Dissertations / Theses on the topic 'Experimental films Video art'

In an increasingly online world interpersonal interactions become a less integral part of our cultural make-up. The exploration of this phenomenon is the thematic concept that activates Between You and Me - a triptych-split-screen short film and video installation. This text is dedicated to exploring how theme, technique, and theory are considered in the context of the film, and how character and form (more than narrative) illuminate the thematic concept.

Figuring Space; considering the figure in the construction of space in materialist film is an analysis of film space that uses either the image of a figure or the actual figure of the viewer in its construction. The thesis focuses on particular screen works of William Raban, Guy Sherwin, Malcolm Le Grice, Chris Welsby, Nicky Hamlyn, Peter Gidal (all members of the London Filmmakers’ Cooperative) and the Canadian artist Michael Snow. It discusses the works in relation to the basic materials of time, light and sound found in film and video. The thesis looks at the way the film frame was implemented in the work of these artists to challenge preconceived notions of film space. It also highlights the uncertainty of spatial relativity within the screen image once the techniques imposed by the artist undermine previous determinations of positions in space. The frame provides necessary elements with which a reading of a pictorial space can be made. In addition, with some of the works discussed, the frame defines an exterior screen space that at times questions the boundaries between on-screen and off-screen, and fictive space and real space. While in other works that are addressed, binaries exist within which the boundaries of a picture plane are utilized to determine an object’s spatial relativity, which in turn questions the relativity of those boundaries that determine it. The frame that previously confirmed the illusions of space within the pictorial plane could no longer be prescribed as definitive. Calculations of the film space would become dependent upon a point of origin that is situated within actual time and space at the position of the viewer. The figure of paramount importance, when considering the constructs of space within materialist film, is that of the viewer

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
By focusing on montage or editing that can characterize a method of temporal construction, this study confronts two medias that operate moving images, which suggests different ways of thinking about time. We will discuss the issue of time in the cinema and on video through a brief discrimination between the two languages and, as an example, we will analyze editing and images and sounds on the video Trovoada, in an effort to grasp the temporalities that are characteristic of video. Next, for purposes of comparison, we will analyze the movie Nick s movie (or Lightning Over Water), in which there is a dialogue between cinema and video. Before the digital age, the nature of the supports used in the cinema and in video was different. We understand that both are based in distinct procedures in producing images in movement and generate specific languages that show different temporalities. This difference can be understood as the matrix of the characteristics of the languages. Cinema was the first medium to operate moving images and, by doing this, it opened up broader questioning regarding time, insofar as it moves from a static image to an image that has a specific duration. Video, on the other hand, comes about as an electronic image in which there is effectively an inscription of time in the support itself, and which offers new editing techniques and procedures. We have considered, as a hypothesis, that there are different kinds of times and montages in cinema and video and that the two languages are differentiated by more specific constructions, or that their dialogue takes place in more hybrid constructions: the times articulated in both supports are distinct from each other and blend together. The main authors who have built the theoretical basis of this research are: Arlindo Machado, Raymond Bellour, André Parente, Gene Youngblood, Philippe Dubois, Yvana Fechine, Lucrecia D Alessio Ferrara, Christine Mello and Gilles Deleuze
Com foco na montagem ou edição que pode caracterizar um modo de construção temporal, este é um estudo de confronto entre dois meios que operam imagens em movimento, o que sugere modos diferentes de pensar o tempo. Abordamos a questão do tempo no cinema e no vídeo através de uma breve discriminação entre as duas linguagens, e, como exemplo, analisamos a edição e as imagens e sons no vídeo Trovoada, a fim de apreender as temporalidades características do vídeo. Em seguida e a título de comparação, analisamos o filme Um filme para Nick, no qual há um diálogo entre cinema e vídeo. Antes da era digital, a natureza dos suportes utilizados no cinema e no vídeo era diferente. Entendemos que ambos têm origem em procedimentos distintos na produção da imagem em movimento e geram linguagens específicas que evidenciam diferentes temporalidades. Essa diferença pode ser entendida como a matriz das características das linguagens. O cinema foi o primeiro meio a operar imagens em movimento e, com isso, abriu um questionamento maior sobre o tempo, na medida em que se passa da imagem estática para a imagem que possui determinada duração. Já o vídeo surge como imagem eletrônica em que efetivamente há uma inscrição do tempo no próprio suporte, e que traz novas técnicas e procedimentos de edição. Consideramos, como hipótese, que há diferentes tipos de tempos e montagens no cinema e no vídeo e que as duas linguagens se diferenciam em construções mais específicas, ou dialogam em construções mais híbridas: os tempos articulados nos dois suportes se distinguem e se mesclam. Os principais autores que constroem a fundamentação teórica desta pesquisa são: Arlindo Machado, Raymond Bellour, André Parente, Gene Youngblood, Philippe Dubois, Yvana Fechine, Lucrécia D Alessio Ferrara, Christine Mello e Gilles Deleuze

