Academic literature on the topic '1970s video art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic '1970s video art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "1970s video art"
1
Ilfeld, Etan J. "Contemporary Art and Cybernetics: Waves of Cybernetic Discourse within Conceptual, Video and New Media Art." Leonardo 45, no. 1 (2012): 57–63. http://dx.doi.org/10.1162/leon_a_00326.
Full textAbstract:
This paper aims to highlight the interplay of technology and cybernetics within conceptual art. Just as Lucy Lippard has illustrated the influence of information theory within 1960s conceptual art, this paper traces the technological discourses within conceptual art through to contemporary digital art—specifically, establishing a correlation between Katherine Hayles's mapping of first-, second- and third-wave cybernetic narratives and, respectively, 1960s–1970s conceptual art, 1970s–1990s video art and new media art. Technology is shown to have a major influence on conceptual art, but one often based on historical, social and cybernetic narratives. This paper echoes Krzystof Ziarek's call for a Heideggerian poiesis and Adorno/Blanchotnian “nonpower” within conceptual art and advocates Ziarek's notion of “powerfree” artistic practices within new media and transgenic art.
2
Sneed, Gillian. "The Disciplinary and the Domestic." Diacrítica 34, no. 2 (2020): 107–31. http://dx.doi.org/10.21814/diacritica.534.
Full textAbstract:
This essay focuses on works of video art from the 1970s and early 1980s by Letícia Parente (1930–1991), a first-generation video art pioneer in Brazil, whose video performances associated household imagery, domestic spaces, and quotidian chores and objects with violence, repression, and incarceration during the period the Brazilian dicatorship (1964–1985). Parente worked in video performance, an approach to performance art in which she performed for the video camera, rather than for a live audience. I argue that in her video performances, Parente performs domestic and quotidian actions in ways that enact self-harm and confinement in order to marshal a response to gender oppression in women’s daily lives that paralleled the violence and imprisonment Brazilians experienced under the dictatorship. By enacting disciplinary “punishments” (or the threat of such punishments) on herself, cloaked as daily domestic tasks, her works demonstrate the ways that the same forces that structure public disciplinary society also configure the private spaces of the home. I propose that she positions domestic space as a zone of containment and imprisonment, and that her resistance occurs not in the space itself but through the absurdity and ironic bathos of their bodily performances, as well as her actual or implied self-harm and violence, themes I address by engaging Kathy O’Dell’s theorization of “masochistic performance art,” and Hal Foster’s concept of “mimetic adaptation.”
3
Yohalem, Hannah. "Displacing Vision: Contact Improvisation, Anarchy, and Empathy." Dance Research Journal 50, no. 2 (2018): 45–61. http://dx.doi.org/10.1017/s0149767718000220.
Full textAbstract:
In this article, I specify and historicize the modes of communication that were at play among practitioners of contact improvisation+ and between the dancers and their audiences throughout the 1970s and into the early 1980s. I argue that contact improvisation's turn away from dance as a performed visual medium and toward the tactile experience of the participants exceeds a phenomenological reading and instead needs to be considered in light of anarchist theories of mutual assistance in which group behavior supports individual development. At the same time, however, Steve Paxton, the founder of the form, became concerned precisely with its opacity for an audience. I locate this ambivalent engagement with the performance of a participatory action in the edited video recordings that Paxton made together with Lisa Nelson, Nancy Stark Smith, and Steve Christiansen. These mediated videos, aligned with the rise of video art, paradoxically aim to spark a stronger connection than Paxton thought was possible during the live demonstrations of the form.
4
Fitch, Nick, and Anne-Sophie Dinant. "'Situações-Limites': the emergence of video art in Brazil in the 1970s." MIRAJ, Moving Image Review & Art Journal 1, no. 1 (2012): 59–67. http://dx.doi.org/10.1386/miraj.1.1.59_7.
Full text
5
Dell'Aria, Annie. "From Vertical Roll to .MOV File." Afterimage 47, no. 3 (2020): 22–42. http://dx.doi.org/10.1525/aft.2020.473004.
Full textAbstract:
In this article, I examine artworks from two periods in the history of media art—the 1970s and the 2010s—to demonstrate how changes in our haptic relationship to screen media shift the site of criticality in contemporary media art from disruption of electronic feedback toward an intensification and embrace of image flows that actively seek the viewer's touch and gesture. I situate video art within the shifting concept of flow in everyday media consumption, reading video art practices within a larger matrix of bodily and cultural engagement with screens. I locate touch and gesture as both themes in the content of single-channel works and components of the structure of video installation. Artists discussed include Camille Henrot, Joan Jonas, Rafael Lozano-Hemmer, Bruce Nauman, and Hito Steyerl. My analysis bridges media theory and art history with close readings of salient works of art, connecting the structure of artworks employing haptic input to shifts in the broader media ecology and the dynamic interplay of touch, image, and power under our fingertips.
6
Scovino, Felipe. "ROSTO EM SUSPENSO: MARCOS INICIAIS DA VIDEOARTE NO BRASIL / Suspended face: video art’smilestones in Brazil." arte e ensaios 26, no. 39 (2020): 27–37. http://dx.doi.org/10.37235/ae.n39.3.
