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Journal articles on the topic 'Video art. Visual poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

White, Boyd, Anita Sinner, and Darlene St. Georges. "Interweavings: Threads of art education, poetry and phenomenological grapplings / Entrelacements : éléments d’éducation artistique, de poésie et questionnements phénoménologiques." Canadian Review of Art Education / Revue canadienne d’éducation artistique 45, no. 1 (2018): 32–49. http://dx.doi.org/10.26443/crae.v45i1.58.

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Abstract: This three-authored paper describes our individual responses to a video, Dwelling, by Japanese artist Hiraki Sawa. The nine-minute video is a wordless, but not soundless, presentation of jet planes flying within the confines of the artist’s apartment. We chose the Youtube video in order to be able to share an artwork although we were working in three different cities at the time. Our responses consist of our individual poetic and visual (photographs, collage, paintings) interpretations of the video in conjunction with theory. We use phenomenology as our theoretical framework and underlying philosophy, and connect it with arts based research. Keywords: Art Education; Poetry; Visual Art; Phenomenology.Résumé : Trois auteurs relatent dans cet article leurs réactions personnelles au visionnement de la vidéo Dwelling de l’artiste japonais Hiraki Sawa. Cette vidéo de neuf minutes, sans paroles mais avec son, montre des avions à réaction volant à l’intérieur de l’appartement de l’artiste. Bien que travaillant dans trois villes différentes à ce moment là, nous avons choisi la diffusion sur Youtube pour partager cette œuvre d’art. Nos réactions sont en fait nos interprétations personnelles poétiques et visuelles (photos, collage, peintures) de cette vidéo accompagnées de points théoriques. Notre cadre théorique et notre philosophie sous-jacente s’inspirent de la phénoménologie pour établir un lien avec la recherche artistique. Mots-clés : éducation artistique, poésie, art visuel, phénoménologie.

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Handley, Agata. "Representing Absence: Contemporary Ekphrasis in “Apesh-t”." Text Matters, no. 10 (November 24, 2020): 118–43. http://dx.doi.org/10.18778/2083-2931.10.07.

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Traditionally, ekphrasis has been defined as the description and analysis of works of art in poetry, and so it has been understood as the verbalization of visual images (Sager Eidt). The article examines the concept in the light of contemporary definitions that include non-verbal media as targets (Cariboni Killander, Lutas and Strukelj; Sager Eidt; Bruhn; Pethö) in order to analyze its applicability to music videos. It concentrates in particular on “Apesh-t,” a video for a track by Beyoncé and Jay-Z from the album Everything Is Love (2018). The video is filmed in different interiors of the Louvre, where the singers appear, together with an ensemble of dancers, in front of selected artworks. The discussion focuses on an analysis of a single shot which presents an ekphrastic re-configuration of one particular work of European art, Jacques-Louis David’s Portrait of Madame Récamier (1800). The author argues that the use of ekphrasis in the video—through elaboration (close-ups and editing) and repurposing of the source material (painting)—plays an important role in the construction of the theme of “absence”: invoking not only what is represented, but what is not represented in David’s painting. It also foregrounds the potential of ekphrasis as a tool of political and cultural resistance, in the way it intervenes in the representation of the “other” in art and in the museum space.

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Cozzi, Leslie. "Metaphor to Métier: Kerry Tribe’s “Aphasia Poetry Club” and the Discourse of Disability in Contemporary Art." Arts 9, no. 2 (2020): 49. http://dx.doi.org/10.3390/arts9020049.

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“Metaphor to Métier: Kerry Tribe’s Aphasia Poetry Club and the Discourse of Disability in Contemporary Art” explores a 2015 video work by Los Angeles-based artist Kerry Tribe. Tribe’s “The Aphasia Poetry Club” embodies a shift in contemporary artistic discourse around concepts of physical and cognitive disability. Created by a neurotypical artist, the work uses the medium of the moving image to interpret the experience of aphasia, a neurocognitive language disorder frequently associated with traumatic brain injury. Three distinct visual idioms capture the particular neurological profiles and linguistic patterns of Tribe’s chosen participants. Tribe’s representation of people living with aphasia disrupts ableist conceits about the human capacity for memory and language. Rather than stigmatizing individual impairments, the work is indicative of a new aesthetic arising from disability experience. The article argues that disability no longer functions in the contemporary art world as a political or spiritual metaphor, but rather has become a site of formal invention and conceptual research.

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Williams, Richard David, and Rafay Mahmood. "A Soundtrack for Reimagining Pakistan? Coke Studio, Memory and the Music Video." BioScope: South Asian Screen Studies 10, no. 2 (2019): 111–28. http://dx.doi.org/10.1177/0974927619896771.

