Mark D. LeBlanc and Betsey Dexter Dyer
- Published in print:
- 2007
- Published Online:
- April 2010
- ISBN:
- 9780195305890
- eISBN:
- 9780199773862
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195305890.003.02
- Subject:
- Biology, Biomathematics / Statistics and Data Analysis / Complexity Studies
Clear directions for Mac OS X and Windows users alike are provided to get these respective hardware systems set up for programming in Perl. This chapter provides as much encouragement and support as ...
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Clear directions for Mac OS X and Windows users alike are provided to get these respective hardware systems set up for programming in Perl. This chapter provides as much encouragement and support as possible. Getting through the chapter with success will make the activities of the subsequent chapters possible. The instructions here are the sine qua non of the rest of the book because they tell how to get ‘Perl’ up and running. Side boxes include encouragement for forging new research relationships.Less
Clear directions for Mac OS X and Windows users alike are provided to get these respective hardware systems set up for programming in Perl. This chapter provides as much encouragement and support as possible. Getting through the chapter with success will make the activities of the subsequent chapters possible. The instructions here are the sine qua non of the rest of the book because they tell how to get ‘Perl’ up and running. Side boxes include encouragement for forging new research relationships.
D. E. Broadbent, J. Reason, and A. Baddeley (eds)
- Published in print:
- 1990
- Published Online:
- March 2012
- ISBN:
- 9780198521914
- eISBN:
- 9780191688454
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198521914.001.0001
- Subject:
- Psychology, Human-Technology Interaction
Human performance is a key factor in the operation of many systems: for example, in nuclear power installations and in transport. The topics discussed in this volume are of both theoretical and ...
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Human performance is a key factor in the operation of many systems: for example, in nuclear power installations and in transport. The topics discussed in this volume are of both theoretical and practical relevance. The contributions were presented and discussed at a Royal Society meeting in June 1989 and also appeared in the Society's Philosophical Transactions series B in 1990. Together they provide a valuable survey of areas in which research of special significance is being done. This volume is concerned with practical aspects of environmental risk, work design, and complex human-machine operations.Less
Human performance is a key factor in the operation of many systems: for example, in nuclear power installations and in transport. The topics discussed in this volume are of both theoretical and practical relevance. The contributions were presented and discussed at a Royal Society meeting in June 1989 and also appeared in the Society's Philosophical Transactions series B in 1990. Together they provide a valuable survey of areas in which research of special significance is being done. This volume is concerned with practical aspects of environmental risk, work design, and complex human-machine operations.
Renée Levine Packer
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199730773
- eISBN:
- 9780199863532
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199730773.003.0001
- Subject:
- Music, Popular, History, American
The introduction traces the genesis of the Center of the Creative and Performing Arts as a forum to remedy the growing disparity that existed between what musicians learned in the conservatories and ...
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The introduction traces the genesis of the Center of the Creative and Performing Arts as a forum to remedy the growing disparity that existed between what musicians learned in the conservatories and the new compositional techniques and ideas being employed by composers including improvisation, chance processes, theater pieces, sound installations, mixed media, and electronic and computer music. It presents an overview of contemporary music groups in existence in the early 1960s and notes the changing nature of experimental art making. Lastly, Buffalo's tradition of embracing challenge and innovation is outlined.Less
The introduction traces the genesis of the Center of the Creative and Performing Arts as a forum to remedy the growing disparity that existed between what musicians learned in the conservatories and the new compositional techniques and ideas being employed by composers including improvisation, chance processes, theater pieces, sound installations, mixed media, and electronic and computer music. It presents an overview of contemporary music groups in existence in the early 1960s and notes the changing nature of experimental art making. Lastly, Buffalo's tradition of embracing challenge and innovation is outlined.
Xiao Lu
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028122
- eISBN:
- 9789882206816
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028122.003.0020
- Subject:
- Society and Culture, Asian Studies
This chapter discusses major events related to the author's attempts to prove her sole authorship of the 1989 installation art work Dialogue and the shooting performance. She wrote the first draft of ...
