Bibliografias temáticas / Festival for Contemporary Video Art

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Literatura científica selecionada sobre o tema "Festival for Contemporary Video Art"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 19 de julho de 2025

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Artigos de revistas sobre o assunto "Festival for Contemporary Video Art"

KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.

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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. I

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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes." Studies in South Asian Film & Media 10, no. 1 (2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.

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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases internationa

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Chelliah Thiruchelvam, Cheryl. "Buddhi: A Legacy from the Hindu-Buddhist Past in Contemporary Malaysia: Budi." International Journal of Creative Multimedia 6, no. 1 (2025): 108–18. https://doi.org/10.33093/ijcm.2025.6.1.7.

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The ‘BUDI – Extension of Tradition’ art exhibition was organised in conjunction with the Ipoh International Art Festival in 2021 by the Perak State’s cultural agency, People of Remarkable Talents (PORT). Carried out from 10 to 26 December 2021, this exhibition was anchored on the theme of budi (Malay), derived from the Sanskrit word Buddhi. The collective works of this exhibition were from 50 local and international artists that comprised other activities such as workshops, dance performances, music, and cultural activities besides the artworks on display. This exhibition brought forth a colle

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Harbie, Putri R. A. E. "Curation and Presentation to Enrich Value on Intermedia Art in a Contamporary Art Exhibition." IMOVICCON Conference Proceeding 1, no. 1 (2019): 108–15. http://dx.doi.org/10.37312/imoviccon.v1i1.12.

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The moving image has evolved into a very common medium used in both narrative and non-narrative way, exhibited in a film festival or art exhibition. Narrative film nowadays distributed digitally and can be exhibited in both the big screen and small screen (such as mobile phone, laptop screen, mini projector) without possibly losing any storytelling value. While non-narrative film/video mostly exhibited in a special treatment to enrich the main message. The small screen was commonly used to present this medium in an art exhibition. Art manager has a responsibility to curate and presents the int

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Zarobell, John. "Global Art Collectives and Exhibition Making." Arts 11, no. 2 (2022): 38. http://dx.doi.org/10.3390/arts11020038.

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Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored.

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Bakirov, Vil, and Dmytrii Petrenko. "Contemporary Ukrainian Visual Culture on the Way to the International Cultural Space." Perspektywy Kultury 41, no. 2/2 (2023): 91–110. http://dx.doi.org/10.35765/pk.2023.410202.08.

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The article is devoted to the visual culture of Ukraine since independence. It pays special attention to the trends and phenomena of contemporary Ukrainian visual culture that have entered the context of world culture through recognition on international cultural platforms (competitions, festivals, biennials, etc.). The considerations concern the development of various trends in contemporary Ukrainian art, which use various artistic media: photography, installation, performance and film. In particular, Ukrainian conceptual photography was the most interestingly represented by several generatio

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Couret, Nilo. "Under Fyre: Debt Culture in the Streaming Era." Film Quarterly 74, no. 1 (2020): 57–63. http://dx.doi.org/10.1525/fq.2020.74.1.57.

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FQ contributing editor Nilo Couret uses the Fyre app, the Fyre Festival, and the dueling documentaries about Fyre—Fyre Fraud and Fyre: The Greatest Party that Never Happened—to map the landscape of contemporary debt as it intersects with new media (i.e., mobile app development, social media advertising, and streaming platforms) and account for the theoretical and political implications of indebtedness. He concludes that streaming platforms are akin to social networks, video-sharing platforms, and online publishers both because of the relentless pursuit and monetization of our attention as well

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Barghouti, Dia. "Exploring Ibn ‘Arabi’s Metaphysics of Time and Space in Sufi Ritual: the ‘Issawiya Dhikr of Sidi Bou-Sa‘id." New Theatre Quarterly 36, no. 3 (2020): 237–48. http://dx.doi.org/10.1017/s0266464x20000445.

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This article examines the relationship between medieval Islamic philosophy and contemporary Tunisian Sufi ritual. Focusing on the metaphysics of time and space in the writings of the twelfth-century Andalusian saint Muhyiddin Ibn ‘Arabi, the author explores the dhikr ritual within the framework of Sufi ontology in order to highlight the relevance of Islamic intellectual history to the religious practices of the ‘Issawiya Sufi community. The dhikr is one example of many indigenous performance traditions that are part of the rich cultural life of Tunisia. These are spaces where adepts engage wit

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Walsh, Michael. "Happiness is Not Fun: Godard, the 20th Century, and Badiou." Journal of French and Francophone Philosophy 18, no. 2 (2010): 29–42. http://dx.doi.org/10.5195/jffp.2010.211.

