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Additional resources for Rodney Graham : Phonokinetoscope
Example text
It is our primal encounter with techne. What we experience upon putting the needle to the record in Phonokinetoscope, then, is a eureka moment of the most muffled and pragmatic kind. Highly attenuated, subject to ellipsis and contradicted by the reduced scenography of the white cube to be sure, but marking a modality of experience that is in some way foundational. How so? Take Dr. No, another example in which the same species of event is elongated and made transparent to reveal not only the root form of invention that crops up in Phonokinetoscope but just how primordial and originary a convention it is.
Two of the places we can see the distance between the emergent and the increasingly eclipsed notion of spacing at issue is in a set of photographic diptychs that bracket Phonokinetoscope: Fishing on a Jetty and Fantasia for Four Hands. Both works humorously literalise the question of spacing as it crops up between each set 52 | Rodney Graham of pendants; both complicate what Graham had slowly come to realise by the late 1990s was an overemphasis on spacing as white — a prejudicial valuation that he would have recognised as stemming from the pride of place in his corpus allotted to Mallarmé.
E. medium specific) corrective to his earlier enthusiasms for inter-textuality, perhaps a distance on topology itself and inasmuch as it is part of a wider set of attempts to showcase how and where he went wrong, and out of what possible set of historical revisions durational art might supplant static art as the criterion of canonical aesthetics. Two of the places we can see the distance between the emergent and the increasingly eclipsed notion of spacing at issue is in a set of photographic diptychs that bracket Phonokinetoscope: Fishing on a Jetty and Fantasia for Four Hands.