Search

Purpose: To analyse anterior cruciate ligament (ACL) rupture (ACLR) injury mechanisms in competitive judo using systematic video analysis, focusing on contact situations and biomechanics. Methods: Seventeen videos of judo competitions wherein athletes developed ACLRs were included and retrospectively evaluated by five analysts. In all videos, the moment of initial contact and the index frame were defined. The judo techniques leading to the injury; the occurrence of direct contact, indirect contact or noncontact mechanisms; the time interval between the initial contact and index frame; the positions of the hip, knee and foot in relation to the initial contact and index frame; and the balance status during the initial contact and index frame were recorded. Results: Eleven (65%) of ACLRs in judo involved direct contact. The mean time interval between initial contact and index frame was 15 ± 22 ms. Thirteen (77%) athletes were not balanced at initial contact. In the index frame, the hip was abducted in all cases and in combination with internal rotation in 12 (71%) cases. From initial contact to index frame, hip flexion increased in all cases; at index frame, the knee joint was internally rotated relative to the trunk in 12 (71%) cases, and the knee flexion angles increased from the initial contact. In the index frame, the foot was externally rotated relative to the knee in 12 (71%) cases, and severe valgus development of the knee with valgus collapse was observed in 14 (82%) cases. Conclusions: A direct attack on the knee was the most common injury mechanism observed. Valgus distortion appears to be the most important component of the mechanism of injury. With this knowledge, 'modified defence reactions' for specific judo techniques can be developed to reduce the injury risk. Level of Evidence: Level IV. [ABSTRACT FROM AUTHOR]

The purpose of the study was to demonstrate how art could be connected to therapeutic treatment processes. The intervention took place between 2020 and 2021 at an eating disorder (ED) unit in Vaasa Central Hospital, Finland. Eating disorder patients and reference group saw an art video by artist Johanna Ketola depicting nature and mystical features. Participants then discussed thoughts stimulated by the artwork. Participants' depictions were coded, and content analysis of the written texts was carried out by applying cognitive semiotics blending theory (CSBT). Findings show that the artwork stimulated flexibility of thought, which allowed further possibilities to develop thinking and ways of expression. Art-viewing interventions can help patients find new ways to express themselves. The study shows how CSBT, and art viewing interventions, can be used in the clinical context to analyse meaning-making processes. With such interventions, the patient can develop skills to express one's own personal condition. [ABSTRACT FROM AUTHOR]

This article examines some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela in order to explore the sense of Gilles Deleuze's view that modern political cinema is characterized by a "missing" people, to which the adequate response is the people-sustaining or people-generating trance. I argue that the element missing from Deleuze's discussion is how the typical way for a people to go "missing" under capitalism involves the obfuscation of their labor, an idea that sustains the materially grounded trance in Varela's Papeles Secundarios (2004) and Cuerpos Complementarios (2022), drawn from the filmmaker's experience as casting director of Iranian artist Shirin Neshat's production of her video installation Tooba (2002) in Oaxaca. The article discusses the "baroque critique" involved in Varela's elliptically representing the workday of the non-professional Oaxacan actors employed in Neshat's production, understood here as a critique articulated using the detritus of that production. The result is a paradigm of trans-temporal playfulness on film that also challenges the claims to trans-temporal experience sought in Neshat's work. Thus, the article also locates these arguments within debates about whether films can "do philosophy", including a hypothesis about the obfuscations of labor lying behind why making-of documentaries—and their capacities to critique the philosophical pretensions of their original subjects—have not figured more centrally in those debates. [ABSTRACT FROM AUTHOR]

This article examines the television work made by Lilith Video (1983–1988), active in the city of São Paulo, and one of the first feminist video collectives in Brazil. Lilith was founded by Jacira Melo, Márcia Meireles, and Silvana Afram, producing documentaries and the unprecedented Feminino Plural, a series of five episodes, each one focused on an aspect of the everyday life of Brazilian women. In 1987, TV Cultura public television broadcast the series twice. Feminino Plural still remains perhaps the only feminist programme ever made by an independent collective to go on air. We start by situating the works of the group within Brazilian and international literature; we highlight the ways in which its history interweaves video art, television production, and feminist social movements in immediate Brazilian post-dictatorship. As we move to the analysis of the series, we discuss how the combination of testimony, dramatization, archive, and voice over allowed for a sensible approach to private issues in the virtual public space. By mapping Feminino Plural’s intersectional connections, this article suggests the ways in which the series helped to expand the scope of what was possible for women, understood as plural, opened to colour, class, age, and geographic regions. [ABSTRACT FROM AUTHOR]