The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.

El projecte de recerca doctoral, titulat "Cartografiar, Narrar, Juxtaposar, Filmar : Narratives Experimentals per a l'Educació", proposa una reflexió sobre la relació entre art i educació, i més concretament sobre com les pràctiques experimentals de les imatges en moviment generen formes de fer i pensar que poden contribuir a produir noves formes de narrar-se a si mateix i al "altre" i, per tant, a repensar les relacions pedagògiques.  A partir d'un marc teòric feminista que transita els camps dels estudis de cultura visual i les teories crítiques en pedagogia i cinema (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), proposo un recorregut que pren com a punt de partida la meva pròpia pràctica com a artista/investigadora/educadora en diàleg amb dos artistes de cinema/vídeo María Ruido i Manon Labrecque. A través de metodologies basades en les arts, i en particular la cartografia (Deleuze i Guattari, 1980; Deligny, 1976, 1990) i la recerca basada en el vídeo (Harris, 2016, 2017; Russell, 1999), es generen narratives experimentals reflexives sobre la relació entre la pràctica artística i la pedagògica, i sobre la forma en què aquestes dues pràctiques s'alimenten la una de l'altra, però també es contradiuen i, a vegades, fins i tot se sabotegen entre si. És a partir d'aquesta relació entre teoria i pràctica que es construeixen espais alternatius de creació, recerca i aprenentatge.
El proyecto de investigación doctoral, titulado "Cartografiar, Narrar, Yuxtaponer, Filmar : Narrativas Experimentales para la Educación", propone una reflexión sobre la relación entre arte y educación, y más concretamente sobre cómo las prácticas experimentales de las imágenes en movimiento generan formas de hacer y pensar que pueden contribuir a producir nuevas formas de narrarse a sí mismo y al "otro" y, por tanto, a repensar las relaciones pedagógicas.  A partir de un marco teórico feminista que transita los campos de los estudios de cultura visual y las teorías críticas en pedagogía y cine (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), propongo un recorrido que toma como punto de partida mi propia práctica como artista/investigadora/educadora en diálogo con dos artistas de cine/video María Ruido y Manon Labrecque. A través de metodologías basadas en las artes, y en particular la cartografía (Deleuze y Guattari, 1980; Deligny, 1976, 1990) y la investigación basada en el vídeo (Harris, 2016, 2017; Russell, 1999), se generan narrativas experimentales reflexivas sobre la relación entre la práctica artística y la pedagógica, y sobre la forma en que estas dos prácticas se alimentan la una de la otra, pero también se contradicen y, en ocasiones, incluso se sabotean entre sí. Es a partir de esta relación entre teoría y práctica que se construyen espacios alternativos de creación, investigación y aprendizaje.
Le projet de recherche doctorale, intitulé « Cartographier, (Ra)conter, Filmer, Juxtaposer : des Narratives Expérimentales pour l’Éducation » propose une réflexion sur la relation entre art et éducation, et plus concrètement sur comment les pratiques expérimentales de l’image en mouvement génèrent des façons de faire et de penser qui peuvent contribuer à produire de nouvelles façons de se narrer et de narrer « l’autre », et par là même de repenser les relations pédagogiques.  À partir d’un cadre théorique féministe qui transite dans les domaines de études de la culture visuelle et des théories critiques en pédagogie et en film (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), je propose un parcours qui prend comme point de départ ma propre pratique comme artiste/chercheuse/éducatrice en dialogue avec deux artistes cinéastes/vidéastes María Ruido et Manon Labrecque. À travers des méthodologies basées sur les arts, et particulièrement la cartographie (Deleuze et Guattari, 1980 ; Deligny, 1976, 1990) et la recherche en vidéo (Harris, 2016, 2017 ; Russell, 1999;), se génèrent des narratives expérimentales réflexives sur la relation entre pratique artistique et pratique pédagogique, et sur comment ses deux pratiques se nourrissent l’une de l’autre, mais aussi se contredisent et des fois même se sabotent. C’est à partir de cette relation entre théorie et pratique que se construisent des espace alternatifs de création, de recherche et d’apprentissage.
The doctoral research project, entitled "Mapping, Narrating, Filming, Juxtaposing: Experimental Narratives for Education", proposes a reflection on the relationship between art and education, and more concretely on how experimental practices based on the moving image, generate ways of doing and thinking that can contribute to produce new ways of narrating oneself and the "other", and thus to rethink pedagogical relationships.  Based on a feminist theoretical framework nourished by the visual culture studies and critical theories in pedagogy and film (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), I propose a journey that takes as a starting point my own practice as an artist/researcher/educator in dialogue with two film/video artists Manon Labrecque and María Ruido. Through methodologies based on the arts, and particularly cartography (Deleuze and Guattari, 1980; Deligny, 1976, 1990) and video-based research (Harris, 2016, 2017; Russell, 1999;), reflective experimental narratives are generated on the relationship between artistic and pedagogical practice, and on how these two practices feed on each other, but also contradict each other and sometimes even sabotage each other. It is from this relationship between theory and practice that alternative spaces for creation, research and learning are built.

