Relevant bibliographies by topics / Vido art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Vido art'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Vido art"

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Hidayah, Nurul, Sukardjo M, and Robinson Situmorang. "Development of Nail Art Tutorial Video on Manicure Pedicure Courses." International Journal of Psychosocial Rehabilitation 24, no. 02 (February 12, 2020): 2365–73. http://dx.doi.org/10.37200/ijpr/v24i2/pr200533.

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Paik, Nam June. "Teaching Video Art." Performing Arts Journal 17, no. 2/3 (May 1995): 42. http://dx.doi.org/10.2307/3245775.

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Castaño Díaz, Carlos Mauricio, and Worawach Tungtjitcharoen. "Art Video Games." Games and Culture 10, no. 1 (January 2015): 3–34. http://dx.doi.org/10.1177/1555412014557543.

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Castellano Arroyo, María. "Medicine is Science and Art, always with the patient and also in the end of his life." ANALES RANM 137, no. 137(03) (December 30, 2020): 309–14. http://dx.doi.org/10.32440/ar.2020.137.03.rev07.

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Medicine is Science because the medical act must be supported in proven knowledge, but it is also Art, because the patient is a psychophysical unit in which his mental structure receives what comes from the environment, elaborates it and responds, according to his own personality. That is why assistance and medical care must be personalized according to each patient. This Science-and-Art Medicine is still necessary when, in the end, we face death. The concepts of Therapeutic Rejection, Adaptation of therapeutic effort, Therapeutic obstination, Palliative Care, and Euthanasia.
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París Romia, Gemma. "Jeff Wall, Pintor de la Vida Posmoderna." Barcelona Investigación Arte Creación 4, no. 3 (October 2, 2016): 300. http://dx.doi.org/10.17583/brac.2016.1761.

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Through the work of Jeff Wall (Vancouver, 1946), we will see the rich relationships that the Canadian artist establish between photographic media and other art forms such as painting, theatre and cinema. Although Wall’s images are photographs, they are built from complex relations with Western pictorial tradition, with the gestures of theatrical act and with the construction of narrative cinema. These relationships with the various languages of art create mysterious images that tell us about our contemporary society, creating a space halfway between reality and fiction.
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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 (December 22, 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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Kulp, Cynthia Stabenow. "Arthritis: Best use of the Hands. Video I, Osteoarthritis. Video 11, Rheumatoid Arthritis. Video Education Specialists, Phoenix, Arizona." Arthritis Care & Research 1, no. 3 (September 1988): 185. http://dx.doi.org/10.1002/art.1790010312.

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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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Snell, Pamela. "Video, Art, and Dialogue." International Journal of Communication and Linguistic Studies 10, no. 1 (2013): 27–38. http://dx.doi.org/10.18848/2327-7882/cgp/v10i01/43645.

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Kamerling, Leonard. "Isuma—Inuit Video Art." Oral History Review 37, no. 2 (July 1, 2010): 278–80. http://dx.doi.org/10.1093/ohr/ohq065.

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Dissertations / Theses on the topic "Vido art"

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Fidalgo, Christopher J. "Art, Gaut and Games: the Case for Why Some Video Games Are Art." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/5.

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In this paper, I argue that there are some video games which are art. I begin my paper by laying out several objections as to why video games could not be art. After laying out these objections, I present the theory of art I find most persuasive, Berys Gaut’s cluster concept of art. Because of the nature of Gaut’s cluster concept, I argue that video games, as a medium of expression, do not need to be defended as a whole. Rather, like all other media of expression, only certain works are worthy of the title art. I then introduce and defend several games as art. After, I return to the initial objections against video games and respond in light of my defended cases. I conclude that video games, as a medium of expression, are still growing, but every day there are more examples of video games as art.
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Brownfield, Kristi. "VENI, VIDI, VIDS: TRANSFORMING CULTURAL NARRATIVES THROUGH THE ART OF AUDIOVISUAL STORYTELLING." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1100.

