Relevant bibliographies by topics / Video installation

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Video installation'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Video installation.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Video installation"

1

Oppenheimer, Robin. "Video Installation." Afterimage 34, no. 5 (March 2007): 14–18. http://dx.doi.org/10.1525/aft.2007.34.5.14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Barbosa de Argôlo, Inês Regina, Bruno Mendes da Silva, and Gabriela Borges. "The Video Installation Rejeitorio." International Journal of Art, Culture, Design, and Technology 11, no. 3 (December 21, 2022): 1–14. http://dx.doi.org/10.4018/ijacdt.316135.

Full text
Abstract:
Rejeitorio is an interactive video installation mediated by digital technology that points to the urgency of preserving the São Francisco River, especially after the dam collapse in the city of Brumadinho (Brazil), which resulted in the contamination of one of its tributaries with toxic tailings. The video installation features 2D animations that alternate according to the presence or absence of the public within the demarcated space. This paper addresses its exhibition, reception by the public, and related works in aesthetic, media, or operational terms. This is an expanded version of a paper presented at the 10th International Conference on Digital and Interactive Arts (ARTECH 2021).
APA, Harvard, Vancouver, ISO, and other styles
3

Ekinci, Berivan. "Gender, action and expression in Pipilotti rist’s ever is over all video art." Global Journal of Arts Education 11, no. 2 (August 31, 2021): 131–40. http://dx.doi.org/10.18844/gjae.v11i2.6123.

Full text
Abstract:
In this study, two channelled and coloured video installation called Ever is Over All dated 1997 by Pipilotti Rist’s being one of the artists who shaped video installations is analysed. In this installation produced by Pipilotti Rist as a woman artist, a woman in an entranced mood is shown smashing the glasses of some of the cars parked on the roadside. There is the vast space of the flower field on the one side and then there is a cheerful woman as the main character crashing the glasses of the parked cars on the roadside with a long stemmed flower just like from the field. The female body is especially important in audio and video installations of Rist. This installation by the artist has been assessed in terms of gender, action (movement), expression, freedom and solidarity. The flower used by the woman to smash the car glasses is considered over themes such as nature, life and woman and the fact that a passing by female police officer does not intervene in the situation and goes on her way just by greeting our heroine and smiling is assessed using concepts such as gender, action/movement, expression and freedom. In this research, the effects created by the medium of expression in art are touched upon in the video installation titled Ever is Over All and it has been concluded that the subjects and objects included in the video inspire the solidarity of woman, community and nature. Keywords: video art, Pipilotti Rist, Gender-Action-Expression
APA, Harvard, Vancouver, ISO, and other styles
4

Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.

Full text
Abstract:
Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.
APA, Harvard, Vancouver, ISO, and other styles
5

Denis, Maxence. "Kwa Bawon: A Video Installation." Small Axe: A Caribbean Journal of Criticism 18 (September 2005): 171–75. http://dx.doi.org/10.2979/sax.2005.-.18.171.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Atila Dzhagarova, Lili. "Video Installation in Public Space." Open Journal for Studies in Arts 1, no. 1 (July 30, 2018): 29–42. http://dx.doi.org/10.32591/coas.ojsa.0101.03029d.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Denis, M. "Kwa Bawon: A Video Installation." Small Axe: A Caribbean Journal of Criticism 9, no. 2 (January 1, 2005): 171–75. http://dx.doi.org/10.1215/-9-2-171.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

OnacloV. "Hijacking Documentary into Video Installation Art." Hyperrhiz: New Media Cultures, no. 3 (August 2007): 1. http://dx.doi.org/10.20415/hyp/003.e01.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Villar, Alex. "Temporary Occupations, video and installation, 2001." Rethinking Marxism 15, no. 3 (July 2003): 418–19. http://dx.doi.org/10.1080/0893569032000131965.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bouman, Margot. "Sobre o tempo sampleado e o espaço intermedial: pós-produção, vídeo-instalação e The Clock de Christian Marclay." Revista Laika 3, no. 6 (October 26, 2014): 121–47. http://dx.doi.org/10.11606/issn.2316-4077.v3i6p121-147.