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This chapter discusses major events related to the author's attempts to prove her sole authorship of the 1989 installation art work Dialogue and the shooting performance. She wrote the first draft of “Explanation of Dialogue, the Work Which was Shot with a Gun at the National Art Museum of China, Beijing in 1989” and in October 2005 Song Liwei published an essay refuting her claims. During the same month in 2005, she raised objections about Song's reappraisal of her explanations and she published all pertinent videos and photographs to prove her claim. In November 2006, her work was auctioned and sold for 2,310,000 yuan renminbi.Less
This chapter discusses major events related to the author's attempts to prove her sole authorship of the 1989 installation art work Dialogue and the shooting performance. She wrote the first draft of “Explanation of Dialogue, the Work Which was Shot with a Gun at the National Art Museum of China, Beijing in 1989” and in October 2005 Song Liwei published an essay refuting her claims. During the same month in 2005, she raised objections about Song's reappraisal of her explanations and she published all pertinent videos and photographs to prove her claim. In November 2006, her work was auctioned and sold for 2,310,000 yuan renminbi.
Michael Maizels
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780816694686
- eISBN:
- 9781452952314
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816694686.001.0001
- Subject:
- Art, Visual Culture
In the late 1960s, the artist Barry Le Va began to use non-traditional materials (shattered glass, spent bullets, sound recordings, scattered flour, and sharpened meat cleavers) to execute a striking ...
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In the late 1960s, the artist Barry Le Va began to use non-traditional materials (shattered glass, spent bullets, sound recordings, scattered flour, and sharpened meat cleavers) to execute a striking body of sculptural installations. Taking inspiration from popular crime novels and contemporary art theory, Le Va conceived of these works as an aesthetic aftermath. He charged his viewers to act like detectives at a crime scene, attempting to decipher an order underlying the apparent chaos. In addition to the aesthetic charge of its scattered visual poetry, Le Va’s work is compelling because of how clearly it articulates the web of perceived connections autonomous art objects, conservative politics and scientific objectivity. The artist's ephemeral installations were designed to erode not simply the presumed autonomy of the art object but also the economic and political authority of the art establishment. And while their unstable nature echoed the broad counter-cultural agitation against the social and political status quo, their embrace of impermanence was also informed by scientific discourse. Indeed, Le Va’s work reflects the degree to which engagement with scientific and mathematical topics such as entropy and information theory forms a significant but under-examined thread running through much of the most important sculpture of the late 1960s. In essence, Le Va’s aim to “keep the piece in a suspended state of flux, with no trace of a beginning or end” sought to challenge the metaphysics of stability that underpinned the interlocking assumptions behind blind faith in lasting beauty, just government and perfectible knowledge.Less
In the late 1960s, the artist Barry Le Va began to use non-traditional materials (shattered glass, spent bullets, sound recordings, scattered flour, and sharpened meat cleavers) to execute a striking body of sculptural installations. Taking inspiration from popular crime novels and contemporary art theory, Le Va conceived of these works as an aesthetic aftermath. He charged his viewers to act like detectives at a crime scene, attempting to decipher an order underlying the apparent chaos. In addition to the aesthetic charge of its scattered visual poetry, Le Va’s work is compelling because of how clearly it articulates the web of perceived connections autonomous art objects, conservative politics and scientific objectivity. The artist's ephemeral installations were designed to erode not simply the presumed autonomy of the art object but also the economic and political authority of the art establishment. And while their unstable nature echoed the broad counter-cultural agitation against the social and political status quo, their embrace of impermanence was also informed by scientific discourse. Indeed, Le Va’s work reflects the degree to which engagement with scientific and mathematical topics such as entropy and information theory forms a significant but under-examined thread running through much of the most important sculpture of the late 1960s. In essence, Le Va’s aim to “keep the piece in a suspended state of flux, with no trace of a beginning or end” sought to challenge the metaphysics of stability that underpinned the interlocking assumptions behind blind faith in lasting beauty, just government and perfectible knowledge.
D. N. Rodowick
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780226513058
- eISBN:
- 9780226513225
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226513225.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
In the past two decades, the contemporary art world has exhibited an ever-increasing fascination with the cinema; or better, a certain memory of the history of theatrical cinema. A principle material ...
