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<!DOCTYPE html> <html > <head> <meta charset="utf-8"> <meta rel="search" type="application/opensearchdescription+xml" href="/open_search.xml" title="Academia.edu"> <meta content="width=device-width, initial-scale=1" name="viewport"> <meta name="google-site-verification" content="bKJMBZA7E43xhDOopFZkssMMkBRjvYERV-NaN4R6mrs"> <meta name="csrf-param" content="authenticity_token" /> <meta name="csrf-token" content="jZ0Aj8jAzf5vFfA8mSALIk66dE4Jd_ApSmzzYZQv8WOpbvDPhYcfIZqfHNI4OotTrOx71aa4sC6YpCOXZSpoTA" /> <meta name="citation_title" content="Videopoetry and Its Metaphors" /> <meta name="citation_author" content="Tom Konyves" /> <meta name="twitter:card" content="summary" /> <meta name="twitter:url" content="https://www.academia.edu/110583611/Videopoetry_and_Its_Metaphors" /> <meta name="twitter:title" content="Videopoetry and Its Metaphors" /> <meta name="twitter:description" content="Address written for the Symposium &quot;New Art Emerging: Two or Three Things One Should Know About Videopoetry&quot;, held Nov. 5, 2022, concurrent with the exhibition &quot;Poets with a Video Camera: Videopoetry 1980-2020&quot; which ran from Sept" /> <meta name="twitter:image" content="https://0.academia-photos.com/1332079/10958802/12306483/s200_tom.konyves.jpg" /> <meta property="fb:app_id" content="2369844204" /> <meta property="og:type" content="article" /> <meta property="og:url" content="https://www.academia.edu/110583611/Videopoetry_and_Its_Metaphors" /> <meta property="og:title" content="Videopoetry and Its Metaphors" /> <meta property="og:image" content="http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif" /> <meta property="og:description" content="Address written for the Symposium &quot;New Art Emerging: Two or Three Things One Should Know About Videopoetry&quot;, held Nov. 5, 2022, concurrent with the exhibition &quot;Poets with a Video Camera: Videopoetry 1980-2020&quot; which ran from Sept" /> <meta property="article:author" content="https://independent.academia.edu/TomKonyves" /> <meta name="description" content="Address written for the Symposium &quot;New Art Emerging: Two or Three Things One Should Know About Videopoetry&quot;, held Nov. 5, 2022, concurrent with the exhibition &quot;Poets with a Video Camera: Videopoetry 1980-2020&quot; which ran from Sept" /> <title>(PDF) Videopoetry and Its Metaphors</title> <link rel="canonical" href="https://www.academia.edu/110583611/Videopoetry_and_Its_Metaphors" /> <script async src="https://www.googletagmanager.com/gtag/js?id=G-5VKX33P2DS"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-5VKX33P2DS', { cookie_domain: 'academia.edu', send_page_view: false, }); gtag('event', 'page_view', { 'controller': "single_work", 'action': "show", 'controller_action': 'single_work#show', 'logged_in': 'false', 'edge': 'unknown', // Send nil if there is no A/B test bucket, in case some records get logged // with missing data - that way we can distinguish between the two cases. // ab_test_bucket should be of the form <ab_test_name>:<bucket> 'ab_test_bucket': null, }) </script> <script> var $controller_name = 'single_work'; var $action_name = "show"; var $rails_env = 'production'; var $app_rev = '107520bac59918e2ceae62eaadd15bff3d1e7904'; var $domain = 'academia.edu'; var $app_host = "academia.edu"; var $asset_host = "academia-assets.com"; var $start_time = new Date().getTime(); var $recaptcha_key = "6LdxlRMTAAAAADnu_zyLhLg0YF9uACwz78shpjJB"; var $recaptcha_invisible_key = "6Lf3KHUUAAAAACggoMpmGJdQDtiyrjVlvGJ6BbAj"; var $disableClientRecordHit = false; </script> <script> window.require = { config: function() { return function() {} } } </script> <script> window.Aedu = window.Aedu || {}; window.Aedu.hit_data = null; window.Aedu.serverRenderTime = new Date(1740931655000); window.Aedu.timeDifference = new Date().getTime() - 1740931655000; </script> <script type="application/ld+json">{"@context":"https://schema.org","@type":"ScholarlyArticle","abstract":"Address written for the Symposium \u0026amp;quot;New Art Emerging: Two or Three Things One Should Know About Videopoetry\u0026amp;quot;, held Nov. 5, 2022, concurrent with the exhibition \u0026amp;quot;Poets with a Video Camera: Videopoetry 1980-2020\u0026amp;quot; which ran from Sept 17-Dec 11, 2022, at the Surrey Art Gallery. It was lights OUT! Literally. Due to a widespread power outage from an overnight windstorm that shut down the entire gallery, last-minute arrangements had to be made to relocate the event to the Surrey Libraries\u0026amp;#39; Central Branch. Much thanks go to our colleagues there for opening their doors to us on very short notice. Big thanks as well to the ten amazing presenting artists on that day. 