Full textAbstract:
O artigo analisa algumas obras iniciais da produção de videoarte no Brasil em meados dos anos 1970, tendo como estudo de caso as produções de Anna Bella Geiger, Letícia Parente e Sonia Andrade. Em particular, o signo de um rosto apagado, ocultado, suspenso ou desfigurado que aparece nas produções analisadas. Sob a perspectiva do conceito de rostidade, de Deleuze e Guattari, o artigo discute as implicações estéticas e políticas que essas produções trazem em um Brasil patriarcal e sob o regime da ditadura militar.Palavras-chave: Anna Bella Geiger; Sonia Andrade; Letícia Parente; Videoarte; Rostidade.AbstractThe paper analyzes some early works of video art production in Brazil in the mid-1970s, taking as case study the productions of Anna Bella Geiger, Letícia Parente and Sonia Andrade. In particular, the sign of an erased, hidden, suspended or disfigured face that appears in theirs productions. Addressing the concept of faciality, by Deleuze and Guattari, the paper discusses the aesthetic and political implications that these productions bring to a patriarchal Brazil under the regime of the military dictatorship.Keywords: Anna Bella Geiger; Sonia Andrade; Letícia Parente; Video Art; Faciality
7
Barker, Tim. "Experiments with time: the technical image in video art, new media and the digital humanities." Visual Communication 16, no. 4 (2017): 375–94. http://dx.doi.org/10.1177/1470357217702360.
Full textAbstract:
In this article, the author begins to identify a new way to understand the experiment in arts and humanities research. Focusing on the production of what Vilém Flusser calls ‘technical images’ in video art and new media projects, he suggests that the experiment in experimental art may be rethought as a method for testing concepts and observations through the application of media technology as an apparatus. The technical image is a time-critical way to understand automatic image making devices and using this method of analysis he identifies examples where artists and humanities scholars have programmed devices to experiment with the time of contemporary media culture. Beginning with an analysis of Mark Hansen and Ben Rubin’s two works Listening Post and Moveable Type, the author uses a number of examples, from contemporary experiments with digital media to the experiments with video in the 1970s and 1980s, to show how artists and humanities scholars have used technical images to engage in experimental research outside the controlled laboratory of scientific experiments. If experimental scientists test scientific problems by developing, programming and applying an apparatus, the experimental artists identified in this article can likewise be seen to test aesthetic and cultural problems by similarly redesigning, scaling-up and experimentally applying media technology.
8
Davis, Vaginal, and Lewis Church. "My Womanly Story." PAJ: A Journal of Performance and Art 38, no. 2 (2016): 80–88. http://dx.doi.org/10.1162/pajj_a_00320.
Full textAbstract:
Ms. Vaginal “Crème” Davis has come to occupy a unique position in the parallel and intertwining histories of performance and live art, punk, and queer subcultures. As lead singer of the Afro Sisters, black fag, Pedro, Muriel & Esther (PME), and ¡Cholita! The Female Menudo, she developed a fearsome reputation and cult following on the alternative music scene of the late 1970s, 1980s, and 1990s, emerging as a prime antagonist of the post-punk subgenre Queercore. Alongside this musical practice, she directs and stars in her own independent films and theatrical productions, and was a central figure in the burgeoning fanzine culture of the 1980s, producing both home-printed magazines and the influential video-zine Fertile La Toyah Jackson. Davis also ran and hosted several highly influential performance/club nights in Los Angeles throughout the 1990s and 2000s including Club Sucker, G.I.M.P., and Bricktops. Now living in Berlin, Davis continues to produce work as a performer, visual artist, sculptor, and writer, and as a musician with her most recent bands Tenderloin and Ruth Fisher. Davis produces work that blends a peculiarly Angeleno understanding of celebrity, glamor, and showbiz with the cultural politics of race, sexuality, privilege, and class, all made within a DIY ethos that stretches back to the earliest days of Californian punk. This interview was recorded in a cold Berlin on December 3, 2014, at Davis's home in Schöneberg.
9
Kane, Carolyn L. "The Tragedy of Radical Subjectivity: From Radical Software to Proprietary Subjects." Leonardo 47, no. 5 (2014): 480–87. http://dx.doi.org/10.1162/leon_a_00871.
Full textAbstract:
Considering the aestheticization of post-World War II research in cybernetics as part of a cultural shift in art practices and human and machine subjectivities, the author brings these spheres together by analyzing encounters between the experimental artists and researchers who wrote for and edited Radical Software in the early 1970s, including Harry A. Wilmer, Gregory Bateson and Paul Ryan. She then connects their experimental uses of video feedback (a central tenet of cybernetics) to new and increasingly pervasive human-machine subjectivities.
10
Werner, Hans U. "MetaSon #5 Skruv Stockholm: turning schizophonic sound into audiovirtual image." Organised Sound 7, no. 1 (2002): 73–78. http://dx.doi.org/10.1017/s1355771802001115.
Full textAbstract:
Schizophonic soundscapes in Murray Schafer's critical acoustic ecology mean a split between listening and seeing, between space and place, between audience and communicator. His idea of a gap between senses is based on electronic media like radio and telephone, but it gains new actuality in modern (multimedia) times. The new technology and its users have too experimented with the creative inversion of schizophony in sound and vision. Film sound design and film music combine sound in and out of context, composition works with contrapunctual audiovisions; video art and sound art, as in the work of Robert Cahen, combine and mix genres of all kinds and senses. MetaSon #5 Skruv Stockholm is an audiovisual soundwalk, based on soundscape recordings in Sweden in the 1970s and 1990s, combined with associative pictures and designs, each in its own rhythms and times. It consists less of the common meaning both share, being more dependent on the fluidity and dynamic of the relationship between the elements. Sound and image create an intermedium, intermodal space neither of which could project alone. From moment to moment, schizophonic montage and idea invert into a fresh, maybe evocative look at the way we perceive, where the audio flow transforms stable pictures into liquid forms, where image follows sound and is treated like sound.
Dissertations / Theses on the topic "1970s video art"
1
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.
