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Nam June Paik Und Die Zeit

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Nam June Paik Und Die Zeit Technische Universität Berlin Fakultät I – Geisteswissenschaften Institut für Sprache und Kommunikation Studiengang: Medienberatung Vertiefungsfach: Kunstgeschichte Nam June Paik und die Zeit Diplomarbeit Vorgelegt von Birgitta Wolf Erstgutachter: Prof. Dr. Friedrich Knilli Zweitgutachterin: Prof. Dr. Barbara von der Lühe Eingereicht am …………………………….. 1 INHALT I. Einleitung II. Kompositionen - Musik als „Zeitabfolge“: Bewusste Wahrnehmung von Bewegung, Veränderung und verschiedenen Geschwindigkeiten 1. Symphony for 20 Rooms: Partizipation und Indeterminismus, Langeweile und Veränderung, Vielfalt und Intensität 2. DO IT YOURSELF – Antworten an La Monte Young 3. Eine Sonate – für Radio 4. Metro-Musik 5. Symphonie Nr. 5 III. Von der Musik zum elektronischen Fernsehen 1. Performance – „Aktionsmusik“: Variabilität und Intensität; Zeitstrukturierung durch Geschwindigkeitswechsel a. Hommage à John Cage b. Auftritt in Karlheinz Stockhausens Originale c. One for Violin Solo 2. Experimente mit Radios und Fernsehern - „Zeit-Kunst“ 3. Fernsehtechnik in der bildenden Kunst - Vorläufer der Videokunst a. Fritz Wilhelm Winckel: Vom Ton zum Bild b. Oszillographenbilder von Ben F. Laposky: „Visuelle Musik“ c. Der Oszillograph im abstrakten Film - John und James Whitney: „Intensivierung und Verflüchtigung“ d. Karl Otto Götz: Kinetische Malerei - Fernsehen und Indeterminismus 2 4. Die Ausstellung Exposition of Music. Electronic TV a. Musik: Partizipation, Zufall und Random Access b. Fernsehen: Partizipation und Indeterminismus c. Post-Music:: Das „WANN“ in der Musik – Zufall und Aufführungszeitpunkt d. Indeterminismus, Überwindung des Dualismus und Langeweile (Text auf Ausstellungsflyer) e. Indeterminismus und Aufführungspraxis: Partizipation, Variabilität und freie Gestaltung der Zeit des Rezipienten (Über die Ausstellung der Musik) f. „Physikalische Musik“ : Simultaneität, Synchronizität und Verräumlichung des Zeitverlaufs (Nachspiel zur AUSSTELLUNG des EXPERIMENTEL- LEN FERNSEHENS) IV. Video und Zeit 1. Immaterialität und Energietransformation - Das Videobild als „Zeit-Bild“ 2. Audiovisuelle „Zeitmaschine“ Videorecorder: „Literarisierungsprozess“ und Erfahrung „verbrauchter“ Zeit 3. Idee, Prozess und „Ästhetik der Realzeit“ 4. Prozessualität, Präsenz, Closed Circuit V. Texte: Nam June Paik über Video und Zeit 1. Kommunikationskunst: Videozeit und Lebenszeit 2. Input-Zeit und Output-Zeit: Raumkunst und Zeitkunst, Dehnung und Verdichtung von Zeit 3. Random Access Information a. Input und Output, Erinnern und Vergessen b. Farbe als Funktion der Zeit und Video als Modell des Lebens c. Videoband und Zeitwahrnehmung d. Reversible und irreversible Zeit e. Zeitgebundene Information und Random-Access-Information 4. Vom Pferd zu Christo: Geschwindigkeit und Zeit von Transport und Kommuni- kation 3 5. Helga Retzer in Memoriam – Tagtraum: Zeitstruktur bei Video und Traum VI. Videoinstallationen 1. Minimal Video/Minimal Film: Zen for Film: Ästhetik der Langeweile, Relation von Erlebniszeit und Verände- rungsdichte, Darstellung der Zeit in ihrem realen Verlauf 2. Sichtbarmachung der Zeit