Journal articles: 'Video installation'

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

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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.

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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).

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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.

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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

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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.

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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.

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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.

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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.

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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.

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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.

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

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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.

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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.

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Nogueira, Patrícia. "Space On and Off Screen: The Détournement of Documentary into Video Installation." Disegno 6, no. 1 (2022): 104–17. http://dx.doi.org/10.21096/disegno_2022_1pn.

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This essay proposes the détournement of the documentary film Displacement (Nogueira 2021) into a video installation, as a process to subvert the sequential documentary account of reality, as well as to interrogate space and movement on and off screen. Instead of editing and presenting the images and sounds in a continuous f low, the setup of the installation fragments the narrative and replaces the sequential format by a projected, sculptural, four-channel experience, composed of a prologue and three acts: (1) the family’s daily activities; (2) disruption of the quotidian routines; (3) the family’s displacement. While the installation projects the prologue onto clear white translucent plastic (like the ones used to cover construction sites) at the entrance to the darkroom, the three acts are projected on the three walls surrounding the audience in the darkroom. The result is an intersection of images and sounds: a juxtaposition and intertextuality of the content to offer an immersive view into family life. It also raises the question of embodiment in video installations, especially the notions of spectatorship, authorship, reality, performance, and, most importantly, what the boundaries of the screen are in the expanded practice of documentary film.

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Monterrubio-Ibáñez, Lourdes. "Zapping Zone and Level Five. Between the visitor’s experience of the video installation and the filmmaker’s reflection of the essay film." Arte, Individuo y Sociedad Avance en línea (September 4, 2023): 1–16. http://dx.doi.org/10.5209/aris.87867.

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The displacement from the essay film to the video installation has in Chris Marker one of its first and most relevant figures. The comparative study of Zapping Zone. Proposal for an imaginary television (1990) and Level Five (1997) allows for the analysis of the construction and complexification, and the deconstruction and saturation processes that take place between the most complex expression of the Markerian essay film and its transformation into the video installation. Zapping Zone responds to the embodiment of both the magmatic stage of the postmodern audiovisual era and the starting point of the filmmaker's work (documentaries, essay films, video installations, etc.), which would be the opposite of the writer’s blank page: a saturated world of images that needs to be selected, analysed and worked on in order to build meaning. Level Five offers the filmmaker’s reflection on that same reality, applied to the Battle of Okinawa, through a complex audiovisual thinking process that hybridises different types of images—documentary and fictional; analogue and electronic—devices—epistolary video diary, video game and cyberspace—and their authorial subjectivities—Laura, Laura’s lover and Chris—in order to reflect on the relationship between these audiovisual forms and spaces and the thematic axis memory-pain-oblivion.

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Nguyen, Khoa, Mattie McDonald, Colton Scavone, Nora Mattek, Jeffrey Kaye, and Hiroko Dodge. "Successful Transitions to Remote Assessments and Technology Installations due to COVID-19: The I-CONECT Project." Innovation in Aging 4, Supplement_1 (December 1, 2020): 958. http://dx.doi.org/10.1093/geroni/igaa057.3502.

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Abstract I-CONECT is a randomized controlled clinical trial to examine the impact of social interaction delivered via video-chat on cognitive function (clinicaltrials.gov number: NCT02871921, project website: www.I-CONECT.org ). We aimed to enroll 320 community-dwelling socially isolated older adults (age >=75 years). The recruitment of participants has started in 2018 and was ongoing when COVID-19 pandemic began. Video chat and telephone-based social interaction interventions did not change during COVID-19. However, new recruitment and cognitive assessments, which require in-person contact and deployment and retrieval of video chat devices in participant homes, were suspended due to the nature of our study population (i.e., older age, higher likelihood of comorbidities). Recently we were able to successfully switch to complete remote assessments including 1) telephone-based cognitive assessments using T-COG (Telephone Cognitive Assessment battery), and 2) contactless delivery of our study devices (Chrome books and electronic pill boxes) for subject self-installation. Our creative approach to self-installations includes color coded pictures and an easy-to-follow installation manual, accompanied by remote instruction and support via telephone. This poster introduces our remote assessment and installation protocol and participant and technical support team feedback regarding this new contactless protocol. This presentation provides useful guidance for future studies considering completely remote assessment and telemedicine approaches.