2
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 désirant<br>This thesis explores how contemporary art, more specifically video, interrogates the relationship between body and images. A close link binds them together today; video art, native to postmodern time, seems adapted to its exploration. First, influence modalities of the image are developed. The hypotheses are constructed on four sources: psychoanalytical and phenomenological theories, socials realities, artistic productions (both from known artists and from my own practice) and image theories (art history and aesthetic). A succession of conclusions have been deducted from them: today’s human seems to be inhabited by images, these participate to the structuration of perception, compete with recollection and contribute to determine the shapes of mental elaboration. Consequently, the image define significantly the postmodern body. But various relationships to images remain possible: utilization, interaction, experimentation. Then, with the oscillatory potential of video art, the interdependence between body and image is detailed. Part II compares sensible body and depicted body through the fluctuating marks of the referent in video representation – working with the appearing/disappearing, surface/thickness, sense/nonsense pairs – to explore the dreamed, lived body and the relationship to the depicted body. Part III shows the interplay between linking and delinking of the depicted body with the backgrounds – bore by chroma keying, reediting and compositing. This allows to apprehend positioning and articulation, of the body and its depiction, to images. This approach also points out what in the depicted body reveals the sensitive body and what in its articulation to the background resists: the desiring body
3
Gibson, Ashley M. 1982. "From Ant Farm to UbuWeb: Distribution and Access in Artists’ Video from the 1960s to the Present." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11984.
Full textAbstract:
viii, 87 p. : ill. (some col.)<br>This thesis examines the history of distribution platforms for artists' video. Artists' video is defined as time based art works that employ the medium of film, videotape, digital video, or any combination thereof. The thesis categorizes different points of access for artists' video from the 1960s to the present as well as how artists have distributed their work.
Three macro level platforms serve to classify the different sites of access between artists' video and a viewer - the first is television, the second is institution, and the third is the Internet. Over the past forty years, artists' video has transitioned from a marginal practice that existed outside of the institution to a medium that is now synonymous with the idea of a contemporary art museum. However, the Internet as a platform allows artists' video to exist outside of the museum, which is consistent with the earliest goals associated with this medium.<br>Committee in charge: Kate Mondloch: Chair and Advisor;
Albert Narath: Member;
John Fenn: Member
4
Athanasiadis, Konstantinos. "Weaving and unravelling narratives of the self: representation of subjectivity in video art c.1970-2000." Thesis, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580622.
Full textAbstract:
In the late 1950s, a new medium sprung out of televisual technology to become the latest tool of representation. Pioneering video artists affected audiences by targeting their perception of reality, opening space for new subjective experiences, and investigating the phenomena of consciousness. What was in fact revisited was the oldest inherent function of representation as cognitive device, exposing the manipulation of reality and of subjective experiences by the media, advertising, and entertainment industries. However, today, in a world overloaded with visual representations to the point that we are threatened with the end of the real, cultural theorists inform us that we came upon another paradox: the end of representation itself. Amidst these proclamations, the bravest explorations of representation by video art in its first steps have been conveniently forced into oblivion, purposefully overlooked, or artfully undermined. Providing an art historical narrative of video within the tradition of western representation, this thesis is structured around a single question: Has video art offered a new locus for the representation of contemporary subjectivity? The first part examines the new medium in an art historical context, introducing significant connections between the novelty of video representation of time and space, and its psychological effect on audiences as experiential subjects. It also provides the theoretical context of my investigation of representation's cognitive function in shaping subjectivity, by an analysis of a significant example for western art and culture, and by a review of the transition from the lived experience of the modem to the postmodern self as seen by contemporary psychoanalytic theory and practice. The second part examines how video art reflects the conditions that inform postmodern subjectivity (fragmentation, discontinuity, dislocation, decenterment), employing the clinical experience of narcissism and schizophrenia. The art of video seems to have offered not only new systems of representation that derive directly from these experiences, but also a potential locus where cognitive and perceptual conditions can be recast to achieve the therapeutic and conciliatory states of reverie and containment.
5
Meirelles, Lucila Carvalho Junqueira. "3 óperas de José Roberto Aguilar e algumas referências da arte conceitual dos anos 1970." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-12122011-223724/.
Full textAbstract:
Este estudo resulta de um levantamento de dados, reflexões e análises sobre 3 Óperas conceituais do artista plástico José Roberto Aguilar, realizadas nos anos 1970: Circo Antropofágico Ambulante Cósmico Latino Americano apresenta essa noite: a transformação permanente do tabu em totem; Ópera o 3º mundo; 3 lutas de samurai, 25 metros de pintura contra 3 demônios que assolam a vídeo-arte nacional. Sob a luz da arte conceitual praticada naquela época, foram selecionados alguns procedimentos e processos criativos utilizados pelo artista e a partir daí foram posicionados temas de discussão, como: a crítica da crítica, arte e magia, a performance do autor, o vídeo como mídia, temas pertinentes àquela época. O tema Antropofagia, recorrente na obra de Aguilar, foi abordado através de um vídeo de 13 minutos. A contribuição desta dissertação é revelar dados e pontos de vista de 3 Óperas de Aguilar e ampliar os arquivos da arte dos anos 1970 para os estudos contemporâneos.<br>This dissertation is the result of a data collection, reflections and analysis on the three conceptual Operas made by the artist Jose Roberto Aguilar, realized in the seventies: Circo Antropofágico Cósmico Ambulante Latino Americano apresenta esta noite: A Transformação permanente do Tabu em Totem; Ópera do 3º mundo; As 3 lutas de samurai e os 25 metros de pintura contra os demonios que assolam a arte contemporânea brasileira. Under the perspectives of the conceptual art at that time it was selected some procedures and creative processes used by the artist. From this point of view were positioned topics of discussion, like: the critic of the critic, art and Magic, authors performance, and video media. Important themes at that time. The theme Antropofagia, recurring in the work of Aguilar, was approached in a poetic 13-minute video, where the artist through interviews and reading the manifesto anthropophagic shows his vision of anthropophagic world. The contribution that master degree is to reveal datas and some points of views about three Operas Aguilar, and to amplify the archives of the art from the 70\'s, to contemporary studies.
6
Amiel, Diane. "Approche politique et personnelle des arts électroniques entre 1985 et 2001 dans les Balkans." Paris 1, 2006. http://www.theses.fr/2006PA010526.
