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Themesicon: navigation pathOverview of Media Articon: navigation pathPerception
Ten Works; Matchbox (Bruszewski, Wojciech), 1973Three Transitions (Campus, Peter), 1973

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sequences without commentary in public television, during which, for example, the monitor seems to fill with water, but then surprisingly in a 90-degree camera angle again seems to empty, disturbing the expectation of a constant perspective. With these kinds of interventions in visual conventions, Hall breaks the continuum of television reception in the domestic screen.

In his film and video project «Ten Works» (1973–1977), Wojciech Bruszewski represents audiovisual studies, in which he suspends the usual synchronicity of image and sound tracks and thus places their linkage to disposition. The spectator is more ready to accept a post-synchronized film than a division of the unity of image and sound that is assumed to be natural, although this unity is produced by the medium.[30]

Video as an immaterial medium

The study of aesthetic characteristics of video technology and the occupation with optic alienation effects leads also to the confrontation with video as a pure light form. In contrast to film, the image


information is based on electromagnetic information that is only available to human perception by means of technical apparatuses. The video image offers thereby significant possibilities of manipulation. Peter Campus stages in «Three Transitions» (1973–1977) situations of perception that are impossible in reality. By taking various perspectives that cannot be perceived simultaneously and linking them to one another, he questions the structure of natural space. In one sequence, Campus walks through his own image. The viewer thereby becomes a witness of his own deception. Campus questions natural physical laws by seemingly breaking through them. In so doing, he makes use of the nature of the video image as divorced from material conditions. By connecting truly divergent standpoints that can be simultaneously represented by the simultaneity of video playback, he produces an artificial unity of time and space. Campus' starting point for these situational arrangements is his «interest in time spaces and the accumulation of perspectives, their transition and transferal of light and electricity, the feedback of his own, projected image, and the

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