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The focus of this research is “fanvids” which are the creative work of fans that combine clips or images from a visual “canon” source (usually a television series or movie) to music to create an alternative narrative. By using qualitative content analysis methods, I sampled from the television show Supernatural and the 2009 film Star Trek to understand the ways diverse characters were presented and what types of cultural narratives existed. Then I sampled from seven different vidding communities, collecting a total of 105 vids and 6509 comments on those vids as the second part of my sample. Then drawing on the sociological subfields of social psychology, gender, cultural studies, as well as the broader literatures of media and film studies, I analyzed both the data from canons and fanvids. My analysis centered on the following research questions: a) What are the cultural narratives present in the canon sources and how are those narratives rejected, accepted, replaced, or otherwise transformed within fanvids? (b) How do the narratives present within the canon source and within the vids reflect the ideologies and spirit of the culture that produces those narratives? (c) Are these vids and discussions a sign of potential change in cultural ideologies and narratives and, if so, what change is taking place? My findings within the two canons include an emphasis on a masculinity that maintains control through violence and aggression; in contrast vids reject this type of masculinity and the larger cultural narratives that support it, except when that violent masculinity is sexualized in the context of homosexual relationships. Further, vids predominantly reject the heteronormativity found in both Supernatural and Star Trek in favor of presenting queer relationships. Within this dissertation, I have used the transformation from canon to fandom as a narrative proxy for cultural change. The differences and similarities between canon and vid point to deficiencies both in narrative and in representation in the media we are producing in the U.S. as well as narratives that are stable and enduring, so much so that fans add them even when they are not present in canon. These are the stories our culture, right now, is built on; essentially, these are the narratives that are part of the cultural ideologies that reflect hopes, dreams, beliefs, and ideologies of the people within our society.
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Dufour, Sophie-Isabelle. "Imaginem video : L'image vidéo dans l'"histoire longue" des images." Paris 3, 2004. http://www.theses.fr/2004PA030054.

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Que vois-je devant la vidéo? Je ne vois pas une vidéo, mais de l'image. La présente étude propose d'interroger le statut de l'image vidéo dans l'"histoire longue" des images. Il s'agit de déployer des problèmes multiséculaires qui ont surgi bien avant l'invention technique du médium considéré. Notre présupposé est qu'il y a une différence entre l'image - en tant que notion - et les images: l'on pourrait dire que l'image, difficile à définir, ne peut être appréhendée que dans les différents médiums qui l'actualisent. Aussi la vidéo est-elle traitée, ici, en tant qu'elle questionne l'image elle-même. Priorité sera donnée aux œuvres d'art, considérées comme plus révélatrices du statut de l'image vidéo. Mais par delà l'esthétique, les pouvoirs de l'image dépasseront ceux de l'art. Si la première question qu'affonte la présente étude est celle de l'amour de l'image, posée exemplairement par le mythe de Narcisse, c'est que celle-ci fait ensuite surgir d'autres questions fondamentales. C'est ainsi que la notion de fluidité se posera comme le fil conducteur de notre réflexion sur la fantomalité de l'image vidéo et sur sa spatialité. Notre étude des rapports entre l'image vidéo et le temps sera, quant à elle, orientée par la notion de flux - celle de Bergson en particulier. Il s'agira en fin de compte de penser l'image vidéo dans toute sa singularité
What do I see when I look at a video? Actually, I do not see a video but an image. My purpose is to study the status of video image from the point of view of the so-called " long history " of images, dealing therefore with very ancient problems that occured long before the technical invention of the medium. A distinction must be made between images and the very notion of image : one could say that the difficult notion of image can be specified only through the various media in which it embodies itself. In this study, video questions image itself. Art works will keep their privilege, because through them the status of video image is best revealed; but my intention is to show that the powers of image go far beyond aesthetics. The first problem will be the one raised by the myth of Narcissus, as a lover of image(s), because it is seminal. It leads, for instance, to the notion of fluidity, which will prove essential in my study of the " ghostliness " of video image (as well as in my study of space in video). Last but not least, the relations between time and video image should be specified with Bergson's help, and I shall try to prove how useful can be this philosopher's notion of time when one hopes to understand the singularity of video image
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Nosella, Carole. "Expérimenter les dispositifs écraniques, une esthétique du déplacement." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20115.

