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Gesamtkunstwerk refers to a total work of art that brings together all art forms. Richard Wagner coined the term in 1849 to describe his vision for opera. In the 1960s, artists began experimenting with new media and viewing environments that incorporated multiple projections and screens to expand visual horizons and intensify the viewing experience. Pioneering artists like Stan Vanderbeek, Ray and Charles Eames, Andy Warhol, and Bill Viola created immersive multimedia installations that blurred boundaries between viewer and artwork.
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Art appreciation historyof film
This document provides an overview of the history of film and art appreciation course. It covers early forms of photography and moving images before film. Key developments discussed include the work of Eadweard Muybridge, the introduction of silent black and white films and nickelodeons in the late 19th century. Influential early films from D.W. Griffith, Orson Welles, and the transition to sound and color in the 1920s-30s are summarized. The document also briefly outlines the growth of animation, special effects technologies, genres, experimental films, video artworks, and influential artists.
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Film developed as an art form in the late 19th century with the invention of technologies like still photography, celluloid film strips, and early devices like the kinetoscope that allowed successive photos to be viewed as moving images. Over time, film evolved into a collaborative medium incorporating the work of directors, actors, cinematographers, editors and other roles. Directors work with ideas, images and effects to conceptualize scenes and express their vision, though they rely on entire production teams. Different film genres also emerged like silent comedies, gangster films, and others in response to technological advances and audience demand.
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Luigi Russolo was an Italian Futurist artist who wrote "The Art of Noises" in 1913. In the work, he argues that noise was born with the invention of the machine in the 19th century and now reigns over human sensibility. He believed that as music evolves to include more dissonant and harsh sounds, it comes closer to noise. This musical evolution parallels the multiplication of machines collaborating with humans. The document discusses the relationship between humans and soundscapes.
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The early development of motion pictures made major contributions to modern films. Inventions from 1877 to 1895 such as the phonograph, kinetograph camera, kinetoscope viewer, and kinetophone sound-film device laid the foundations for capturing and exhibiting motion pictures. Short movies filmed between 1895-1905 were typically shown in vaudeville performances, theaters, tent shows, arcades, and nickelodeons, establishing the new form of entertainment known as cinema. However, nickelodeons often had unsafe conditions and provocative atmospheres, leading to new legislation regulating safety standards in 1913.
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Early experiments in film involved capturing motion through successive photographs, like Eadweard Muybridge's photographs of a running horse in 1878. Thomas Edison then developed the Kinetograph camera and Kinetoscope viewer in the late 1880s, though his films were confined to his studio. The Lumiere Brothers introduced the portable Cinematographe camera and projector in 1895, allowing them to capture real-world events. One of their first films was the 50-second A Train Arriving at the Station. Early cinema was more focused on spectacle than narrative, but films like Melies's A Trip to the Moon in 1902 began introducing fantasy and basic plot elements. Directors like D.W. Griffith then advanced film
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The aim of this workshop is to help children study the connection between their vision and Camera Οbscura, i.e. the first camera, understand how it works and the features in common of the camera and the projector. They will become familiar with the refraction phenomenon and then they will build a projector.
Film History
Early film history involved contributions from inventors, not artists. Technologies like the persistence of vision theory and zoetropes laid the foundations. Photography was also necessary for film to develop. Key inventors and dates included Eadweard Muybridge who captured horse motion in 1872, followed by film pioneers like the Lumiere Brothers, Thomas Edison, and George Eastman who developed technologies allowing motion pictures.
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Art appreciation historyof film
This document provides an overview of the history of film and art appreciation course. It covers early forms of photography and moving images before film. Key developments discussed include the work of Eadweard Muybridge, the introduction of silent black and white films and nickelodeons in the late 19th century. Influential early films from D.W. Griffith, Orson Welles, and the transition to sound and color in the 1920s-30s are summarized. The document also briefly outlines the growth of animation, special effects technologies, genres, experimental films, video artworks, and influential artists.
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Film developed as an art form in the late 19th century with the invention of technologies like still photography, celluloid film strips, and early devices like the kinetoscope that allowed successive photos to be viewed as moving images. Over time, film evolved into a collaborative medium incorporating the work of directors, actors, cinematographers, editors and other roles. Directors work with ideas, images and effects to conceptualize scenes and express their vision, though they rely on entire production teams. Different film genres also emerged like silent comedies, gangster films, and others in response to technological advances and audience demand.