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In the past two decades, the contemporary art world has exhibited an ever-increasing fascination with the cinema; or better, a certain memory of the history of theatrical cinema. A principle material of contemporary art—and it is a rich and varied one—is the ever-fading memory of cinema: a vast archive of cultural experience, elliptical and discontinuous fragments of memory-images, which become an ever more powerful source of fantasmatic resurrection and recreation because they can no longer be invoked directly. These works challenge both the history of cinema, and our memory of the history of cinema in complex ways. In this book, D. N. Rodowick examines how the moving image in contemporary art, in all its complex varieties, is producing a new kind of virtuality or time-image in terms of how it presents a “naming crisis” around questions of movement, image, time, and history in the works of artists such as Christoph Girardet and Matthias Müller, Ken Jacobs, Robert Morris, Victor Burgin, Harun Farocki, and Ernie Gehr.Less
In the past two decades, the contemporary art world has exhibited an ever-increasing fascination with the cinema; or better, a certain memory of the history of theatrical cinema. A principle material of contemporary art—and it is a rich and varied one—is the ever-fading memory of cinema: a vast archive of cultural experience, elliptical and discontinuous fragments of memory-images, which become an ever more powerful source of fantasmatic resurrection and recreation because they can no longer be invoked directly. These works challenge both the history of cinema, and our memory of the history of cinema in complex ways. In this book, D. N. Rodowick examines how the moving image in contemporary art, in all its complex varieties, is producing a new kind of virtuality or time-image in terms of how it presents a “naming crisis” around questions of movement, image, time, and history in the works of artists such as Christoph Girardet and Matthias Müller, Ken Jacobs, Robert Morris, Victor Burgin, Harun Farocki, and Ernie Gehr.
Kelley Conway
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039720
- eISBN:
- 9780252097829
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039720.001.0001
- Subject:
- Film, Television and Radio, Film
Both a precursor to and a critical member of the French New Wave, Agnès Varda weaves documentary and fiction into tapestries that portray distinctive places and complex human beings. Critics and ...
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Both a precursor to and a critical member of the French New Wave, Agnès Varda weaves documentary and fiction into tapestries that portray distinctive places and complex human beings. Critics and aficionados have celebrated Varda's independence and originality since the New Wave touchstone Cleo from 5 to 7 (1962) brought her a level of international acclaim she has yet to relinquish. The book traces Varda's works from her 1954 debut La Pointe Courte through a varied career that includes nonfiction and fiction shorts and features, installation art, and the triumphant 2008 documentary The Beaches of Agnès. Drawing on Varda's archives and conversations with the filmmaker, the book focuses on the concrete details of how Varda makes films: a project's emergence, its development and the shifting forms of its screenplay, the search for financing, and the execution from casting through editing and exhibition. In the process, it explores the artistic consistencies and bold changes in Varda's career and reveals how one woman charted a nontraditional trajectory through independent filmmaking. The result is a book that reveals the artistic consistencies and bold changes in the career of one of the world's most exuberant and intriguing directors.Less
Both a precursor to and a critical member of the French New Wave, Agnès Varda weaves documentary and fiction into tapestries that portray distinctive places and complex human beings. Critics and aficionados have celebrated Varda's independence and originality since the New Wave touchstone Cleo from 5 to 7 (1962) brought her a level of international acclaim she has yet to relinquish. The book traces Varda's works from her 1954 debut La Pointe Courte through a varied career that includes nonfiction and fiction shorts and features, installation art, and the triumphant 2008 documentary The Beaches of Agnès. Drawing on Varda's archives and conversations with the filmmaker, the book focuses on the concrete details of how Varda makes films: a project's emergence, its development and the shifting forms of its screenplay, the search for financing, and the execution from casting through editing and exhibition. In the process, it explores the artistic consistencies and bold changes in Varda's career and reveals how one woman charted a nontraditional trajectory through independent filmmaking. The result is a book that reveals the artistic consistencies and bold changes in the career of one of the world's most exuberant and intriguing directors.
Tarek Elhaik
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781474403351
- eISBN:
- 9781474418508
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474403351.001.0001
- Subject:
- Film, Television and Radio, Film
From the 1990s onwards the ‘ethnographic turn in contemporary art’ has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and ...
