Dissertations / Theses on the topic 'Video art'
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Fidalgo, Christopher J. "Art, Gaut and Games: the Case for Why Some Video Games Are Art." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/5.
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In this paper, I argue that there are some video games which are art. I begin my paper by laying out several objections as to why video games could not be art. After laying out these objections, I present the theory of art I find most persuasive, Berys Gaut’s cluster concept of art. Because of the nature of Gaut’s cluster concept, I argue that video games, as a medium of expression, do not need to be defended as a whole. Rather, like all other media of expression, only certain works are worthy of the title art. I then introduce and defend several games as art. After, I return to the initial objections against video games and respond in light of my defended cases. I conclude that video games, as a medium of expression, are still growing, but every day there are more examples of video games as art.
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Lee, Yongwoo. "The origins of video art." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265205.
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Law, Sum-po Jamsen, and 羅琛堡. "Nietzsche, Deleuze and video art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952665.
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Law, Sum-po Jamsen. "Nietzsche, Deleuze and video art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2222693X.
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Berigny, Wall Caitilin de. "Documentary transforms into video installation via the processes of intertextuality and detournement /." Canberra : University of Canberra, 2006. http://erl.canberra.edu.au/public/adt-AUC20070723.103335/index.html.
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Thesis (PhD) -- University of Canberra, 2007.Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Canberra, May 2007. Includes filmography (leaves 124-126) and bibliography (leaves 130-136). Also available online.
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Sadlowski, Gail. "The Development of a Definition and Applied Evaluation Criteria for Psycho-Narrative Video Art." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500553/.
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This thesis is concerned with three problems. The first is that of distinguishing and defining one category of video art. The second is developing criteria for the evaluation of works in this category. The third problem is the application of these criteria to a new psycho-narrative video art piece created by the author as well as two pieces by other artists. This paper examines the use of film and video as an art form, focusing on specific influences affecting the evolution of psycho-narrative video art. Definitions for video art and psycho-narrative video art are developed. Descriptive criteria and three critiques are used to justify the conclusions. A concluding artist statement presents the personal view of the author.
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Veber, Hélène. "Toi et moi aller-retour : l'installation vidéo comme reflet de l'humain /." Thèse, Chicoutimi : Montréal : Université du Québec à Chicoutimi ;. Université du Québec à Montréal, 2003. http://theses.uqac.ca.
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Dufour, Sophie-Isabelle. "Imaginem video : L'image vidéo dans l'"histoire longue" des images." Paris 3, 2004. http://www.theses.fr/2004PA030054.
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Que vois-je devant la vidéo? Je ne vois pas une vidéo, mais de l'image. La présente étude propose d'interroger le statut de l'image vidéo dans l'"histoire longue" des images. Il s'agit de déployer des problèmes multiséculaires qui ont surgi bien avant l'invention technique du médium considéré. Notre présupposé est qu'il y a une différence entre l'image - en tant que notion - et les images: l'on pourrait dire que l'image, difficile à définir, ne peut être appréhendée que dans les différents médiums qui l'actualisent. Aussi la vidéo est-elle traitée, ici, en tant qu'elle questionne l'image elle-même. Priorité sera donnée aux œuvres d'art, considérées comme plus révélatrices du statut de l'image vidéo. Mais par delà l'esthétique, les pouvoirs de l'image dépasseront ceux de l'art. Si la première question qu'affonte la présente étude est celle de l'amour de l'image, posée exemplairement par le mythe de Narcisse, c'est que celle-ci fait ensuite surgir d'autres questions fondamentales. C'est ainsi que la notion de fluidité se posera comme le fil conducteur de notre réflexion sur la fantomalité de l'image vidéo et sur sa spatialité. Notre étude des rapports entre l'image vidéo et le temps sera, quant à elle, orientée par la notion de flux - celle de Bergson en particulier. Il s'agira en fin de compte de penser l'image vidéo dans toute sa singularitéWhat do I see when I look at a video? Actually, I do not see a video but an image. My purpose is to study the status of video image from the point of view of the so-called " long history " of images, dealing therefore with very ancient problems that occured long before the technical invention of the medium. A distinction must be made between images and the very notion of image : one could say that the difficult notion of image can be specified only through the various media in which it embodies itself. In this study, video questions image itself. Art works will keep their privilege, because through them the status of video image is best revealed; but my intention is to show that the powers of image go far beyond aesthetics. The first problem will be the one raised by the myth of Narcissus, as a lover of image(s), because it is seminal. It leads, for instance, to the notion of fluidity, which will prove essential in my study of the " ghostliness " of video image (as well as in my study of space in video). Last but not least, the relations between time and video image should be specified with Bergson's help, and I shall try to prove how useful can be this philosopher's notion of time when one hopes to understand the singularity of video image
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Nosella, Carole. "Expérimenter les dispositifs écraniques, une esthétique du déplacement." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20115.
