In computing, overclocking refers to the common practice of increasing the clock rate of a computer to exceed that certified by the manufacturer. The concept is seductive but overclocking may destroy ...your motherboard or system memory, even irreparably corrupt the hard drive. Volume 4 of the Video Game Art Reader (VGAR) proposes overclocking as a metaphor for how games are produced and experienced today, and the temporal compressions and expansions of the many historical lineages that have shaped game art and culture. Contributors reflect on the many ways in which overclocking can be read as a means of oppression but also a strategy to raise awareness of how inequities have shaped video games.
This special edition of the VGA Reader, guest-edited by Christopher W. Totten and Enrica Lovaglio Costello, focuses on the connections between video games and architectural design. Each of the essays ...in this volume engages in critical investigations that reveal how game spaces evoke meaning, enhance game narratives, and explore unconventional themes.
The inaugural issue of VGAR celebrates video game culture as inclusive and global. Opening with an interview with the art director of the first independent Cuban video game, Savior, while the ...following essays from art historians, literary theorists, game designers, artists, educators, museum curators, and programmers all engage with video games as an important part of the global art landscape. Each engages with what makes good game art with special attention to the transnational cadre of gamers that play them.
Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology. Video art and video ...activism are analysed together in the book to revaluate key concepts in media studies and foreground a performative approach to the theory of image technology. The book engages works in visual culture, performance studies, digital studies, critical race theory, and feminist methodologies to account for the changes brought about by video technology in social and psychic life. Performative Images is about art and activists' engagement in video technology-an engagement that unsettles the hegemonic narrative of dominant media, as well as the apparently politically neutral dimension of communication technology. In this book, the author explores how video-image technology shapes our psychic and social environments from an art historiographical perspective. We know media technology is dramatically shaping our political and epistemological landscape: this book foregrounds the emergence of performative video images as a key factor in the revaluation of culture and politics.
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DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
16.
On Stage Roman, Mathilde; Penwarden, Charles
2016
eBook
In On Stage, Mathilde Roman explores the resonances that fields of theatre - stage, décor, space, gaze and more - have in the practice of video arts. Using these notions as points of reference and as ...a prism through which video installation can be approached, Roman concentrates on questions often overlooked and offers different points of view.
A little more than a year after the death of Giacomo Verde, pioneer of video/interactive art, techno-theatre and Italian "artivist", the corpus of unpublished drawings and sketches in pencil, pastel ...and collage for videos, video installations and video performances by the artist from the period 1986-1992 is published. This is the first publication from the Giacomo Verde Archive and it illustrates Verde's first "techno-artistic" phase: a well-documented and creatively rich period, when in 1983 he arrived, self-taught, from popular and street theatre to video art, works and installations whose characteristic feature was the craftsmanship of the "technological artefact", the use of low technology and the addition of poor materials. The authors Anna Maria Monteverdi Dalila Flavia D’Amico, Vincenzo Sansone, dedicate the book to the warm memory of the unforgettable Giacomo Verde.
The first multidisciplinary analysis of one of the most impactful and popular contemporary artworks of recent years. In 1999, a short video of a solitary boy kicking an empty bottle up a hill in ...Mexico City became the first instalment of Children’s Games, a series of works by artist Francis Alÿs (b. Antwerp, 1959). The ongoing project, which now numbers around thirty-five works, has gradually given shape to an extensive collection of videos of children at play. For almost twenty-five years, Alÿs and his collaborators Félix Blume, Julien Devaux, and Rafael Ortega have been travelling around the world to document the distinctive ways in which children interact with each other and their physical environment. They have gone from remote villages in the Democratic Republic of the Congo, Afghanistan, Venezuela, and Nepal to the mountains of Switzerland and metropoles like Hong Kong and Paris, but have also visited the war-torn city of Mosul in Iraq, the border between Mexico and the United States, and the strait of Gibraltar that divides Africa and Europe. The resulting images are standing proof of the seriousness of play and of children’s stunning powers of resilience in the face of conflict. This volume provides a multidisciplinary perspective to the many layers of Children’s Games. It includes an interview with Francis Alÿs and Rafael Ortega, a series of essays by well-known scholars and art critics, curatorial statements, and a logbook related to the presentation of Children’s Games at the Venice Biennale of 2022. Contributors: Francis Alÿs (artist), Gerard-Jan Claes (filmmaker, artistic director of Sabzian), Tim Ingold (anthropologist, University of Aberdeen), Zeynep Kubat (art historian, curator and writer), Karen Lang (art historian, Royal Society of Arts), Rafael Ortega (artist), Rodrigo Perez de Arce (architect, Pontificia Universidad Católica de Chile), Juan Martín Pérez García (Network for the Rights of Children in Mexico (REDIM)), Giulio Piovesan (journalist and photographer), John Potter (media education, University College London), Virginia Roy (curator at the University Museum of Contemporary Art of the National Autonomous University of Mexico), Stéphane Symons (professor of philosophy, KU Leuven), Hilde Teerlinck (Han Nefkens Foundation /curator of the Belgian Pavilion at the Venice Art Biennale 2022). Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Against Immediacy is a history of early video art considered in relation to television in the United States during the 1960s and 1970s. It examines how artists questioned the ways in which “the ...people” were ideologically figured by the commercial mass media. During this time, artists and organizations including Nam June Paik, Juan Downey, and the Women’s Video News Service challenged the existing limits of the one-to-many model of televisual broadcasting while simultaneously constructing more democratic, bottom-up models in which the people mediated themselves. Operating at the intersection between art history and media studies, Against Immediacy connects early video art and the rise of the media screen in gallery-based art to discussions about participation and the activation of the spectator in art and electronic media, moving from video art as an early form of democratic media practice to its canonization as a form of high art.
Video art is conveyance of creation of human emotions from a person who share similar emotions using digital media. It is conveyed through spiritual and emotional movements of the creators with ...definite aims concerning traditions, customs, beliefs, religions, and local ways of life. A range of issues in three border provinces of southern Thailand: Yala, Pattani, and Narathiwat, were brought up. With depiction of separatist terrorism in the area, video art might be able to tell complicated, over-a-decade-long story triggered by two incidents: the Tak Bai Incident and the clash at Krue Sae Mosque, which brought the three provinces to public attention. The video art provides a way to understand the society, human empathy, and conflict of interest in Bannangsata District. These aspects were conveyed through the local’s ways of life with religion as a spiritual keeping by believing that God has determined everything and that they, as human, have to face any test they are given. The end of the video art presented what cannot be narrated by words about the area, and showed more than what the news may offer, which intensifies fear.The researcher studied various aspects of Bannangsata District and has shown them through a type of artistic media called video art, specifically about the issue of women’s suppression as experienced by those who survived series of tragic incidents. The video art aimed to raise awareness about changes of a way of life in the area and to create sympathy for fellow human beings there. The researcher realized that empathy for fellow human beings was significant for the existence of the world and that it cannot be relinquished. Thus, this art media was made to portray the issue of complicated troubles in the area.
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