I am exploring the way music alters or enhances the perception of our environment. This creative project allows me to explore and visualize several issues that intrigue me: music (sound), emotion, and visual imagery (film). My goal in developing this topic is to allow others to have an experience related to sound and image, where image is altered and enhanced by the use of music.

This thesis analyses the effect of the personal history of Arthur and Corinne Cantrill, two Australian independent filmmakers, on their style of filmmaking. It analyses their representation of film-form experimentation within national Australian art in a range of independent film works. It reflects on their cultural relation to the general history of independent filmmaking in Australia, America and Europe. It studies the circumstances tat resulted in the appearance of the Cantrills' experimental film and their relation to international art theories and film experimentation. This thesis will examine how the Cantrills' film works, which were often critical of conventional filmmaking styles, and their critical writing, statements and promotion of their independent and experimental film work contributed significantly to theoretical discussion and argument about the physical nature of film within Australia. This examination is explored through asking and answering the central question: The work of Aurtheur and Corinne Cantrell is theoretically drawn from a tradition of European arts and visually drawn from Australian landscape and urban culture; can their work be identified and undertood as Australian art?

This thesis focuses on the 1920s Parisian avant-garde films and their artistic potential as revealed in the contemporary art of video installations. Starting with an overview of the moving image arts in the early 20th century Paris,the project deals with both the theoretical and the practical aspects of the artistic experiment. Tracing the formation of the cinematic language from contemporary static visual arts, on the one hand, and the verbal art of literature on the other, the first chapter reviews the aesthetical content of the early 20th century Parisian avant-garde (cubism, Dada and surrealism) in general and as applied to 'moving image' in particular. In addition, the artistic and critical context of 'mechanical arts', i.e. photography and cinema is analyzed, involving such issues as the categories of time and space, the visual nature of film and photography and the use of movement and the machine. The nature of video is reflected upon in close parallel with the above argument, being compared with and contrasted to that of film and photography. The second and largest chapter of the thesis is devoted to a detailed textual analysis of the 1920s Parisian experimental films. Within it, parallels are drawn between the films and a number of contemporary video installations to show the early cinematic era heritage in the 'post-cinematic' visual culture. In the last chapter the emergence and nature of new media and video installation art are considered. Multimedia installations are seen as an interactive montage in three dimensions: their 'textuality' is analyzed via the concepts of narrativity versus database, while the screen is treated as a border between the artistic space of the work and the immediate space of the viewer. furthermore, the complex nature of image in multimedia installations, including its materiality and plasticity, is considered. Such issues as the role of medium in experimental art and the importance of self-filming/documentary are reflected upon. A textual analysis of some video installations with references to the 1920s Parisian experimental films analyzed above concludes the study. An attempt to classify the installations is mader, as well as to reveal some of their typical patterns and structures. Some terminology is suggested, along with a wider perspective for future research in the field of video installation art.