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"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans L

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Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”." October 153 (July 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.

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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ev

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Teses / dissertações sobre o assunto "Festival for Contemporary Video Art"

Bernardi, Donatella. "Arts festival as a global cultural product." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/41785.

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In this thesis, I address ephemeras - namely temporary displays in the form of festivals and exhibitions belonging to the field of contemporary art. The most appropriate criterion with which to select and discuss the ephemera, i.e., the data in which I analyse in this thesis, is the notion of the 'event'. 'Event' is a philosophical concept, and therefore does not belong to artistic or aesthetic categories. However, two main characteristics are particularly relevant in considering it, and these are also pertinent to the field of art. Firstly, the tandem contingency and necessity. Secondly, the

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Magagnoli, P. "Reclaiming the past : historical representation in contemporary photography and video art." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1355956/.

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Since the late 1990s a new tendency has emerged in contemporary art whereby artists deploy archival research to explore the mechanics of historical representation and evoke the past. This thesis examines the works of some of the most relevant practitioners of the new tendency who are working with video, photography and film and explores the reasons for the return of historical representation in art. In the introduction the study sets the tendency against the background of modernist, postmodernist theories and the historiographic debates of the last thirty years. The first chapter attempts a cr

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Bennie, Christopher. "Video Art, Authenticity and the Spectacle of Contemporary Existence: an exegesis." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/365684.

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Edmond Husserl’s notion of ‘first sense’ experience is a phenomenological and experiential interpretation of the world based on immediate pre-theoretical and precognitive reflection. For Husserl, the apperception of the world using ‘first sense’ presupposes any scientific or theoretical understanding of it and presents a more meaningful and truthful experience because it is based on the fact of being. Authentic experience, in this exegesis, is considered a form of immediate and intuitive experience in which the certainty of the ‘first sense’ world contrasts to the obedience and homogenising ef

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Nogueira, Julia C. "Film and Video Festivals in South America:A Contemporary Analysis of Flourishing Cultural Phenomena." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1230612139.

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Macindoe, Annie C. "Melancholy and the memorial: Representing loss, grief and affect in contemporary visual art." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/119695/1/Annie_Macindoe_Thesis.pdf.

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Melancholy and the Memorial: Representing Loss, Grief and Affect in Contemporary Visual Art is a practice-led project that explores how contemporary art can respond to the limitations of traditional forms of language in the representation of trauma, loss and grief. The project reflects on the work of theorists and artists who also explore the ineffability of these memories and experiences. The creative outcomes have investigated how text, moving image, sound and space can be combined to reframe the dialogue around public and private expressions of trauma and open up discussion of the potential

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Pinaka, Anna-Maria. "Porno-graphing : 'dirty' subjectivities & self-objectification in contemporary lens-based art." Thesis, University of Roehampton, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.749383.

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Through my PhD thesis, ‘Porno-graphing: ‘dirty’ subjectivities & self-objectification in contemporary lens-based art’, I use the term ‘porno-graphing’ to group together and examine lens-based artworks where artists use as art-material sexual situations or sets of sexual dynamics present in their life independently of their art practice. I consider how artists act upon these sexual situations in order to make art out of them, the art-results they produce and their means of sharing them with audiences. I argue that the artists whose work I examine, use sexual situations that can potentially be p

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Zhang, Ruiqi. "Parallel Narrative: Short-Video Social Media Platforms’ Influences on Contemporary Narrative." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5935.

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Through the study of Kwai, a popular short-video social media platform in China, this thesis investigates the social issues, media class divides and aesthetics specific to Kwai culture. It further proposes a strategy of artistic practice - parallel narrative - an experiment in video art production and editing techniques that explores new possibilities of narrative in video art. Integrating theoretical research on Post-Internet art and object-oriented ontology, this thesis reveals people’s ability to digest multisource information and shows how mobile technologies and open-source materials cont

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Andersdotter, Sara. "Choking on the madeleine : encounters and alternative approaches to memory in a contemporary art practice." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/7841/.