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Since 2007, Coke Studio has rapidly become one of the most influential platforms in televisual, digital and musical media, and has assumed a significant role in generating new narratives about Pakistani modernity. The musical pieces in Coke Studio’s videos re-work a range of genres and performing arts, encompassing popular and familiar songs, as well as resuscitating classical poetry and the musical traditions of marginalised communities. This re-working of the creative arts of South Asia represents an innovative approach to sound, language, and form, but also poses larger questions about how cultural memory and national narratives can be reimagined through musical media, and then further reworked by media consumers and digital audiences. This article considers how Coke Studio’s music videos have been both celebrated and criticised, and explores the online conversations that compared new covers to the originals, be they much loved or long forgotten. The ways in which the videos are viewed, shared, and dissected online sheds light on new modes of media consumption and self-reflection. Following specific examples, we examine the larger implications of the hybrid text–video–audio object in the digital age, and how the consumers of Coke Studio actively participate in developing new narratives about South Asian history and Pakistani modernity.

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Raengo, Alessandra, and Lauren McLeod Cramer. "A Conversation with Erin Christovale about You are mine. I see now, I'm a have to let you go." liquid blackness 5, no. 1 (2021): 91–95. http://dx.doi.org/10.1215/26923874-8932605.

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Abstract Critical Art Encounters offer sustained and at times meditative engagements with contemporary artworks. This Critical Art Encounter is a kind of reprise, a return to a joint performance by visual artist Suné Woods, poet and theorist Fred Moten, and musician and theorist James Gordon Williams. Titled You are mine. I see now, I'm a have to let you go, the piece was performed live at the Hammer Museum during their 2018 biennial event “Made in L.A.” This special section of liquid blackness aims to sample the fully realized collaboration and audiovisual experimentation that took place in the largely improvised art event. This Critical Art Encounter includes the intimate ecological exploration that takes place in Woods's video work; Moten's poem “the general balm,” which was written in part for the performance and later published in his book of poetry and criticism all that beauty (2019); and finally, a conversation with Erin Christovale, an associate curator at the Hammer who helped organize the event. Although not all three artists are featured (Williams's original compositions can be heard in the footage from the performance), we were fortunate to expand this creative dialogue by including a curatorial perspective. Thus we are able to consider how this work expresses liquidity as both a concern of contemporary black art and a call to the congregation.

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Moten, Fred, Suné Woods, and James Gordon Williams. "You are mine. I see now, I'm a have to let you go." liquid blackness 5, no. 1 (2021): 97–105. http://dx.doi.org/10.1215/26923874-8932615.

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Abstract Critical Art Encounters offer sustained and at times meditative engagements with contemporary artworks. This Critical Art Encounter is a kind of reprise, a return to a joint performance by visual artist Suné Woods, poet and theorist Fred Moten, and musician and theorist James Gordon Williams. Titled You are mine. I see now, I'm a have to let you go, the piece was performed live at the Hammer Museum during their 2018 biennial event “Made in L.A.” This special section of liquid blackness aims to sample the fully realized collaboration and audiovisual experimentation that took place in the largely improvised art event. This Critical Art Encounter includes the intimate ecological exploration that takes place in Woods's video work; Moten's poem “the general balm,” which was written in part for the performance and later published in his book of poetry and criticism all that beauty (2019); and finally, a conversation with Erin Christovale, an associate curator at the Hammer who helped organize the event. Although not all three artists are featured (Williams's original compositions can be heard in the footage from the performance), we were fortunate to expand this creative dialogue by including a curatorial perspective. Thus we are able to consider how this work expresses liquidity as both a concern of contemporary black art and a call to the congregation.

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Metres, Philip. "Remaking/Unmaking: Abu Ghraib and Poetry." PMLA/Publications of the Modern Language Association of America 123, no. 5 (2008): 1596–610. http://dx.doi.org/10.1632/pmla.2008.123.5.1596.