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Cette thèse se propose de penser l’expérience des dispositifs écraniques à partir de pratiques artistiques contemporaines. Il s’agit d’analyser comment des artistes travaillant à partir d’images appareillées (de l’installation vidéo au cinéma expérimental en passant par le net art) et de leur mise en espace, opèrent des déplacements dans les diverses strates des dispositifs pour proposer des situations esthétiques qui relèvent du hors champ, de l’impensé, du refoulé des dispositifs écraniques fonctionnels, faisant écho aux frictions qui se jouent entre leur mode d’action et notre expérience.Face à la difficulté de définir les dispositifs écraniques de par la multiplicité de leurs formes et de leur usages, il est proposé en premier lieu une réflexion sur la notion de dispositif, corrélée à celles d’écran et de technologie (I). Puis sont considérées les tactiques artistiques permettant de détourner l’impact de ces dispositifs (par l’expérimentation de la mise en défaut, du détournement, de l’appropriation…). S’en suivent cinq mouvements, comme autant de voies de déplacement, qui abordent les dispositifs écraniques selon des entrées différentes : il s’agit de révéler la part d’être de l’appareil par des opérations plastiques et contextuelles (II), de créer des voies de figuration alternatives par et à travers l’interface (III), de détourner la relation physique et émotionnelle entretenue avec l’écran (IV), d’opposer à la mobilité des écrans celles des spectateurs (V), et enfin de confronter les dispositifs écraniques à l’épreuve de l’espace (VI). Un dernier chapitre propose une synthèse de ces déplacements concrétisée par l’analyse d’un projet de création (entrepris parallèlement aux recherches théoriques) où sont mis en œuvre les mouvements précités (VII).Les analyses plastiques sont étayées par des mises en perspective historiques et sociétales, avec une considération particulière pour les questions de réception et d’usage
In a time when screens are more and more studied and analysed, this thesis is based on observations of both users’ behaviors and contemporary artists’ productions.It chooses to present the experience created by screened devices and systems through these observations. It defines the screen as an apparatus — meaning, as a mix of different elements assembled for a specific purpose — which articulates separation and re-synthesising. We analyse how artists work with images in devices (from video installation to experimental cinema and net art) and how they use space to produce an attentional shift, therefore creating artworks that call for realizations.Facing the difficulties of clearly defining screened apparatus due to the multitudes of shapes they take and uses they create, we first orient our reflexion to the very notion of apparatus, combined with those of screen and technologie. Then we consider the artists’ tactics to hijack the impact of these apparatus (through experimentation, appropriation and misappropriation). This is followed by five movements, presented as possible means of displacements, each addressing, in its own way, the screened apparatus. We study the different relationships those screens can have inside the apparatus, and how they react and interact with space. We feed this research with analyses of artworks, historical and societal perspectives, with a special leaning towards the notions of reception and user’s experience
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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.

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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
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
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Lee, Yongwoo. "The origins of video art." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265205.

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Law, Sum-po Jamsen, and 羅琛堡. "Nietzsche, Deleuze and video art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952665.

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Law, Sum-po Jamsen. "Nietzsche, Deleuze and video art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2222693X.

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Spampinato, Francesco. "Art Contemporain et télévision : formes de résistance, appropriation et parodie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA056.