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This practice-based thesis proposes radical, critical, creative reconsiderations of memory and how the mnemic may be expressed in art practice. The research took place through developing a series of works within contemporary installation art practice, which considers the experience of memory an abstract, affective event. The thesis confronts the typical assumptions and ocularcentric misconceptions that the mnemic is a visual phenomenon. It challenges presumed relationships between photographs and memory then asks: How may notions of memory be re-examined through art practice so as to allow alt

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Charlesworth, Amy. "The 'video-essay' in contemporary art : documenting capital and gender for the 21st century." Thesis, University of Leeds, 2013. http://etheses.whiterose.ac.uk/6338/.

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This thesis examines how the term ‘video-essay’ or ‘film essay’ has gained particular momentum in contemporary art practice and theoretical debates throughout the past twenty years. Speficially, I examine the work of Ursula Biemann and María Ruido. The thesis plots how the ‘genre’ is considered to have emerged through a post-structuralist framework. Feminist and post-colonial praxis initiated an important critique of the documentary project from the late 1960s to the early 1980s. Much of this criticism sought to re-ignite the active qualities latent in the technologies of lens-based mediums: q

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Handran, Christopher. "Looking into the light : reinventing the apparatus in contemporary art." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63634/1/Christopher_Handran_Thesis.pdf.

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Technical images such as photography, film and video, are dependent on apparatuses for their production and dissemination, yet the apparatus itself is often hidden or obscured in the experience of the work and the discourse that surrounds it. This practice-led research identifies key practice strategies to foreground the apparatus both in the production of work and in its presentation. It therefore develops critical and generative strategies to explore and interrogate the workings of the 'apparatus-audience complex,' and the particular modes of spectatorship that this entails.

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Livros sobre o assunto "Festival for Contemporary Video Art"

Ander, Heike, Tasja Langenbach, Jennifer Gassmann, Olaf Stüber, and Judith Halberstam. Videonale.15. Revolver Publishing, 2014.

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Fiorese, Silvana. Lo schermo dell'arte 10 years: Between contemporary art and cinema. Giunti, 2019.

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Indonesia, Galeri Nasional, ed. Ok. video: Jakarta Video Art Festival 2003. Ruangrupa, 2003.

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Biri︠u︡kova, Dasha. Festivalʹ Videofocus: Videofocus Festival. Gosudarstvennyĭ t︠s︡entr sovremennogo iskusstva, 2013.

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(Organization), Intothepill, and Synch Festival, eds. Intothepill: Greek contemporary video art. Futura, 2009.

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Museum, Solomon R. Guggenheim, and Museo Guggenheim Bilbao, eds. Haunted: Contemporary photography, video, performance. Guggenheim Museum Publications, 2010.

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1957-, Rugoff Ralph, and CCA Wattis Institute for Contemporary Arts., eds. Irreducible: Contemporary short form video. California College of the Arts, 2005.

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Arellano, José Carlos Mariátegui. Perú/video/arte/electrónico: Memorias del Festival Internacional de Video/Arte/Electrónica. Alta Tecnología Andina, 2003.

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Germany) Videonale (17th 2019 Bonn. Videonale. 17: Festival für Video und zeitbasierte Kunstformen = Videonale. 17 : festival for video and time-based arts. StrzeleckiBooks, 2018.

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Museum of Contemporary Art (Sydney, N.S.W.), ed. Video logic. Museum of Contemporary Art, 2008.

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Capítulos de livros sobre o assunto "Festival for Contemporary Video Art"

Makhoul, Bashir. "Palestinian Video Art and the Fluxus of Globalization." In The Routledge Handbook of Contemporary Art in Global Asia. Routledge, 2022. http://dx.doi.org/10.4324/9781003285298-12.

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Makhoul, Bashir. "Palestinian Video Art and the Fluxus of Globalization." In The Routledge Handbook of Contemporary Art in Global Asia. Routledge, 2022. http://dx.doi.org/10.4324/9781003285298-13.

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Untiks, Inga. "Performing Identities and Convergent Aesthetics in Contemporary Estonian Video Art." In Göttinger Schriften zur Englischen Philologie. Göttingen University Press, 2015. http://dx.doi.org/10.17875/gup2021-1700.

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Song-yong, Sing. "The Eyes of Archives: How Contemporary Taiwanese Video Art Set Off a Revolt Regarding Japanese Colonial History." In The (Im)possibility of Art Archives. Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5898-6_10.