This essay develops a theory of Mika Rottenberg's video art by attending to both the content her work represents (neoliberalism's logic of gendered labor) and the formal characteristics by which her art affects (sensibly drawing the viewer in while resisting assimilation into conceptual critique). Rottenberg's art flirts with a logic of cognitive mapping by suggesting the structures of global production and gendered labor that characterize our neoliberal world order. Through editing and documentary-like international filming, her works suture seemingly disparate locations and activities within an international division of labor. At the same time, her art is neither didactic nor a means to gain abstract, maplike vision of the networked global production system. Rottenberg's art disorients the viewer through pleasurable, haptic, and nonsensical proximities that provide a felt sense of enmeshment within the viewing experience. Rottenberg's art recasts what we might understand not only as the political affectiveness of contemporary art but also the role of aesthetics within feminist practice and critique. This theory of political aesthetics privileges the value of sensible revitalization found in the encounter with art, while departing from established (left) expectations that art's most pressing political relevance is in its ability to raise consciousness or perform critique. This article builds this argument by moving in detail through three of Rottenberg's recent videos: NoNoseKnows (2015), Cosmic Generator (2017), and Spaghetti Blockchain (2019–24). [ABSTRACT FROM AUTHOR]

Copyright of Art Time is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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. [ABSTRACT FROM AUTHOR]

In the mid-1970s the group Laboratory of Presentation Techniques (LPT) was active at the Academy of Fine Arts in Katowice. The artists conducted experiments and formal searches, exploring the potential of film, performance, and a new medium: video. LPT was the first in Silesia, the second in Poland, and one of the first artistic groups in Europe dealing with video art. Looking at the artistic path of Grzegorz G. Zgraja, the last of the artists, as well as Jadwiga and Jacek Singer's works, the paper analyzes the most pivotal artistic achievements of the group. Based on the interviews and archival research, the author reconstructs LPT's artistic contribution to European media art and the reasons these pioneers of media art were forgotten. [ABSTRACT FROM AUTHOR]

This paper calls for a reassessment of early-stage Korean avant-garde and experimental art as the cornerstone of Korean media art. The aim is to discern a new genealogy of media art in Korea by tracing and linking the activities of early avant-garde artists and media art pioneers who have been neglected in the dominant art historiography, which has shown a preference for painting and video art. My detailed analysis of the experimental artists of the 1960s and 1970s, small groups in the mid-1980s, and the Art Tech Group in the early 1990s demonstrates how they revealed and articulated their spirit of resistance against academism and the mainstream using technology, thus following a different trajectory from that of the avant-garde and media art in Europe and North America. [ABSTRACT FROM AUTHOR]

• Application of AI in the field of cultural heritage preservation and mediation. • Intelligent tool for an augmented audiovisual analysis of a video art archive. • Automated analysis of the archive using concepts of the poetics of video art. • The benefits of the intelligent tool are illustrated on archive of the Vasulkas. This article focuses on the development and application of intelligent software for image and sound recognition to perform iconographic and audiographic analyses of the work of video art pioneers Steina and Woody Vasulka (the Vasulkas). The AI epistemological tool Vasulka Live Archive is designed to provide unique results that benefit from the synthesis of automatic statistical analysis across the dataset and application of predefined categories that are the results of aesthetic evaluation of the Vasulkas' videos and inspired by terminology of video art aesthetics (Weibel, Krauss). The advantages of this AI tool reveal themselves particularly when the tool is used for transmedia analysis of the whole dataset (the Vasulkas' work) as the accuracy and completeness of its results are out of reach of an individual human researcher. We argue that this kind of AI tools can contribute to more exact and data-based findings on media art aesthetics, it can contribute to establishing a new field augmented iconology (Spratt) as well as expanding the sphere of AI tools application towards digital collections of experimental and conceptual art of 20th and 21st centuries. [ABSTRACT FROM AUTHOR]

