Browsing by Subject "Video art"
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Item An exploration of some uses of television to convey the concept of intuitive awareness in modern art(Texas Tech University, 1978-05) Garte, Edna JanetNot AvailableItem Looking beyond the visual: considering multi-sensory experience and education with video art in installation(2010-05) Spont, Marya Helen; Bolin, Paul Erik, 1954-; Mayer, Melinda M.This study problematizes how the history, theory, and practice of art education (as documented) have predominantly focused on visually-based artworks and on visual aspects of other, multi-sensory artworks. I posit that existing pedagogical approaches become particularly limiting when addressing contemporary artworks that engage multiple senses and question how art educators might adapt such paradigms to consider individual learners’ multi-sensory experiences—particularly, aural, bodily, and spatial, as well as visual, experiences—as they operate in relation to video art in installation. To offer a point of reference for subsequent discussion, I narrate and interpret my own multi-sensory experience of Krzysztof Wodiczko’s "...OUT OF HERE: The Veterans Project" (2009), and then situate both visual and non-visual aspects of my experience in relation to various possible experiences of time, still and changing images, sound, the static or mobile body, other bodies, and space. By synthesizing and building upon recent scholarly literature pertaining to interpretation, multi-sensory and bodily experience, and learner-centered pedagogy, I consider theoretical and practical implications for teaching and learning with video art in installation, and recommend art educators’ mediation through creating communities of questioning, listening, and “speaking with,” in addition to looking. Throughout this study, I argue that encouraging learners to interpret their individual bodily and sensory experiences of artworks should be considered an essential part of the process of making meaning of those artworks in art education environments and, more importantly, of the process of helping learners to become more critically aware of their own sensory experiences in the world.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 Negotiating documentary space(2012-05) Rudin, Daniel; Perzyński, Bogdan, 1954-; Lewis, RandolphThis essay attempts to propose an art practice based on an ethical and aesthetic relation of author, subject, and viewer. This relationship is productive of results that are seen as critical to a precise, useful, and ethical representation of social problems.Item T0WARD CY83RGN0S1S(2016-05) Stuckey, Rachel Meredith; Williams, Jeff, M.F.A.; Henderson, LindaCan we experience enchantment with cyberspace as we can with outer space? Can late-night web browsing provide unexpected encounters equivalent to those had in the space between radio frequencies? These questions drive my art and research. What I am pursuing is cybergnosis, or intuitive experiences of mysterious spiritual realities on the cyberplane. My goal is to question traditionally held divisions between technology and the human, and to explore marginal views of technologies. My research involves embedding myself in outlier online communities, some composed of people who feel afflicted by computers, and others who are collaborating with them in unusually empowered ways, be they spiritual, psychological, political or otherwise. I use video based performance, net-based projects, and multimedia installations to evoke empathetic yet critical renderings of these experiences. In this report, I write about five of my artworks: Estrin Tide is Fresh, Everyone Else is Tired (2016), Hello Nebula? It’s me, Margaret. (2015), Innernet Addict (2015), T0WARD CY83RGN0S1S(2015), and Welcome to my Homepage! (2014).Item Visitor interaction with video art(2012-12) Neumann, Sara Tess; Mayer, Melinda M.; Bolin, Paul EThe purpose of this study was to see how visitors to the Landmarks Video media station in the Art Building at The University of Texas at Austin described how they make meaning while watching video art and what learning models those visitors drew on in their responses. I conducted a qualitative case study using semi-structured interviews to see how visitors described their meaning making process. I used discourse analysis to compare the visitor’s responses to art and film theories to see where the responses and the existing theories overlapped. I applied the results of the discourse analysis to determine how visual literacy and media literacy could be used in museum education surrounding video art. Visitors drew on a variety of background experiences in their responses to the videos Sigalit Landau’s DeadSee (2005) and Dara Birnbaum’s Technology/Transformation: Wonder Woman (1978-1979) including past experiences with art and film as well as experiences with feminism, pop culture, and politics. Their responses also related to a variety of areas within art and film theory. While background knowledge helped the participants begin to make meaning with the videos, it also blocked them when the video touched on something beyond their comfort level. I researched current uses of visual literacy, including uses in the museum, and current trends in media literacy. Due to the fact that the visitors’ reactions related to art and film theory, but they were finding themselves blocked in their meaning making, I conclude that a museum education program that uses current museum education practices in visual literacy, but incorporates techniques from media literacy, would be successful in helping visitors articulate their interpretations of a piece of video art and move past what is limiting them.