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Cette thèse se propose de penser l’expérience des dispositifs écraniques à partir de pratiques artistiques contemporaines. Il s’agit d’analyser comment des artistes travaillant à partir d’images appareillées (de l’installation vidéo au cinéma expérimental en passant par le net art) et de leur mise en espace, opèrent des déplacements dans les diverses strates des dispositifs pour proposer des situations esthétiques qui relèvent du hors champ, de l’impensé, du refoulé des dispositifs écraniques fonctionnels, faisant écho aux frictions qui se jouent entre leur mode d’action et notre expérience.Face à la difficulté de définir les dispositifs écraniques de par la multiplicité de leurs formes et de leur usages, il est proposé en premier lieu une réflexion sur la notion de dispositif, corrélée à celles d’écran et de technologie (I). Puis sont considérées les tactiques artistiques permettant de détourner l’impact de ces dispositifs (par l’expérimentation de la mise en défaut, du détournement, de l’appropriation…). S’en suivent cinq mouvements, comme autant de voies de déplacement, qui abordent les dispositifs écraniques selon des entrées différentes : il s’agit de révéler la part d’être de l’appareil par des opérations plastiques et contextuelles (II), de créer des voies de figuration alternatives par et à travers l’interface (III), de détourner la relation physique et émotionnelle entretenue avec l’écran (IV), d’opposer à la mobilité des écrans celles des spectateurs (V), et enfin de confronter les dispositifs écraniques à l’épreuve de l’espace (VI). Un dernier chapitre propose une synthèse de ces déplacements concrétisée par l’analyse d’un projet de création (entrepris parallèlement aux recherches théoriques) où sont mis en œuvre les mouvements précités (VII).Les analyses plastiques sont étayées par des mises en perspective historiques et sociétales, avec une considération particulière pour les questions de réception et d’usageIn a time when screens are more and more studied and analysed, this thesis is based on observations of both users’ behaviors and contemporary artists’ productions.It chooses to present the experience created by screened devices and systems through these observations. It defines the screen as an apparatus — meaning, as a mix of different elements assembled for a specific purpose — which articulates separation and re-synthesising. We analyse how artists work with images in devices (from video installation to experimental cinema and net art) and how they use space to produce an attentional shift, therefore creating artworks that call for realizations.Facing the difficulties of clearly defining screened apparatus due to the multitudes of shapes they take and uses they create, we first orient our reflexion to the very notion of apparatus, combined with those of screen and technologie. Then we consider the artists’ tactics to hijack the impact of these apparatus (through experimentation, appropriation and misappropriation). This is followed by five movements, presented as possible means of displacements, each addressing, in its own way, the screened apparatus. We study the different relationships those screens can have inside the apparatus, and how they react and interact with space. We feed this research with analyses of artworks, historical and societal perspectives, with a special leaning towards the notions of reception and user’s experience
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Beyrouthy, Damien. "Corps peuplés d'images, corps peuplant l'image : interrogation par l'art vidéo d'un entremêlement à l'ère dite postmoderne." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20001.