Copyright of Akademik Sanat is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the article is to analyse conceptual foundations of sculpture films in the 1970s–1980s in the context of experiments with “cinema expansion”. Results. Sculpture films of the 1970s–1980s show signs of a tendency toward conceptualism inherent in postmodern art. In innovative experiments on the audiovisual art and sculpture synthesis, not only the updated artistic toolkit became basic, but the process of meaning creation with a mandatory appeal to the audience’s perception as well. All this was organically integrated into the general search of avant-garde directors, aimed at developing the technological and artistic possibilities of cinematography, which received a generalised name “expanded cinema” (G. Youngblood). W. Turnbull, A. Forbes, D. Ashton, R. Horn, V. Pye, G. Matta-Clark, L. Lijn, B. Flanagan, R. Smithson, G. Stevens, P. Dockley, D. Hall, D. Dye, E. McCall, L. Lye, J. Hilliard, T. Hill, and many others, can be considered the figures in this direction. Scientific novelty. For the first time, the conceptual foundations of sculpture films of the 1970s–1980s are systematically analysed in the context of avant-garde searches by masters in creating interdisciplinary arts, and in extended cinema as well. Conclusions. The analysis of projects significant for sculpture cinema in the 1970s–1980s reveals a few conceptual creative approaches: video documentation of the process of creating a sculpture, and presenting an audiovisual work as an independent art object; filming the transformation and destruction of sculpture works for the purpose of provocative statements on current topics; use of cinematographic equipment as a material for creating sculptures; expanded interpretation of the concept of “sculpture” as a form, the construction of which is not limited to solid materials or inanimate objects; fixation on film of kinetic sculptures, the contemplation of which is inseparable from the surrounding environment. A general conclusion is made that experiments with sculpture films contributed to the video art formation, and influenced the further development of media art.

"Variable Conditions: Para-computational Arts in Canada, 1965–1995" edited by Adam Lauder explores the intersection of computer art and meteorology in Canada. The book delves into the unique backgrounds of Canadian artists who initially trained in weather studies, leading to innovative computer-generated artworks. Through scholarly essays, artist interviews, and historical analysis, the volume sheds light on the diverse practices and influences that shaped this lesser-known aspect of Canadian art history. While the book offers valuable insights into the material history of computers as both medium and metaphor, some readers may find the narrative sprawling and in need of more structured connections to broader art historical contexts." [Extracted from the article]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In our actions in relation to computer games, we are rarely forced to reflect on the question of how we conceptualize the medial objects upon and with which we are acting. Do we understand computer games as products, as economically outlined goods that can only be negotiated on the basis of an inherent hegemonic ideology in terms of their manufacture, distribution and, above all, their application? Or do we view them as open texts or spaces of experience which we can assimilate and within which we can take effect in a resistant, emancipatory or dissident way, either selectively or continuously? Do we shape the game, or does the game shape us? In a nutshell: is it possible to appropriate computer games? Davey Wreden's games The Stanley Parable (2011) and The Beginner's Guide (2015) can help us investigate these questions. [ABSTRACT FROM AUTHOR]

