# Ryan Bishop, Sean Cubitt (2013). *Camera as Object and Process: An Interview with Victor Burgin*. : . > [!INFO] > Type:: [[&]] > Title:: Camera as Object and Process: An Interview with Victor Burgin > Author(s): [[Ryan Bishop]], [[Sean Cubitt]], [[Victor Burgin]] > Year:: 2013 > Tags:: > DOI:: 10.1177/0263276413501346 > Citekey:: bishop_camera_2013 > ZoteroURI:: [Open in Zotero: Camera as Object and Process: An Interview with Victor Burgin](zotero://select/items/@bishop_camera_2013) > ReviewedDate:: [[2022-07-07]] ## Citation ```latex [@burgin_camera_2013] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@bishop_camera_2013]] and -"Plans" and -"resources" ``` ## Summary - 개념 예술가이자 이론가인 [[Victor Burgin]]은 그의 최근 사이트별 설치물들을 이용하여 사진에서부터 동영상, 정지 이미지와 동영상 모두를 결합한 컴퓨터 생성 가상 작품에 이르기까지 카메라의 상태와 미래에 대해 논의한다. 그 과정에서 그는 '시네마란 무엇인가?'라는 [[André Bazin|Bazin]]의 질문을 '카메라란 무엇인가?'라고 수정한다. 이 작품들은 특히 공간과 관련하여 시각화 기술을 통해 렌더링된 [[aesthetics|미학]]과 정치의 관계에 대한 버긴의 오랜 관심을 확장하고 발전시킨다. [[Victor Burgin|Burgin]]의 논의는 기술적으로 결정되고 조작된 것으로서 보고, 시각화하고, 이미지를 만드는 계보를 구성한다. 시각의 이데올로기와 시각적인 기술에서 아날로그 사진, 컴퓨터 이미징에 이르기까지 시각적인 기술에 의해 생산되는 관념적인 예술품은 버긴의 주장에서 'the ideological chora of our spectacular global village'을 구성한다. - [[Victor Burgin|Burgin]]의 중요 작업은 dialectic of materiality and concept 그리고 최신은 space and place (200) externalised 혹은 정치화 된 internal or mental mind ## Annotation ### Introduction by [[Ryan Bishop]] and [[Sean Cubitt]] “Yet Burgin’s work began in his escape into the nascent Conceptual Art movement of the later 1960s, a movement many of whose practitioners learned from Cage’s handling of the disjuncture between absolute materiality and absolute idea.” (Bishop and Cubitt, 2013, p. 200) “The dialectic of materiality and concept is a hallmark of Burgin’s choice of media” (Bishop and Cubitt, 2013, p. 200) “in recent works – space and place.” (Bishop and Cubitt, 2013, p. 200) “A 2010 interview makes apparent the stakes of his particular concern with the relation between the concept (in this instance of politics) and the material” (Bishop and Cubitt, 2013, p. 200) “Burgin’s rejection of documentary – a rejection which has been apparent throughout his career – and more so for its assertion that what is often referred to as the ‘[[aesthetics|aesthetic]]’ is of paramount importance to the conduct of political life,” (Bishop and Cubitt, 2013, p. 200) “With Debord’s use of the term in mind, it is possible to view many of his works as turning moments into situations, terrains where the smallest act might operate not only to reveal but tactically or strategically to alter the forces at play in it.” (Bishop and Cubitt, 2013, p. 200) “Burgin has an abiding interest in what is revealed by coincidence, not least in works of comparison, like the digital video Venise (1993), which draws lines of historical, cultural and geographical connection between the port cities of San Francisco and Marseille.” (Bishop and Cubitt, 2013, p. 201) “in the film not as cinema but as fragmented memory” (Bishop and Cubitt, 2013, p. 201) “It is in this sense that Burgin’s recent video works need to be considered as photographs that move.” (Bishop and Cubitt, 2013, p. 201) “Burgin’s sense of the ‘digital’ is no more stable than his sense of the photographic.” (Bishop and Cubitt, 2013, p. 202) ### Interview "라이언 비숍/숀 큐빗: 최근 강연에서 카메라 옵스큐라에서 가상 사진과 영화(마키니마)에 이르는 사진의 계보를 스케치하셨고, 바쟁의 유명한 질문인 '영화란 무엇인가'를 몇 번 변형하여 '카메라란 무엇인가'에 도달했습니다 이러한 질문은 카메라라는 장치를 시청각 도구의 훨씬 더 큰 흐름(또는 궤적) 안에 과도기적 또는 일시적 대상으로 놓는데, 가장 중요한 것은 빛의 수신 및 생산 장치에서 빛 생산만으로의 전환을 포함합니다. '카메라는 언제 더 이상 카메라가 아닐까요?"라고 질문할 수 있습니다. 