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Cette thèse explore comment l’art actuel, plus spécifiquement vidéo, permet d’interroger le rapport entre corps et images. Un lien étroit les unit aujourd’hui ; l’art vidéo, fruit de ce temps postmoderne, paraît assez adapté à son exploration. Tout d’abord, les modalités d’influence de l’image sont déclinées. Quatre sources appuient l’élaboration d’hypothèses : les théories psychanalytiques et phénoménologiques, des faits de société, des productions artistiques (provenant aussi bien d’artistes confirmés que de notre propre pratique) et les théories de l’image (histoire de l’art et esthétique). Une série de conclusions en ont été déduites : l'Homme actuel semble peuplé d’images ; celles-ci participent à la structuration de la perception, concurrencent les souvenirs et concourent à la détermination des formes de l’élaboration mentale. De ce fait, l’image définit significativement le corps postmoderne. Mais plusieurs rapports aux images restent possibles : l’utilisation, l’interaction, l’expérimentation. Ensuite, par le potentiel oscillatoire de l’art vidéo, l’interdépendance corps/image est approfondie. La partie II met en regard corps sensible et corps représenté à travers les traces fluctuantes du référent dans la représentation vidéo – par les couples apparition/disparition, surface/épaisseur, sens/non-sens – afin d’explorer le corps rêvé, vécu et le rapport au corps représenté. La partie III montre le jeu entre la liaison et la déliaison du corps représenté avec le décor – porté par l’incrustation, le remontage et la composition vidéo. Cela permet d’aborder le positionnement et l’articulation, du corps et de sa représentation, aux images. Cette approche désigne également ce qui dans le corps représenté fait corps et ce qui dans son articulation au décor fait obstacle : le corps désirantThis thesis explores how contemporary art, more specifically video, interrogates the relationship between body and images. A close link binds them together today; video art, native to postmodern time, seems adapted to its exploration. First, influence modalities of the image are developed. The hypotheses are constructed on four sources: psychoanalytical and phenomenological theories, socials realities, artistic productions (both from known artists and from my own practice) and image theories (art history and aesthetic). A succession of conclusions have been deducted from them: today’s human seems to be inhabited by images, these participate to the structuration of perception, compete with recollection and contribute to determine the shapes of mental elaboration. Consequently, the image define significantly the postmodern body. But various relationships to images remain possible: utilization, interaction, experimentation. Then, with the oscillatory potential of video art, the interdependence between body and image is detailed. Part II compares sensible body and depicted body through the fluctuating marks of the referent in video representation – working with the appearing/disappearing, surface/thickness, sense/nonsense pairs – to explore the dreamed, lived body and the relationship to the depicted body. Part III shows the interplay between linking and delinking of the depicted body with the backgrounds – bore by chroma keying, reediting and compositing. This allows to apprehend positioning and articulation, of the body and its depiction, to images. This approach also points out what in the depicted body reveals the sensitive body and what in its articulation to the background resists: the desiring body
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Geusa, Antonio. "The history of Russian video art : on the birth, growth and institutionalisation of video as an art form in Ruissia." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502605.
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Meiron, David. "A descriptive evaluation of a video art production." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1992. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University, 1992.Source: Masters Abstracts International, Volume: 45-06, page: 2716. Typescript. Accompanying videorecording, "Truth" : a video art piece, cataloged separately. Includes bibliographical references (p. 27-28).
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Shuler, Ryan N. "Black box /." Online version of thesis, 2009. http://hdl.handle.net/1850/9735.
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Park, Young Sun. "Defining video space art within video installations in the context of spaces and spectators." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/2312/.
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This thesis is to introduce and examine Video Space Art as a form of Video Art. Being primarily practice-based research, it offers a theoretical and conceptual framework to find a better understanding for my artistic practices. The thesis studies the classification of Video Art. It contains an extended discussion of the place of Video Space Art in the context of Video Installation. Furthermore, the distinctions are made from Video Sculpture by theorizing space and spectator. The thesis develops the language of Video Installation. It proposes that the two main elements of Video Space Art are space and spectator. It provides a conceptual discussion of real and virtual space and the role of the spectator in Video Art are established. It then explores the languages in developed media of pictorial art, sculpture, architecture and landscape architecture. Because Video Installation is a hybrid medium, the languages found in these media are applied to deepen its meanings. Video Space Art is defined as a space-time experience that includes people as participants. The thesis applies these theories to artworks to distinguish Video Space Art from Video Sculpture. Nam Jun Paik's Magnet TV (1965), Eagle Eye (1996) and TV Clock (1963-81), Shigeko Kubota's Three Mountains (1976-79), and Bill Viola's Heaven and Earth (1992), The Crossing (1996) and Passage(1987), Dan Graham's Present Continuous Past(s)(1974), Bruce Nauman's Live-Taped Video Corridor(1969-70), David Hall's Progressive Recession (1975), and Peter Campus' Negative Crossing (1974) are among the artworks explored. The extended discussion of the concepts and concerns behind these artworks are followed by the classification of these artworks into Video Space Art and Video Sculpture. In addition to these artworks, the analyses of the elements of Video Space Art are applied to my own practical works: Two (1999), It Takes me 15 Minutes to go to School (2000), and Love Potion in my Heart (2004). (The appendix to this thesis contains the documentation of my works in DVD ROM format). The theoretical analysis presented in this thesis sheds light on the classification of Video Installation. A survey conducted identifies the works of Video Space Art. By defining Video Space Art, as distinct from Video Sculpture I have refined aspects of the theoretical base and extended the understanding of my own practical work.
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Cable, Courtney Paige Davids. "An art practice sustained." Thesis, University of Iowa, 2009. https://ir.uiowa.edu/etd/227.
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Image makers are often--and rightly--held to task for what they produce. This is a necessary lesson, but the time has come for us to cast a critical eye on the processes that lead up to the creation of that image in the first place, especially as it relates to sustainability and environmental cost. When asking the question of "what does this work say and who is it saying it to?" we must concurrently ask "what is the environmental cost of making this work and is that cost balanced by what it is saying?"
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Keen, Seth. "Video chaos : multilinear narrative structuration in new media video practice /." Electronic version, 2005. http://adt.lib.uts.edu.au/public/adt-NTSM20050921.151215/index.html.
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Shaffer, Michael J. "Dan Graham's Video-Installations of the 1970s." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/56.
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This dissertation examines the video-installations created by American artist Dan Graham in the 1970s. It investigates the artist's relationship to Minimalism by analyzing themes Graham highlights in his own writings and in interviews. In particular, I explore how the artist's understanding of Herbert Marcuse, Walter Benjamin, and R.D. Laing informed his post-Minimalist work and how concepts gleaned from these sources are manifest in his video-installations. Also undertaken are discussions of the artist's interest in aestheticized play, the just-past present, the debate between Behaviourism and phenomenology, surveillance, and Modern architecture. In addition, I investigate Graham's position in Conceptual art, use of site-specificity, and the practice of institutional critique. At the outset, I provide an in-depth analysis of two of Graham's magazine pieces, Schema (March 1966) and Homes For America, that ties together the artist's reading of Marcuse and his rejection of Minimalist phenomenology. Next, I give an account of the artist's connection to early video art and his use of time-delay in works such as Present Continuous Past(s) and Two Viewing Rooms as a means to highlight the just-past present. Finally, I examine Graham's architectural video-installations Yesterday/Today, Video Piece for Showcase Windows in a Shopping Arcade, and Video Piece for Two Glass Office Buildings as instances of site-specific art and as part of the artist's practice of institutional critique. I also explore his references to the notions of art-as-window and art-as-mirror as an expansion of his engagement with Minimalism. Throughout, my discussion includes comparisons between Graham's work and that of other artists like Vito Acconci, Bruce Nauman, and Hans Haacke. In sum, this study offers an expanded understanding of how Graham employed video and installation in his art as a means to move beyond Minimalism and to interrogate contemporary American society.
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Marsh, Dale H. "Art as action and idea: a personal statement discussing performance art, photography, and video." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303234139.
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Katz, Sharon. "Animated Video Projection on Objects – a Studio Art Practice." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31543.
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This thesis support paper is the trajectory of my search to uncover what constitutes an aesthetic for my current practice and to unpack what I think the work is about. In this paper I trace the development of my process, identify primary aesthetic preferences, elucidate inspirations, and finally present several interpretations of the work.
I came into the MFA program with the intention of moving my practice in animation to an art form that was non-linear and free of a flat projection screen and story arc. Working with materials is important to me and I also wanted to find a way to integrate time-based media with material art forms.
What I discovered early in the MFA program is that making this shift in my practice involved understanding how object art generates meaning differently than the animated film does.
In the Thesis Exhibition I take ordinary household objects, disrupt them so they are unfamiliar then project animated video of other ordinary objects made strange onto them. The illogical objects and their juxtaposition generates a tension – a cognitive stretching – that gives rise to various readings of the work.
Perceptually engaged, I am immersed in a cognitive puzzle trying to make sense of the paradoxes I am experiencing and bring them to a resolution. It continues to astound me to what degree the household objects that I make strange can generate sensation, feeling, and meaning through the amalgam of their motion, gesture, and form, through the way in which they are situated in space and the way in which they relate to one another.
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King, Donald V. "(Frame) /-bridge-\ !bang! ((spill)) *sparkle* (mapping Mogadore) /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1216759724.
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Thesis (M.F.A.)--Kent State University, 2008.Title from PDF t.p. (viewed Oct. 19, 2009). Advisor: Paul O'Keeffe. Keywords: Sculpture, Installation Art, Video Art. Includes bibliographical references (p. 25).
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Bischoff, LeAnn. "Creating a video portfolio for the intermedia artist." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/834127.