Full text
Abstract:
Like other postproduction work by contemporary artists and purveyors of popular culture, the videos of artist, musician and composer Christian Marclay use accumulations of cultural data extracted from thousands of films (and television shows) as raw material for the diegesis. What sets Marclay’s installation The Clock (2010) apart from other installations and films in this category is the interrelationship established between its postproduction aesthetic and its specific display conditions. By matching on-screen time with actual time in a carefully designed exhibition context, The Clock simultaneously reifies the psychosomatic transformation of the moviegoer identified by Roland Barthes and dismantles the hermetic nature of the cinematic apparatus. In so doing, Marclay mobilizes latent aspects of video installation to produce new phenomenological experiences and reorganize the relationship between aesthetics and everyday life.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Video installation"

1

Toth, Ibojka Maria. "Borderland American - Hungarian video installation /." [Kent, Ohio] : Kent State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1165764619.

Full text
Abstract:
Thesis (M.F.A)--Kent State University, 2006.
Title from PDF t.p. (viewed March 27, 2008). Advisor: Martin Ball. Keywords: American - Hungarian Video Installation, 1956 Hungarian Revolution, Budapest, Hungary, Documentary - Style Production Process, Fragmented Memories of Time and Place, American - Hungarian Struggles with Personal and Cultural Identities, Discourse about Mul.
APA, Harvard, Vancouver, ISO, and other styles
2

Vatsella, Christina. "La question de l'espace dans l'installation vidéo." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040269.

Full text
Abstract:
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 siècle
Having 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
APA, Harvard, Vancouver, ISO, and other styles
3

Dauget, Stéphanie. "Au seuil du visible : pour un dispositif critique de l'installation vidéo." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30060.

Full text
Abstract:
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 lumineuses
At 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
APA, Harvard, Vancouver, ISO, and other styles
4

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
5

Maziere, Jean-Michel. "Testing the curatorial in artists' film and video installation." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/9zx1z/testing-the-curatorial-in-artists-film-and-video-installation.

Full text
Abstract:
This PhD by published work critically examines ten years of curatorial practice in the field of artists' film and video by the author. The aim of the thesis and publications is to question and challenge the contemporary integration of artists’film and video installation into the language of the visual arts, the context of the white cube and the privileged definitions of curatorial practice. This PhD also places these questions in a historical context, taking into account the early and often overlooked developments of artists’ film and video exhibition. This research was carried our through individual curatorial projects in the field by scrutinising specific constituent parts of artists’ film and video installation such as the screen, time, space, image, projection, site and audience. The curated exhibitions (the Projects) all took place at Ambika P3, a large postindustrial venue converted into a project space for this purpose in 2007. Each project manipulated these constituent elements and built on them in order to provide new artists’ commissions under the rigour of an experimental and research-led approach. Through this commissioning process, this research developed new collaborative models of curatorial practice, examined and identified key critical areas of curatorial and artistic practice which have been overlooked by critics, writers, curators and the public and proposed new forms of artists’ film and video exhibition. This testing of the boundaries of artist’s film and video installation demonstrated that both the history and context of the practice is engaged with a broad range of paradigms inherited from cinema, sculpture and site specific practice. Furthermore it established that curation is a collective practice engaging numerous participants according to the needs and requirements of each project. The projects revealed that a self reflexive and historically aware approach to curating artists’ film and video can deliver innovative and immersive works outside of the white cube, through an attention to materials, site and form. Through the publications and the commentary it is shown that a critical, collective and process based curatorial practice, attentive to context and its origins expands both the language and the power of the exhibited work.
APA, Harvard, Vancouver, ISO, and other styles
6

Le, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Thesis, Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913/document.