in ihrem Verlauf: Closed-Circuit-Installationen als Modelle des Zeitbegriffs der Dauer a. „Zeit-Bild“ TV Buddha: Dauer und Augenblick; Zeit als Intervall und Zeit als Ganzes; Zeit als „Spiegel der Ewigkeit“ b. Real Plant/Live Plant und Real Fish/Live Fish: Zeitdifferenz von „real“ und „live“ 3. Hydra Buddha: „temps“ und „durée“; „Spiegel der Erinnerung“; Essenz und Existenz 4. Candle TV: Irreversible Zeit 5. Multi Monitor Installationen a. TV Clock: Statische Visualisierung der Erdrotation und des Vierund- zwanzig-Stunden-Zyklus b. Moon Is The Oldest TV: Zeitwahrnehmung und Mitgestaltung der Wahr- nehmungs-Zeit; Verhältnis von Natur, Medien und Zeitempfinden c. Video Fish, TV Garden und TV Sea: Zeit in der Natur und editierte „Videozeit“ d. Turtle – Flüchtigkeit und Konstanz; Chronos und Kairos e. Fish Flies on Sky, Video Trichter, The More The Better, Laserinstallationen: Transformation der Zeit in den Raum – Visuelle Musik VII. Satellitenübertragungen: Modelle der Gleichzeitigkeit 1. documenta VI 2. Konzert mit Joseph Beuys 3. Good Morning Mr. Orwell 4 4. Wrap Around the World VIII. Videobänder: Strukturierung von Zeit durch Videoschnitt 1. „Tanzende Bilder“: Global Groove 2. Rolle des Zufalls und Aufbrechen des linearen Zeitverlaufs: a. A Tribute to John Cage b. Guadalcanal Requiem 3. Merce by Merce a. Blue Studio: Gleichzeitigkeit b. Merce and Marcel : Reversible und irreversible Zeit 4. Lake Placid ’80: Beschleunigung/Zeitraffung und Rückwärtsbewegung 5. Allan and Allen’s Complaint: Reversible und irreversible Zeit - Verdichtung und Aufhebung der Zeit IX. Schlussbetrachtung 1. Bewusstmachen der Wahrnehmungszeit 2. Komponierte „Zeitbilder“ 3. „Recycling“ 4. Indeterminismus, Überwindung der Irreversibilität der Zeit und Interaktivität 5. „Maschinenzeit“ und Zeit im Leben; „Videozeit“ und „Matrixzeit“ 6. Kunstwerke als Zeit-Modelle 7. Interdisziplinäre Zeit-Raum-Konzeption 8. „Das JETZT ist Utopia […]“ X. Abbildungen XI. Zitierte und verwendete Literatur 5 I. Einleitung Napoleon sagte: „Man kann immer verlorenen Raum zurückerobern, aber niemals verlorene Zeit zurückgewinnen.“ Zeit ist eine sehr begrenzt vorhan- dene Ware. (Öl ist gleichfalls eine begrenzt vorhandene Ware, weil man geo- logische Zeit braucht, um es zu produzieren, anders als bei Mais oder Reis.) […] Zeit ist Geld, heiß es im Volksmund, aber Zeit ist in Wirklichkeit das Gegenteil von Geld. Die moderne Konsumgesellschaft fand heraus, dass man umso weniger Zeit hat, je mehr Geld man besitzt. […] Edmund Husserl zitiert in seinen Vorlesungen zur Phänomenologie des inneren Zeitbewusst- seins (1928) den heiligen Augustinus […], der sagte „Was ist ZEIT?? Wenn niemand mich fragt, weiß ich es … wenn jemand mich fragt, weiß ich es nicht.“ […] Auf meiner letzten Reise nach Tokio kaufte ich Dutzende von Büchern über ZEIT von östlichen und westlichen Denkern. Nach meiner Rückkehr nach New York stellte ich fest, dass ich keine ZEIT habe, sie zu lesen. 