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Journal articles on the topic 'Vido art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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

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9

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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10

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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11

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

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12

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

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13

Verene, Donald Phillip. "Vico and Culinary Art." New Vico Studies 20 (2002): 69–78. http://dx.doi.org/10.5840/newvico2002201.

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14

Smolev, Daniil D. "Video Aesthetics in Cinema and Video Art." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 109–18. http://dx.doi.org/10.17816/vgik73109-118.

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The article is devoted to the genesis and unique semantic characteristics of video aesthetics pertinent to both auteur cinema and modern art (video art, in particular). Being a kind of common denominator for these art forms, video aesthetics manifests itself differently in the art gallery and film theatre, in the duration of a video work and a feature film, in the mentality of a film director and an artist. The author makes an attempt to reveal the methods of reciprocal influence of the two art forms, their specific languages connected through video aesthetics illustrated by the work of Harmony Korine, Vincent Gallo, Philippe Grandrieux and Philippe Parreno.

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15

Collomosse, J. P., and P. M. Hall. "Video Paintbox: The fine art of video painting." Computers & Graphics 29, no. 6 (December 2005): 862–70. http://dx.doi.org/10.1016/j.cag.2005.09.003.

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16

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

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17

Sfez, Géraldine. "Video Art : an Unfinished History." Critique d’art, no. 50 (May 25, 2018): 121–23. http://dx.doi.org/10.4000/critiquedart.29342.

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18

Murphy, Samantha. "Can video games be art?" New Scientist 207, no. 2778 (September 2010): 46–47. http://dx.doi.org/10.1016/s0262-4079(10)62287-7.

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19

Nicholas, Lydia. "The art of video games." New Scientist 239, no. 3196 (September 2018): 46. http://dx.doi.org/10.1016/s0262-4079(18)31720-2.

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20

Kohn, Robert E. "The Motorization of Video Art." Afterimage 37, no. 6 (May 1, 2010): 13–16. http://dx.doi.org/10.1525/aft.2010.37.6.13.

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21

Marshall, Stuart. "Video: From Art to Independence." Screen 26, no. 2 (March 1, 1985): 66–72. http://dx.doi.org/10.1093/screen/26.2.66.

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22

Varnava, Christiana. "The art of video games." Nature Electronics 1, no. 10 (October 2018): 522. http://dx.doi.org/10.1038/s41928-018-0151-8.

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23

Nadaner, Dan. "Teaching Perception through Video Art." Art Education 61, no. 1 (January 2008): 19–24. http://dx.doi.org/10.1080/00043125.2008.11518983.

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24

WALKER, JOHN A. "VIDEO ART, A GUIDED TOUR." Art Book 12, no. 4 (November 2005): 43. http://dx.doi.org/10.1111/j.1467-8357.2005.00608.x.

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25

Kostina, Оlga V., and Olga F. Filimonova. "The Trajectory of Art: Vide Supra, or See Above." Vestnik Tomskogo gosudarstvennogo universiteta, no. 442 (May 1, 2019): 75–81. http://dx.doi.org/10.17223/15617793/442/9.

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26

Garon, Jon M. "Commercializing the Digital Canvas." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (March 2014): 837–72. http://dx.doi.org/10.37419/lr.v1.i4.2.

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Over the past two decades, a series of trends in constitutional and intellectual property have significantly reshaped the impact of traditional intellectual property laws for the art community. Attribution of a work to the artist and protection of the integrity of a work from alternation are historical bedrocks of artistic protections, but those protections have been diminished for digital artists. The Visual Artists Rights Act excludes digital works from the definition of works of visual art, thus excluding these works from rights of attribution and integrity. At the time, rights of attribution and integrity were seen as quasi-trademark rights, and artists were protected under the Lanham Act. Since then, however, the Supreme Court has extended copyright’s preemption over trademark, undermining an artist’s ability to have non-contractual protections for the artist’s identity and integrity in a work. In addition, a second trend within the digital environment has created additional tensions for artists whose works include celebrities, athletes, or other members of the public. The Supreme Court has made the clear determination that video games are entitled to complete First Amendment protection, placing those works in the same category as film, publishing, and works of art. Despite this free speech protection to the medium, a series of inconsistent decisions among state and federal courts have made unclear when the use of a person’s likeness in a video game—or video art instillation—would constitute a violation of the person’s rights of publicity.

