Abstracts
Abstract
While television editing was developed on the basis of switching between cameras, video editing was from the start difficult and cumbersome, and as such editing was often limited to linear blocky assemblage as opposed to cinematic montage and continuity editing. But what video did offer (contra film’s re-presentation) and what early video art deconstructed was the illusion of immediacy, durée, transmission and “real time.” This article will consider the construction of “real time” (an expression that comes from informatics, meaning time mediated through technology) in the single channel version of Zidane: A 21st Century Portrait by Douglas Gordon and Phillip Parreno. In many ways, this work can be seen as a manifestation or culmination of early video art’s critique of simultaneity, which Gordon and Parreno merge with television’s real time ideologies. Zidane was shot with seventeen different cameras fixed on one player. These real time views were mixed by the artists like a piece of music and a performance to create a twenty-first-century portrait of mediation.
Résumé
Alors le montage télévisuel s’est développé sur la base du passage d’une caméra à l’autre, le montage vidéo s’est révélé d’emblée difficile et fastidieux et, de ce fait, il s’est limité souvent à un assemblage de blocs linéaires, par opposition au montage cinématographique en continu. Mais ce que la vidéo a offert (en réponse à la re-présentation du cinéma) et ce que l’art vidéo a déconstruit à ses débuts, c’est l’illusion d’immédiateté, de durée, de transmission et de « temps réel ». Cet article traitera de la construction du « temps réel » (une expression issue de l’informatique décrivant le temps médié par la technologie) dans la version à canal unique de Zidane, un portrait du 21e siècle de Douglas Gordon et Phillip Parreno. À bien des égards, ce travail peut être vu comme une manifestation ou un aboutissement de la critique de la simultanéité par les premiers artistes vidéo, que Gordon et Parreno fusionnent avec les idéologies de la télévision en temps réel. Zidane a été tourné avec dix-sept caméras différentes fixées sur un seul joueur. Ces vues en temps réel ont été mixées par les artistes comme une pièce musicale et une performance pour créer un portrait de la médiation au 21e siècle.
Appendices
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