Full text
Abstract:
L’auteur de cette thèse a réalisé, en tant que compositeur, un ensemble d’installations sonores. Ce travail part d’une composition déterministe et linéaire et mène progressivement à une œuvre ouverte. Durant les dernières années, ce travail a été influencé par les méthodes d’écritures utilisées dans la conception de jeux vidéo, aboutissant à des œuvres sonores spatiales et interactives. Dans le processus de conception de ces dernières, le compositeur va être amené à penser la conception sonore dans un espace virtuel ou réel en fonction des déplacements d’un auditeur. Une façon de mener cette démarche est de laisser l'auditeur interagir avec le système au travers de personnages non joueurs (PNJ). Un tel choix témoigne de l'évolution du rôle du compositeur depuis la construction d’une œuvre linéaire et déterministe vers celle d’une œuvre ouverte et non déterminisme. Pour une pièce donnée, le créateur laisse à l’interacteur un certain degré de liberté et au système un certain degré d'autonomie.Nous débutons ce travail par un état de l'art couvrant divers domaines, de l'art interactif aux agents intelligents.Le troisième chapitre est consacré à l'analyse des pièces interactives conçues par des musiciens, plasticiens, designers de jeux. De cette analyse, nous dégageons un ensemble de critères de classification et nous plaçons ces œuvres d'art dans un triangle Concepteur/Interacteur/Système (C.I.S.). La position d’une œuvre dans ce triangle détermine la latitude que laisse le concepteur aux deux autres protagonistes.Le quatrième chapitre pose la problématique de cette thèse. Nous sommes partis du fait qu’une méthode et à fortiori des outils informatiques sont souvent liés à un style d’écriture. L’histoire des outils d’écriture informatique, jusqu’aux moteurs de jeux vidéo, reflète des visions différentes de ce qu’est la notion d’interactivité dans un domaine et à une époque donnée. Nous proposons ici que le concepteur puisse prendre le point de vue d’un des deux autres protagonistes: l’interacteur ou les PNJ. Ceci aboutit à deux styles que nous appelons le style scripté d’une part et le style émergent d’autre part. Nous comparons ces styles d’un point de vue de l’écriture dans les jeux, de la notion de narrateur, de l’ouverture de l’œuvre et du style de programmation. Cette première comparaison formelle ne permet pas de tirer des conclusions convaincantes. Le cinquième chapitre est consacré à la conception et au développement d’une même installation, Le promeneur écoutant, selon les deux styles cités au chapitre précédent. La version scriptée a été réalisée dans le cadre du projet Terra Dynamica. Nous en proposons une seconde écriture en style émergent et comparons le résultat des deux approches. Nous parcourons l’ensemble des étapes de conception et de réalisation, de la spécification informelle à la programmation. Nous analysons du point de vue du concepteur ces deux styles. Nous montrons que le style émergent, séduisant à priori, aboutit à une complexité de création et de mise en œuvre très importante. Dans les deux cas, les lacunes et besoins en matière de méthodes et d’outils sont mis en évidence.Dans la conclusion, ce travail d’expérimentation est complété par une enquête donnant le point de vue de plusieurs concepteurs d’œuvres interactives sur notre problématique. Nous concluons par une synthèse de ce travail et une analyse de ses développements possibles tant sur le plan conceptuel de l’écriture que sur le développement d’outils auteurs
The author of this thesis has worked as music composer on numerous sound walk art installations. During the last decade, this work has been influenced by the design methods used in video games, leading to interactive sound walk pieces. In the design process of such pieces, as compared with interactive music works, the composer must write her/his sound design in a real or a virtual space according to the listener’s promenade. A way to drive this walk is to let the listener interact with the System through Non Player Characters (NPC). Such an installation shows the evolution of the composer’s role from that of a deterministic creation to a non-deterministic one. For a given piece, the creator leaves to the interactor a certain amount of freedom and to the system, according its level of self-sufficiency, a certain amount of autonomy. According to these two parameters, each art piece can be positioned somewhere within a triangle D.I.S. which vertices are the Designer, the Interactor and the System. The main goal of this thesis is to analyze the goals and the needs of the designer of such interactive pieces, in terms of methodology and tools. We begin this work by a state of the art covering various fields, from interactive art to intelligent agents. The third chapter is devoted to the analysis of interactive pieces designed by musicians, plastic artists, game designers. From this analysis we propose a set of classification criteria and we place these art works in the DIS triangle. The fourth chapter raises the problematic of our research. We assume that the choice of a position in this triangle is directly related to a choice between two writing styles, the “scripting style” and the “emergent style”. In the scripting style, the designer takes the point of view of the interactor who becomes the narrator. In the emergent style, the designer takes the point of view of the NPC. The two styles are first compared according to the criteria presented in the previous chapter.For a deeper analysis of the two styles, we have designed, with the help of a development team, two versions of the same interactive sound installation The Listening Walker. The installation was created in Paris during the “Futur en Seine” Festival in June 2013 and shown as an art installation for ICEC 2013 in Sao paulo.The goal of this sound walk is to discover a virtual district of Paris around the Pantheon. This installation is designed as a video game with different levels of exploration. The player’s reward is the discovery of the city mainly via sound. Success depends on his listening behavior: NPC are moving around him, interpreting his moves, the direction he takes and the time spent listening particular sounds. Depending upon the listener’s attitude, each NPC has his own reaction such as running away, getting closer to the listener, ignoring him or helping him to discover secret areas. In the fifth chapter, we present the whole creation and development process of the two versions of the installation. It starts with the constraints and artistic choices. The informal specifications of the two versions are presented and the methods and programming methodologies used described. In both cases, the lack of efficient tools for non programmers is pointed out. This experiment shows also the great complexity of the emergent style compared to the scripting style: it is much more difficult to specify a world than to write a story, even an interactive one.In the conclusion, we corroborate our analysis with the point of view of creators working in different fields from interactive music to game design. Some possible extensions of this work are then presented
APA, Harvard, Vancouver, ISO, and other styles
7

Shaffer, Michael J. "Dan Graham's Video-Installations of the 1970s." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/56.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
8

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.