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Luigi Russolo was an Italian Futurist artist who wrote "The Art of Noises" in 1913. In the work, he argues that noise was born with the invention of the machine in the 19th century and now reigns over human sensibility. He believed that as music evolves to include more dissonant and harsh sounds, it comes closer to noise. This musical evolution parallels the multiplication of machines collaborating with humans. The document discusses the relationship between humans and soundscapes.
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Early experiments in film involved capturing motion through successive photographs, like Eadweard Muybridge's photographs of a running horse in 1878. Thomas Edison then developed the Kinetograph camera and Kinetoscope viewer in the late 1880s, though his films were confined to his studio. The Lumiere Brothers introduced the portable Cinematographe camera and projector in 1895, allowing them to capture real-world events. One of their first films was the 50-second A Train Arriving at the Station. Early cinema was more focused on spectacle than narrative, but films like Melies's A Trip to the Moon in 1902 began introducing fantasy and basic plot elements. Directors like D.W. Griffith then advanced film
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The aim of this workshop is to help children study the connection between their vision and Camera Οbscura, i.e. the first camera, understand how it works and the features in common of the camera and the projector. They will become familiar with the refraction phenomenon and then they will build a projector.
Film History
Early film history involved contributions from inventors, not artists. Technologies like the persistence of vision theory and zoetropes laid the foundations. Photography was also necessary for film to develop. Key inventors and dates included Eadweard Muybridge who captured horse motion in 1872, followed by film pioneers like the Lumiere Brothers, Thomas Edison, and George Eastman who developed technologies allowing motion pictures.
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Here are the answers to the activity questions:
- The Jazz Singer was the movie that developed the change from silent films to sound films.
- The first line of dialogue in film history was "Wait a minute: you haven’t heard anything." uttered by the protagonist, Al Jolson, looking at the camera in The Jazz Singer.
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- Before actual methods, frames were painted frame by frame or films were turned into monochrome tones through a dye bath.
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The history of film began in the 1860s with the development of early animation devices like the zoetrope. In the 1880s, motion picture cameras and projectors were invented, allowing films to capture and show movements in real time. Through the late 19th century and early 20th century, films evolved to include basic narratives and camera techniques to tell stories, though they remained silent. In the 1920s, talking pictures were developed, synchronizing sound with images and leading to the rise of the Hollywood studio system. Gradual developments like natural color film and digital technology continued to advance cinematic techniques through the 20th century.
development of animation
Walter Disney was a pioneer in animation who created some of the most famous animated films of the 1930s and 1940s. Some of his most significant early works included Steamboat Willie, the first film to have synchronized sound, and Silly Symphonies, a series of 75 animated short films produced between 1929-1939. Disney later produced pioneering full-length animated films such as Snow White in 1937, the first animated feature film in color, and Fantasia in 1940, which was the first film to use stereophonic sound.
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Eadweard Muybridge was a pioneering photographer who laid the foundation for modern cinema with his 1882 study "The Horse in Motion", which may have been the first moving picture. He invented the zoopraxiscope to project his images in rapid succession. Years later, his work inspired Thomas Edison to invent the kinetograph, an early movie camera. Edison assigned William Dickson to create a device that could visually capture motion, resulting in one of the first movie cameras. In 1895, the Lumiere brothers held the first paid, public screening of several short films, including "Workers Leaving the Lumiere Factory", considered the first motion picture made specifically for projection.
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Here are the answers to the activity questions:
- The Jazz Singer was the movie that developed the change from silent films to sound films.
- The first line of dialogue in film history was "Wait a minute: you haven’t heard anything." uttered by the protagonist, Al Jolson, looking at the camera in The Jazz Singer.
- Light is the essential element in the Black and White films.
- Before actual methods, frames were painted frame by frame or films were turned into monochrome tones through a dye bath.
