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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Video Art</h1><div class="u-tcGrayDark">32,395 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Video Art</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Video_Art">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Video_Art/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Video_Art/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Video_Art/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Video_Art">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44549935" data-work_id="44549935" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44549935/Monika_Weiss_ENG_PL_">Monika Weiss (ENG/PL)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Monika Weiss employs her own body or choreographs other subjects, particularly women, to navigate the aftermath of violence and sites of trauma. The gendered body does not only become a vehicle of expression, but forms a key site from... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44549935" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Monika Weiss employs her own body or choreographs other subjects, particularly women, to navigate the aftermath of violence and sites of trauma. The gendered body does not only become a vehicle of expression, but forms a key site from which an affective politics may emerge, through touch, vulnerability and the visceral. Weiss composes the sound that constitutes many of her works, considering the vocal-musical-poetic form of lament as a modality of collective remembrance that allows to articulate traumas without enacting further violence. By attending to events and histories that she has not personally witnessed, the artist unveils the multidirectional character of memory and seeks to forge new feminist solidarities that exceed national boundaries.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44549935" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="43d75a65a5a82fdb9e779334921a2fe7" rel="nofollow" data-download="{"attachment_id":110999094,"asset_id":44549935,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/110999094/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="116796849" href="https://newcastle.academia.edu/KatarzynaFal%C4%99cka">Katarzyna Falęcka</a><script data-card-contents-for-user="116796849" type="text/json">{"id":116796849,"first_name":"Katarzyna","last_name":"Falęcka","domain_name":"newcastle","page_name":"KatarzynaFalęcka","display_name":"Katarzyna Falęcka","profile_url":"https://newcastle.academia.edu/KatarzynaFal%C4%99cka?f_ri=6100","photo":"https://0.academia-photos.com/116796849/28442661/103647159/s65_katarzyna.fal_cka.jpg"}</script></span></span></li><li class="js-paper-rank-work_44549935 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44549935"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44549935, container: ".js-paper-rank-work_44549935", }); 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$(".js-view-count[data-work-id=44549935]").text(description); $(".js-view-count-work_44549935").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44549935").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44549935"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="5463" href="https://www.academia.edu/Documents/in/Performance_Art">Performance Art</a>, <script data-card-contents-for-ri="5463" type="text/json">{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20961" href="https://www.academia.edu/Documents/in/Feminist_Art">Feminist Art</a><script data-card-contents-for-ri="20961" type="text/json">{"id":20961,"name":"Feminist Art","url":"https://www.academia.edu/Documents/in/Feminist_Art?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44549935]'), work: {"id":44549935,"title":"Monika Weiss (ENG/PL)","created_at":"2020-11-21T14:32:59.121-08:00","url":"https://www.academia.edu/44549935/Monika_Weiss_ENG_PL_?f_ri=6100","dom_id":"work_44549935","summary":"Monika Weiss employs her own body or choreographs other subjects, particularly women, to navigate the aftermath of violence and sites of trauma. The gendered body does not only become a vehicle of expression, but forms a key site from which an affective politics may emerge, through touch, vulnerability and the visceral. Weiss composes the sound that constitutes many of her works, considering the vocal-musical-poetic form of lament as a modality of collective remembrance that allows to articulate traumas without enacting further violence. By attending to events and histories that she has not personally witnessed, the artist unveils the multidirectional character of memory and seeks to forge new feminist solidarities that exceed national boundaries.","downloadable_attachments":[{"id":110999094,"asset_id":44549935,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":116796849,"first_name":"Katarzyna","last_name":"Falęcka","domain_name":"newcastle","page_name":"KatarzynaFalęcka","display_name":"Katarzyna Falęcka","profile_url":"https://newcastle.academia.edu/KatarzynaFal%C4%99cka?f_ri=6100","photo":"https://0.academia-photos.com/116796849/28442661/103647159/s65_katarzyna.fal_cka.jpg"}],"research_interests":[{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":20961,"name":"Feminist Art","url":"https://www.academia.edu/Documents/in/Feminist_Art?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_66425156" data-work_id="66425156" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/66425156/Piotr_Zawojski_Kiedy_materia_zamiera_i_budzi_si%C4%99_do_%C5%BCycia_O_Duchu_materii_Ryszarda_Czernowa">Piotr Zawojski: Kiedy materia zamiera… i budzi się do życia. O "Duchu materii" Ryszarda Czernowa</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Tekst był publikowany w: Ryszard Czernow: Martwe z natury. Odsłona druga. Teatr Mały. Tychy 2021, s. 10-15.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/66425156" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="189ba47c960fa39fe63d8bbca511a88e" rel="nofollow" data-download="{"attachment_id":77620732,"asset_id":66425156,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/77620732/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6816689" href="https://silesian.academia.edu/piotrzawojski">piotr zawojski</a><script data-card-contents-for-user="6816689" type="text/json">{"id":6816689,"first_name":"piotr","last_name":"zawojski","domain_name":"silesian","page_name":"piotrzawojski","display_name":"piotr zawojski","profile_url":"https://silesian.academia.edu/piotrzawojski?f_ri=6100","photo":"https://0.academia-photos.com/6816689/19312972/19237618/s65_piotr.zawojski.jpg"}</script></span></span></li><li class="js-paper-rank-work_66425156 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="66425156"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 66425156, container: ".js-paper-rank-work_66425156", }); 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$(".js-view-count[data-work-id=66425156]").text(description); $(".js-view-count-work_66425156").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_66425156").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="66425156"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14261" href="https://www.academia.edu/Documents/in/Film_and_Video_Art">Film and Video Art</a>, <script data-card-contents-for-ri="14261" type="text/json">{"id":14261,"name":"Film and Video Art","url":"https://www.academia.edu/Documents/in/Film_and_Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="140604" href="https://www.academia.edu/Documents/in/Fotografia">Fotografia</a>, <script data-card-contents-for-ri="140604" type="text/json">{"id":140604,"name":"Fotografia","url":"https://www.academia.edu/Documents/in/Fotografia?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="245370" href="https://www.academia.edu/Documents/in/Nowe_Media">Nowe Media</a><script data-card-contents-for-ri="245370" type="text/json">{"id":245370,"name":"Nowe Media","url":"https://www.academia.edu/Documents/in/Nowe_Media?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=66425156]'), work: {"id":66425156,"title":"Piotr Zawojski: Kiedy materia zamiera… i budzi się do życia. O \"Duchu materii\" Ryszarda Czernowa","created_at":"2021-12-29T11:30:51.731-08:00","url":"https://www.academia.edu/66425156/Piotr_Zawojski_Kiedy_materia_zamiera_i_budzi_si%C4%99_do_%C5%BCycia_O_Duchu_materii_Ryszarda_Czernowa?f_ri=6100","dom_id":"work_66425156","summary":"Tekst był publikowany w: Ryszard Czernow: Martwe z natury. Odsłona druga. Teatr Mały. Tychy 2021, s. 10-15.","downloadable_attachments":[{"id":77620732,"asset_id":66425156,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6816689,"first_name":"piotr","last_name":"zawojski","domain_name":"silesian","page_name":"piotrzawojski","display_name":"piotr zawojski","profile_url":"https://silesian.academia.edu/piotrzawojski?f_ri=6100","photo":"https://0.academia-photos.com/6816689/19312972/19237618/s65_piotr.zawojski.jpg"}],"research_interests":[{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":14261,"name":"Film and Video Art","url":"https://www.academia.edu/Documents/in/Film_and_Video_Art?f_ri=6100","nofollow":false},{"id":140604,"name":"Fotografia","url":"https://www.academia.edu/Documents/in/Fotografia?f_ri=6100","nofollow":false},{"id":245370,"name":"Nowe Media","url":"https://www.academia.edu/Documents/in/Nowe_Media?f_ri=6100","nofollow":false},{"id":940355,"name":"Sztuka Nowych Mediów","url":"https://www.academia.edu/Documents/in/Sztuka_Nowych_Mediow?f_ri=6100"},{"id":1745631,"name":"Nowe Media I Multimedia","url":"https://www.academia.edu/Documents/in/Nowe_Media_I_Multimedia?f_ri=6100"},{"id":2960768,"name":"Fotografia cyfrowa","url":"https://www.academia.edu/Documents/in/Fotografia_cyfrowa?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8642960" data-work_id="8642960" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8642960/Videoarte_chileno_cuerpo_tecnolog%C3%ADa_pol%C3%ADtica">Videoarte chileno_cuerpo_tecnología_política</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8642960" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7ee6d78bd1126bacbb00ced7bdda5614" rel="nofollow" data-download="{"attachment_id":35002447,"asset_id":8642960,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35002447/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="17997549" href="https://iuna.academia.edu/ClaudiaAdriana">Claudia Araya López</a><script data-card-contents-for-user="17997549" type="text/json">{"id":17997549,"first_name":"Claudia","last_name":"Araya López","domain_name":"iuna","page_name":"ClaudiaAdriana","display_name":"Claudia Araya López","profile_url":"https://iuna.academia.edu/ClaudiaAdriana?f_ri=6100","photo":"https://0.academia-photos.com/17997549/5441090/9945317/s65_claudia.araya_l_pez.jpg"}</script></span></span></li><li class="js-paper-rank-work_8642960 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8642960"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8642960, container: ".js-paper-rank-work_8642960", }); 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u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">« Andreï Tarkovski : nouvelles perspectives comparatives », co-dirigé par Macha Ovtchinnikova et Marie Gueden , Tétrade n°7, Université de Picardie Jules Verne, 2021 Dans ce numéro, il s’agit d’explorer de nouvelles perspectives... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_48751638" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">« Andreï Tarkovski : nouvelles perspectives comparatives », co-dirigé par Macha Ovtchinnikova et Marie Gueden , Tétrade n°7, Université de Picardie Jules Verne, 2021 <br /><br />Dans ce numéro, il s’agit d’explorer de nouvelles perspectives d’analyse de l’œuvre d’Andreï Tarkovski à partir de l’approche graphique revendiquée dans ses textes théoriques et manifeste dans ses films.<br />La notion tarkovskienne de « dessin rythmique » constitue en particulier un point d’entrée pour étudier son œuvre théorique et cinématographique dans ses aspects graphiques, plastiques, y compris chromatiques, chorégraphiques, mais aussi pour explorer les comparaisons entre le réalisateur et ses artistes fétiches (graveurs, peintres, dessinateurs), ses prédécesseurs (comme Sergueï Eisenstein appréhendé pour sa pratique graphique et théorique), et ses successeurs (artistes et cinéastes contemporains). <br />Ce numéro réunit des articles scientifiques et des vidéos d’artistes.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/48751638" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li 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container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_48751638 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="48751638"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 48751638; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=48751638]").text(description); $(".js-view-count-work_48751638").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_48751638").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="48751638"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="389" href="https://www.academia.edu/Documents/in/Russian_Studies">Russian Studies</a>, <script data-card-contents-for-ri="389" type="text/json">{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1575" href="https://www.academia.edu/Documents/in/Animation">Animation</a>, <script data-card-contents-for-ri="1575" type="text/json">{"id":1575,"name":"Animation","url":"https://www.academia.edu/Documents/in/Animation?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14261" href="https://www.academia.edu/Documents/in/Film_and_Video_Art">Film and Video Art</a><script data-card-contents-for-ri="14261" type="text/json">{"id":14261,"name":"Film and Video Art","url":"https://www.academia.edu/Documents/in/Film_and_Video_Art?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=48751638]'), work: {"id":48751638,"title":"\"Andreï Tarkovski: nouvelles perspectives comparatives\"","created_at":"2021-05-05T11:07:44.288-07:00","url":"https://www.academia.edu/48751638/_Andre%C3%AF_Tarkovski_nouvelles_perspectives_comparatives_?f_ri=6100","dom_id":"work_48751638","summary":"« Andreï Tarkovski : nouvelles perspectives comparatives », co-dirigé par Macha Ovtchinnikova et Marie Gueden , Tétrade n°7, Université de Picardie Jules Verne, 2021 \n\nDans ce numéro, il s’agit d’explorer de nouvelles perspectives d’analyse de l’œuvre d’Andreï Tarkovski à partir de l’approche graphique revendiquée dans ses textes théoriques et manifeste dans ses films.\nLa notion tarkovskienne de « dessin rythmique » constitue en particulier un point d’entrée pour étudier son œuvre théorique et cinématographique dans ses aspects graphiques, plastiques, y compris chromatiques, chorégraphiques, mais aussi pour explorer les comparaisons entre le réalisateur et ses artistes fétiches (graveurs, peintres, dessinateurs), ses prédécesseurs (comme Sergueï Eisenstein appréhendé pour sa pratique graphique et théorique), et ses successeurs (artistes et cinéastes contemporains). \nCe numéro réunit des articles scientifiques et des vidéos d’artistes.","downloadable_attachments":[{"id":67191851,"asset_id":48751638,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7625970,"first_name":"Macha","last_name":"Ovtchinnikova","domain_name":"unistra","page_name":"MachaOvtchinnikova","display_name":"Macha Ovtchinnikova","profile_url":"https://unistra.academia.edu/MachaOvtchinnikova?f_ri=6100","photo":"https://0.academia-photos.com/7625970/2748157/61291625/s65_macha.ovtchinnikova.jpg"},{"id":39391805,"first_name":"Gueden","last_name":"Marie","domain_name":"univ-paris1","page_name":"GuedenMarie","display_name":"Gueden Marie","profile_url":"https://univ-paris1.academia.edu/GuedenMarie?f_ri=6100","photo":"https://0.academia-photos.com/39391805/17710075/141322136/s65_gueden.marie.png"}],"research_interests":[{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=6100","nofollow":false},{"id":1575,"name":"Animation","url":"https://www.academia.edu/Documents/in/Animation?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":14261,"name":"Film and Video Art","url":"https://www.academia.edu/Documents/in/Film_and_Video_Art?f_ri=6100","nofollow":false},{"id":15564,"name":"Experimental Animation","url":"https://www.academia.edu/Documents/in/Experimental_Animation?f_ri=6100"},{"id":28083,"name":"Andrei Tarkovsky","url":"https://www.academia.edu/Documents/in/Andrei_Tarkovsky?f_ri=6100"},{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=6100"},{"id":43810,"name":"Terrence Malick","url":"https://www.academia.edu/Documents/in/Terrence_Malick?f_ri=6100"},{"id":52277,"name":"Russian Cinema","url":"https://www.academia.edu/Documents/in/Russian_Cinema?f_ri=6100"},{"id":73713,"name":"Sergei Eisenstein","url":"https://www.academia.edu/Documents/in/Sergei_Eisenstein?f_ri=6100"},{"id":73834,"name":"Stan Brakhage","url":"https://www.academia.edu/Documents/in/Stan_Brakhage?f_ri=6100"},{"id":411568,"name":"Cinema Theory","url":"https://www.academia.edu/Documents/in/Cinema_Theory?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_74409092" data-work_id="74409092" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/74409092/Ecocritical_Media_Arts_and_the_War_on_Terra">Ecocritical Media Arts and the War on Terra</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Ecocritique accepts, as it must, that humans and environments have been ripped apart historically, sociologically, and aesthetically. But it also recognizes that because we have become strangers, dialogue between humans and environments... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_74409092" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ecocritique accepts, as it must, that humans and environments have been ripped apart historically, sociologically, and aesthetically. But it also recognizes that because we have become strangers, dialogue between humans and environments is possible as it could not be if we were all one universal flux. Because of our mutual alienation, there are endless opportunities for misunderstanding when we capture, store, and process what we confront as Nature. Contemporary economic and political conditions driving ever more terrifying inequalities of wealth and power create the crisis implicit in ecocritique. The critical functions of art, which in these circumstances implies technical and creative aesthetic and political practice, concern the construction of a “we” that embraces the human and non- human victims of ecocide. The master’s tools might dismantle the master’s house, but can they build a different dwelling? Where are the practices that can produce more-than- human social change?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/74409092" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="180ff4c2ac09553b6d037d99dc91b762" rel="nofollow" data-download="{"attachment_id":82572624,"asset_id":74409092,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/82572624/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="35564" href="https://unimelb.academia.edu/SeanCubitt">Sean Cubitt</a><script data-card-contents-for-user="35564" type="text/json">{"id":35564,"first_name":"Sean","last_name":"Cubitt","domain_name":"unimelb","page_name":"SeanCubitt","display_name":"Sean Cubitt","profile_url":"https://unimelb.academia.edu/SeanCubitt?f_ri=6100","photo":"https://0.academia-photos.com/35564/11730/11028/s65_sean.cubitt.jpg"}</script></span></span></li><li class="js-paper-rank-work_74409092 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="74409092"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 74409092, container: ".js-paper-rank-work_74409092", }); 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$(".js-view-count[data-work-id=74409092]").text(description); $(".js-view-count-work_74409092").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_74409092").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="74409092"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16201" href="https://www.academia.edu/Documents/in/Ecocriticism">Ecocriticism</a><script data-card-contents-for-ri="16201" type="text/json">{"id":16201,"name":"Ecocriticism","url":"https://www.academia.edu/Documents/in/Ecocriticism?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=74409092]'), work: {"id":74409092,"title":"Ecocritical Media Arts and the War on Terra","created_at":"2022-03-23T14:11:56.797-07:00","url":"https://www.academia.edu/74409092/Ecocritical_Media_Arts_and_the_War_on_Terra?f_ri=6100","dom_id":"work_74409092","summary":"Ecocritique accepts, as it must, that humans and environments have been ripped apart historically, sociologically, and aesthetically. But it also recognizes that because we have become strangers, dialogue between humans and environments is possible as it could not be if we were all one universal flux. Because of our mutual alienation, there are endless opportunities for misunderstanding when we capture, store, and process what we confront as Nature. Contemporary economic and political conditions driving ever more terrifying inequalities of wealth and power create the crisis implicit in ecocritique. The critical functions of art, which in these circumstances implies technical and creative aesthetic and political practice, concern the construction of a “we” that embraces the human and non- human victims of ecocide. The master’s tools might dismantle the master’s house, but can they build a different dwelling? Where are the practices that can produce more-than- human social change?","downloadable_attachments":[{"id":82572624,"asset_id":74409092,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":35564,"first_name":"Sean","last_name":"Cubitt","domain_name":"unimelb","page_name":"SeanCubitt","display_name":"Sean Cubitt","profile_url":"https://unimelb.academia.edu/SeanCubitt?f_ri=6100","photo":"https://0.academia-photos.com/35564/11730/11028/s65_sean.cubitt.