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From the 1990s onwards the ‘ethnographic turn in contemporary art’ has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and problematically re-appropriated by the art world, curation has seldom caught the conceptual attention of anthropologists. Based on two years of participant-observation in Mexico City, this book addresses this lacuna by examining the concept-work of curatorial platforms and media artists. Prompted by the ongoing critiques of Mexicanist aesthetics, and what Roger Bartra calls ‘the post-Mexican condition’, the book conceptualises curation less as an exhibition-oriented practice within a national culture, than as a figure of care and an image of thought animating a complex assemblage of inter-medial practices, from experimental cinema and installations to curatorial collaborations. Drawing on Gilles Deleuze and Paul Rabinow, the book introduces the concept of the ‘incurable-image’, an antidote to our curatorial malaise and the ethical substance for a post-social anthropology of images.Less
From the 1990s onwards the ‘ethnographic turn in contemporary art’ has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and problematically re-appropriated by the art world, curation has seldom caught the conceptual attention of anthropologists. Based on two years of participant-observation in Mexico City, this book addresses this lacuna by examining the concept-work of curatorial platforms and media artists. Prompted by the ongoing critiques of Mexicanist aesthetics, and what Roger Bartra calls ‘the post-Mexican condition’, the book conceptualises curation less as an exhibition-oriented practice within a national culture, than as a figure of care and an image of thought animating a complex assemblage of inter-medial practices, from experimental cinema and installations to curatorial collaborations. Drawing on Gilles Deleuze and Paul Rabinow, the book introduces the concept of the ‘incurable-image’, an antidote to our curatorial malaise and the ethical substance for a post-social anthropology of images.
Delphine Benezet
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231169752
- eISBN:
- 9780231850612
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231169752.001.0001
- Subject:
- Film, Television and Radio, Film
Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, ...
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Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This book considers her production as a whole, revisiting overlooked films like Mur, Murs and Documenteur (1980–1981), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book offers new readings of this director's multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically driven production where cinema is both a political and collaborative practice, and a synesthetic art form.Less
Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This book considers her production as a whole, revisiting overlooked films like Mur, Murs and Documenteur (1980–1981), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book offers new readings of this director's multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically driven production where cinema is both a political and collaborative practice, and a synesthetic art form.
Hilary Radner and Alistair Fox
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474422888
- eISBN:
- 9781474444767
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474422888.001.0001
- Subject:
- Film, Television and Radio, Film
This volume offers a succinct and clear account of the evolution of the work of noted French scholar Raymond Bellour (b. 1939) as expressed in his most important publications in the areas of cinema ...
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This volume offers a succinct and clear account of the evolution of the work of noted French scholar Raymond Bellour (b. 1939) as expressed in his most important publications in the areas of cinema studies and art theory, published over the last four decades of the twentieth century and the first decades of the twenty-first. A film scholar and theorist, his interests ranged across film, literature, art and philosophy The book’s first four chapters (Part 1 of the volume) provide a synthetic account of Bellour’s thought on cinema and its relations to the development of moving-image installation art. Chapter one covers his perspectives on film analysis; chapter two continues with his views on the advent of digital media, including video; chapter three follows with his ideas about new forms of spectatorship, the body and classical cinema; chapter four concludes with his contribution to the debates about the end of cinema and the evolving dispositifs (situations or set-ups and their consequent viewing conventions) that have produced contemporary moving-image installation art. A recent interview with Raymond Bellour forms Part 2 of the book’s three sections. Divided into six chapters, it covers the following topics: his formative influences; film analysis and the symbolic; Thierry Kuntzel and the rise of video art; arrested images and “the between-images”; spectators, dispositifs, and the cinematic body; hypnosis, emotions and animality. Part 3 concludes the volume with a short biographical sketch and a select annotated bibliography of Bellour’s most important publications.Less
This volume offers a succinct and clear account of the evolution of the work of noted French scholar Raymond Bellour (b. 1939) as expressed in his most important publications in the areas of cinema studies and art theory, published over the last four decades of the twentieth century and the first decades of the twenty-first. A film scholar and theorist, his interests ranged across film, literature, art and philosophy The book’s first four chapters (Part 1 of the volume) provide a synthetic account of Bellour’s thought on cinema and its relations to the development of moving-image installation art. Chapter one covers his perspectives on film analysis; chapter two continues with his views on the advent of digital media, including video; chapter three follows with his ideas about new forms of spectatorship, the body and classical cinema; chapter four concludes with his contribution to the debates about the end of cinema and the evolving dispositifs (situations or set-ups and their consequent viewing conventions) that have produced contemporary moving-image installation art. A recent interview with Raymond Bellour forms Part 2 of the book’s three sections. Divided into six chapters, it covers the following topics: his formative influences; film analysis and the symbolic; Thierry Kuntzel and the rise of video art; arrested images and “the between-images”; spectators, dispositifs, and the cinematic body; hypnosis, emotions and animality. Part 3 concludes the volume with a short biographical sketch and a select annotated bibliography of Bellour’s most important publications.