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La présente thèse cartographie et condense l'histoire des relations entre l'art et la télévision au cours du demi-siècle environ durant lequel la télévision maintint sa position de média de masse par excellence dans la société, des années 1950 au tournant du millénaire, jusqu'à la phase de vaporisation des médias récemment apportée par la profusion des technologies numériques et d'Internet. La centaine d'artistes étudiés appartient à différentes générations, des pionniers des années 1960 tels que Nam June Paik, Andy Warhol et divers collectifs de la guerilla television aux figures postmodernistes telles que Dara Birnbaum et General Idea, des artistes issus des années 1990 comme Phil Collins, Christian Jankowski et Matthieu Laurette aux figures émergées au XXIe siècle comme Keren Cytter, Hito Steyerl, Ryan Trecartin et les Yes Men.Les travaux abordés sont des vidéos, installations, performances, interventions et programmes télévisés conçus comme des formes de résistance, d'appropriation et de parodie de la télévision grand public, qui exposent les mécanismes par lesquels le média de masse influence notre perception de la réalité et de nous-mêmes. Les genres et les formats télévisuels les plus populaires sont ciblés : les informations, publicités, soap operas, talk-shows, émissions pour enfants, vidéoclips, téléréalité, divertissements éducatifs et séries télévisées. En permettant de « voir à distance », la télévision produit chez le spectateur un sentiment étrange de déplacement physique. Les travaux étudiés mettent en évidence et tentent de surmonter cette séparation entre les corps factuels et télévisés, qui est aussi une séparation entre réalité et représentation
The present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation
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Vatsella, Christina. "La question de l'espace dans l'installation vidéo." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040269.

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Ayant comme point de départ les premières expérimentations de Nam June Paik avec les téléviseurs au début des années 1960, cette étude suit l’évolution historique de l’installation vidéo en parcourant cinq décennies de création. La problématique de l’espace, fil conducteur de cette recherche, nous amène d’abord à la constitution d’une typologie. Fruit de l’étude de l’évolution des formes principales de l’installation vidéo, cette classification a pour objet l’œuvre sous sa forme aboutie, c’est-à-dire installée. Néanmoins, cet état n’est que le résultat final d’un long processus. Divisée en quatre étapes, l’étude de la mise en espace de l’œuvre soulève des questions cruciales liées à l’acquisition, l’exposition et la conservation de l’installation vidéo. Une fois que l’œuvre est installée, elle s’articule autour d’un espace-temps virtuel, celui de l’image vidéographique, et d’un espace-temps réel, celui du dispositif plastique, analysés dans la troisième et dernière partie. Cette étude met l’accent sur la dimension historique de l’installation vidéo tout en la contextualisant au sein de l’histoire de l’art du vingtième siècle
Having as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art
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Books on the topic "Vido art"

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Pension Sehblick: Eidetik audiovisueller Medien : eine Videotopik der Seherkenntnis. Frankfurt am Main: P. Lang, 1995.

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Rush, Michael. Video art. London: Thames & Hudson, 2007.

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Conijn, Joost. Joost Conijn: Ijzer & video = Iron & video. Amsterdam: Valiz, 2007.

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Henry, Jenkins, ed. Video Game Art. New York: Assouline Publishing, 2005.

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Conijn, Joost. Joost Conijn: Ijzer & video = iron and video. Amsterdam: Valiz, 2007.

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Long Beach Museum of Art. Art of music video. Long Beach, Calif: Long Beach Museum of Art, 1989.

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Simmen, Jeannot. Kasimir Malevich: Vida y obra. Colonia: Könemann, 2000.

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Valentini, Valentina. Il video a venire. Soveria Mannelli [Italy]: Rubbettino, 1999.

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1944-, Hall Doug, ed. Illuminating video: An essential guide to video art. New York, N.Y: Aperture in association with the Bay Area Video Coalition, 1990.

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1941-, Nauman Bruce, Acconci Vito 1940-, and Jonas Joan 1936-, eds. "Sexy lies in videotapes": Künstlerische Selbstinszenierung im Video um 1970 bei Bruce Nauman, Vito Acconci, Joan Jonas. Berlin: Mann, 2003.

