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.
The art museum or gallery is not a neutral space for housing works. As much as it accepts new types of media, they have to adapt to suit the context of viewing and the conventions of an ...art-historical discourse. This type of institutionalized aesthetic underpins the evaluation of art objects and even imposes a definition on what art is. Working critically through this discourse, this article examines the limitations of art museums and galleries in presenting, evaluating, or addressing the ludological and temporal aspects of video games. First, it outlines how assumptions pertaining to the visual arts carry over into the selection of games as well as their placement within exhibitions. Second, it examines how this discourse, which is invested in the architecture and structure of the art museum, also privileges a particular regime of spectatorship based on shared viewing, the autonomy of art, and aesthetic contemplation.
El cambio de siglo trajo consigo una serie de transformaciones tecnológicas, destacando entre ellas, la democratización de los medios audiovisuales o la creación de nuevos dispositivos de captación y ...reproducción doméstica. Esto supuso un impulso para la creación videográfica casera, y en tanto para la práctica artística de vídeo doméstico, reconocido a finales del siglo XX como género y como material de trabajo. Por ello, nos centramos en analizar las características identificativas del vídeo doméstico, aportando una definición actualizada del mismo, teniendo en cuenta su relación con la práctica amateur y abordando las renovaciones conceptuales y metodológicas de los agentes –usuario y artista- que intervienen en la creación.
Existe una forma de creación audiovisual participativa que se desarrolla en entornos educativos, comunitarios o artísticos, y que se distingue de los modelos de producción audiovisual más ...convencionales. En términos de procesos creativos, se establecen desde enfoques más horizontales, con una dimensión política, y suelen estar vinculados a proyectos que evolucionan según las contribuciones de las personas participantes. Estas narrativas colectivas, colaborativas y/o participativas se construyen mediante procesos de mediación y metodologías participativas. Este artículo tiene como objetivo crear un corpus discursivo en torno a las prácticas audiovisuales colaborativas y/o participativas para seguir ahondando en su práctica y reflexión teórica. Para ello, se plantea confrontar las referencias teóricas con el estudio de caso de un proyecto real de video participativo desarrollado en 2022 en una residencia de mayores de Bermeo (Bizkaia) bajo el nombre de «Remake».
This article performs a close reading of
, a 2023 digital video installation by James Newitt. It analyses the way in which the work discusses issues around privacy, surveillance, and the management ...of digital data. Newitt’s work tells the story of how an abandoned anti-aircraft defence tower off the Suffolk coast in the North Sea was turned first into a pirate radio station and then into a data haven; a collection of servers meant to avoid early Internet regulation. Investigating the many ways in which
can be understood as noisy, a concept borrowed from Michel Serres, this article proposes that Newitt’s work is at its most generative in its suggestion of a theory of (auto-)immunity that complicates contemporary discussions of privacy centred on visibility (Derrida, Foucault). Moving away from a model of surveillance, and drawing on the work of Philip E. Agre, this text seeks to understand the dynamics of power made visible in
with reference to the notion of capture. The article proposes that
’s poetics are of interest both aesthetically and in terms of content as they examine a contemporary territorial logic of the Internet and its connections to empire.
TELEPATHIC IMPROVISATION (2017). By Pauline Boudry and Renate Lorenz (Boudry/Lorenz). Witch Hunt, Hammer Museum and the Institute of Contemporary Art, Los Angeles. October 22, 2021.
This article examines the challenges faced by physical and digital archives dedicated to video art in the Southern Cone, focusing on accessibility, preservation, and dissemination. To map such a ...complex situation, firstly, it identifies four influential Latin American video art festivals, including the Festival Franco-Chileno de Video Arte, the Festival Franco-Latinoamericano de Video Arte, Videobrasil and Buenos Aires Video, which promoted the production, circulation, and dissemination of audiovisual arts in the last two decades of the 20th century. Secondly, the article explores three regional initiatives – UMATIC, Açervo online Associação Cultural Videobrasil, and ARCA – that, since the mid-2000s, have carried out tasks of valuation and making accessible video art collections related to the aforementioned festivals. Drawing on Bolter and Grusin’s concept of remediation, it is proposed that these three initiatives be interpreted as remediation projects, as they are concerned with reshaping old media formats and multiplying media through hypermediation. The understanding of these projects also relies on the concept of “anomic archive”, which refers to the idea of a documentary archive constructed through an intentional process of collecting and sharing knowledge beyond traditional institutions. Finally, the article approaches digital archives as a means of accessing primary sources, proposing a reflection on the opportunities and risks posed by these remediation projects.
Diffraktionsereignisse handeln im Kern von einem affektiv durchtränkten Zustande-Kommen eines komplexen, performativen Relationsmoments. Aus einer neo-materialistischen Perspektive spürt Alisa ...Kronberger dieses Phänomen in der feministischen Gegenwartskunst auf. Sie fragt erstmalig dezidiert nach der Aktualität der historischen Nähe zwischen Feminismus und Videokunst und bietet - an den Schnittstellen von Medien- und Kunstwissenschaft verortet - neue Einblicke in einen aktuellen Diskurs um einen Neuen Materialismus in der Medienkunst.
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