Full textAbstract:
L'étude qui suit ne prétend pas écrire une histoire des arts électroniques des pays balkaniques entre les années 1985-2001. Si cette analyse retrace seize années de production vidéographique de cette région, elle traite, plus particulièrement, du rapport de la vidéo à l'histoire et ainsi des relations que les artistes entretiennent avec le pouvoir. Réalisées pendant la période qui a précédé puis assisté à l'ébranlement de l'Union soviétique et de son système totalitaire, les œuvres vidéographiques de cette période proposent en effet une contre-analyse politique et historique de la région dont l'écriture a été - et demeure encore - falsifiée pendant de nombreuses années et à des époques distinctes. Aussi, les artistes apeurés, à l'idée que la mémoire ne s'efface de manière définitive, ont perçu dans la vidéo la possibilité de dévoiler la majorité silencieuse.
7
Andrade, Sueli Chaves. "Chris Cunningham: corpo e dejeto no vídeo contemporâneo." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19734.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-02-22T11:43:54Z
No. of bitstreams: 1
Sueli Chaves Andrade.pdf: 3112531 bytes, checksum: 7f54bec4f70c3790a30a9b1667d7b223 (MD5)<br>Made available in DSpace on 2017-02-22T11:43:54Z (GMT). No. of bitstreams: 1
Sueli Chaves Andrade.pdf: 3112531 bytes, checksum: 7f54bec4f70c3790a30a9b1667d7b223 (MD5)
Previous issue date: 2017-02-17<br>Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq<br>Chris Cunningham is the main subject in this thesis. Cunningham was one of the most
influential and creative music video directors in the 90’s and early 2000’s. Visible throughout
his art is the theme of the body and its innards - an important and wide discussion in
contemporary culture studies. The hypothesis of this text is that the music video is one of the
main audiovisual narratives of postmodern culture from the aspect of new aesthetics and
artistic experiments. Cunningham adds original marks to the characteristics that constitute
contemporary art, especially the one that has placed the body under interrogation and also the
art object as waste. The contemporary art discussion in this thesis is inspired by psychanalysts
Jacques-Allan Miller and Gerard Wajcman and the positioning of the object, and a new gaze
at it is provided by Didi-Huberman. Concerning the role of the body in this setting, Santaella
brings a contribution on it as an art support, besides presenting much of the specific problems
of the body in culture. Raymond Bellour, Philippe Dubois and Arlindo Machado with their
discussions around film and video allow the insertion of the music video as a language with
its own characteristics and history, as the theorists Andrew Goodwin, E. Ann Kaplan and
Carol Vernallis point out. The Lacanian theory provides a formal way to analyze and discuss
the body from an instinctive perspective that drives the subject in the contemporary world. In
order to prove this assertion and the hypothesis of this thesis, three semiotic-psychoanalytic
analyses were done on the following works: All is Full of Love (1999), Flex (2000) and
Rubber Johnny (2005)<br>Chris Cunningham é o objeto de investigação desta tese. Trata-se de um autor reconhecido de videoclipes e narrativas audiovisuais contemporâneas das décadas de 1990 e 2000. Seus trabalhos são permeados por uma temática de suma importância e ampla discussão no campo de estudos da cultura contemporânea: o tema do corpo e suas estranhezas. A hipótese que se coloca é a de que o videoclipe é um dos principais formatos narrativos audiovisuais do pós-moderno, sob o aspecto da produção de novas estéticas e experimentações artísticas. Tendo isso em vista, a obra de Cunningham acrescenta marcas originais às características próprias da arte contemporânea, especialmente aquela que vem colocando o corpo sob interrogação e o objeto enquanto dejeto. No que diz respeito aos debates que envolvem a arte contemporânea, há uma escuta daquilo que os psicanalistas Jacques-Allan Miller e Gerard Wajcman têm a dizer sobre o lugar do objeto, bem como sobre uma nova forma de olhá-lo, tal qual propõe Didi-Huberman. A respeito do papel do corpo neste mesmo cenário, Santaella traz uma contribuição sobre o mesmo como suporte da arte, além de apresentar as problemáticas específicas do corpo na cultura. Raymond Bellour, Philippe Dubois e Arlindo Machado aprofundam a discussão sobre cinema e vídeo, o que permite a inserção do videoclipe como uma linguagem com características e história próprias, conforme apontam os teóricos Andrew Goodwin, E. Ann Kaplan e Carol Vernallis. Toma-se, então, a perspectiva psicanalítica de orientação lacaniana para observar o corpo para além de sua função como suporte na arte: o das pulsões que tomam conta do sujeito no universo contemporâneo. De modo a comprovar tal afirmação e a hipótese desta tese, três análises de cunho semiótico-psicanalítico abordam os trabalhos: All is Full of Love (1999), Flex (2000) e Rubber Johnny (2005)
8
Young, Gillian Turner. "Telepresence: Joan Jonas and the Emergence of Performance and Video Art in the 1970s." Thesis, 2018. https://doi.org/10.7916/D8QR6DK0.
Full textAbstract:
This dissertation is a study of the early career of the American artist Joan Jonas that spans the years 1970-1984. At the turn of the 1970s, Jonas was one of the first artists to pick up a video camera. Exploring “live” video’s unique capacity to mediate the present moment, Jonas actively integrated the technology into her live pieces, which are some of the earliest examples of what was then first called “performance art.” Performance art has often been aligned with presence. In contrast, I argue that what at stake in the proliferation of live artworks by Jonas and others that merged performance and video was not a reserve of unmediated experience, but a presence that was newly technologized: telepresence. As Jonas investigated the novel ability to perform at a distance enabled by electronic media, her work led somewhere surprising: to telegraphy, telepathy, and the earliest telephones—“tele”-technologies that appear long obsolete (or completely fantastical). Evoking optical telegraphs, spirit mediums, speaking trumpets, and science fictional prostheses, Jonas’s early oeuvre reactivates the historical contexts and unrealized potentials surrounding these dead media. In so doing, she illuminates enduring formations of the body, subjectivity, and teletechnology underlying not only the twinned emergence of performance and video art in the 1970s, but also telepresence as a seemingly very contemporary (and increasingly pervasive) category of experience.