이러한 변화의 영향과 이러한 질문의 필요성에 대해 자세히 설명해 주시겠습니까?" (비숍과 큐빗, 2013, 202쪽) > A: “‘video mashups’ and ‘machinima’” (Bishop and Cubitt, 2013, p. 202) “Machinima originated in the 1980s when playback facilities were first programmed into video games to allow players to record the ‘speed runs’ in which they complete a level of the game.” (Bishop and Cubitt, 2013, p. 202) “Machinima films are ‘no budget’ extra-cinematic productions that nevertheless emulate the ‘look and feel’ of established cinematic genres through conventional continuity editing and montage.” (Bishop and Cubitt, 2013, p. 203) > “In brief, I argued that the history of the camera is inseparable from the history of perspective, and that this history is not to be reduced to lumps of metal bearing such insignia as ‘Nikon’ or ‘Canon’.” (Bishop and Cubitt, 2013, p. 203) > “we should now be prepared to rethink the ‘camera’ in terms of a multi-dimensional representational apparatus, comprising such intersecting practices as architectural and engineering drawing, theatre design and scenography, cinema, virtual world building, and so on.” (Bishop and Cubitt, 2013, p. 203) 이는 매우 익숙한 역사를 다른 방식으로 바라보는 것일 뿐이지만, 이를 통해 우리 사회를 지배하는 가장 근본적인 대표 체제가 무엇인지, 이 장엄한 지구촌의 이념적 코라를 더 잘 이론화할 수 있을 것입니다. “[[Jean Baudrillard|Baudrillard]]” (Bishop and Cubitt, 2013, p. 203) “a full emptying out of interiority as it is displaced in public and exterior technologies” (Bishop and Cubitt, 2013, p. 203) “I describe everyday life in the ‘developed’ world as taking place in an image environment which increasingly resembles the space of subjective fantasy turned inside out.” (Bishop and Cubitt, 2013, p. 204) “‘trend to externalize mental life’” (Bishop and Cubitt, 2013, p. 204) “In reality, a computer programme has formed a chain of associations between images from a database on the basis of key searchwords, ‘metatags’, attached to those images – in effect replacing ‘free association’ with bound association.” (Bishop and Cubitt, 2013, p. 204) “Such mimicking of spontaneous human mental processes” (Bishop and Cubitt, 2013, p. 204) “In replicating what psychoanalysis calls ‘primary process’ thinking, the internet now represents a form of prosthetic unconscious as well as a form of prosthetic memory.” (Bishop and Cubitt, 2013, p. 204) “In my talk I quoted a passage from Levinas’ Totality and Infinity in which he describes a ‘space of light’ in which everything comes into being, and describes it precisely in terms of geometry – in terms of points, lines and planes.” (Bishop and Cubitt, 2013, p. 206) “I was struck by how Plato’s idea, and Levinas’ articulation of it, seems to perfectly describe the primal void of 3D computer space.” (Bishop and Cubitt, 2013, p. 206) “that these are deployed in an space no longer entirely circumscribed by the Euclidean parameters that Plato and Levinas imply.” (Bishop and Cubitt, 2013, p. 206) “In more recent years such topological figures have become ubiquitous sources of reference in architectural design; but it seems to me that here their use tends to take the form of what the architectural historian and theorist Anthony Vidler has characterized as ‘illustration’, and bears out his observation that questions of space in contemporary architecture have been largely subordinated to categories of style.” (Bishop and Cubitt, 2013, p. 206) “And given the aspersions some contemporary media theorists have cast about the indexical capabilities of digital media, how do you assess or construct the relationships between these recent pieces (e.g. the one for Istanbul, or the Hoˆ tel Dieu in Toulouse) and the places to which they refer? How does the 3D space of a computer relate to the place of reference? Or is the relationship something other than referential?” (Bishop and Cubitt, 2013, p. 207) “The philosopher and film theorist David Rodowick has spoken of a ‘crisis of naming’ in respect of works such as my own – not films, not videos, what should we call them?” (Bishop and Cubitt, 2013, p. 207) “I tend to refer to my own production as simply ‘digital projection’, but admit this may not be very helpful as it is a category that may equally include films and videos, as well as such other artists’ productions as slide projection pieces.” (Bishop and Cubitt, 2013, p. 207) “I have been unable to share in the excitement over the question of ‘indexicality’ in relation to digital photography” (Bishop and Cubitt, 2013, p. 207) “it is because I never considered traditional photography to be indexical in any fundamentally epistemological way.” (Bishop and Cubitt, 2013, p. 207) “The image is never enough” (Bishop and Cubitt, 2013, p. 207) “In relation to the ‘site specificity’ of my works, what is ‘indexed’ here is not simply the material substance of the place” (Bishop and Cubitt, 2013, p. 207) “it is the