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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 textAbstract:
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.
2
Vatsella, Christina. "La question de l'espace dans l'installation vidéo." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040269.
Full textAbstract:
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
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 textAbstract:
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
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 textAbstract:
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.
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 textAbstract:
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.
6
Le, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Thesis, Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913/document.
Full textAbstract:
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 auteursThe 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
7
Shaffer, Michael J. "Dan Graham's Video-Installations of the 1970s." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/56.
Full textAbstract:
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.
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 textAbstract:
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).
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 textAbstract:
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
womenÂs 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 womenÂs personal
experiences of the solitary confinement cell (calabozo).
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 textAbstract:
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
11
Le, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Electronic Thesis or Diss., Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913.
Full textAbstract:
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 auteursThe 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
12
Keane, Jenny. "Between fear and fascination : the horrific in women's contemporary video installation." Thesis, University of Ulster, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558783.
Full textAbstract:
The female body has historically been determined as the site of the frighteningly monstrous Other in phallocentric thought, and in terms of art practice the traditional female nude was represented as either pure or debased - yet through various modes of expanding and imploding the tropes of traditional horror films, some contemporary women artists have begun to investigate the fragmentation of the female body to evoke a new process of deciphering the dichotomous emotions of fear, disgust and desire. In a dialogical relationship between practice-based and written research, this thesis explores contemporary video installation case-studies in relation to early feminist art practices, lesbian representation, and psychoanalytical studies. The issues surrounding the classic cinematic representation of femininity cannot be avoided due to the cinematic conventions that have been assimilated into all moving image practice - thus to investigate the challenge of representing femininity, the concept of horror is examined through numerous sources, including film and literary theory, feminism, queer theory, and video art. While the discourse on horror films has been important, especially in relation to feminist theory, its recent connection to video installation has not been fully explored. I question whether video installation engenders a more direct and visceral response to horror due to its spatial and temporal interrelation, and posit that video installations can utilise visualisations of the horrific in an attempt to redefine the rigidity of binaries that are constructed in phallocentric culture. Through the thesis I propose that my practice, in relation to the work of the other artists examined, explores the liminal state of the body and employs a transgressive mode of spatio-temporality through video and video installation to engender new compelling ways of pushing the boundaries surrounding the fears and fascinations of sexual difference.
13
Ho, Pui San. "La réhabilitation du toucher : l'installation tactile et la vidéo haptique dans l'art contemporain." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010559.
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A partir de mon expérience personnelle en tant que myope, j'ai eu l'idée d'une «contre vision» dans la création artistique. Les philosophes et les artistes ont longtemps pensé que le sens de la vue occupait la place la plus noble par rapport aux autres sens. Mais il y a une autre tendance à l'opposé de ce point de vue. Le paradoxe de la supériorité de la vue établit la théorie de base de cette thèse. Le concept de cette recherche vient de l'ouvrage d'Aloïs Riegl, qui a défini I' «haptique» comme une vision de près, spéciale car devant obligatoirement se référer au sens du toucher. Mon hypothèse est la suivante : Est-ce que le sens du toucher peut être le moyen le plus efficace pour percevoir et pour créer une œuvre d'art? Quel serait l'apport privilégié de la vidéo à cette perception ? Trois séries d'œuvres sont réalisées comportant tableaux, broderies, sculptures et vidéos. Elles se présentent en trois chapitres pour répondre à l'hypothèse : le toucher de la main est analysé dans le premier chapitre; puis c'est au tour de celui de l'œil dans le deuxième ; Enfin, au troisième chapitre, la caméra-toucher mêle les deux fonctions. La thèse tente de briser la règle de l'«interdiction de toucher» dans le musée. Par l'inspiration de la manière de faire d'un groupe de personnes qui ne voient pas, elle propose que l'œuvre d'art puisse être appréciée par le toucher des handicapés visuels et des personnes voyantes. Elle présente la vision haptique - une vision corrigée par l'expérience du sens du toucher. A travers l'intervention de l'art vidéo, la recherche s'inscrit dans l'art contemporain. Cette thèse conduit à «la réhabilitation du toucher», réfutant la théorie selon laquelle «la vue est supérieure aux autres sens»From my personal experience as myopic, I had an idea of « cons-vision » in artistic creation. For a long time, philosophers and artists have thought that the sense of sight occupied the nobles place of senses. But there is another tendency is opposite to that view. The paradox of sight's superiority establishes the basic theory of this thesis. Concept of this research comes from the work of Aloïs Riegl, who defined "haptic". As a near and special vision because it must refer to the sense of touch. My hypothesis is: Does the sense of touch can be the most effective way to perceive and create an art work? What would be privileged contribution of video to that perception? Three series of art works are created including paintings, embroideries, sculptures and videos. They are presented in three chapters as a response to the hypothesis: touch of hands is analyzed in first chapter; then the sense of sight in the second; finally in the third chapter, the touch-camera combines these two functions. This thesis tries to break anti-contact rule in museum. Inspired by a group of blind people, it proposes that the artwork can be appreciated by the touch of blind and sighted people. It shows that the haptic vision -a vision corrected by the experience of sense of touch. Through the intervention of video art, this research becomes a part of contemporary art. This thesis supports "rehabilitation of touching”, refuting the theory that “sight is superior to other senses”
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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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de, Berigny Wall (onacloV) Caitilin, and n/a. "Documentary Transforms into Video Installation via the Processes of Intertextuality and Detournement." University of Canberra. Creative Communication, 2006. http://erl.canberra.edu.au./public/adt-AUC20071017.094719.