- Digital Cinematography is the process of capturing motion picture images digitally rather than on film, such as to video, hard disks, flash memory or other media that
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This document provides an overview of movies and filmmaking. It begins with definitions of movies and their purpose, then discusses the history of film from the 1890s to the present. Key developments like the introduction of sound and animation are outlined. Popular modern film production companies are listed, along with tools used in filmmaking. Both advantages and disadvantages of movies are presented. In conclusion, the document acknowledges that movies can have positive and negative impacts and that different opinions exist on this issue.
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Cinema began with the invention of the cinematograph by the Lumière Brothers in 1895. They held the first public exhibition of 10 short films in Paris, demonstrating the new technique of projecting moving images. For the first 30 years, cinema was silent and accompanied by live music, with early films like "The Arrival of a Train" still famous today. Actors portray dramatic roles, and directors guide all creative and technical aspects of film production. Early film types included silent films, feature films over 70 minutes, short films under 20 minutes, documentaries about reality, and animated films made from sequences of drawn images.
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Walter Disney was a pioneer in animation who created some of the most famous animated films of the 1930s and 1940s. Some of his most significant early works included Steamboat Willie, the first film to have synchronized sound, and Silly Symphonies, a series of 75 animated short films produced between 1929-1939. Disney later produced pioneering full-length animated films such as Snow White in 1937, the first animated feature film in color, and Fantasia in 1940, which was the first film to use stereophonic sound.
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This concept involves creating a painting in real-time through movement on a pressure-sensitive platform, with the patterns generating music. A group of people of any age or ability can interact and bond through collective creation, exercise, and fun without using their hands. Sensors under the floor detect footsteps to project colors and shapes onto a screen, transforming the space into an immersive multisensory experience. It is intended for locations like malls, parks, and galleries to encourage social interaction and accessibility through a joyful creative group activity.
History of film
Eadweard Muybridge was a pioneering photographer who laid the foundation for modern cinema with his 1882 study "The Horse in Motion", which may have been the first moving picture. He invented the zoopraxiscope to project his images in rapid succession. Years later, his work inspired Thomas Edison to invent the kinetograph, an early movie camera. Edison assigned William Dickson to create a device that could visually capture motion, resulting in one of the first movie cameras. In 1895, the Lumiere brothers held the first paid, public screening of several short films, including "Workers Leaving the Lumiere Factory", considered the first motion picture made specifically for projection.
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what is film its history its steps of completation who makes it possible types and genres and its importance
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Cinema is the technique of projecting moving images to create the sense of movement. It was made possible by the invention of the cinematograph in 1895 by the Lumière Brothers. Over time, cinema evolved from silent films to include sound, then color. It is created through the collaborative efforts of directors, actors, screenwriters and other filmmakers. Some common film genres include silent films, science fiction, horror, suspense, war films, westerns, animated films, fantasy, and dramas.
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This power point explains everything you need to know about the history of editing, from when editors had to actually cut film strips to it all being computerized.
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Film editing has evolved significantly from early films consisting of single static shots to complex techniques used today. Early editing established continuity by cutting between shots, while montage editing used techniques like jump cuts and superimposition. Soviet montage editing, pioneered by Eisenstein, used rapid cutting to imply meanings not literally shown. Hollywood developed continuity editing to seamlessly advance narratives. The French New Wave introduced long takes and existential themes. Sound editing began with The Jazz Singer, and technology advanced from flatbeds and Moviolas to non-linear digital systems.
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Organic User Interface
This document discusses organic user interfaces (OUIs). It notes that OUIs allow for input and output to be the same device, where the display can take any shape as needed. It also discusses how OUIs allow the form and function of a device to be unified, and for displays to change shape based on usage. Examples mentioned include touch-sensitive walls and surfaces that can interact with the physical world.
Silent era and pioneers part 1
This lecture will teach you about the basic approaches to studying film history. In addition, this section describes the chronological breakdown of film history and identifies its major achievements.
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It gives an overview of Cinema. Helps you to understand the Qualities of Cinema, Characteristics, Expressive Elements etc.
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One artist, Maurice Benayoun, created the Tunnel Under the Atlantic and Cosmopolis. The Tunnel features an “entrance” in Paris and one in Monreal, allowing people in those areas to view each other by what has been described as “televirtuality.” Cosmopolis is a very large-scale rotunda of sorts with 12 screens facing a center. There are 12 little view stations that each show a 360 degree view of one of 12 cities. What is being viewed from those view-finders at a particular moment is projected onto the screens, creating a giant 360 degree view of a cityscape created by bits of other cities.
