between film video and the digital hybrid moving images in the post media age international texts in critical media aesthetics

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Between Film Video And The Digital

Author : Jihoon Kim
ISBN : 9781628922929
Genre : Art
File Size : 63. 65 MB
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Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias MÃ1⁄4ller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

Witness To Phenomenon

Author : Joseph D. Ketner II
ISBN : 9781501331190
Genre : Performing Arts
File Size : 88. 55 MB
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Witness of Phenomenon articulates a fresh examination of the German Group Zero-Heinz Mack, Otto Piene, and Günter Uecker-and other new tendency artists, who rejected painting and introduced new art media in postwar Europe. Group ZERO evolved into a network across Europe- Amsterdam, Milan, Paris, and Zagreb. This pan-European affiliation of artists generated a continuous stream of innovative artistic statements through the 1960s, incorporating non-traditional materials and new technologies to create kinetic art, light installations, performances, immersive multimedia installations, monumental land art, and the communication media of video and television. They transformed the visual arts from the inanimate objet d'art to a sensory experience by adopting the ascendant philosophy of Phenomenology as their conceptual foundation. Drawing from a decade of research on unpublished archives of the artists and critics of this period, this publication positions Group ZERO as a catalytic art moment in the transition from modern to contemporary art.

The Off Modern

Author : Svetlana Boym
ISBN : 9781501328978
Genre : Social Science
File Size : 25. 35 MB
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"The Off-Modern charts a fresh path beyond the categories of modernism and postmodernism, center and periphery, artistic theory and practice"--

Software Takes Command

Author : Lev Manovich
ISBN : 9781623567453
Genre : Social Science
File Size : 87. 48 MB
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Offers the first look at the aesthetics of contemporary design from the theoretical perspectives of media theory and 'software studies'.

When The Machine Made Art

Author : Grant D. Taylor
ISBN : 9781623565619
Genre : Social Science
File Size : 48. 10 MB
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Considering how culturally indispensable digital technology is today, it is ironic that computer-generated art was attacked when it burst onto the scene in the early 1960s. In fact, no other twentieth-century art form has elicited such a negative and hostile response. When the Machine Made Art examines the cultural and critical response to computer art, or what we refer to today as digital art. Tracing the heated debates between art and science, the societal anxiety over nascent computer technology, and the myths and philosophies surrounding digital computation, Taylor is able to identify the destabilizing forces that shape and eventually fragment the computer art movement.

Film In The Post Media Age

Author : Ágnes Pethő
ISBN : 9781443838726
Genre : Performing Arts
File Size : 88. 64 MB
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Ever since the centenary of cinema there have been intense discussions in the field of film studies about the imminent demise of the cinematic medium, endless articles championing the spirit of genuine cinephilia have proclaimed the death of classical cinema and mourned the end of an era, while new currents in media studies introduced such buzzwords into the discussions as “remediation” (Bolter and Grusin), “media convergence” (Jenkins), “post-media aesthetics” (Manovich) or “the virtual life of film” (Rodowick). By the turn of the millennium, the whole “ecosystem” of media had been radically altered through processes of hybridization and media convergence. Some theorists even claim that now that the term “medium” has triumphed in the discussions around contemporary art and culture, the actual media have already deceased, as digitized imagery absorbs all media. Moving images have entered the art galleries and new forms of inter-art relationships have been forged. They have also moved into the streets and our everyday life as a domesticated medium at everybody’s reach, into new private and public environments (and into a fusion of both via the Internet). Consequently, should we speak of an all pervasive “cinematic experience” instead of a cinematic medium? What really happens to film once its traditional medium has shape shifted into various digital forms and once its traditional locations, institutions and usages have been uprooted? What do these re-locations and re-configurations really entail? What are the most important new genres in post-media moving pictures? Is it the web video, is it 3D cinema, is it the computer game that operates with moving image narratives, is it the new “vernacular” database, the DVD, or the good old television adjusted to all these new forms? How does theatrical cinema itself adapt to or reflect on these new image forms and technologies? How can we interpret the convergence of older cinematic forms with an emerging digital aesthetics traceable in typical post-media “hosts” of moving images? These are only some of the major questions that the theoretical investigation and in-depth analyses in this volume try to answer in an attempt at exploring not the disappearance of cinema but the blooming post-media life of film.