1 Nam June Paik, 1976 Wir alle kennen die Erfahrung, die Augustinus im 10. Buch der Confessionen beschreibt, wenn er sagt, er verstehe genau, was Zeit sei, wenn er nicht darüber nachdenke. Sobald er aber seine Aufmerksamkeit darauf richte, wisse er es nicht mehr. Als „Prototyp aller echten philosophischen Verlegenheit“ gilt Augustins Analyse des Zeitproblems daher auch für Hans-Georg Gadamer: Dass sich die Zeit „im Gedankenlosen der Selbstverständlichkeit“ verberge, erscheint ihm als großer „Widerstand“, mit dem philosophisches Denken und Begreifenwollen ständig konfrontiert sei, der aber unbesiegbar sei, weil er keinen Wider- stand biete. 2 Die Schwierigkeit bei dem Versuch, „das Selbstverständliche zu denken“ sieht Gadamer darin, dass es gelte, „das zu stellen, das sich dadurch zu entziehen sucht, dass es ständig hinter einem ist.“ 3 Edmund Husserl thematisiert dieses Problem in der von Nam June Paik erwähnten Einlei- tung seiner Vorlesungen über das innere Zeitbewusstsein: Natürlich, was Zeit ist, wissen wir alle. Sie ist das Allerbekannteste. Sobald wir aber den Versuch machen, uns über das Zeitbewusstsein Rechenschaft zu geben, objektive Zeit und subjektives Zeitbewusstsein in das rechte Ver- hältnis zu setzen und uns zum Verständnis zu bringen, wie sich zeitliche 1 Nam June Paik: Input-Zeit und Output-Zeit, aus: Ira Schneider und Beryl Korot (Hg.): Video Art. An Anthology. New York/London 1976, S. 98. In: Edith Decker (Hg.): Nam June Paik. Niederschriften eines Kulturnomaden: Aphorismen - Briefe - Texte, Köln 1992, S. 139 f. 2 Hans-Georg Gadamer: Über leere und erfüllte Zeit. In: Walther Ch. Zimmerli und Mike Sandbothe (Hg.): Klas- siker der modernen Zeitphilosophie, Darmstadt 1993, S. 281-297, hier: S. 281. 3 Ebd. 6 Objektivität, also individuelle Objektivität überhaupt, im subjektiven Zeit- bewusstsein konstituieren kann, ja sowie wir auch nur den Versuch machen, das rein subjektive Zeitbewusstsein, den phänomenologischen Gehalt der Zeiterlebnisse einer Analyse zu unterziehen, verwickeln wir uns in die son- derbarsten Schwierigkeiten, Widersprüche, Verworrenheiten. 4 Zur Verwirrung in unserem Nachdenken über Zeit tragen auch unsere Sprachgewohnhei- ten bei. Wilhelm Dupré zeigt 1813 den Zusammenhang von Zeit mit der Tätigkeit des Ar- tikulierens und Begreifens und erläutert das Prinzip, dem der Versuch, Zeit zu definieren, unterliegt: Der Versuch, die Zeit, von der wir ständig reden, zu begreifen und eine Definition der Zeit zu geben, fällt auf sich selbst und sein eigenes Artiku- liertsein im hic et nunc des Artikulierens zurück. Es gibt keine eigentliche Definition der Zeit, weil das Bewusstsein der Zeit dem Begreifen wesentlich ist, darum Definieren ohne die Zeit weder denkbar noch möglich ist. Nur wo Gegenwart ist, gibt es den Gedanken des Vorher und Nachher, und nur wo es ein Bewusstsein des Vorher und Nachher gibt, sind Bestimmen und Begrenzen möglich. 5 Wir glauben zu wissen, was Zeit ist, doch es ist uns nicht möglich, sie zu definieren, denn außerhalb der Zeit gibt es nichts, worauf wir sie beziehen könnten. Was Zeit in einem ab- soluten Sinne ist, können wir daher weder denken noch darstellen oder in Worte fassen. „Zeit ist der am schwersten zu definierende Begriff in unserem Leben, weil sie unser Leben selbst ist“ – so formuliert Nam June Paik dieses Problem. 6 Die Zeit zu zeigen oder auch nur über sie nachzudenken, bezeichnet er als „ein Paradoxum [sic!]“. 7 Und doch hat er sich während seines künstlerischen Schaffens immer wieder in diese „paradoxe“
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