Another artist, Don Ritter, created Vested and Intersection. Intersection features a dark room with 4 speakers representing a 4-lane highway. Each speaker contains a sensor that, when it senses a person, will react by projecting sounds of cars screeching to a halt, accelerating, or crashing.
The last artist I chose for my presentation is Myron W. Krueger. He is an American computer artist who developed early interactive works, and is in the first generation of virtual reality researchers. One of his ideas sums up my trend well: the art of interactivity, as opposed to art that happens to be interactive. He did several pieces of art leading up to this bigger virtual immersion art in the late 60s and early 70s. The piece I featured was Small Planet, which allows the user to stand in from and control what he viewed of this small planet by moving his arms in an airplane fashion.
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Time and Image in Digital Performance
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En relación a las ideas de la hipertextualidad llevadas al teatro digital se hará una breve genealogía de propuestas artísticas escénicas que han reformulado las temporalidades de la imagen proyectada.
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This document profiles several key pioneers and developers in the history of animation and filmmaking. It discusses Joseph Plateau and his invention of the phenakistoscope in 1832. It then covers William Horner's creation of the zoetrope in 1834, Emile Reynaud's praxinoscope in 1877, and Eadweard Muybridge's zoopraxiscope in 1879. Thomas Edison invented the kinetoscope in 1891 and the Lumiere Brothers developed the first motion picture camera. Later developers like Willis O'Brien, Ray Harryhausen, and Jan Svankmajer pushed the industry forward. Contemporary animators such as the Brothers Quay, Tim Burton, A
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This document provides an overview of the work of artist Francis Alÿs, focusing on his practice of walking in cities. It discusses how Alÿs uses walking as an artistic practice to experiment with reality and introduce fiction. It also examines the recordings, objects, and artworks that Alÿs produces based on his walking actions and performances. The document outlines the key characteristics of Alÿs' work, including its ephemeral and context-specific nature, and situates it in relation to other artists who incorporate walking, such as Daniel Buren. It concludes with a bibliography of relevant sources on walking, performance, and urban space.
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Space exploration has always sparked the imagination of scientists and artists alike. What kind of questions are raised in the Space Age? What possibilities are out there for science-art collaborations? What kinds of art can (and should) humanity create outside of Earth? And what roles should artists therefore assume?
8 Asp 1970s 80s revised
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The name of mississippi blues singer: Jessie Mae Hempfill, album is "She Wolf" for those who asked.
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The document discusses the history of digital and electronic art from its early experimental stages in the early 20th century to its expansion through new technologies today. It provides examples of pioneering digital artists like Nam June Paik who incorporated new electronic media into their work. It also explores how digital art has expanded to include virtual and networked spaces, interactive installations, locative media, and works that blend real and virtual elements.
4.3 happenings
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This document provides an overview of different research cultures and methods in arts, design, and science. It discusses key differences in phenomena of study, appropriate methods, and cultural values between science, humanities, and design research. Design research is depicted as iterative process of framing problems, responding to hunches, hypothesizing, planning, acting through experimenting and prototyping, observing, and evaluating. The document also introduces the concept of "world building" methodology and provides an example of merging the cities of Los Angeles and Rio de Janeiro.
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This document summarizes the history and strategies of feminist counter cinema and feminist video art from the 1970s to the 1990s. It discusses how feminist films addressed women as viewers through techniques like disjunction between image and voice, new narrative spaces, and new forms of address. It provides examples of influential feminist films and videos from each decade. It also profiles the pioneering artist Lynn Hershman Leeson and her work across different mediums including performance, interactive media, photography, video, and feature films.
Iml 466 situationists
Dada and 1960s media art like Fluxus disrupted traditional art forms. Marcel Duchamp created readymades like "Fountain" that questioned what qualified as art. The Situationists advocated suppressing art and critiqued capitalist society's division of producers and consumers. Guy Debord wrote "The Society of the Spectacle" describing how life under capitalism had been reduced to meaningless consumption and spectacle. Key Situationist concepts included the derive (drifting through urban areas), psychogeography (how environments influence emotions), and detournement (subverting existing cultural works).
