Browsing by Subject "Experimental art"
Now showing 1 - 2 of 2
Results Per Page
Sort Options
Item Media hacking(2011-05) Stanley, Jeffrey Charles; Petersen, Bradley; Perzynski, BogdanJeffrey Charles Stanley is an M.F.A. Candidate in Transmedia in the Department of Art and Art History. The Artist, Jeff Stanley, Works as a cultural “hacker” and critical “terrorist” with the aid of video and the internet. The character, Jeff Stanley, plays the role of a 2010 Max Headroom, the popular 80s anti-corporate TV personality/talking head and seller of Pepsi. Media delivers people. A few deliver media. The audience is the product. Media hacking is a technique that allows an artist, or anti-artist, to change the game and fight back. An artist practice can be open to technology, yet remain powerful, and culturally and socially relevant. Jeff Stanley is a virtual AI, a person, and a corporate entity. With this new holy trinity, the combined efforts as a person, a virtual AI, and a corporation will provide the enhancement an artist needs today. Art and its methods must evolve as the playing field evolves. Technology defines the 21st century artist.Item Visual music : an ethnography of an experimental art in Los Angeles(2010-05) Cardoso, Leonardo de; Erlmann, Veit; Seeman, SoniaThis report focuses on social networks surrounding visual music, a sub-field of audiovisual experimental art in which hearing and seeing intersect, often through the music-oriented manipulation of abstract imagery and audio-visual synchronization. The discussion evolves from my fieldwork in Los Angeles, where I interacted with artists, archivists, publishers, institutions, software developers, and scholars. Taking into account Howard Becker's notion of art world, Pierre Bourdieu's ideas of cultural and economic capitals, and Bruno Latour's actor-network theory, I try to understand how these groups have been trying to establish visual music-networks. Although elements of visual music have been present in various media and artistic trends (color organs, abstract films, VJing-DJing, etc.), the field's history and premises are still little known, in part because the very term 'visual music' is a contested one. Due to its entertainment/cultural industries, Los Angeles is a place where multiple processes of high tech differentiation coexist; since the 1930s the city's technocultural environment (from film production to academic programs on computer animation) has lured artists interested in visual music. Not surprisingly, the city holds the only two institutions directly related to visual music in the country. I navigate through this field by considering some intersections between science, art, and technology.