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27

Ball, Steven. "Video Void, Australian Video Art, Matthew Perkins (ed.) (2014)." Moving Image Review & Art Journal (MIRAJ) 5, no. 1 (December 1, 2016): 266–74. http://dx.doi.org/10.1386/miraj.5.1-2.266_5.

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28

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

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29

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 (January 1, 2020): 1729539. http://dx.doi.org/10.1080/20004214.2020.1729539.

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30

Oliveira, Andreia Machado, Bárbara Almeida de Souza, Camila dos Santos Dos Santos, Luiz Augusto Alvim, Luyanda Zindela, and Matheus Moreno dos Santos Camargo. "Monumentos Virtuais e Memória:." Revista Vazantes 4, no. 2 (December 24, 2020): 93–113. http://dx.doi.org/10.36517/vazppgartesufc2020.2.60738.

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Este artigo apresenta o projeto artístico interdisciplinar e colaborativo "Monumentos Virtuais", sendo uma pesquisa poética sobre projection art. Tal projeto é uma parceria entre Brasil e África do Sul, realizado a partir de registros em áudio e vídeo do cotidiano das cidades brasileiras de Santa Maria (RS) e Fortaleza (CE), e da cidade sul-africana de Durban. A proposta artística é desenvolvida para projeção em cúpula, tela panorâmica 360o e video mapping. O projeto problematiza noções de memória e monumento, confrontando narrativas oficiais e imponentes em detrimento da vida cotidiana e da efemeridade diária. Neste sentido, práticas em arte e tecnologia tornam-se um espaço e um tempo de resistência e de revitalização de outros sentidos para a vida, sob um olhar contemporâneo. Palavras-chave: Monumentos Virtuais. Memória. Colaboração. Projection Art. Cinema Expandido.

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31

McKie, Annamarie, Jill Trumper, and Nicholas Turner. "Diverse practices: video art and libraries." Art Libraries Journal 29, no. 1 (2004): 35–41. http://dx.doi.org/10.1017/s030747220001347x.

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This article looks at the many problems that art libraries experience in developing video art collections. It considers a range of issues, from why it is often difficult to acquire video art, to reasons why many of the respected art library collections do not actively collect such material. Most of the findings arise from a workshop called Diverse practices, which was held at Kent Institute of Art and Design in February 2003.

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32

Wilder, Ken. "Michael Fried and Beholding Video Art." Estetika: The European Journal of Aesthetics 49, no. 1 (May 15, 2012): 5. http://dx.doi.org/10.33134/eeja.88.

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33

Birringer, Johannes. "Video Art / Performance: A Border Theory." Performing Arts Journal 13, no. 3 (September 1991): 54. http://dx.doi.org/10.2307/3245541.

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34

Smith, Matthew Ryan. "Relational Maneuvers in Autobiographical Video Art." Biography 37, no. 4 (2014): 953–73. http://dx.doi.org/10.1353/bio.2014.0066.

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35

Young, Jeffrey R. "Should video games be considered art?" New Scientist 214, no. 2859 (April 2012): 48. http://dx.doi.org/10.1016/s0262-4079(12)60913-0.

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36

Perkins, Matthew John. "Documentary Codes and Contemporary Video Art." International Journal of the Humanities: Annual Review 8, no. 4 (2010): 177–82. http://dx.doi.org/10.18848/1447-9508/cgp/v08i04/42896.

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37

Springgay, Stephanie. "Corporeal Pedagogy and Contemporary Video Art." Art Education 61, no. 2 (March 2008): 18–24. http://dx.doi.org/10.1080/00043125.2008.11651137.

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38

Chapiro, Alexandre, Tunç Ozan Aydın, Nikolce Stefanoski, Simone Croci, Aljoscha Smolic, and Markus Gross. "Art-directable Continuous Dynamic Range video." Computers & Graphics 53 (December 2015): 54–62. http://dx.doi.org/10.1016/j.cag.2015.08.006.

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39

Chambel, Teresa, Luís Correia, Jônatas Manzolli, Gonçalo Dias Miguel, Nuno A. C. Henriques, and Nuno Correia. "Creating video art with evolutionary algorithms." Computers & Graphics 31, no. 6 (December 2007): 837–47. http://dx.doi.org/10.1016/j.cag.2007.08.004.

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40

OnacloV. "Hijacking Documentary into Video Installation Art." Hyperrhiz: New Media Cultures, no. 3 (August 2007): 1. http://dx.doi.org/10.20415/hyp/003.e01.