This thesis is a practical project which involves moving images and paintings together as a medium that explores phenomena of contemporary China relating to personal identity, independence and its relationship with the traditional importance on collective groups, group centredness and interdependence. The project’s approach draws on sociological research on Western thought, values and beliefs naturally occurring in China since the “Open Door” policy as raw data to focus on the transition and transformation of contemporary Chinese individuality, and translates these data to form the concepts underpinning the metaphoric method of my artwork. Bubbles are the main visual symbols that metaphorically imply the incessantly transformable Chinese individuality and social cultural identity. My aim has been to portray this phenomenon through artistic practices on screens. By reflecting and engaging with moving images and paintings, underpinned by theoretical research and methods including data collecting, self-reflecting on data, practical manifestation and self-inquiry, I have attempted to unfold the phenomenon of contemporary Chinese individuality through my art practice. The thesis is composed as a creative work of moving images accompanied by an exegesis component. The moving image represents a nominal 80%, and the exegesis 20% of the final submission.

Common thought about cinema calls to mind an audience seated in a darkened theatre watching projected moving images that unfold a narrative onto a single screen. Cinema is much more than this. There is a significant history of artists experimenting with the moving image outside of its familiar setting in a movie theatre. These investigations are often referred to as "expanded cinema". This dissertation proposes a genre of expanded cinema called haptic cinema, an approach to interactive narrative that emphasizes material object sensing, identification and management; viewer's interaction with material objects; multisequential narrative; and the presentation of visual and audio information through multiple displays to create a sensorially rich experience for viewers. The interactive digital media tabletop is identified as one platform on which to develop haptic cinema. This platform supports a subgenre of haptic cinema called tabletop cinema. Expanded cinema practices are analyzed for their contributions to haptic cinema. Based on this theoretical and artistic research, the thesis claims that haptic cinema contributes to the historical development of expanded cinema and interactive cinema practices. I have identified the core properties of a haptic cinema practice during the process of designing, developing and testing a series of haptic cinema projects. These projects build on and make use of methods and conventions from tangible interfaces, tangible narratives and tabletop computing.

La vision multiple et la perception simultanée d’images et d’informations sont au cœur de notre vie quotidienne ; l’omniprésence des écrans et des fenêtres, de l’espace urbain à Internet, produit une vision sur-cadrée et fragmentée du monde qui transforme notre rapport à l’image. La révolution artistique des 19ème et 20ème siècles accompagna le développement des techniques de production de l'image photographique et cinématographique manifestant une certaine préoccupation pour la décomposition du mouvement et l’échantillonnage du temps. La naissance des technologies numériques, dont le développement est intimement lié à celui des réseaux de télécommunication et notamment d’Internet, a renouvelé cette tendance en faisant de la mobilité, de la téléprésence, de l’ubiquité et de la vision simultanée les caractéristiques fondamentales de la pensée visuelle de notre époque.Les systèmes figuratifs de l’image numérique, qui héritent des techniques d’enregistrements optiques tout en y adjoignant celles de la simulation par ordinateur, inaugurent-ils une attitude différente vis-à-vis du réel ? Leur parenté avec Internet et avec les systèmes temps réels les investit-t-elle d’un autre mode d’expression temporel, qui viendrait se substituer à l’histoire de la peinture classique et tendrait à renouveler la présence performative et le direct de l’art vidéo ? C’est à travers le concept du fragment, considéré comme outil au service de l’expérimentation artistique, que cette thèse de recherche-création examine la manière dont l’image numérique animée reprend et transforme les codes de la pratique figurative en peinture et en cinéma pour organiser une nouvelle découpe de la vue et du temps
Multiple vision and simultaneous perception of images and information are at the heart of our daily lives; The omnipresence of screens and windows, from urban space to the Internet, produces an over-framed and fragmented vision of the world that transforms our relationship to the image. The artistic revolution of the 19th and 20th centuries accompanied the development of photographic and cinematographic image production techniques, expressing a certain concern for movement decomposition and time sampling. The birth of digital technologies, whose development is intimately linked to that of telecommunication networks and especially the Internet, has renewed this trend by making mobility, telepresence, ubiquity and simultaneous vision the fundamental characteristics of the visual thinking of our time.Do the figurative systems of digital image, which inherit the techniques of optical recordings while adding those of computer simulation, inaugurate a different attitude towards reality? Does their kinship with the Internet and real time systems invest them in another mode of temporal expression, which would replace the history of classical painting and would tend to renew the performative and direct presence of video art? It is through the concept of fragment, considered as a tool in the service of artistic experimentation, that this research-creation thesis examines the way in which the animated digital image takes over and transforms the codes of figurative practice into painting and film to organize a new cut of sight and time