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So now the pictures will continue to “assault” us—as many Americans are bound to feel. Will people get used to them? Some Americans are already saying that they have seen “enough.”—Susan Sontag, “Regarding the Torture of Others”… a state anterior to language, to the sounds and cries a human being makes before language is learned.—Elaine Scarry, The Body in PainWhen The ABU Ghraib Prison torture scandal began to circulate throughout The MASS media in Spring 2004, most pundits and commentators neglected to note how those images hauntingly paralleled the 9/11 attacks, insofar as each event's widespread publicity—replayed and reposted images of physical and psychological destruction—participated in the very unmaking that the perpetrators intended. In other words, just as the terrorist act on the Twin Towers was an act of both material and symbolic destruction that required media representation of the planes hitting the towers, mass media's recirculation of visual images of naked and dominated Iraqi men completed the act that Charles Graner and other United States military police had begun. Though the disturbing video representation of the 9/11 attacks rapidly disappeared from television, the Abu Ghraib photos persisted far longer (see York). The rapid disappearance of video of the planes striking the buildings suggests its traumatic power for Americans. But why would the Abu Ghraib photos be less disturbing than those of the attacks of September 11, 2001—given what they say about United States conduct in the war? In this essay, I consider the Abu Ghraib effect in the wider context of imperial imaging of the other. Second, I analyze artistic and literary responses (including Fernando Botero's Abu Ghraib paintings, Daniel Heyman's etchings, and an anthology of poems on torture) that attempt to re-present Abu Ghraib and make visible the invisible of that torture. Third, I sketch out how Arab American poets have played (and can continue to play) a critical role in the conversation about the effects of United States policies in the Middle East. Finally, I share my own poetic project, a long poem called “–u –r—” that attempts to make audible the muted voices of the tortured Iraqis at Abu Ghraib.

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Bickel, Barbara A., and R. Michael Fisher. "HEART OF THE MOUNTAIN." Art/Research International: A Transdisciplinary Journal 5, no. 2 (2020): 425–51. http://dx.doi.org/10.18432/ari29471.

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This arts-based co-inquiry engages the intersection of the Western medical-based world/reality and the Natural world/reality. To bridge these worlds the co-authors utilize a spiritual-based trance-formative practice using trance and arts-based inquiry. Instigated by a diagnosis and open-heart surgery of one of the co-authors, the purpose of their project is to offer an example of how a relational approach embracing Nature and art within a connective aesthetic of co-inquiry can offer deep healing and renewal. This spirit healing transcends the physical recovery from the medical intervention, extending a fearful experience into a gift of fearlessness. The writing weaves theoretical, dialogical script, images and poetic texts with an invitation to experience an eight minute art video that includes poetic voice, improvised vocal sounding, visual art and narrative reflection. The story explores the areas of intimate wit(h)nessing, therapeutic resilience and transformative learning at the physical, emotional and spiritual levels.

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Ball, Anna. "Communing with Darwish’s Ghosts." Middle East Journal of Culture and Communication 7, no. 2 (2014): 135–51. http://dx.doi.org/10.1163/18739865-00702003.

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In his prose poem Absent Presence (published in English translation in 2010), the revered Palestinian poet Mahmoud Darwish identified a source of tension that resonates through much Palestinian creative expression: a tension not between Arab and Jew, nor between Israeli and Palestinian but between presence and absence. Drawing on the many motifs of presence and absence, and by extension, of visibility and invisibility, spectrality and haunting that surface in Absent Presence, this article seeks to translate Darwish’s poetic meditations into a visual context by placing his work in dialogue with two pieces of Palestinian video art, Sharif Waked’s To Be Continued … (2009) and Wafaa Yasin’s The Imaginary Houses of Palestine (2010), which share Darwish’s preoccupation with ideas of the spectral, and of present-day Palestine’s complex relationship with its past. Mobilizing a range of critical concepts including Abu-Lughod’s theorizations of ‘postmemory’ and Derrida’s notion of ‘the spectral’, this article explores the ways in which various forms of absence arising from Palestine’s fraught national history haunt contemporary Palestinian video art, and argues that the presence of the ‘spectral’ within such works also reveals a vibrant creative present in motion.

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Ronzheimer, Elisa. "The poem as meme? Pop video poetry in the digital age (Warsan Shire/Beyoncé)." Word & Image 37, no. 2 (2021): 152–59. http://dx.doi.org/10.1080/02666286.2020.1866970.

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Bilbrough, Paola. "Opening Gates and Windows." Departures in Critical Qualitative Research 3, no. 3 (2014): 298–313. http://dx.doi.org/10.1525/dcqr.2014.3.3.298.

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In this essay I discuss the ethical and aesthetic issues involved in making a short auto/biographical documentary, Separation, about an improvised parenting relationship I had with a young Sudanese-Australian man. I contextualize my discussion through reference to representations of Sudanese-Australians in the media, and the tendency towards reductive allegorical representations. I propose that a poetic approach offers a possible way forward in representing aspects of life stories involving shared privacies and/or sensitive cultural material. This suggests important scholarly consideration of an ethics that is specific to visual representation or video/film methods. Such a consideration is applicable both to contexts in which the central concern is an art product or event, and in which the primary concern is research.

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Jankovic, Ivana. "Vladan Radovanovic's "syntheѕic art"". Muzikologija, № 3 (2003): 141–86. http://dx.doi.org/10.2298/muz0303141j.