Michael Maizels
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780816694686
- eISBN:
- 9781452952314
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816694686.003.0001
- Subject:
- Art, Visual Culture
This chapter examines Le Va's invocation of chaotic and violent scatter in the period 1967-1972. The discussion focuses on works such as his installations of broken glass, meat cleavers and bullets. ...
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This chapter examines Le Va's invocation of chaotic and violent scatter in the period 1967-1972. The discussion focuses on works such as his installations of broken glass, meat cleavers and bullets. The violence suggested in these pieces is examined in light of a post-minimal thematics of the injured body as explored by Le Va’s contemporaries such as Bruce Nauman, Vito Acconci and Chris Burden. It ultimately argue that Le Va’s violence does not “express” the upheaval of the period so much as comprise a set of specific art historical and political interventions within itLess
This chapter examines Le Va's invocation of chaotic and violent scatter in the period 1967-1972. The discussion focuses on works such as his installations of broken glass, meat cleavers and bullets. The violence suggested in these pieces is examined in light of a post-minimal thematics of the injured body as explored by Le Va’s contemporaries such as Bruce Nauman, Vito Acconci and Chris Burden. It ultimately argue that Le Va’s violence does not “express” the upheaval of the period so much as comprise a set of specific art historical and political interventions within it
Michael Maizels
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780816694686
- eISBN:
- 9781452952314
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816694686.003.0005
- Subject:
- Art, Visual Culture
This chapter examines the frequent re-staging of Le Va’s art, which has been ongoing since the early 1970s. It interprets these re-stagings as historical precursors to the increasingly important ...
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This chapter examines the frequent re-staging of Le Va’s art, which has been ongoing since the early 1970s. It interprets these re-stagings as historical precursors to the increasingly important museum recreations of ephemeral or site-specific works from the 1960s and 1970s. It analyses Le Va's reconstructed installations not as secondary imitations of earlier pieces but rather as later elaborations of open-ended works. Le Va’s strategies of repetition and reconstruction thereby become an additional means of undermining the singular and contained presence of sculpture that animated his work at the outset of his career.Less
This chapter examines the frequent re-staging of Le Va’s art, which has been ongoing since the early 1970s. It interprets these re-stagings as historical precursors to the increasingly important museum recreations of ephemeral or site-specific works from the 1960s and 1970s. It analyses Le Va's reconstructed installations not as secondary imitations of earlier pieces but rather as later elaborations of open-ended works. Le Va’s strategies of repetition and reconstruction thereby become an additional means of undermining the singular and contained presence of sculpture that animated his work at the outset of his career.
Lutz Koepnick
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9780816695843
- eISBN:
- 9781452958859
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816695843.001.0001
- Subject:
- Film, Television and Radio, Film
In The Long Take, Lutz Koepnick posits extended shot durations as a powerful medium for exploring different modes of perception and attention in our fast-paced world of mediated stimulations. This ...
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In The Long Take, Lutz Koepnick posits extended shot durations as a powerful medium for exploring different modes of perception and attention in our fast-paced world of mediated stimulations. This book serves as a critical hallmark of international art cinema in the twenty-first century, inviting viewers to probe the aesthetics of moving images and to recalibrate their sense of time.Less
In The Long Take, Lutz Koepnick posits extended shot durations as a powerful medium for exploring different modes of perception and attention in our fast-paced world of mediated stimulations. This book serves as a critical hallmark of international art cinema in the twenty-first century, inviting viewers to probe the aesthetics of moving images and to recalibrate their sense of time.