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My argument is that documentary texts can be transformed into artworks via the
processes of intertextuality and detournement, when they are exhibited as video
installations. I argue that early 1920s modernist avant-garde painter-filmmakers
shared with contemporary documentary video installation painter-filmmakers
particular tendencies, characteristics and interests. The bodies of work in each period
explore the generic properties of documentary through (primarily) abstract visual
associations, rather than through a conventional linear space.
Important 1920s modernist avant-garde films by Dziga Vertov, Luis Bunuel, Salvador
Dali, Joris Ivens, Man Ray and others will be considered in highlighting the
relationship between documentary and avant-garde cinema. I use this discussion as a
basis for examining my own work: for the creative component of this thesis, I filmed
and edited a three screen video installation. I interviewed 67 Australian Muslims and
used these interviews to explore the use of documentary in video installation.
The theoretical framework I used is based on the following: Julia Kristeva?s notion of
intertextuality, derived from Mikhail Bahktin?s work on dialogism, to interpret how
documentary texts take on conventions appropriate to other genres; Guy Debord?s
concept of d鴯urnement to provide a theory for the reuse of pre-existing artistic
elements found in documentary film; genre theory to interpret interactions between
documentary texts; Ludwig Wittgenstein?s notion of ?family resemblance? to explore
the indistinct boundaries of documentary; and Pascal Beausse?s analysis of how artists
have hijacked documentary. I also draw on Bill Nichols?s analytical framework of
documentary modes (poetic, expository, observational, participatory, performative,
reflexive) to explore documentary in cinema and installation art.
The documentary genre is not habitually discussed outside film, television,
photography or the web. My research demonstrates that the genre has found its place
in other areas of artistic practice and can also apply to medium of video installation.
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Oen, Karin Grace. "Admonition and the academy : installation, video, and performance art in Reform Era China." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77871.
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Thesis (Ph. D. in History, Theory, and Criticism of Art and Architecture)--Massachusetts Institute of Technology, Dept. of Architecture, 2012.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 201-214).
China's Reform Era (1978-present) has seen the reinvigoration of academic, and artistic practice, and a rapprochement between the Chinese Communist Party and the intellectual elite. At its beginnings in the early- to mid-1980s the new availability of foreign texts and media led to Culture Fever, a widespread phenomenon throughout the intellectual and artistic spheres characterized by enthusiasm for the philosophy, literature, and art of the West and pre-Communist China and the simultaneous uptake of discrete Western and Confucian philosophies. These discussions often addressed modernity and modernism in China, a crucial homology to early twentieth century Chinese negotiations in literature and the arts and the development of an amalgamated "Chinese modernism" comprised of elements of both Confucian and Western philosophy and aesthetics. As this dissertation argues, key early experimental works of the Reform Era by Zhang Peili, Wu Shanzhuan, and Zhang Huan reveal a proclivity for subtle and indirect admonitory messages about China's socio-political climate - a contemporary inhabitation of the traditional elite scholar-artist and his obligation to criticize immoral or unjust policies or actions. This admonitory practice was built by artists educated in elite academies (specifically, the Central Academy of Fine Art in Beijing and the Zhejiang Academy of Fine Art in Hangzhou) yet utilized completely new and non-academic media. What this thesis terms as an "art of admonition" utilized traditional tropes, including direct remonstrations of officials, withdrawal from official life in protest, and the concept of the "middle hermit" - a scholar who admonishes official policy subtly and indirectly. The experimental practices of artists after their graduation from elite academies stemmed from the extra-curricular resources made available to them, especially the schools' libraries. The connection of these unofficial works to the official academies, their validation by art market success, and the subsequent official endorsement accorded to these and other artists in the later Reform Era blurs the distinctions between official and unofficial artistic practice in China, suggesting a strong endorsement of the dissident artist's role as "middle hermit."
by Karin Grace Oen.
Ph.D.in History, Theory, and Criticism of Art and Architecture
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Gu, Chen. "Everyday Rituals." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1441.
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This thesis traces the trajectory of Chen Gu’s work over a three year period, looking at major influences such as Bustos and Saville, on her painting and film projects. She explores the concept of childhood, memory, and portraiture.
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Verticchio, Matthew. "The Problem of Meaning." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555437717271275.
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Preston, Katherine Louise. "Immersive Imagined Cultures: Communicating the lived experience of cultural identity and memory through video installation." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/14539.
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In recent years a proliferation of video installation has been created concerning the notion of cultural identity and cultural memory. Highlighting the complexities of these themes, video installation provides the artist with an opportunity to create an affective environment for the viewer, through which the lived experiences that inform cultural identity may be expressed, shared and understood; while the experience of viewing becomes a part of the process of becoming that cultural identity continues to undertake. It is the central argument of this thesis that the strengthening relationship between video installation and the concept of cultural identity is intrinsically linked to the medium’s ability to create an immersive sensory field involving sight, sound, time, space and movement, in which the viewer undergoes a phenomenological experience and engages in an active questioning of how cultural identity is formed, experienced and evolved. Drawing on phenomenological, postcolonial and feminist theory, I critically analyse the sensory elements of three video installations that are global representatives standing for this body of arguments; Shirin Neshat’s Rapture, Dana Claxton’s Sitting Bull and The Moose Jaw Sioux and Nalini Malani’s In Search of Vanished Blood. Relevant due to their themes of cultural identity and the poetics of memory, and their use of all the sensory components of video installation as a means of communication, these artworks illustrate the diverse issues that cultural identity can include, along with an evolution in the complexity of the medium itself. Moving beyond issues of representation, this thesis delves into the communication of cultural identity and memory between the artist and the viewer.