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In the course of his artistic career, which has lasted for more than fifty years now, Vladan Radovanovic (b. Belgrade, 1932) has created works in the domains of electroacoustic music, mixed electronics, metamusic, visual arts artifugal projects, tactile art, literature, drawings of dreams, polymedial and vocovisual projects, as well as art theory. Central to his poetics is the theme of synthesic art. Based on a synthesis of the arts and a fusion of media, the flow of his opus disturbs the limitations of art. His synthesis of media-lines is neither a product of rational decision, nor is it inspired by the works of other artists. Its initial form appears in the mind of the artist as a sensation or a representation that emerges from sleep and dream or from his exploration of the mysteries of his inner being. In an attempt to create a classification of the arts that would suit his understanding of the nature of art, Radovanovic has suggested a basic division into single-media and multi-media arts. Single-media arts include music, poetry and painting, whereas the remaining arts belong to the multi-media group. The latter contains works created by an expansion of mixed forms such as theatre, opera and ballet, but in which the media involved accomplish greater integrity - mixedmedia (for example: happening, fluxus etc) multimedia (opera, film, environment) and intermedia (a term which possesses two meanings: a new media that is in-between media, or a new media in which all the elements are equal and integrated). Radovanovic prefers the second meaning, but he uses the term polymedia for such works. This term is analogous to polyphony, because Radovanovic has aimed to create a polymedia form in which separate media lines would be treated in counterpoint, in order to remain complementary and mutually dependant. In 1957, Radovanovic began to sketch his theoretical thesis, initiated by his concrete artistic output. Although he had distinguished his diverse artistic output according to formal and designative characteristics, later he subordinated his work to the term synthesis art. Synthesic art is, according to Radovanovic, one of the models of multi-medial arts. We have analyzed the works of Vladan Radovanovic, which do indeed belong to the category of synthesic art, on many levels. First of all we tried to locate his opus in the context of Serbian and European art. Radovanovic's avant-garde poetics was born in the context of Serbian art in the second half of the 20th century, which was dominated by 'moderate modernism'. His works did not fit into the existing world of art, and therefore were marginalized and underestimated. Despite his innovative spirit, hunger for novelty, and aim to transcend the materiality of materials, which are all characteristics of high-modern avant-garde poetics, Radovanovic claims autonomy. His latest works do not fit into the current world of art either, because he does not want to place his poetics in the domain of contemporary post-modern poetics and theories. His intentional evasion of fashionable currents is a product of his conscience, which asks that he remain faithful to himself and his inner artistic vision. Another theoretical challenge when addressing the works of this artist was to locate his synthesic art within the larger historical and contemporary manifestations of the total world of art, especially where his works compare with Richard Wagner's Gesamtkunstwerk. Radovanovic believes that his concept of synthesic art is similar to Gesamtkunstwerk, but in no way equal. Therefore, we have examined all the controversies about the usage of the term Gesamtkunstwerk, as well as different theoretical approaches to this concept and its evolution; then, we have analyzed it in terms of the theoretical and practical realization of synthesic art. By formulating in detail his theory of synthesic art, Radovanovic has given us a key for the understanding and analysis of his works of art. For example, we have analyzed several of his earlier multi-media works (Dreams, vocovisual works Desert (Pustolina), Polyaedar, Ball, Change and Vocovisual omages, and polymedia projects Electrovideoaudio, Building of Rooms-Signs, The Great Sounding Tactyzone, Polim 2, Polim 3, video-work Variations for TV) as well as one of his latest synthesic works, Constellations, in order to describe the practical realization of his theory, and to demonstrate how his poetic model is equally precise and flexible. Radovanovic both realizes and recognizes his artistic output and theoretical thought as a united product as they were both created in his synthesic mind.

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KOLOTVINA, OLGA V. "IMMERSIVE TECHNOLOGIES OF J. VAL DEL OMAR’S MEDIA ART (“APANORAMIC IMAGE OVERFLOW”, “DIAPHONY”, “TACTILE VISION”) AS AN EXPRESSION OF HIS CONCEPT OF “MECHANICAL MYSTICISM”." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 51–71. http://dx.doi.org/10.30628/1994-9529-2021-17.1-51-71.