Xiaoping Lin
- Published in print:
- 2009
- Published Online:
- November 2016
- ISBN:
- 9780824833367
- eISBN:
- 9780824870607
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824833367.001.0001
- Subject:
- Society and Culture, Asian Studies
This book affords a deep study of Chinese avant-garde art and independent cinema from the mid-1990s to the beginning of the twenty-first century. It situates selected artworks and films in the ...
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This book affords a deep study of Chinese avant-garde art and independent cinema from the mid-1990s to the beginning of the twenty-first century. It situates selected artworks and films in the context of Chinese nationalism and post-socialism and against the background of the capitalist globalization that has so radically affected contemporary China. The book juxtaposes and compares artists and independent filmmakers from a number of intertwined perspectives, particularly in their shared avant-garde postures and perceptions. It provides close readings of a variety of visual texts and artistic practices, including installation, performance, painting, photography, video, and film. Throughout it sustains a theoretical discussion of representative artworks and films and succeeds in delineating a variegated postsocialist cultural landscape saturated by market forces, confused values, and lost faith. The book tackles both Chinese art and cinema rigorously within a shared discursive space. It conceptualizes a central thematic concern in both genres as “postsocialist trauma” aggravated by capitalist globalization. The book brings about a dialogue between the narrow field of traditional art history and visual studies more generally.Less
This book affords a deep study of Chinese avant-garde art and independent cinema from the mid-1990s to the beginning of the twenty-first century. It situates selected artworks and films in the context of Chinese nationalism and post-socialism and against the background of the capitalist globalization that has so radically affected contemporary China. The book juxtaposes and compares artists and independent filmmakers from a number of intertwined perspectives, particularly in their shared avant-garde postures and perceptions. It provides close readings of a variety of visual texts and artistic practices, including installation, performance, painting, photography, video, and film. Throughout it sustains a theoretical discussion of representative artworks and films and succeeds in delineating a variegated postsocialist cultural landscape saturated by market forces, confused values, and lost faith. The book tackles both Chinese art and cinema rigorously within a shared discursive space. It conceptualizes a central thematic concern in both genres as “postsocialist trauma” aggravated by capitalist globalization. The book brings about a dialogue between the narrow field of traditional art history and visual studies more generally.
Nuno Barradas Jorge
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781474444538
- eISBN:
- 9781474481106
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474444538.003.0006
- Subject:
- Film, Television and Radio, Film
Chapter 5 looks at Pedro Costa’s commissioned works by discussing numerous video installations created and displayed within the international art gallery circuit. The chapter contextualizes the ...
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Chapter 5 looks at Pedro Costa’s commissioned works by discussing numerous video installations created and displayed within the international art gallery circuit. The chapter contextualizes the approximation of the art gallery to cinema, a medium which increasingly overlaps aesthetic and production processes with contemporary artistic practices. As this chapter argues, the analysis of Costa’s video installations offers a further context to the intertwinement between aesthetics, production and consumption observed elsewhere in his filmic output. These works for the ‘white cube’ rely on aesthetic, authorial and production characteristics that bond them to those exclusively produced for the ‘black box’. This chapter provides comparisons between these works and short films directed by Pedro Costa between 2007 and 2012, such as The Rabbit Hunters, Tarrafal (also produced in 2007), O Nosso Homem (Our Man, 2010) and Lamento da Vida Jovem (Sweet Exorcism, 2012).Less
Chapter 5 looks at Pedro Costa’s commissioned works by discussing numerous video installations created and displayed within the international art gallery circuit. The chapter contextualizes the approximation of the art gallery to cinema, a medium which increasingly overlaps aesthetic and production processes with contemporary artistic practices. As this chapter argues, the analysis of Costa’s video installations offers a further context to the intertwinement between aesthetics, production and consumption observed elsewhere in his filmic output. These works for the ‘white cube’ rely on aesthetic, authorial and production characteristics that bond them to those exclusively produced for the ‘black box’. This chapter provides comparisons between these works and short films directed by Pedro Costa between 2007 and 2012, such as The Rabbit Hunters, Tarrafal (also produced in 2007), O Nosso Homem (Our Man, 2010) and Lamento da Vida Jovem (Sweet Exorcism, 2012).
Sherri Irvin
- Published in print:
- 2013
- Published Online:
- January 2013
- ISBN:
- 9780199691494
- eISBN:
- 9780191746277
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199691494.003.0012
- Subject:
- Philosophy, Aesthetics, Metaphysics/Epistemology
This chapter has three objectives. First, it argues that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a ...