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Mutanda, Peter. "Video Installation Art as a Platform for Promoting Mental Health Awareness." International Journal of Art, Culture, Design, and Technology 12, no. 1 (January 13, 2023): 1–10. http://dx.doi.org/10.4018/ijacdt.316177.

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The author has been exploring the efficacy of video installation art as a meritorious health promotion medium. The researcher first created an original award-winning video installation art project, “The Besiegement: Advocating Mental Health,” which was exhibited for different age groups in various venues around Zimbabwe from 2019 until April 2020. The project did not continue exhibiting until the end of 2020 as planned due to the COVID-19 pandemic. The author has been critically analysing recorded interviews, discussions, audience reception, and views on the installation art experience regarding its possibilities and challenges. The project outcome suggests its potential as an effective medium for empowerment and enlightenment on mental health issues. Thus, video installation art has potential as a commendable developmental communication tool.

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Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (June 2016): 103–21. http://dx.doi.org/10.1162/dram_a_00550.

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Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.

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Kim, Cheonshik, Dongkyoo Shin, Dongil Shin, and Chin-Nung Yang. "Secure protection of video recorder video in smart car." International Journal of Distributed Sensor Networks 12, no. 12 (December 2016): 155014771668179. http://dx.doi.org/10.1177/1550147716681792.

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Many automobile drivers have come to believe that installation of video recording equipment in a car is essential to providing evidence in case of a car accident and to facilitate reporting to police. Thus, it is important to develop an in-vehicle video recorder with high resolution to document accidents. To provide such video quality, the H.264 video format, which offers high compression and good quality, has been used for an in-vehicle video recorder. However, due to problems with fabricated evidence of digital records, we propose a new watermark method to authenticate in-vehicle video. This watermarking scheme authenticates and protects in-vehicle video. The proposed scheme manipulates the quantization table of the I-frames in car surveillance videos and embeds watermarks in the I-frames. Experimental verification was done to confirm the authentication and tamper detection of the proposed watermark image method for in-vehicle video.

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Ramdani, Hasbi Taobah, Sulastini Sulastini, and Susan Susyanti. "Pengaruh Media Video (Teman Sebaya) Terhadap Keterampilan Pemasangan Elektrocardiogram." Jurnal Keperawatan 'Aisyiyah 5, no. 2 (April 8, 2019): 41–49. http://dx.doi.org/10.33867/jka.v5i2.76.

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The skill of installing an electrocardiogram (EKG) is one of the competencies that must be achieved by nursing students. To achieve these skills, it is necessary to have material delivery efforts by lecturers using the right media, so that the learning process becomes more effective. The learning process related to skills takes a lot of time and requires repetition until finally it is truly proficient. Therefore, it is necessary for media that are easily accessible at anytime and anywhere, one of which is through peer learning video media on ECG installation skills as a way to overcome skills problems in taking action on nursing students. The purpose of this study was to determine the effect of using video media (peers) on ECG installation skills in nursing students at STIKes Karsa Husada Garut. The research method is a quasi-experimental design with pre-post test group with control. The sampling technique used a total sampling of 104 students (intervention and control groups). The results of the study showed that some respondents had moderate skills in the installation of ECG before intervention. Most of the respondents have high skills in the installation of ECG after intervention. The results of bivariate analysis using the Whithney U Test Mann Test showed that there was a significant increase between ECG installation skills before and after the intervention was given in the form of using video media (peers) about the ECG installation skills (P Value = 0.000). The use of video media (peers) can improve the ability of nursing students in the action of EKG installation skills.