Poet and art critic David Antin observed that, to a great degree, video art derives significance from its relation to some aspect of television. This article acknowledges this and examines video art in the context of a cultural critique via a distinctive mixture of cross-disciplinary collaborations within the arts during the latter half of the twentieth century. While the video art Antin described can be considered an extension of the postwar recalibration of the emphasis placed on art as object, it was also the beneficiary of early twentieth-century experimentation, such as Dada's challenge to notions of art and expectations regarding aesthetics, as well as early experimentation in cinema. This intersection of culture and art histories finds its way into the early video work of Daniel Boord. My main interest in Boord's work is its relation to experimentation with theatricality, an area not usually associated with video art. Boord's "lowbrow" absence of pretense and disregard for reductive formalism align well with Peter Brook's conception of the "Rough Theatre," as well as film critic Manny Farber's notion of "termite art," art that "feels its way through walls of particularization" and eats at its own boundaries. Boord's work is a self-propelled dizzying array of humor, ideas, and juxtapositions that are well suited for the twentieth century—work that moves along according to its own self-defined boundaries of invention. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Área Abierta is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In collaboration with Electronic Arts Intermix (EAI), a nonprofit video arts distributor, the author has found videos in EAI's collection that may reflect upon themes of disability and/or engage modes of access like captioning and audio description. The video/film works referenced in conceptual and performance practices have been broadly tethered to the word "experimental" and situated in this context to engage with accessibility even for works that resist and challenge the very nature of legibility. This essay is the author's first attempt to explore an archive to identify video artworks that represent disability (whether deliberately or not) and present alternative modes of access (whether deliberately or not) with the intent of laying a groundwork for curations that tap into possibilities within accessibility formats. [ABSTRACT FROM AUTHOR]

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Responding to the necessity of scarcity and uniqueness in the digital format, NFTs (Non-Fungible Tokens) have recently gained much attention in cultural industries, especially video games and the art market. Faced with the digital paradigm shift and the challenge of dematerialization, creators started to use NTFs in order to emulate the concept of rarity for displaying, promoting, and monetizing their works in digital environments. An NFT is a certificate of ownership implemented through encrypted metadata pointing to a unique copy of a digital file. Likewise, NFTs enable the tokenization of a large array of digital, or even physical, assets. For this reason, they are used to facilitate the digitalization of contents heavily dependent on copyright and scarcity. Non-Fungible Tokens represent an emerging reality of significant economic, social, and cultural importance, which also raises important legal issues especially concerning the very nature of the NFT, as property or license, and the usage of copyrighted contents or trademarks. Indeed, the most frequent legal issues with NFTs are related to the attribution and exploitation of the Intellectual Property (IP) rights of the underlying content or litigations about non-contractual matters (i.e., theft). Litigious cases affecting NFTs most often take on an international dimension due to the decentralized nature of the technology on which they are developed, distributed on servers hosted in a multitude of countries, as well as the business practices of trading platforms that connect users from all over the world. Consequently, the principles of Private International Law (PIL) are applied to solve legal conflicts. This study focuses on the resolution of litigations related to NFTs in the three countries leading the global art markets: the US, the UK, and China. The analysis focuses on the application of international private law in relation to recent jurisprudence concerning conflicts involving NFTs and artworks. [ABSTRACT FROM AUTHOR]

Ranging from botanical gardens to psychedelics to Black feminist spirituality, "Witchcraft, Artcraft, Lifecraft: On Making and Living in Everydayness" offers a window into a critical-cultural project that seeks to bring Black femme labour, intellect, expression, and faith into sharp focus. The essay—much like the multimedia project it explores — asks the reader to contemplate the nuances of a type of Black experience that is often made invisible. [ABSTRACT FROM AUTHOR]

This article describes the development and public performances of La Liga de la Decencia, a new play presented as part of the 2023 New Works Festival at the University of Texas at Austin. Inspired by the cabaret scene and teatro de revista of the 1940s in Mexico City, La Liga de la Decencia combines live performance and video art to explore how hegemonic gender and social norms shaped by the emergent nationalism of postrevolutionary Mexico continue to oppress femme and queer bodies today across the US–Mexico border. Through satire, parody, and dance, La Liga de la Decencia problematizes the social, class, and gender norms as established by the cultural elite and the state. Following research-based theatre as an inquiry process, this article describes how writing and directing this play allowed for a deeper understanding of the dynamics of a historical period. By mixing facts, fiction, and critical commentary, La Liga de la Decencia investigates history through embodiment. [ABSTRACT FROM AUTHOR]

YouTube, Instagram and TikTok are increasingly used today as tools of resistance and environments of expression. This paper will focus on feminist video-selfies that address stereotypes of the female body, status and behaviour and propose to ironically dismantle them. The article will consider issues of female networked presence and creativity by referring to early attempts to create a personal video channel, documented by Elisa Giardina Papa in her video artwork need ideas!?!PLZ!! (2011). The undercover presentation of political content will be discussed as an activist strategy, as in artist Addie Wagenknecht’s fake make-up tutorials, in which she actually gives instructions on how to protect oneself both online and offline. Video-selfies are widely shared on social platforms as a playful way to meditate on personal identity. This happens, for example, thanks to the social filters of the artist S()fia Braga, which allow users to freely experiment with unfathomable views of themselves and to interact with others in a performative way. All these examples use creative strategies to convey a critical message. While never discouraging physical protest, they offer another ground for activism and dissent, and the possibility of literally embodying them.