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The article analyzes three media technologies for creating an immersive polysensory environment, developed back in 1940–1960s by the Spanish film director and engineer Jose Val del Omar. The technologies are considered in the context of the director’s key concept, which he called “mechanical mysticism”. It was aimed at creating a cinematic analogy of mystical experience by transforming the mysticism of Spanish culture into cinematic technologies. The author reveals how the conversion of the suggestive artistic potential of Spanish mysticism into the immersiveness of film technologies allowed J. Val del Omar to create art spaces that took the system of illusions beyond the visual into special modes of psychological experiences. On the example of his films (Water- Mirror of Granada, 1955, and Fire in Castile, 1961), the author analyzes the originality of the engineering solutions of J. Val del Omar’s technologies, defines the strategies of immersiveness and their rootedness in Spanish mysticism, qualifies the aesthetic impact of these media technologies on viewers. The article demonstrates that immersiveness is achieved by using a shock strategy of interlacing the effects of suggestiveness and defamiliarization (“ostranenie”), as well as through the expansion of the range of the viewer’s sensory perception and the effect of synesthesia. The suggestive impression effect is enhanced by visual poetic metaphors that reveal to the viewers the historically formed sensual imagery of Spanish mysticism. With the help of optical and light technologies, the semantic field of a film is not only visualized, but also illusively materialized as a three-dimensional image. НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 54 THE ART AND SCIENCE OF TELEVISION In general, the strategies reproduce the sensual immersiveness, which is inherent in the Spanish Catholic cultural experience. Such strategies block the viewers’ psychological distancing mechanisms and cause affective states and emotional involvement in the art spaces. Such technological innovations for creation of immersive spectacular audio-visual environments brought the J. Val del Omar’s cinema into the field of multi-media, and therefore he could rightfully be considered the forerunner of media art, the creator of art spaces, which later became known as sound and video installations.

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Nesci, Olivia, and Laura Valentini. "Science, poetry, and music for landscapes of the Marche region, Italy: communicating the conservation of natural heritage." Geoscience Communication 3, no. 2 (2020): 393–406. http://dx.doi.org/10.5194/gc-3-393-2020.

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Abstract. We present a method to educate the public about landscapes that uses artistic works to broaden the audience, entice people to learn about landscapes in a personal and human context, and thus encourage them to preserve the natural heritage. To this end, we use narratives about a place, in plain language, accompanied by visual presentations, original poetry, and ancient music. Several studies encourage the use of art since it can help to synthesize and convey complex scientific information and create a celebratory and positive atmosphere. Evidence suggests that the arts can deeply engage people by focusing on emotions rather than relying only on comprehension, which is often emphasized in science communication. The multidisciplinary approach arouses an emotional and intellectual experience that enables a personal connection to the place. The work is part of a larger multidisciplinary project covering 20 sites in the Marche region (central Italy), which includes scientific information on geological–geomorphological genesis, trekking itineraries, poetry, ancient music, video, and cultural offerings. The project resulted in live multidisciplinary performances, a book, a DVD, and a website. To give a taste of how we work among the many amazing landscapes of the Marche region, we focus here on three sites from the north, the centre, and the south of the region, namely the sea cliff of San Bartolo, the flatiron of Mount Petrano, and the fault of Mount Vettore, chosen as examples for their different processes of genesis and evolution. In the long run, our goal is to promote a deeper understanding of landscapes by integrating their origin and physical aesthetic with their cultural and artistic heritage. In doing so, we intend to inspire people to have a new perception of geosites, starting from their physical beauty, building on scientific study and cultural history, and arriving at the knowledge of their social importance. So far, our direct experience with the public has been highly encouraging. The participation at our live shows demonstrated a great interest in geological history, a result that is relevant for the development of geotourism. The method demonstrates the potential to develop a strong personal involvement of visitors with the places, stimulating their curiosity to know how and why that place was formed, and, finally, the desire to visit and protect it.

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Concilio, Carmen. "Landscape/mindscape/langscape: The ephemerality of the digital and of the real in Marlene Creates’s video-poems for ice and snow." Neohelicon 48, no. 1 (2021): 113–25. http://dx.doi.org/10.1007/s11059-021-00584-z.

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AbstractThe present essay aims at illustrating Marlene Creates’s web project Brickle, nish, and knobbly (2015), as a key example of Eco-Digital Humanities. First of all, it is a digital work of art made of ice images. Besides, it is also a digital archive meant to salvage a linguistic treasury of local idioms that both name and describe all types of snow and ice formations in Newfoundland, Canada. Therefore, the present analysis proves the special quality and inevitable ephemeral status of this project, for it constitutes a multimodal and multimedia web-archive, subject to possible erasure, or obsolescence in the face of new computer programmes and platforms developments. The archive is also an open instrument for everybody’s use: a digital audio-visual (poetic) dictionary, that ultimately functions as a challenge to climate change effects, that might dissolve both the ice formations and the language that accompanies them. Since the real world is no less ephemeral than the world of the web, this contribution also proves how Marlene Creates’s artwork envisions and embraces an ecological salvaging of our present and future landscape, mindscape, and langscape.

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Paliyenko, Adrianna M. "Willard Bohn.Apollinaire, Visual Poetry, and Art Criticism." Romance Quarterly 42, no. 4 (1995): 242–43. http://dx.doi.org/10.1080/08831157.1995.10545299.