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Book chapters on the topic "Vido art"

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Lacasa, Pilar. "Art and Video Games." In Learning in Real and Virtual Worlds, 135–58. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137312051_7.

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Darkin, Christian, Chris James Hewitt, Joost Korngold, Mark Towse, Peter Reynolds, Simon Tyszko, and Jon Bounds. "Video Art, Let’s Dance." In After Effects Most Wanted, 49–82. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-5149-1_4.

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Buckingham, David. "A Commonplace Art? Understanding Amateur Media Production." In Video Cultures, 23–50. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244696_2.

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Santos, Maria Lusitano. "Video-Essay in the Classroom?" In Art and Technology, 77–96. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-863-1_5.

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Wiegand, Thomas, and Bernd Girod. "State-of-the-Art Video Transmission." In Multi-Frame Motion-Compensated Prediction for Video Transmission, 1–20. Boston, MA: Springer US, 2001. http://dx.doi.org/10.1007/978-1-4615-1487-9_1.

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Ram, A. Ranjith, and Subhasis Chaudhuri. "Current State of the Art." In Video Analysis and Repackaging for Distance Education, 21–43. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-3837-3_3.

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Mery, Domingo. "Face Analysis: State of the Art and Ethical Challenges." In Image and Video Technology, 14–29. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39770-8_2.

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"VIDEO ART." In Making Images Move, 249–80. University of California Press, 2020. http://dx.doi.org/10.2307/j.ctvqr1bkx.13.

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"Video Art." In A History of the Western Art Market, 357–62. University of California Press, 2017. http://dx.doi.org/10.1525/9780520340770-108.

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"Video Art." In Art of the Deal, 26–86. Princeton University Press, 2014. http://dx.doi.org/10.2307/j.ctvx078bv.8.

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Conference papers on the topic "Vido art"

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Parker, J. R. "Games are art: Video games as theatrical performance." In 2013 IEEE International Games Innovation Conference (IGIC). IEEE, 2013. http://dx.doi.org/10.1109/igic.2013.6659148.

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COEN, JOEL, and ETHAN COEN. "O Brother, Where Art Thou?" In ACM SIGGRAPH 2001 video review. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/945191.945234.

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"[Cover art]." In 2010 Fourth Pacific-Rim Symposium on Image and Video Technology (PSIVT). IEEE, 2010. http://dx.doi.org/10.1109/psivt.2010.94.

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"[Cover art]." In 2008 IEEE Fifth International Conference on Advanced Video and Signal Based Surveillance. IEEE, 2008. http://dx.doi.org/10.1109/avss.2008.80.

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"[Cover art]." In 2012 9th IEEE International Conference on Advanced Video and Signal Based Surveillance (AVSS). IEEE, 2012. http://dx.doi.org/10.1109/avss.2012.93.

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"[Cover art]." In 2009 Sixth IEEE International Conference on Advanced Video and Signal Based Surveillance (AVSS). IEEE, 2009. http://dx.doi.org/10.1109/avss.2009.114.

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Zheng, Ying, and Peng Zhang. "Interactive Video Installation Art Under New Media Art." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.018.

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Spiridonova, Anna. "RENAISSANCE SCHEMES IN VIDEO ART." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s13.016.

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Heo, Yunsil, and Hyunwoo Bang. "Modern video processor." In ACM SIGGRAPH 2014 Art Gallery. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2601080.2601090.

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Li Haibing and Zhang Wei. "The Epochal Character of video art." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375243.

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Reports on the topic "Vido art"

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Werry, S. M. ATR/OTR-SY Tank Camera Purge System and in Tank Color Video Imaging System. Office of Scientific and Technical Information (OSTI), June 1995. http://dx.doi.org/10.2172/97047.