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41

Paschalidou, Maria. "Semiotics of the Protest." Protest, Vol. 4, no. 2 (2019): 44–49. http://dx.doi.org/10.47659/m7.044.art.

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In the Semiotics of the Protest performed video, I visually examine the key significance of the body and its language for the materialization of the street protest, the vital tool by means of which people reclaim public space and activate it as a political terrain. The video is based on a performance for which I invited a volunteer dancer to “rehearse” public gestures of resistance against oppression. Challenging dominant representations of protestors as “mobs” and protestors’ bodies as irrational and uncontrollable entities, in this performed video, I visually analyse the political demonstration as choreographic tactics executed by bodies which are meaningful and purposeful and which, through their gestures, move forward to social change. Keywords: participation, performed video, Phantasmagoria, politics and aesthetics, protest as choreography

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42

Montero, Gustavo Grandal. "Video as art: collecting artists’ moving image in academic art libraries." Art Libraries Journal 34, no. 3 (2009): 5–10. http://dx.doi.org/10.1017/s0307472200015947.

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Video collections have been part of library holdings for several decades, but developing and managing these collections presents a number of challenges. This is the case particularly for artists’ film and video, and this article attempts to identify the issues involved and to offer some practical guidance, drawing on the experience of collection development and management at Chelsea College of Art and Design Library, and across the libraries of University of the Arts London and elsewhere.

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43

Modica, Renee. "A136: Assessing the Efficacy of Pediatric Rheumatology Video-based Curriculum." Arthritis & Rheumatology 66 (March 2014): S179. http://dx.doi.org/10.1002/art.38557.

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44

Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.

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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games

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45

김현석 and 김효숙. "Time and Memory Image in Video Art - Analysis of Video Art Cases Focusing on Bergson‘s Time Concept -." Korean Journal of Art and Media 15, no. 4 (November 2016): 51–74. http://dx.doi.org/10.36726/cammp.2016.15.4.51.

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46

김성연. "Issues of Participation and Communication on Video Art - Development and communication method on Video and Media Art -." Korean Journal of Art and Media 11, no. 1 (May 2012): 135–46. http://dx.doi.org/10.36726/cammp.2012.11.1.135.

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47

ZASLAVSKAYa, A. Yu, and M. M. SEROVA. "“STREET-ART” OR THE ART OF STREET INTERVENTIONS." Urban construction and architecture 2, no. 1 (March 15, 2012): 11–16. http://dx.doi.org/10.17673/vestnik.2012.01.2.

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Аpplication of street art in architectural city environment is presented. The main features and directions of contemporary street art are considered. The concept street art includes diﬀerent types of activity: performance, graffity, 3-D graﬃty, and the latest dirrection video-mapping (projection of dynamic images on facades of buildings). New terminology is gradually formed, characterizing the direction of art activity as street-art.

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48

Cooke, Glenn R. "Vida Lahey's Floral Palette." Queensland Review 19, no. 1 (June 2012): 133–42. http://dx.doi.org/10.1017/qre.2012.12.

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Vida Lahey is one of Queensland's best loved artists of the twentieth century. However, she is appreciated locally as much for her role in the promotion and teaching of art as for her practice. The work for which she is best known, ‘Monday morning’ 1913 (Collection, Queensland Art Gallery), became an icon of feminism from the 1980s, although it contrasts with her flower studies – the work that gave her a national reputation from the 1920s.

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49

Cornellier, Bruno. "Isuma: Inuit Video Art Michael Robert Evans." Canadian Journal of Film Studies 19, no. 1 (March 2010): 95–98. http://dx.doi.org/10.3138/cjfs.19.1.95.

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50

Rodríguez-Moreno, Itsaso, José María Martínez-Otzeta, Basilio Sierra, Igor Rodriguez, and Ekaitz Jauregi. "Video Activity Recognition: State-of-the-Art." Sensors 19, no. 14 (July 18, 2019): 3160. http://dx.doi.org/10.3390/s19143160.

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Video activity recognition, although being an emerging task, has been the subject of important research efforts due to the importance of its everyday applications. Surveillance by video cameras could benefit greatly by advances in this field. In the area of robotics, the tasks of autonomous navigation or social interaction could also take advantage of the knowledge extracted from live video recording. The aim of this paper is to survey the state-of-the-art techniques for video activity recognition while at the same time mentioning other techniques used for the same task that the research community has known for several years. For each of the analyzed methods, its contribution over previous works and the proposed approach performance are discussed.

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