AN INTRODUCTION TO THEORY //A THEORETICAL INTRODUCTION
1. Ontology and Aesthetics ‘ex nihilo’
2. The experience of Time and Aesthetic Perception
2.1. Concept(s) of Time
2.2. The Video Installation as presentational art – ‘The art of Experience’
FEEDBACK AND CLOSED-CIRCUIT
Video and its ‘Inherent Properties’
DIETER KIESSLING: CLOSED-CIRCUIT VIDEO INSTALLATIONS 1982 - 2000
1. Raster (Grid) 1982/86
2. Pendelnder Fernseher (‘Swinging TV Set’), 1983
3. Untitled, 1984 (back view of cathode ray tube)
4. Untitled, 1988 (Television switched on/off)
5. Untitled, 1988 (candle)
6. Untitled, 1989 (Side view of the cathode ray tube)
7. Untitled,1990 (Side view of two cameras)
8. Untitled,1992 (Television with tube inserted back to front, television sculpture)
9. Untitled, 1993 (Projection of the raster of an LCD videoprojector)
10. Untitled, 1994 (Red light bulb)
11. Ventilator, 1994
12. Untitled, 1995 (Digitally mixed front views of two cameras)
13. Untitled, 1995 (Two mixed views of a stick)
14. Untitled, 1995 (Two mixed front views of a television set)
15. Dust, 1996
16. Untitled, 1996 (Reflections of two spotlights)
17. Untitled, 1997 (Three cameras and three overlapping pictures of cameras)
18. Untitled, 1997 (Three cameras and four pictures of cameras)
19. Two Cameras, 1998
20. Dust 2, 2000
CROSS-REFERENCES
Categories of works
A THEORETICAL CONCLUSION
1. Concept(s) of time, the experience of time and aesthetic perception
1.1. On the critique of ‘real time’
1.2. The cumulative nature of time and its (ir)reversibility
1.3. Congruence of speed
2. The function and significance of feedback in media art: a prospect
2.1. Between input and output: The matter of ‘self-referentiality’, ‘self-creatability’ and ‘imitation’in video feedback and its (mass-)media environment
2.2. Closed-circuit video installations by Dieter Kiessling: through the aesthetics of reception
