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What is the subject of video?
Charlotte Klink traces the development of electromagnetism in the pursuit of »Electric Seeing« that emerged in the 19th century as well as its curious relation to psychoanalysis and the contemporary discovery of the structure of the human psyche. In doing so, she exposes how this development laid the foundation of what we know today as »video«. This comprehensive theory of video entails a discussion of the technological, historical, and etymological roots, the media-theoretical concepts of medium and index, the philosophical and art-theoretical environment in which video emerged in the 1960s, the psychoanalytic concept of the phantasm, and artworks by artists such as Yael Bartana, Hito Steyerl, and Bjørn Melhus.
Frontmatter 1
Acknowledgements 5
Table of Contents 7
Introduction 12
Introduction 21
Three Approaches 24
1 Heterogeneity 25
2 Technology 39
3 Etymology 74
1 The Medium 78
2 The Index 94
Aesthetics of Narcissism—An Introduction 112
"A Commonplace of Criticism"— Two Moments of Video's Aesthetic Heritage 119
2 Medium, Subject, Body 144
3. The Aesthetics of Narcissism 169
On Si[gh]t(e): The Video Condition 188
1 Apparatus 201
2 From the Imaginary to the Phantasm 212
3 The Phantasm—$ a 248
Transformation of a Missed Encounter: Circulation, Lack, Drive 298
Appendix. Bodies, Testifying: The Performance Works of Alexandra Pirici and Anne Imhof 312
Bibliography 330
Illustrations 344