scholarly journals Rewriting the Origin of New Media: History and Postcoloniality in Nam June Paik’s Video Art

2016 ◽  
Vol 6 (11) ◽  
pp. 896-899
Author(s):  
Koonyong Kim ◽  
Keyword(s):  
New Media ◽  
Video Art ◽  
Media History

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

scholarly journals Creative Tools: How Education and Arts Connect?

Proceedings ◽  
2018 ◽  
Vol 2 (21) ◽  
pp. 1338
Author(s):  
Ana Catarina Pereira
Keyword(s):  
New Media ◽  
Evaluation Criteria ◽  
Media History ◽  
Cultural Education ◽  
University Professors ◽  
College Professor ◽  
Good College ◽  
Development Of Students

It is a question with which surely many university professors debate: what turns a Cinema professor into a good College Professor? Obliterating the subjectivity of the adjectivation, I believe that this is the ultimate goal of every academic or professional who has embraced the career of specialized art and cultural education. Nevertheless, the undefinition or constant debate around concepts such as Art, New Media, History, Canon, Experimentalism, Utopia or even Freedom, often associated with film schools, raise the question. How to properly define the programs of the curricular units? How to establish evaluation criteria? How to meet the expectations of a whole faculty that considers an immense variety of issues fundamental for the knowledge and development of students of the first degree in universities?

Dead media: Obsolescence and redundancy in media history

First Monday ◽  
2013 ◽  
Author(s):  
Tara Brabazon
Keyword(s):  
Cultural Studies ◽  
New Media ◽  
Media History ◽  
Bruce Sterling

Adjectives attend the new: fresh, clean, exciting, dynamic, innovative and productive. Oppositional binaries cling to the old: tired, worn, redundant, sick, slow and useless. While anti-discrimination policies can address these connotations when applied to people, the consequences of such ideologies on ‘old media’ are under-researched. While media and cultural studies departments teach ‘New Media’ courses, ‘Old Media’ courses remain invisible and unpopular. This article extends these adjectives and narratives by following a challenge Bruce Sterling posed to researchers: to understand ‘Dead Media.’ I explore the origins of this term and how and why an interest in Dead Media has – in itself – died.

Hijacking the urban screen: Trends in outdoor advertising and predictions for the use of video art and urban screens

First Monday ◽  
2006 ◽  
Author(s):  
Raina Kumra
Keyword(s):  
New Media ◽  
Public Relations ◽  
Video Art ◽  
Outdoor Advertising ◽  
Leading Role ◽  
Strong Indicator ◽  
The Press ◽  
Screen Level ◽  
Paper Document ◽  
The City

By tracking the use of non-traditional forms of outdoor advertising in static media there is a strong indicator for time based media (video, animation, interactive and generative video arts) to take a leading role in broadcasting art while serving the goals of the corporations that own these screens. Apart from the initial use of the "video billboard" in commercial and advertising based applications, the city is responding to its new media skin with more creative and interactive executions. Case studies in this paper document some of the first experiments utilising video at the urban screen level and show how the press and public relations value of these projects is more beneficial to the advertiser and the community than spending on traditional advertising.

Digital Art and Experimental Color Systems at Bell Laboratories, 1965–1984: Restoring Interdisciplinary Innovations to Media History

Leonardo ◽  
2010 ◽  
Vol 43 (1) ◽  
pp. 53-58 ◽  
Author(s):  
Carolyn L. Kane
Keyword(s):  
New Media ◽  
Media History ◽  
Digital Art ◽  
Computing Technology ◽  
Media Arts ◽  
The Public ◽  
Experimental Art ◽  
Time Period ◽  
History Of ◽  
The Media

AT&T's Bell Laboratories produced a prolific number of innovative digital art and experimental color systems between 1965 and 1984. However, due to repressive regulation, this work was hidden from the public. Almost two decades later, when Bell lifted its restrictions on creative work not related to telephone technologies, the atmosphere had changed so dramatically that despite a relaxation of regulation, cutting-edge projects were abandoned. This paper discusses the struggles encountered in interdisciplinary collaborations and the challenge to use new media computing technology to make experimental art at Bell Labs during this unique time period, now largely lost to the history of the media arts.

scholarly journals From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory

2013 ◽  
Vol 6 (1) ◽  
pp. 19-33
Author(s):  
Árpád Bak
Keyword(s):  
New Media ◽  
Video Art ◽  
The Body ◽  
Experimental Film ◽  
Media Arts ◽  
Contemporary Media ◽  
The One ◽  
Time Image ◽  
Selection Of

Abstract The paper compares how two theorists of media arts, Mark B. N. Hansen and Laura U. Marks, interpret the relation of Deleuze’s time-image to corporeality. Both argue that some novel types of images - in film and media art - engage the body in new and also more intensive ways than traditional cinema did. While they remain committed to Bergson’s theory of perception, their works offer different readings of how the Bergsonian concepts of Deleuze’s film philosophy can be applied to new media: on the one hand, to the non-signifying, affective properties of Hansen’s digital image in contemporary media arts, and on the other, to Marks’s - in the last instance, memory-signifying - haptic image, which she discussed initially in connection with video art and experimental film. In New Philosophy for New Media (2004), Hansen asserts that “Deleuze’s neo-Bergsonist account of the cinema carries out the progressive disembodying of the [body]”, which “reaches its culmination in […] what he calls the ‘time-image,’” and calls for “a rehabilitation of Bergson’s embodied concept of affection.” While Marks also offers some criticism on Deleuze, she suggests that his “theory of timeimage cinema permits a discussion of the multisensory quality of cinema,” and undertakes to examine “how the body may be involved in the inauguration of time-image cinema.” Besides arguing that both tendencies are present in Deleuze to varying degrees, I attempt to contextualize the divergences in their lines of thought by looking at the types of media and selection of works they examine, as well as the possible theoretical commitments that might guide these selective strategies

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