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Eastland, Elizabeth. "Telling stories out of school: reframing scientific research through narrative: a multi-screen direct cinema film installation of four female scientists." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12777.
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This project employs the emerging art practice of participant observation ‘direct cinema’ and the emerging ‘cross-over’ discipline art/anthropology to examine and critique scientific investigative processes from the perspective of female scientists and presents its findings employing structuralist filmmaking approaches. While there have been some anthropological studies of scientists, to the best of my knowledge there have been no participant observational films of the scientific community. This thesis brings new insights into the practice of science by analysing and critiquing scientific investigative processes through participant observational filmmaking and narrative theory. It also brings new understanding to video installation practice by presenting four narrative direct cinema ‘ethnographies’ in a unique multi-screen, multi-modal gallery installation. This thesis, together with the multi-screen installation, explore a visual documentation of the site of scientific investigation, providing insights into scientific discovery processes that have to date remained under-documented. The work shows these processes include non-linear pathways, accidental and serendipitous encounters. The project reveals the process of scientific discovery is an immersive experience of high concentration across a range of cognitive modes, including the aesthetic, in a chaotic and changing environment. It reveals there is an important aesthetic dimension to the environment and discovery dependent on a material engagement with the subject matter. Although I shared the approach to my research with ethnography, this project was developed from the perspective of realist art practice. Through participant observational method of studying female scientists, I introduce an ‘outsider’ perspective which shines new light on the interpretation of scientific processes. The work presents a methodology for presenting multiple interpretations of an ‘objective world’, critiquing the notion of ‘scientific objectivity’ through reframing scientific experimentation within personal narratives. Rather than presenting the film via a single-point perspective of traditional documentaries, my project offers a way of weaving multiple views of reality into a multi-screen multi-modal installation. Its contribution to knowledge is through a narrative interpretation of scientific investigation and innovation in film installation art practice. The work also brings innovation to the body of knowledge – practice-based as well as theoretical – of ethnographic filmmaking.
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Wareham, Victoria L. "Surface Tension: An Exploration of the Ontological Instability of the Screen." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404854.
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Although screens are commonplace in our cultural habits, our homes and our hands, they remain largely unseen. The dominance of digital images has given rise to the ubiquitous screen as a carrier of radiant images. In response to the proliferation of contemporary screens, this research posits a new interpretation of the screen as a spectral entity that occupies a liminal zone between the image, the medium and the viewer. While the primary research outputs are situated in the gallery environment, the research also considers the sociological and philosophical positioning of the screen, particularly through the agency of technology.
Using the established method of practice as research, this investigation uses video installation to explore the ontological instability of the screen. It positions the origin of the contemporary screen pre-cinema and argues that the screen is an independent entity worthy of interrogation outside of existing pictorial, film and new media theoretical discourses.
The generated outcomes understand the screen as a product of the fluid interaction between the image, the object and the viewer, and considers its broader relationship to time and space. By presenting a vitalist proposition that screens are a mutable species, this research contributes new knowledge to the emerging field of screen ontology.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Sobotková, Adéla. "Holographic Hieroglyph." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232418.
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Topics fragmentary , symbolism and memory are the basic elements of creation and thinking Adele Sobotková (1987 ) . In her installation made of clay and covered with a udusaných objects together with the soil can walk, touch , read, intervene . This raises a cryptographic magical space full of mysterious objects in the video that represent clusters of personal hieroglyphic symbols and structures without the possibility of accurate decryption. These enigmatic characters are like glass or water , are changing , floating landscapes and refer to feelings of uncertainty, and forgetting the past, which is not entirely clear - is revealed as a mirage . Hologram is a representation of reality or reality that no longer exists but in time, or never existed , dream hi - technology , the current symbol of immortality, infinite and preservation in time. " Holographic hieroglyph " is a fluid phenomenon with varying meanings depending on its reading , the transcript or constant metaphor memories and the zpřítomňování hand in hand zpřítomňování a revival oblivion . Unclear character that has certainly not decipher , and yet we have it all in front of him , we see him from all sides , but also through him is the present and yet unreal . Great recording of uncertainty. (press release of the exhibition Holographic Hieroglyph in the Youth Gallery in Brno)
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Tanoai, Tuafale. "Story telling as koha consolidating community memories : [an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design, 2009] /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/783.
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This project will explore a fusion of Tangata Whenua and Pacific perspectives within a performance installation framework. I intend to juxtapose community narratives within a video art form. I will explore the recording and transmitting of indigenous stories and will create contemporary narratives linking the past to the present. Working within my communities, (Tangata Whenua1, Pacific2, artists from different disciplines, LGBT3, and extensive friends networks), this project will investigate aspects of performance installation using live sets amid recordings of conversations and develop an interviewing practice. The performances are temporary and the devices ad-hoc.
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Kilhof, Markéta. "Virtual legenda." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-240569.
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Barber, James. "Installation art and memory : a practice-as-research exploration." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/900.
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This practice-as-research project investigates how a piece of site-responsive Installation Art, titled Triple Point Dunnage (exhibited in Royal William Yard, June 2009), can be used to generate knowledge about memory work through experience of site. Working in dialogue with the ideas of Daniel C. Dennett, Lucy Lippard and Gaston Bachelard, I attempted to create a permeable and fluctuating creative setting for the memory work of participants. An approach that used site as a stimulant within a process which also incorporated theoretical themes. During the period of design and construction, I interacted with and recorded interviews with people who had a personal connection with the site or with an interest in how memory works. The final installation presented layers of spoken fragmented content in a dialectic relationship within the installation’s spatial construction. The responses of the installation’s visitors and participants were collated through a response book and interviews. These were analysed in order to discover to what extent, if at all, the properties I had developed and designed into the work had shaped the engagements of the participants. The multi-valented properties of the work generated an array of responses that suggested that the viewers had fashioned their experience by blending the fragmented stories of others with their own personal histories. This engagement resembles Dennett’s concept of “self-narrator” and resonates with Bachelard’s concept of the fusion of physical and psychological space and Lippard’s understanding of place. By exploring memory through site Triple Point Dunnage generated a sense of place that was a fusion of the participants’ responses to the external physical environment and their associative memories stimulated by the affective fragmented properties of the work.