Full text
Abstract:
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).
APA, Harvard, Vancouver, ISO, and other styles
9

Aroztegui, Massera Carmen. "The calabozo: virtual reconstruction of a prison cell based on personal accounts." Texas A&M University, 2005. http://hdl.handle.net/1969.1/3736.

Full text
Abstract:
The objective of my research is to create a visualization of a place based on personal experiences. My research addresses this issue through a case study: the visualization of a women’s political prison located in Punta de Rieles, Uruguay, during the Uruguayan dictatorship (1973-85). In June of 2002, I went to Uruguay and interviewed nine female former political prisoners. I asked them to tell me stories about what happened to them during their time in prison. My research aims at relating their experience of prison through a visualization of their stories. The challenge addressed by my research is the creation of a virtual reconstruction that can communicate the experience of prison through the integration of narrative, light modeling and sound. The proposed visualization is a video installation based on these women’s personal experiences of the solitary confinement cell (calabozo).
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
Abstract:
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 désirant
This 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
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Video installation"

1

Lucier, Mary. Wilderness: A video installation. Cambridge, Mass: New England Foundation for the Arts, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Myers, Rita. Phantom cities: A video installation. [Amherst, Mass: University Gallery, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Mary, Lucier, and Toledo Museum of Art, eds. Noah's raven: A video installation. Toledo, Ohio: Toledo Museum of Art, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Gallery, Tate, ed. Performance art and video installation. Millbank, London: Tate Gallery, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Goodwin, Dryden. Closer: Three screen video installation. London: Tate, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Jahn, Hartmut. Babylon circus ; Video film installation. Nürnberg: Verlag für moderne Kunst, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Brech, Christoph. Passagen: Video, Fotografie, Installation : Christoph Brech. Köln: Wienand, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Brech, Christoph. Passagen: Video, Fotografie, Installation : Christoph Brech. Köln: Wienand, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Hegarty, Frances. Voice over: Installation with video & sound. [Manchester?]: [Metropolitan Galleries?], 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Michael, Buhrs, Firmenich Andrea 1959-, Janssen Johannes, Sinclair-Haus, and Museum Villa Stuck, eds. Passagen: Video, Fotografie, Installation : Christoph Brech. Köln: Wienand, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Video installation"

1

Simine, Silke Arnold-de. "Testimonial Video Installation." In Mediating Memory in the Museum, 97–105. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137352644_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Charleson, Diane. "Video Installation and the Agency of the Viewer." In Filmmaking as Research, 69–85. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24635-8_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Krewani, Angela. "The Selfie as Feedback: Video, Narcissism, and the Closed-Circuit Video Installation." In Exploring the Selfie, 95–109. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-57949-8_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Lysova, Tatiana. "Video Surveillance and Public Space: Surveillance Society Vs. Security State." In Frontiers in Sociology and Social Research, 221–36. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11756-5_14.

Full text
Abstract:
AbstractSince the end of the last century, the number of video surveillance cameras installed in public spaces has increasingly grown worldwide. Although the installation of video surveillance should allegedly deter crime and improve the fear of crime and the perception of insecurity, the technology collects a vast number of traces of all the members of a population, regardless of their criminal intentions. In the academic literature, two main theoretical approaches have been formed to comprehend the role of video surveillance in public spaces: surveillance society and security state. Interestingly, both of them find their roots in Foucault’s ideas. The first one, surveillance society, is based on Foucault’s perspective on disciplinary power. The latter, the security state, draws on the notions of apparatus of security and governmentality. This chapter is undertaken with the aim of providing an overview of the key features of the two approaches and their comparison. Furthermore, it discusses the possibility of applying both theories to analyze video surveillance in public spaces as it could offer a deeper understanding of a complex interplay of different logics behind an ever-increasing data collection on members of society.
APA, Harvard, Vancouver, ISO, and other styles
5