Videogame tinkerers, players, and activists of the 21st century are continuing, yet redefining, the avant-garde art and literary movements of the 20th century. Videogames are diverging as a social, cultural, and digital medium. They are used as political instruments, artistic experiments, social catalysts, and personal means of expression. A diverse field of games and technocultural play, such as alternate reality games, griefer attacks, arcade sculptures, and so on, can be compared and contrasted to the avant-garde, such as contemporary tactical media, net art, video art, Fluxus, the Situationists, the work of Pollock or Brecht, Dada, or the Russian Formalists. For example, historical avant-garde painters played with perspectival space (and its traditions), rather than only within those grid-like spaces. This is similar in some ways to how game artists play with flow (and player expectations of it), rather than advancing flow as the popular and academic ideal. Videogames are not only an advanced product of technoculture, but are the space in which technoculture conventionalizes play. This makes them a fascinating site to unwork and rethink the protocols and rituals that rule technoculture. It is the audacity of imagining certain videogames as avant-garde (from the perspective of mainstream consumers and art academics alike) that makes them a good candidate for this critical experiment.

Orientador: Antonio Fernando da Conceição Passos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa apresenta como tema principal o processo de criações artísticas audiovisuais inspiradas em textos literários. Da leitura dos textos poéticos decorrem imagens e sensações de caráter singular, que são transpostas para obras audiovisuais. A pesquisa realizada na área de Cinema e Literatura, dentro da linha de pesquisa ¿CINEMA FICCIONAL: HISTÓRIA E PROCESSOS CRIATIVOS¿, tem como objetivo expor o desenvolvimento do fazer criativo da autora, através de sua história pessoal, memórias, sentimentos, sensações estéticas concretizadas nas realizações de filmes e vídeos sob o tema geral do Exílio
Abstract: This research has in its main subject the process of audiovisual artistic creations inspired in literary texts. From the lecture of poetic texts results images and sensations of a singular nature, that are transported to audiovisual works. The research has been realized in ¿Movies and Literature¿ area, and focused in the research line ¿FICTIONAL MOVIES: HISTORY AND CREATIVE PROCESSES¿, with the purpose to expose the author¿s creative work development through her personal history, memories, feelings, aesthetics sensations realized in the creations of films and videos in the light of Exile general subject
Doutorado
Doutor em Multimeios

Refletir sobre as experiências com imagens e sons em tempo real é pensar em uma ampla gama de possibilidades e experiências pela humanidade, desde os tempos mais remotos. Pelo fato dessas experiências audiovisuais em tempo real serem numerosas no tempo e no espaço, e já amplamente citada em diferentes estudos, esta apresentação tem por objetivo realizar um recorte mais restrito às experiências audiovisuais em tempo real no campo cinematográfico contemporâneo: uma arte, meio e processo em expansão que culmina na existência de um fenômeno semiótico, realizado principalmente através de modos experimentais com a presença do(s) autor(es) concebendo a experiência audiovisual, conjuntamente ao aparato tecnológico e ao público, todos participantes da criação e exibição da obra audiovisual no mesmo tempo em que ela ocorre, em transmissão direta para a tela de cinema, monitores, telas digitais ou espaços arquitetônicos. Com base em obras audiovisuais realizadas entre 2007 a 2017 desenvolveremos uma reflexão e análise das poéticas e técnicas das experiências audiovisuais em tempo real, de maneira a compreender com um olhar mais atento as possibilidades criativas e contribuir com a reflexão sobre estes formatos do audiovisual contemporâneo, cujos meios e processos estão em contínua expansão de suas fronteiras. Em estética do cinema, esta pesquisa segue em continuidade aos estudos e práticas do cinema experimental e em sua vértice ao cinema expandido.
Reflecting about real-time imagery and sounds experiences is thinking about a wide range of possibilities and experiences for humanity, from the earliest times. Because the real-time audiovisual experiences are numerous in time and space, and already widely quoted in different studies, this presentation aims to make a more restricted cut-off to real-time audiovisual experiences in the contemporary cinematographic field: an art, medium and an expanding process that culminates in the existence of a semiotic phenomenon, performed mainly through experimental modes with the presence of the author(s) directing the audiovisual experience in real-time, together with the technological apparatus, the cast, and the public, all participants in the creation and exhibition of the audiovisual work at the same time as it occurs, in direct transmission to the cinema screen, monitors, digital screens or architectural spaces. Based on audiovisual works carried out between 2007 and 2017 we will develop a reflection and analysis of the poetics and techniques of audiovisual experiences in real-time, in order to understand with a closer look the creatives possibilities in live cinema and contribute with reflection on these forms of the contemporary audiovisual, whose means and processes are in continuous expansion of its borders. In aesthetics of the cinema, this research follows in continuity to the studies and practices of the experimental cinema, and in its vertex to the expanded cinema.