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Sebire, Adam. "Documentary polyptychs: multi-screen documentary on a theme of climate change." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10208.
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This MFA explores how the problematic phenomenology of climate change might be approached by revisiting an ancient visual art form, the Early Renaissance polyptych. I posit the polyptych as a proleptic form of installation art, providing a historical overview and analysis of multi-channel forms up to contemporary expanded cinema, before narrowing my focus to documentary film and video installations. I propose that principles of dialectical montage apply between spatialised screens and that, as a richly affective form, the relationship between screens coexisting within a single field of view might productively be considered using Deleuze’s notion of the time-image crystal. Furthermore that the visitor, in becoming an ‘editor’ via bodily movement, might be positioned in a lineage to Vertov’s kino-eye, thus becoming a kinaesthetic eye. I use Mark Boulos’ All That is Solid Melts Into Air (2008) and Isaac Julien’s Ten Thousand Waves (2010), two- & nine-channel works respectively, to discuss these ideas. The ‘unseen’ nature of anthropogenic climate change poses particular challenges both for a culture that emphasises ‘seeing is believing’ and for documentary forms traditionally reliant on visible evidence. My creative work focuses on the phenomenon of sea level rise, and is presented in the form of a documentary polyptych with which the viewer physically engages. Without delivering a climate change polemic, the work explores crucial dissociations — of cause from effect, of today’s action from tomorrow’s result, of behaviour here from outcome there — through an open, affective form that replaces documentary’s traditionally temporal strategies with spatialised montage. More generally I position the form amidst both the veritable renaissance of multi-channel video art and the proliferation of multiple screen devices in contemporary society. How might documentary’s potential for creating meaning — and perhaps inspiring agency — change when it moves to multiple screens?
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Sadeghi, Seyedeh Tara. "De la violence dans l'art contemporain à partir des oeuvres de Valie Export, Marie-Jo Lafontaine, Ana Mendieta et quelques autres." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0670.
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A partir des réflexions plastiques, cette recherche vise à étudier des liens entre la violence et l’art contemporain. La violence s’inscrit dans différentes perspectives. Elle est d’abord une force physique qui génère un certain nombre d’effets tangibles. Ensuite elle est un concept qui permet aux philosophes, psychologues, écrivains et artistes d'explorer un vaste champ de recherche dans leurs domaines. La première partie va étudier l’histoire de l’art visuel du XIe siècle à nos jours et ensuite porte un regard sur l'art figuratif en Iran, La deuxième partie vise à étudier l’usage du corps dans l’art contemporain, notamment dans l'installation, en tant que sujet de violence physique, en nous basant sur les faits historiques et psychologiques. La troisième partie, consacrée à la performance, permettra d’analyser des représentations d’actes violents dans les œuvres d’artistes femmes en particulier, et révèlera le rôle essentiel de la violence sur nos concepts visuels. Ensuite, dans la dernière partie, qui traite de l'art vidéographique, nous examinerons les vidéos dont la violence est vue comme une action permanente qui, de plus, portent une réflexion sur les artistes et nous permet de s’intéresser à des œuvres plus récentesFrom the plastic reflections, this research aims to study links between violence and contemporary art. Violence has different perspectives. It is primarily a physical force that generates numbers of tangible effects. Then it is a concept that allows philosophers, psychologists, writers and artists to explore a vast field of research in their domain.The first part is going to study the history of visual art from the XIth century to our days and then take a look at the figurative art in Iran. The second part aims to study the use of the body in contemporary art, especially in installation, as the subject of physical violence based on historical and psychological facts. The tird part, dedicated to performance, will analyze representations of violent acts in artistical works and reveals the essential role of violence on our visual concepts. Then, in the last part, which speak about video art, we will examine videos where the violence is a permanent action that, moreover, reflect on the artists and allows us to take an interest in more recent works
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Holtsclaw, Anita. "To see and be seen : cinematic constructions of gender and spectatorship in contemporary screen-based art." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76536/1/Anita_Holtsclaw_Thesis.pdf.
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To See and Be Seen: Cinematic Constructions of Gender and Spectatorship in Contemporary Screen-Based Art addresses how gendered representation can be structured within visual art practice through a series of creative moving-image works. Using the aesthetic language of French New Wave cinema as its primary point of departure, this research project investigates how gendered representations are constructed by cinematic language. In doing this, it proposes latent possibilities present within the dominant gaze created by patriarchal relations of power. This project, in a series of creative works, demonstrates how the 'masculine' authorial gaze is learnt culturally, and by examining the gendered syntax of film, reveals how this can be recontextualised by the female artist.
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Krueger, Claire. "Locus." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3109.
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This thesis explores my practice as it has progressed into video and video installation. I detail my use of cinematic tropes and mechanisms as they function within a spatial installation. I discuss the relationship of my work to other artists such as Pierre Huyghe, Janet Cardiff and George Bures Miller, and Kevin Cooley who also deal with themes of landscape, spatial displacement, and video viewing. My work has evolved to video installation from a need to experience the traditionally flat viewing plane of photography in a more experiential way. The Locus installation is multi sensory, in that it addresses smell, sound, and vision. In my work, I employ methods such as obfuscated video and localized yet unconnected sound landscapes to consider notions such as the viewer’s self-awareness, fear of solitude, and the ‘other.’ I explore the other as a concept stemming from paranoia and anxiety of the unknown. This includes feeling an unfamiliar presence nearby or a known location that suddenly feels strange and unusual.