9
Williams, Robin Kathleen 1981. "Against the "subject" of video, circa 1976 : Joan Jonas's Good night good morning and an archive of "narcissism"." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1810.
Full textAbstract:
This thesis analyzes the relationship between Joan Jonas’s 1976 videotape Good
Night Good Morning and the existing historiographical discourse on video art from the
1970s. I begin with a careful analysis and historical contextualization of Rosalind
Krauss’s seminal 1976 essay on video art, “Video: The Aesthetics of Narcissism.” I then
compare her essay with a number of present-day interpretations of video art that are in
part motivated by a departure from Krauss and identify a range of presuppositions that
have persisted through the art historical discourse on video art from the mid-1970s
forward. Finally, I demonstrate that the terms of this essentially medium-specific discourse are too limited to offer a satisfying analysis of Good Night Good Morning and argue that understanding Jonas’s work requires an intermedial analysis.<br>text
Books on the topic "1970s video art"
1
Barbara, Fischer. Love gasoline: An exhibition of the body in sculpture, performance, video, and photo-based works of the later 1960s and early 1970s. Mercer Union, 2001.
Find full text
2
missing], [name. The magnetic era: Video art in the Netherlands 1970-1985. NAi Publishers, 2001.
Find full text
4
Wulf, Herzogenrath, Nierhoff Barbara, and Kunsthalle Bremen, eds. Peter Campus: Analog & digital video & foto 1970-2003. Kunsthalle Bremen, 2003.
Find full text
5
Ann-Sargent, Wooster, and Independent Curators Incorporated, eds. The first generation: Women and video, 1970-75. Independent Curators Inc., 1993.
Find full text
6
Palacio, Manuel. La imagen sublime: Vídeo de creación en España (1970-1987). Centro de Arte Reina Sofía, 1987.
Find full text
7
Zwischen Body Art und Videokunst: Körper und Video in der Aktionskunst um 1970. S. Schreiber, 2001.
Find full text
8
R, Riley Robert, Storr Robert, Wagner Anne Middleton 1949-, and Nauman Bruce 1941-, eds. A rose has no teeth: Bruce Nauman in the 1960s. University of California Press, 2007.
Find full text
9
" Dies alles Herzchen wird einmal Dir gehören": Die Fernsehgalerie Gerry Schum 1968-1970 und die Produktionen der 'videogalerie schum' 1970-1973. P. Lang, 1996.
Find full text
10
Hollywood's detectives: Crime series in the 1930s and 1940s from the whodunnit to hard-boiled noir. Palgrave Macmillan, 2012.
Find full textBook chapters on the topic "1970s video art"
1
Leruth, Michael F. "Sociological Art." In Fred Forest's Utopia. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262036498.003.0002.
Full textAbstract:
Chapter 1 traces the early development of Forest’s artistic vocation beginning with his production as a self-taught painter while still working for the French postal service in Algeria and focuses on his work in the 1970s. It places particular emphasis on projects undertaken in the name of Sociological Art (defined as “sociological praxis in the guise of art”) using video, the press, and different modes of public intervention. Works discussed in Chapter 1 include Family Portrait (1967), Senior Citizen Video (1973), Electronic Investigation of Rue Guénégaud (1974), Video Portrait of a Collector in Real Time (1974), Biennial of the Year 2000 (1975), and The Video Family (1976). Chapter 1 also examines different categories of Forest’s diverse work in video and discusses the aesthetic and epistemological ramifications of Sociological Art as theorized by Forest and Vilém Flusser.
2
Bull, Hank. "Dictation: A Canadian Perspective on the History of Telematic Art." In Social Media Archeology and Poetics. The MIT Press, 2016. http://dx.doi.org/10.7551/mitpress/9780262034654.003.0007.
Full textAbstract:
Canada, with its vast distances, was an early adopter of communications technologies. Starting in the 1970s, Canadian artists pursued the aesthetic strategies of correspondence art, video, telecommunications, and artist-run centers. Beginning with Bill Bartlett's Brechtian credo that real communication must be interactive, and noting Robert Filliou's influential concept of the “Eternal Network,” Hank Bull tells the story of a small group of artists who tested the potentials and implications of telecommunications art. He discusses radio, slowscan video, electronic mail and fax art, referring to specific projects produced for Ars Electronica (1983), Electra (Paris, 1983) and the Venice Biennale (1986). More recently, Shanghai Fax (1996), staged by Bull, with artists Shen Fan, Ding Yi, and Shi Yong, was one of the first international group exhibitions to take place in China since the revolution. In conclusion Bull emphasizes sympathetic listening in this new territory, where unfamiliar noises clash as new rhythms sound.
3
Monteiro, Stephen. "Private Dis-Pleasures: Mona Hatoum, Mediated Bodies and the Peep Show." In Screen Presence. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403375.003.0004.
Full textAbstract:
In subject and mode of presentation, Mona Hatoum’s 1980s and 90s video works centring on the body drew on the history of pornographic and medical imaging techniques. Making comparisons to porn peepshows and MRI, both of which were newsworthy in Britain (for very different reasons) when Hatoum left Lebanon to study art in London in the 1970s, this chapter provides a close analysis of a handful of her installations, chief among them her Corps Etranger of 1994. It examines how Hatoum’s heavily mediated images and carefully constructed environments raised questions about gender, sexuality, and the identity politics of social space. Just as peepshows became political battlegrounds eliciting heavy government regulation by testing the rules of public space and social interaction, Hatoum’s installations tested the rules and expectations of art exhibition spaces. These works opened zones where visitors would become equally aware of the potential for transgression and surveillance in their own daily performance of body and self.