Objective: The contemporary world is characterized by the emergence of new media, marking an era in which media has become an indispensable component of human existence. In today's society, the pervasive presence of novel communication technologies has bestowed significance upon various facets of life. Notably, new forms of artistic media hold a crucial position in the realm of art education and the advancement of culture. Modern artistic media, encompassing video art, layout, photography, conceptual art, digital art, performance art, and more, play a particularly pivotal role in the realms of education, presentation, and the introduction of artistic works and culture within society. This research endeavors to examine the role of new artistic media in cultural education and the promotion of urban society, aiming to address the following question: How do new artistic media contribute to cultural education and the advancement of urban society? The objective of this article is to enhance our understanding of modern artistic media and evaluate their efficacy within the realm of education and culture in society. Methods: Employing a descriptive-analytical research method, this study relies on library and documentary sources for data collection. Results: The findings indicate that, facilitated by technological advancements and the ability to reproduce artworks, new media possess the potential to exert a significant impact on education and culture within society. This research can serve as a valuable tool in increasing the visibility and public awareness of new artistic media, thereby fostering improvement within urban societies. Conclusions: By recognizing the capabilities of new artistic media, we can progress towards the production and development of culture, education, and the overall prosperity of society. [ABSTRACT FROM AUTHOR]

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores and highlights the differences between art styles in video games, and details how the use of them can allow for the expression of creative ideas and communicate messages through games as a medium. This article also investigates existing research and analyses various case studies of games with distinctive art styles. The term "art style" in the context of this article pertains to visual elements such as proportions and shading techniques, as opposed to encompassing sound design or animation. To effectively showcase the influence of art styles on creative expression, I have developed a practical prototype in the form of an art game titled The Maze of Nightmares, which contains features such as the ability to switch between multiple art styles as a creative tool to overcome obstacles. By doing so, the game addresses the topic of significant personal changes and how impactful they can be towards one's life, especially in the context of overcoming obstacles and solving problems. This way, players and audiences can observe differences between art styles in the context of an experience that reinforces the benefits of change. [ABSTRACT FROM AUTHOR]

Decolonial perspectives on art history have elaborated on the ways visual representations and documentary media are intertwined with the colonial project. The visual regime is associated with the coloniser's Eurocentric, objectifying and territorialising gaze. Can the visual still play a part in healing colonial wounds? The Karrabing Collective, a majority Indigenous group based in the Northern Territories of Australia, seems to engage with this question. Studying their video art as a form of invitation, I question how these works address inhospitable zones in the imaginations of the modern world and settler-colonial legacies. Extending Donna Haraway's metaphor of visiting as a mode of ethical attention, I posit that these works destabilise Western understandings of hospitality, memory, and image-making. I argue that their re-visiting of settler-colonial encounters rejects the primacy of archival integration and access, inviting the viewer to visit the lived space of peripheral vision that shifts between remembering and re-imagining. [ABSTRACT FROM AUTHOR]

