Shaping Spaces: Video Art Communities in Indonesia

2015 ◽  
pp. 98-119
Keyword(s):  
Video Art

Thierry Kuntzel and the Rise of Video Art

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
New Technology ◽  
Video Art ◽  
Video Technology ◽  
Natural Conditions

Raymond Bellour describes how his interest in video art grew out of his personal friendship with Thierry Kuntzel and the latter’s growing interest in experimental filmmaking using the new technology, and how this interest prompted him to seek to understand how the new medium was leading to a modification of perception. He goes on to explain how video technology enables the production of images that escape the natural conditions deemed to constrain photography, also emphasizing the influence of painting on video art.

Isuma: Inuit Video Art Michael Robert Evans

2010 ◽  
Vol 19 (1) ◽  
pp. 95-98
Author(s):  
Bruno Cornellier
Keyword(s):  
Video Art

Sobre Educação, Arte e Vídeoarte: rupturas, resiliência e práticas de ensino/aprendizagem na sala de aula

2020 ◽  
Author(s):  
Nélia Lúcia Fonseca
Keyword(s):  
High School ◽  
High School Students ◽  
Video Art ◽  
Theory And Practice ◽  
First Year ◽  
School Students ◽  
Forest School ◽  
Moving Images ◽  
History Of ◽  
Teaching Learning

This study first approaches the history of the observer’s gaze, that is, as observers, we are forming or constructing our way of visualizing moving images. Secondly, it reaffirms the importance and need of resistance of the teaching / learning of Art as a compulsory curricular component for high school. Finally, the third part reports an experience with video art production in a class of first year high school students, establishing an interrelationship between theory and practice, that is, we study video art content to reach the production of videos, aiming as a final result, the art videos created by the students of the Reference Center in Environmental Education Forest School Prof. Eidorfe Moreira High School. The first and second stages of this research share a theoretical part of the Master ‘s thesis, Making films on the Island: audiovisual production as an escape line in Cotijuba, periphery of Belem, completed in 2013.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola
Keyword(s):  
Comparative Study ◽  
Contemporary Art ◽  
Narrative Structure ◽  
Video Art ◽  
Wide Range ◽  
History Of ◽  
Selection For ◽  
The Many ◽  
Art And Architecture ◽  
Selection Of

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

scholarly journals Michael Fried and Beholding Video Art

2012 ◽  
Vol 49 (1) ◽  
pp. 5
Author(s):  
Ken Wilder
Keyword(s):  
Video Art

scholarly journals Multimedia Archives: New Digital Filters to Correct Equalization Errors on Digitized Audio Tapes

2021 ◽  
Vol 2021 ◽  
pp. 1-11
Author(s):  
Niccolò Pretto ◽  
Edoardo Micheloni ◽  
Anthony Chmiel ◽  
Nadir Dalla Pozza ◽  
Dario Marinello ◽  
...  
Keyword(s):  
Electronic Music ◽  
Digital Filters ◽  
Ad Hoc ◽  
Video Art ◽  
Audio Tape ◽  
Digital Correction ◽  
Additional Correction ◽  
Listening Experience ◽  
Filter Type ◽  
Music Recordings

Multimedia archives face the problem of obsolescing and degrading analogue media (e.g., speech and music recordings and video art). In response, researchers in the field have recently begun studying ad hoc tools for the preservation and access of historical analogue documents. This paper investigates the active preservation process of audio tape recordings, specifically focusing on possible means for compensating equalization errors introduced in the digitization process. If the accuracy of corrective equalization filters is validated, an archivist or musicologist would be able to experience the audio as a historically authentic document such that their listening experience would not require the recovery of the original analogue audio document or the redigitization of the audio. Thus, we conducted a MUSHRA-inspired perception test (n = 14) containing 6 excerpts of electronic music (3 stimuli recorded NAB and 3 recorded CCIR). Participants listened to 6 different equalization filters for each stimulus and rated them in terms of similarity. Filters included a correctly digitized “Reference,” an intentionally incorrect “Foil” filter, and a subsequent digital correction of the Foil filter that was produced with a MATLAB script. When stimuli were collapsed according to their filter type (NAB or CCIR), no significant differences were observed between the Reference and MATLAB correction filters. As such, the digital correction appears to be a promising method for compensation of equalization errors although future study is recommended, specifically containing an increased sample size and additional correction filters for comparison.

scholarly journals Trajetória da videoarte no Brasil / Trajectory of video art in Brazil

2021 ◽  
Vol 7 (4) ◽  
pp. 35797-35804
Author(s):  
Mariana Ribeiro da Silva Tavares
Keyword(s):  
Video Art

scholarly journals Analogue video in the age of retrospectacle

2017 ◽  
pp. 39-58
Author(s):  
Jonathan Rozenkrantz
Keyword(s):  
Magnetic Tape ◽  
Hip Hop ◽  
Video Art ◽  
Digital Culture ◽  
Short Film ◽  
Music Video ◽  
Media Technologies ◽  
Visual Variable ◽  
Material Conditions

This article explores the various manifestations of analogue video in digital culture. Introducing the framing concept of an aesthetics of remanence, it argues that the “society of the spectacle” (Debord) has entered an age of retrospectacle, a dominant signifier of which is the remediation and/or simulation of analogue videography. The concept of remanence connects the material conditions of magnetic tape with analogue video’s aesthetic expressions, and the cultural situation in which analogue video finds itself today. By looking at three different cases related to retro gaming, contemporary hip hop, and “old skool” rave, the article shows how the aesthetics of remanence remains highly susceptible to subcultural sensibilities—while it also functions as their shared visual variable. The short film Kung Fury (David Sandberg, 2015) is a playfully post-ironic recuperation of failed media technologies. The music video “Fromdatomb$” (David M. Helman, 2012) is a complex exploration of the idea(l) of the historical real. And the work of video art Fiorucci Made Me Hardcore (Mark Leckey, 1999) is a creative treatment of nostalgia which invites us to reconsider the medical origins of the term.

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