Video between Architecture and Telepathy

On 6 January 1973, Chilean media artist Juan Downey exhibited <i>Plato Now</i> at the Everson Museum of Art in Syracuse, New York. A hybrid multichannel video installation and performance, this was Downey’s restaging of Plato’s Parable of the Cave—the “<i>Now</i>” registering...

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Main Author: Nicolas Holt
Format: Article
Language:English
Published: MDPI AG 2023-06-01
Series:Arts
Subjects:
Online Access:https://www.mdpi.com/2076-0752/12/4/133
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author Nicolas Holt
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author_sort Nicolas Holt
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description On 6 January 1973, Chilean media artist Juan Downey exhibited <i>Plato Now</i> at the Everson Museum of Art in Syracuse, New York. A hybrid multichannel video installation and performance, this was Downey’s restaging of Plato’s Parable of the Cave—the “<i>Now</i>” registering what the myth might look like from the vantage of his own historical moment. And whereas Plato’s original operated through an inflexible division between the space of the mind and a derivative sensual reality, <i>Plato Now</i> explicitly sought to blur those philosophical lines by assembling a relay of invisible energies, brain waves, video signals, and telepathic communications, such that the space of mind and sensual reality became speculatively entangled. This article clarifies just how <i>Plato Now</i> did this, and situates its philosophical vision as a significant, if relatively unremarked, aesthetic prefiguration of the new materialist tendencies towards relationality, hybrid assemblages, and vibrant conceptions of energy and matter.
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spelling doaj.art-014495ee4f54435eaf307ca2ee6050972023-11-19T00:10:42ZengMDPI AGArts2076-07522023-06-0112413310.3390/arts12040133Video between Architecture and TelepathyNicolas Holt0Department of Art History and Communication Studies, McGill University, Montreal, QC H3A 0G4, CanadaOn 6 January 1973, Chilean media artist Juan Downey exhibited <i>Plato Now</i> at the Everson Museum of Art in Syracuse, New York. A hybrid multichannel video installation and performance, this was Downey’s restaging of Plato’s Parable of the Cave—the “<i>Now</i>” registering what the myth might look like from the vantage of his own historical moment. And whereas Plato’s original operated through an inflexible division between the space of the mind and a derivative sensual reality, <i>Plato Now</i> explicitly sought to blur those philosophical lines by assembling a relay of invisible energies, brain waves, video signals, and telepathic communications, such that the space of mind and sensual reality became speculatively entangled. This article clarifies just how <i>Plato Now</i> did this, and situates its philosophical vision as a significant, if relatively unremarked, aesthetic prefiguration of the new materialist tendencies towards relationality, hybrid assemblages, and vibrant conceptions of energy and matter.https://www.mdpi.com/2076-0752/12/4/133Juan Downeyvideo artinstallation artelectromagnetismnew materialismscontemporary art
spellingShingle Nicolas Holt
Video between Architecture and Telepathy
Arts
Juan Downey
video art
installation art
electromagnetism
new materialisms
contemporary art
title Video between Architecture and Telepathy
title_full Video between Architecture and Telepathy
title_fullStr Video between Architecture and Telepathy
title_full_unstemmed Video between Architecture and Telepathy
title_short Video between Architecture and Telepathy
title_sort video between architecture and telepathy
topic Juan Downey
video art
installation art
electromagnetism
new materialisms
contemporary art
url https://www.mdpi.com/2076-0752/12/4/133
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