Provocative Alloys

Author : Clemens Apprich
ISBN : 9781906496944
Genre : Art
File Size : 71. 12 MB
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Edited by Clemens Apprich, Josephine Berry Slater, Anthony Iles and Oliver Lerone Schultz. Fe lix Guattari's visionary term 'post-media', coined in 1990, heralded a break with mass media's production of conformity and the dawn of a new age of media from below. Understanding how digital convergence was remaking television, film, radio, print and telecommunications into new, hybrid forms, he advocated the production of 'enunciative assemblages' that break with the manufacture of normative subjectivities. In this anthology, historical texts are brought together with newly commissioned ones to explore the shifting ideas, speculative horizons and practices associated with post- media. In particular, the book seeks to explore what post- media practice might be in light of the commodification and homogenisation of digital networks in the age of Web 2.0, e-shopping and mass surveillance. With texts by: Adilkno, Clemens Apprich, Brian Holmes, Alejo Duque, Felipe Fonseca, Gary Genosko, Michael Goddard, Fe lix Guattari, Cadence Kinsey, Oliver Lerone Schultz, Rasa Smite & Raitis Smits, and Howard Slater Part of the PML Books series. A collaboration between Mute & the Post-Media Lab

Postnaturalism

Author : Shane Denson
ISBN : 9783839428177
Genre : Social Science
File Size : 75. 16 MB
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»Postnaturalism« offers an original account of human-technological co-evolution and argues that film and media theory, in particular, needs to be re-evaluated from the perspective of our material interfaces with a constantly changing environment. Extrapolating from Frankenstein films and the resonances they establish between a hybrid monster and the spectator hooked into the machinery of the cinema, Shane Denson engages debates in science studies and philosophy of technology to rethink histories of cinema, media, technology, and ultimately of the affective channels of our own embodiment. With a foreword by media theorist Mark B. N. Hansen.

Death 24x A Second

Author : Laura Mulvey
ISBN : 1861892632
Genre : Performing Arts
File Size : 69. 84 MB
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In Death 24 x a Second, Laura Mulvey addresses some of the key questions of film theory, spectatorship and narrative. New media technologies, such as video and DVD, have transformed the way we experience film, and the viewers’ relationship to film image and cinema’s narrative structure has also been fundamentally altered. These technologies give viewers the means to control both image and story, so that films produced to be seen collectively and followed in a linear fashion may be found to contain unexpected (even unintended) pleasures. The tension between the still frame and the moving image coincides with the cinema’s capacity to capture the appearance of life and preserve it after death. Mulvey proposes that with the arrival of new technologies and new ways of experiencing the cinematic image, film’s hidden stillness comes to the fore, thereby acquiring a new accessibility and visibility. The individual frame, the projected film’s best-kept secret, can now be revealed, by anyone, at the simple touch of a button. As Mulvey argues, easy access to repetition, slow motion and the freeze-frame may well shift the spectator’s pleasure to a fetishistic rather than a voyeuristic investment in the cinematic object. The manipulation of the cinematic image by the viewer also makes visible cinema’s material and aesthetic attributes. By exploring how new technologies can give new life to ‘old’ cinema, Death 24 x a Secondoffers an original re-evaluation of film’s history and also its historical usefulness.

Hybrid Culture

Author : Yvonne Spielmann
ISBN : 9780262304900
Genre : Art
File Size : 52. 93 MB
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This book grew out of Yvonne Spielmann's 2005--2006 and 2009 visits to Japan, where she explored the technological and aesthetic origins of Japanese new-media art--which was known for pioneering interactive and virtual media applications in the 1990s. Spielmann discovered an essential hybridity in Japan's media culture: an internal hybridity, a mixture of digital-analog connections together with a non-Western development of modernity separate from but not immune to Western media aesthetics; and external hybridity, produced by the international, transcultural travel of aesthetic concepts. Spielmann describes the innovative technology context in Japan, in which developers, engineers, and artists collaborate, and traces the Japanese fondness for precision and functionality to the poetics of unobtrusiveness and detail. She examines work by artists including Masaki Fujihata, whose art is both formally and thematically hybrid; Seiko Mikami and Sota Ichikawa, who build special devices for a new sense of human-machine interaction; Toshio Iwai, who connects traditional media forms with computing; and Tatsuo Miyajima, who anchors his LED artwork in Buddhist philosophy. Spielmann views hybridity as a positive aesthetic value--perhaps the defining aesthetic of a global culture. Hybridity offers a conceptual approach for considering the ambivalent linkages of contradictory elements; its dynamic and fluid characteristics are neither conclusive nor categorical but are meant to stimulate fusions.

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