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Piekut, Benjamin. "Black Music’s Institutional Critique." In New Music and Institutional Critique. Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_6.

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AbstractTo consider institutional critique within the music field requires some alteration of its fundamental terms, because music had developed a second aesthetic system surrounding Black art and had institutionalised it much earlier than modern or contemporary art had. This de-universalisation of the European fine arts has consequences for the theory of critique. Black music’s governing institutions in the 1960s were the recording label, the night club, the summer festival, and the mass periodical, and artists such as Charles Mingus, Bill Dixon, Rahsaan Roland Kirk, Ornette Coleman, Don Cherry, and Alice Coltrane worked to confront, evade, and change them. Black musicians were more likely to build institutions than to destroy them, a mission shared by adventurous groups like the AACM and conservative ones like Jazz at Lincoln Center. The critique of traditionally racist cultural formations by historically oppressed people was often delivered through hard-won participation, not abandonment.

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Nelson, Peter. "30. The UPIC System of Iannis Xenakis." In Meta-Xenakis. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0390.32.

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Drawing on the author’s experience of working with Les Ateliers UPIC between the presentation of the UPIC computer music system at the Huddersfield Festival of Contemporary Music in 1987, and its residency at the International Computer Music Conference (ICMC) 1990, this paper will reflect on the technological, educational, social, and organizational milieu of UPIC during the period of its formation as both a material equipment, and a cultural project. As well as interrogating historical anecdote, this chapter attempts to contextualize UPIC within a set of cues taken from recent work in science and technology studies–particularly the work of Antoine Hennion–as well as from Howard Becker’s classic sociological investigation of ‘art worlds’, in order to clarify both the historical impact and the possible future potential of Xenakis’s conception. Beginning in an era when institutional infrastructure was a necessity for any project of this kind, UPIC has morphed, in the subsequent era of internet sociality, into an app with a contrasting set of technical and operational consistencies. This contrast will be considered as a key means of insight into the creative conceptions that underpin UPIC as part of an attempt to reassess the position of the system within Xenakis’s main theoretical achievement and creative output.

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Macaulay, Alison. "Hillywood and Beyond." In Contemporary African Screen Worlds. Duke University Press, 2025. https://doi.org/10.1215/9781478060413-016.

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Screen worlds, specifically theatrical screen worlds, are layered spaces of participation and consumption. In Rwanda, they are part of broader considerations and public discourses around commemoration, knowledge production, and perceptions of class status and propriety. Through participant observation and oral interviews, this chapter explores Rwandan audiences’ engagement with different types of screens and screening environments in the recent past, including the Rwanda Film Festival's Hillywood mobile cinema screenings. Considering festival screenings in conjunction with nonfestival theatrical screen worlds, including small-scale city cinemas and agasobanuye VJ (veejay, or video jockey) translations and adaptations, illustrates the importance of placing screen worlds within spatial, historical, and political specificities. The chapter highlights the degrees of variation, audience preference, and social perceptions of theatrical-spectatorial spaces within Rwanda’s ever-growing and ever-changing variety of screen environments.

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Valenzuela, Sebastián Vidal. "Festival Franco-Chileno de Video Arte:." In Encounters in Video Art in Latin America. J. Paul Getty Trust, The, 2023. http://dx.doi.org/10.2307/jj.4908220.11.

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Westall, Claire. "‘On Top of the World’ (?)." In Cricket and Nationhood in the Twenty-First Century. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191982576.003.0007.

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Abstract This chapter reads the aesthetics of the 2019 Cricket World Cup against its 1999 predecessor, including the styles of play seen, the marketing efforts deployed, and the sales and ticketing approaches used to popularize these tournaments; tournaments that were mostly played in England. All this is set this within a longer story of cricketing Englishness, imperialism, and the growing need to ‘world’ the game in new ways. More specifically, though, the discussion compares the musical anthems and music videos used for the 1999 World Cup and those released for the return of the event in 2019. The chapter explores the way in which different ideas of Englishness, Britishness, success, and connection are attempted across the shift from 1999 to 2019 and also across the two 2019 pieces and their accompanying visuals. Where the Andrew ‘Freddie’ Flintoff’s singing and accompanying video offer a notably ‘down-to-earth’ and domestic vision of cricketing Englishness, moving through a number of seemingly ‘street’ locations and regional or specifically English scenes before arriving in London, the official tournament track by Loryn and Rudimental is a more explicitly urban, London-linked appeal to youthful celebration, attempting to call up the success of 2012 and mobilize the links between sport and public festival of that Olympic summer but with very little connection to contemporary cricketing culture. In this manner, the 2019 tournament, like the 1999 event before it, was marketed so as to make the world sit within an idea of Britishness, but only succeeded in retaining a sense of historically imperial Englishness which worked against more progressive ideas of a civic cricketing Englishness in and for England.