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{"work":{"id":110583611,"created_at":"2023-12-04T17:42:50.133-08:00","from_world_paper_id":null,"updated_at":"2023-12-31T17:32:14.009-08:00","_data":{"abstract":"Address written for the Symposium \"New Art Emerging: Two or Three Things One Should Know About Videopoetry\", held Nov. 5, 2022, concurrent with the exhibition \"Poets with a Video Camera: Videopoetry 1980-2020\" which ran from Sept 17-Dec 11, 2022, at the Surrey Art Gallery. \r\nIt was lights OUT! Literally. Due to a widespread power outage from an overnight windstorm that shut down the entire gallery, last-minute arrangements had to be made to relocate the event to the Surrey Libraries' Central Branch. Much thanks go to our colleagues there for opening their doors to us on very short notice. Big thanks as well to the ten amazing presenting artists on that day. The video of the event, including my opening address, can be accessed here: https://www.youtube.com/watch?v=kahoulf16vk\u0026t=8s "},"document_type":"paper","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Videopoetry and Its Metaphors","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true,"seo_quality":null}}["work"]; window.loswp.workCoauthors = [1332079]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "full_page_mobile_sutd_modal"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":109845382,"attachmentType":"pdf"}"><img alt="First page of “Videopoetry and Its Metaphors”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/109845382/mini_magick20240101-1-3l088p.png?1704072757" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Videopoetry and Its Metaphors</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="1332079" href="https://independent.academia.edu/TomKonyves"><img alt="Profile image of Tom Konyves" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/1332079/10958802/12306483/s65_tom.konyves.jpg" />Tom Konyves</a></div><div class="ds-work-card--detail"><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">5 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 110583611; 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It was lights OUT! Literally. Due to a widespread power outage from an overnight windstorm that shut down the entire gallery, last-minute arrangements had to be made to relocate the event to the Surrey Libraries' Central Branch. Much thanks go to our colleagues there for opening their doors to us on very short notice. Big thanks as well to the ten amazing presenting artists on that day. The video of the event, including my opening address, can be accessed here: https://www.youtube.com/watch?v=kahoulf16vk&t=8s </p></div></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="1132661" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/1132661/Sounding_the_Subject_Video_Trajectories_Selections_from_the_Pamela_and_Richard_Kramlich_Collection_and_the_New_Art_Trust_MIT_List_Visual_Arts_Center_2007_">Sounding the Subject. Video Trajectories: Selections from the Pamela and Richard Kramlich Collection and the New Art Trust (MIT List Visual Arts Center, 2007)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1009255" href="https://saic.academia.edu/MechtildWidrich">Mechtild Widrich</a></div><p class="ds-related-work--abstract ds2-5-body-sm">This essay, entitled "Stars and Dilettantes. On the Voice in Video Art" is from an exhibition at the MIT List VIsual Arts Center, 2007 I co-curated in 2007. The topic is the voice in video art, and the various layers of mediation in performances for the camera.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Sounding the Subject. Video Trajectories: Selections from the Pamela and Richard Kramlich Collection and the New Art Trust (MIT List Visual Arts Center, 2007)","attachmentId":30341245,"attachmentType":"pdf","work_url":"https://www.academia.edu/1132661/Sounding_the_Subject_Video_Trajectories_Selections_from_the_Pamela_and_Richard_Kramlich_Collection_and_the_New_Art_Trust_MIT_List_Visual_Arts_Center_2007_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/1132661/Sounding_the_Subject_Video_Trajectories_Selections_from_the_Pamela_and_Richard_Kramlich_Collection_and_the_New_Art_Trust_MIT_List_Visual_Arts_Center_2007_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="1479620" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/1479620/VIDEOPOETRY_A_MANIFESTO">VIDEOPOETRY: A MANIFESTO </a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1332079" href="https://independent.academia.edu/TomKonyves">Tom Konyves</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2011</p><p class="ds-related-work--abstract ds2-5-body-sm">The Definition, Categories and Constraints of the Hybrid Genre. Sprinkled with quotes by such luminaries as Marcel Duchamp, Andre Breton, Victor Shklovsky, Luis Bunuel and Maya Deren, this polemical essay defined and assigned constraints and categories to differentiate the various manifestations and specificities of the emerging hybrid genre of videopoetry. As the title suggests, it was also conceived as a provocation, an avant-gardist gesture to revivify a conversation between two competing signifying systems. Its insistence on the presence of displayed or voiced text and the renunciation of illustration was a timely response to Ron Silliman’s call for vidpo (videopoetry) and vispo (visual poetry) to ‘define their territory as distinct from the various other art forms that often influence & inform them.’ The “territory” defined by the Manifesto invited poets to seize the “means of production” – technology – for redefining the role of poetry in the 21st century. Read comments at: https://www.academia.edu/97250544/Reviews_of_VIDEOPOETRY_A_MANIFESTO ----------------------------- The first, belated, minor correction (in the grand scheme of things) to the Acknowledgements: '... Stephen Morrissey, who published my essay on videopoetry in The Insecurities of Art, 1981...' should be – ... who first published my essay on videopoetry in his mimeographed "Winter 1978-79 Montreal Journal of Poetics" (see https://tinyurl.com/yaxwk6fb)</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"VIDEOPOETRY: A MANIFESTO ","attachmentId":109714410,"attachmentType":"pdf","work_url":"https://www.academia.edu/1479620/VIDEOPOETRY_A_MANIFESTO","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/1479620/VIDEOPOETRY_A_MANIFESTO"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="46056829" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/46056829/Video_Art_an_Unfinished_History">Video Art : an Unfinished History</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="24159986" href="https://univ-lille.academia.edu/G%C3%A9raldineSfez">Géraldine Sfez</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Critique d’art, 2018</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Video Art : an Unfinished History","attachmentId":66214275,"attachmentType":"pdf","work_url":"https://www.academia.edu/46056829/Video_Art_an_Unfinished_History","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/46056829/Video_Art_an_Unfinished_History"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="48461304" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/48461304/Video_as_Poetry">Video as Poetry</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="10137739" href="https://independent.academia.edu/MichaelSalcman">Michael Salcman</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Neurosurgery, 2011</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Video as Poetry","attachmentId":67060557,"attachmentType":"pdf","work_url":"https://www.academia.edu/48461304/Video_as_Poetry","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/48461304/Video_as_Poetry"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="29000483" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/29000483/MEANING_AND_AESTHETIC_EXPERIMENTATIONS_IN_SELECTED_VIDEO_POEMS_BY_WAYNE_VISSER">MEANING AND AESTHETIC EXPERIMENTATIONS IN SELECTED VIDEO POEMS BY WAYNE VISSER</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="28588993" href="https://pgsch.academia.edu/OLUYEMISIOLADEJO">OLUYEMISI A ADEDOKUN-OLADEJO</a></div><p class="ds-related-work--abstract ds2-5-body-sm">ABSTRACT Digital poems are digitally generated poems that can only be experienced within the digital environment. While there is an avalanche of critical articles on poetry, the focus has been on the poems of the paper culture and there is a dearth of scholarly attention on digital poetry. This study therefore attempts an analysis of selected ten video poems with a view to interrogating the influence of the digital environment on meaning creation. This study is carried out with theoretical tools of Multimodality. Multimodal approach to the study of digital literature derives from the works of critical thinkers including Gunther Kress and Van Leeuwen. The relevance of Multimodality to the analysis of digital poetry is hinged on the fact that linguistic element alone has become insufficient vehicle for meaning-making where other modes are involved. Hence, Multimodal interaction and its implication on meaning creation are essential considerations for the analysis of digital poetry. The ten selected poems are authored by South African poet, Wayne Visser. The choice of Visser’s poems is informed by the fact that he is a prolific poet of both the paper and the digital culture. The selected video poems are analysed to underscore how pictures, music and recital can enhance as well as downplay the meaning of the poem. Pictures can serve as visual metaphors for the ideas in the text; pictures can advance authorial intent beyond the domain of the text; the background music can connect the reader emotionally and psychologically to the message of the poem; from the recital, the reader/listener/viewer can learn the pronunciation of the local colours in the poem; the aesthetics can sometimes shadow the figurativeness of the idea of the poem; some ideas projected in poems are concepts that are best coded in words and cannot be pictorially represented as blending them with images can impede the reader/viewer/listener’s imagination; pictures can sometimes supply a contrasting meaning; pictorial representations sometimes streamline the range of available interpretations; aesthetics if not properly harnessed can serve as a distraction; the voice of the poet can also constitute a disturbance if the reciting-pace is faster or slower than the reader/viewer/listener can cope with. Aesthetics, as it relates to video poetry, can enhance as well as downplay the meaning of the text. Hence, it is expedient that the video poet be conscious of the two sides of the relationship between aesthetics and meaning creation in order to ensure that meaning is not sacrificed on the altar of technology. It is therefore recommended that scholars, researchers and instructors begin to throw their weight around video/digital poetry by making literature students take a compulsory course in “Literature and the New Media” and extending such trainings to intending video poets to empower them in the art of blending various semiotic resources in a way that authorial intent is facilitated. It is also recommended that more researches be conducted on digital poetry/video poetry and the findings of such researches be made available to the consumers and producers of this type of literature. KEYWORDS: Digital poetry, Video poetry, Multimodality, Pictures, Recital. WORD COUNT: 500</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"MEANING AND AESTHETIC EXPERIMENTATIONS IN SELECTED VIDEO POEMS BY WAYNE VISSER","attachmentId":49448046,"attachmentType":"docx","work_url":"https://www.academia.edu/29000483/MEANING_AND_AESTHETIC_EXPERIMENTATIONS_IN_SELECTED_VIDEO_POEMS_BY_WAYNE_VISSER","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/29000483/MEANING_AND_AESTHETIC_EXPERIMENTATIONS_IN_SELECTED_VIDEO_POEMS_BY_WAYNE_VISSER"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="101160230" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/101160230/Video_a_New_Art">Video, a New Art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="155125602" href="https://unibas.academia.edu/MelissaR%C3%A9rat">Melissa Rérat</a></div><p class="ds-related-work--metadata ds2-5-body-xs">The Museum in the Digital Age. New Media & Novel Methods of Mediation, Bonnefoit Régine and Rérat Melissa, eds, Newcastle upon Tyne: Cambridge Scholars Publishing Ltd, 2017</p><p class="ds-related-work--abstract ds2-5-body-sm">The current "digital revolution" or "digital era" has affected most of the realms of today’s world, particularly the domains of communication and the creation, safeguarding and transmission of knowledge. Museums, whose mission is to be open to the public and to acquire, conserve, research, communicate and exhibit the heritage of humanity, are thus directly concerned by this revolution. This collection highlights the manner in which museums and curators tackle the challenges of digital technology. The contributions are divided into four groups that illustrate the extent of the impact of digital technologies on museums: namely, exhibitions devoted to new media or mounted with the use of new media; the hidden face of the museum and the conservation of digital works of art; cultural mediation and the communication and promotion of museums using digital tools; and the legal aspects of the digitalisation of content, whether for creative purposes or preservation. Hardback and e-book: 2017 Paperback: 2021</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Video, a New Art","attachmentId":101777299,"attachmentType":"pdf","work_url":"https://www.academia.edu/101160230/Video_a_New_Art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/101160230/Video_a_New_Art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="107573407" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/107573407/Occupying_a_space_in_between_A_video_art_research_practice_PhD_by_Publication_thesis">Occupying a space in between: A video art research practice. PhD by Publication thesis</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="42008898" href="https://oxfordbrookes.academia.edu/JaniceHoward">Janice Howard</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Occupying a space in between: A video art research practice, 2021</p><p class="ds-related-work--abstract ds2-5-body-sm">This PhD by Published Work examines a a body of experimental video art practice, in terms of ‘a space in-between’. The themes and concerns in this commentary have been shaped through a reflexive, intersectional lens and largely stem from re-thinking my absence for several years from the world of published academic research. This has given rise to my emphasis on occupying ‘a space in-between’ to acknowledge the interval/gap in my publishing and the interrelated dimensions of the physical, spatial, temporal and cultural aspects of the published work. A space in-between is discussed in this commentary as both a quality and a thing and incorporates themes such as vanishing, incongruous boundaries, temporal gaps, intervals and interruptions. It provides a framework to analyse interactions with the tangible, conceptual, metaphorical and relational features of the work and underscores the circumstances of uncertainty and ambiguity which are threaded through. The work is characterised by drawing on a wide range of disciplinary knowledge including feminist phenomenology, philosophy, anthropology, film studies, cultural studies and contemporary art, and incorporating the notion of a space in-between that arises from embodied experience of illness, loss, anxiety and fear. This leads to a distinctive shift in the research, which has evolved over two distinct time periods, and in turn engages the transient, ephemeral and subjective nature of knowing. My key original contribution to knowledge is an articulation of my understanding of a journey as an observer of the world around me, which reveals a change in perspective emerging from my interval/gap in publishing and is embedded in the distinctive shift from one body of published experimental video work to another. My contribution originates through and is embedded in my practice occurring at the intersection between: (1) emphases on the notion of a ‘space in-between’ perceived as an interval (actual and metaphorical), stemming from a ‘gap’ in my publication history and contextualised within a feminist theoretical framework (2) focuses on various themes including vanishing, temporal gaps, ‘the fear of the other within’ and ‘out running’, to consider the ways my own embodied experience of illness, loss, anxiety and fear might be represented (3) engagements with research strategies relevant to video projection, video installation and experimental film including techniques drawn from autoethnography, and haptic aesthetics which decentre, interrupt and engage viewers through embodied perception.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Occupying a space in between: A video art research practice. PhD by Publication thesis","attachmentId":106204746,"attachmentType":"docx","work_url":"https://www.academia.edu/107573407/Occupying_a_space_in_between_A_video_art_research_practice_PhD_by_Publication_thesis","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/107573407/Occupying_a_space_in_between_A_video_art_research_practice_PhD_by_Publication_thesis"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="3192419" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/3192419/Between_White_Cube_and_Black_Box_Urban_Screening_and_Other_Notes_on_Exhibiting_Video_Art_Today"> Between “White Cube” and “Black Box”: Urban Screening and Other Notes on Exhibiting Video Art Today</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1774154" href="https://dallascontemporary.academia.edu/LiliaKudelia">Lilia Kudelia</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Los Americanos/ exhibition e-catalogue, 2013</p><p class="ds-related-work--abstract ds2-5-body-sm">While looking at Rene Magritte's famous painting Le Blanc-Seing i (The Blank Cheque, 1965) as a viewer from the 21 st century, one may easily assume it is an image projected on tree trunks. The woman on the horse appears to be digitally projected deep into the forest because Magritte accurately interweaves particles of the foreground with objects in the distance. We can assume that it happens due to the transparency of a projected image and the permeability of the surface where the image is projected. In an attempt to think about Magritte's painting as a proto-video piece, we notice that there is an inner rhythm in the composition of the painting, which gives it a .gif or moving image feeling. Despite the fact that Magritte's primary explanation had no relation to technological issues, this painting allows the viewer to see it as multiple images within a single frame.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":" Between “White Cube” and “Black Box”: Urban Screening and Other Notes on Exhibiting Video Art Today","attachmentId":31076258,"attachmentType":"pdf","work_url":"https://www.academia.edu/3192419/Between_White_Cube_and_Black_Box_Urban_Screening_and_Other_Notes_on_Exhibiting_Video_Art_Today","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/3192419/Between_White_Cube_and_Black_Box_Urban_Screening_and_Other_Notes_on_Exhibiting_Video_Art_Today"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="91323976" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/91323976/Video_in_the_context_of_contemporary_art">Video in the context of contemporary art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="244388861" href="https://sydney.academia.edu/JohnClark">John Clark</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2017</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline 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ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/76573770/A_videographic_future_beyond_film">A videographic future beyond film</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="37403748" href="https://usi-ch.academia.edu/KevinLee">Kevin B Lee</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2021</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"A videographic future beyond film","attachmentId":84240661,"attachmentType":"pdf","work_url":"https://www.academia.edu/76573770/A_videographic_future_beyond_film","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline 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