Liu, Qianyu. "Research on the Application of New Media Video Installation Art in Display Design." In Proceedings of the 2023 9th International Conference on Humanities and Social Science Research (ICHSSR 2023), 1279–84. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-092-3_163.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Meng, Yuan. "Research and Exploration on the Application of Dynamic Art Video Installation Based on New Media Context." In Advances in Social Science, Education and Humanities Research, 580–85. Paris: Atlantis Press SARL, 2024. http://dx.doi.org/10.2991/978-2-38476-259-0_62.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Craven, Michael P., Lucy Simons, Alinda Gillott, Steve North, Holger Schnädelbach, and Zoe Young. "Evaluating a Public Display Installation with Game and Video to Raise Awareness of Attention Deficit Hyperactivity Disorder." In Human-Computer Interaction: Interaction Technologies, 584–95. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20916-6_54.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Cornelisse, Richard. "Non-linear Video Documentary Installation Frameworks, and Poetic Linkage in Silk Road Stories: Life and Displacement on the Automated Highway." In Lecture Notes in Computer Science, 177–86. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06047-2_13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Taraba, Sylvia. "»Mystik des Lichts« und »Landschaft mit Fußwanderung. Hommage an Caspar David Friedrich« (Video-Installationen)." In Film, Fernsehen, Video und die Künste, 234–38. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-03527-1_19.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Papadaki, Elena. "Interactive Video Installations in Public Spaces: Rafael Lozano-Hemmer’s Under Scan." In Besides the Screen, 197–212. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137471024_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Video installation"

1

Smolin, Lydia, and Katrin Wolf. "Who’s Watching? A feminist urban video installation." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.27.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Zheng, Ying, and Peng Zhang. "Interactive Video Installation Art Under New Media Art." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.018.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Tardieu, D., X. Siebert, S. Dupont, B. Mazzarino, and B. Blumenthal. "An interactive installation for browsing a dance video database." In 2010 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2010. http://dx.doi.org/10.1109/icme.2010.5583260.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Amano, Toshiyuki. "Adaptive Appearance Manipulation for the Installation Art." In JSAP-OSA Joint Symposia. Washington, D.C.: Optica Publishing Group, 2017. http://dx.doi.org/10.1364/jsap.2017.6a_a409_5.

Full text
Abstract:
The optical feedback system that consists of a video projector and a camera enables appearance manipulation, which manipulates apparent color, and brightness, etc., with adaptive radiometric compensation and it affects our material perception. Its application field includes the visual inspection, assistance for visual impairment, optical illusion, and installation art.
APA, Harvard, Vancouver, ISO, and other styles
5

Cucicov, Dorin. "Mytherrella: an interactive installation hallucinating mythological auroral formations." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-7-short-cucicov-mytherrella.

Full text
Abstract:
SHORT PAPER. Up until very recently, mythological tales predominated in the explanation of the polar auroras. Today, we understand that the polar lights are a phenomenon brought on by the solar winds' interaction with the magnetosphere of the Earth leading to precipitation of energetic particles on the topside ionised atmosphere. However, for a long time, this phenomenon inspired vibrant trans-border stories with a profound impact on local communities. In our interactive installation, Mytherrella, we aimed to create a dynamic environment in which scientific data and mythological storytelling unearth new imaginaries about the aurora borealis. The generative video integrated in the installation uses a custom real-time StyleGAN algorithm that continuously samples from a model trained on a large set of all-sky auroral images acquired in Kiruna, Sweden. This method enables live interaction with the generated video, producing novel synthetic auroral formations that are unpredictable while remaining within the bounds of the learned features. By combining the dataset with a relatively small number of alternative-style images, the diversity of the generated content is increased, creating a divergent effect that reinforces the mythological narrative. We share the technique of interactive video generation as well as the research process behind the creation of the work.
APA, Harvard, Vancouver, ISO, and other styles
6

Lotis, Theodoros. "Tribalism and local structures in a music and video installation." In the 7th Audio Mostly Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2371456.2371481.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Rogachev, I. K., and M. S. Shushnov. "Analogue and digital video surveillance systems." In Modern Problems of Telecommunications - 2024. Siberian State University of Telecommunications and Information Systems, 2024. http://dx.doi.org/10.55648/spt-2024-1-194.