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":16201,"name":"Ecocriticism","url":"https://www.academia.edu/Documents/in/Ecocriticism?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11753563" data-work_id="11753563" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11753563/Stuff_It_the_video_essay_in_the_digital_age">Stuff It - the video essay in the digital age</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Collection of essays and video archive on contemporary video essayist practices and theories. Nora M. Alter, Christa Blümlinger, Steve Fagin, Hito Steyerl, Walid Ra’ad, Jan Verwoert, Maurizio Lazzarato / Angela Melitopoulos, Tran T.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11753563" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Collection of essays and video archive on contemporary video essayist practices and theories.<br />Nora M. Alter, Christa Blümlinger, Steve Fagin, Hito Steyerl, Walid Ra’ad, Jan Verwoert, Maurizio Lazzarato / Angela Melitopoulos, Tran T. Kim-Trang, Rinaldo Walcott and others.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11753563" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="143a83a03f6efbfd80ef28159f78a6a2" rel="nofollow" data-download="{"attachment_id":37180179,"asset_id":11753563,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37180179/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10546967" href="https://independent.academia.edu/ursulabiemann">Ursula Biemann</a><script data-card-contents-for-user="10546967" type="text/json">{"id":10546967,"first_name":"Ursula","last_name":"Biemann","domain_name":"independent","page_name":"ursulabiemann","display_name":"Ursula Biemann","profile_url":"https://independent.academia.edu/ursulabiemann?f_ri=6100","photo":"https://0.academia-photos.com/10546967/8108460/160069688/s65_ursula.biemann.jpg"}</script></span></span></li><li class="js-paper-rank-work_11753563 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11753563"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11753563, container: ".js-paper-rank-work_11753563", }); });</script></li><li class="js-percentile-work_11753563 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11753563; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_11753563"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11753563 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11753563"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11753563; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11753563]").text(description); $(".js-view-count-work_11753563").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11753563").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11753563"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="42835" href="https://www.academia.edu/Documents/in/Video_Analysis">Video Analysis</a>, <script data-card-contents-for-ri="42835" type="text/json">{"id":42835,"name":"Video Analysis","url":"https://www.academia.edu/Documents/in/Video_Analysis?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="396004" href="https://www.academia.edu/Documents/in/Media_theory_and_Research">Media theory and Research</a><script data-card-contents-for-ri="396004" type="text/json">{"id":396004,"name":"Media theory and Research","url":"https://www.academia.edu/Documents/in/Media_theory_and_Research?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11753563]'), work: {"id":11753563,"title":"Stuff It - the video essay in the digital age","created_at":"2015-04-01T04:59:33.632-07:00","url":"https://www.academia.edu/11753563/Stuff_It_the_video_essay_in_the_digital_age?f_ri=6100","dom_id":"work_11753563","summary":"Collection of essays and video archive on contemporary video essayist practices and theories.\nNora M. Alter, Christa Blümlinger, Steve Fagin, Hito Steyerl, Walid Ra’ad, Jan Verwoert, Maurizio Lazzarato / Angela Melitopoulos, Tran T. 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Forme del contropotere tra cinema, video e fotografia nell’Italia degli anni Settanta" (Mimesis, 2015) di Christian Uva.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16267349" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d50080c9c01a8772b7044f36e97c4df8" rel="nofollow" data-download="{"attachment_id":38957911,"asset_id":16267349,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38957911/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1213260" href="https://unilink.academia.edu/MassimilianoCoviello">Massimiliano Coviello</a><script data-card-contents-for-user="1213260" type="text/json">{"id":1213260,"first_name":"Massimiliano","last_name":"Coviello","domain_name":"unilink","page_name":"MassimilianoCoviello","display_name":"Massimiliano Coviello","profile_url":"https://unilink.academia.edu/MassimilianoCoviello?f_ri=6100","photo":"https://0.academia-photos.com/1213260/437494/21261075/s65_massimiliano.coviello.jpg"}</script></span></span></li><li class="js-paper-rank-work_16267349 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16267349"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16267349, container: ".js-paper-rank-work_16267349", }); 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Forme del contropotere tra cinema, video e fotografia nell’Italia degli anni Settanta\" (Mimesis, 2015) di Christian Uva.","downloadable_attachments":[{"id":38957911,"asset_id":16267349,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1213260,"first_name":"Massimiliano","last_name":"Coviello","domain_name":"unilink","page_name":"MassimilianoCoviello","display_name":"Massimiliano Coviello","profile_url":"https://unilink.academia.edu/MassimilianoCoviello?f_ri=6100","photo":"https://0.academia-photos.com/1213260/437494/21261075/s65_massimiliano.coviello.jpg"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=6100","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6100","nofollow":false},{"id":1568,"name":"Film 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Digital: Hybrid Moving Images in the Post-Media Age (ToC and Introduction) [Paperback in 2018]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27431138" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. <br /> <br />Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27431138" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3887b8e88898b8ddb3cf3f592f79679f" rel="nofollow" data-download="{"attachment_id":56242737,"asset_id":27431138,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56242737/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="253086" href="https://chungang.academia.edu/JKim">Jihoon Kim</a><script data-card-contents-for-user="253086" type="text/json">{"id":253086,"first_name":"Jihoon","last_name":"Kim","domain_name":"chungang","page_name":"JKim","display_name":"Jihoon Kim","profile_url":"https://chungang.academia.edu/JKim?f_ri=6100","photo":"https://0.academia-photos.com/253086/1000258/135707337/s65_jihoon.kim.jpg"}</script></span></span></li><li class="js-paper-rank-work_27431138 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27431138"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27431138, container: ".js-paper-rank-work_27431138", }); 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Jacobs","url":"https://www.academia.edu/Documents/in/Ken_Jacobs?f_ri=6100"},{"id":998258,"name":"Moving Image Art","url":"https://www.academia.edu/Documents/in/Moving_Image_Art?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11263610" data-work_id="11263610" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11263610/Historia_Cr%C3%ADtica_del_Video_Argentino_La_Ferla_Jorge_ed_MALBA_Museo_de_Arte_Latinoamericano_de_Buenos_Aires_EFT_Espacio_Fundaci%C3%B3n_Telef%C3%B3nica_Buenos_Aires_2008_ISBN_978_987_1271">Historia Crítica del Video Argentino. La Ferla, Jorge (ed.), MALBA, Museo de Arte Latinoamericano de Buenos Aires/EFT, Espacio Fundación Telefónica, Buenos Aires, 2008. ISBN 978-987-1271</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Un recorrido histórico por los movimientos y vertientes del audiovisual experimental en Argentina. Textos de Rodrigo Alonso, Adrián Cangi, Mariela Cantú, Gustavo Galuppo, Ana Claudia García, Anabel Márquez, Sofía Reynal, Graciela Taquini,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11263610" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Un recorrido histórico por los movimientos y vertientes del audiovisual experimental en Argentina. Textos de Rodrigo Alonso, Adrián Cangi, Mariela Cantú, Gustavo Galuppo, Ana Claudia García, Anabel Márquez, Sofía Reynal, Graciela Taquini, Mariela Yeregui.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11263610" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f7559b59a82b0230d1c6c979d7f08a5c" rel="nofollow" data-download="{"attachment_id":36855872,"asset_id":11263610,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36855872/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11054348" href="https://ucine.academia.edu/JorgeLaFerla">Jorge La Ferla</a><script data-card-contents-for-user="11054348" type="text/json">{"id":11054348,"first_name":"Jorge","last_name":"La Ferla","domain_name":"ucine","page_name":"JorgeLaFerla","display_name":"Jorge La Ferla","profile_url":"https://ucine.academia.edu/JorgeLaFerla?f_ri=6100","photo":"https://0.academia-photos.com/11054348/4167079/4853492/s65_jorge.la_ferla.jpg"}</script></span></span></li><li class="js-paper-rank-work_11263610 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11263610"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11263610, container: ".js-paper-rank-work_11263610", }); });</script></li><li class="js-percentile-work_11263610 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11263610; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_11263610"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11263610 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11263610"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11263610; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11263610]").text(description); $(".js-view-count-work_11263610").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11263610").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11263610"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="388" href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a>, <script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5299" href="https://www.academia.edu/Documents/in/Latin-American_Film">Latin-American Film</a>, <script data-card-contents-for-ri="5299" type="text/json">{"id":5299,"name":"Latin-American Film","url":"https://www.academia.edu/Documents/in/Latin-American_Film?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9813" href="https://www.academia.edu/Documents/in/Argentina">Argentina</a><script data-card-contents-for-ri="9813" type="text/json">{"id":9813,"name":"Argentina","url":"https://www.academia.edu/Documents/in/Argentina?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11263610]'), work: {"id":11263610,"title":"Historia Crítica del Video Argentino. La Ferla, Jorge (ed.), MALBA, Museo de Arte Latinoamericano de Buenos Aires/EFT, Espacio Fundación Telefónica, Buenos Aires, 2008. ISBN 978-987-1271","created_at":"2015-03-04T07:25:34.575-08:00","url":"https://www.academia.edu/11263610/Historia_Cr%C3%ADtica_del_Video_Argentino_La_Ferla_Jorge_ed_MALBA_Museo_de_Arte_Latinoamericano_de_Buenos_Aires_EFT_Espacio_Fundaci%C3%B3n_Telef%C3%B3nica_Buenos_Aires_2008_ISBN_978_987_1271?f_ri=6100","dom_id":"work_11263610","summary":"Un recorrido histórico por los movimientos y vertientes del audiovisual experimental en Argentina. Textos de Rodrigo Alonso, Adrián Cangi, Mariela Cantú, Gustavo Galuppo, Ana Claudia García, Anabel Márquez, Sofía Reynal, Graciela Taquini, Mariela Yeregui.","downloadable_attachments":[{"id":36855872,"asset_id":11263610,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11054348,"first_name":"Jorge","last_name":"La Ferla","domain_name":"ucine","page_name":"JorgeLaFerla","display_name":"Jorge La Ferla","profile_url":"https://ucine.academia.edu/JorgeLaFerla?f_ri=6100","photo":"https://0.academia-photos.com/11054348/4167079/4853492/s65_jorge.la_ferla.jpg"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=6100","nofollow":false},{"id":5299,"name":"Latin-American Film","url":"https://www.academia.edu/Documents/in/Latin-American_Film?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":9813,"name":"Argentina","url":"https://www.academia.edu/Documents/in/Argentina?f_ri=6100","nofollow":false},{"id":14261,"name":"Film and Video Art","url":"https://www.academia.edu/Documents/in/Film_and_Video_Art?f_ri=6100"},{"id":159995,"name":"América Latina","url":"https://www.academia.edu/Documents/in/Am%C3%A9rica_Latina?f_ri=6100"},{"id":613444,"name":"20th century Latin American literature and visual arts, theories of the avant-garde, Marxist and psychoanalytic theory","url":"https://www.academia.edu/Documents/in/20th_century_Latin_American_literature_and_visual_arts_theories_of_the_avant-garde_Marxist_and_psy?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8974657 coauthored" data-work_id="8974657" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8974657/Videoarte_en_Ja%C3%A9n">Videoarte en Jaén</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Dentro del libro VV.AA. (Coord: José Luis Crespo Fajardo). "Estéticas del Media Art". 2013 Alejada de los ámbitos de la vanguardia española, la provincia de Jaén ha quedado tradicionalmente marginada en cuanto a los estudios sobre arte... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8974657" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dentro del libro VV.AA. (Coord: José Luis Crespo Fajardo). "Estéticas del Media Art". 2013<br /><br />Alejada de los ámbitos de la vanguardia española, la <br />provincia de Jaén ha quedado tradicionalmente marginada en <br />cuanto a los estudios sobre arte contemporáneo. A pesar de <br />ello, el arte jiennense de las últimas décadas presenta una gran <br />variedad de expresiones artísticas, enmarcadas entre la <br />tradición y las últimas tendencias. Pretendemos hacer una <br />aproximación a una de las parcelas menos conocidas del actual <br />arte jiennense como es el videoarte que, aunque con menor <br />repercusión en relación a otras artes, sobresale por la <br />presencia de artistas conocidos nacional e internacionalmente <br />como Cristina Lucas, Isidro López Aparicio o Julio Juste, entre <br />otros.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8974657" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b7d04406fecf7c7cb953e10e395537a2" rel="nofollow" data-download="{"attachment_id":35289658,"asset_id":8974657,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35289658/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1771288" href="https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno">José Manuel Almansa</a><script data-card-contents-for-user="1771288" type="text/json">{"id":1771288,"first_name":"José Manuel","last_name":"Almansa","domain_name":"ujaen","page_name":"JoséManuelAlmansaMoreno","display_name":"José Manuel Almansa","profile_url":"https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno?f_ri=6100","photo":"https://0.academia-photos.com/1771288/1660394/36710690/s65_jos_manuel.almansa_moreno.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-8974657">+2</span><div class="hidden js-additional-users-8974657"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez">Rafael Mantas Fernández</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://jaen.academia.edu/LauraLuque">Laura Luque Rodrigo</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-8974657'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-8974657').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_8974657 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8974657"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8974657, container: ".js-paper-rank-work_8974657", }); });</script></li><li class="js-percentile-work_8974657 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 8974657; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_8974657"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_8974657 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="8974657"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 8974657; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=8974657]").text(description); $(".js-view-count-work_8974657").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8974657").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8974657"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a><script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8974657]'), work: {"id":8974657,"title":"Videoarte en Jaén","created_at":"2014-10-26T19:26:25.858-07:00","url":"https://www.academia.edu/8974657/Videoarte_en_Ja%C3%A9n?f_ri=6100","dom_id":"work_8974657","summary":"Dentro del libro VV.AA. (Coord: José Luis Crespo Fajardo). \"Estéticas del Media Art\". 2013\n\nAlejada de los ámbitos de la vanguardia española, la \nprovincia de Jaén ha quedado tradicionalmente marginada en \ncuanto a los estudios sobre arte contemporáneo. A pesar de \nello, el arte jiennense de las últimas décadas presenta una gran \nvariedad de expresiones artísticas, enmarcadas entre la \ntradición y las últimas tendencias. Pretendemos hacer una \naproximación a una de las parcelas menos conocidas del actual \narte jiennense como es el videoarte que, aunque con menor \nrepercusión en relación a otras artes, sobresale por la \npresencia de artistas conocidos nacional e internacionalmente \ncomo Cristina Lucas, Isidro López Aparicio o Julio Juste, entre \notros. ","downloadable_attachments":[{"id":35289658,"asset_id":8974657,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1771288,"first_name":"José Manuel","last_name":"Almansa","domain_name":"ujaen","page_name":"JoséManuelAlmansaMoreno","display_name":"José Manuel Almansa","profile_url":"https://ujaen.academia.edu/Jos%C3%A9ManuelAlmansaMoreno?f_ri=6100","photo":"https://0.academia-photos.com/1771288/1660394/36710690/s65_jos_manuel.almansa_moreno.png"},{"id":61722037,"first_name":"Rafael","last_name":"Mantas Fernández","domain_name":"jaen","page_name":"RafaelMantasFernández","display_name":"Rafael Mantas Fernández","profile_url":"https://jaen.academia.edu/RafaelMantasFern%C3%A1ndez?f_ri=6100","photo":"https://0.academia-photos.com/61722037/16040569/27178673/s65_rafael.mantas_fern_ndez.jpg"},{"id":6123517,"first_name":"Laura","last_name":"Luque Rodrigo","domain_name":"jaen","page_name":"LauraLuque","display_name":"Laura Luque Rodrigo","profile_url":"https://jaen.academia.edu/LauraLuque?f_ri=6100","photo":"https://0.academia-photos.com/6123517/76828230/65357614/s65_laura.luque_rodrigo.jpeg"}],"research_interests":[{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_73104025" data-work_id="73104025" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/73104025/Cat_Videos_and_the_Superflat_Cinema_of_Attractions">Cat Videos and the Superflat Cinema of Attractions</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The cuteness of cats, and people’s devotion to appreciating that cuteness has established cat videos’ value in the digital marketplace. As such, cat videos are emblematic of the shifts and transformations brought to cinematic production,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_73104025" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The cuteness of cats, and people’s devotion to appreciating that cuteness has established cat videos’ value in the digital marketplace. As such, cat videos are emblematic of the shifts and transformations brought to cinematic production, distribution, and exhibition in the Internet age. This paper unpacks the cat video phenomenon investigating the ways that the cat video formula reflects and revises forms and aesthetics that have been characteristic of amateur cinematic practice throughout film history and links that history to recent scholarship on the superflat. A close reading of two cat videos suggests the cat video’s adoption of the cinema of attractions model suggests that online video spectators are oriented toward affective connections with commercial interfaces.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/73104025" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="40597343" href="https://independent.academia.edu/leahshafer">leah shafer</a><script data-card-contents-for-user="40597343" type="text/json">{"id":40597343,"first_name":"leah","last_name":"shafer","domain_name":"independent","page_name":"leahshafer","display_name":"leah shafer","profile_url":"https://independent.academia.edu/leahshafer?f_ri=6100","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_73104025 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="73104025"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 73104025, container: ".js-paper-rank-work_73104025", }); });</script></li><li class="js-percentile-work_73104025 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 73104025; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_73104025"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_73104025 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="73104025"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 73104025; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=73104025]").text(description); $(".js-view-count-work_73104025").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_73104025").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="73104025"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12444" href="https://www.academia.edu/Documents/in/Film_History">Film History</a>, <script data-card-contents-for-ri="12444" type="text/json">{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="42350" href="https://www.academia.edu/Documents/in/Youtube">Youtube</a><script data-card-contents-for-ri="42350" type="text/json">{"id":42350,"name":"Youtube","url":"https://www.academia.edu/Documents/in/Youtube?