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The document discusses several film movements focused on realism, including Italian Neo-Realism, French New Wave, and Dogme 95. Italian Neo-Realism aimed to turn reality into stories rather than create fictional stories about reality. French New Wave films emphasized location shooting and handheld camera work. Dogme 95 was a pledge created by Lars von Trier and Thomas Vinterberg with strict rules including on-location shooting with available light and handheld cameras to strive for realism. Several films are highlighted as examples of these movements toward capturing reality.
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2) There is a prevalence of data visualization today due to the huge amount of data being generated by databases and social media. The process typically involves parsing, filtering, representing, mining, refining, and interacting with data.
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This document discusses different genres of multimedia scholarship including argumentation, essayistic, narrative, annotation/citation, and spatial arguments. It provides examples of projects that fall under each genre. The document concludes with criteria for assessing multimedia projects which include evaluating the conceptual core, research core, form and content, and creative realization. The longterm goals are also outlined as emphasizing research competency, integrating with other scholarly practices, and facilitating transdisciplinarity, multiple perspectives, cultural relevance, and technological innovation.
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This document introduces Sophie's Foundation, software for creating networked books. It allows authors to add temporality and interactivity to books by creating spaces for readers and writers to interact. The software aims to make the expressive powers of computers available without programming skills. It seeks to make the social experience of reading more concrete by allowing communication between authors and readers across time and space. The document provides information on Sophie's interface and includes video tutorials and instructions for creating books on the Sophie platform.
Sophie 2 Overview 2
This document introduces Sophie's Foundation, software for creating networked books. It allows authors to add temporality and interactivity to books by creating spaces for readers and writers to interact. The software aims to make the expressive powers of computers available to all users, not just programmers. It seeks to free up creativity and make the social experience of reading more concrete by allowing communication between authors and readers across time and space. The document provides information on Sophie's interface and features and concludes by encouraging users to create demonstration books on the Sophie platform.
Urban.Screens
The document discusses various light and media installations around the world that turn buildings and cityscapes into interactive works of art. It mentions projects by artists such as Rafael Lozano-Hemmer and Krzysztof Wodiczko that have projected images and text onto buildings to transform and question the spaces. Examples of installations mentioned include SPOTS in Berlin, Blickenlights in Berlin, and Body Movies in Rotterdam.
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The document provides an overview of the history of visual technologies and their applications from the 1820s to modern day. It references key figures like Joseph Niepce, Eadweard Muybridge, Étienne-Jules Marey, Eakins, and Paul Pfeiffer who pioneered techniques in photography, motion studies, and time-lapse photography. The document also includes over 100 images related to these innovations in capturing and representing movement over time.
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Visual Argumentation
Visual argumentation refers to using visual elements like images, graphics, and design to present a premise, reasoning, and conclusion. Analyzing visual arguments requires identifying elements within images, understanding their context, establishing a consistent interpretation, and examining how perspectives change over time. The document discusses various theories and approaches for analyzing visual rhetoric, including semiotics, cultural studies, media studies, information visualization, and visual tropes. It provides examples of how logos and pathos can be conveyed visually and lists several key references on visual rhetoric.
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The document discusses different modes of scholarly multimedia, including telling (storytelling), mapping and visualization, gaming, and immersive experiences. It provides examples for each mode, such as interactive maps, alternate reality games, modified video games, and virtual environments. The overall focus is on how new media allows for increased connectivity, collaboration, and new ways of researching, writing, presenting and publishing information beyond traditional print formats.
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Video Installation
- 1. Gesamtkunstwerk: a total work of art Derives from Richard Wagner and his essay 1849 “The Art-Work of the Future,” in which opera offered a meeting point for all of the arts in a total art work.
