JOI's filmography — "two Ikegami EC-35 video cameras in…"
two Ikegami EC-35 video cameras in theater record the ‘film’ ’s audience and project the resultant raster onto screen—the theater audience watching itself watch itself get the obvious ‘joke’ and become increasingly self-conscious and uncomfortable and hostile supposedly comprises the film’s involuted ‘antinarrative’ flow. […] Film & Kartridge Kultcher’s Sperber credited it with ‘unwittingly sounding the death-knell of post-poststructural film in terms of sheer annoyance.’
Context
The Joke: the camera turned around. The film is its audience, live — raster of the watchers projected at the watchers (rasters recur in 179's lecture), "watching itself watch itself" as the entire content. It's the Entertainment's inverse: instead of a film you can't look away from, a film that is you looking, until hostility. And the catalogue entry quotes its own reviews — the criticism is inside the filmography's text, "first truly controversial project" adjudicated in situ.