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Chicago New Media, 1973-1992 chronicles the unrecognized story of Chicago's contributions to new media art by artists at the University of Illinois at Chicago' Electronic Visualization Laboratory, the School of the Art Institute of Chicago, and at Midway and Bally games. It includes original scholarship of the prehistory, communities, and legacy of the city's new media output in the latter half of the twentieth century along with color plate images of video game artifacts, new media technologies, historical photographs, game stills, playable video game consoles, and virtual reality modules. The featured essay focuses on the career of programmer and artist Jamie Fenton, a key figure from the era who connected new media, academia, and industry. This catalog is a companion to the exhibition Chicago New Media 1973-1992,curated by Jon Cates, and organized by Video Game Art Gallery in partnership with Gallery 400 and the Electronic Visualization Laboratory. It is part of Art Design Chicago, a 2018 initiative of the Terra Foundation for American Art, with presenting partner The Richard H. Driehaus Foundation, to explore Chicago's art and design legacy.
In his latest project, Philippe Parreno (born 1964) used the mediums of landscape and film as a vehicle for playing with the conventions of time and space. According to NASA, any planet hospitable to life will likely orbit a pair of dwarf stars in a Continuously Habitable Zone (CHZ). The effect of orbiting multiple stars is black vegetation. With this in mind, Parreno, with the help of landscape architect Bas Smets, created a garden on a hillside in Porto, Portugal that is futuristic yet primordial: black plants grow where images fade, and we travel to a new fantastical world. Fashioned from earth, black minerals and vegetation, this real garden tells a topographical story that comes from the world of science fiction. "C.H.Z. "features the artist's dark, impasto ink drawings, which functioned as a storyboard for the cinematographer Darius Khondji, as well as stills of the seven stages of the film.
While cinema is a medium with a unique ability to "watch life" and "write movement," it is equally singular in its portrayal of death. The first study to unpack American cinema's long history of representing death, this book considers movie sequences in which the process of dying becomes an exercise in legibility and exploration for the camera and connects the slow or static process of dying to formal film innovation throughout the twentieth century.
C. Scott Combs analyzes films that stretch from cinema's origins to the end of the twentieth century, looking at attractions-based cinema, narrative films, early sound cinema, and films using voiceover or images of medical technology. Through films such as Thomas Edison's "Electrocuting an Elephant" (1903), D. W. Griffith's "The Country Doctor" (1909), John Ford's "How Green Was My Valley" (1941), Billy Wilder's "Sunset Boulevard" (1950), Stanley Kubrick's " 2001: A Space Odyssey" (1968), and Clint Eastwood's "Million Dollar Baby" (2004), Combs argues that the end of dying occurs more than once, in more than one place. Working against the notion that film cannot capture the end of life because it cannot stop moving forward, that it cannot induce the photographic fixity of the death instant, this book argues that the place of death in cinema is persistently in flux, wedged between technological precision and embodied perception. Along the way, Combs consolidates and reconceptualizes old and new debates in film theory.
The first analysis of the relationship between art and video games, from the sixties until today. Art and play: how many forms does this relationship take? Duchamp used to say that art was a game and that games were art. When video games joined the dance of the muses this relationship was further enriched. Video games are an art and in recent years they have had a crucial influence on other arts: cinema, literature, music and visual arts. They stand at the crossroads between very diverse forms of culture and product, and it is precisely the anomaly inherent in this encounter/clash that makes them so terribly interesting. Neoludica is an in-depth exploration of the relationship between art and video games, and it underlines how the video game (an interactive multimedia work) is an art form that has yet to be understood by the world of culture. The interactive dimension is a facet that has attracted art since the advent of environmental installations during the sixties, and it is a dimension that has since been developed in digital art through video installations. The video game/art contamination occurs not only on the aesthetic level, but also through those elements of language which can be defined as conceptual, such as interactivity mentioned above. Naturally, it acquires an artistic dimension when its aims go beyond mere technical prowess and explore the world of fantasy.
Brimming with pictures and texts by artists and members of the jury, this book documents the outstanding works from the Prix Ars Electronica 2011. The DVD presents a selection of prizewinning submissions dealing with current trends. Since its inception in 1987, the Prix Ars Electronica, the world's most highly remunerated digital arts award, has been an annual barometer of trends in digital creativity, and continues to be a trailblazer in discovering innovative art. Thirty-five international experts judge thousands of submissions in the categories Computer Animation / Film / VFX, Digital Music & Sound Art, Interactive Art, Hybrid Art, Digital Communities, [the next idea], the voestalpine Art and Technology Grant, and the youth competition, u19-freestyle computing.