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Kachtík, Petr. "Audiovizuální instalace." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232389.
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This thesis is concerned with the relationship between sound and image, their manipulation in real time. The main topic of this work is the permeation of these two elements into a single composition. I work with documentary footage witch I try compose according to the principles of VJing.
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Calvert, Stacy Jill. "Family Secrets: The Secrets That Lie Within." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1839.
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This thesis paper explores the mixed-media MFA installation show, Family Secrets: The Secrets That Lie Within. The show is a culmination of the author’s work during her time in the MFA in Media Arts Program at Southern Illinois University Carbondale. The show uses a variety of mediums including sound, video and illustration to tell this tale of family secrets and betrayal. As a young child, the author thought her family was perfect. They gathered every week at her grandparents’ house and were very close, or so she thought. As she started to move into adulthood, the idyllic childhood seemed like a distant memory. A series of events happened that changed her family dynamic forever. In the show, Family Secrets, viewers are led through a series of scenes taken from the author’s life. Each room reveals a little more until you are faced with the family’s biggest secret.
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Pierson, Mickaël. "De la salle obscure à l'exposition et au-delà : appropriation et réinterprétation du cinéma par les artistes plasticiens 1986-2016." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H313.
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Dans les années 1980-1990, le cinéma devient une stratégie majeure dans les pratiques artistiques autant pour des raisons de changements technologiques que des effets de génération. Des questions, dès lors, se posent, notamment celle de savoir ce que le cinéma fait à l'espace d'exposition. Le cinéma et l'exposition sont des espaces différents, régis par des règles de fonctionnement distinctes. À l'appui d'un corpus international couvrant la période 1986-2016 et en revenant sur l'historiographie de ces pratiques, la thèse se propose d'étudier les effets de ce déplacement du cinéma dans les pratiques artistiques. Des modifications portées à l'espace d'exposition par l'importation du dispositif cinématographique (écran, projecteur, salle de cinéma, séance) aux changements opérés dans le passage d'un spectateur de cinéma à celui du visiteur d'exposition, on remarque qu'il ne s'agit pas de reproduire le cinéma à l'exposition, mais au contraire de s'en servir pour reconsidérer le rapport à l'œuvre. S'observe enfin, chez ces mêmes artistes, après un déplacement du cinéma vers l'exposition, un mouvement vers l'espace public : le développement d'un travail hors de l'institution culturelle, vers un public différent, posant la question de la portée sociale de l'œuvre. L'enjeu est aussi de replacer ces travaux dans une histoire interdisciplinaire de l'art au croisement des pratiques performatives, des travaux des premiers vidéastes, mais aussi du cinéma expérimentalDue to technological changes and the rising generation of the 80s and 90s, cinema became a main strategy in visual arts, while impacting and transforming the exhibition space. Then some questions may be asked. Particularly, what cinema does to the exhibition space? Cinema and exhibition are two different spaces with distinct ways of functioning. This thesis, focusing on an international corpus from 1986 to 2016, goes back over the historiography of this subject and analyses the effects of the gradual bursting of cinema in the visual arts, such as modifications in the exhibition space (and the moving of the cinematic device - screen, projector, movie theatre, screening, etc.), changes of the viewer's outlook (from spectator to visitor), etc. These artists do not try to reproduce cinema in the exhibition, but on the contrary, intend to question its relationship to the artwork. In the end, the shift from cinema to exhibition reveals a desire to reach the public space, and, outside the cultural institutions, to enthrall a different audience. Such practices lead to consider the social impact of the artwork. This thesis also aspires to replace the works of these artists into an interdisciplinary history of art, at the junction of performing arts, the works of the first video artists and experimental cinema
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O'Donnell, James M. "Where do we go from here?" Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/113.
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Where do we go from here? is a video installation by Atlanta-based artist James O’Donnell that attempts to provoke others into similar contemplation of that existential question through an immersive video and audio installation exploring the self through references to the internal and external; past and future; and connection and disconnection.
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Washington, Christina Price. "Subject To Change." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/111.
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Subject to Change is the culmination of a two-year investigation of the idea of home. This thesis discusses the journey of creating a home for my family and the work it spawned. Various cultural and artistic influences that shape the work include Grimm’s fairytales, my upbringing in Germany, Sigmund Freud, Bernd and Hilla Becher, and Josef Beuys. This work reflects a situation and transforms material that takes on symbolic meaning.
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Macindoe, Annie C. "Melancholy and the memorial: Representing loss, grief and affect in contemporary visual art." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/119695/1/Annie_Macindoe_Thesis.pdf.
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Melancholy and the Memorial: Representing Loss, Grief and Affect in Contemporary Visual Art is a practice-led project that explores how contemporary art can respond to the limitations of traditional forms of language in the representation of trauma, loss and grief. The project reflects on the work of theorists and artists who also explore the ineffability of these memories and experiences. The creative outcomes have investigated how text, moving image, sound and space can be combined to reframe the dialogue around public and private expressions of trauma and open up discussion of the potential for shared, affectual experiences through art.
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Bentley, James E. III. "Looking Back: An Examination of Family Archives." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/79.