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The purpose of this creative project was to provide a way for intermedia artists to present their artwork. The creative project is a videotape of the author's works, which are separated into four categories: computer images, two-dimensional animation, photographs and three-dimensional animation. Emphasis was placed on unifying artwork from different mediums. Digital editing effects were used to help distinguish between the various artwork sections. The five minute piece is presented on a VHS tape.Department of Art
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Spampinato, Francesco. "Art Contemporain et télévision : formes de résistance, appropriation et parodie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA056.
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La présente thèse cartographie et condense l'histoire des relations entre l'art et la télévision au cours du demi-siècle environ durant lequel la télévision maintint sa position de média de masse par excellence dans la société, des années 1950 au tournant du millénaire, jusqu'à la phase de vaporisation des médias récemment apportée par la profusion des technologies numériques et d'Internet. La centaine d'artistes étudiés appartient à différentes générations, des pionniers des années 1960 tels que Nam June Paik, Andy Warhol et divers collectifs de la guerilla television aux figures postmodernistes telles que Dara Birnbaum et General Idea, des artistes issus des années 1990 comme Phil Collins, Christian Jankowski et Matthieu Laurette aux figures émergées au XXIe siècle comme Keren Cytter, Hito Steyerl, Ryan Trecartin et les Yes Men.Les travaux abordés sont des vidéos, installations, performances, interventions et programmes télévisés conçus comme des formes de résistance, d'appropriation et de parodie de la télévision grand public, qui exposent les mécanismes par lesquels le média de masse influence notre perception de la réalité et de nous-mêmes. Les genres et les formats télévisuels les plus populaires sont ciblés : les informations, publicités, soap operas, talk-shows, émissions pour enfants, vidéoclips, téléréalité, divertissements éducatifs et séries télévisées. En permettant de « voir à distance », la télévision produit chez le spectateur un sentiment étrange de déplacement physique. Les travaux étudiés mettent en évidence et tentent de surmonter cette séparation entre les corps factuels et télévisés, qui est aussi une séparation entre réalité et représentationThe present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation
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Ragland, Wynne. "Notes to myself /." Online version of thesis, 1987. http://hdl.handle.net/1850/10426.
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Vatsella, Christina. "La question de l'espace dans l'installation vidéo." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040269.
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Ayant comme point de départ les premières expérimentations de Nam June Paik avec les téléviseurs au début des années 1960, cette étude suit l’évolution historique de l’installation vidéo en parcourant cinq décennies de création. La problématique de l’espace, fil conducteur de cette recherche, nous amène d’abord à la constitution d’une typologie. Fruit de l’étude de l’évolution des formes principales de l’installation vidéo, cette classification a pour objet l’œuvre sous sa forme aboutie, c’est-à-dire installée. Néanmoins, cet état n’est que le résultat final d’un long processus. Divisée en quatre étapes, l’étude de la mise en espace de l’œuvre soulève des questions cruciales liées à l’acquisition, l’exposition et la conservation de l’installation vidéo. Une fois que l’œuvre est installée, elle s’articule autour d’un espace-temps virtuel, celui de l’image vidéographique, et d’un espace-temps réel, celui du dispositif plastique, analysés dans la troisième et dernière partie. Cette étude met l’accent sur la dimension historique de l’installation vidéo tout en la contextualisant au sein de l’histoire de l’art du vingtième siècleHaving as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art
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Balčaitytė, Milita. "TARPDISCIPLINIŠKUMAS ŠIUOLAIKINIAME LIETUVOS MENE: TEKSTILĖS JUNGTIS SU VIDEO." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130805_102518-97462.
