On January 1, 1984, George Orwell was greeted with a television program like no other. The claim that Orwell died in 1950 is completely unfounded. As the author of Nineteen Eighty-Four , Orwell had higher expectations than he lived up to in the mid-1980s. Good morning sir. With Orwell, video artist Nam Joon Pai tries to recreate a grim future for now.
In Orwell's visionary fiction, television was destined to become the ultimate tool of political control, an unspoken mechanism for spreading propaganda with a surveillance system that believed the police could monitor citizens 24/7. 7. Pike believed that television, on the other hand, could be a tool for cultural freedom.
"I want to show the power of [television] interaction, its potential as a tool for peace and global understanding," Pai said. "It can spread, cross international borders, provide reasonable information, even open holes in the Iron Curtain..."
Hello Mr. Orwell shows that Pi is not alone. Scheduled media programming, from MTV to YouTube, uses mixed live transcontinental satellite links, making it easy for everyone from John Cage to Allen Ginsberg, Peter Gabriel to Oingo Boingo to participate. With 25 million live viewers, it has surpassed the number of copies printed since its first release in 1949.
After a decade of obscurity , Good Morning Mr. Orwell recently returned to the public domain as part of a major new media retrospective at the Museum of Modern Art. After nearly forty years of the performing arts, the renaissance of this philosophy is more than a godsend for art history. Pi has broad cultural interests, challenging the techno-utopian dreams of the 80s as much as Orwell's dystopian discourse.
Like visual literature, visionary media art is interesting not only for what it imagines, but also for what it sees. The latter may actually be more important in retrospect, as it may also reflect our own blind spots.
Good morning sir. Orwell , we are witnessing a celebration of the liberation of technology. In the midst of the Cold War, when political boundaries seemed blurred and the East-West divide threatened a nuclear holocaust, live satellite broadcasts defied geographic separation, as if nothing could prevent people from mingling and finding common goals. Technology provides a solution to one of the big problems of the time (like the original Orwellian figure hiding behind the Iron Curtain). Ironically, Pi looks back and thinks ahead. In response to Orwell's portrayal of television as a tool of the enemy, Pie positions it as a friend of the enemy.
As a MoMA exhibit, Good Morning, Mr. Orwell belongs to an entirely optimistic genre of media art. Kino-Drome by Stan VanDerBeek and Kit Galloway in 1964-65 and Hole-in-Space by Sherrie Rabinowitz in 1980.
The first is the theater where people immerse themselves together in moving images from around the world. Intended to be the first node in a global network of visual information exchange, VanDerBeek's invention aims to "make a global audience 'self-aware'", which he says is "an important step towards peaceful cooperation". Presence The unique movie-drome was built under the supervision of VanDerBeek It takes the Internet everywhere to have a shared media presence, an immersive experience that manifests as a media bubble rather than a physical drama.
The hole-in-space is conceptually simpler than a movie-drome - but not technically - consisting of two television cameras and a large screen at opposite ends, bringing together people on both roads, some 1,700 miles apart. The passers-by are surprised that a hole in space makes it porous to time, forcing the future Zoomers to be in the same time zone all the time.
Orwell had no discernible influence on the creation of Film-drome or Hole-in-Space , nor did Nam Joon Paik. What unites these three works – marking two decades of technological progress and the transition from local projection to satellite communications – is a tendency to see the present as extraordinary, challenging and progressive history. Reference must be made to the past, which serves as a basis for highlighting innovation, but the problematic space of the past is condensed when it must be reviewed in detail.
This blind spot applies not only to the visionary media industry, but also to technological advancements in the commercial sector. The difference is that the latter is usually intended for a tomb of oblivion, while the former is kept in a museum.
In cultural archives like MoMA, images from the past can still influence the future. They can better influence the future by verifying information on technology release requests. Knowing the story deepens the problem space, creating an important balance against unintended consequences.
Hello, Pakpak. Mr. Orwell is waiting for you.
Post a Comment