The Ghost Machine is a practice-based research project that explores the process of embodiment in animated film. It describes the process of transfiguration from the artist’s/auteur’s point of view and not from an outside position. The dissertation follows the embodiment of a dramatic text, the Ghost Sonata by August Strindberg (1907), into an animated film. The starting point is my experience of the drama, at the age of thirteen, when staged by Ingmar Bergman at the Royal Dramatic Theatre. As a teenager, the world of the grown-ups seemed to be corrupt, twisted and ruled by violent power plays and economic sanctions, and this play confirmed my world view. Was I right, as a thirteen-year-old boy? What kind of world emerges in my version of the Ghost Sonata? In this thesis work, the films and the experimental research process meet the practice and art of writing. Using text, not as “theory” separated from “practice” but as a bodily art practice, creates a shifting border between the results and intentions of art and filmmaking, and the results of writing. At the same time a unity emerges where the results of the research process can be seen and experienced in the interaction between the texts and the artwork. The Ghost Machine is a totality where the text, films and artworks included in the project are equally important and must be seen as a unity. The Ghost Machine is a work journey where travelling, animated film practice, networking with colleagues and collecting data are mixed with experiments using methods from contemporary arts practice, performance, reenactment, appropriation and transfiguration, blended with traditional puppet animation in classic Czech style. In collaboration with actors, mime artists, puppet makers, musicians and a minimal film crew, century old stop-motion animation is combined with computer animation.  The textual part of the work falls into two categories: life stories and work stories. The work stories traces the forming of an artwork in all aspects. The life stories are related to the subject of ghosts. Suddenly, dead friends and dear family members claimed their space. The understanding of the Ghost Sonata came to be a process of sorting out and following lines of memory using an inverted version of the Orpheus myth as a guide. Instead of never turning around, when walking the dead out of oblivion, I chose to look back, again and again, until I hit something and could not write anymore.
https://www.uniartsplay.se/slin