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Šiandieninėje kultūroje, dar vadinamoje vaizdų kultūra, labai svarbią vietą užima technologijos, kurios sparčiai įsilieja ir į meno procesus. Meno ir technologijų sąveikos bei kūrybiškos naujų technologijų panaudojimo galimybės aktyviai atsispindi kūrybiniuose procesuose, tad darbe aptariami tarpdisciplininiai kontekstai, sietini su šiuolaikine Lietuvos tekstile ir jos sąsajomis su videomeno formomis. Meninės tekstilės santykio su video raiška tema Lietuvoje iki šiol plačiau netyrinėta, nors pastaraisiais metais vis daugiau kūrėjų ieškodami įdomesnių ir išskirtinesnių raiškos būdų pasitelkia video raišką praktiniam kūrinio įgyvendinimui. Tad šiame darbe tarpdiscipliniškumas šiuolaikinėje tekstilėje apmąstomas iš praktinės perspektyvos, pabrėžiant jos santykį su video. Surinkti pavyzdžiai iliustruoja šiandienines tendencijas ir menininkų poreikį judančio vaizdo buvimui. Nagrinėjamos aktualios temos – kodėl tekstilės meno atstovai renkasi video raišką greta tekstilės ir ką duoda šių dviejų raiškų jungtis, kaip viena kitą papildo. Į kylančius klausimus bandoma atsakyti apžvelgiant ir analizuojant šiuolaikinės Lietuvos tekstilės meninį lauką bei bendraujant su pačiais kūrėjais. Susisteminti išsamūs interviu pateikiami prieduose. Tyrimo metu nustatyta, kad video atsiradimas šiuolaikinės Lietuvos tekstilės lauke leidžia kvestionuoti tekstilės kaip dailės šakos daugialypiškumą, bei pačios materijos kaip jungties su šiuolaikinėmis medijomis svarumą vaizdų kultūros plotmėje... [toliau žr. visą tekstą]In contemporary culture, also called the culture of images, technology is playing a very important role as it is being rapidly involved in art processes. Interaction of arts with technology and the possibilities of involving new technologies in creating arts are actively reflected in creative processes, so in this work is discussed the interdisciplinary contexts, which are linked with contemporary Lithuanian textile and its relation with different form of video art. Even though during recent years many artists choose to use video resolution in order to present their work in a more interesting and unusual way, until now the relation between textile as a form of art and video usage was not thoroughly discussed in Lithuania. Therefore in this work the interdisciplinarity of contemporary textile is presented from the practical side while underlining its collaboration with video art. Gathered examples indicates modern trends and artists needs to have a moving images. Important topics are analyzed – why representatives of textile arts choose to use video usage next to textile and what is the purpose of this combination, how does it supplement each other. The raised question are being tried to answer while analyzing Lithuanian field of textile arts and while discussing with the artists themselves. Structured detailed interviews are attached in the appendix. The investigation has reveled that the appearance of video in the field of contemporary Lithuanian field of textile allows us... [to full text]
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James, David. "Travelling space : locating in-between : exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2007 /." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1365/.
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Exegesis (MA--Art and Design) -- AUT University, 2007.5 DVDs contain appendices. Includes bibliographical references. Also held in print (47 leaves : col. ill. ; 30 cm. + 5 DVDs) in City Campus Collection (T 709.93 JAM)
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Mondloch, Kate. "Thinking through the screen media installation, its spectator, and the screen /." Diss., Restricted to subscribing institutions, 2005. http://proquest.umi.com/pqdweb?did=1031040591&sid=32&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Baychelier, Guillaume. "Des dispositifs de contrainte : iconologie interartiale et vidéoludique des corps monstrueux." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H310.
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La contrainte positive de Barney permet d’'aborder la capacité du dispositif à produire des usages qui, parce que contraints, s'avèrent féconds. Les corps monstrueux sont analysés dans le genre vidéoludique horrifique à partir de cette problématique de la fertilité artistique des dispositifs de contrainte développant une nouvelle approche iconologique tant des enjeux de la relation vidéoludique à l'image que du pouvoir générateur des monstres. Les dispositifs sont conçus comme parcours dont la spatialité est étroitement liée aux idées de clôture et d'obstacle. En écho à Jankélévitch, ces entraves se constituent en organes-obstacles engageant à une pratique où le malgré est paradoxalement le grâce-à. Le recours à l'entrave est souhaité en vue d'un processus génératif ne pouvant prendre corps qu'au risque de l'épreuve d'un déplaisir, d'une «horreur délicieuse» engageant à approfondir l'affinité entre le sublime et la façon dont les dispositifs de contrainte se constituent à travers l'expérience de plaisirs négatifs, d'une disconvenance conduisant selon Schiller à une convenance supérieure. Au-delà de la conjuration de la stupeur horrifiée, par l'artialisation de l' image, l'ouverture iconologique interartiale (picturale, vidéoplastique...) et mythologique permet la mise à jour heuristique de la genèse du monstrueux par un dispositif de contrainte (Tête de Méduse, Rubens) et de la résistance par impossibilité de la capture (Protée) qui conduit à examiner les dispositifs irréductibles à !'enclosure et la question de l'absence de contrainte comme contrainte paradoxale, induisant l' exercice de la mètis qui permet d'éviter l'achoppement dans le clos comme la perte dans l'ouvertThe notion of positive restraint (Barney) brings to light the apparatuses' ability to produce practices that prove to be fertile, because