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Zhang, Weidi, Donghao Ren, and George Legrady. "Cangjie's Poetry." Proceedings of the ACM on Computer Graphics and Interactive Techniques 4, no. 2 (2021): 1–9. http://dx.doi.org/10.1145/3465619.

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This paper describes the conceptual background, artificial intelligent system design, and visualization strategies of an interactive art experience: Cangjie's Poetry. This artwork provides a conceptual response to the human-machine reality in the context of language, symbols, and semantic meanings. In the Cangjie's Poetry art installation, the intelligent system (Cangjie) constantly observes surroundings through the lens of a camera, writes poetry using its symbolic system based on its interpretation, and explains the evolving poem in natural language to audiences in real time. Due to the global pandemic of COVID-19, multiple presentation formats of this work were developed, which include in-person installation, virtual installation, and a special edition with pre-rendered video. This work prioritizes ambiguity and tension between machinic vision and human perception, the actual and the virtual, past and present.

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Li, Pi. "Chinese Contemporary Video Art." Third Text 23, no. 3 (2009): 303–7. http://dx.doi.org/10.1080/09528820902954937.

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DAVIES MITCHELL, M. "Review. Apollinaire, Visual Poetry, and Art Criticism. Bohn, Willard." French Studies 48, no. 3 (1994): 353. http://dx.doi.org/10.1093/fs/48.3.353.

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Mul, Geert, and Eef Masson. "Data-Based Art, Algorithmic Poetry." TMG Journal for Media History 21, no. 2 (2018): 170. http://dx.doi.org/10.18146/2213-7653.2018.375.

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The award-winning media artist Geert Mul (the Netherlands, 1965) has been making computer based artworks for over twenty-five years. A large portion of his oeuvre, and his more recent work in particular, relies heavily on existing images, often sourced online. With the help of image analysis software, Mul reworks the pictures into new combinations, attracted by the unexpected results that algorithmic operations produce, and the revelatory potential they hold. The artist refers to this work as ‘data-based art’ – a term revealing not only of his own process as a maker, but also of his take on how people today engage with the world around them and make sense of it. At the conclusion of a large-scale retrospective of his work, Eef Masson spoke with him about some of the key ingredients of his visual practice and the inextricable relations between them: information, databases and collections; randomness and rules; and crucially, makers and audiences or users. In the course of the conversation, Mul also reflected on how his work ties in with much older traditions of play, in artistic practice, with data and the rules for their recombination.

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Carney, James D., and Albert Cook. "Figural Choice in Poetry and Art." Journal of Aesthetics and Art Criticism 44, no. 4 (1986): 414. http://dx.doi.org/10.2307/429795.

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Salm, Peter, Burton Raffel, John Biguenet, and Rainer Schulte. "The Art of Translating Poetry." South Central Review 8, no. 2 (1991): 107. http://dx.doi.org/10.2307/3189201.

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Hanhardt, John G. "Video Art: Expanded Forms." Leonardo 23, no. 4 (1990): 437. http://dx.doi.org/10.2307/1575348.

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Mariátegui, José-Carlos. "Peruvian Video/Electronic Art." Leonardo 35, no. 4 (2002): 355–63. http://dx.doi.org/10.1162/002409402760181114.

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Langer, Brian. "Video as art and the Australian international video festival." Continuum 8, no. 1 (1994): 259–66. http://dx.doi.org/10.1080/10304319409365645.

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Moorman, Honor. "Backing into Ekphrasis: Reading and Writing Poetry about Visual Art." English Journal 96, no. 1 (2006): 46. http://dx.doi.org/10.2307/30046662.

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Kreamer, C. M., and A. Purpura. "Visual Poetry/Performing Script: The Art of Wosene Worke Kosrof." Nka Journal of Contemporary African Art 2012, no. 31 (2012): 124–41. http://dx.doi.org/10.1215/10757163-1586499.

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John, Eileen, and Malcolm Budd. "Values of Art: Pictures, Poetry, and Music." Journal of Aesthetics and Art Criticism 57, no. 1 (1999): 76. http://dx.doi.org/10.2307/432068.

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Mahyudi, Johan, Djoko Saryono, Wahyudi Siswanto, and Yuni Pratiwi. "Construction of Visual Features of Indonesian Digital Poetry." International Journal of Linguistics, Literature and Culture 3, no. 5 (2017): 1. http://dx.doi.org/10.21744/ijllc.v3i5.526.