This article performs a close reading of HAVEN, 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 HAVEN 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 HAVEN with reference to the notion of capture. The article proposes that HAVEN'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. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gig work platforms such as Lyft, Uber, Wolt, and Flink undertook intense efforts to make their work more 'fun,' with the aim of motivating their workers and making them more efficient. This paper looks at how platform capitalism intertwines the gamification and precarization of labor, leading to an increased blurring of work and leisure. Employing the video works Delivery Dancer's Sphere (2022) by Ayoung Kim and Platform (2022) by Johannes Bü ttner as case studies, the text examines how the gamification and precarization of labor through delivery platforms are addressed and critiqued in contemporary media art and how both Kim and Büttner utilize gaming aesthetics and mechanisms. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ciência & Trópico (03042685) is the property of Fundacao Joaquim Nabuco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela in order to explore the sense of Gilles Deleuze’s view that modern political cinema is characterized by a “missing” people, to which the adequate response is the people-sustaining or people-generating trance. I argue that the element missing from Deleuze’s discussion is how the typical way for a people to go “missing” under capitalism involves the obfuscation of their labor, an idea that sustains the materially grounded trance in Varela’s Papeles Secundarios (2004) and Cuerpos Complementarios (2022), drawn from the filmmaker’s experience as casting director of Iranian artist Shirin Neshat’s production of her video installation Tooba (2002) in Oaxaca. The article discusses the “baroque critique” involved in Varela’s elliptically representing the workday of the non-professional Oaxacan actors employed in Neshat’s production, understood here as a critique articulated using the detritus of that production. The result is a paradigm of trans-temporal playfulness on film that also challenges the claims to trans-temporal experience sought in Neshat’s work. Thus, the article also locates these arguments within debates about whether films can “do philosophy”, including a hypothesis about the obfuscations of labor lying behind why making-of documentaries—and their capacities to critique the philosophical pretensions of their original subjects—have not figured more centrally in those debates.

The article explores the enduring significance of the video work "Wipe Cycle" (1969) by artists Frank Gillette and Ira Schneider, often regarded as the first interactive video sculpture. Topics include the historical context of "Wipe Cycle," its exhibition at MoMA, and the comparison with the lesser-known "Antioch Interactive Experiment," which foreshadowed the role of video in shaping human relations.

The article reflects on the influential contributions of Christine Tamblyn, a critic, artist, and educator, through her essays in periodical emphasizing her pivotal role in shaping the discourse on feminist and experimental media practices in the 1980s and '90s. Topics include Tamblyn's exploration of video festivals, feminist theory, and the disruptive excess in sexually explicit art, demonstrating her commitment to advocacy and activism in critical writing.

This article explores how diasporic Chinese video artists present familial histories and tales of cross-cultural exchange in the context of an exhibition I am curating, Another Beautiful Country: Moving Images by Chinese American Artists, at the University of Southern California (USC) Pacific Asia Museum. I discuss projects by featured artists Richard Fung and Patty Chang. These artists' experimental documentaries and performative videos foster deep personal discoveries that defy the late-capitalist obsession with the new as defined by youth, novelty, and the next trend, providing revelatory insights through recuperative engagements with what has come before. In analyzing artworks by Fung and Chang, I also reference related texts by/about artists and historical figures including Walter Benjamin, Anna May Wong, and Zhang Ailing, who emigrated from the People's Republic of China to the United States in the 1950s and whose special collections in the USC Libraries helped inform the exhibition's programming. I also interweave my own related familial histories and share some (not-so-new) curatorial ideas for immersing audiences in intercultural art and reflection. [ABSTRACT FROM AUTHOR]

The use of AI-generated videos centered on the face raises various concerns among professionals and audiences due to the difficulty of providing coherent descriptive tools of their cultural significance. At the same time, the focus of artists and their audiences shifts from the art as a text to the collaboration process between artificial intelligence (AI) and the involved social actors. This raises significant concerns between policymakers and other social actors looking for guidelines for the appropriate use of AI as a tool, collaborator or substitute for creative workers, which can have immediate and long-term impacts on society and culture. Semiotics of culture provides descriptive tools for understanding and evaluating artistic texts and their role in semiotic space, the semiosphere. This article addresses how Lotman's theory can contribute to the methodology for analyzing AI-generated texts as dynamic models. The theoretical framework developed by Lotman in his research on artistic text, dynamic systems and culture can be applied to the studies of current shifts related to AI-generated arts. This paper looks at the reception of AI-generated videos focused on face representations. In doing so, it analyses the dynamic processes in the creation process of AI-generated videos through their reception in related texts. The findings of this article highlight how Lotman's theoretical framework can contribute to the methodology to analyze the cultural dynamics evoked by AI-generated artistic texts. [ABSTRACT FROM AUTHOR]