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Arattano, M., V. Coviello, M. Cavalli, F. Comiti, P. Macconi, J. Theule, and S. Crema. "Brief Communication: A new testing field for debris flow warning systems." Natural Hazards and Earth System Sciences 15, no. 7 (July 13, 2015): 1545–49. http://dx.doi.org/10.5194/nhess-15-1545-2015.

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Abstract. A permanent field installation for the systematic test of debris flow warning systems and algorithms has been equipped on the eastern Italian Alps. The installation was also designed to produce didactic videos and it may host informative visits. The populace education is essential and should be envisaged in planning any research on hazard mitigation interventions: this new installation responds to this requirement and offers an example of integration between technical and informative needs. The occurrence of a debris flow in 2014 allowed the first tests of a new warning system under development and to record an informative video on its performances. This paper will provide a description of the installation and an account of the first technical and informative results obtained.

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Fang, Binzhou, Hyung-gi Kim, and Joonki Paik. "Repetitive Art and Its Applications to Video Installation." TECHART: Journal of Arts and Imaging Science 5, no. 3 (August 31, 2018): 5–7. http://dx.doi.org/10.15323/techart.2018.08.5.3.5.

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Ng, B. C., M. S. Ab-Rahman, and A. Premadi. "Installation and Field Testing of Video Delivery System." Asian Journal of Applied Sciences 4, no. 4 (May 1, 2011): 423–30. http://dx.doi.org/10.3923/ajaps.2011.423.430.

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Paterson, Nancy. "Hair Salon TV: A Computer-Controlled Video Installation." Leonardo 24, no. 1 (1991): 15. http://dx.doi.org/10.2307/1575462.

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Jon Foley Sherman. "Multi-Media: Video—Installation—Performance (review)." Theatre Journal 60, no. 4 (2008): 692–93. http://dx.doi.org/10.1353/tj.0.0081.

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Johnson, Verlena L. "“Witness to Whiteness,” installation and video still, 2001." Journal of Lesbian Studies 15, no. 1 (January 18, 2011): 29–30. http://dx.doi.org/10.1080/10894160.2010.508404.

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Febri, I. Wayan Nain. "Penciptaan Video Seni Instalasi "Narkoba Berbahaya"." PERSPEKTIF 9, no. 2 (July 1, 2020): 388–96. http://dx.doi.org/10.31289/perspektif.v9i2.3829.

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This article discusses creating drugs that discuss new types of drugs that are very dangerous, so presenting images of drug victims in this video because it can be a concern that will increase the danger for adolescents in the productive period. Problems with the use of drugs. To discuss this problem, reference theory from (Sp, 2004) and (Murti, 2009) is used. The stages of the announcement process of the installation video of "Dangerous Drugs", discussed the stages of the creation of a television program including pre-production, production, and post-production. The results of the discussion of this article are the work of creating responses to phenomena that occur around social life. This study explains that the presence of a senior video on the installation of 'Dangerous Drugs' can trigger the creation of an anti-narcotics campaign with a form of senior video installation that is easily understood by many people who help everyone can help people who care about drugs, and always be vigilant in the social environment . This video also shows the big problem that is surrounding the future of the young generation in Indonesia.

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Sinnige, Sanne Fleur. "The allegorical re-presentation of colonial cinema in Sammy Baloji’s Pungulume (2016)." Moving Image Review & Art Journal (MIRAJ), The 12, no. 1 (April 1, 2023): 23–42. http://dx.doi.org/10.1386/miraj_00104_1.

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This article analyses artist Sammy Baloji’s video installation Pungulume (2016) with a focus on its recycling of film clips extracted from an archival colonial film from 1912. Inspired by art historian Georges Didi-Huberman’s anachronic approach to art history, and through a sketch of the history and present-day social and political context in the Congolese Katanga region, this essay contends that these archival clips speak primarily about the present and contain a topical significance. As the author demonstrates, this topical significance can solely be assessed when the viewer is knowledgeable about current political and social debates taking place in the former Katanga province. Additionally, this present-day relevance of the archival film clips also exists in terms of the video installation’s reception – the archival film clips reflect dynamics occurring in the spaces in which the video installation was conceived and continues to be exhibited. Through this reading that ultimately causes the ‘re-presentation’ of the anachronic archival film clips (while acknowledging its indebtment to Congolese popular painting), the author recalls the necessity of considering the historical production context in scholarly analyses of artworks – even when artworks reuse archival documents that stem, for example, from colonial cinema.