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This chapter has three objectives. First, it argues that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, it considers whether realizations are also artworks in their own right. It argues that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another work). It offers criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, the chapter addresses ontological concerns about entities that are both abstract and temporal, as many artworks are on this analysis.Less
This chapter has three objectives. First, it argues that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, it considers whether realizations are also artworks in their own right. It argues that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another work). It offers criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, the chapter addresses ontological concerns about entities that are both abstract and temporal, as many artworks are on this analysis.
Gabriel Menotti and Virginia Crisp (eds)
- Published in print:
- 2020
- Published Online:
- March 2020
- ISBN:
- 9780190934118
- eISBN:
- 9780190934156
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190934118.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
This volume makes an intervention in the fields of film studies and visual culture by examining projection as a pivotal element in the continuing technological becoming of media systems. The chapters ...
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This volume makes an intervention in the fields of film studies and visual culture by examining projection as a pivotal element in the continuing technological becoming of media systems. The chapters come together to paint a picture of projection that incorporates a range of practices across time and space. From studies of travelling projectionists in early twentieth-century Scotland and modern-day Uruguay to considerations of the (almost) lost mediums of the slide-tape and the magic lantern, the authors invite us to consider the varied nature of the technologies, apparatuses, practices, and histories of projection in a holistic manner. In doing so, the volume departs from the psychological metaphors of projection often employed by apparatus theory, instead emphasizing the performative character of the moving image and the labour of the various actors involved in the utterance of such texts.Less
This volume makes an intervention in the fields of film studies and visual culture by examining projection as a pivotal element in the continuing technological becoming of media systems. The chapters come together to paint a picture of projection that incorporates a range of practices across time and space. From studies of travelling projectionists in early twentieth-century Scotland and modern-day Uruguay to considerations of the (almost) lost mediums of the slide-tape and the magic lantern, the authors invite us to consider the varied nature of the technologies, apparatuses, practices, and histories of projection in a holistic manner. In doing so, the volume departs from the psychological metaphors of projection often employed by apparatus theory, instead emphasizing the performative character of the moving image and the labour of the various actors involved in the utterance of such texts.
Barry Barton, Catherine Redgwell, Anita Rønne, and Donald N. Zillman
- Published in print:
- 2004
- Published Online:
- January 2010
- ISBN:
- 9780199271610
- eISBN:
- 9780191709289
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199271610.003.0019
- Subject:
- Law, Environmental and Energy Law
This chapter underlines one of the exacerbating factors in energy security, which is complex systems of supply. It discusses that energy security in the supply of electricity, and natural gas ...
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This chapter underlines one of the exacerbating factors in energy security, which is complex systems of supply. It discusses that energy security in the supply of electricity, and natural gas particularly, demands management of a complex system; and as del Guayo points out, this has implications for the drafting and interpretation of energy legislation. It notes that interactions between the different parts of the system must be anticipated, and that the system as a whole may be different from the sum of its parts. It indicates four main kinds of energy security concerns — security of supply, security of demand, reliability of energy supply, and physical security of energy installations and personnel. It also explains the role of law in energy security.Less
This chapter underlines one of the exacerbating factors in energy security, which is complex systems of supply. It discusses that energy security in the supply of electricity, and natural gas particularly, demands management of a complex system; and as del Guayo points out, this has implications for the drafting and interpretation of energy legislation. It notes that interactions between the different parts of the system must be anticipated, and that the system as a whole may be different from the sum of its parts. It indicates four main kinds of energy security concerns — security of supply, security of demand, reliability of energy supply, and physical security of energy installations and personnel. It also explains the role of law in energy security.
Jenny Lin
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526132604
- eISBN:
- 9781526139047
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526132604.003.0005
- Subject:
- Art, Art History
Chapter Four considers worlding, or the city’s positioning as a cosmopolitan center on an international stage, as a philosophical construct and tangible phenomenon tied to the development and ...