Copyright of VLC Arquitectura is the property of VLC Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the use of screen video art, which involves displaying multiple videos on different screens simultaneously to create an artistic experience. The article investigates experimental projects that address everyday reality and use social art to address visual concerns. Video art has evolved with technology, allowing for greater creativity, but it has faced challenges in terms of recognition and support within the contemporary art context. The article also discusses the integration of creative and digital aesthetics to address social problems through artistic-technological practices. It explores the relationship between technology and art, analyzes the influence of digital technology on art creation and reception, and discusses the role of social media and audience participation. The article acknowledges the challenges faced by video artists, but also highlights the potential for video art to expand and be recognized as an important form of art in contemporary society. It emphasizes the ability of video art to make social critiques and raise questions about technology's impact on society. The article concludes by recommending a deeper understanding and appreciation for the multifaceted nature of video art and its ability to bring artists together in exploring new possibilities. [Extracted from the article]

In her 2022 video installation, Blast Furnace No. 2, artist Su Yu Hsin explores the history of the German factory, Henrichshütte Ironworks. Namely, the artist focuses on Henrichshütte's former blast furnace, which was bought by a Chinese steel mill in September 1989 and moved to China, where it operated until 2015. Now a state-owned museum, this former factory, located in Hattingen, Germany, is a snapshot of the past—a memorial of sorts for the region's bygone industrial prosperity. The history and intercontinental movement of this blast furnace inspires Su's affinities towards spaces located in-between shifting temporalities, identities, and changing environmental conditions within Hattingen and beyond. Su weaves archival materials, documentary film, and interview excerpts into a speculative narrative that connects the years 1989, 2022, and 2050. Blurring reality and imagination, the video follows the fictionalized trail of Lin, a Chinese translator who accompanied the dismantling of the blast furnace over thirty years ago. According to the narrative, Lin left behind an unfinished science fiction novel, which takes place in 2022. In Lin's novel, the protagonist develops a utopian machine in the form of a blast furnace. With this apparatus, she sends herself into space with the goal of finding an alternative energy source to replace coal. Blast Furnace No. 2 constellates temporal spaces of socio-political and environmental nostalgia, predicated upon both remembered and imagined understandings of the past, present, and future. The work emphasizes contradictory gaps in between socially driven ideological systems and their afterlives, determined to memorialize what most would just as soon forget. [ABSTRACT FROM AUTHOR]

Changing the style of an image/video while preserving its content is a crucial criterion to access a new neural style transfer algorithm. However, it is very challenging to transfer a new map art style to a certain video in which “content” comprises a map background and animation objects. In this article, we present a novel comprehensive system that solves the problems in transferring map art style in such video. Our system takes as input an arbitrary video, a map image, and an off-the-shelf map art image. It then generates an artistic video without damaging the functionality of the map and the consistency in details. To solve this challenge, we propose a novel network, Map Art Video Network (MAViNet), the tailored objective functions, and a rich training set with rich animation contents and different map structures. We have evaluated our method on various challenging cases and many comparisons with those of the related works. Our method substantially outperforms state-of-the-art methods in terms of visual quality and meets the mentioned criteria in this research domain. [ABSTRACT FROM AUTHOR]

Analysing the history of video art poses challenges due to the complex environments from which video emerged. However, some of its conceptual origins can be traced through art institutions that pioneered the integration of video art into museums. By examining key projects and exhibitions at the Museum of Modern Art, I argue that the museum's first study grant obtained from the Rockefeller Foundation not only expanded the exhibition and collection of video work, but also laid the foundation for its institutionalization, which in turn exerted decisive effects on the subsequent history of video art. [ABSTRACT FROM AUTHOR]

The article explores the Museum of Modern Art's (MoMA) exhibition titled "Signals: How Video Transformed the World," which examines the broad and transformative impact of video as a cultural form. It discusses how the exhibition encompasses various forms of video, from traditional broadcasting to contemporary digital content, but also critiques MoMA's presentation and the distractions inherent in modern multiscreen culture.