Full text
Abstract:
This paper discusses the types of video surveillance systems, features of operation and installation, and their differences. The principles for choosing the type of video surveillance cameras are also analyzed, depending on the conditions in which the system is designed.
APA, Harvard, Vancouver, ISO, and other styles
8

Chorianopoulos, K., and T. Rieniets. "City of collision: an interactive video installation to inform and engage." In 3rd IET International Conference on Intelligent Environments (IE 07). IEE, 2007. http://dx.doi.org/10.1049/cp:20070415.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Trigo, Clara. "Poetics of Instability at the Get[IN]Gravity Interactive Video-Installation." In 2022 Third International Conference on Digital Creation in Arts, Media and Technology (ARTeFACTo). IEEE, 2022. http://dx.doi.org/10.1109/artefacto57448.2022.10061265.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

DeCorso, Richard, Daniel E. Caguiat, Jeffrey S. Patterson, and David M. Zipkin. "USNS LCPL Roy M. Wheat: Zorya DT-59 Gas Turbine Installation and Integration." In ASME Turbo Expo 2004: Power for Land, Sea, and Air. ASMEDC, 2004. http://dx.doi.org/10.1115/gt2004-54306.

Full text
Abstract:
In June 1997, the U.S. Navy purchased the Soviet military cargo ship “Vladimir Vaslyaev” for conversion to the USNS LCPL Roy M. Wheat for use in the Maritime Prepositioning Force. This paper documents the efforts of NSWCCD and dB Associates in supporting the installation, startup, and integration of the ship’s controls with the two Zorya DT-59 main propulsion gas turbine engines (GTE’s). The installation documentation developed included a video record of the port and starboard gas turbine installations, as well as information that aided in the development of the Engineering Operational Procedures (EOP). The integration for the DT-59s focused on providing engine speed sensors, an engine vibration monitoring system and engine reversing protection circuits.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Video installation"

1

Strehlow, J. P. Structural analysis of color video camera installation on tank 241AW101 (2 Volumes). Office of Scientific and Technical Information (OSTI), August 1994. http://dx.doi.org/10.2172/10180912.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Arhin, Stephen, Babin Manandhar, Kevin Obike, and Melissa Anderson. Impact of Dedicated Bus Lanes on Intersection Operations and Travel Time Model Development. Mineta Transportation Institute, June 2022. http://dx.doi.org/10.31979/mti.2022.2040.

Full text
Abstract:
Over the years, public transit agencies have been trying to improve their operations by continuously evaluating best practices to better serve patrons. Washington Metropolitan Area Transit Authority (WMATA) oversees the transit bus operations in the Washington Metropolitan Area (District of Columbia, some parts of Maryland and Virginia). One practice attempted by WMATA to improve bus travel time and transit reliability has been the implementation of designated bus lanes (DBLs). The District Department of Transportation (DDOT) implemented a bus priority program on selected corridors in the District of Columbia leading to the installation of red-painted DBLs on corridors of H Street, NW, and I Street, NW. This study evaluates the impacts on the performance of transit buses along with the general traffic performance at intersections on corridors with DBLs installed in Washington, DC by using a “before” and “after” approach. The team utilized non-intrusive video data to perform vehicular turning movement counts to assess the traffic flow and delays (measures of effectiveness) with a traffic simulation software. Furthermore, the team analyzed the Automatic Vehicle Locator (AVL) data provided by WMATA for buses operating on the study segments to evaluate bus travel time. The statistical analysis showed that the vehicles traveling on H Street and I Street (NW) experienced significantly lower delays during both AM (7:00–9:30 AM) and PM (4:00–6:30 PM) peak hours after the installation of bus lanes. The approximation error metrics (normalized squared errors) for the testing dataset was 0.97, indicating that the model was predicting bus travel times based on unknown data with great accuracy. WMATA can apply this research to other segments with busy bus schedules and multiple routes to evaluate the need for DBLs. Neural network models can also be used to approximate bus travel times on segments by simulating scenarios with DBLs to obtain accurate bus travel times. Such implementation could not only improve WMATA’s bus service and reliability but also alleviate general traffic delays.
APA, Harvard, Vancouver, ISO, and other styles
3

Marlatt, Richard M., Thomas A. Hale, R. G. Sullivan, and J. C. Douglas. Video Simulation for Training Land Design and Management. TRADOC Installations, Fiscal Years 1992-1993. Fort Belvoir, VA: Defense Technical Information Center, August 1995. http://dx.doi.org/10.21236/ada299801.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Video installation' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography