lead actor. The female
gaze is also addressed essentially making it the perfect date movie. But also
to the Lacanian notion of the ‘eye’ and the ‘gaze’ in this case how ever I
don’t believe it to be the reflexive anxieties of a media saturated viewer in
question but more so that of Marclay and what he might perceive as a stain in
the medium. By acting as the stain here Marclay may serve himself as the
sacrificial lamb in an attempt that his self removal, in place of recognizable
imagery, will hopefully create a dialectical dessenus with the viewer.
[4] Derrida and post structuralism are used
as a support for the means of which one can read the idea of 'technical
support'. It is as if to say that by removing logical (or perhaps better
'learnt') Newtonian time that the viewer is subject to a philosophical reading
of the understanding of everyday media and its effect on understanding of medium.
It is via this noton of spectacle that I think that the worn couches now in
storage would reflect a different story. It is as if the spectacle of the
blockbuster (both in its size of screen and seating arrangement) that has
created a sense of inertia in the public that sought past the uncomfortable critique
of the self as subject. In the 'notion of checking ones watch' against that of
Derrida's statement that any inward thought is one of fiction. Marclay here has
caused the viewer to undergo a subconscious post-structural reading of
themselves as viewer. It is not the screen that is the point of critique but
instead the audience who has become the 'technical support' in the pieces
critique. Suspense maybe an attempt as to create a sense of waiting but it is
in this typical structure of film narrative (lets wait for the sequel) that I
believe that Marclay has not given the Newtonian hand the slap that it
deserves. Instead the clocks hand has taken a seat and what has occurred is essentially
a careful skilled youtubian snippet of the day of a stoner. Sorry Krauss but
its back to the beug and couch for you.
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