restrained. Monstrous bodies in horror video games are analyzed from the perspective of the restraint apparatuses' artistic fertility, thus elaborating a new iconological approach to the image issues in videogames and monsters' generating power. Apparatuses are understood as routes whose spatialit is closely linked to the ideas of enclosure and obstacle. Echoing to Jankélévitch, these constraints establish organs-obstacles that set in motion a practice in which despife is paradoxically thanks to. Submitting to constraint engages a generalive process that can only take shape in the presence of a displeasure trial, a "delightful horror" leading us to investigate further the link between sublime and the way restraint apparatuses are grounded in the experience of negative pleasures, of a unsuitability leading, according to Schiller, to a superior suitability. Beyond discharging oneself from horrified stupor by the "artialisation" of the image, the interartial iconological (pictorial, video...) and mythological fields allow us to explore the genesis of monstrosity by restrainl apparatuses (Rubens' Medusa). It also underlines the idea of resistance by the impossibility of capture (Proteus) that leads us to examine the apparatuses without considering them as necessarily linked to closure, and the question of the lack of restraint considered as a paradoxical restraint, which leads to the practice of mètis that enables to avoid stumbling in closed spaces as well as getting lost in wide open spaces
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Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.
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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.
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Watlington, Emily. "Pretty gross : aestheticized abjection in feminist video art, 1996-2009." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/118496.
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Thesis: S.M., Massachusetts Institute of Technology, Department of Architecture, 2018.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 124-135).
This thesis examines the work of three video artists -- Pipilotti Rist, Marilyn Minter, and Mika Rottenberg -- who all make work that is simultaneously mesmerizing and repulsive. While Immanuel Kant has argued that beauty and disgust are opposed, these works complicate this binary, as does my choice of the more minor terms "pretty" and "gross." My weaker descriptors encapsulate the desensitization to seductive and disgusting imagery that, in the media-saturated context of the late 90s/early 2000s, is the result of their pervasiveness and thus banality. These artists respond to abject feminist performance art of the 1960s and 70s, which some critics at the time worried attracted the male gaze while setting out to avert it. Theorists of disgust, however, have long understood seduction as always already part of disgust, which the artists in "Pretty Gross" set out to tool strategically. They respond to representations of women as objects of fascination on screen by borrowing resources and formal devices from mass media created to seduce viewers and consumers, but train their lenses instead on traditionally disgusting imagery, from menstrual blood to saliva-coated caviar. Rendering the disgusting palatable, these artists have attracted massive popular audiences and revenue. Yet all have raised a number of ethical quandaries for their critics, who struggle to defend their attempts to reclaim representations of women's bodies from an abusive history. The widespread visibility and influence of their work makes this critical interrogation especially urgent. Ultimately, I argue that Rist, Minter, and Rottenberg reflect, rather than resolve, tensions between ethics and aesthetics, gender and image, as well as attraction and aversion.
by Emily Watlington.
S.M.
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Grau, Janet. "long since familiar: sculpture, performance, video, art, body, and life." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391609110.
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Gartland, Connor. "Making Mori: Emotional Depth and the Art of Video Games." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1400681933.
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Costanza, Matt Ferris Kelly Eremiasova Michaela. "Awen : flowing spirit /." Online version of thesis, 2007. http://hdl.handle.net/1850/5521.
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Eklow, Joshua Ryan. "My first word was "video"." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/493.
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With the quick abandonment of VCR technology and the adoption of digital and online replacements, people give up freedom and personal power in the name of perceived convenience. VCRs and VHS tapes served two needs: the need to time-shift programming and the need to archive The internet and DVR technology fulfill the first need, that of time-shifting, but completely ignore the need of people to archive, which is a need many people don't even realize they have until they are no longer able to archive programs in both an audio/visual and physical manner. The disappearance of physical recording also makes it impossible for others to use ones VHS tapes for anthropological investigation. DVR records do not end up in thrift stores, or flea markets, and are not easily bequeathed after a person passes. By investigating one man's VHS collection, encouraging others to use tapes, and using tapes as a raw material with which to create new work, I hope to inspire others to realize what they have lost, or perhaps, given up.
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Dauget, Stéphanie. "Au seuil du visible : pour un dispositif critique de l'installation vidéo." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30060.
