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24 Hour Psycho AI simulator
(@24 Hour Psycho_simulator)
Hub AI
24 Hour Psycho AI simulator
(@24 Hour Psycho_simulator)
24 Hour Psycho
24 Hour Psycho is a 1993 art installation video by Scottish artist Douglas Gordon. It is an appropriation of Alfred Hitchcock's 1960 psychological thriller film Psycho, slowed down to approximately two frames per second from its original 24. As a result, the film lasts for precisely 24 hours, rather than the original running time of 109 minutes (1 hour, 49 minutes).
First shown in 1993 at Tramway Art Centre in Glasgow, Scotland, and at the Kunst-Werke Institute for Contemporary Art in Berlin, Germany, 24 Hour Psycho was Gordon's first work to showcase his theme of repetition. In 2008, Gordon created a second installation entitled 24 Hour Psycho Back and Forth and To and Fro, which consists of two simultaneous projections of 24 Hour Psycho placed side-by-side. One projection plays the film normally while the other plays it in reverse, briefly culminating in a convergence at the centre for an identical shot.
An art installation, 24 Hour Psycho consists entirely of an appropriation of Alfred Hitchcock's 1960 psychological thriller film Psycho, slowed down to approximately two frames per second from its original 24. As a result, the film lasts for precisely 24 hours, rather than the original running time of 109 minutes (1 hour, 49 minutes). There is no audio. The installation is displayed at the centre of a dark room and projected onto a translucent screen so that it may be viewed from either side.
Douglas Gordon is a Scottish artist known for his use of conceptual art and repetition in his work. He often uses scenes from other films to create his video art. 24 Hour Psycho was his first work to use such repetition.
Gordon didn't see Psycho until the age of 21 and rewatched the film repeatedly—including in slow motion. This, which Gordon calls an "active curiosity", inspired him to create 24 Hour Psycho. To create the film, Gordon used a VHS tape of Psycho and played it through a cassette deck that possessed the ability to slow play videos to an extreme capacity. Reflecting on 24 Hour Psycho in 2010, Gordon says that his tenacity is what made the project happen. He was assisted by several artists who tried to work out how to make the film, with the first cost estimate being three times the budget of Psycho. But Gordon found "fantastic contacts" in Glasgow who enabled him to bring the idea to fruition.
The Guardian writes that as Gordon's first film, 24 Hour Psycho introduced several important themes in his future work: "recognition and repetition, time and memory, complicity and duplicity, authorship and authenticity, darkness and light." Gordon regards 24 Hour Psycho not as an appropriation, but more as an "affiliation", stating that it was not simply a case of abduction. He regards Psycho (1960) as a masterpiece in its own right, and wanted to maintain Hitchcock's authorship in his work. As such, he further states that he hopes when people watch 24 Hour Psycho they give Hitchcock significantly more consideration than himself.
24 Hour Psycho was first shown in 1993 at Tramway Art Centre in Glasgow, Scotland, and at the Kunst-Werke Institute for Contemporary Art in Berlin, Germany. For its Berlin screening, the film was shown via a VCR equipped with a shuttle control that allowed it to play in extreme slow motion. It was displayed on a 10 by 14 foot (3.0 by 4.3 m) translucent screen that leaned against one of the room's pillars for support. In contrast to Psycho—which did not allow late admissions upon Hitchcock's request—viewers may enter and exit the exhibition for 24 Hour Psycho at will.
In 2006, Ken Johnson of The New York Times wrote that although few people have seen 24 Hour Psycho, "and hardly anyone has sat through the whole thing, Douglas Gordon's 24 Hour Psycho has become one of those mythic monuments that embody the dreams, anxieties and aspirations of a generation." Brian Price, writing for Oxford University Press, bemoaned in 2010 that the select showings of 24 Hour Psycho made it a privilege to see rather than an amazement, calling it "limited-access cinema". Katrina M. Brown, writing for the Gagosian Quarterly in 2018, wrote that because of the widespread public knowledge of Psycho (1960), no one would have to watch 24 Hours of Psycho to find out what happens in the film, "so the viewing [experience] becomes inextricably connected to memory, be it accurate or fallible." Brown further calls 24 Hour Psycho an "audacious move", saying that while the film is "often talked about as [a] sculpture," the actual viewing experience of the film is "undoubtedly spatial, but also intensely visual: there is, of course, no sound in the work, though several people seem to recall hearing it—an apt trick of memory, perhaps." Brown also notes that the renown of 24 Hour Psycho makes it a substantial part of Douglas' work; it has been widely exhibited "all over the world" and is "regularly cited as a key work of the 1990s."