The insatiable hunger for knowledge, the desire to turn old knowledge on its head; the yearning to find out where we come from; the longing to give meaning to our existence and to anchor ourselves within the big picture of the universe: these fundamental, essential qualities of humankind are the common sources of art and knowledge. In cooperation with CERN, the international research institute, where over ten thousand scientists from many different nations are attempting to understand the creation of the universe and the origin of all material, Ars Electronica 2011 is working in the world of top level research. It's also about gaining a new perspective of institutions such as CERN. After all, they are affording room for thought, which is not only indispensible for science, but also urgently needed for the development of plans for sustainable societies.
In a conversation with dOCUMENTA (13) Agents Ayreen Anastas and Rene Gabri, New York-based video artist Paul Ryan talks about the theoretical and biographical background to his work, about formative experiences while being an assistant to Marshall McLuhan, and about his role within the video group Raindance and their magazine Radical Software-and about how all these influences shaped his desire to connect his artistic practice with revolutionary social action. Ryan's idea of Threeing lies at the center. Based on Charles Sanders Peirce's phenomenological categories of firstness, secondness, and thirdness, Threeing is a voluntary practice of relating, in which three people take turns playing three roles. The conversation is complemented by a detailed appendix with illustrated texts on Threeing and on Ryan's concept of the Relational Circuit.
"Cinematic Appeals" follows the effect of technological innovation on the cinema experience, specifically the introduction of widescreen and stereoscopic 3D systems in the 1950s, the rise of digital cinema in the 1990s, and the transition to digital 3D since 2005. Widescreen cinema promised to draw the viewer into the world of the screen, enabling larger-than-life close-ups of already larger-than-life actors. This technology fostered the illusion of physically entering a film, enhancing the semblance of realism. Alternatively, the digital era was less concerned with the viewer's physical response and more with information flow, awe, and the reevaluation of spatiality and embodiment. This study ultimately shows how cinematic technology and the human experience shape and respond to each other over time.
A behind-the-scenes look at director Christopher Nolan's gripping action-thriller Dunkirk, which brings to life one of World War II's most pivotal events. Set during World War II, director Christopher Nolan's (The Dark Knight Trilogy, Interstellar) much-anticipated new film tells the story of the evacuation of British troops from Dunkirk, France, in a daring endeavor that saved them from certain defeat at the hands of enemy forces. Featuring a stunning ensemble cast that includes newcomers Fionn Whitehead, Tom Glynn-Carney, and Harry Styles, as well as acclaimed actors Kenneth Branagh, Mark Rylance, Cillian Murphy, and Tom Hardy, Dunkirk offers a breathtaking glimpse at a turning point in the conflict determined by not only the ingenuity of the British forces but also the bravery of British civilians who sailed into war-torn waters to save them. The Making of Dunkirk tells the incredible story of how Nolan brought this pivotal moment in World War II to life on the screen using innovative film-making techniques that give the film a gritty, exhilarating realism rarely seen in modern cinema. Featuring interviews with the director and key department heads and filled with never-before-seen imagery from the shoot, plus concept art, storyboards, and other amazing visuals, The Making of Dunkirk is the ultimate insider's look at one of the most anticipated films of 2017.
Bringing together established and emerging practitioners whose primary medium is light, as material or subject, this book communicates the ways in which each practitioner extends the language of light and provides insights into the creative process. Structured around four thematic essays - Political Light, Mediating Light, Performance Light and Absent Light - it develops our understanding of light as a creative medium and its impact on our cultural history and examines the role that light plays in the new frontiers of art, design and technology. The contributors have been chosen for their range of work across disciplines, with a focus on practice and methodologies. They include early pioneers and innovators of light, as well as current practitioners from the fields of theatre, music, performance, fine art, film, public art, holography, architecture, and the built environment, together with curators and other experts. Beautifully illustrated with photographs, sketches and artefacts selected by the artists and designers, the book includes interviews with Gustav Metzger, Yoko Ono, Liliane Lijn, Susan Hiller, Anthony McCall, David Batchelor, Richard Wilson and Anne Bean, Wenyon & Gamble, Helen Marriage, Michael Hulls & Russell Maliphant, Paule Constable, Rick Fisher, Andi Watson, Paul Normandale, Chris Levine, Mark Major (Speirs & Major), Jason Bruges, Angus Farquhar (NVA), Cliff Lauson, Rana Begum, Robin Bell, Laura Buckley, Katie Paterson, Haroon Mirza, Manu Luksch, Rafael Lozano Hemmer.