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Pardini, A. F. ,. Westinghouse Hanford. Post-Delivery test report for light duty utility arm high resolution stereoscopic video system (HRSVS). Office of Scientific and Technical Information (OSTI), May 1996. http://dx.doi.org/10.2172/658918.

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Stiles, Bangyan, and Hong Wu. Functional Analysis of Oncogene Akt: Its Role in Tumorigenesis In Vivo and Cell Cycle Progression In Vitro. Fort Belvoir, VA: Defense Technical Information Center, July 2002. http://dx.doi.org/10.21236/ada407666.

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Stiles, Bangyan, and Hong Wu. Functional Analysis of Oncogene Akt: Its Role in Tumorigenesis in Vivo and Cell Cycle Progression in Vitro. Fort Belvoir, VA: Defense Technical Information Center, July 2004. http://dx.doi.org/10.21236/ada429197.

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Hang, Fei, Rishalaiti Tayier, Ang Li, Yanjie Yuan, and Shunhua Wu. PTEN regulates arsenic-inducedn autophagy in PI3K/AKT/mTOR signaling pathway; A systematic review and meta-analysis of in vivo and in vitro studies. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, January 2021. http://dx.doi.org/10.37766/inplasy2021.1.0012.

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Rudyk, Myroslava. COMMUNICATIVE FEATURES OF UKRAINIAN VIDEO BLOGS ON THE EXAMPLE OF YOUTUBE-CHANNELS OF «TORONTO TV», YANINA SOKOLOVA, AND OSTAP DROZDOV. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11111.

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The article is devoted to the study of the Ukrainian segment of video blogging as one of the most popular types of the functioning of the modern blogosphere. The content and statistics of popular video blogs were studied on the example of YouTube channels of Ukrainian bloggers and famous journalists. Today we are witnessing the rapid development of technologies that help journalists become better, and the creators of media content to work more quickly and ensure the completeness of the information. With the help of Internet communication, new ways of disseminating information have appeared in journalism. Journalists more often create their blogs on various platforms. Blogosphere video content has become very popular among the Ukrainian audience on YouTube because today the video format is the most effective in terms of communication. The YouTube social network partially replaces television, and the variety of thematic content is ably adapted to a wide audience. The paper analyzes Ukrainian blogs managed by journalists, where they publish different content formats. Therefore, the presentation of various examples of video blogs in our work helps to understand the specifics of Ukrainian blogging at its current stage of development. After all, videos of popular people such as Michael Shchur, Yanina Sokolova, Ostap Drozdov demonstrate the peculiarities of Ukrainian popular video content. For the research, we chose those blogs that are currently relevant to Ukrainian YouTube and have their specifics and uniqueness. The main objective of a blogger is to react quickly to the flow of information because the rating of the channel being monetized depends on it. With the help of statistical data, we can conclude that the Ukrainian audience is interested in a wide range of different information. Viewers now value the independent opinion of bloggers and more often listen to it. Every important event is covered by bloggers promptly. And the format in which it is presented depends on the individual style of the author and the concept of his channel. We can conclude that the video content of the modern blogosphere is developing rapidly. This provides the audience with information for different tastes.
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Baluk, Nadia, Natalia Basij, Larysa Buk, and Olha Vovchanska. VR/AR-TECHNOLOGIES – NEW CONTENT OF THE NEW MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11074.