registration of the material world on a consciousness” (Bishop and Cubitt, 2013, p. 208) “The image is always ‘virtual’, an idea which most recently gained currency with Deleuze’s presentation of [[Henri Bergson|Bergson]] – for all that Bergson’s idea was heavily inflected in its passage through Freud and Lacan, not to mention Proust.” (Bishop and Cubitt, 2013, p. 208) “Walter Benjamin’s notion that our access to history has nothing to do with knowing the past ‘as it really was’ but is rather a matter of the activation of a memory in a moment of crisis.” (Bishop and Cubitt, 2013, p. 208) “The need to think indexicality in a larger, more complex and nuanced fashion is something I think most theorists would agree with.” (Bishop and Cubitt, 2013, p. 208) “One direction to consider could be the material and the technological. To that end, you suggested in your talk that the virtual camera is a projector, noting pre-digital antecedents from Plato’s extramission model of vision to the Lumie` res’ camera-projector apparatus.” (Bishop and Cubitt, 2013, p. 209) “the geometry of the cone of vision” (Bishop and Cubitt, 2013, p. 209) “On a somewhat related point, do you distinguish between the 3D model held in the computer’s memory and the 2D visualizations which you present in your artworks?” (Bishop and Cubitt, 2013, p. 209) “the ‘index’ is not a thing in the world, it is a concept in semiotics – a useful one, but a limited one” (Bishop and Cubitt, 2013, p. 209) “The past takes its force from present perception.” (Bishop and Cubitt, 2013, p. 210) “The result would have been very different from my simulation, and I cannot believe that the affective dimension could have been at all comparable in kind.” (Bishop and Cubitt, 2013, p. 210) “is to come back to the fundamental issue of projection.” (Bishop and Cubitt, 2013, p. 210) “As you yourself note, what is at play is the geometrical projection of three-dimensional objects onto a two-dimensional plane.” (Bishop and Cubitt, 2013, p. 210) “What you refer to as the 3D model in computer memory is fundamentally a matter of fluctuations of electrical intensities – so the analogy with physiological memory is actually quite well based.” (Bishop and Cubitt, 2013, p. 210) “For example, the behaviour of photons has been mathematically modelled and expressed as algorithms that may be built into 3D computer modelling programs.” (Bishop and Cubitt, 2013, p. 210) “Traditional lens-based photography (which would include digital cameras, which use more or less identical bodies to analog cameras) comes across as Euclidean, while virtual in-computer cameras can produce the illusion of a 3D space that opens onto non-Euclidean capabilities.” (Bishop and Cubitt, 2013, p. 211) “Computer simulated space does not represent a departure from perspective but rather a ‘third revolution’ in pictorial space inaugurated by the invention of perspective.” (Bishop and Cubitt, 2013, p. 211) “However, where photography represents the object in front of the camera, the computer simulates the object itself.” (Bishop and Cubitt, 2013, p. 211) “This same knowledge is brought to the design of glass lenses in metal cameras and to the specification of algorithmic lenses in virtual cameras.” (Bishop and Cubitt, 2013, p. 211) “Significantly, however, an enormous amount of expertise is devoted to writing computer programmes that may not only model a scene as it appears to a virtual lens, but which may also simulate the results of the various imperfections of glass lenses.” (Bishop and Cubitt, 2013, p. 212) “does not liberate the unconscious but opens it up to new organizations of power and exploitation?” (Bishop and Cubitt, 2013, p. 212) “The most revolutionary event in the recent history of photography was not the arrival of digital cameras as such but rather the broadband connection of these cameras to the internet.” (Bishop and Cubitt, 2013, p. 213) “‘colonization of the unconscious’.” (Bishop and Cubitt, 2013, p. 214) “There are the ‘images’ and there are the words, and there is an empty space between them.” (Bishop and Cubitt, 2013, p. 215) ### Related ```dataview LIST FROM [[@bishop_camera_2013]] and -"Plans" and -"resources" ```