1. Gesamtkunstwerk: a total work of art Derives from Richard Wagner and his essay 1849 “The Art-Work of the Future,” in which opera offered a meeting point for all of the arts in a total art work.

2. “ The Theater of Totality with its multifarious complexities of light, space, plane, form, motion, sound, man – and with all the possibilities for varying and combining these elements – must be an ORGANISM.” Lazlo Moholy-Nagy, 1924

3. 1960s experiments – creating new media viewing environments

4. “ Movie Drome,” Stan Vanderbeek, 1963

5. “ Movie Drome,” exterior view

6. “ Movie Drome,” interior view

7. “ Multiple projections occupied the foreground of a visual culture that was intent upon liberating itself from the conventional concept of the painting, from the technical and material restrictions of imaging technology and from the repressive determinants of the social codes.” Peter Weibel

8. multiple screens – expansion of visual horizons – intensification of visual experience – new approach to narrative – diffuse and fragmented p.o.v. correlated with new perception of the world

9. “ Glimpses of the USA,” Ray + Charles Eames, 1959

10. “ Think,” presented in the “Ovoid Theater,” Ray + Charles Eames, 1965

11. “ Outer and Inner Space,” Andy Warhol, 1965

12. sculptural video installation

13. “ Shower,” Robert Whitman, 1964, film loop, shower curtain, water

14. “ Video Pyramid,” Nam June Paik, 1982

15. “ Benevolence,” Nam June Paik

16. “ Incubator,” Tony Oursler, 2003

17. “ Junk,” Tony Oursler, 2003

18. “ Underwater (Blue/Green),” Tony Oursler, 1995

19. “ Heaven and Earth,” Bill Viola, 1992

20. the physical properties of moving image: – projector beam as sculptural form – transparency of the screen – seriality of the film sequence

21. “ Line Describing a Cone,” Anthony McCall, 1973

22. “ The Veiling,” Bill Viola, 1995

23. “ Shutter Interface,” Paul Sharits, 1975

24. “ Running Falling,” Jim Campbell, 2000

25. “ Nantes Triptych,” Bill Viola, 1992

26. – scale – participation – movement – multiple viewpoints – attention to surrounding space – dissolution of Cartesian coordinates

27. “ The Crossing,” Bill Viola, 1996

28. “ The Crossing,” Bill Viola, 1996

30. “ The Greeting,” Bill Viola, 1995

31. “ Winchester,” Jeremy Blake, 2003

33. “ Going Forth by Day,” Bill Viola, 2002, video installation in five parts

34. “ Knots and Surfaces,” Diana Thater, 2001

35. “ Smokescreen,” Jennifer Steinkamp, 1996

36. “ sin(time),” Jennifer Steinkamp, 2001

37. “ Late and Soon, Occident Trotting,” Diana Thater, 1993, four projectors

38. “ Sip My Ocean,” Pipilotti Rist, 1996, two projectors

39. “ Corps Étranger (Foreign Body),” Mona Hatoum, 1994

40. “ Corps Étranger (Foreign Body),” Mona Hatoum, 1994

41. “ Climate,” Inigo Manglano-Ovalle, 2000, three-channel video installation

42. narrative strategies – reduction – episodic – split/recombined – ambient – spatialized – rhizomatic dispersal

43. “ Tuin,” Runa Islam, 1998

44. “ Horror Chase,” Kevin + Jennifer McCoy, 2003

45. “ Win, Place or Show,” Stan Douglas, 1998

46. “ In Love,” Patty Chang, 2001, two-channel installation

47. “ Love Is a Treasure,” Eija-Liisa Ahtila, 2003

48. “ Consolation Service,” Eija Liisa Ahtila,

49. “ Electric Earth,” Doug Aitken, 1999

50. “ Electric Earth,” Doug Aitken, 1999

51. “ Electric Earth,” Doug Aitken, 1999

52. “ Blow Debris,” Doug Aitken, 2002

53. “ Blow Debris,” Doug Aitken, 2002

54. “ Blow Debris,” Doug Aitken, 2002

55. “ The Moment,” Doug Aitken, 2005

56. “ The Moment,” Doug Aitken, 2005

57. interactive video installations

58. “ The Legible City,” Jeffrey Shaw, 1988 - 1991

59. “ Be Now Here,” Michael Naimark, 1995 -2002

60. Immersion vest, Char Davies, 1995

61. “ Osmose,” Char Davies, 1995

62. “ Osmose,” Char Davies, 1995

63. “ Osmose,” Char Davies, 1005

64. “ Osmose,” Char Davies, 1995

65. “ Cockfight Arena,” Eddo Stern, 2001