Post Edit Home Help

Key Pages

Home |
News |
Project Outline |
User's Guide |
- |
Research Groups |
Presence |
Documentation |
ABC of Presence |
Presence Project Bibliography |
Life to the second power |
- |
Extended Documentations |
Blast Theory |
The Builders Association |
Lynn Hershman Leeson |
Gary Hill |
Tony Oursler |
Ken Goldberg |
Paul Sermon |
- |
Workshop Documentation |
Tim Etchells |
Julian Maynard Smith |
Bella Merlin |
Vayu Naidu |
Mike Pearson and Mike Brookes |
Fiona Templeton |
Phillip Zarrilli |
- |
Presence Forum |
- |
Links and Resources |
- |
Contributors to the Collaboratory |
- |
References |
- |
Acknowledgements |

Changes [Jun 23, 2009]

The Builders Associ...
The Builders Associ...
John Cleater | Pres...
John Cleater
   More Changes...
Changes [Jun 23, 2009]: Home, CAVE EXERCISE 1, The Builders Associ..., The Builders Associ..., ... MORE

Find Pages

Nick Kaye: Oursler’s approach to presence addresses the place and function of media as a “mimetic technology,” a term he reports borrowing from “[p]harmacology, psycho-mimetic drugs, drugs that mimic portions of our mental state” (Oursler in Meyer-Stoll 2007). In elaborating this concept, Oursler has suggested that:

Mimetic systems can be seen as amplifiers of human drives and as site of psychological projection on the part of the viewer. The appearance of the devil in relation to the evils of technology is the personification of fears. Technology can be seen as the fear of the unknown and thus as a mirror of the viewer’s fear of their own potential. (Oursler 2001: 174)

In this context, Oursler’s grammar has developed toward equations between media technologies and psychological states and processes, moving directly, with Window Project in 1991, toward the creation of video work that “looks back.” Consisting of three discrete performances to camera by three performers; the writer and performance artist Karen Finley, the artist and poet Constance DeJong, and musician Kim Gordon of Sonic Youth; Oursler back-projected these works onto outward facing windows of the gallery. In his outline of the project, he notes that:

The idea of converting a window into a screen began with the impulse to counter the passive situation associated with video viewing. Also, I wanted to create a situation which would extend the works to a public outside of the institution, in other words into the street. (Oursler in Malsch 1995: 52-7)


Click 'Back' to return or go to Tony Oursler

Edit this Page - Attach File - Add Image - References - Print
Page last modified by Nick Kaye Mon Mar 24/2008 02:20
You must signin to post comments.
Site Home > The Presence Project > mimetic systems