Au cours de la décennie 1990, l'introduction puis l’expansion accélérée du numérique par les industries techniques ont favorisé le développement dans les arts filmiques d’un courant critique spontané et collectif portant sur le signal. Nous élaborons une histoire des techniques et des formes esthétiques critiques du signal, en faisceaux de segments, selon une taxinomie qui prolonge le structuralisme matériologique des années 70 (Malcolm Le Grice, Peter Gidal, Paul Sharits, Anthony McCall). Cette histoire embrasse et met en perspective cinéma, vidéo et numérique, de manière à réorganiser nos conceptions distinctes de ces champs selon le domaine des sciences (duquel dépendent détection, codification et visualisation du signal). Nous proposons une histoire des techniques à rebours sous l’angle particulier de la computation du signal, processus systématique commun à l’ensemble des technologies filmiques et entendu comme un ensemble de règles opératoires propres à un traitement calculatoire de données. Dans la double tradition d’une part de Jean Epstein, Marcel L’Herbier ou Jean Renoir, et de l’autre du structuralisme expérimental (Paul Sharits, Malcolm Le Grice…), de nombreux artistes contemporains, tels Paolo Gioli, Philippe Grandrieux, Peter Tscherkassky, Marylène Negro, Leighton Pierce, Augustin Gimel, Jacques Perconte ou HC Gilje (pour n’en mentionner que quelques uns), ont élaboré une intelligence du signal grâce à deux entreprises critiques simultanées. La première, au registre du dispositif, conteste la technologie programmante et vise les libérations du code ; la seconde, au registre de l’image, conteste les normes de visualité et enrichit les palettes visuelles et sonores du flou. Nous tentons d’établir, formuler et organiser les logiques qui, traversant et déterminant la diversité des initiatives artistiques dont nous observons les spécificités et singularités, relèvent d’un même combat artistique contre la standardisation
During the 90s, with the introduction, then accelerated expansion of digital by the technical industries, has promoted the development of a spontaneous and collective critical current on the signal in the filmic arts. We develop a history of technics and critical aesthetic forms of signal, in beam segments, according to a taxinomy that extends the 70s’ materiologic structuralism (Malcolm le Grice, Peter Gidal, Paul Sharits, Anthony McCall). This history embrace film, video and digital, to reorganize our different conceptions of these fields according to the scientific viewpoint (which detection, codification and display of the signal depend on). We propose a backward technological history from the viewpoint of the signal computation, a systematic process common to all filmic technologies, and understood as a set of operating rules specific to computational data processing.In the double tradition, first of Jean Epstein, Marcel L'Herbier or Jean Renoir, on the other hand experimental structuralism (Paul Sharits, Malcolm Le Grice...), many contemporary artists such as Paolo Gioli, Philippe Grandrieux Peter Tscherkassky, Marylène Negro, Leighton Pierce, Augustin Gimel, Jacques Perconte or HC Gilje (just to mention a few) has developed a signal intelligence thanks to two simultaneous critical enterprises. The first, on the register of the apparatus, challenges the programming technology and aims the liberation of the code ; the second, on the register of the image, challenges the norms of the visuality and expand the visual and sound palettes of blur. We try to formulate and organize the logics which, crossing and determining the diversity of artistic initiatives whom we observe specificities and singularities, belong to the same artistic battle against standardization

Černá, T.: Experimental film and video in the second half of the 20th century in didactical context. [Master's thesis] Prague 2016 - Charles University, Faculty of Education, Department of Art Education, 95 p. (Attachments: art work of pupils and my own art work on DVD). This Master's thesis is a theoretical study in which I explore the connections between moving pictures - experimental film and video art - and the developments in fine art in the second half of the 20th century. In the thesis I look into the topic of moving pictures, their specific characteristics and the distinctions between them, and I define the basic concepts. Based on selected key figures who linked experimental film, video art and fine art, I describe the key approaches and principles that emerged in relation to this field, both in the Czech Republic and abroad. The teaching section presents three projects designed for and taught in art lessons, based on the work of some of the selected artists. The projects test the theoretical insights from the thesis through art lessons taught to schoolchildren aged 11 to 15. The thesis also comprises an art project, reflecting the insights obtained from the theoretical study, which became the platform for my own videos.

碩士
國立臺灣藝術大學
造形藝術研究所
98
In 1997, the foundation of Anna Sanders Films stated clearly the development of relationship between cinema and plastic art. This company was composed by several French artists lively in 90s. They applied cinema narratives into their works, and attempted to refresh the debate on video installation and cinema. In this essay, I deliberate works produced by these artists as a main object, and discuss their practices in in-between narrative which cross both plastic art and cinema field. Based on their doubt on video installation, using Structuralism as an analyzing method, I approach to the in-between narrative, and expound its logic expanded field. Furthermore, it advances into three concepts: mise en abyme, l’hors-champ, actualism, a more complicated internal dispatch in narratives. Through this description, it also becomes a new possibility in contemporary narratives. Anna Sanders Films’ artists constantly work on theme between diegesis and reality, which gives narratives itself diversities and a whole new life. On the one hand, the in-between narratives succeed to the critique attitude originated from video installation. And with the power of images, the extended space could be everywhere outside museums. On the other hand, it also suggests a possibility to get involve into politics. In the end part of this essay, the discussion turns to question on how the in-between narratives functions in complex local politics. At the same time, returning to my works, “The Story of Hoping Island” and “Huatung Village” as examples, I continue preceding discussion, and it’s also a possible response to the subject, locality.