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Derr, Robert Ladislas. "Artist, Robert Ladislas Derr uses die rolls and cameras to map his walk through cities worldwide." Surveillance & Society 7, no. 2 (June 5, 2009): 94–97. http://dx.doi.org/10.24908/ss.v7i2.4135.

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Chance, psychogeographical walk performances through cities with the direction determined by viewers’ die rolls. The die indicates that Derr move forward, backward, right, left, spin, and stand in place. He accepts thirty die rolls and then proceeds on the walk wearing four video cameras. When spin or stand in place are the command, he completes each for one minute. The directional commands take him to the next intersection. After walking with the video cameras, Derr returns to each intersection encountered and photographs the four views, creating a photographic cartography as well. The final videos are exhibited in an immersive four-channel video installation.

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Maithani, Charu. "SEARCHING SUBJECTIVITIES IN VIDEO INSTALLATIONS OF AMAR KANWAR." ARTis ON, no. 4 (December 30, 2016): 77–83. http://dx.doi.org/10.37935/aion.v0i4.112.

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The essay views the video installation as an apparatus that lightens multiple subjectivities. By illustrating twoworks of Amar Kanwar, the essay elaborates on various positions of the audience, the methodologies used byKanwar in proposing different ways of viewing to generate different subjective experiences. This also offers ananalysis of video installation to re-define post-medium according to engagement with the art object and not inits making.

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Arattano, M., V. Coviello, M. Cavalli, F. Comiti, P. Macconi, L. Marchi, J. Theule, and S. Crema. "Brief Communication: A new testing field for debris flow warning systems and algorithms." Natural Hazards and Earth System Sciences Discussions 3, no. 3 (March 2, 2015): 1717–29. http://dx.doi.org/10.5194/nhessd-3-1717-2015.

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Abstract. Early warning systems (EWSs) are among the measures adopted for the mitigation of debris flow hazards. EWSs often employ algorithms that require careful and long testing to grant their effectiveness. A permanent installation has been so equipped in the Gadria basin (Eastern Italian Alps) for the systematic test of event-EWSs. The installation is conceived to produce didactic videos and host informative visits. The populace involvement and education is in fact an essential step in any hazard mitigation activity and it should envisaged in planning any research activity. The occurrence of a debris flow in the Gadria creek, in the summer of 2014, allowed a first test of the installation and the recording of an informative video on EWSs.

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Bahtsetzis, Sotirios. "Deleuze’s meta-cinematic framing: Multimodal meaning-making in Installation Art." Punctum. International Journal of Semiotics 08, no. 02 (2022): 11–31. http://dx.doi.org/10.18680/hss.2022.0014.

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The article discusses multimodal meaning-making in the context of video and multi-media installation art and related curatorial practices. It draws on the Deleuzian concept of pure duration or ‘time-image,’ understood as a Foucauldian dispositive (Panagia) and, thus, as a broader heuristic device in discussing the viewer’s experience engulfed in installations. It discusses non-discursive aspects of meaning-making while focusing on the viewer/ participant’s subjectifying, multi-sensorial, kinaesthetic, performative, and time-based experience of an exhibition. We discuss installation art as a temporal situation, constructed on the difference between represented or narrated time and subjective or reception time (Petersen), following the phenomenological category of the artwork as a ‘temporal object’ (Ingarden). The paper aims to offer novel interpretive tools for investigating our current shifting sensorium engaged in meaning-making. It also maintains that installation art constitutes not only a compelling cultural strategy for “imagining and imaging the world” (Rodowick) but also the means to understand how modes of perception converge in producing subjectivity.