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L’enjeu du comment montrer et du comment voir n’a jamais été plus fascinant ni plus insolvable qu’à l’ère du totalitarisme visuel. L’image vidéo, issue de cette veine vorace et versatile, est devenue un vecteur privilégié pour réfléchir au sort du visible dans les arts actuels. La réhabilitation de cette image passe par la blessure de sa surface lissante qui en restaure la profondeur. Dans l’art vidéo, ce rôle peut être accordé au dispositif technique assurant la transmission des images. Nous verrons comment cet agencement matériel peut devenir un nouveau cadre pour l’image vidéo : un dispositif réflexif et critique pour accompagner l’expérience esthétique de l’œuvre. Il s’agit, au fil d’une incursion parmi les images multiples de l’installation vidéo contemporaine, de chercher à saisir les modalités et les enjeux qui forgent ce lien déterminant entre le regard et l’image : une exploration de la part d’ombre de l’œuvre qui rend effectif le voyage des images lumineusesAt the age of visual totalitarianism, how to show and how to see are more than ever fascinating and insolvent questions. Voracious and unpredictable video image is a very special vehicle to analyse the condition of visibity in actual arts. The restoration of visibility always requires hurting the smooth surface of the image. In video art, this function may be attribuated to its technical system as new frame for video artworks : this material agencement becomes a reflexive and critical system for aesthetics experience. In the middle of contemporary video installation’s images, we’ll try to understand the terms and issues which invent this decisive link between the eye and the image : an exploration of the darkness which sets going the luminous images’ travel
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Cosentino, Daniel. "Cosentinoworks /." Online version of thesis, 2009. http://hdl.handle.net/1850/9603.
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Long, Catherine. "A feminist dialogue with the camera : strategies of visibility in video art practices." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12060/.
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This is a practice–based PhD that seeks to contest limited and reductive tropes of female representation in a contemporary Western context. The focus of the thesis is on video art, which, I argue, can be both a radical tool for deconstructing dominant mainstream images of femininity and play a role in developing progressive re–presentations of female subjectivities. This thesis argues that there is a need to revisit feminist artworks from the 1970s and 1980s, the critical potential of which remains under–examined. Video as an artistic medium emerged during the late 1960s to 1980s over the same period that the women’s liberation movement gained momentum and achieved historic societal and legislative change in the West. Women artists used the medium of video as a means to contest the representational economy of traditional gender roles that placed a broad array of limitations upon women. The camera apparatus allowed women to control the production of their own image, articulate their subjective experiences and directly address the spectator. The re–imaging of female subjectivities progressed by feminist artists was, however, largely halted by the backlash against feminism in the 1990s. The issues raised by feminism, particularly in relation to female representation, therefore remain unresolved. This thesis argues that artistic strategies deployed by feminist artists in the 1970s and 1980s, underpinned by the radical principle ‘the personal is political’, which emerged in the 1970s, are still useful today. Through in depth analysis of selected video works from the 1970s onwards as well as reflection on my own art practice research, this thesis investigates how formal strategies employed by feminist artists can operate to undermine the status quo of hegemonic gender representations and to propose new potentialities of female subjectivities and gender identities.
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Torcelli, Nicoletta. "Video - Kunst - Zeit : von Acconci bis Viola /." Weimar : Verl. und Datenbank für Geisteswissenschaften, 1996. http://catalogue.bnf.fr/ark:/12148/cb37564517h.
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Marlow, Gregory. "Week 00, Video 01: Introduction." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/1.
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Marlow, Gregory. "Week 00, Video 04: D2L." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/4.
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Marlow, Gregory. "Week 02, Video 01: Components." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/14.
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Marlow, Gregory. "Week 02, Video 04: Materials." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/17.
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Marlow, Gregory. "Week 02, Video 05: Rigging." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/18.
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Marlow, Gregory. "Week 02, Video 06: Saving." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/19.
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Marlow, Gregory. "Week 02, Video 10: Playblast." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/23.
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Marlow, Gregory. "Week 03, Video 01: Terrain." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/24.
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Marlow, Gregory. "Week 03, Video 03: Camera." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/26.
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Marlow, Gregory. "Week 04, Video 01: Piskel." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/35.
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Marlow, Gregory. "Week 04, Video 02: GIF." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/36.
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Marlow, Gregory. "Week 05, Video 04: Refining." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/digital-animation-videos-oer/40.
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