Jeffrey Charles Stanley is an M.F.A. Candidate in Transmedia in the Department of Art and Art History. The Artist, Jeff Stanley, Works as a cultural “hacker” and critical “terrorist” with the aid of video and the internet. The character, Jeff Stanley, plays the role of a 2010 Max Headroom, the popular 80s anti-corporate TV personality/talking head and seller of Pepsi. Media delivers people. A few deliver media. The audience is the product. Media hacking is a technique that allows an artist, or anti-artist, to change the game and fight back. An artist practice can be open to technology, yet remain powerful, and culturally and socially relevant. Jeff Stanley is a virtual AI, a person, and a corporate entity. With this new holy trinity, the combined efforts as a person, a virtual AI, and a corporation will provide the enhancement an artist needs today. Art and its methods must evolve as the playing field evolves. Technology defines the 21st century artist.
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My animations and videos are personal articulations and reflections of the roles in life I assume: father, employee and artist. I have a particular interest in the seemingly mundane interactions in life, which often becomes a starting point for me to explore larger themes of family life, failure, and happiness. I approach these themes with humor and playfulness. The “show-and-tell” manner of many of my narratives, working in tandem with humor and DIY production values, gives my work the feeling of a strange children’s educational TV show in which I play the host, while underlining the personal nature of my work.

Nos encontramos en un contexto social acotado, interconectado virtualmente, globalizado, en el cual podemos apreciar como se suceden los hechos en todo el mundo y de que manera se combinan las culturas en un proceso de mixturación constante. El arte, la religión, las costumbres, los pensamientos, parecen no solo ir cambiando sino también mezclándose. Nos volvemos sujetos pluriculturales, tomamos algo de aquí y algo de allá y al mismo tiempo no profundizamos raíces. Transitamos por el mundo en una red virtual que nos permite relacionarnos, superficialmente, con el mundo entero. Somos nómades virtuales, como tales, somos sujetos “radicantes” (Bourriaud, 2009, a), inquietos, queremos saber de todo un poco, podemos hacer nuestra cualquier lucha y movernos en cualquier campo, porque nuestras raíces son horizontales, rizomáticas, se van arraigando a las diferentes inquietudes que vamos desarrollado en el transcurso de la vida. No nos anclamos a una sola causa, a una sola manera de hacer las cosas o a un único pensamiento. Nos vamos retroalimentado uno del otro, de nuestras anécdotas, de nuestro conocimiento, de nuestras experiencias. Estamos en constante intercambio. La hibridación es la regla. El conocimiento no es vertical sino horizontal y experimental. Por ende, nuestro arte deviene en una pluralidad de sentidos, en un diálogo abierto e inclusivo, de ida y vuelta, no se cierra ni se agota en la forma sino que genera contenido constante, se vuelve una experiencia compartida y polivalente. Al artista radicante “… Nada le es más ajeno que un pensamiento disciplinario, que un pensamiento de la médium specificity- idea por lo demás sedentaria, que se reduce a cultivar su campo.” ( Bourriaud, 2009, b. pág. 60.) El arte radicante abandona las exclusividades disciplinarias. El Arte nos da la posibilidad de transitar varios caminos, de crear nuevas estructuras, de entrelazar el conocimiento y la acción. Nos permite borrar fronteras y crear nuevas sendas, de atar nuevos lazos de pensar nuevas formas de caminar. Es extensa, amplia, generosa, inagotable. Y en mi libertad para crear, me propongo alzar la voz y mostrar la realidad que transito, de manera tangible, cercana, apropiable y con urgencia de ser atravesada, intervenida, reconstruida, transformada.
Fil: Hüppi, Nadia Jesica. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Artes Visuales; Argentina.

How I am becoming a teacher? Searching for professional identity Is the development of a professional identity in students in the teacher training program at the PedF UK based on similar foundation as the professional identity of the students at the Detroit Teacher Program? How much is this professional identity influenced by the city and social situation in which those students are living and studying? Is the discourse that is used by both sides similar or different? A comparison of related narratives, concepts and metaphors will be done. What is the role attributed to art disciplines in the teacher training curriculum in both countries? A case study will explore all of these issues, and will be based on an analysis and reflecting on of videos which were created as part of the project, "How I Am Becoming a Teacher", as well as curriculum documents and other related documents. Key words Art, photography, visusal story, professional identity, teacher training, reflective practice, city, school, university faculty, artography