The Aesthetics of Post-Digital Imaging: Between Camera Traps and Virtual Reality, Nacher Anna
Автор: Stanislav Stankovic Название: Virtual Reality and Virtual Environments in 10 Lectures ISBN: 1627058249 ISBN-13(EAN): 9781627058247 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 61910.00 T Наличие на складе: Невозможна поставка. Описание: Provides an introduction into the important issues regarding a series of related concepts of virtual reality, augmented reality, and virtual environments. The book does not go into any of these issues in depth but rather outlines general principles and discusses them in a sense broad enough to provide sufficient foundations for a further study.
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.
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 M ller, 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.
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