4
Bellour, Raymond. "35 Years On: Is the ‘Text’, Once Again, Unattainable?" In Beyond the Essay Film. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728706_ch01.
Full textAbstract:
In this reflection on his classic mid 1970s essay, ‘The Unattainable Text’, Raymond Bellour considers the paradoxical situation of cinematic art and film studies in the present digital era: the filmic text may have become greatly ‘accessible’ (via DVD, etc.) and freezable, but is it truly ‘graspable’ in a more profound sense? By analysing paradoxical, cross-media works by Michael Snow, Bill Viola, Danielle Vallet Kleiner, and James Coleman, as well as prominent examples of the scholarly ‘video-essay’ format, Bellour gestures to the ways in which cinema, and the special experience of cinema, remain, in his terms, fundamentally and tantalizingly ‘unattainable’ phenomena.
5
Torrisi-Steele, Geraldine. "Theoretical Foundations for Educational Multimedia." In Encyclopedia of Multimedia Technology and Networking, Second Edition. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch188.
Full textAbstract:
The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which time school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted through the 1930s as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s, but had little impact, mainly due to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it was not until the 1980s that computers began to make a major impact in education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000). Since the 1990s, there have been rapid advances in computer technologies in the area of multimedia production tools, delivery, and storage devices. Throughout the 1990s, numerous CD-ROM educational multimedia software was produced and was used in educational settings. More recently, the advent of the World Wide Web (WWW), together with the emergence of mobile devices and wireless networking, has opened a vast array of possibilities for the use of multimedia technologies and associated information and communications technologies (ICT) to enrich the learning environment. Today, educational institutions are investing considerable effort and money into the use of multimedia. The use of multimedia technologies in educational institutions is seen as necessary for keeping education relevant to the twenty-first century (Selwyn & Gordard, 2003). The term “multimedia” as used in this article refers any technologies which make possible “the entirely digital delivery of content presented by using an integrated combination of audio, video, images (twodimensional, three-dimensional) and text” along with the capacity to support user interaction (Torrisi-Steele, 2004, p. 24). Multimedia may be delivered on computer via CD-ROM, DVD, the Internet, or on other devices such as mobile phones and personal digital assistants, or any digital device capable of supporting interactive and integrated delivery of digital audio, video, image, and text data. The notion of interaction in educational multimedia may be viewed from two perspectives. First, interaction may be conceptualised in terms of “the capacity of the system to allow individual to control the pace of presentation and to make choices about which pathways are followed to move through the content; and the ability of the system to accept input from the user and provide appropriate feedback to that input” (Torrisi- Steele, 2004, p. 24). Second, given the integration of multimedia with communication technologies, interaction may be conceptualized as communication among individuals (teacher-learner and learner(s)-learner(s)) in the learning space that is made possible by technology (e-mail, chat, video-conferencing, threaded discussion groups, and so on).
6
Smith, Christopher J. "Body and Spirit in a Post-1960s World." In Dancing Revolution. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042393.003.0009.
Full textAbstract:
This chapter, in contrast to those that emphasize analysis of individual case studies, intentionally employs an omnibus approach, providing relative discussions of four highly disparate public dance cases in North America: 1960s social protest (especially the 1968 Chicago Democratic Convention), the Gay Rights movement (especially the Stonewall Uprising in New York in 1969), East Coast hip hop culture in the early 1970s, and the politicized noise-and-dance of 1980s punk rock. It thus emphasizes the wide range of historical and social contexts in which “subaltern dance” may be consistently theorized as realizing political intentions, with case studies that are diversified by era, political identity, racial profile, musical style, and gender orientation. Primary source evidence includes film, video, still photography, audio, and period descriptions.
7
Machan, Kim. "On curating media art between China and Australia since the 1990s." In Zhang Peili: From Painting to Video. ANU Press, 2019. http://dx.doi.org/10.22459/zp.2019.07.
Full text
8
An, Grace. "From Muse to Insoumuse." In Making Waves. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620429.003.0004.
Full textAbstract:
Most people have no idea that French film actress Delphine Seyrig was equal parts feminist activist and militant filmmaker. Distinctive for her beauty, singular voice, and roles in modernist films such as Last Year at Marienbad, Seyrig turned to filmmaking when she devoted her body, mind, and soul to the feminist movement in France during the mid-1970s. The works she completed, both individually and as a member of film collectives, belong to an entire history of feminist film and video art that emerged in the wake of 1968 and which Seyrig herself helped archive when she co-founded the Centre audiovisuel de Simone de Beauvoir with filmmaker Carole Roussopoulos in 1982. This includes Sois belle et tais-toi, a 1981 documentary Seyrig made with Roussopoulos on the treatment of actresses by the film industry, and Maso et miso vonten bateau (1975), which, humorously addressed misogyny and hypocrisy. Seyrig’s interventions in debates on gender politics and her shift from intellectual actress to cinéastemilitante, or from one mode of cinema to another, raise important questions regarding the conditions and implications of the work assumed by feminist cultural workers.
9
Mey, Adeena. "Projection between Exhibition and Information." In Practices of Projection. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190934118.003.0013.