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"Video, the Other Newcomer." In How Photography Became Contemporary Art. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1fx4hqk.12.

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Trabalhos de conferências sobre o assunto "Festival for Contemporary Video Art"

Abarca-Martínez, Inmaculada, and Elizabeth Ross. "La naturaleza del confinamiento: un espacio para la comunicación en red." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15483.

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Durante la pandemia Covid19, la humanidad ha estado sujeta a diferentes grados de confinamiento alterando para siempre nuestras expectativas de vida sobre el planeta. Estas circunstancias abrieron numerosas puertas a la reflexión, favoreciendo que observáramos nuestra propia existencia, tanto individual como colectiva, con otra mirada. El arte -como disciplina de conocimiento- ha permitido a un gran número de artistas abordar estas cuestiones desde un ámbito creativo, ofreciendo soluciones a la distancia interpuesta por el virus, y descubriendo en la red nuevos vínculos y espacios para la expr

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Galkin, D. V. "CULTURAL MEMORY AND CONTEMPORARY ART IN THE URBAN SPACE: THE PUBLIC ART FESTIVAL «MUKA. ART WAREHOUSES» IN TOMSK." In Razvitie kreativnih industriy v sovremennom mire. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2021. http://dx.doi.org/10.37909/978-5-89170-281-3-2021-1011.

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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). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.018.

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Khalil-Butucioc, Dorina. "Stimulating dramaturgy in the Republic of Moldova: from art education to theater festivals." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.22.

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Starting with the 90s, realizing the need to support and promote the new national drama, at the Writers’ Union was set up a Drama Section, AMTAP introduced the Dramaturgy and Screenwriting specialty, the Ministry of Cultures and UNITEM initiated a National Drama Competition. In this context, Dramaturgy Workshops were created at the „Luceafărul” and „M. Eminescu” Theaters, at the Center for Contemporary Dramaturgy (CDC) (2012—2013), at the School of Contemporary Dramaturgy of the Center for Cultural Projects „Arta Azi” (2017, 2018, 2020); Dramaturgy camps were organized at the „Codru” Sanatoriu

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Gallagher, Rob. "At the Crossroads of Art and Games: NPCs in Contemporary Video Art." In Abstract Proceedings of DiGRA 2025: Games at the Crossroads. Digitial Games Research Association DiGRA, 2025. https://doi.org/10.26503/dl.v2025i3.2606.

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Urrutia, Hernando, Pilar Pérez, and Adérito Fernandes-Marcos. "Contemporary art as a factor for knowledge generation from video." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. ACM, 2021. http://dx.doi.org/10.1145/3483529.3483684.

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Rocaciuc, Victoria. "Innovative approaches in teaching the course currents and synthesis in modern and contemporary European art." In Probleme metodico-didactice și de asigurare a calității în învăţământul artistic superior. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/pacias2023.13.

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The article highlights innovative approaches in teaching the course „Currents and Synthesis in Modern and Contemporary European Art” within the Jean Monnet project: TEIDCIPEI. During the lessons, visual art exhibitions were analyzed, along with the evolution of historical-cultural processes and modern stylistic trends, and their influence on the indigenous artistic process. By presenting information through photo and video presentations, the students are provided with perspectives on various artistic fields. Contemporary exhibitions launched in Chisinau are integrated into the curriculum. This

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Borevich, E. V. "Development of the Video Material Digital Processing Technology on the Basis of the Software Tools." In 32nd International Conference on Computer Graphics and Vision. Keldysh Institute of Applied Mathematics, 2022. http://dx.doi.org/10.20948/graphicon-2022-906-916.

