Note: If you see this text you use a browser which does not support usual Web-standards. Therefore the design of Media Art Net will not display correctly. Contents are nevertheless provided. For greatest possible comfort and full functionality you should use one of the recommended browsers.
Dan Graham «Time Delay Room» | »Time Delay Room 4«
Dan Graham, «Time Delay Room», 1974
»Time Delay Room 4« | ©
Open as full size image
Dan Graham's description: «On monitor l audience A sees itself live. On monitor 2 audience A hears the performer's description and sees his responses delayed 8 seconds after it has seen itself. On monitor l audience B sees itself on delay. On monitor 2 audience B sees the performer's responses and hears his descriptions before it sees the behavior of itself - before the performer has seen or described it. There is a passageway between audience A's room and audience B's room that allows members of these audiences to enter the time zone of the other audience. It is possible for spectators to enter audience A's room from audience B's room or vice versa so that members of these audiences enter the other audience's time zone. The performer sees the audience A on delay and audience B live. He describes the reactions of each audience alternately. In the next stage, observing them simultaneously, he places the behavior of the two audiences in the context of a cause and effect relation. projecting a line of influence between audience A's ‹earlier› and audience B's‹later› lines of behavior. From the point of view of both of these audiences, however, this appears to be from a temporally reversed perspective.»


 Dan Graham
«Time Delay Room»

This closed-circuit installation was varied by Dan Graham six times following the same structural set-up as described below:
«Two rooms of equal size, connected by an opening at one side, under surveillance by two video cameras positioned at the connecting point between the two rooms. The front inside wall of each features two video screens - within the scope of the surveillance cameras. The monitor which the visitor coming out of the other room spies first shows the live behavior of the people in the respective other room. In both rooms, the second screen shows an image of the behavior of the viewers in the respectively other room - but with an eight second delay.
The time-lag of eight seconds is the outer limit of the neurophysiological short-term memory that forms an immediate part of our present perception and affects this «from within». If you see your behavior eight seconds ago presented on a video monitor «from outside» you will probably therefore not recognize the distance in time but tend to identify your current perception and current behavior with the state eight seconds earlier. Since this leads to inconsistent impressions which you then respond to, you get caught up in a feedback loop. You feel trapped in a state of observation, in which your self-observation is subject to some outside visible control. In this manner, you as the viewer experience yourself as part of a social group of observed observers [instead of, as in the traditional view of art, standing arrested in individual contemplation before an auratic object].

(Gregor Stemmrich, «Dan Graham,» in Thomas Y. Levin, Ursula Frohne, Peter Weibel (eds.), CTRL[SPACE]. Rhetorics of Surveillance from Bentham to Big Brother, ZKM | Center for Art and Media, Karlsruhe, 2001, The MIT Press, Cambridge, MA, London, 2002, p. 68.)