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Yin, Pei, and Hyung-gi Kim. "Using “Pepper"s ghost” video installation - Centered on “SIGHT”." TECHART: Journal of Arts and Imaging Science 8, no. 1 (February 28, 2021): 20–23. http://dx.doi.org/10.15323/techart.2021.2.8.1.20.

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Vasulka, Steina. "My Love Affair with Art: Video and Installation Work." Leonardo 28, no. 1 (1995): 15. http://dx.doi.org/10.2307/1576147.

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Mushkin, Hillary, and S. E. Barnet. "Mario's Furniture: A Wireless Interactive Video Installation and Game." Leonardo 41, no. 3 (June 2008): 306–7. http://dx.doi.org/10.1162/leon.2008.41.3.306.

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Szappanos, A., M. Berta, M. Hron, R. Pánek, J. Stöckel, S. Tulipán, G. Veres, V. Weinzettl, and S. Zoletnik. "EDICAM fast video diagnostic installation on the COMPASS tokamak." Fusion Engineering and Design 85, no. 3-4 (July 2010): 370–73. http://dx.doi.org/10.1016/j.fusengdes.2009.11.001.

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Yu, Yuan, Xu Li, and Hui Juan Wang. "A Solution of Designing Remote Video Conferences Based on ARM11." Applied Mechanics and Materials 599-601 (August 2014): 1922–24. http://dx.doi.org/10.4028/www.scientific.net/amm.599-601.1922.

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In this paper, ARM11 is a development platform to design remote video conferences systems, the traditional video conferences is successfully resolved, which has shortcomings of high cost of system and hardware demanding.The system is completed with real-time video conferences and high definition, system load is low, the installation is flexible. Keywords: ARM11 video conferences real-time

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C. Grustan, Kenny John, and John Manuel C. Buniel. "LECTURE-DEMO VIDEO ON TEACHING GRADE-12 ELECTRICAL INSTALLATION AND MAINTENANCE CONCEPTS." International Journal of Applied Science and Engineering Review 03, no. 04 (2022): 58–80. http://dx.doi.org/10.52267/ijaser.2022.3406.

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Technology application in the 21st Century teaching and learning setting substantially promotes quality education. The study determined the acceptability and efficiency of the developed lecture demo video as a learning material in teaching Grade-12 EIM in selecting electrical materials and supplies and their specifications. The analysis sought to investigate the outcomes of the assessment rating of the prepared lecture-demo video and the impact of implementation. Teacher experts, student experts, and regular students from secondary schools in Surigao Del Sur Division were the study subjects. The study's tool was the DepEd standard evaluation rating tool for non-print materials obtained from the Surigao del Sur Division Learners Resource Management and Development Office, the developed lecture demo video, and the pretest and posttest questionnaires adopted from Project PPE (Portfolio Predicate on Exemplar) on EIM. The study employed a developmental-quasi experimental design. The developed lecture-demo video was rated Very Satisfactory in content, instructional and technical quality. Analyses found that students who utilized the created lecture-demo video with learning activity sheets outperformed those who used the learning activity sheets on the posttest. The study concluded that the developed lecture-demo video has a positive learning outcome in learners' competency mastery. Likewise, it is widely accepted and recommended for learning purposes as experts evaluate content, instructional, and technical quality.

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Roshto, Barry L., Eleni Panouklia, John Holder, and Sally Pryor. "Ephemeron—Sculpting a Collective Consciousness and Mapping a Collaborative Process." Leonardo 43, no. 5 (October 2010): 496–97. http://dx.doi.org/10.1162/leon_a_00050.

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Ephemeron is an interactive installation resulting from the collaboration of artists during the e-MobilArt project. Ephemeron, a responsive sculpture, attempts to express the eternal ephemeral human epic: the daily song of pain and struggle, love and loss, lived by beings full of “mud and dreams". The installation comprises an audio soundscape, projected video and a large fabric form under high tension and with a floor of sand. Visitors may enter the form, where the projected video and soundscape become sensitive to their presence.

