Remoter Viewing

This feature article explores a number of examples of remote viewing of artists' moving image work during the COVID-19 lockdowns. It addresses how episodic formats and the use of multi-platforms created remote viewing communities whose gaze added value to artists media works online, thereby distinguishing them from what Boris Groys calls 'a spectacle without spectators'. Instead, incorporating clips from film and televisual archival histories, the episodic format allowed ‘eccentricity, peculiarity, interiority and preciousness’ (Eu Jin Chua, 2011) to come to the fore in uncanny forms of collective memory-work.