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Chapter Four considers worlding, or the city’s positioning as a cosmopolitan center on an international stage, as a philosophical construct and tangible phenomenon tied to the development and promotion of present-day Shanghai and contemporary Chinese art. The chapter presents three Shanghai-based installations by transnational art stars Gu Wenda, Xu Bing, and Cai Guoqiang. Disrupting the East-meets-West soundbites surrounding discussions of these works, this chapter interrogates the artists’ privileged subject positions, arguing that such artworks function as branding campaigns that world Shanghai. The chapter also discusses the loaded cultural geographies of these installations’ shared sites: the Bund, once the heart of Shanghai’s British and US-controlled International Settlement, and the Pudong Skyline, considered the shining jewel of China’s post-socialist economic rise. The chapter concludes by discussing a more critical recent project by Cai Guoqiang that acknowledged the migrant labor fuelling Shanghai’s urbanization in the face of the 2010 Shanghai World Expo, and a related urban intervention by artist Ai Weiwei.Less
Chapter Four considers worlding, or the city’s positioning as a cosmopolitan center on an international stage, as a philosophical construct and tangible phenomenon tied to the development and promotion of present-day Shanghai and contemporary Chinese art. The chapter presents three Shanghai-based installations by transnational art stars Gu Wenda, Xu Bing, and Cai Guoqiang. Disrupting the East-meets-West soundbites surrounding discussions of these works, this chapter interrogates the artists’ privileged subject positions, arguing that such artworks function as branding campaigns that world Shanghai. The chapter also discusses the loaded cultural geographies of these installations’ shared sites: the Bund, once the heart of Shanghai’s British and US-controlled International Settlement, and the Pudong Skyline, considered the shining jewel of China’s post-socialist economic rise. The chapter concludes by discussing a more critical recent project by Cai Guoqiang that acknowledged the migrant labor fuelling Shanghai’s urbanization in the face of the 2010 Shanghai World Expo, and a related urban intervention by artist Ai Weiwei.
Kate Mondloch
- Published in print:
- 2010
- Published Online:
- August 2015
- ISBN:
- 9780816665211
- eISBN:
- 9781452946504
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816665211.001.0001
- Subject:
- Art, Visual Culture
Media screens—film, video, and computer screens—have increasingly pervaded both artistic production and everyday life since the 1960s. Yet the nature of viewing artworks made from these media, along ...
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Media screens—film, video, and computer screens—have increasingly pervaded both artistic production and everyday life since the 1960s. Yet the nature of viewing artworks made from these media, along with their subjective effects, remains largely unexplored. This book aims to address this gap, offering a historical and theoretical framework for understanding screen-reliant installation art and the spectatorship it evokes. Examining a range of installations created over the past fifty years that investigate the rich terrain between the sculptural and the cinematic, including works by artists such as Eija-Liisa Ahtila, Doug Aitken, Peter Campus, Dan Graham, VALIE EXPORT, Bruce Nauman, and Michael Snow, the book traces the construction of screen spectatorship in art from the seminal film and video installations of the 1960s and 1970s to the new media artworks of today’s digital culture. This book identifies a momentous shift in contemporary art that challenges key premises of spectatorship brought about by technological objects that literally and metaphorically filter the subject’s field of vision. As a result it proposes that contemporary viewers are, quite literally, screen subjects and offers the unique critical leverage of art as an alternative way to understand media culture and contemporary visuality.Less
Media screens—film, video, and computer screens—have increasingly pervaded both artistic production and everyday life since the 1960s. Yet the nature of viewing artworks made from these media, along with their subjective effects, remains largely unexplored. This book aims to address this gap, offering a historical and theoretical framework for understanding screen-reliant installation art and the spectatorship it evokes. Examining a range of installations created over the past fifty years that investigate the rich terrain between the sculptural and the cinematic, including works by artists such as Eija-Liisa Ahtila, Doug Aitken, Peter Campus, Dan Graham, VALIE EXPORT, Bruce Nauman, and Michael Snow, the book traces the construction of screen spectatorship in art from the seminal film and video installations of the 1960s and 1970s to the new media artworks of today’s digital culture. This book identifies a momentous shift in contemporary art that challenges key premises of spectatorship brought about by technological objects that literally and metaphorically filter the subject’s field of vision. As a result it proposes that contemporary viewers are, quite literally, screen subjects and offers the unique critical leverage of art as an alternative way to understand media culture and contemporary visuality.