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Lange, Jennifer. "Hammertime!" Camera Obscura: Feminism, Culture, and Media Studies 36, no. 3 (December 1, 2021): 123–27. http://dx.doi.org/10.1215/02705346-9349427.

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Abstract This memoir recounts Barbara Hammer's relationship to the Wexner Center for the Arts and its Film/Video Studio residency program, which supported a number of her films between 1994 and 2018. It offers some personal insight into the evolution of Hammer's final work, Evidentiary Bodies (2018), from single-channel video to multichannel video installation. The author describes working with Hammer during the last year of her life and explains the process of organizing the 2019 exhibition Barbara Hammer: In This Body at the Wexner Center for the Arts, which premiered the installation of Evidentiary Bodies and included additional works in other mediums and made throughout Hammer's career around themes of illness, aging, and death.

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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.

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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.

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ROGERS, HOLLY. "Acoustic Architecture: Music and Space in the Video Installations of Bill Viola." Twentieth-Century Music 2, no. 2 (September 2005): 197–219. http://dx.doi.org/10.1017/s1478572206000260.

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Video installation art is a collaboration of sound, image, and space, with a closer relationship to music and art than to cinema. Accordingly, those working in this genre are often both artist and musician, a double role that represents a radical departure from the artist/musician divide of many other audio-visual genres. Because it is single authored, video installation can invert many elements of the filmmaking process: while it is common procedure to add a soundtrack to film during post-production, for instance, many video artists use sound as their starting point, often basing whole works on a musical structure. While such an inversion invites reconsideration of musical audibility and film narrative, video work, when installed, also challenges the notions of screen space and realism. An audience is no longer offered the single-point perspective of film, but is instead enveloped within a three-dimensional space. And as image expands beyond the four sides of the cinema screen – a space occupied previously by music alone – important questions are raised: what happens to music when film breaks from the containment of the screen? when it destroys its own boundaries? Focusing on the work of Bill Viola, this paper explores the ways in which video installation art confronts methods of film exhibition and audience engagement, and investigates how such confrontation redefines the roles of music and image in film.

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Rahmi, Lidya. "PERANCANGAN E-MODULE PERAKITAN DAN INSTALASI PERSONAL KOMPUTER SEBAGAI MEDIA PEMBELAJARAN SISWA SMK." Ta'dib 21, no. 2 (January 1, 2019): 105. http://dx.doi.org/10.31958/jt.v21i2.1190.

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The research discusses about the design of electronic module assembly and installating computer. The module was designed for assembling and installating computer content displayed in digital way, so this modul is very flexible and easy to be used. The content was displayed by video to make it easier to understand by the learners. The method used consists of several phases; analysis, design, coding and testing. The design used UML process and then was developed by Kvisoft Flip book maker. The result of this research shows how the assembly and installation module was easier to be used for the teacher and the students.

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Wei, Chu-Chiun. "The aesthetics of the multitude in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) – A genealogy." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 61–76. http://dx.doi.org/10.1386/jcca.5.1.61_1.

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Taiwanese artist Chen Chieh-Jen’s video works directly address Taiwan’s post-martial law condition. His video installations demonstrate what I propose to identify as ‘the aesthetics of the multitude’. Through the process of filmmaking, Chen imagines the possibility of a collective political alliance. Theorized by Michael Hardt and Antonio Negri, the multitude rejects reductive identity politics and acts against capitalism. The multitude depicted in Chen’s work suggests a democratic potential that has the capacity to resist the sustained exploitation and homogenization that exists under neo-liberal globalization. His first video installation, Lingchi: Echoes of a Historical Photograph (2002), not only sets the tone for his later works but also signals a paradigm shift in Taiwanese contemporary art from the national to the global after 2000. I argue that Chen’s aesthetics of the multitude move beyond the contentious issue of national identity that characterizes Taiwan’s postcolonial art in the 1990s and anticipates the formation of a postnational subjectivity.