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With digital technology now dominating the film and photography industry, analog resources are becoming scarce. Simultaneously, memories preserved through personal family archives also are in danger of deterioration. Time, heat and humidity can cause film to decay just as the passage of time and the erosion of memory allows their contents to fade. In Looking Back, my family film and photography archives are exhumed and collectively examined by myself and my family. Reflecting upon this massive accumulation of imagery and their attached memories seems an endless task. However, as expressed in Looking Back, the greater the effort to bring conclusive memories to the surface, the more impossible the task proves to be, and larger questions about the significance of family history result.
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O, Donnell Sarah. "Tracing a Process." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339194276.
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Washington, Lindsay Amadi. "Black Things, White Spaces." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/theses/2319.
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This thesis paper, Black Things, White Spaces, offers an in depth look into my journey as an artist and how my artistic practice has evolved over the years. Throughout this time of self-exploration, I have developed an interest in themes of racism, structures of power, representation and stereotypes. In my artistic work, I explore how these themes affect the African American community, as well as myself, as an African American woman. This paper utilizes the creative and theoretical frameworks by artists and scholars like, Bill Viola, Adrian Piper, bell hooks, and Franz Fanon to support the intentions of my work. This thesis illustrates for the reader how my work approaches these themes through certain methodologies, such as: tactical media, blurring the lines between art and life, and the manipulation of time and space. In this paper, I argue the importance of placing my work within the context of African American experiences throughout history. By doing this, my work is able to reference several events throughout history, while addressing our current moment in time. Included in this manuscript are detailed descriptions and analyses of each piece in the thesis exhibition. It is important to speak about the development and the intentions of my art. While speaking about the work, I compare and contrast my thesis work to previous artworks I’ve done, as well as other artists works, in order to place these pieces within an art-historical framework. Finally, this thesis, also addresses how my current work presented in the thesis exhibition will inform my future artistic practice. I believe that my contributions to the African American media arts practice creates spaces to celebrate diversity, empower the voiceless, but most importantly, creates new avenues for change.
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Gerson, Ian. "The Break." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5481.
Full textAbstract:
The Break is a personal investigation into problems and possibilities of representing my specific transgender identity.
Trans as a tactic to speak about a state of forever becoming, forever in between, outside of and in opposition to dominant social norms of being.
Trans as a model for a different way of viewing and being in the world.
Can we form a different kind of horizontal shared power though a collective refusal to play into existing structures from which we have been excluded? What are the potentials for modeling other ways of being, other ways of (dis)engaging, other ways to be in the world?
What if we can disengage words from their established meanings? Can we re-see each other without the language that upholds the social conditions that maintain internalized categories? Can we collectively create the conditions to imagine the possibility of building other worlds in this world?
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Escobar, Mayte. "The Body As Border: El Cuerpo Como Frontera." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/247.
Full textAbstract:
Being First generation born Mexican American I am looking into the blend of the two cultures and the disparity between them. The border is the core of my investigation; by traveling across the border I have become conscious of the differences among both sides and duality within myself. My identity has developed from a synthesis of these two cultures, and my wok explores these two factions that cannot be one without the other. fusion is apparent in my self-portraits where I dress up with the colors from both sides of the border. But I also take a personal look into understanding the history and identity of each nation. I create a juxtaposition with these two identities that become one and explore the social, cultural, and political issues we face in the everyday. I recreate my “investigation,” by trying to dig deeper, exposing the layers, and facing my own identity crisis in the process.
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Dameron, Bryant Mark. "Walk 14 Blocks." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1431.
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Walk 14 Blocks is a document that describes my two-year investigation of simulation in everyday life. It describes how I examine both simulated places and the tools of simulation. I explain the key elements relating my work to simulation; experience, language, and the video monitor. I trace how I have utilized these elements in several works that led to my thesis exhibition titled Evidence.
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Eggleston, Carter Christian. "Plasticene." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/95541.
Full textAbstract:
Plasticene is an alternative term for Anthropocene, the proposed epoch that follows the Holocene and designates the beginning of significant human impact on Earth. While this moniker carries numerous implications across a range of disciplines, the scholarship of this thesis project is motivated by the creation and exhibition of a body of work that investigates the materiality and physical presence of technological convenience.
Plasticene is an exhibition of four looping, digital video animations alongside two interactive sculptural installations. The video-based pieces are explorations into the medium of digital video and how it functions as a carrier of visual information. They were created through iterative manipulations of how that information is digitally compressed, organized, archived, and revealed. The sculptural works are attempts to amplify the physical presence of technologies that can often be hard to see. They were built to perform simple gestures and rely on engaging multiple senses to call into question the routine way in which we interact with different technological devices.
This paper examines the essay "The Question Concerning Technology" by Martin Heidegger as a philosophical influence for this investigation before discussing several works by other artists to frame the works in Plasticene within a contemporary context. The individual works from the exhibition are then discussed with regard to their intention, conceptual motivation, and the process of their creation.Master of Fine Arts
Plasticene is an alternative term for Anthropocene, the proposed epoch that follows the Holocene and designates the beginning of significant human impact on Earth. While this moniker carries numerous implications across a range of disciplines, the scholarship of this thesis project is motivated by the creation and exhibition of a body of work that investigates the materiality and physical presence of technological convenience. Plasticene is an exhibition of four looping, digital video animations alongside two interactive sculptural installations. The video-based pieces are explorations into the medium of digital video and how it functions as a carrier of visual information. They were created through iterative manipulations of how that information is digitally compressed, organized, archived, and revealed. The sculptural works amplify the physical presence of technologies that can often be hard to see. They perform visually and aurally engaging gestures that prompt viewers to reconsider the routine way in which we interact with different technological devices.