Moyra Davey's artist's book meditation on late 20th-century Quebec, through the lens of James Baldwin and others Over the past 40 years, Canadian artist Moyra Davey (born 1958) has perfected a unique synthesis of photography, film and text to critically engage with the past, present and future of the world around her. Based on Davey's eponymous 2019 film, I Confess unites three main sources in a chronicle of late 20th-century Quebec, shaped by themes of race, poverty, language and nationalism. Using American writer James Baldwin's 1962 novel Another Country as its point of departure, Davey's film also focuses on the life and work of Quebecois revolutionary Pierre Vallieres and Ottawa-based political philosopher Dalie Giroux. Published to accompany the exhibition Moyra Davey: The Faithful at the National Gallery of Canada, this deeply personal and highly political book seeks to examine an unresolved chapter of Quebecois history from a uniquely interdisciplinary perspective that draws attention to contemporary issues of separatism, while reflecting the artist's understanding of photography and text as unique corollaries. This publication features writings by the artist, Dalie Giroux and National Gallery of Canada's Associate Curator Andrea Kunard, and a poster insert.
Surveying some 20 years of Swiss video art, this book includes works by Alexander Hahn, Klara Kuchta, Eric Lanz, Jean Otth, Pipilotti Rist, Alex Silber and Hannes Vogel, it reviews discussion surrounding the exhibiting of video art and the problems associated with long-term conservation.
Darksiders: Genesis is an action/adventure game that tears its way through hordes of demons, angels, and everything in-between on its way to Hell and back with guns blazing and swords swinging. Showcasing the introduction of the Horseman Strife and the return of his brother War, Genesis gives players their first look at the world of Darksiders before the events of the Apocalypse. The Art of Darksiders Genesis gathers the epic artwork behind this unique new installment in the franchise, and includes character designs, rough concepts, environments, storyboards, and more. Darksiders Genesis also heralds the return of series creator Joe Madureira (Battle Chasers, Uncanny X-men) alongside his development studio, Airship Syndicate.
An insightful look in to the multifaceted work of rising Belgian painter and sculptor, Stief Desmet Desmet's works are endowed with an unique and fascinating imagery that tell stories Stief Desmet (1973) is one of the new names in the Belgian art world. His unusual painting technique sets him apart from the many followers of artists such as Luc Tuymans and Michael Borremans. He has developed his own visual language, in which he draws on all the resources available to him. Painting is just one of the disciplines he practices; he also creates installations and sculptures and is renowned for his videos. Desmet questions his own position as a contemporary artist alongside the "golden river" landscape painters (Leieschilders) from his youth, who immortalized the landscape in their pastoral works. Typical characteristics of his work include its escapism, in which the artist withdraws into nature, and the humor that is evident in many of his works. Text in English and Dutch."
Exploring how design can be used for good-prompting self-reflection, igniting the imagination, and affecting positive social change. Good design provides solutions to problems. It improves our buildings, medical equipment, clothing, and kitchen utensils, among other objects. But what if design could also improve societal problems by prompting positive ideological change? In this book, Bruce and Stephanie Tharp survey recent critical design practices and propose a new, more inclusive field of socially minded practice: discursive design. While many consider good design to be unobtrusive, intuitive, invisible, and undemanding intellectually, discursive design instead targets the intellect, prompting self-reflection and igniting the imagination. Discursive design (derived from "discourse") expands the boundaries of how we can use design-how objects are, in effect, good(s) for thinking. Discursive Design invites us to see objects in a new light, to understand more than their basic form and utility. Beyond the different foci of critical design, speculative design, design fiction, interrogative design, and adversarial design, Bruce and Stephanie Tharp establish a more comprehensive, unifying vision as well as innovative methods. They not only offer social criticism but also explore how objects can, for example, be used by counselors in therapy sessions, by town councils to facilitate a pre-vote discussions, by activists seeking engagement, and by institutions and industry to better understand the values, beliefs, and attitudes of those whom they serve. Discursive design sparks new ways of thinking, and it is only through new thinking that our sociocultural futures can change.
Digitization is the animating force of everyday life. Rather than defining it as a technology or a medium, Contemporary Art and the Digitization of Everyday Life argues that digitization is a socio-historical process that is contributing to the erosion of democracy and an increase in political inequality, specifically along racial, ethnic, and gender lines. Taking a historical approach, Janet Kraynak finds that the seeds of these developments are paradoxically related to the ideology of digital utopianism that emerged in the late 1960s with the rise of a social model of computing, a set of beliefs furthered by the neo-liberal tech ideology in the 1990s, and the popularization of networked computing. The result of this ongoing cultural worldview, which dovetails with the principles of progressive artistic strategies of the past, is a critical blindness in art historical discourse that ultimately compromises art's historically important role in furthering radical democratic aims.
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