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Burrows, Inga. "The Experience and the Object: making a documentary video installation." Journal of Media Practice 3, no. 1 (January 1, 2002): 26–33. http://dx.doi.org/10.1386/jmpr.3.1.26.

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Lopez, Tiffany Ana, and Pepon Osorio. "Imaging Community: Video in the Installation Work of Pepon Osorio." Art Journal 54, no. 4 (1995): 58. http://dx.doi.org/10.2307/777696.

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Conlon, Juliet. "From the Back of the Eyelids: Public and Private Space in an Interactive Installation." Leonardo 32, no. 5 (October 1999): 379–82. http://dx.doi.org/10.1162/002409499553604.

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The author describes how her recent installation work combines video, velvet, and interactivity into an opportunity for intimate navigation over the skin of a composite body. She discusses how the installation engages the senses using touchscreens, virtual projectors, and the human form to contrast private space with public space.

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Durmelat, Sylvie. "The Art of Saving Food: Preserving Gestures in Ymane Fakhir's Video Installation, Handmade (2011–12)." Gastronomica 19, no. 3 (2019): 60–66. http://dx.doi.org/10.1525/gfc.2019.19.3.60.

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If food is transient, so are the techniques, gestures, and know-how required to preserve it and extend its lifetime. “There is a life and death of gestures,” Luce Giard (1998: 202) suggests with a tinge of nostalgia. Casablanca-born and Marseille-based visual artist Ymane Fakhir (b. 1969) documents this transition with a sense of urgency. In Handmade (2011–12), a series of five minimalist videos titled Grains, Bread, Wheat, Vermicelli, and Sugar Loaf, Fakhir captures her Moroccan grandmother's technical gestures as she transforms raw ingredients into basic staples such as couscous. Documentary, memorandum, archive, narration, and video installation, her five films, like five fingers, record her grandmother's hands at work. The installation recreates her childhood sensorium and memories of her grandmother's nurturing preparations. Likewise, her films function as visual aide-mémoire and collective repository for a new generation of women, including Fakhir's own daughter, who do not (need to) know these techniques. In this article, I ask what type of aesthetic interventions her film segments propose, and which memorial and symbolic goals they achieve. More specifically, in light of Morocco, Algeria, and Tunisia's 2018 common bid to have couscous recognized as UNESCO World Cultural Heritage, I focus on how Fakhir's video installation, compared to institutional projects of heritagization, works to restore the degraded cultural capital of this now transnational and industrialized dish, while speaking to contemporary anxieties about the industrialization of the food system in both Morocco and France.

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Chekh, Natalia. "‘NON-PHOTOGRAPHIC’: SERGIY BRATKOV AND BORIS MIKHAILOV." Doxa, no. 1(37) (July 5, 2023): 118–37. http://dx.doi.org/10.18524/2410-2601.2022.1(37).281827.

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The article analyzes the play prerequisites for the creation, methods of implementation and conditions of perception of B. Mіkhaіlov’s and S. Bratkov’s works — multimedia installations ‘Sacrifice to the God of War’ and ‘Box for Three Letters’, presented in the exhibition project ‘Alchemical Surrender’ of the Soros Center for Contemporary Art in Sevastopol in 1994. As a result of the research, it was found that S. Bratkov and B. Mikhaіlov had chosen ‘non-photographic’ as an artistic language for the project ‘Alchemical surrender’ — the language of carnival forms and carnival symbols. The multimedia installation ‘Sacrifice to the God of War’ combines the following forms of folk ridiculous carnival culture: theatrical and spectacular forms — happening, recorded on video, and three art objects — assemblages created on the basis of photographic images. The multimedia installation ‘A Box for Three Letters’ combines different forms of folk ridiculous carnival culture: theatrical and spectacular forms — happening recorded on video, art objects (box, board, etc.); verbal-laughter work — a parodic statement depicted on the board, as well as one of the forms of familiar-square speech. In both installations, the mythology of matriarchy gets its generalization and completion in the ambivalent image of the Big Mother — Mother Earth. The author managed to show the applicability of the M. Bakhtin’s concept of ‘culture of popular laughter’, as well as the O. Losev’s hermeneutics of the ancient myth, etc. as a critical discourses for the analysis of works and projects of contemporary art, for example, as the project Kiev SCCA ‘Alchemical surrender’ (1994).