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In short time, Indonesian digital poetry attracts its audience through a series of visualization features of the digital art. This research uses a short segment analysis on Indonesian videography digital poetry to demonstrate the existence of visual conglomeration practices through the creation of objects, features, a feature of space, measuring distance in feature space, and dimension reduction. These five approaches are proposed by Manovich (2014) in grouping millions of visual artworks based on simple criteria. Of the three common objects are found, Indonesian animators, prefer individuals and texts as the main impression. The movement features are found in cinematic poetry and its rely depend on kinetic texts. Meanwhile, non-movement features can be found in the form of human imitation or part of them, portraits, silhouettes, and comics. Indonesian digital poetry of space features in form of textual space is prioritizing on the kinetics text, the space of time is prioritizing the presentation of objects association of words are spoken, the neutral space is prioritizing the use of computer technology application. The grouping of visual art composition is based on two criteria: the technique of creating and artistic impressions. The dimensional reducing is prominently practiced by Afrizal Malna.

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Meyer, Marcy. "Concrete Research Poetry: A Visual Representation of Metaphor." Art/Research International: A Transdisciplinary Journal 2, no. 1 (2017): 32. http://dx.doi.org/10.18432/r2ks6f.

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In this paper, the author employs concrete research poetry as a visual representation of a metaphor analysis. Using autoethnographic methods, she explores the experiences of eight single mothers of children and young adults with mental illness. She conducts a metaphor analysis of semi-structured interview data and generates concrete poetic structures from metaphors that emerged from the data. In the process, she transforms data into art.

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Machado, Arlindo. "Video Art: The Brazilian Adventure." Leonardo 29, no. 3 (1996): 225. http://dx.doi.org/10.2307/1576251.

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Hilderbrand, Lucas. "The Art of Distribution: Video on Demand." Film Quarterly 64, no. 2 (2010): 24–28. http://dx.doi.org/10.1525/fq.2010.64.2.24.

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An account of the rise of Video on Demand as a method of distribution for arthouse and independent films, focusing on the IFC Films and Magnolia Pictures companies, and charting the growing success of streaming video as opposed to DVD and theatrical releasing.

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Lauter, Estella. "Women as Mythmakers: Poetry and Visual Art by Twentieth-Century Women." Woman's Art Journal 7, no. 1 (1986): 51. http://dx.doi.org/10.2307/1358241.

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Krammes, Brent. "“Graphically individualized”: visual art and representation in Melvin Tolson’s early poetry." Word & Image 32, no. 1 (2016): 116–30. http://dx.doi.org/10.1080/02666286.2016.1149044.

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Keefe, Joan Trodden, and Estella Lauter. "Women as Mythmakers: Poetry and Visual Art by Twentieth-Century Women." World Literature Today 59, no. 2 (1985): 323. http://dx.doi.org/10.2307/40141672.

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Orrghen, Anna. "Art criticism and the newness of video art: the reception of video art in the Swedish daily press, 1985–1991." Journal of Aesthetics & Culture 12, no. 1 (2020): 1729539. http://dx.doi.org/10.1080/20004214.2020.1729539.

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Stroeva, Olesya Vitalyevna. "The Effect of Media Culture on Modern Art: Photography, Hyperrealism, Video Art." Journal of Flm Arts and Film Studies 7, no. 1 (2015): 82–91. http://dx.doi.org/10.17816/vgik7182-91.

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The article analyzes the problem of changing a perception of visual arts, as well as the transformation of art functioning mechanism emerged under the influence of media sphere evolution. The author treats the most popular genres of contemporary art: photography, hyperrealism and video art, analyzes a new type of media thinking, based on collective perception.

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Luttrell, Wendy, and Emily Clark. "Replaying Our Process: Video/Art Making and Research." Qualitative Inquiry 24, no. 10 (2018): 775–85. http://dx.doi.org/10.1177/1077800418800106.

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This article charts a collaborative and multimodal inquiry practice between a professor and a doctoral student who met during a visual methods course, Doing Visual Research With Children and Youth. Our collaboration focused on blurring the border between art making and research as a means to analyze and re-represent photographs taken by children. In stepping outside our comfort zones as researchers, we shared the same preoccupation: How much creative/artistic license would we exert regarding our use of the children’s photographs? This article explores the making of a video montage in ways that created new ways of seeing and knowing that took us by surprise and helped us rethink the interplay between methodological and ethical imperatives. We hope the article invites other professors and students to fashion collaborations that support such creative experimentation and reflection.

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Walsh, Maria. "Book Review: Video Art: a Guided Tour." Journal of Visual Culture 5, no. 3 (2006): 422–25. http://dx.doi.org/10.1177/1470412906066915.

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CARNEY, JAMES D. "Albert Cook, Figural Choice in Poetry and Art." Journal of Aesthetics and Art Criticism 44, no. 4 (1986): 414. http://dx.doi.org/10.1111/1540_6245.jaac44.4.0414.

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Reilly, Mary Ann. "Saying What You See in the Dark: Engaging Children Through Art." LEARNing Landscapes 3, no. 1 (2009): 69–87. http://dx.doi.org/10.36510/learnland.v3i1.318.