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The article analyzes the peculiarities of the media content shaping and transformation in the convergent dimension of cross-media, taking into account the possibilities of augmented reality. With the help of the principles of objectivity, complexity and reliability in scientific research, a number of general scientific and special methods are used: method of analysis, synthesis, generalization, method of monitoring, observation, problem-thematic, typological and discursive methods. According to the form of information presentation, such types of media content as visual, audio, verbal and combined are defined and characterized. The most important in journalism is verbal content, it is the one that carries the main information load. The dynamic development of converged media leads to the dominance of image and video content; the likelihood of increasing the secondary content of the text increases. Given the market situation, the effective information product is a combined content that combines text with images, spreadsheets with video, animation with infographics, etc. Increasing number of new media are using applications and website platforms to interact with recipients. To proceed, the peculiarities of the new content of new media with the involvement of augmented reality are determined. Examples of successful interactive communication between recipients, the leading news agencies and commercial structures are provided. The conditions for effective use of VR / AR-technologies in the media content of new media, the involvement of viewers in changing stories with augmented reality are determined. The so-called immersive effect with the use of VR / AR-technologies involves complete immersion, immersion of the interested audience in the essence of the event being relayed. This interaction can be achieved through different types of VR video interactivity. One of the most important results of using VR content is the spatio-temporal and emotional immersion of viewers in the plot. The recipient turns from an external observer into an internal one; but his constant participation requires that the user preferences are taken into account. Factors such as satisfaction, positive reinforcement, empathy, and value influence the choice of VR / AR content by viewers.
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Frantseva, Anastasiya. The video lectures course "Elements of Mathematical Logic" for students enrolled in the Pedagogical education direction, profile Primary education. Frantseva Anastasiya Sergeevna, April 2021. http://dx.doi.org/10.12731/frantseva.0411.14042021.

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The video lectures course is intended for full-time and part-time students enrolled in "Pedagogical education" direction, profile "Primary education" or "Primary education - Additional education". The course consists of four lectures on the section "Elements of Mathematical Logic" of the discipline "Theoretical Foundations of the Elementary Course in Mathematics" on the profile "Primary Education". The main lecture materials source is a textbook on mathematics for students of higher pedagogical educational institutions Stoilova L.P. (M.: Academy, 2014.464 p.). The content of the considered mathematics section is adapted to the professional needs of future primary school teachers. It is accompanied by examples of practice exercises from elementary school mathematics textbooks. The course assumes students productive learning activities, which they should carry out during the viewing. The logic’s studying contributes to the formation of the specified profile students of such professional skills as "the ability to carry out pedagogical activities for the implementation of primary general education programs", "the ability to develop methodological support for programs of primary general education." In addition, this section contributes to the formation of such universal and general professional skills as "the ability to perform searching, critical analysis and synthesis of information, to apply a systematic approach to solving the assigned tasks", "the ability to participate in the development of basic and additional educational programs, to design their individual components". The video lectures course was recorded at Irkutsk State University.
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Rodríguez Chatruc, Marisol, and Sandra V. Rozo. How Does it Feel to Be Part of the Minority?: Impacts of Perspective Taking on Prosocial Behavio. Inter-American Development Bank, September 2021. http://dx.doi.org/10.18235/0003612.

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Can online experiences that illustrate the lives of vulnerable populations improve prosocial behaviors and reduce prejudice? We randomly assign 850 individuals to: i) an online game that immerses individuals in the life decisions of a Venezuelan migrant and ii) a documentary about the migration process of Venezuelans to Colombia. Both treatments effectively improve altruism and reduce prejudice towards migrants. The impacts of both treatments are not statistically different in any of the other outcomes that we examine. The effects of the game are mainly driven by changes in perspective-taking while the effects of the video are induced by changes in both empathy and perspective-taking.
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Carlsen, Henrik, and Nina Weitz. Analys av synergier och målkonflikter i Sveriges frivilliga granskning av arbetet med Agenda 2030. Stockholm Environment Institute, July 2021. http://dx.doi.org/10.51414/sei2021.015.

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Denna rapport redovisar arbetet med att genomföra en systemanalys av interaktioner mellan FN:s 17 globala mål för hållbar utveckling (Sustainable Development Goals, SDGs) på svensk nationell nivå. Arbetet har genomförts i en deltagandeprocess där Agenda 2030-ansvariga på olika departement inom Regeringskansliet har bidragit med bedömningar av parvisa interaktioner mellan hållbarhetsmål och där forskare vid SEI har genomfört en systemanalys.
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