VII. Ho Tzu Nyen
Visual anthropology (Journal),
03/2018, Letnik:
31, Številka:
1-2
Journal Article
Recenzirano
A portfolio of work by Ho Tzu Nyen is presented.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
42.
THE GUNUNGAN METAPHOR IN THE URIP IKU URUP VIDEO ART Adi, Sigit Purnomo; Mohamed Saat, Mohammad Khizal; Ajimahendra, Widy Dwi ...
Capture (Surakarta, Indonesia),
01/2022, Letnik:
13, Številka:
1
Journal Article
Recenzirano
Odprti dostop
Urip Iku Urup is a highly printed artwork made from plastic waste that serves as video art. Environmentally friendly relief prints used as video artworks motivate studies on their meanings. Thus, ...this study's problem is how to visualize the metaphor of the mountains (Gunungan) in the Urip Iku Urup video art. This qualitative-descriptive study seeks to discover the Gunungan metaphor in the video art by using the metaphor approach. The findings demonstrate that Urip Iku Urup's work uses the Gunungan metaphor as a manifesto for the three relationships between God, man, and nature. Gunungan, as a teaching in Javanese life philosophy, implies human desire or hope for future accomplishments.
Artists and filmmakers frequently problematize drone warfare through their creative practices, contesting military surveillance and violence by appropriating, parodying, and turning the drone’s gaze ...back at itself. Challenging and subverting the myth of ‘precision targeting’ – the military’s claim to perfect accuracy in aiming their weapons only at ‘bad guys’ – is central to artists’ engagement with drone warfare. By looking at recent work by Nicolas Brynolfson, George Barber, and eteam, the author argues that these artists pose drone vision – how and what drones see and look at – as a site of compromised looking, where the indexical and objective is rarely just that, but always layered by and interpreted through discourse, ideology, compression, and noise. By performing ‘drone witnessing’, these artists tease out the connective tissue between state surveillance and remote warfare, raising key questions about sovereignty and autonomy in the age of operational images.
La Imagen Pensativa Garlo, Miriam
Barcelona research art creation,
02/2020, Letnik:
8, Številka:
1
Journal Article
Recenzirano
Odprti dostop
Visual essay and contemporary practices in the Spanish state. 16 looks at video art.
Ensayo visual y prácticas contemporáneas en el estado español. 16 miradas al videoarte.
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.
Formats have an interacting range of qualities that practice based research can explore, so testing and questioning theory; they are more than dimensions. Video art can play with space, light and ...sound, through a choice of materials, including visuals and audio. I make video art out of the virtual world of Second Life with its interplay of two-dimensional textures and three-dimensional objects. Editing this virtual world digital video with digitised archive film, contemporary music and literature explores how the formats used by multiple creators across time can interact, so exploring meanings through reinterpretation and translation. Taking still images from that video art into printmaking using photogravure etching, a hand-crafted method of mechanically pressing ink on paper, considers the translation of light on screen to ink on paper, and explores format from another position. Going from moving image to still images changes the relationship with time and distance, and from ratios in pixels to dimensions in millimetres.
This article is concerned with the relationship between body, image and affect within consumer culture. Body image is generally understood as a mental image of the body as it appears to others. It is ...often assumed in consumer culture that people attend to their body image in an instrumental manner, as status and social acceptability depend on how a person looks. This view is based on popular physiognomic assumptions that the body, especially the face, is a reflection of the self: that a person’s inner character or personality will shine through the outer appearance. The modification and cosmetic enhancement of the body through a range of regimes and technologies can be used to construct a beautiful appearance and thereby a beautiful self. The article begins by examining body images in consumer culture and their relation to photography and moving images. This is followed by an examination of the consumer culture transformative process through a discussion of cosmetic surgery. The article then questions the over-simplistic logic that assumes that transformative techniques will automatically result in a more positive and acceptable body image. The new body and face may encourage people to look at the transformed person in a new way. But the moving body, the body without image, which communicates through proprioceptive senses and intensities of affect, can override the perception of the transformed appearance. A discussion of the affective body follows, via a closer examination of the body without image, the opening of the body to greater affect and indeterminacy. The affective body image and its potential greater visibility through new media technologies are then discussed through some examples taken from digital video art. The article concludes by examining some of the implications of these shifts within consumer culture and new media technologies.
En 2014 Bill Viola completa su trabajo Martyrs, un encargo realizado por la Catedral de san Pablo, en Londres. Dos años después quedará concluida Mary, obra que complementa a Martyrs y que encuentra ...su ubicación, en esa misma catedral, en el extremo opuesto del ábside. Tomando como eje vertebrador la significación de los cuatro elementos (agua, tierra, aire, fuego) y el fenómeno de pseudomorfosis habitual en los trabajos de Viola, exploraremos los fundamentos de un arte terapéutico. La emergencia de contenidos profundos del imaginario permite la revitalización psicosomática del sujeto.
Film has long been defined as a temporal art, most famously by André Bazin and Andrei Tarkovsky. Yet more fundamentally it has always been a spatial art, transporting its audiences imaginatively to ...spaces and places other than those they literally inhabit. In the digital era, this spatial illusion and paradox has been greatly expanded – by the predominance of domestic film viewing, along with new extra-terrestrial perspectives, and the promise of novel kinesthetic experiences with Virtual Reality and “immersion”. The international authors in this collection address the history and aesthetics of screen media as spatial transposition, in a range of exemplary analyses that run from the landscapes of John Ford’s westerns to Chantal Akerman’s claustrophobic domestic spaces, from the conventions of the English country house film to Patrick Keiller’s Robinson roaming a changed country, and from the experiences of Covid pandemic confinement to those of un-homed van-dwellers in Chloe Zhao’s award-winning NOMADLAND.
En este trabajo introduzco el concepto de espacio autobiográfico como una perspectiva para abordar la exposición de la intimidad del cuerpo y sus vivencias, en el contexto de la creación audiovisual ...contemporánea. A partir de una revisión crítica de planteamientos procedentes de los estudios literarios (Phillipe Lejeune y Leonor Arfuch) y de la teoría del arte contemporáneo (Lea Vergine, Amelia Jones, Estrella de Diego y Rosalind Krauss), busco delinear las principales características del término para aplicarlas al estudio de obras donde coexisten distintos lenguajes audiovisuales (cine experimental, documental, videoclip, etc.) y donde los elementos sonoros colaboran de manera particular a la configuración del espacio autobiográfico.
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