- 2. “ The Theater of Totality with its multifarious complexities of light, space, plane, form, motion, sound, man – and with all the possibilities for varying and combining these elements – must be an ORGANISM.” Lazlo Moholy-Nagy, 1924
- 3. 1960s experiments – creating new media viewing environments
- 4. “ Movie Drome,” Stan Vanderbeek, 1963
- 5. “ Movie Drome,” exterior view
- 6. “ Movie Drome,” interior view
- 7. “ Multiple projections occupied the foreground of a visual culture that was intent upon liberating itself from the conventional concept of the painting, from the technical and material restrictions of imaging technology and from the repressive determinants of the social codes.” Peter Weibel
- 8. multiple screens – expansion of visual horizons – intensification of visual experience – new approach to narrative – diffuse and fragmented p.o.v. correlated with new perception of the world
- 9. “ Glimpses of the USA,” Ray + Charles Eames, 1959
- 10. “ Think,” presented in the “Ovoid Theater,” Ray + Charles Eames, 1965
- 11. “ Outer and Inner Space,” Andy Warhol, 1965
- 13. “ Shower,” Robert Whitman, 1964, film loop, shower curtain, water
- 14. “ Video Pyramid,” Nam June Paik, 1982
- 15. “ Benevolence,” Nam June Paik
- 16. “ Incubator,” Tony Oursler, 2003
- 17. “ Junk,” Tony Oursler, 2003
- 18. “ Underwater (Blue/Green),” Tony Oursler, 1995
- 19. “ Heaven and Earth,” Bill Viola, 1992
- 20. the physical properties of moving image: – projector beam as sculptural form – transparency of the screen – seriality of the film sequence
- 21. “ Line Describing a Cone,” Anthony McCall, 1973
- 22. “ The Veiling,” Bill Viola, 1995
- 23. “ Shutter Interface,” Paul Sharits, 1975
- 24. “ Running Falling,” Jim Campbell, 2000
- 25. “ Nantes Triptych,” Bill Viola, 1992
- 26. – scale – participation – movement – multiple viewpoints – attention to surrounding space – dissolution of Cartesian coordinates
- 27. “ The Crossing,” Bill Viola, 1996
- 28. “ The Crossing,” Bill Viola, 1996
- 30. “ The Greeting,” Bill Viola, 1995
- 31. “ Winchester,” Jeremy Blake, 2003
- 33. “ Going Forth by Day,” Bill Viola, 2002, video installation in five parts
- 34. “ Knots and Surfaces,” Diana Thater, 2001
- 35. “ Smokescreen,” Jennifer Steinkamp, 1996
- 36. “ sin(time),” Jennifer Steinkamp, 2001
- 37. “ Late and Soon, Occident Trotting,” Diana Thater, 1993, four projectors
- 38. “ Sip My Ocean,” Pipilotti Rist, 1996, two projectors
- 39. “ Corps Étranger (Foreign Body),” Mona Hatoum, 1994
- 40. “ Corps Étranger (Foreign Body),” Mona Hatoum, 1994
- 41. “ Climate,” Inigo Manglano-Ovalle, 2000, three-channel video installation
- 42. narrative strategies – reduction – episodic – split/recombined – ambient – spatialized – rhizomatic dispersal
- 43. “ Tuin,” Runa Islam, 1998
- 44. “ Horror Chase,” Kevin + Jennifer McCoy, 2003
- 45. “ Win, Place or Show,” Stan Douglas, 1998
- 46. “ In Love,” Patty Chang, 2001, two-channel installation
- 47. “ Love Is a Treasure,” Eija-Liisa Ahtila, 2003
- 48. “ Consolation Service,” Eija Liisa Ahtila,
- 49. “ Electric Earth,” Doug Aitken, 1999
- 50. “ Electric Earth,” Doug Aitken, 1999
- 51. “ Electric Earth,” Doug Aitken, 1999
- 52. “ Blow Debris,” Doug Aitken, 2002
- 53. “ Blow Debris,” Doug Aitken, 2002
- 54. “ Blow Debris,” Doug Aitken, 2002
- 55. “ The Moment,” Doug Aitken, 2005
- 56. “ The Moment,” Doug Aitken, 2005
- 58. “ The Legible City,” Jeffrey Shaw, 1988 - 1991
- 59. “ Be Now Here,” Michael Naimark, 1995 -2002
- 60. Immersion vest, Char Davies, 1995
- 61. “ Osmose,” Char Davies, 1995
- 62. “ Osmose,” Char Davies, 1995
- 63. “ Osmose,” Char Davies, 1005
- 64. “ Osmose,” Char Davies, 1995
- 65. “ Cockfight Arena,” Eddo Stern, 2001