24 Hour Psycho
24 Hour Psycho is a 1993 art installation video by Scottish artist Douglas Gordon. It is an appropriation of Alfred Hitchcock's 1960 psychological thriller film Psycho, slowed down to approximately two frames per second from its original 24. As a result, the film lasts for precisely 24 hours, rather than the original running time of 109 minutes (1 hour, 49 minutes).
First shown in 1993 at Tramway Art Centre in Glasgow, Scotland, and at the Kunst-Werke Institute for Contemporary Art in Berlin, Germany, 24 Hour Psycho was Gordon's first work to showcase his theme of repetition. In 2008, Gordon created a second installation entitled 24 Hour Psycho Back and Forth and To and Fro, which consists of two simultaneous projections of 24 Hour Psycho placed side-by-side. One projection plays the film normally while the other plays it in reverse, briefly culminating in a convergence at the centre for an identical shot.
An art installation, 24 Hour Psycho consists entirely of an appropriation of Alfred Hitchcock's 1960 psychological thriller film Psycho, slowed down to approximately two frames per second from its original 24. As a result, the film lasts for precisely 24 hours, rather than the original running time of 109 minutes (1 hour, 49 minutes). There is no audio. The installation is displayed at the centre of a dark room and projected onto a translucent screen so that it may be viewed from either side.
Douglas Gordon is a Scottish artist known for his use of conceptual art and repetition in his work. He often uses scenes from other films to create his video art. 24 Hour Psycho was his first work to use such repetition.
Gordon didn't see Psycho until the age of 21 and rewatched the film repeatedly—including in slow motion. This, which Gordon calls an "active curiosity", inspired him to create 24 Hour Psycho. To create the film, Gordon used a VHS tape of Psycho and played it through a cassette deck that possessed the ability to slow play videos to an extreme capacity. Reflecting on 24 Hour Psycho in 2010, Gordon says that his tenacity is what made the project happen. He was assisted by several artists who tried to work out how to make the film, with the first cost estimate being three times the budget of Psycho. But Gordon found "fantastic contacts" in Glasgow who enabled him to bring the idea to fruition.
The Guardian writes that as Gordon's first film, 24 Hour Psycho introduced several important themes in his future work: "recognition and repetition, time and memory, complicity and duplicity, authorship and authenticity, darkness and light." Gordon regards 24 Hour Psycho not as an appropriation, but more as an "affiliation", stating that it was not simply a case of abduction. He regards Psycho (1960) as a masterpiece in its own right, and wanted to maintain Hitchcock's authorship in his work. As such, he further states that he hopes when people watch 24 Hour Psycho they give Hitchcock significantly more consideration than himself.
24 Hour Psycho was first shown in 1993 at Tramway Art Centre in Glasgow, Scotland, and at the Kunst-Werke Institute for Contemporary Art in Berlin, Germany. For its Berlin screening, the film was shown via a VCR equipped with a shuttle control that allowed it to play in extreme slow motion. It was displayed on a 10 by 14 foot (3.0 by 4.3 m) translucent screen that leaned against one of the room's pillars for support. In contrast to Psycho—which did not allow late admissions upon Hitchcock's request—viewers may enter and exit the exhibition for 24 Hour Psycho at will.
In 2006, Ken Johnson of The New York Times wrote that although few people have seen 24 Hour Psycho, "and hardly anyone has sat through the whole thing, Douglas Gordon's 24 Hour Psycho has become one of those mythic monuments that embody the dreams, anxieties and aspirations of a generation." Brian Price, writing for Oxford University Press, bemoaned in 2010 that the select showings of 24 Hour Psycho made it a privilege to see rather than an amazement, calling it "limited-access cinema". Katrina M. Brown, writing for the Gagosian Quarterly in 2018, wrote that because of the widespread public knowledge of Psycho (1960), no one would have to watch 24 Hours of Psycho to find out what happens in the film, "so the viewing [experience] becomes inextricably connected to memory, be it accurate or fallible." Brown further calls 24 Hour Psycho an "audacious move", saying that while the film is "often talked about as [a] sculpture," the actual viewing experience of the film is "undoubtedly spatial, but also intensely visual: there is, of course, no sound in the work, though several people seem to recall hearing it—an apt trick of memory, perhaps." Brown also notes that the renown of 24 Hour Psycho makes it a substantial part of Douglas' work; it has been widely exhibited "all over the world" and is "regularly cited as a key work of the 1990s."