Abstract
This short postscript offers some closing thoughts on new directions emerging in moving image installation, particularly in technologies of simulation—computer-generated imagery (CGI), virtual reality (VR) and artificial intelligence (AI). Through a comparison of recent works by Ian Cheng and Hito Steyerl, I explore the question of AI in particular, in its relationship to futurity, and draw out some of the ways that moving image installation might be well-equipped to enable us as viewers in the present, here and now, to think about the future.
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Notes
- 1.
The credits reveal her to be Heja Netirk, a Kurdish artist from Turkey, currently living in Germany as a refugee.
- 2.
The curated exhibitions of the 2019 Venice Biennale, held in Arsenale and Giardini, included two works by each artist, one in each venue.
- 3.
Adrian Searle, ‘“Much of the Experience Is Meant to Be Horrible”: Hito Steyerl Review,’ The Guardian, 10 April 2019. Online at https://www.theguardian.com/artanddesign/2019/apr/10/hito-steyerl-review-serpentine-sackler-gallery-london. Accessed 28 June 2019.
References
Flusser, Vilém. 2011. Into the Universe of Technical Images. Translated by Nancy Ann Roth. Minneapolis: University of Minnesota Press.
Giraud, Fabien, Vincent Normand, and Ida Soulard. 2017. ‘Simulated Subjects: Glass Bead in Conversation with Ian Cheng and Hito Steyerl.’ Glass Bead Journal, 1. Online at https://www.glass-bead.org/article/simulated-subjects/?lang=enview. Accessed 28 August 2019.
Ruiz, Raúl. 1995. Poetics of Cinema 1: Miscellanies. Translated by Brian Holmes. Paris: Dis Voir.
Steyerl, Hito. 2012. The Wretched of the Screen. Berlin: Sternberg Press.
Steyerl, Hito. 2017. Duty Free Art: Art in the Age of Planetary Civil War. London: Verso.
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Butler, A. (2019). Postscript: Is This the Future?. In: Displacements. Palgrave Close Readings in Film and Television. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-30461-4_7
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DOI: https://doi.org/10.1007/978-3-030-30461-4_7
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