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DeArriba-Montgomery, Julia. "Ensenada." Scholar Commons, 2004. https://scholarcommons.usf.edu/etd/1008.
Full textAbstract:
Ensenada is a multi-media installation containing video,natural materials, and sound. This installation was located in the Bustillo Cigar Factory, in historic West Tampa. The exhibition explored issues of history, mapping, and cultural myth-making while also presenting a world in which life and death are connected. The artist utilized sugar sculptures, twine, spanish moss, video and sound to explore these themes. The written project for this installation contained stories and memories of the artist that reflected the ideas presented in the exhibition.
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Maffioletti, Catherine. "Beyond the mirror : towards a feminised (cartographic) process of spatiality in moving-image & installation based art." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6107/.
Full textAbstract:
Going against phalloculocentrism’s situation in a hom(m)o-sexual paradigm and structuration of the male gaze and moving towards a gyneacentric perspective, the thesis explores how a feminised process of reception and interaction with artworks might arise. My installation and moving-image practice-led research is driven by a central question: How might a feminised form of spatiality, based on a gyneacentric model, deform an audience’s phalloculocentric reading of an artwork? The purpose of this thesis is to find a practice-led feminist method of producing an artwork that actively represents the feminine and de-centres an audience’s (male) gaze. By dislocating the eye from the lens of a camera, I propose to alter an audience’s usual cinematic experience of an image of the feminine through my artwork. This is developed through my proposition for composing an experience of her image through inter-relational exchanges in order to shift the register of reception from gazing to “touching”. I claim this could provide a potential for an embodied feminised process of spatiality and perception. A method of cartographically mapping the feminine through diagrams, photographs, drawings and video is developed in the preparation and installation of the central artwork that structures the thesis, (f)low visibility, in a nightclub. Feminist (installation and video) practitioners’, Martha Rosler, Louise Bourgeois, Mona Hatoum and Pipilotti Rist, approaches to representing the feminine are also investigated. The preparatory designs attempt to subvert the potential for a voyeuristic reception and/or exhibitionistic composition of the installation. This forms an investigation into how the reception and interaction with a feminised image might arise through a tactile process of exploration. I propose that although (f)low visibility produced ungraspable feminised on-screen images it afforded embodied partially locatable inter-relational exchanges in its reception of her. Luce Irigaray’s and Donna Haraway’s theories of embodiment are developed and intertwined in my conclusion. I claim that interaction with and reception of monstrous cyborg images on-screen occurred through the navigation of a fantasy of intrauterine “touching” in (f)low visibility’s installation as a feminised process of spatiality.
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Valentová, Aneta. "Vhled." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232331.
Full textAbstract:
This diploma thesis Insight brings philosophical reflection on photographic media in the form of installation with video-projection in space. Issues over problems of photographic media (locked doubles, stopped time, framed imprint of reality, real raw depiction) are opening by using story about creation of picture of a rabbit on the moon in the style of open metaphors in a white room. Through this myth photographic medium gets the concrete form - in the form of symbolic environment with objets and signs. The whole work is free personification of photograph in whose inside the audience may find themselves.
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Wickman, Annika. "I mötet med Bill Violas videokonstverk Five Angels for the Millennium." Thesis, Stockholm University, Department of Cinema Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-898.
Full textAbstract:
Uppsatsen behandlar upplevelse. Analysen av upplevelse utgår från uppsatsförfattarens möte med den amerikanske videokonstnären Bill Violas installation Five Angels for the Millennium (2001).
Forskningsansatsen är främst fenomenologisk vilket innebär att fokus ligger på att undersöka vad som är, vad det föreställer och hur den upplevande uppfattar detta.
I bakgrunden står frågan hur upplevelse, med utgångspunkt i en persons möte med ett videokonstverk, kan analyseras teoretiskt. Uppsatsförfattaren för samman ett antal teoretiker som alla skrivit om emotioner, i form av känsla eller affekt, i samband med en tolkningsakt. De forskare som det främst refereras till är Bent Fausing, Mark Hansen, Laura Marks, Janet H. Murray, Lynne Pearce och Roland Barthes. Barthes har även påverkat förhållningssättet till analysen i stort.
Den metod som används är att först skildra mötet med verket och att därefter analysera mötet utifrån fyra olika infallsvinklar. Från analysen av vad som mött den upplevande, flyttar perspektivet till att se vad som skett i den upplevande, för att därefter undersöka hur den upplevande utvecklat en relation till verket. Slutligen diskuteras verkets religiositet, bl.a. med hänvisning till Wassily Kandinskys texter om det andliga i konsten, Walter Benjamins beskrivning av upplevelse, nyare forskning om religiös upplevelse och Violas kontext och uttalade avsikt.
I texter om Viola framkommer det att de som mött hans verk delar en likartad upplevelse. Analysen är avsedd att ge en förståelse för hur Viola går till väga för att få den som möter hans verk att känna och tänka på ett visst sätt. Slutsatsen är att den upplevande, i mötet med verket, möter Violas ideologi, vilken kan sägas vila i utgångspunkten att människan måste finna en ny form av verklighet. Implicerat är att den värld hon lever i idag inte är människovänlig.
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Geurts, James, and james@jamesgeurts com. "BLUE-PRINT: Human/Hydrokinetic Drawing Projects." RMIT University. Art, 2010. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100326.114926.
Full textAbstract:
Blue-Print: Human/Hydrokinetic Drawing Projects, is based on an expanded field of drawing practice, centering on a series of spatial and time-based projects at various bodies of water around the world. Blue-Print drawing projects set out to describe a language that articulates a human/hydrokinetic relationship. This expanded drawing practice emerges through diverse forms of installation, video, land-art, kinetic sculpture, light works, sensor-drawing, photography, living-monochromes, sound, durational events and research. This expanded drawing practice is based on an inquiry into the relationships between land/place and thought/movement. It addresses the processes through which landscape, and its forms, are internalised in conceptual space, and the ways in which conceptual frameworks are projected outwards onto the landscape. The work is informed by, and contributes to, the paradigms of eco-poetics and psychogeography. Both of these paradigms engage with the relationships between the physical world and the human experience of space and time. Combining the two through my practice creates a view of the environment and the human as two interdependent circulatory systems. Bodies of water/weather cycles/conceptual systems/the human as a water-body, these are subjects in my work as much as the sense of circulation comes through methodologically and aesthetically in the actual making and form of my expanded drawings. This approach to art practice uses process in a particular way, that is as a primary means of making an artwork, although it could be said that such an approach is also an anti-method in as much as the 'method' is variable - it is continually invented given the situation/circumstances. What is consistent is a dynamic of proliferation; the work spreads out in different directions and in unpredictable ways. Here process is not for 'outcome' but is the work itself. My overall practice has taken drawing as the base from which to work. My works are combinational and connective. They are based on a type of research that is deliberate, intense and composite, and which activates the spaces of transformation that exist in the movement between landscape and thought, the circulation between environment and human. This investigation uses human engagement with moving bodies of water to generate drawings in a variety of ways, according to the specifics of each hydrokinetic system. This interest in human/hydrokinetic relationships stems from my experiences as a surfer and surfing is one of the means with which I create drawing works within this investigation. I am interested in the unique and dynamic complexity of hydrokinetics in each of the chosen locations and how this complexity of movement influences the drawing/ recording process. I am interested in generating real-time drawing works from the particular intersection of: place; time; human/hydrokinetic activity; ecological forces at work and the specific ways in which these variables all affect the resultant form of abstraction. Further to this I am interested in exploring the capacity of abstraction to access, and refer to, psychological space more readily than naturalistic renderings of the landscape.
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Franz, João Paulo Vicentini. "Interface : a projeção como membrana semipermeável." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/184850.
Full textAbstract:
A pesquisa "Interface: a projeção como membrana semipermeável" aborda um processo de criação artística que teve origem no início do ano de 2011. Os trabalhos, pensados inicialmente como vídeos, pelos quais foi experimentado romper com a estrutura narrativa do cinema tradicional, foram modificando-se no decorrer da pesquisa, desse modo, abrangendo o olhar sobre a instalação que continha o vídeo e a projeção. Passou-se, então, a explorar diferentes situações de apresentação espacial nas instalações propostas, muitas vezes, utilizando recursos computacionais de modelagem projetiva como suavização das áreas de projeção, delimitação da abrangência projetiva e inserção de múltiplos vídeos, bem como experimentou-se com interferências nas projeções. Para refletir sobre os trabalhos desenvolvidos, partiu-se de alguns artistas e autores que discutem o espaço de exposição e como o observador relaciona-se com ele, como Thommas Zummer, Andre Parente, Malcom Le Grice e Philippe Dubois. Mediante os conceitos de projeção, interface e membrana – abordados sob diferentes perspectivas do conhecimento – considerou-se o espaço de instalação em uma relação multidirecional entre o observador e o espaço de exposição.The research, "Interface: projection as semipermeable membrane", approaches a process of artistic creation that originated in the beginning of 2011. The works, initially thought as videos, by which it was tried to break with the narrative structure of traditional cinema, were modified in the course of the research, thus covering the view on the installation that contained the video and the projection. Then proceeded to explore different spatial presentation situations in the proposed installations, often using computational resources of projective modeling such as smoothing projection areas, delimiting the projective range and inserting multiple videos, as well as experimenting with interferences projections. In order to reflect on the work developed, it was used some artists and authors who discuss the exhibition space and how the observer relates to him, such as Thommas Zummer, Andre Parente, Malcolm Le Grice and Philippe Dubois. Through the concepts of projection, interface and membrane - approached from different perspectives of knowledge - the installation space was considered in a multidirectional relation between the observer and the exhibition space.
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Wiedeman, Christopher William. "The Carnal Slip." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/167.
Full textAbstract:
The thesis exhibit installed at VCU's Anderson Gallery was carried out using still imagery (a photograph), moving imagery (recorded video, live video), constructed objects and a delineated space. It was an experiment dealing with how one comes to know the world by virtue of one's physical activity within it. It was most importantly a work that required the viewer's participation in order to become "complete".
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Nery, Maria Angelica Del. "SALA DEVIR CINEMA: seis variações poéticas de uma película cinematográfica." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-25072018-165152/.
Full textAbstract:
Estudo, no plano das poéticas visuais (multimeios), sobre um ser em devir quando perde uma de suas potências constitutivas. A partir da apropriação de uma película cinematográfica de 35 mm, de origem desconhecida, comprada pela internet, foram realizados 6 experimentos poéticos em composição contínua. Esta experiência foi operada em diferentes meios expressivos e problematiza o estatuto da imagem na passagem de um meio a outro - imagem cinematográfica, fotograma, fotografia, vídeo, gravura, imagem instalada no espaço e jogo de mesa.This research in the area of visual poetics (multimedia) studies the becoming of a being losing one of his/its constituent potencies. Starting with the appropriation of a 35 mm strip of cinematographic film, from an unknown source, bought through the Internet, six poetic experiments were realized in a continuous composition. This experiment was carried out through different expressive mediums and questions the status of image during the passage from one medium to another: cinematographic image, frame, photography, video, print, installation art, board game.