This book concludes by discussing three issues related to the genealogy of installation and the moving image: the displacement of analogue technology by the digital age, the ironing out of technical and procedural differences between artists' film and video by means of standardized digital equipment and universal data conformity, and the impact of cognitive science on spectatorship. The chapter also examines how the status of moving-image artists began to rise when practitioners such as Bill Viola, Martha Rosler, and Isaac Julien gained international recognition, and how film theorists like Catherine Fowler de-emphasized the role of the artist by appealing to concepts of “inter-relationality” and reallocate agency to the audience or to “participants.” Finally, it considers what motivates the artist to create a moving-image installation for public consumption.
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