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=73104025]'), work: {"id":73104025,"title":"Cat Videos and the Superflat Cinema of Attractions","created_at":"2022-03-05T05:17:15.324-08:00","url":"https://www.academia.edu/73104025/Cat_Videos_and_the_Superflat_Cinema_of_Attractions?f_ri=6100","dom_id":"work_73104025","summary":"The cuteness of cats, and people’s devotion to appreciating that cuteness has established cat videos’ value in the digital marketplace. As such, cat videos are emblematic of the shifts and transformations brought to cinematic production, distribution, and exhibition in the Internet age. This paper unpacks the cat video phenomenon investigating the ways that the cat video formula reflects and revises forms and aesthetics that have been characteristic of amateur cinematic practice throughout film history and links that history to recent scholarship on the superflat. A close reading of two cat videos suggests the cat video’s adoption of the cinema of attractions model suggests that online video spectators are oriented toward affective connections with commercial interfaces.","downloadable_attachments":[],"ordered_authors":[{"id":40597343,"first_name":"leah","last_name":"shafer","domain_name":"independent","page_name":"leahshafer","display_name":"leah shafer","profile_url":"https://independent.academia.edu/leahshafer?f_ri=6100","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=6100","nofollow":false},{"id":42350,"name":"Youtube","url":"https://www.academia.edu/Documents/in/Youtube?f_ri=6100","nofollow":false},{"id":51922,"name":"Film Criticism","url":"https://www.academia.edu/Documents/in/Film_Criticism?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29428074" data-work_id="29428074" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29428074/Prendre_des_vues_Pratiques_de_larchive_dans_la_cr%C3%A9ation_contemporaine">Prendre des vues. Pratiques de l'archive dans la création contemporaine</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Communication dans le cadre de la journée d'études : « Les formes audiovisuelles connectées : pratiques de création et expérience spectatorielle », organisée à l’Université de Toulouse 2 Jean-Jaurès par les laboratoires RIRRA21 et LERASS... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29428074" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Communication dans le cadre de la journée d'études : « Les formes audiovisuelles connectées : pratiques de création et expérience spectatorielle », organisée à l’Université de Toulouse 2 Jean-Jaurès par les laboratoires RIRRA21 et LERASS du 5 au 7 avril 2016. <br /> <br />Résumé : A partir de trois exemples concrets de cinéastes contemporains (Peter Snowdon, Silvia Maglioni et Graeme Thomson et Danielle Vallet Kleiner), examen de l’idée selon laquelle les médias Internet ont produit une situation nouvelle où les images existent avant même que les artistes aient besoin de les produire eux-mêmes, déplaçant le lieu de l’écriture filmique dans le régime de la post-production. La pratique des images devient dès lors une manière, non plus de réaliser des images possibles, mais de révéler des potentialités multiples (du point de vue plastique mais aussi du sens) dans des images déjà réalisées.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29428074" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="48191323" href="https://univ-st-etienne.academia.edu/RodolpheOlc%C3%A8se">Rodolphe Olcèse</a><script data-card-contents-for-user="48191323" type="text/json">{"id":48191323,"first_name":"Rodolphe","last_name":"Olcèse","domain_name":"univ-st-etienne","page_name":"RodolpheOlcèse","display_name":"Rodolphe Olcèse","profile_url":"https://univ-st-etienne.academia.edu/RodolpheOlc%C3%A8se?f_ri=6100","photo":"https://0.academia-photos.com/48191323/12688690/107180943/s65_rodolphe.olc_se.jpg"}</script></span></span></li><li class="js-paper-rank-work_29428074 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29428074"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29428074, container: ".js-paper-rank-work_29428074", }); });</script></li><li class="js-percentile-work_29428074 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29428074; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_29428074"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_29428074 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="29428074"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29428074; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29428074]").text(description); $(".js-view-count-work_29428074").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29428074").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29428074"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7513" href="https://www.academia.edu/Documents/in/Archives">Archives</a>, <script data-card-contents-for-ri="7513" type="text/json">{"id":7513,"name":"Archives","url":"https://www.academia.edu/Documents/in/Archives?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="382102" href="https://www.academia.edu/Documents/in/Art_contemporain">Art contemporain</a><script data-card-contents-for-ri="382102" type="text/json">{"id":382102,"name":"Art contemporain","url":"https://www.academia.edu/Documents/in/Art_contemporain?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29428074]'), work: {"id":29428074,"title":"Prendre des vues. Pratiques de l'archive dans la création contemporaine","created_at":"2016-10-25T22:48:32.980-07:00","url":"https://www.academia.edu/29428074/Prendre_des_vues_Pratiques_de_larchive_dans_la_cr%C3%A9ation_contemporaine?f_ri=6100","dom_id":"work_29428074","summary":"Communication dans le cadre de la journée d'études : « Les formes audiovisuelles connectées : pratiques de création et expérience spectatorielle », organisée à l’Université de Toulouse 2 Jean-Jaurès par les laboratoires RIRRA21 et LERASS du 5 au 7 avril 2016. \r\n\r\nRésumé : A partir de trois exemples concrets de cinéastes contemporains (Peter Snowdon, Silvia Maglioni et Graeme Thomson et Danielle Vallet Kleiner), examen de l’idée selon laquelle les médias Internet ont produit une situation nouvelle où les images existent avant même que les artistes aient besoin de les produire eux-mêmes, déplaçant le lieu de l’écriture filmique dans le régime de la post-production. La pratique des images devient dès lors une manière, non plus de réaliser des images possibles, mais de révéler des potentialités multiples (du point de vue plastique mais aussi du sens) dans des images déjà réalisées.","downloadable_attachments":[],"ordered_authors":[{"id":48191323,"first_name":"Rodolphe","last_name":"Olcèse","domain_name":"univ-st-etienne","page_name":"RodolpheOlcèse","display_name":"Rodolphe Olcèse","profile_url":"https://univ-st-etienne.academia.edu/RodolpheOlc%C3%A8se?f_ri=6100","photo":"https://0.academia-photos.com/48191323/12688690/107180943/s65_rodolphe.olc_se.jpg"}],"research_interests":[{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":7513,"name":"Archives","url":"https://www.academia.edu/Documents/in/Archives?f_ri=6100","nofollow":false},{"id":382102,"name":"Art contemporain","url":"https://www.academia.edu/Documents/in/Art_contemporain?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10608771" data-work_id="10608771" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10608771/Matt_Haffner_Dreams_of_a_Sleeping_Giant">Matt Haffner Dreams of a Sleeping Giant </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Matt Haffner's cut and pasted paper wall murals and videos present film noir inspired narrative fragments, and mine art history, popular culture and contemporary life, in the Museum of Contemporary Art of Georgia's 2008-2009 Working... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10608771" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Matt Haffner's cut and pasted paper wall murals and videos present film noir inspired narrative fragments, and mine art history, popular culture and contemporary life, in the Museum of Contemporary Art of Georgia's 2008-2009 Working Artists Project Series.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10608771" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="653eb3da97b0bc7f67ffe49ad41abf46" rel="nofollow" data-download="{"attachment_id":36556723,"asset_id":10608771,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36556723/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1562325" href="https://kennesaw.academia.edu/DianaMcClintock">Diana McClintock</a><script data-card-contents-for-user="1562325" type="text/json">{"id":1562325,"first_name":"Diana","last_name":"McClintock","domain_name":"kennesaw","page_name":"DianaMcClintock","display_name":"Diana McClintock","profile_url":"https://kennesaw.academia.edu/DianaMcClintock?f_ri=6100","photo":"https://0.academia-photos.com/1562325/1123479/8528395/s65_diana.mcclintock.jpg"}</script></span></span></li><li class="js-paper-rank-work_10608771 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10608771"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10608771, container: ".js-paper-rank-work_10608771", }); });</script></li><li class="js-percentile-work_10608771 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10608771; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_10608771"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_10608771 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="10608771"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10608771; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10608771]").text(description); $(".js-view-count-work_10608771").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10608771").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10608771"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2080" href="https://www.academia.edu/Documents/in/Installation_Art">Installation Art</a>, <script data-card-contents-for-ri="2080" type="text/json">{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10444" href="https://www.academia.edu/Documents/in/Postmodernism">Postmodernism</a><script data-card-contents-for-ri="10444" type="text/json">{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10608771]'), work: {"id":10608771,"title":"Matt Haffner Dreams of a Sleeping Giant ","created_at":"2015-02-07T16:49:41.557-08:00","url":"https://www.academia.edu/10608771/Matt_Haffner_Dreams_of_a_Sleeping_Giant?f_ri=6100","dom_id":"work_10608771","summary":"Matt Haffner's cut and pasted paper wall murals and videos present film noir inspired narrative fragments, and mine art history, popular culture and contemporary life, in the Museum of Contemporary Art of Georgia's 2008-2009 Working Artists Project Series.","downloadable_attachments":[{"id":36556723,"asset_id":10608771,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1562325,"first_name":"Diana","last_name":"McClintock","domain_name":"kennesaw","page_name":"DianaMcClintock","display_name":"Diana McClintock","profile_url":"https://kennesaw.academia.edu/DianaMcClintock?f_ri=6100","photo":"https://0.academia-photos.com/1562325/1123479/8528395/s65_diana.mcclintock.jpg"}],"research_interests":[{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=6100","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism?f_ri=6100","nofollow":false},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5921980 coauthored" data-work_id="5921980" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5921980/Jordi_Colomer_LA_SOUPE_AM%C3%89RICAINE_THE_AMERICAN_SOUP_2013_FR_">Jordi Colomer. LA SOUPE AMÉRICAINE /THE AMERICAN SOUP. 2013 (FR)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5921980" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ff64355cf4059a5863896019677c3358" rel="nofollow" data-download="{"attachment_id":32899816,"asset_id":5921980,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32899816/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4433477" href="https://independent.academia.edu/JordiColomer">Jordi Colomer</a><script data-card-contents-for-user="4433477" type="text/json">{"id":4433477,"first_name":"Jordi","last_name":"Colomer","domain_name":"independent","page_name":"JordiColomer","display_name":"Jordi Colomer","profile_url":"https://independent.academia.edu/JordiColomer?f_ri=6100","photo":"https://0.academia-photos.com/4433477/1807778/2154552/s65_jordi.colomer.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-5921980">+1</span><div class="hidden js-additional-users-5921980"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/MichelRein">Michel Rein</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-5921980'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-5921980').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_5921980 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="5921980"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5921980; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=5921980]").text(description); $(".js-view-count-work_5921980").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5921980").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5921980"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16196" href="https://www.academia.edu/Documents/in/Film_and_Digital_Video">Film & Digital Video</a><script data-card-contents-for-ri="16196" type="text/json">{"id":16196,"name":"Film \u0026 Digital Video","url":"https://www.academia.edu/Documents/in/Film_and_Digital_Video?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5921980]'), work: {"id":5921980,"title":"Jordi Colomer. LA SOUPE AMÉRICAINE /THE AMERICAN SOUP. 2013 (FR)","created_at":"2014-02-02T07:48:18.587-08:00","url":"https://www.academia.edu/5921980/Jordi_Colomer_LA_SOUPE_AM%C3%89RICAINE_THE_AMERICAN_SOUP_2013_FR_?f_ri=6100","dom_id":"work_5921980","summary":null,"downloadable_attachments":[{"id":32899816,"asset_id":5921980,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4433477,"first_name":"Jordi","last_name":"Colomer","domain_name":"independent","page_name":"JordiColomer","display_name":"Jordi Colomer","profile_url":"https://independent.academia.edu/JordiColomer?f_ri=6100","photo":"https://0.academia-photos.com/4433477/1807778/2154552/s65_jordi.colomer.jpg"},{"id":52719268,"first_name":"Michel","last_name":"Rein","domain_name":"independent","page_name":"MichelRein","display_name":"Michel Rein","profile_url":"https://independent.academia.edu/MichelRein?f_ri=6100","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":16196,"name":"Film \u0026 Digital Video","url":"https://www.academia.edu/Documents/in/Film_and_Digital_Video?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28204419" data-work_id="28204419" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28204419/I_sentieri_Interrotti_del_Video_Conversazione_con_Paolo_Rosa_e_Fabio_Cirifino">I sentieri Interrotti del Video. Conversazione con Paolo Rosa e Fabio Cirifino</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28204419" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a7e15897155df4061b585b3c59d30617" rel="nofollow" data-download="{"attachment_id":48515900,"asset_id":28204419,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48515900/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="14337188" href="https://uniroma1.academia.edu/vvalentini">valentina valentini</a><script data-card-contents-for-user="14337188" type="text/json">{"id":14337188,"first_name":"valentina","last_name":"valentini","domain_name":"uniroma1","page_name":"vvalentini","display_name":"valentina valentini","profile_url":"https://uniroma1.academia.edu/vvalentini?f_ri=6100","photo":"https://0.academia-photos.com/14337188/3922225/4586036/s65_valentina.valentini.jpg"}</script></span></span></li><li class="js-paper-rank-work_28204419 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28204419"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28204419, container: ".js-paper-rank-work_28204419", }); });</script></li><li class="js-percentile-work_28204419 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 28204419; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_28204419"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_28204419 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="28204419"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28204419; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=28204419]").text(description); $(".js-view-count-work_28204419").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28204419").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28204419"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a><script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28204419]'), work: {"id":28204419,"title":"I sentieri Interrotti del Video. Conversazione con Paolo Rosa e Fabio Cirifino","created_at":"2016-09-02T07:33:08.072-07:00","url":"https://www.academia.edu/28204419/I_sentieri_Interrotti_del_Video_Conversazione_con_Paolo_Rosa_e_Fabio_Cirifino?f_ri=6100","dom_id":"work_28204419","summary":null,"downloadable_attachments":[{"id":48515900,"asset_id":28204419,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":14337188,"first_name":"valentina","last_name":"valentini","domain_name":"uniroma1","page_name":"vvalentini","display_name":"valentina valentini","profile_url":"https://uniroma1.academia.edu/vvalentini?f_ri=6100","photo":"https://0.academia-photos.com/14337188/3922225/4586036/s65_valentina.valentini.jpg"}],"research_interests":[{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40589787" data-work_id="40589787" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40589787/Middle_eastern_female_media_artists_and_self_body_image_as_a_freedom_concept">Middle eastern female media artists and self-body image as a freedom concept</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"The goal of Feminist art was to influence cultural attitudes and transform stereotypes " Suzanne Lacy As a conceptual approach; Female body is one of our cultural barriers over history, also it was always a source of inspiration through... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40589787" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"The goal of Feminist art was to influence cultural attitudes and transform stereotypes " Suzanne Lacy As a conceptual approach; Female body is one of our cultural barriers over history, also it was always a source of inspiration through art history. Using female body as an art theme was practiced in different movements, with different concepts, and approaches. Women have struggled historically against certain paradigms of inferiority till nowadays, women in different societies have their own cultural identity, which differs according to their own believes and their own customs. Many of this culture and its customs, are based on a patriarchal past where men wield more power than women. As a result Women worldwide experience subjugation in the fields of jobs, education, sexuality and reproductive choice. Female body in middle east societies, is red line, that artist are not allowed to surpass, although many of middle east civilizations was dealing freely with female body, as we see in paintings and statues of ancient Egyptian, but many social, religious factors made female body a taboo. Looking closely to modern art history in Middle East and Islamic countries, we found brilliant wild female artists really succeeded to break the rules, they chose to express their own art in a freedom way, they chose to use their own body as an art medium which make them a pioneer in their own countries, who had been followed by many female artist after them. Media art had been flourished in Arab countries, especially in Egypt in the nineties of 20 th century. Many female artist had prove themselves as pioneers, trying to identify themselves by new form, and challenging the regular stereotype about female artists in that time. This way for expressing and identifying themselves had developed over time, and takes more advanced approaches in 21 st century This paper as a general approach discusses; how Middle Eastern female media artists struggled to transform stereotypes of women, by using their own body as an element, and how they express freedom concept through self body image.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40589787" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e2f8f74d8e671e598e6b3d79ffd08b79" rel="nofollow" data-download="{"attachment_id":60869526,"asset_id":40589787,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60869526/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="14198587" href="https://design21sdn.academia.edu/OmniaSalah">Omnia Salah</a><script data-card-contents-for-user="14198587" type="text/json">{"id":14198587,"first_name":"Omnia","last_name":"Salah","domain_name":"design21sdn","page_name":"OmniaSalah","display_name":"Omnia Salah","profile_url":"https://design21sdn.academia.edu/OmniaSalah?f_ri=6100","photo":"https://0.academia-photos.com/14198587/3897808/29979866/s65_omnia.salah.jpg"}</script></span></span></li><li class="js-paper-rank-work_40589787 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40589787"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40589787, container: ".js-paper-rank-work_40589787", }); });</script></li><li class="js-percentile-work_40589787 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40589787; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40589787"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40589787 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40589787"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40589787; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40589787]").text(description); $(".js-view-count-work_40589787").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40589787").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40589787"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12693" href="https://www.academia.edu/Documents/in/Body_Image">Body Image</a><script data-card-contents-for-ri="12693" type="text/json">{"id":12693,"name":"Body Image","url":"https://www.academia.edu/Documents/in/Body_Image?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40589787]'), work: {"id":40589787,"title":"Middle eastern female media artists and self-body image as a freedom concept","created_at":"2019-10-11T03:59:24.938-07:00","url":"https://www.academia.edu/40589787/Middle_eastern_female_media_artists_and_self_body_image_as_a_freedom_concept?f_ri=6100","dom_id":"work_40589787","summary":"\"The goal of Feminist art was to influence cultural attitudes and transform stereotypes \" Suzanne Lacy As a conceptual approach; Female body is one of our cultural barriers over history, also it was always a source of inspiration through art history. Using female body as an art theme was practiced in different movements, with different concepts, and approaches. Women have struggled historically against certain paradigms of inferiority till nowadays, women in different societies have their own cultural identity, which differs according to their own believes and their own customs. Many of this culture and its customs, are based on a patriarchal past where men wield more power than women. As a result Women worldwide experience subjugation in the fields of jobs, education, sexuality and reproductive choice. Female body in middle east societies, is red line, that artist are not allowed to surpass, although many of middle east civilizations was dealing freely with female body, as we see in paintings and statues of ancient Egyptian, but many social, religious factors made female body a taboo. Looking closely to modern art history in Middle East and Islamic countries, we found brilliant wild female artists really succeeded to break the rules, they chose to express their own art in a freedom way, they chose to use their own body as an art medium which make them a pioneer in their own countries, who had been followed by many female artist after them. Media art had been flourished in Arab countries, especially in Egypt in the nineties of 20 th century. Many female artist had prove themselves as pioneers, trying to identify themselves by new form, and challenging the regular stereotype about female artists in that time. This way for expressing and identifying themselves had developed over time, and takes more advanced approaches in 21 st century This paper as a general approach discusses; how Middle Eastern female media artists struggled to transform stereotypes of women, by using their own body as an element, and how they express freedom concept through self body image.","downloadable_attachments":[{"id":60869526,"asset_id":40589787,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":14198587,"first_name":"Omnia","last_name":"Salah","domain_name":"design21sdn","page_name":"OmniaSalah","display_name":"Omnia Salah","profile_url":"https://design21sdn.academia.edu/OmniaSalah?f_ri=6100","photo":"https://0.academia-photos.com/14198587/3897808/29979866/s65_omnia.salah.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=6100","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":12693,"name":"Body Image","url":"https://www.academia.edu/Documents/in/Body_Image?f_ri=6100","nofollow":false},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6100"},{"id":61730,"name":"Art and Cultural Theory, Postcolonialism, Gender and Feminism","url":"https://www.academia.edu/Documents/in/Art_and_Cultural_Theory_Postcolonialism_Gender_and_Feminism?f_ri=6100"},{"id":997752,"name":"Media Arts Histories","url":"https://www.academia.edu/Documents/in/Media_Arts_Histories?f_ri=6100"},{"id":1782078,"name":"Modern and contemporary art in the Middle East","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_art_in_the_Middle_East?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44961211" data-work_id="44961211" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44961211/Bertille_Bak_La_fiaba_del_reale">Bertille Bak. La fiaba del reale</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The monographic essay on Bertille Bak (Arras, 1983), "The Fairy Tale of the Real" (in Italian and English), retraces the work of the French artist over the last decade, from 2007 to 2017, identifying the cornerstones of her art, framing... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44961211" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The monographic essay on Bertille Bak (Arras, 1983), "The Fairy Tale of the Real" (in Italian and English), retraces the work of the French artist over the last decade, from 2007 to 2017, identifying the cornerstones of her art, framing her in the historical artistic context referable to the definition of Hal Foster of “the artist as ethnographer”, and comparing her with other national and international artists.<br />Bak’s artworks are the result of months of observation and cohabitation with groups of individuals whose story is in danger of extinction and who become co-producers of her film works and many of the objects derived. The collective participation, which goes from concept to acting, from scenography to sound, is the pivot of Bak's methodology, to which has to be added the aim of creating a light and imaginary narration, with ironic and burlesque tones. And it is through the use of the fable and the accentuation of the artifacts that Bak finds a poetic shortcut to tell the truth.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44961211" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="12fb871e392832d66728936500735a3d" rel="nofollow" data-download="{"attachment_id":65494081,"asset_id":44961211,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65494081/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="133139845" href="https://aur.academia.edu/ManuelaPacella">Manuela Pacella</a><script data-card-contents-for-user="133139845" type="text/json">{"id":133139845,"first_name":"Manuela","last_name":"Pacella","domain_name":"aur","page_name":"ManuelaPacella","display_name":"Manuela Pacella","profile_url":"https://aur.academia.edu/ManuelaPacella?f_ri=6100","photo":"https://0.academia-photos.com/133139845/35989614/34901485/s65_manuela.pacella.jpg"}</script></span></span></li><li class="js-paper-rank-work_44961211 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44961211"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44961211, container: ".js-paper-rank-work_44961211", }); });</script></li><li class="js-percentile-work_44961211 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44961211; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44961211"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44961211 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44961211"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44961211; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44961211]").text(description); $(".js-view-count-work_44961211").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44961211").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44961211"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a><script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44961211]'), work: {"id":44961211,"title":"Bertille Bak. La fiaba del reale","created_at":"2021-01-23T07:52:19.731-08:00","url":"https://www.academia.edu/44961211/Bertille_Bak_La_fiaba_del_reale?f_ri=6100","dom_id":"work_44961211","summary":"The monographic essay on Bertille Bak (Arras, 1983), \"The Fairy Tale of the Real\" (in Italian and English), retraces the work of the French artist over the last decade, from 2007 to 2017, identifying the cornerstones of her art, framing her in the historical artistic context referable to the definition of Hal Foster of “the artist as ethnographer”, and comparing her with other national and international artists.\nBak’s artworks are the result of months of observation and cohabitation with groups of individuals whose story is in danger of extinction and who become co-producers of her film works and many of the objects derived. The collective participation, which goes from concept to acting, from scenography to sound, is the pivot of Bak's methodology, to which has to be added the aim of creating a light and imaginary narration, with ironic and burlesque tones. And it is through the use of the fable and the accentuation of the artifacts that Bak finds a poetic shortcut to tell the truth.","downloadable_attachments":[{"id":65494081,"asset_id":44961211,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":133139845,"first_name":"Manuela","last_name":"Pacella","domain_name":"aur","page_name":"ManuelaPacella","display_name":"Manuela Pacella","profile_url":"https://aur.academia.edu/ManuelaPacella?f_ri=6100","photo":"https://0.academia-photos.com/133139845/35989614/34901485/s65_manuela.pacella.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44301261" data-work_id="44301261" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44301261/Divinazioni_Divinations">Divinazioni / Divinations</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">“Divinazioni/Divinations” the artist in residence program born in 2012 in Sicily and curated by Giusi Diana, arises from the need to combine contemporary art, archeology, visual and aural landscape, aesthetic and technological... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44301261" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">“Divinazioni/Divinations” the artist in residence program born in 2012 in Sicily and curated by Giusi Diana, arises from the need to combine contemporary art, archeology, visual and aural landscape, aesthetic and technological innovation. <br />The italian and international artists of the three editions have been invited, according to a dynamic view of history, to give life to a contemporary view of the extraordinary archeological sites of the Temples Valley of Agrigento. An interdisciplinary model of residences, innovative and experimental, has had the dual purpose of expanding the fields of interest of two types of audience, that of contemporary art and that of archeology, providing artists the chance to live un unconventional experience far from the usual circuits of contemporary art, and encouraging a process of reflection on the past to actualize the History. The artists of “Divinazioni/Divinations” Domenico Sciajno and Sergio Zavattieri in the first edition, Laboratorio Saccardi in the second and Alterazioni Video in the firth, in the suspended time wich has been the residency, they have been worked to a freely creative site-specific project, emerged from a truly extraordinary suggestion of the place. The result of this process is shown in the three final exhibitions in Villa Aurea.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44301261" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="baa477877d9d518ae3f0732f281c32dd" rel="nofollow" data-download="{"attachment_id":64685663,"asset_id":44301261,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64685663/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6919120" href="https://independent.academia.edu/GiusiDiana">Giusi Diana</a><script data-card-contents-for-user="6919120" type="text/json">{"id":6919120,"first_name":"Giusi","last_name":"Diana","domain_name":"independent","page_name":"GiusiDiana","display_name":"Giusi Diana","profile_url":"https://independent.academia.edu/GiusiDiana?f_ri=6100","photo":"https://0.academia-photos.com/6919120/31171181/37475643/s65_giusi.diana.jpg"}</script></span></span></li><li class="js-paper-rank-work_44301261 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44301261"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44301261, container: ".js-paper-rank-work_44301261", }); });</script></li><li class="js-percentile-work_44301261 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44301261; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44301261"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44301261 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44301261"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44301261; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44301261]").text(description); $(".js-view-count-work_44301261").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44301261").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44301261"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1589" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2795" href="https://www.academia.edu/Documents/in/Landscape_Archaeology">Landscape Archaeology</a>, <script data-card-contents-for-ri="2795" type="text/json">{"id":2795,"name":"Landscape Archaeology","url":"https://www.academia.edu/Documents/in/Landscape_Archaeology?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5463" href="https://www.academia.edu/Documents/in/Performance_Art">Performance Art</a><script data-card-contents-for-ri="5463" type="text/json">{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44301261]'), work: {"id":44301261,"title":"Divinazioni / Divinations","created_at":"2020-10-15T01:58:46.970-07:00","url":"https://www.academia.edu/44301261/Divinazioni_Divinations?f_ri=6100","dom_id":"work_44301261","summary":"“Divinazioni/Divinations” the artist in residence program born in 2012 in Sicily and curated by Giusi Diana, arises from the need to combine contemporary art, archeology, visual and aural landscape, aesthetic and technological innovation. \nThe italian and international artists of the three editions have been invited, according to a dynamic view of history, to give life to a contemporary view of the extraordinary archeological sites of the Temples Valley of Agrigento. An interdisciplinary model of residences, innovative and experimental, has had the dual purpose of expanding the fields of interest of two types of audience, that of contemporary art and that of archeology, providing artists the chance to live un unconventional experience far from the usual circuits of contemporary art, and encouraging a process of reflection on the past to actualize the History. The artists of “Divinazioni/Divinations” Domenico Sciajno and Sergio Zavattieri in the first edition, Laboratorio Saccardi in the second and Alterazioni Video in the firth, in the suspended time wich has been the residency, they have been worked to a freely creative site-specific project, emerged from a truly extraordinary suggestion of the place. The result of this process is shown in the three final exhibitions in Villa Aurea. ","downloadable_attachments":[{"id":64685663,"asset_id":44301261,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6919120,"first_name":"Giusi","last_name":"Diana","domain_name":"independent","page_name":"GiusiDiana","display_name":"Giusi Diana","profile_url":"https://independent.academia.edu/GiusiDiana?f_ri=6100","photo":"https://0.academia-photos.com/6919120/31171181/37475643/s65_giusi.diana.jpg"}],"research_interests":[{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=6100","nofollow":false},{"id":2795,"name":"Landscape Archaeology","url":"https://www.academia.edu/Documents/in/Landscape_Archaeology?f_ri=6100","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false},{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100"},{"id":31793,"name":"Sound Art","url":"https://www.academia.edu/Documents/in/Sound_Art?f_ri=6100"},{"id":88196,"name":"Archeologia Siciliana","url":"https://www.academia.edu/Documents/in/Archeologia_Siciliana?f_ri=6100"},{"id":181201,"name":"Art in public space","url":"https://www.academia.edu/Documents/in/Art_in_public_space?f_ri=6100"},{"id":951143,"name":"Archeology","url":"https://www.academia.edu/Documents/in/Archeology?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41960994" data-work_id="41960994" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41960994/2020_CAA_session_Feedback_and_Feedforth_New_Approaches_to_Nam_June_Paik_a_response_paper">2020 CAA session Feedback and Feedforth: New Approaches to Nam June Paik - a response paper</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">New scholarship on Nam June Paik is a thematic focus of 2020 College Art Association Annual Conference session Feedback and Feedforth: New Approaches to Nam June Paik. Organized by Gregory Zinman of the Georgia Institute of Technology,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41960994" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">New scholarship on Nam June Paik is a thematic focus of 2020 College Art Association Annual Conference session Feedback and Feedforth: New Approaches to Nam June Paik. Organized by Gregory Zinman of the Georgia Institute of Technology, with contributions by Marina Isgro, Johanna Gosse and Gregory Zinman. Response by Hanna Hölling.<br /><br />Thursday, February 13, 2020, 4:00 PM - 5:30 PM Hilton Chicago - 8th Floor - Lake Ontario<br /><br />CHAIR Gregory Zinman, Georgia Institute of Technology<br /><br />DISCUSSANT Hanna Barbara Hölling, University College London<br /><br />PRESENTATIONS<br /><br />This Is Participation TV: Nam June Paik at WGBH, Boston: Marina Isgro<br /><br />Ray Johnson and Nam June Paik, Incommunicado: Johanna Gosse, University of Colorado, Boulder<br /><br />Video Art’s Past and Present ‘Future Tense’: The Case of Nam June Paik’s Satellite Works: Gregory Zinman, Georgia Institute of Technology</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41960994" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="afa17e940b1c7defa9999005566e593a" rel="nofollow" data-download="{"attachment_id":62084382,"asset_id":41960994,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62084382/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="246927" href="https://ucl.academia.edu/HannaH%C3%B6lling">Hanna B . Hölling</a><script data-card-contents-for-user="246927" type="text/json">{"id":246927,"first_name":"Hanna","last_name":"Hölling","domain_name":"ucl","page_name":"HannaHölling","display_name":"Hanna B . Hölling","profile_url":"https://ucl.academia.edu/HannaH%C3%B6lling?f_ri=6100","photo":"https://0.academia-photos.com/246927/53398/156250737/s65_hanna.h_lling.png"}</script></span></span></li><li class="js-paper-rank-work_41960994 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41960994"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41960994, container: ".js-paper-rank-work_41960994", }); });</script></li><li class="js-percentile-work_41960994 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41960994; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_41960994"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_41960994 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="41960994"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41960994; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41960994]").text(description); $(".js-view-count-work_41960994").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41960994").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41960994"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="933" href="https://www.academia.edu/Documents/in/New_Media">New Media</a>, <script data-card-contents-for-ri="933" type="text/json">{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1571" href="https://www.academia.edu/Documents/in/Television_Studies">Television Studies</a>, <script data-card-contents-for-ri="1571" type="text/json">{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2809" href="https://www.academia.edu/Documents/in/Conservation">Conservation</a><script data-card-contents-for-ri="2809" type="text/json">{"id":2809,"name":"Conservation","url":"https://www.academia.edu/Documents/in/Conservation?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41960994]'), work: {"id":41960994,"title":"2020 CAA session Feedback and Feedforth: New Approaches to Nam June Paik - a response paper","created_at":"2020-02-13T00:47:30.705-08:00","url":"https://www.academia.edu/41960994/2020_CAA_session_Feedback_and_Feedforth_New_Approaches_to_Nam_June_Paik_a_response_paper?f_ri=6100","dom_id":"work_41960994","summary":"New scholarship on Nam June Paik is a thematic focus of 2020 College Art Association Annual Conference session Feedback and Feedforth: New Approaches to Nam June Paik. Organized by Gregory Zinman of the Georgia Institute of Technology, with contributions by Marina Isgro, Johanna Gosse and Gregory Zinman. Response by Hanna Hölling.\n\nThursday, February 13, 2020, 4:00 PM - 5:30 PM Hilton Chicago - 8th Floor - Lake Ontario\n\nCHAIR Gregory Zinman, Georgia Institute of Technology\n\nDISCUSSANT Hanna Barbara Hölling, University College London\n\nPRESENTATIONS\n\nThis Is Participation TV: Nam June Paik at WGBH, Boston: Marina Isgro\n\nRay Johnson and Nam June Paik, Incommunicado: Johanna Gosse, University of Colorado, Boulder\n\nVideo Art’s Past and Present ‘Future Tense’: The Case of Nam June Paik’s Satellite Works: Gregory Zinman, Georgia Institute of Technology\n ","downloadable_attachments":[{"id":62084382,"asset_id":41960994,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":246927,"first_name":"Hanna","last_name":"Hölling","domain_name":"ucl","page_name":"HannaHölling","display_name":"Hanna B . Hölling","profile_url":"https://ucl.academia.edu/HannaH%C3%B6lling?f_ri=6100","photo":"https://0.academia-photos.com/246927/53398/156250737/s65_hanna.h_lling.png"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6100","nofollow":false},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6100","nofollow":false},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=6100","nofollow":false},{"id":2809,"name":"Conservation","url":"https://www.academia.edu/Documents/in/Conservation?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100"},{"id":6735,"name":"Heritage Conservation","url":"https://www.academia.edu/Documents/in/Heritage_Conservation?f_ri=6100"},{"id":6861,"name":"New Media Performance and Installation","url":"https://www.academia.edu/Documents/in/New_Media_Performance_and_Installation?f_ri=6100"},{"id":160829,"name":"Nam June Paik","url":"https://www.academia.edu/Documents/in/Nam_June_Paik?f_ri=6100"},{"id":330779,"name":"Satelite Communication","url":"https://www.academia.edu/Documents/in/Satelite_Communication?f_ri=6100"},{"id":994082,"name":"Video Sculpture","url":"https://www.academia.edu/Documents/in/Video_Sculpture?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33842929" data-work_id="33842929" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33842929/Master_thesis_A_Sense_of_Time_in_Transit_Spaces_Video_projection_artworks_in_public_train_station_buildings">Master thesis: A Sense of Time in Transit Spaces - Video projection artworks in public train station buildings</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This thesis intends to develop a new methodology aimed at describing, how casual viewers and commuters meet and experience video projection artworks integrated in public train station buildings. The primary focus is on two selected video... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33842929" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis intends to develop a new methodology aimed at describing, how casual viewers and commuters meet and experience video projection artworks integrated in public train station buildings. The primary focus is on two selected video projection artworks: LoopLoop (2008) by Patrick Bergeron which was shown at DIAS Art Space in Vallensbæk, Denmark in 2014 and Elsewhere / Annorstädes / Ailleurs (2010) by Tania Ruiz Gutiérrez which is a permanently inte-grated commission piece for the Malmö Central Station in Southern Sweden. <br /> The main assumption of the thesis is that video projection artworks have important artistic potentials when placed in transit spaces. By analysing the two artworks I will make visi-ble how they permit a specific type of gaze, perception, and sense of time due to their location in the train station transit spaces. As such, the artworks function as catalysts for what I term "time travel spaces", which as an artistic strategy responds to the contemporary accelerated and com-pressed temporality and spatiality by enlarging the human experience of space and time. The "time travel space" takes its departure from the time-space compression initiated by the Industri-alisation and evolves in relation to historically and technologically conditioned sight perceptions including train travel, the panorama, and the diorama. <br /> By focusing on the human experience of the artworks I wish to insist on the em-bodied human subject as the focal point for investigations of visual phenomena and visuality in general, but also for any studies regarding contemporary urban space. The viewers’ experiences do matter and we need to take affective and perceptive experiences seriously as co-creative forc-es sculpturing our shared urban space. <br /> LoopLoop and Elsewhere / Annorstädes / Ailleurs establish travel perceptions to  "no-where" and "every-where" but by further coupling the "time travel space" with affectivity and a resulting time consciousness, the possibility for a travel in time itself emerges. This is not only an expansion of space but of time as space. The "time travel space" thereby not only condi-tions a specific gaze, perception, and sense of time, but also a specific time consciousness which comments on our contemporary world of time-space compression.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33842929" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="17061705d8dfe5d1af115cc1c3b59df9" rel="nofollow" data-download="{"attachment_id":53824526,"asset_id":33842929,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53824526/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26349819" href="https://ku-dk.academia.edu/CamillaJaller">Camilla Jaller</a><script data-card-contents-for-user="26349819" type="text/json">{"id":26349819,"first_name":"Camilla","last_name":"Jaller","domain_name":"ku-dk","page_name":"CamillaJaller","display_name":"Camilla Jaller","profile_url":"https://ku-dk.academia.edu/CamillaJaller?f_ri=6100","photo":"https://0.academia-photos.com/26349819/7291015/15723213/s65_camilla.jaller.jpg"}</script></span></span></li><li class="js-paper-rank-work_33842929 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33842929"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33842929, container: ".js-paper-rank-work_33842929", }); 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$(".js-view-count[data-work-id=33842929]").text(description); $(".js-view-count-work_33842929").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33842929").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33842929"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="933" href="https://www.academia.edu/Documents/in/New_Media">New Media</a>, <script data-card-contents-for-ri="933" type="text/json">{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a><script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33842929]'), work: {"id":33842929,"title":"Master thesis: A Sense of Time in Transit Spaces - Video projection artworks in public train station buildings","created_at":"2017-07-11T01:19:01.524-07:00","url":"https://www.academia.edu/33842929/Master_thesis_A_Sense_of_Time_in_Transit_Spaces_Video_projection_artworks_in_public_train_station_buildings?f_ri=6100","dom_id":"work_33842929","summary":"This thesis intends to develop a new methodology aimed at describing, how casual viewers and commuters meet and experience video projection artworks integrated in public train station buildings. The primary focus is on two selected video projection artworks: LoopLoop (2008) by Patrick Bergeron which was shown at DIAS Art Space in Vallensbæk, Denmark in 2014 and Elsewhere / Annorstädes / Ailleurs (2010) by Tania Ruiz Gutiérrez which is a permanently inte-grated commission piece for the Malmö Central Station in Southern Sweden. \n\tThe main assumption of the thesis is that video projection artworks have important artistic potentials when placed in transit spaces. By analysing the two artworks I will make visi-ble how they permit a specific type of gaze, perception, and sense of time due to their location in the train station transit spaces. As such, the artworks function as catalysts for what I term \"time travel spaces\", which as an artistic strategy responds to the contemporary accelerated and com-pressed temporality and spatiality by enlarging the human experience of space and time. The \"time travel space\" takes its departure from the time-space compression initiated by the Industri-alisation and evolves in relation to historically and technologically conditioned sight perceptions including train travel, the panorama, and the diorama. \n\tBy focusing on the human experience of the artworks I wish to insist on the em-bodied human subject as the focal point for investigations of visual phenomena and visuality in general, but also for any studies regarding contemporary urban space. The viewers’ experiences do matter and we need to take affective and perceptive experiences seriously as co-creative forc-es sculpturing our shared urban space. \n\tLoopLoop and Elsewhere / Annorstädes / Ailleurs establish travel perceptions to \"no-where\" and \"every-where\" but by further coupling the \"time travel space\" with affectivity and a resulting time consciousness, the possibility for a travel in time itself emerges. This is not only an expansion of space but of time as space. The \"time travel space\" thereby not only condi-tions a specific gaze, perception, and sense of time, but also a specific time consciousness which comments on our contemporary world of time-space compression. \n","downloadable_attachments":[{"id":53824526,"asset_id":33842929,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26349819,"first_name":"Camilla","last_name":"Jaller","domain_name":"ku-dk","page_name":"CamillaJaller","display_name":"Camilla Jaller","profile_url":"https://ku-dk.academia.edu/CamillaJaller?f_ri=6100","photo":"https://0.academia-photos.com/26349819/7291015/15723213/s65_camilla.jaller.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=6100","nofollow":false},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6100","nofollow":false},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6100","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=6100","nofollow":false},{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=6100"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100"},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100"},{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies?f_ri=6100"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11083954" data-work_id="11083954" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11083954/Few_Were_Happy_with_their_Condition_Video_and_Photography_in_Romania_exhibition_brochure_for_Kunsthalle_Winterthur">Few Were Happy with their Condition: Video and Photography in Romania, exhibition brochure for Kunsthalle, Winterthur</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">publication for the exhibition by the same name at Kunsthalle Winterthur, February 21-April 5, 2015</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11083954" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d4541483dcb8f5f8b983a1f8d7753fd2" rel="nofollow" data-download="{"attachment_id":40968037,"asset_id":11083954,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40968037/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3700983" href="https://independent.academia.edu/OlgaStefan">Olga Stefan</a><script data-card-contents-for-user="3700983" type="text/json">{"id":3700983,"first_name":"Olga","last_name":"Stefan","domain_name":"independent","page_name":"OlgaStefan","display_name":"Olga Stefan","profile_url":"https://independent.academia.edu/OlgaStefan?f_ri=6100","photo":"https://0.academia-photos.com/3700983/1319133/7285409/s65_olga.stefan.jpg"}</script></span></span></li><li class="js-paper-rank-work_11083954 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11083954"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11083954, container: ".js-paper-rank-work_11083954", }); });</script></li><li class="js-percentile-work_11083954 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span 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$(".js-view-count[data-work-id=11083954]").text(description); $(".js-view-count-work_11083954").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11083954").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11083954"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="933" href="https://www.academia.edu/Documents/in/New_Media">New Media</a>, <script data-card-contents-for-ri="933" type="text/json">{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a><script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11083954]'), work: {"id":11083954,"title":"Few Were Happy with their Condition: Video and Photography in Romania, exhibition brochure for Kunsthalle, Winterthur","created_at":"2015-02-25T08:48:20.877-08:00","url":"https://www.academia.edu/11083954/Few_Were_Happy_with_their_Condition_Video_and_Photography_in_Romania_exhibition_brochure_for_Kunsthalle_Winterthur?f_ri=6100","dom_id":"work_11083954","summary":"publication for the exhibition by the same name at Kunsthalle Winterthur, February 21-April 5, 2015","downloadable_attachments":[{"id":40968037,"asset_id":11083954,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3700983,"first_name":"Olga","last_name":"Stefan","domain_name":"independent","page_name":"OlgaStefan","display_name":"Olga Stefan","profile_url":"https://independent.academia.edu/OlgaStefan?f_ri=6100","photo":"https://0.academia-photos.com/3700983/1319133/7285409/s65_olga.stefan.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6100","nofollow":false},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6100","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6100","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=6100","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=6100"},{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=6100"},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100"},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=6100"},{"id":101010,"name":"Videoart","url":"https://www.academia.edu/Documents/in/Videoart?f_ri=6100"},{"id":632564,"name":"Socially Engaged Art","url":"https://www.academia.edu/Documents/in/Socially_Engaged_Art-1?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2134684" data-work_id="2134684" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2134684/in_Du_Split_Screen_Au_Multi_Screen_From_Split_Screen_to_Multi_Screen_Esth%C3%A9tique_de_la_superposition_et_de_lincrustation_pour_une_densification_et_un_%C3%A9paississement_de_limage_projet%C3%A9e_">in Du Split-Screen Au Multi-Screen: From Split-Screen to Multi-Screen, « Esthétique de la superposition et de l'incrustation : pour une densification et un épaississement de l'image projetée »</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2134684" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="333fcaaa6db92b5cff2321aed5e044fc" rel="nofollow" data-download="{"attachment_id":30192329,"asset_id":2134684,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30192329/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2768322" href="https://univ-paris1.academia.edu/PascaleWeber">Pascale Weber</a><script data-card-contents-for-user="2768322" type="text/json">{"id":2768322,"first_name":"Pascale","last_name":"Weber","domain_name":"univ-paris1","page_name":"PascaleWeber","display_name":"Pascale Weber","profile_url":"https://univ-paris1.academia.edu/PascaleWeber?f_ri=6100","photo":"https://0.academia-photos.com/2768322/901020/1125937/s65_pascale.weber.jpeg"}</script></span></span></li><li class="js-paper-rank-work_2134684 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2134684"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2134684, container: ".js-paper-rank-work_2134684", }); });</script></li><li class="js-percentile-work_2134684 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2134684; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = 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href="https://www.academia.edu/Documents/in/New_Media_Art">New Media Art</a>, <script data-card-contents-for-ri="18736" type="text/json">{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="21265" href="https://www.academia.edu/Documents/in/Art_and_technology">Art and technology</a><script data-card-contents-for-ri="21265" type="text/json">{"id":21265,"name":"Art and technology","url":"https://www.academia.edu/Documents/in/Art_and_technology?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2134684]'), work: {"id":2134684,"title":"in Du Split-Screen Au Multi-Screen: From Split-Screen to Multi-Screen, « Esthétique de la superposition et de l'incrustation : pour une densification et un épaississement de l'image projetée 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Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6100","nofollow":false},{"id":21265,"name":"Art and technology","url":"https://www.academia.edu/Documents/in/Art_and_technology?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45044479" data-work_id="45044479" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45044479/Wojciech_Bruszewski_Aberrations_in_Transmission">Wojciech Bruszewski: Aberrations in Transmission</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div 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u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1571" href="https://www.academia.edu/Documents/in/Television_Studies">Television Studies</a>, <script data-card-contents-for-ri="1571" type="text/json">{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18736" href="https://www.academia.edu/Documents/in/New_Media_Art">New Media Art</a>, <script data-card-contents-for-ri="18736" type="text/json">{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="455426" href="https://www.academia.edu/Documents/in/Cinema_and_Television">Cinema and Television</a><script data-card-contents-for-ri="455426" type="text/json">{"id":455426,"name":"Cinema and Television","url":"https://www.academia.edu/Documents/in/Cinema_and_Television?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45044479]'), work: {"id":45044479,"title":"Wojciech Bruszewski: Aberrations in Transmission","created_at":"2021-02-03T10:43:22.282-08:00","url":"https://www.academia.edu/45044479/Wojciech_Bruszewski_Aberrations_in_Transmission?f_ri=6100","dom_id":"work_45044479","summary":null,"downloadable_attachments":[{"id":65596401,"asset_id":45044479,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5112704,"first_name":"Filip 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work_44817692" data-work_id="44817692" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44817692/FORMING_A_FUTURE_ORGAN">FORMING A FUTURE ORGAN</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A feminist posthuman essay on the figurations in three ecological videos by Ursula Biemann: Deep Weather, Subatlantic, and Acoustic Ocean, published by Centre Cultural Suisse in Paris and Museum of Modern and Contemporary Art MAMAC, Nice,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44817692" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A feminist posthuman essay on the figurations in three ecological videos by Ursula Biemann: Deep Weather, Subatlantic, and Acoustic Ocean, published by Centre Cultural Suisse in Paris and Museum of Modern and Contemporary Art MAMAC, Nice, in French and English.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44817692" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ea2aeb716cd207ffcdcb6c8352816645" rel="nofollow" data-download="{"attachment_id":65318448,"asset_id":44817692,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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Biemann","profile_url":"https://independent.academia.edu/ursulabiemann?f_ri=6100","photo":"https://0.academia-photos.com/10546967/8108460/160069688/s65_ursula.biemann.jpg"}</script></span></span></li><li class="js-paper-rank-work_44817692 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44817692"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44817692, container: ".js-paper-rank-work_44817692", }); });</script></li><li class="js-percentile-work_44817692 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44817692; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = 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style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44817692"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1192" href="https://www.academia.edu/Documents/in/Feminist_Theory">Feminist Theory</a>, <script data-card-contents-for-ri="1192" type="text/json">{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3407" href="https://www.academia.edu/Documents/in/Environmental_Studies">Environmental Studies</a><script data-card-contents-for-ri="3407" type="text/json">{"id":3407,"name":"Environmental Studies","url":"https://www.academia.edu/Documents/in/Environmental_Studies?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44817692]'), work: {"id":44817692,"title":"FORMING A FUTURE ORGAN","created_at":"2021-01-02T02:36:33.179-08:00","url":"https://www.academia.edu/44817692/FORMING_A_FUTURE_ORGAN?f_ri=6100","dom_id":"work_44817692","summary":"A feminist posthuman essay on the figurations in three ecological videos by Ursula Biemann: Deep Weather, Subatlantic, and Acoustic Ocean, published by Centre Cultural Suisse in Paris and Museum of Modern and Contemporary Art MAMAC, Nice, in French and English.","downloadable_attachments":[{"id":65318448,"asset_id":44817692,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10546967,"first_name":"Ursula","last_name":"Biemann","domain_name":"independent","page_name":"ursulabiemann","display_name":"Ursula Biemann","profile_url":"https://independent.academia.edu/ursulabiemann?f_ri=6100","photo":"https://0.academia-photos.com/10546967/8108460/160069688/s65_ursula.biemann.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=6100","nofollow":false},{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=6100","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false},{"id":3407,"name":"Environmental Studies","url":"https://www.academia.edu/Documents/in/Environmental_Studies?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100"},{"id":22164,"name":"Interspecies Communication","url":"https://www.academia.edu/Documents/in/Interspecies_Communication?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30050567 coauthored" data-work_id="30050567" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30050567/International_Friendship_Art_Project_INFAP_">International Friendship Art Project (INFAP)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In the academic year 2013 - 2014, a research project was taken place in three schools in three different cultural contexts, namely Germany, Greece and Japan. Questions about the role of art subject and the its potential transformation... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30050567" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the academic year 2013 - 2014, a research project was taken place in three schools in three different cultural contexts, namely Germany, Greece and Japan. Questions about the role of art subject and the its potential transformation according to the digital visual culture and globalized era emerged. The Artist teachers of the three schools organized this research project that includes a curriculum extension. In particular, the art curriculum included: A. International exhibitions with students’ artworks in the three schools. B. The Mobilemovie project, new media inclusion in the art curriculum. The results show that schools’ events and shared art activities among schools located in different social and cultural context may fulfill art pedagogy objectives.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30050567" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="248a8c1f0bf33a278298ea67c310a307" rel="nofollow" data-download="{"attachment_id":50501838,"asset_id":30050567,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50501838/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2985868" href="https://uth.academia.edu/MariaLetsiou">Maria Letsiou</a><script data-card-contents-for-user="2985868" type="text/json">{"id":2985868,"first_name":"Maria","last_name":"Letsiou","domain_name":"uth","page_name":"MariaLetsiou","display_name":"Maria Letsiou","profile_url":"https://uth.academia.edu/MariaLetsiou?f_ri=6100","photo":"https://0.academia-photos.com/2985868/985663/29031602/s65_maria.letsiou.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-30050567">+1</span><div class="hidden js-additional-users-30050567"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/bernadettethomas1">bernadette thomas</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-30050567'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-30050567').html(); 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Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a><script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20662280]'), work: {"id":20662280,"title":"Marie Voignier/Vassilis Salpistis : Des trous pour les 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Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6100","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=6100","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100"},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100"},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=6100"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19751220 coauthored" data-work_id="19751220" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19751220/Hatsune_Miku_2_0_Pac_and_Beyond_Rewinding_and_Fast_Forwarding_the_Virtual_Pop_Star_Thomas_Conner">Hatsune Miku, 2.0 Pac, and Beyond: Rewinding and Fast-Forwarding the Virtual Pop Star-Thomas Conner</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19751220" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="486253bd52468201d24190ed3be67b65" rel="nofollow" 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container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_19751220 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="19751220"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19751220; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=19751220]").text(description); $(".js-view-count-work_19751220").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_19751220").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="19751220"><i class="fa fa-tag InlineList-item-icon 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type="text/json">{"id":387,"name":"Japanese Studies","url":"https://www.academia.edu/Documents/in/Japanese_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a><script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19751220]'), work: {"id":19751220,"title":"Hatsune Miku, 2.0 Pac, and Beyond: Rewinding and Fast-Forwarding the Virtual Pop Star-Thomas 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19574272" data-work_id="19574272" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19574272/Doug_Rickards_NA_captures_American_Zeitgeist_through_snippets_of_YouTube_voices">Doug Rickard's NA captures American Zeitgeist through snippets of YouTube voices</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Those familiar with artist Doug Rickard’s A New American Picture and his recreated images from Google Street View representing America’s underbelly and its disenfranchised American Dream through deserted landscapes, ominous backroads and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_19574272" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Those familiar with artist Doug Rickard’s A New American Picture and his recreated images from Google Street View representing America’s underbelly and its disenfranchised American Dream through deserted landscapes, ominous backroads and bleak cityscapes. Rickard is also behind photography sites American Suburb X and These Americans. His new work “N.A.” is on show at Little Big Man Gallery in downtown Los Angeles and YouTube is his focus.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19574272" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bb0fdc9148ec5dc203ad272e296229f8" rel="nofollow" data-download="{"attachment_id":40706363,"asset_id":19574272,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40706363/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38130468" href="https://yorksj.academia.edu/GingerLiu">Ginger Liu</a><script data-card-contents-for-user="38130468" type="text/json">{"id":38130468,"first_name":"Ginger","last_name":"Liu","domain_name":"yorksj","page_name":"GingerLiu","display_name":"Ginger Liu","profile_url":"https://yorksj.academia.edu/GingerLiu?f_ri=6100","photo":"https://0.academia-photos.com/38130468/10950916/12221320/s65_ginger.liu.jpg"}</script></span></span></li><li class="js-paper-rank-work_19574272 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19574272"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19574272, container: ".js-paper-rank-work_19574272", }); 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$(".js-view-count[data-work-id=19574272]").text(description); $(".js-view-count-work_19574272").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_19574272").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="19574272"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3419" href="https://www.academia.edu/Documents/in/Multimedia">Multimedia</a>, <script data-card-contents-for-ri="3419" type="text/json">{"id":3419,"name":"Multimedia","url":"https://www.academia.edu/Documents/in/Multimedia?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a><script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19574272]'), work: {"id":19574272,"title":"Doug Rickard's NA captures American Zeitgeist through snippets of YouTube voices","created_at":"2015-12-09T02:59:12.165-08:00","url":"https://www.academia.edu/19574272/Doug_Rickards_NA_captures_American_Zeitgeist_through_snippets_of_YouTube_voices?f_ri=6100","dom_id":"work_19574272","summary":"Those familiar with artist Doug Rickard’s A New American Picture and his recreated images from Google Street View representing America’s underbelly and its disenfranchised American Dream through deserted landscapes, ominous backroads and bleak cityscapes. 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});</script></li><li class="js-percentile-work_38175339 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38175339; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38175339"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38175339 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38175339"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38175339; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38175339]").text(description); $(".js-view-count-work_38175339").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38175339").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38175339"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7125" href="https://www.academia.edu/Documents/in/Culture">Culture</a><script data-card-contents-for-ri="7125" type="text/json">{"id":7125,"name":"Culture","url":"https://www.academia.edu/Documents/in/Culture?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38175339]'), work: {"id":38175339,"title":"You Spin Me Round – Full Circle","created_at":"2019-01-18T08:11:22.439-08:00","url":"https://www.academia.edu/38175339/You_Spin_Me_Round_Full_Circle?f_ri=6100","dom_id":"work_38175339","summary":null,"downloadable_attachments":[{"id":58211009,"asset_id":38175339,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25649,"first_name":"Andreas","last_name":"Treske","domain_name":"bilkent","page_name":"AndreasTreske","display_name":"Andreas Treske","profile_url":"https://bilkent.academia.edu/AndreasTreske?f_ri=6100","photo":"https://0.academia-photos.com/25649/8340/10942642/s65_andreas.treske.jpg"}],"research_interests":[{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":7125,"name":"Culture","url":"https://www.academia.edu/Documents/in/Culture?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_47768900" data-work_id="47768900" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/47768900/Verf%C3%BCnfungseffekt_Delving_into_the_enchanted_world_of_fivefold_portraits_and_self_partitioning">Verfünfungseffekt – Delving into the enchanted world of fivefold-portraits and self-partitioning</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Discovered during a media-archaeological investigation into optical illusions, trick photography and discarded memorabilia, the photo-multigraph technique opened the door to an enchanted world of cloned appearances orbiting in a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_47768900" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Discovered during a media-archaeological investigation into optical illusions, trick photography and discarded memorabilia, the photo-multigraph technique opened the door to an enchanted world of cloned appearances orbiting in a self-reflective solar system. Shapeshifting into our preferred artistic medium, this turn-of-the-century photographic technique becomes the video-multigraph. <br /><br />It is bizarrely noteworthy that self-isolation would become not only the subject of the piece, but also—due to the unforeseen spread of a recently mutated virus—the prevailing circumstances under which the work was to be completed.<br /><br />In Verfünfungseffekt, we use the medium of video to create a kaleidoscopic portrait-in-motion where the perspective-shifting shards of ego are recorded in a synchronized performance of solipsist intersubjectivity. The video-multigraph allows for the compositing of tiny offsets in time-shifting delays applied to one, or several, of the mirrored selves—shattering the cloned perfection, as well as the conformity, of the multiple presences. This optical illusion necessitates reflection on how media alters our perceptions of time and space; it thereby arouses wonder about our place in existence.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/47768900" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8d4a33a3b8a6ab100283488cd1cfbde4" rel="nofollow" data-download="{"attachment_id":66710533,"asset_id":47768900,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66710533/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13410543" href="https://su-se.academia.edu/GeskaBre%C4%8Devi%C4%87">Geska Brečević</a><script data-card-contents-for-user="13410543" type="text/json">{"id":13410543,"first_name":"Geska","last_name":"Brečević","domain_name":"su-se","page_name":"GeskaBrečević","display_name":"Geska Brečević","profile_url":"https://su-se.academia.edu/GeskaBre%C4%8Devi%C4%87?f_ri=6100","photo":"https://0.academia-photos.com/13410543/3754438/4397378/s65_geska.bre_evi_.jpg"}</script></span></span></li><li class="js-paper-rank-work_47768900 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="47768900"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 47768900, container: ".js-paper-rank-work_47768900", }); 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Shapeshifting into our preferred artistic medium, this turn-of-the-century photographic technique becomes the video-multigraph. \n\nIt is bizarrely noteworthy that self-isolation would become not only the subject of the piece, but also—due to the unforeseen spread of a recently mutated virus—the prevailing circumstances under which the work was to be completed.\n\nIn Verfünfungseffekt, we use the medium of video to create a kaleidoscopic portrait-in-motion where the perspective-shifting shards of ego are recorded in a synchronized performance of solipsist intersubjectivity. The video-multigraph allows for the compositing of tiny offsets in time-shifting delays applied to one, or several, of the mirrored selves—shattering the cloned perfection, as well as the conformity, of the multiple presences. This optical illusion necessitates reflection on how media alters our perceptions of time and space; it thereby arouses wonder about our place in existence.\n","downloadable_attachments":[{"id":66710533,"asset_id":47768900,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13410543,"first_name":"Geska","last_name":"Brečević","domain_name":"su-se","page_name":"GeskaBrečević","display_name":"Geska Brečević","profile_url":"https://su-se.academia.edu/GeskaBre%C4%8Devi%C4%87?f_ri=6100","photo":"https://0.academia-photos.com/13410543/3754438/4397378/s65_geska.bre_evi_.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6100","nofollow":false},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6100","nofollow":false},{"id":939,"name":"Media Archaeology","url":"https://www.academia.edu/Documents/in/Media_Archaeology?f_ri=6100","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=6100","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100"},{"id":5408,"name":"Magic","url":"https://www.academia.edu/Documents/in/Magic?f_ri=6100"},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100"},{"id":20079,"name":"History of photography","url":"https://www.academia.edu/Documents/in/History_of_photography?f_ri=6100"},{"id":21189,"name":"Fine Art Photography","url":"https://www.academia.edu/Documents/in/Fine_Art_Photography?f_ri=6100"},{"id":43349,"name":"Fine Arts","url":"https://www.academia.edu/Documents/in/Fine_Arts?f_ri=6100"},{"id":147919,"name":"Optical Illusions","url":"https://www.academia.edu/Documents/in/Optical_Illusions?f_ri=6100"},{"id":179973,"name":"Ernesto de Martino","url":"https://www.academia.edu/Documents/in/Ernesto_de_Martino?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41923020" data-work_id="41923020" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41923020/Independent_Womens_Cinema_An_interview_with_Canadian_artist_Veronica_Mockler_issuu_com_women_cinemakers_docs_vol_23_98">Independent Women's Cinema: An interview with Canadian artist Veronica Mockler | issuu.com/women-cinemakers/docs/vol.23/98</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">WomenCinemakers, Special Edition, Vol.23</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41923020" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a379f89edd0984a9634bf556295a6461" rel="nofollow" data-download="{"attachment_id":62048268,"asset_id":41923020,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62048268/download_file?st=MTczMzMxMDkyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa 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class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="82213" href="https://www.academia.edu/Documents/in/Jean_Rouch">Jean Rouch</a>, <script data-card-contents-for-ri="82213" type="text/json">{"id":82213,"name":"Jean Rouch","url":"https://www.academia.edu/Documents/in/Jean_Rouch?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="98149" href="https://www.academia.edu/Documents/in/Nonfiction">Nonfiction</a>, <script data-card-contents-for-ri="98149" type="text/json">{"id":98149,"name":"Nonfiction","url":"https://www.academia.edu/Documents/in/Nonfiction?f_ri=6100","nofollow":false}</script><a 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Verite","url":"https://www.academia.edu/Documents/in/Cinema_Verite?f_ri=6100"},{"id":725487,"name":"Documentary Practices In the Arts","url":"https://www.academia.edu/Documents/in/Documentary_Practices_In_the_Arts?f_ri=6100"},{"id":839933,"name":"Dialogical Art","url":"https://www.academia.edu/Documents/in/Dialogical_Art?f_ri=6100"},{"id":1881802,"name":"Participatory Documentary","url":"https://www.academia.edu/Documents/in/Participatory_Documentary?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39116550" data-work_id="39116550" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39116550/%E5%9C%A8%E8%AA%9E%E8%A8%80%E8%88%87%E8%A8%98%E6%86%B6%E9%96%93%E6%89%BE%E5%B0%8B%E6%96%87%E5%8C%96%E7%9A%84%E5%AF%A6%E9%A9%97_%E8%87%BA%E7%81%A3%E9%8C%84%E5%83%8F%E8%97%9D%E8%A1%93%E7%9A%84%E8%AA%9E%E8%A8%80%E5%88%87%E9%9D%A2_2007_2011">在語言與記憶間找尋文化的實驗：臺灣錄像藝術的語言切面 2007–2011</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39116550" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c8a2a7909e2923342ea0eba26b78465f" rel="nofollow" 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/68773439/%C3%89loge_de_la_tension_Strat%C3%A9gies_plastiques_de_la_discontinuit%C3%A9_de_la_rupture_et_de_l_absence_dans_les_portraits_parlants">Éloge de la tension. Stratégies plastiques de la discontinuité, de la rupture et de l’absence dans les portraits parlants</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Depuis les années quatre-vingt-dix, des artistes plasticiens choisissent de faire œuvre à partir d’un témoignage filmé. Ils partent ainsi à la rencontre de personnes qu’ils invitent à se raconter face caméra, investissent la réalité pour... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_68773439" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Depuis les années quatre-vingt-dix, des artistes plasticiens choisissent de faire œuvre à partir d’un témoignage filmé. Ils partent ainsi à la rencontre de personnes qu’ils invitent à se raconter face caméra, investissent la réalité pour en prélever images et paroles, et en explorent les modalités de représentation. Les vidéos qui résultent de ce processus de création singulier se situent d&amp;#39;emblée dans une tradition artistique du portrait, portrait auquel une voix vient s&amp;#39;adosser. Sur le plan formel, les esthétiques de la parole filmée en art contemporain portent l’empreinte de leurs représentations audiovisuelles communes. Dans un contexte médiatique caractérisé par la surreprésentation du récit parlé et incarné, nous sommes devenus familiers de l’association d’un visage et d’une voix composant l’image sonore d’un sujet se racontant. Si le rapport qu’entretiennent ces deux éléments peut sembler prédéterminé par l’enregistrement, et fixement établi au regard des conventions audiovisuelles, nous analyserons ici la manière dont les artistes contemporains expérimentent les relations possibles entre voix et corps, et conçoivent des stratégies plastiques susceptibles de déconstruire ces conventions. Certains artistes brisent le paradigme du synchronisme (Gillian Wearing), composent des montages associant ou confrontant un récit sonore à des images silencieuses de sources différentes (Justine Pluvinage), tendent vers une perte radicale de la physicalité du narrateur, ou encore proposent l’expérience limite de la monstration d’un corps silencieux (Esther Shalev-Gerz). A travers ces exemples, nous examinerons comment, à travers la disjonction, la cassure et l’absence, les portraits parlants des plasticiens explorent les possibles d’une dialectique voix-silence et texte-corps, tout en participant à une reconsidération des postures de réception d’une parole filmée.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/68773439" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8a1f0a63752b775f3faeb61c725967d2" rel="nofollow" data-download="{"attachment_id":79236045,"asset_id":68773439,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/79236045/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="24855640" href="https://univ-lorraine.academia.edu/Oph%C3%A9lieNaessens">Ophélie Naessens</a><script data-card-contents-for-user="24855640" type="text/json">{"id":24855640,"first_name":"Ophélie","last_name":"Naessens","domain_name":"univ-lorraine","page_name":"OphélieNaessens","display_name":"Ophélie Naessens","profile_url":"https://univ-lorraine.academia.edu/Oph%C3%A9lieNaessens?f_ri=6100","photo":"https://0.academia-photos.com/24855640/6726996/14578411/s65_oph_lie.naessens.jpg"}</script></span></span></li><li class="js-paper-rank-work_68773439 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="68773439"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 68773439, container: ".js-paper-rank-work_68773439", }); 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$(".js-view-count[data-work-id=68773439]").text(description); $(".js-view-count-work_68773439").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_68773439").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="68773439"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="44026" href="https://www.academia.edu/Documents/in/Poetics_of_Silence">Poetics of Silence</a>, <script data-card-contents-for-ri="44026" type="text/json">{"id":44026,"name":"Poetics of Silence","url":"https://www.academia.edu/Documents/in/Poetics_of_Silence?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="692226" href="https://www.academia.edu/Documents/in/Temoignage">Témoignage</a><script data-card-contents-for-ri="692226" type="text/json">{"id":692226,"name":"Témoignage","url":"https://www.academia.edu/Documents/in/Temoignage?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=68773439]'), work: {"id":68773439,"title":"Éloge de la tension. Stratégies plastiques de la discontinuité, de la rupture et de l’absence dans les portraits parlants","created_at":"2022-01-19T23:59:54.784-08:00","url":"https://www.academia.edu/68773439/%C3%89loge_de_la_tension_Strat%C3%A9gies_plastiques_de_la_discontinuit%C3%A9_de_la_rupture_et_de_l_absence_dans_les_portraits_parlants?f_ri=6100","dom_id":"work_68773439","summary":"Depuis les années quatre-vingt-dix, des artistes plasticiens choisissent de faire œuvre à partir d’un témoignage filmé. Ils partent ainsi à la rencontre de personnes qu’ils invitent à se raconter face caméra, investissent la réalité pour en prélever images et paroles, et en explorent les modalités de représentation. Les vidéos qui résultent de ce processus de création singulier se situent d\u0026amp;#39;emblée dans une tradition artistique du portrait, portrait auquel une voix vient s\u0026amp;#39;adosser. Sur le plan formel, les esthétiques de la parole filmée en art contemporain portent l’empreinte de leurs représentations audiovisuelles communes. Dans un contexte médiatique caractérisé par la surreprésentation du récit parlé et incarné, nous sommes devenus familiers de l’association d’un visage et d’une voix composant l’image sonore d’un sujet se racontant. Si le rapport qu’entretiennent ces deux éléments peut sembler prédéterminé par l’enregistrement, et fixement établi au regard des conventions audiovisuelles, nous analyserons ici la manière dont les artistes contemporains expérimentent les relations possibles entre voix et corps, et conçoivent des stratégies plastiques susceptibles de déconstruire ces conventions. Certains artistes brisent le paradigme du synchronisme (Gillian Wearing), composent des montages associant ou confrontant un récit sonore à des images silencieuses de sources différentes (Justine Pluvinage), tendent vers une perte radicale de la physicalité du narrateur, ou encore proposent l’expérience limite de la monstration d’un corps silencieux (Esther Shalev-Gerz). A travers ces exemples, nous examinerons comment, à travers la disjonction, la cassure et l’absence, les portraits parlants des plasticiens explorent les possibles d’une dialectique voix-silence et texte-corps, tout en participant à une reconsidération des postures de réception d’une parole filmée.","downloadable_attachments":[{"id":79236045,"asset_id":68773439,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":24855640,"first_name":"Ophélie","last_name":"Naessens","domain_name":"univ-lorraine","page_name":"OphélieNaessens","display_name":"Ophélie Naessens","profile_url":"https://univ-lorraine.academia.edu/Oph%C3%A9lieNaessens?f_ri=6100","photo":"https://0.academia-photos.com/24855640/6726996/14578411/s65_oph_lie.naessens.jpg"}],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":44026,"name":"Poetics of Silence","url":"https://www.academia.edu/Documents/in/Poetics_of_Silence?f_ri=6100","nofollow":false},{"id":692226,"name":"Témoignage","url":"https://www.academia.edu/Documents/in/Temoignage?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41701504" data-work_id="41701504" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41701504/VJ_Cultures_in_The_Netherlands_Hovering_Between_Art_Entertainment_and_New_Media_Cultures">VJ Cultures in The Netherlands: Hovering Between Art, Entertainment and New Media Cultures</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This chapter analyses VJing as a kind of performance that develops between the fields of art, new media and club cultures. The author sketches a map of the changing relationship between art and VJing throughout three historical phases,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41701504" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This chapter analyses VJing as a kind of performance that develops between the fields of art, new media and club cultures. The author sketches a map of the changing relationship between art and VJing throughout three historical phases, from the early 1990s to now.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41701504" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4647773" href="https://uu.academia.edu/MarinaTurco">Marina Turco</a><script data-card-contents-for-user="4647773" type="text/json">{"id":4647773,"first_name":"Marina","last_name":"Turco","domain_name":"uu","page_name":"MarinaTurco","display_name":"Marina Turco","profile_url":"https://uu.academia.edu/MarinaTurco?f_ri=6100","photo":"https://0.academia-photos.com/4647773/2750656/7482624/s65_marina.turco.jpg"}</script></span></span></li><li class="js-paper-rank-work_41701504 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41701504"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41701504, container: ".js-paper-rank-work_41701504", }); });</script></li><li class="js-percentile-work_41701504 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41701504; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_41701504"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_41701504 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="41701504"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41701504; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41701504]").text(description); $(".js-view-count-work_41701504").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41701504").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="41701504"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1197" href="https://www.academia.edu/Documents/in/Digital_Humanities">Digital Humanities</a>, <script data-card-contents-for-ri="1197" type="text/json">{"id":1197,"name":"Digital Humanities","url":"https://www.academia.edu/Documents/in/Digital_Humanities?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12672" href="https://www.academia.edu/Documents/in/Electronic_Music">Electronic Music</a>, <script data-card-contents-for-ri="12672" type="text/json">{"id":12672,"name":"Electronic Music","url":"https://www.academia.edu/Documents/in/Electronic_Music?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14261" href="https://www.academia.edu/Documents/in/Film_and_Video_Art">Film and Video Art</a><script data-card-contents-for-ri="14261" type="text/json">{"id":14261,"name":"Film and Video Art","url":"https://www.academia.edu/Documents/in/Film_and_Video_Art?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41701504]'), work: {"id":41701504,"title":"VJ Cultures in The Netherlands: Hovering Between Art, Entertainment and New Media Cultures","created_at":"2020-01-22T06:01:10.658-08:00","url":"https://www.academia.edu/41701504/VJ_Cultures_in_The_Netherlands_Hovering_Between_Art_Entertainment_and_New_Media_Cultures?f_ri=6100","dom_id":"work_41701504","summary":"This chapter analyses VJing as a kind of performance that develops between the fields of art, new media and club cultures. The author sketches a map of the changing relationship between art and VJing throughout three historical phases, from the early 1990s to now.","downloadable_attachments":[],"ordered_authors":[{"id":4647773,"first_name":"Marina","last_name":"Turco","domain_name":"uu","page_name":"MarinaTurco","display_name":"Marina Turco","profile_url":"https://uu.academia.edu/MarinaTurco?f_ri=6100","photo":"https://0.academia-photos.com/4647773/2750656/7482624/s65_marina.turco.jpg"}],"research_interests":[{"id":1197,"name":"Digital Humanities","url":"https://www.academia.edu/Documents/in/Digital_Humanities?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":12672,"name":"Electronic Music","url":"https://www.academia.edu/Documents/in/Electronic_Music?f_ri=6100","nofollow":false},{"id":14261,"name":"Film and Video Art","url":"https://www.academia.edu/Documents/in/Film_and_Video_Art?f_ri=6100","nofollow":false},{"id":14796,"name":"Electronic Dance Music Culture (EDMC)","url":"https://www.academia.edu/Documents/in/Electronic_Dance_Music_Culture_EDMC_?f_ri=6100"},{"id":205625,"name":"Concerts, VJing, Projections","url":"https://www.academia.edu/Documents/in/Concerts_VJing_Projections?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30896906" data-work_id="30896906" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30896906/ARQUITETURA_E_V%C3%8DDEO">ARQUITETURA E VÍDEO</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Esta série de documentários constrói uma ponte entre arquitetura e vídeo. Mas também documenta outros gêneros artísticos – escultura, artes visuais, joias, design com tecidos – ainda que relacionados a certas realidades urbanas.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30896906" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ad88fe1876ed1fb9d710f1b763132bd5" rel="nofollow" data-download="{"attachment_id":57954552,"asset_id":30896906,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57954552/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1127111" href="https://brasilia.academia.edu/FredericoHolanda">Frederico Holanda</a><script data-card-contents-for-user="1127111" type="text/json">{"id":1127111,"first_name":"Frederico","last_name":"Holanda","domain_name":"brasilia","page_name":"FredericoHolanda","display_name":"Frederico Holanda","profile_url":"https://brasilia.academia.edu/FredericoHolanda?f_ri=6100","photo":"https://0.academia-photos.com/1127111/1107812/1381318/s65_frederico.holanda.jpg"}</script></span></span></li><li class="js-paper-rank-work_30896906 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30896906"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30896906, container: ".js-paper-rank-work_30896906", }); });</script></li><li class="js-percentile-work_30896906 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30896906; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_30896906"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_30896906 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="30896906"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30896906; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30896906]").text(description); $(".js-view-count-work_30896906").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30896906").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="30896906"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="70518" href="https://www.academia.edu/Documents/in/Arquitetura">Arquitetura</a><script data-card-contents-for-ri="70518" type="text/json">{"id":70518,"name":"Arquitetura","url":"https://www.academia.edu/Documents/in/Arquitetura?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30896906]'), work: {"id":30896906,"title":"ARQUITETURA E VÍDEO","created_at":"2017-01-12T11:25:37.916-08:00","url":"https://www.academia.edu/30896906/ARQUITETURA_E_V%C3%8DDEO?f_ri=6100","dom_id":"work_30896906","summary":"Esta série de documentários constrói uma ponte entre arquitetura e vídeo. Mas também documenta outros gêneros artísticos – escultura, artes visuais, joias, design com tecidos – ainda que relacionados a certas realidades urbanas. ","downloadable_attachments":[{"id":57954552,"asset_id":30896906,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1127111,"first_name":"Frederico","last_name":"Holanda","domain_name":"brasilia","page_name":"FredericoHolanda","display_name":"Frederico Holanda","profile_url":"https://brasilia.academia.edu/FredericoHolanda?f_ri=6100","photo":"https://0.academia-photos.com/1127111/1107812/1381318/s65_frederico.holanda.jpg"}],"research_interests":[{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":70518,"name":"Arquitetura","url":"https://www.academia.edu/Documents/in/Arquitetura?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38509893" data-work_id="38509893" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38509893/The_California_work_of_US_artist_Martha_Rosler_Chapter_4_in_Jewish_Identities_in_American_Feminist_Art_Ghosts_of_Ethnicity_">The California work of US artist Martha Rosler (Chapter 4 in Jewish Identities in American Feminist Art: Ghosts of Ethnicity)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The chapter as a whole illustrates some of the possibilities and problems currently haunting the area of Jewish participation in the making and the history of feminist art in the United States.The signficance that gender, class,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38509893" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The chapter as a whole illustrates some of the possibilities and problems currently haunting the area of Jewish participation in the making and the history of feminist art in the United States.The signficance that gender, class, Jewishness, Marxism, and nationalism have for Martha Rosler is evident throughout her work, though her artistic practice has only recently been written about from such an intersectional perspective.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38509893" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d78f8cfd78de5cafe3950638594143a2" rel="nofollow" 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themes in his work. (Published by Centro D'Arte Moderne, Lisbon).</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/18820264" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ca13bb3cfa04d11e22612dbc9bcec3bc" rel="nofollow" data-download="{"attachment_id":40272504,"asset_id":18820264,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40272504/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="812491" href="https://ncad.academia.edu/DeclanLong">Declan Long</a><script data-card-contents-for-user="812491" type="text/json">{"id":812491,"first_name":"Declan","last_name":"Long","domain_name":"ncad","page_name":"DeclanLong","display_name":"Declan Long","profile_url":"https://ncad.academia.edu/DeclanLong?f_ri=6100","photo":"https://0.academia-photos.com/812491/280527/13276640/s65_declan.long.jpg"}</script></span></span></li><li class="js-paper-rank-work_18820264 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="18820264"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 18820264, container: ".js-paper-rank-work_18820264", }); 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(Published by Centro D'Arte Moderne, Lisbon). ","downloadable_attachments":[{"id":40272504,"asset_id":18820264,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":812491,"first_name":"Declan","last_name":"Long","domain_name":"ncad","page_name":"DeclanLong","display_name":"Declan Long","profile_url":"https://ncad.academia.edu/DeclanLong?f_ri=6100","photo":"https://0.academia-photos.com/812491/280527/13276640/s65_declan.long.jpg"}],"research_interests":[{"id":386,"name":"Irish Studies","url":"https://www.academia.edu/Documents/in/Irish_Studies?f_ri=6100","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":12922,"name":"Irish Art","url":"https://www.academia.edu/Documents/in/Irish_Art?f_ri=6100","nofollow":false},{"id":53266,"name":"Northern Irish art history","url":"https://www.academia.edu/Documents/in/Northern_Irish_art_history?f_ri=6100"},{"id":177443,"name":"Northern Ireland and the Troubles","url":"https://www.academia.edu/Documents/in/Northern_Ireland_and_the_Troubles?f_ri=6100"},{"id":570393,"name":"Willie Doherty","url":"https://www.academia.edu/Documents/in/Willie_Doherty?f_ri=6100"},{"id":931986,"name":"Post Conflict Issues","url":"https://www.academia.edu/Documents/in/Post_Conflict_Issues?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11749891" data-work_id="11749891" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11749891/Faire_un_reportage_video_SANS_mat%C3%A9riel_de_pro">Faire un reportage video SANS matériel de pro</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Faire un reportage vidéo semble beaucoup plus facile que ça ne l’est en fait : je pars avec ma caméra, je filme et on verra au montage… Mais qui sera là, quelles questions se poser, n’y a-t-il pas trop de bruit, qu’est-ce que je vais... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11749891" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Faire un reportage vidéo semble beaucoup plus facile que ça ne l’est en fait : je pars avec ma caméra, je filme et on verra au montage… Mais qui sera là, quelles questions se poser, n’y a-t-il pas trop de bruit, qu’est-ce que je vais révéler que l’on ne sait déjà, me suis-je bien documenté, et puis, comment rendre mon histoire intéressante, et le cadrage, comment cadrer ? Il paraît que poser la caméra suivant tel ou tel angle, c’est déjà dire quelque chose… Et finalement, je n’y connais rien en montage…<br /><br />"Reportage vidéo SANS matériel de pro" s'adresse aux amateurs dotés d’un simple appareil photo ou encore d’un smartphone...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11749891" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="815000f63389bf4c95f24bc87596c18f" rel="nofollow" data-download="{"attachment_id":37177910,"asset_id":11749891,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37177910/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="27563242" href="https://londonmet.academia.edu/PhilippeChollet">Philippe Chollet</a><script data-card-contents-for-user="27563242" type="text/json">{"id":27563242,"first_name":"Philippe","last_name":"Chollet","domain_name":"londonmet","page_name":"PhilippeChollet","display_name":"Philippe Chollet","profile_url":"https://londonmet.academia.edu/PhilippeChollet?f_ri=6100","photo":"https://0.academia-photos.com/27563242/7844989/8790070/s65_philippe.chollet.jpg"}</script></span></span></li><li class="js-paper-rank-work_11749891 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11749891"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11749891, container: ".js-paper-rank-work_11749891", }); 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Dynamiques et ambiguïtés, (Evelyne Toussaint, sous la dir.), La Lettre volée Editions, 2009 </a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11207459" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="db48ce8233da9fc4edfcb04d67b9f89b" rel="nofollow" data-download="{"attachment_id":38653679,"asset_id":11207459,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38653679/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1098378" href="https://univ-paris1.academia.edu/NeliDobreva">Neli Dobreva</a><script data-card-contents-for-user="1098378" type="text/json">{"id":1098378,"first_name":"Neli","last_name":"Dobreva","domain_name":"univ-paris1","page_name":"NeliDobreva","display_name":"Neli Dobreva","profile_url":"https://univ-paris1.academia.edu/NeliDobreva?f_ri=6100","photo":"https://0.academia-photos.com/1098378/18699752/18656638/s65_neli.dobreva.jpg"}</script></span></span></li><li class="js-paper-rank-work_11207459 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11207459"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11207459, container: ".js-paper-rank-work_11207459", }); 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Sophie Perryer. Stevenson Johannesburg, 2012: 37-56 (13 illustrations)</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9424474" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1e2b3376a2e4635a0a66929ab81be868" rel="nofollow" data-download="{"attachment_id":35668020,"asset_id":9424474,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35668020/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3375165" href="https://sun.academia.edu/KathrynSmith">Kathryn Smith</a><script data-card-contents-for-user="3375165" type="text/json">{"id":3375165,"first_name":"Kathryn","last_name":"Smith","domain_name":"sun","page_name":"KathrynSmith","display_name":"Kathryn Smith","profile_url":"https://sun.academia.edu/KathrynSmith?f_ri=6100","photo":"https://0.academia-photos.com/3375165/6425288/15375453/s65_kathryn.smith.jpg"}</script></span></span></li><li class="js-paper-rank-work_9424474 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9424474"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9424474, container: ".js-paper-rank-work_9424474", }); 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$(".js-view-count[data-work-id=9424474]").text(description); $(".js-view-count-work_9424474").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9424474").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9424474"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5463" href="https://www.academia.edu/Documents/in/Performance_Art">Performance Art</a>, <script data-card-contents-for-ri="5463" type="text/json">{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12974" href="https://www.academia.edu/Documents/in/Drawing">Drawing</a><script data-card-contents-for-ri="12974" type="text/json">{"id":12974,"name":"Drawing","url":"https://www.academia.edu/Documents/in/Drawing?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9424474]'), work: {"id":9424474,"title":"Kemang Wa Lehulere","created_at":"2014-11-20T21:11:18.960-08:00","url":"https://www.academia.edu/9424474/Kemang_Wa_Lehulere?f_ri=6100","dom_id":"work_9424474","summary":"An interview with Kemang Wa Lehulere, extracted from his exhibition publication 'Some Deleted Scenes Too' ed. Sophie Perryer. Stevenson Johannesburg, 2012: 37-56 (13 illustrations)","downloadable_attachments":[{"id":35668020,"asset_id":9424474,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3375165,"first_name":"Kathryn","last_name":"Smith","domain_name":"sun","page_name":"KathrynSmith","display_name":"Kathryn Smith","profile_url":"https://sun.academia.edu/KathrynSmith?f_ri=6100","photo":"https://0.academia-photos.com/3375165/6425288/15375453/s65_kathryn.smith.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6100","nofollow":false},{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":12974,"name":"Drawing","url":"https://www.academia.edu/Documents/in/Drawing?f_ri=6100","nofollow":false},{"id":19879,"name":"Contemporary South African Art","url":"https://www.academia.edu/Documents/in/Contemporary_South_African_Art?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_49316296" data-work_id="49316296" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/49316296/%E5%A5%B6%E6%B2%B9%E6%B4%BE%E5%92%8C%E6%B1%BD%E6%B2%B9%E5%BD%88_%E6%9E%97%E7%BE%BF%E7%B6%BA%E7%9A%84%E5%BD%B1%E5%83%8F%E4%B8%96%E7%95%8C">奶油派和汽油彈：林羿綺的影像世界</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">觀看林羿綺2009-2020年的作品，從《一秒鐘雕塑》到《雙生》，影片類型越來越豐富複雜，涵蓋散文紀錄片、多頻道影像裝置、搭景劇情片，整體展現變化多端的題材和風格。她以旺盛的想像力和同理心，穿梭在夢境和現實之間，考掘童年記憶和家族離散的歷史，關切眷村的拆遷和地方的興衰。在這光影流轉的影像世界裡，藝術家的身體動作或聲音旁白，皆出現在每一部影片中，她的氣息深刻銘印在作品上。而特別攫取觀者目光的片刻，是林羿綺丟擲奶油派和汽油彈的身影。</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49316296" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4a38b026e10b00bab2b62328b80cdd52" rel="nofollow" data-download="{"attachment_id":67693252,"asset_id":49316296,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67693252/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="32692696" href="https://ncu.academia.edu/ShaoChienTseng">Shao-Chien Tseng</a><script data-card-contents-for-user="32692696" type="text/json">{"id":32692696,"first_name":"Shao-Chien","last_name":"Tseng","domain_name":"ncu","page_name":"ShaoChienTseng","display_name":"Shao-Chien Tseng","profile_url":"https://ncu.academia.edu/ShaoChienTseng?f_ri=6100","photo":"https://0.academia-photos.com/32692696/9754283/37863087/s65_shao-chien.tseng.jpg"}</script></span></span></li><li class="js-paper-rank-work_49316296 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49316296"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49316296, container: ".js-paper-rank-work_49316296", }); 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$(".js-view-count[data-work-id=49316296]").text(description); $(".js-view-count-work_49316296").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_49316296").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="49316296"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2080" href="https://www.academia.edu/Documents/in/Installation_Art">Installation Art</a>, <script data-card-contents-for-ri="2080" type="text/json">{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14261" href="https://www.academia.edu/Documents/in/Film_and_Video_Art">Film and Video Art</a>, <script data-card-contents-for-ri="14261" type="text/json">{"id":14261,"name":"Film and Video Art","url":"https://www.academia.edu/Documents/in/Film_and_Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="874870" href="https://www.academia.edu/Documents/in/Contemporary_Art_of_Taiwan">Contemporary Art of Taiwan</a><script data-card-contents-for-ri="874870" type="text/json">{"id":874870,"name":"Contemporary Art of Taiwan","url":"https://www.academia.edu/Documents/in/Contemporary_Art_of_Taiwan?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49316296]'), work: {"id":49316296,"title":"奶油派和汽油彈：林羿綺的影像世界","created_at":"2021-06-20T18:55:35.805-07:00","url":"https://www.academia.edu/49316296/%E5%A5%B6%E6%B2%B9%E6%B4%BE%E5%92%8C%E6%B1%BD%E6%B2%B9%E5%BD%88_%E6%9E%97%E7%BE%BF%E7%B6%BA%E7%9A%84%E5%BD%B1%E5%83%8F%E4%B8%96%E7%95%8C?f_ri=6100","dom_id":"work_49316296","summary":"觀看林羿綺2009-2020年的作品，從《一秒鐘雕塑》到《雙生》，影片類型越來越豐富複雜，涵蓋散文紀錄片、多頻道影像裝置、搭景劇情片，整體展現變化多端的題材和風格。她以旺盛的想像力和同理心，穿梭在夢境和現實之間，考掘童年記憶和家族離散的歷史，關切眷村的拆遷和地方的興衰。在這光影流轉的影像世界裡，藝術家的身體動作或聲音旁白，皆出現在每一部影片中，她的氣息深刻銘印在作品上。而特別攫取觀者目光的片刻，是林羿綺丟擲奶油派和汽油彈的身影。","downloadable_attachments":[{"id":67693252,"asset_id":49316296,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":32692696,"first_name":"Shao-Chien","last_name":"Tseng","domain_name":"ncu","page_name":"ShaoChienTseng","display_name":"Shao-Chien Tseng","profile_url":"https://ncu.academia.edu/ShaoChienTseng?f_ri=6100","photo":"https://0.academia-photos.com/32692696/9754283/37863087/s65_shao-chien.tseng.jpg"}],"research_interests":[{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":14261,"name":"Film and Video Art","url":"https://www.academia.edu/Documents/in/Film_and_Video_Art?f_ri=6100","nofollow":false},{"id":874870,"name":"Contemporary Art of Taiwan","url":"https://www.academia.edu/Documents/in/Contemporary_Art_of_Taiwan?f_ri=6100","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_55888239" data-work_id="55888239" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/55888239/Technoaffective_Reinscriptions_Networks_of_care_and_critique_inside_and_outside_of_Europe_in_the_age_of_precarity">Technoaffective Reinscriptions: Networks of care and critique 'inside' and 'outside' of Europe in the age of precarity</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Criticaldías is arts-research duo Anyely Marín Cisneros and Rebecca Close, who have worked together since 2013. This article considers Criticaldías' projects that critically situate the discourses of development and progress in relation... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_55888239" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Criticaldías is arts-research duo Anyely Marín Cisneros and Rebecca Close, who have worked together since 2013. This article considers Criticaldías' projects that critically situate the discourses of development and progress in relation to histories of science and medicine. How do previous modes of managing the body in the city through medical technologies and surveillance continue to prefigure belonging and citizenship in the present? The chapter theorizes 'networks of care and critique' as a historically specific response –led by the feminist, queer and antiracist movements– to the commodification of care and the increasingly complex frontiers of exclusion and inclusion that marks the neoliberal project since the 1980s. Criticaldías' projects often combine elements of archival research, the collective writing of poetic-political texts, street action and performance-readings.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/55888239" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4dd5e7c1df3b764d65eba7dde6d7cfe3" rel="nofollow" data-download="{"attachment_id":72173332,"asset_id":55888239,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/72173332/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1705358" href="https://uab.academia.edu/rebeccaclose">rebecca close</a><script data-card-contents-for-user="1705358" type="text/json">{"id":1705358,"first_name":"rebecca","last_name":"close","domain_name":"uab","page_name":"rebeccaclose","display_name":"rebecca close","profile_url":"https://uab.academia.edu/rebeccaclose?f_ri=6100","photo":"https://0.academia-photos.com/1705358/18385473/85626824/s65_rebecca.close.jpg"}</script></span></span></li><li class="js-paper-rank-work_55888239 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="55888239"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 55888239, container: ".js-paper-rank-work_55888239", }); });</script></li><li class="js-percentile-work_55888239 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 55888239; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_55888239"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_55888239 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="55888239"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 55888239; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=55888239]").text(description); $(".js-view-count-work_55888239").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_55888239").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="55888239"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8241" href="https://www.academia.edu/Documents/in/Tropical_Medicine">Tropical Medicine</a>, <script data-card-contents-for-ri="8241" type="text/json">{"id":8241,"name":"Tropical Medicine","url":"https://www.academia.edu/Documents/in/Tropical_Medicine?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20168" href="https://www.academia.edu/Documents/in/Artistic_Research">Artistic Research</a>, <script data-card-contents-for-ri="20168" type="text/json">{"id":20168,"name":"Artistic Research","url":"https://www.academia.edu/Documents/in/Artistic_Research?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1422403" href="https://www.academia.edu/Documents/in/The_Politics_of_Care">The Politics of Care</a><script data-card-contents-for-ri="1422403" type="text/json">{"id":1422403,"name":"The Politics of Care","url":"https://www.academia.edu/Documents/in/The_Politics_of_Care?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=55888239]'), work: {"id":55888239,"title":"Technoaffective Reinscriptions: Networks of care and critique 'inside' and 'outside' of Europe in the age of precarity","created_at":"2021-10-06T02:50:41.122-07:00","url":"https://www.academia.edu/55888239/Technoaffective_Reinscriptions_Networks_of_care_and_critique_inside_and_outside_of_Europe_in_the_age_of_precarity?f_ri=6100","dom_id":"work_55888239","summary":"Criticaldías is arts-research duo Anyely Marín Cisneros and Rebecca Close, who have worked together since 2013. This article considers Criticaldías' projects that critically situate the discourses of development and progress in relation to histories of science and medicine. How do previous modes of managing the body in the city through medical technologies and surveillance continue to prefigure belonging and citizenship in the present? The chapter theorizes 'networks of care and critique' as a historically specific response –led by the feminist, queer and antiracist movements– to the commodification of care and the increasingly complex frontiers of exclusion and inclusion that marks the neoliberal project since the 1980s. Criticaldías' projects often combine elements of archival research, the collective writing of poetic-political texts, street action and performance-readings. ","downloadable_attachments":[{"id":72173332,"asset_id":55888239,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1705358,"first_name":"rebecca","last_name":"close","domain_name":"uab","page_name":"rebeccaclose","display_name":"rebecca close","profile_url":"https://uab.academia.edu/rebeccaclose?f_ri=6100","photo":"https://0.academia-photos.com/1705358/18385473/85626824/s65_rebecca.close.jpg"}],"research_interests":[{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":8241,"name":"Tropical Medicine","url":"https://www.academia.edu/Documents/in/Tropical_Medicine?f_ri=6100","nofollow":false},{"id":20168,"name":"Artistic Research","url":"https://www.academia.edu/Documents/in/Artistic_Research?f_ri=6100","nofollow":false},{"id":1422403,"name":"The Politics of Care","url":"https://www.academia.edu/Documents/in/The_Politics_of_Care?f_ri=6100","nofollow":false},{"id":3046893,"name":"Decolonial Feminisms","url":"https://www.academia.edu/Documents/in/Decolonial_Feminisms?f_ri=6100"},{"id":3289892,"name":"Postdevelopment in practice","url":"https://www.academia.edu/Documents/in/Postdevelopment_in_practice?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43805585" data-work_id="43805585" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43805585/Dis_integration_Miko_Reverezas_Video_Letters_and_the_Aesthetics_of_Counter_Assimilation">Dis-integration: Miko Revereza's Video Letters and the Aesthetics of Counter-Assimilation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay focuses on the Filipino American filmmaker Miko Revereza, who is “out” about his undocumented status, in order to document the possibilities of counter-assimilationist expression by migrants who are undocumented. In his... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43805585" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay focuses on the Filipino American filmmaker Miko Revereza, who is “out” about his undocumented status, in order to document the possibilities of counter-assimilationist expression by migrants who are undocumented. In his awardwinning autobiographical film Disintegration 93-96, Revereza uses footage from the glitchy VHS “video letters” that his family recorded and sent from California to relatives in the Philippines in the 1990s. In contrast with the model of the ideal DREAMer, who integrates into the state, Revereza creates an aesthetic of imperfection and a space of “disintegration,” widening the possibility for counter-assimilationist expression by migrants who are undocumented.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43805585" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4fc445ccf122ae8052ea06ea98ddbc0f" rel="nofollow" data-download="{"attachment_id":64123170,"asset_id":43805585,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64123170/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1924033" href="https://ucriverside.academia.edu/SaritaSee">Sarita See</a><script data-card-contents-for-user="1924033" type="text/json">{"id":1924033,"first_name":"Sarita","last_name":"See","domain_name":"ucriverside","page_name":"SaritaSee","display_name":"Sarita See","profile_url":"https://ucriverside.academia.edu/SaritaSee?f_ri=6100","photo":"https://0.academia-photos.com/1924033/649811/805405/s65_sarita.see.jpg"}</script></span></span></li><li class="js-paper-rank-work_43805585 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43805585"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43805585, container: ".js-paper-rank-work_43805585", }); });</script></li><li class="js-percentile-work_43805585 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43805585; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43805585"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43805585 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43805585"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43805585; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43805585]").text(description); $(".js-view-count-work_43805585").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43805585").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43805585"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12570" href="https://www.academia.edu/Documents/in/Undocumented_Immigration">Undocumented Immigration</a>, <script data-card-contents-for-ri="12570" type="text/json">{"id":12570,"name":"Undocumented Immigration","url":"https://www.academia.edu/Documents/in/Undocumented_Immigration?f_ri=6100","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="32983" href="https://www.academia.edu/Documents/in/Experimental_Film">Experimental Film</a><script data-card-contents-for-ri="32983" type="text/json">{"id":32983,"name":"Experimental Film","url":"https://www.academia.edu/Documents/in/Experimental_Film?f_ri=6100","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43805585]'), work: {"id":43805585,"title":"Dis-integration: Miko Revereza's Video Letters and the Aesthetics of Counter-Assimilation","created_at":"2020-08-07T15:27:56.237-07:00","url":"https://www.academia.edu/43805585/Dis_integration_Miko_Reverezas_Video_Letters_and_the_Aesthetics_of_Counter_Assimilation?f_ri=6100","dom_id":"work_43805585","summary":"This essay focuses on the Filipino American filmmaker Miko Revereza, who is “out” about his undocumented status, in order to document the possibilities of counter-assimilationist expression by migrants who are undocumented. In his awardwinning autobiographical film Disintegration 93-96, Revereza uses footage from the glitchy VHS “video letters” that his family recorded and sent from California to relatives in the Philippines in the 1990s. In contrast with the model of the ideal DREAMer, who integrates into the state, Revereza creates an aesthetic of imperfection and a space of “disintegration,” widening the possibility for counter-assimilationist expression by migrants who are undocumented.","downloadable_attachments":[{"id":64123170,"asset_id":43805585,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1924033,"first_name":"Sarita","last_name":"See","domain_name":"ucriverside","page_name":"SaritaSee","display_name":"Sarita See","profile_url":"https://ucriverside.academia.edu/SaritaSee?f_ri=6100","photo":"https://0.academia-photos.com/1924033/649811/805405/s65_sarita.see.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=6100","nofollow":false},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6100","nofollow":false},{"id":12570,"name":"Undocumented Immigration","url":"https://www.academia.edu/Documents/in/Undocumented_Immigration?f_ri=6100","nofollow":false},{"id":32983,"name":"Experimental Film","url":"https://www.academia.edu/Documents/in/Experimental_Film?f_ri=6100","nofollow":false},{"id":69273,"name":"Filipino Studies","url":"https://www.academia.edu/Documents/in/Filipino_Studies?f_ri=6100"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38398174" data-work_id="38398174" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38398174/Oferte_foto_video_nunta">Oferte foto video nunta</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Oferta foto video nunta.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38398174" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="00c2684a242a515468b35975ce87a899" rel="nofollow" data-download="{"attachment_id":58455338,"asset_id":38398174,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58455338/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="101795504" href="https://harvard.academia.edu/FilmariNunti">Filmari Nunti</a><script data-card-contents-for-user="101795504" type="text/json">{"id":101795504,"first_name":"Filmari","last_name":"Nunti","domain_name":"harvard","page_name":"FilmariNunti","display_name":"Filmari Nunti","profile_url":"https://harvard.academia.edu/FilmariNunti?f_ri=6100","photo":"https://0.academia-photos.com/101795504/22834155/21988459/s65_filmari.nunti.jpg"}</script></span></span></li><li class="js-paper-rank-work_38398174 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38398174"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38398174, container: ".js-paper-rank-work_38398174", }); 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At the time I was preoccupied, on the one hand, with Walter Benjamin’s writing on images and cities, and on the other... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30898501" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">My aim in this paper was to bring together a theoretical, historical enquiry and an empirical, contemporary project. At the time I was preoccupied, on the one hand, with Walter Benjamin’s writing on images and cities, and on the other hand, with the exhibition project Video as Urban Condition.[1]<br /><br />The paper locates the crossing point where Benjamin’s thought — in particular, his conception of urban experience — intersects with the technology of television — that is to say, seeing at a distance.<br /><br />I did not attempt to reconcile Benjamin’s suggestions with the post-war television phenomena that he neither saw nor foresaw. The question I posed myself was whether some observations of Benjamin’s, or rather, some observations on Benjamin’s thought, might furnish the distance necessary for observing the present.<br /><br />I found, in the interior of the nineteenth century, the pre-vision of television — television almost without technology — and I traced its philosophical heritage. I entered that interior with Benjamin and exited with the flâneur, to whom the city opened up like a landscape even as it enclosed him like a room, as a private domain.<br /><br />Hence the screen, the façade, the shop window and the television set revealed themselves as the sites where one could interrogate the intersections between exterior and interior, between media and architecture, the city and its phantasmagoria.<br /><br />[1]: On the one hand, see ‘Imagine no Metaphors: the dialectical image of Walter Benjamin’ in Image & Narrative, special issue edited by Hanneke Grootenboer, no. 18, September 2007. On the other hand, see ‘Who is Big Brother? or The Politics of Looking’, in Dérive Zeitschrift für Stadtforschung, no. 42, January 2011.<br /><br />With an appendix: Video as Urban Condition</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30898501" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a8f5726b67672c81062adc241c7ee8c4" rel="nofollow" data-download="{"attachment_id":51383344,"asset_id":30898501,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51383344/download_file?st=MTczMzMxMDkyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33989218" href="https://independent.academia.edu/AnthonyAuerbach">Anthony Auerbach</a><script data-card-contents-for-user="33989218" type="text/json">{"id":33989218,"first_name":"Anthony","last_name":"Auerbach","domain_name":"independent","page_name":"AnthonyAuerbach","display_name":"Anthony Auerbach","profile_url":"https://independent.academia.edu/AnthonyAuerbach?f_ri=6100","photo":"https://0.academia-photos.com/33989218/10056593/11218652/s65_anthony.auerbach.jpg"}</script></span></span></li><li class="js-paper-rank-work_30898501 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30898501"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30898501, container: ".js-paper-rank-work_30898501", }); 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At the time I was preoccupied, on the one hand, with Walter Benjamin’s writing on images and cities, and on the other hand, with the exhibition project Video as Urban Condition.[1]\n\nThe paper locates the crossing point where Benjamin’s thought — in particular, his conception of urban experience — intersects with the technology of television — that is to say, seeing at a distance.\n\nI did not attempt to reconcile Benjamin’s suggestions with the post-war television phenomena that he neither saw nor foresaw. The question I posed myself was whether some observations of Benjamin’s, or rather, some observations on Benjamin’s thought, might furnish the distance necessary for observing the present.\n\nI found, in the interior of the nineteenth century, the pre-vision of television — television almost without technology — and I traced its philosophical heritage. I entered that interior with Benjamin and exited with the flâneur, to whom the city opened up like a landscape even as it enclosed him like a room, as a private domain.\n\nHence the screen, the façade, the shop window and the television set revealed themselves as the sites where one could interrogate the intersections between exterior and interior, between media and architecture, the city and its phantasmagoria.\n\n[1]: On the one hand, see ‘Imagine no Metaphors: the dialectical image of Walter Benjamin’ in Image \u0026 Narrative, special issue edited by Hanneke Grootenboer, no. 18, September 2007. 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href="https://www.academia.edu/12264396/Yippie_Pop_Abbie_Hoffman_Andy_Warhol_and_Sixties_Media_Politics">Yippie Pop: Abbie Hoffman, Andy Warhol, and Sixties Media Politics</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12264396" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7f996febb2a169cfe4c1b7a2aa2d4af1" rel="nofollow" data-download="{"attachment_id":37560462,"asset_id":12264396,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen 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