Full textAbstract:
Among the many reconfigurations and experiments with the ‘medium of the exhibition’ of the 1960–1970s, Sonsbeek 71 stands as one the most audacious examples. Organized by curator Wim Beeren as an attempt to find a new curatorial language and innovative exhibition form, Sonsbeek 71 took ‘the entire country as its field of operation’, the ‘exhibition’ consisting of several works of land art, ‘information centres’, as well as pavilions dedicated to film, video, and art mediation. The ‘spatial relations’ exposed by the scale of this apparatus became the very object of Beeren’s curatorial inquiry. Focusing on projected moving images at Sonsbeek 71, this chapter discusses it on three different levels. First, it identifies the way both the film and exhibition apparatus were reconfigured and how Sonsbeek 71 functioned as an epistemology of the exhibition as medium. Second, it articulates a critique of the exhibition as a form intersecting technical, discursive, informational, and sensible elements, and shows how, in its radical expansion of the exhibition medium, Sonsbeek 71 ‘conflates media history with earth history’ (Parikka). Third, what is meant by the notion of the exhibition as ‘medium’ is discussed in light of the inflatable pavilions designed by the Eventstructure Research Group where structural films and artists’ films were projected. This eventually opens up to a critique of the informational, cybernetic epistemology of Sonsbeek 71.
10
Turnock, Bryan. "The Slasher Film." In Studying Horror Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0010.
Full textAbstract:
This chapter argues that of all the horror genre's many strands and variations, the original 'slasher' cycle of the 1970s and early 1980s remains the most disreputable and critically vilified, yet its commercial popularity and lasting influence are unquestionable. Whilst rarely making out-and-out slashers themselves, major Hollywood studios cashed in by buying finished films from their independent producers, giving the makers an instant profit and the studios a cheap marketable film virtually guaranteed an audience of teenagers. The chapter examines a film frequently cited as a forerunner of the slasher, one heavily influenced by the Italian giallo genre of crime fiction. In diverging from the established conventions of the giallo, Mario Bava's Bay of Blood (1971) introduced a number of narrative and aesthetic features found in many of the slasher films that followed. The chapter then considers the influence of the video industry on the evolution of the horror genre (and vice versa), and looks at the issue of censorship as it assesses the British 'video nasties' scare of the early 1980s.
Conference papers on the topic "1970s video art"
1
Winter, Renee. "Intertwining spheres." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.4.20.
Full textAbstract:
Public audiovisual archives like the Österreichische Mediathek (Austrian National Audiovisual Archive) have long been concerned with documenting the political as well as the cultural public sphere. National and international efforts have worked to collect and preserve historic film documents from the private sphere. An ongoing Österreichische Mediathek project addresses a source typically viewed as marginal: private video sources from the 1980s and 1990s. The challenges are not only to develop a collection and archiving strategy for a type of content on which there is little to no scientific research but also to master the technical challenges of archiving such materials for the long term. This paper examines the development and the workflow of the project and goes on to consider the historical functions of home videos and their qualities as historical sources.
2
Melville, W. Kendall, Lenonel Romero, and Jessica Kleiss. "Observations of Surface Waves and Wave Breaking: A Tribute to Nick Newman." In ASME 2008 27th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2008. http://dx.doi.org/10.1115/omae2008-57490.
Full textAbstract:
The Gulf of Tehuantepec is well known for having strong offshore winds, which occur predominantly during the winter months when significant atmospheric pressure differences develop between the Gulf of Mexico and the Pacific Ocean, forcing winds through a mountain gap at the head of the gulf. During the Gulf of Tehuantepec Experiment (GOTEX), conducted in February 2004, we collected surface-wave and wave-breaking measurements using a conical scanning lidar (NASA Airborne Terrain Mapper, ATM) and a downward-looking video camera on the NSF/NCAR C-130 aircraft. We present ATM observations of surface waves as well as statistical and spectral descriptions of the wave field. We also present measurements of the occurrence and strength of breaking using digital video data to identify actively breaking waves. In order to infer the dynamics of breaking from simple physical models, the kinematics of the breaking must be separated from the kinematics of the underlying waves. This is done using linear and nonlinear estimates of the underlying orbital velocities from the spatio-temporal surface displacement data measured by the ATM. Nonlinear estimation of the orbital velocities is described in a companion paper in this symposium (Grue et al., OMAE 2008). Frequent breaking is observed under the strong wind forcing. Examples of the spatial structure of waves are compared to simultaneous video imagery, giving an indication of the scale at which wave breaking occurs. The GOTEX observations, to almost full wave development, are tested against the latest wind-wave numerical spectral models that include the effects of wave generation, nonlinear wave-wave interactions and wave dissipation due to breaking. This paper is dedicated to Nick Newman by the lead author in appreciation of Nicks encouragement and assistance when he (WKM) moved to MIT in the early 1980s.
3
Cartwright, R. A., and C. Fisher. "Marine Gas Turbine Condition Monitoring by Gas Path Electrostatic Detection Techniques." In ASME 1991 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1991. http://dx.doi.org/10.1115/91-gt-376.
Full textAbstract:
It was discovered in 1970 that certain gas turbine failures are preceded by an increase in electrostatic activity in the exhaust gases. Joint research by the Royal Aerospace Establishment and Stewart Hughes Limited demonstrated that this characteristic could be used to provide an on-line monitor of the precursors to these failures. An extension of the research applied the theory to the detection of foreign objects ingested into engine inlets. The characteristics and performance of both the Ingested Debris Monitoring System (IDMS) and Engine Distress Monitoring System (EDMS) were examined during a recent 2000 hours endurance trial of a Rolls-Royce Marine Spey gas turbine. The EDMS produced clear evidence of the minor combustor degradation that occurred steadily throughout the trial and also reflected the absence of other engine damage. IDMS data showed that few significant debris particles passed through the engine. Video endoscope and visual inspection confirmed these results. Debris seeding trials further explored the capability of the IDMS to identify the damaging nature of debris and to assess the EDMS signature of consequential engine damage. The paper concludes that electrostatic monitoring at engine inlet and exhaust can identify the ingestion of debris, consequential engine damage and the onset of unexpected distresses caused by blade rubs or combustor degradation. The technique shows potential to provide early warning of certain types of engine damage to Engineer Officers at sea and development into a rugged gas path condition monitoring system continues.