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In this article, I explore the process of transmediation by examining selected art conversations—nonverbal communication made through painting—and poetry that urban fifth graders composed in response to a query about how they learn. Specifically, I examine three students’ works, noting how the use of multiple symbol systems helped each to compose strong visual and written texts. In studying the work the students composed, I conclude that visual art and poetry make fine partners in intellectual endeavors aimed at educating the imagination.

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Houze, R. "Art Nouveau 1890 1914 * Prague 1900: Poetry and Ecstasy." Journal of Design History 15, no. 2 (2002): 117–20. http://dx.doi.org/10.1093/jdh/15.2.117.

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Wilder, Ken. "Michael Fried and Beholding Video Art." Estetika: The European Journal of Aesthetics 49, no. 1 (2012): 5. http://dx.doi.org/10.33134/eeja.88.

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Bishop, Michael. "Art and Poetry: Contemporary interlacements and exchanges." Contemporary French and Francophone Studies 7, no. 2 (2003): 237–50. http://dx.doi.org/10.1080/1026021032000111532.

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Furlong, Lucinda. "Tracking Video Art: "Image Processing" as a Genre." Art Journal 45, no. 3 (1985): 233. http://dx.doi.org/10.2307/776858.

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Levinger, Esther. "Czech Avant-Garde Art: Poetry for the Five Senses." Art Bulletin 81, no. 3 (1999): 513. http://dx.doi.org/10.2307/3051355.

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Védrine, Hélène. "Adverts in ‘Little Reviews’ (1890–1930): Networks, Poetry and Design." Journal of European Periodical Studies 1, no. 2 (2016): 87. http://dx.doi.org/10.21825/jeps.v1i2.2648.

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Between the 1880s and the 1920s, advertising proved fundamental to art and literature reviews since it fostered a new link between visual and consumerist culture. This article is based on fin de siècle and avant-garde magazines read in dialogue. It samples French and Belgian magazines illustrating innovations to 1880s periodicals and 1920s modernist magazines. The paper highlights the use of visual techniques in advertisements (page design, typography, etc.) that strengthen aesthetic and political stances. Advertising rhetoric masks aesthetic manifestos but also social and political agenda, revealed by visual displays of text. Publicity is also an important medium for poetic experimentation, embedded in ordinary advertising design already in the 1890s. Its subversive use informs new means of artistic expression, considered avant-garde innovations (collage, cadavre exquis, or typographic combinations). Advertising later represents new modernist stances within avant-garde magazines. Surrealism and Dada exploited publicity to promote their revolutionary aesthetic. In the 1920s, advertising being increasingly professionalized, specific designers used new visual means, strengthened artistic exchanges, and gradually erased the division between art and commercial culture in magazines. Thus modernism became part of a visual culture resonant with consumer commodities. Advertising ultimately exemplifies an interesting change in periodicals’ patterns, across literature and art reviews to the mainstream press, through posters, and decorative or architectural designs.

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Chen, Hsin-yen, and I.-wen Su. "Paintings as “Visual Poetry”: Diagrammatic Iconicity in the Art of Juan Miró." Public Journal of Semiotics 7, no. 2 (2016): 1–20. http://dx.doi.org/10.37693/pjos.2016.7.16270.

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Conceptual Metaphor Theory (Lakoff and Johnson, 1980) and work on multimodal metaphors (Forceville, 2006) has opened up a new approach to the study of language and other modalities. However, relatively few cognitive linguistic investigations of visual art have been performed. We analyzed paintings done by Spanish Surrealist Juan Miró (1893-1983), focusing on diagrammatic iconicity, i.e. how his pictorial elements are arranged structurally in ways that correspond to their meaning. In particular, we examined the artist’s paintings between 1940 and 1970, based on the model advanced by Hiraga (2005). Our results show that iconic mappings like SIMILARITY IN MEANING IS SIMILARITY IN FORM, MORE CONTENT IS MORE FORM, and SEMANTIC RELEVANCE IS CLOSENESS, function as cognitive principles prevalent in these paintings. The current study therefore supports the proposal that diagrammatic iconicity operates across different semiotic systems, and at the same time contributes to the description and explanation of artistic practices involving language and painting.

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Hetman, Jarosław. "Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction." Lublin Studies in Modern Languages and Literature 44, no. 2 (2020): 15. http://dx.doi.org/10.17951/lsmll.2020.44.2.15-25.

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<p>The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20<sup>th</sup> century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>

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EILEEN, JOHN. "Malcolm Budd, Values of Art: Pictures, Poetry, and Music." Journal of Aesthetics and Art Criticism 57, no. 1 (1999): 76–77. http://dx.doi.org/10.1111/1540_6245.jaac57.1.0076.

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