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Massera, Carmen Aroztegui. "The Calabozo: Virtual Reconstruction of a Place Based on Testimonies." International Journal of Architectural Computing 3, no. 3 (September 2005): 281–97. http://dx.doi.org/10.1260/147807705775377285.

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The objective the research reported here 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 during the Uruguayan military dictatorship (1973–85). The proposed visualization is based on these women's personal experiences of the solitary confinement cell ( calabozo). Compared with their male counterpart, women's memories about prison have been traditionally relegated to a second level in Uruguay. The visualization aims to communicate these women's experiences of the calabozo through a video installation. This article first reviews relevant precedents to the case study and to virtual reconstructions and later describes the video installation.

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Mendes, Mónica, Pedro Ângelo, and Nuno Correia. "Hug@ree: An ARTiVIS Experience for Sustainability." Leonardo 47, no. 5 (October 2014): 500–501. http://dx.doi.org/10.1162/leon_a_00822.

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Hug@ree is an interactive installation that provides a bond between urban beings and the forest. It is an ARTiVIS (Arts, Real-Time Video and Interactivity for Sustainability) experience that provides interaction with trees and videos of trees in real-time, raising awareness of the natural environment and how individual action can collectively become so relevant. In this paper, the authors present an overview of the Hug@ree concept, related work, implementation, user experience evaluation and future work.

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Moniruzzaman, Monir, Camille Turner, Heather Dewey-Hagborg, and Jim Ruxton. "spareparts.exchange: Rahim and Robert, Stitched Together in Silence (Creative Intervention)." Studies in Social Justice 10, no. 2 (December 19, 2016): 308–21. http://dx.doi.org/10.26522/ssj.v10i2.1428.

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Spare Parts (spareparts.exchange) is an art installation created collaboratively by Heather Dewey-Hagborg, Jim Ruxton, Camille Turner, and Monir Moniruzzaman. Based on Monir Moniruzzaman’s ethnographic research on the illicit organ trade, Spare Parts explores the ethics of organ trafficking and the emergence of bodily inequality in times of transplant tinkering. In this installation, the viewer is confronted with life sized video projections of Rahim Sheikh, a Bangladeshi kidney seller and Robert Zurrer, a Canadian kidney transplant recipient/buyer, whose kidneys were commodified in the marketplace. The video projections are installed so that the individuals sit in silence facing each other. Spare Parts highlights the intimacy of spare parts, the economy of the global marketplace, the perils of techno-medicine, and what is means to be human in the 21st century. The installation captures that the buying and selling of body parts is not just a market transaction, but rather represents the desperation, dis/connection, and inequality that exists in the trade.

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Azarov, Valeriy, Daniil Dobrinskiy, Vladislav Lupinogin, and Anastasia Sakharova. "Determination methodology of the subsidence speed of small-dispersed particles of different ranges of storage facilities by visual recording." E3S Web of Conferences 126 (2019): 00072. http://dx.doi.org/10.1051/e3sconf/201912600072.

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Was researched a small-dispersed dust from storage facilities in differend ranges. Was carried out acomparative analysis of the subsidence speed of the obtained particle sizes. The laboratory installation was upgraded and was installed the automatic sample dumping, and video recorder with the possibility of enlarging the image and manual focusing. Due to implementation of additional elements in the design of the installation, it was possible to exclude mechanical interference and simplify the design of the equipment. At the same time, it was possible to minimize coverage error during the experiment. The mainaim was to determine the dispersal composition with a recording on video equipment with subsequent processing of the obtained data.

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Journal articles on the topic 'Video installation'

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