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The article presents new effective methods of digital color correction for post-processing of film in order to improve viewer perception. The semi-automated algorithm for creating stimulus material is described. The methodology for conducting experiments using an eye-tracker is presented. The author proposes a new method for setting up an experiment to study the effect of a color solution on perception, using the developed software module posted in the internet. Practical recommendations for digital processing of film have been developed, based on the data obtained as a result of the experimen

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Kwon, Soojin. "Media Art and Wearable Technology: Re-Thinking Media and Art in Post-Mediatic Forms." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2024. http://dx.doi.org/10.62119/icla.1.8212.

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When Marshall McLuhan stated, 'Clothing, [is] an extension of the skin…' (Understanding Media, 129), the technologies were already out-running over imagination. Further, into the chapter, extensions of man, and media are extensions of our bodies and psy-ches. In the centuries before technology changed our perspective on media as a conceptual object. Thus, forcing us to accept the tech-nology to question; how to write traditions in post-mediatic turn in the Art. This article discusses the roles and meanings of Friedrich Kittler’s “visual” media in the current mediatized society where in-ter-tra

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Субботина, О. С. "MONUMENTAL EMBROIDERY BY TATYANA AKHMETGALIEVA." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.25.

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Татьяна Ахметгалиева — петербургский художник-график, автор инсталляций и художник видео-арта. За десять лет творчества она вошла в авангард актуальной художественной жизни, создав себе имя, а своей стилистике — стойкую репутацию. Монументальные графические работы Татьяны Ахметгалиевой в авторской технике вышивки и шитья представляют уникальную линию в современном российском искусстве. Tatyana Akhmetgalieva is a modern graphic artist, author of installations and video art. Over ten years of creativity, she entered the vanguard of contemporary artistic life. She has created a name for herself a

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Relatórios de organizações sobre o assunto "Festival for Contemporary Video Art"

Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations

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5me Biennale Interamericaine d'art video. Inter-American Development Bank, 2009. http://dx.doi.org/10.18235/0008195.

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Le Centre culturel de la Banque interaméricaine de développement annonce que les candidatures sont ouvertes pour la Vème Biennale interaméricaine d¿art vidéo qui se tiendra en décembre 2010 à la Galerie d¿art du Centre culturel de la BID à Washington, D.C. L¿exposition sera présentée en 2011 à l¿Istituto Italo-Latino Americano à Rome, au Festival international du film à Santa Fé de Bogotá, au Festival Loop à Barcelone, au Centre Eduardo León Jimenes en République dominicaine, etc.

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4th Inter-American Biennial of Video Art. Inter-American Development Bank, 2008. http://dx.doi.org/10.18235/0005923.

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The country with most entries was Colombia, totaling 70 coming from all parts of the country, and surpassing Argentina (in second place with 24), and others that have traditionally dominated the event, at least numerically, such as Mexico and Brazil (this year with 15 and 11 respectively). The explanation for this phenomenon may be found in the fact that Colombia is the country that in the last two years has shown the most interest in the Biennial¿s exhibit circuit, adding fi ve more venues in cities such as Santa Marta, Cali, and Medellin, in addition to Bogota where the Biennial is part of t

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IDB 2nd Inter-American Biennial of Video Art. Information Bulletin No. 78. Inter-American Development Bank, 2004. http://dx.doi.org/10.18235/0008213.

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Presents the inauguration of the Inter-American Biennial? II video art? Exhibited at the Italian-Latin American Institute (IILA) in Rome, Italy, in June 2005, and the International Film Festival of Santa Fe de Bogota in October 2005. During the exhibition in Washington, D. C., distributed a color catalog with the list of the selected films. For display in Rome and Latin America also printed in Spanish and Italian a color catalog with other materials.

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2da Bienal Interamericana de Video Arte del Centro Cultural del BID. Inter-American Development Bank, 2005. http://dx.doi.org/10.18235/0006115.

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Después de su presentación en Washington, D.C., la bienal comenzó el circuito itinerante en junio de 2005, en el Istituto Italo-Latino Americano (IILA) en Roma. Luego viajará a varios países que forman parte de un circuito de más de 13 países incluyendo Rusia, terminando en el XXII Festival de Cine de Santafé de Bogotá, Colombia www.bogocine.com/xxii/. Las instituciones del circuito incluyen: Espacio Fundación Telefónica, Buenos Aires, Argentina; Fundação Cultural de Curitiba, Curitiba, Brasil; 15 Videobrasil Internacional Electronic Art Festival, São Paulo, Brasil; Cine a la Calle, Cinemateca

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