4
Whitaker, Wade, Chris Bergren, and Mary Flora. "Utilizing the Right Mix of Environmental Cleanup Technologies." In The 11th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2007. http://dx.doi.org/10.1115/icem2007-7369.
Full textAbstract:
The Savannah River Site (SRS) Figure 1 is a 310-square-mile United States Department of Energy nuclear facility located along the Savannah River near Aiken, South Carolina. During operations, which started in 1951, hazardous substances (chemicals and radionuclides) were released to the environment. The releases occurred as a result of inadvertent spills and waste disposal in unlined pits and basins which was common practice before environmental regulations existed. The hazardous substances have migrated to the vadose zone and groundwater in many areas of the SRS, resulting in 515 waste units that are required by environmental regulations, to undergo characterization and, if needed, remediation. In the initial years of the SRS environmental cleanup program (early 1990s), the focus was to use common technologies (such as pump and treat, air stripping, excavation and removal) that actively and tangibly removed contamination. Exclusive use of these technologies required continued and significant funding while often failing to meet acceptable clean-up goals and objectives. Recognizing that a more cost-effective approach was needed, SRS implemented new and complementary remediation methods focused on active and passive technologies targeted to solve specific remediation problems. Today, SRS uses technologies such as chemical / pH-adjusting injection, phytoremediation, underground cutoff walls, dynamic underground stripping, soil fracturing, microbial degradation, baroballs, electrical resistance heating, soil vapor extraction, and microblowers to more effectively treat contamination at lower costs. Additionally, SRS’s remediation approach cost effectively maximizes cleanup as SRS works proactively with multiple regulatory agencies. Using GIS, video, animation, and graphics, SRS is able to provide an accurate depiction of the evolution of SRS groundwater and vadose zone cleanup activities to convince stakeholders and regulators of the effectiveness of various cleanup technologies. Remediating large, complex groundwater plumes using state of-the art technologies and approaches is a hallmark of years of experience and progress. Environmental restoration at SRS continues to be a challenging and dynamic process as new cleanup technologies and approaches are adopted.
5
Dillard, David A., Melissa D. Nipper, Scott W. Case, and Alan A. Kornhauser. "Preparation for the Fundamentals of Engineering Examination at Virginia Tech." In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-63558.
Full textAbstract:
The first step most engineers take toward professional engineering licensure is taking the Fundamentals of Engineering examination administered by the National Council of Examiners for Engineering and Surveying. The examination is typically taken by students near completion of an undergraduate engineering degree. By following up with engineering experience and the Professional Engineering examination, engineers can be licensed in any of the 50 states of the U.S. Professional licensure is both an aid and an incentive to professionalism in engineers. Licensure provides a publicly recognized credential for engineering competence and professional ethics. The licensing process, together with state requirements for maintaining licensure, ensures that professional engineers have the depth and breadth of knowledge required for engineering practice. Knowledge of licensing requirements helps young engineers set their own standards for engineering competence. Virginia Tech has, for many years, assisted its senior engineering students in preparing for the Fundamentals of Engineering examination. The program began in the 1970’s as an unofficial series of review lectures offered by engineering faculty. Later, it became a two credit hour course administered by the Department of Engineering Science and Mechanics with modules taught by faculty from many engineering disciplines as well as mathematics and chemistry. The course was taught every spring, using a set of notes and problems prepared by the instructors and available to students at reproduction cost. Lectures were scheduled in the evening to reduce interference with other courses. In spring 2011, the course was taught for the first time as an asynchronous online course developed by the instructors working in conjunction with Virginia Tech’s Institute for Distance and Distributed Learning. Updated lecture notes and problems were available for download, and lectures, recorded for the online course, were available for viewing as audio/video slide presentations using streaming video format. Since different faculty had different prior experience with computer-aided and online teaching, the different course modules used various online teaching techniques. The course website has been organized so that student response to the online materials may be monitored. Historically, Virginia Tech has had both high levels of undergraduate participation in the Fundamentals of Engineering examination and a high pass rate. Statistics on course registration, exam participation, and pass rate over the past decade are presented and compared with statistics for the new online course. In spite of a few technical and other issues, the online course appears to be a success. It is anticipated that feedback from this initial online offering will result in even better student acceptance and utilization of the online content, as well as examination performance, in the future.
6
Bölükbaşı, Selahattin. "The Example of Fanatik Newspaper Within the Context of The Evolution of Communication From Traditional Media to New Media Tools During the Covid-19 Pandemic." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.024.
Full textAbstract:
Fanatik Newspaper has been chosen as a sample in explaining the evolution of communication from traditional media to new media tools during the Covid-19 pandemic period, as Fanatik uses both media platforms efficiently. During the pandemic period, in which people didn’t go out or even avoid meeting their relatives, it’s been harder to reach daily newspapers to be informed about developments. After the 1990s, humanity has already become acquainted with internet journalism, which led to a decrease in the purchase of newspapers, and people started following the developments mostly from other platforms such as computers and mobile phones. And the advent of Covid-19 increased people’s dependence to digital platforms as a result of the restrictions implemented by the states. This study includes a video interview with Ömer Necati Albayrak, who has been the editor of Fanatik since 2012, and the data collected about newspapers and online journalism during the pandemic. The meeting was originally planned to be held face-to-face, yet because of the pandemic, it had to be held over Zoom, one of the relatively new media applications. The questions asked in the interview were prepared in line with the location feature that’s in social networks (URL-1). Both qualitative and quantitative analysis methods were used in this study. With the content analysis performed with quantitative methods, information about the circulation and advertising revenues of the newspapers in Turkey in the last ten years were collected. As a result of both studies, it has been recorded that people mostly follow the news from the internet sites, however; the circulation of the newspapers, which declined at the beginning of the pandemic, increased again later. In consequence of the findings, although the evolution of communication from traditional media to new media seems to have been completed during the pandemic, it has been detected those newspapers are preferred more when it comes to advertising revenue.