Revisions Zen For Film
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| Author | : Hanna Hölling |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2015 |
| Genre | : Art |
| ISBN | : 9781941792049 |
How do works of art endure over time despite their material and conceptual alteration? How do decay, technological obsolescence and remediation affect what the artwork is and what it may become? How might the observation of change in artworks teach us something about their nature and behavior? How do changeable artworks induce a rethinking of those museological paradigms that assume fixity and stasis? The intellectual aim of this project is to come up with answers to these questions. "Revisions Zen for Film" which is accompanied by an exhibition at the Bard Graduate Center on display from September 18, 2015 January 10, 2016 focuses on "Zen for Film" (also known as Fluxfilm no.1), one of the most evocative film works created by the Korean-American artist, Nam June Paik in 1962-64. Rather than being a compilation of objects presented for inspection in support of a curatorial argument, this project zooms into the microcosm of a singular artwork in order to unfold some of the inspirations, transitions, remediations, and residues that have occurred in the course of that artwork s existence. It also seeks to examine how the firsthand awareness of materiality enhances visual knowledge. "Revisions Zen for Film" strives to revise standard notions about an artwork that has undergone a rich history of display. The project reveals what often remains undisclosed an artwork that is a complex sum of its transitions rather than a product of the visual analysis and interpretation of that thing as a static entity. The project undermines any assumption that the artwork is unchanging, and hence subject to a single interpretation. "Zen for Film Revisions" aims to explore the significance of the artwork in its constant transitions, proposing a new art historical narrative. By putting "Zen for Film" on display and inviting an interdisciplinary dialogue, it asks precisely what and when the artwork might be. "
| Author | : Hanna Hölling |
| Publisher | : Univ of California Press |
| Total Pages | : 262 |
| Release | : 2017-02-21 |
| Genre | : Art |
| ISBN | : 0520288904 |
Two works -- Conceptual and material aspects of media art -- Musical roots of performed and performative media -- Zen for film -- Changeability and multimedia art -- Time and conservation -- Heterotemporalities -- The material and the immaterial archive -- Archival implications -- Conclusion: the many archai of conservation and curation
| Author | : Catherine Elwes |
| Publisher | : Columbia University Press |
| Total Pages | : 323 |
| Release | : 2015-05-12 |
| Genre | : Performing Arts |
| ISBN | : 0231850808 |
Film and video create an illusory world, a reality elsewhere, and a material presence that both dramatizes and demystifies the magic trick of moving pictures. Beginning in the 1960s, artists have explored filmic and televisual phenomena in the controlled environments of galleries and museums, drawing on multiple antecedents in cinema, television, and the visual arts. This volume traces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and video from the 1960s, 1970s, and 1980s. Sound is given due attention, along with the shift from analogue to digital, issues of spectatorship, and the insights of cognitive science. Woven into this genealogy is a discussion of the procedural, political, theoretical, and ideological positions espoused by artists from the mid-twentieth century to the present. Historical constructs such as Peter Gidal's structural materialism, Maya Deren's notion of vertical and horizontal time, and identity politics are reconsidered in a contemporary context and intersect with more recent thinking on representation, subjectivity, and installation art. The book is written by a critic, curator, and practitioner who was a pioneer of British video and feminist art politics in the late 1970s. Elwes writes engagingly of her encounters with works by Anthony McCall, Gillian Wearing, David Hall, and Janet Cardiff, and her narrative is informed by exchanges with other practitioners. While the book addresses the key formal, theoretical, and historical parameters of moving-image installation, it ends with a question: "What's in it for the artist?"
| Author | : Andrey Tarkovsky |
| Publisher | : University of Texas Press |
| Total Pages | : 260 |
| Release | : 1989-04 |
| Genre | : Performing Arts |
| ISBN | : 9780292776241 |
A director reveals the original inspirations for his films, their history, his methods of work, and the problems of visual creativity
| Author | : Hanna B. Hölling |
| Publisher | : BRILL |
| Total Pages | : 308 |
| Release | : 2019-05-20 |
| Genre | : Art |
| ISBN | : 9004396853 |
The Explicit Material gathers varied perspectives from the discourses of conservation, curation and humanities disciplines to focus on aspects of heritage transmission and material transitions. The authors observe and explicate the myriad transformations that works of different kinds - manuscripts, archaeological artefacts, video art, installations, performances, film, and built heritage - may undergo: changing contexts, changing matter, changing interpretations and display. Focusing on the vibrant materiality of artworks and artefacts, The Explicit Material puts an emphasis on objects as complex constructs of material relations. By so doing, it announces a shift in sensibilities and understandings of the significance of objects and the materials they are made of, and on the increasingly blurred boundaries between the practices of conservation and curation.
| Author | : Ming-Yuen S. Ma |
| Publisher | : Manchester University Press |
| Total Pages | : 308 |
| Release | : 2020-06-24 |
| Genre | : Art |
| ISBN | : 1526142147 |
There is no soundtrack is a study of how sound and image produce meaning in contemporary experimental media art by artists ranging from Chantal Akerman to Nam June Paik to Tanya Tagaq. It contextualises these works and artists through key ideas in sound studies: voice, noise, listening, the soundscape and more. The book argues that experimental media art produces radical and new audio-visual relationships challenging the visually dominated discourses in art, media and the human sciences. In addition to directly addressing what Jonathan Sterne calls ‘visual hegemony’, it also explores the lack of diversity within sound studies by focusing on practitioners from transnational and diverse backgrounds. As such, it contributes to a growing interdisciplinary scholarship, building new, more complex and reverberating frameworks to collectively sonify the study of culture.
| Author | : Hanna B Hölling |
| Publisher | : Taylor & Francis |
| Total Pages | : 328 |
| Release | : 2023-10-30 |
| Genre | : Performing Arts |
| ISBN | : 1000927881 |
This book focuses on performance and performance-based artworks as seen through the lens of conservation, which has long been overlooked in the larger theoretical debates about whether and how performance remains. Unraveling the complexities involved in the conservation of performance, Performance: The Ethics and the Politics of Conservation and Care (vol. 1) brings this new understanding to bear in examining performance as an object of study, experience, acquisition, and care. In so doing, it presents both theoretical frameworks and functional paradigms for thinking about—and enacting—the conservation of performance. Further, while the conservation of performance is undertheorized, performance is nevertheless increasingly entering the art market and the museum, meaning that there is an urgent need for discourse on how to care for these works long-term. In recent years, a few pioneering conservators, curators, and scholars have begun to create frameworks for the longterm care of performance. This volume presents, explicates, and contextualizes their work so that a larger discourse can commence. It will thus serve the needs of conservation students and professors, for whom literature on this subject is sorely needed. This interdisciplinary book thus implements a novel rethinking of performance that will challenge and revitalize its conception in many fields, such as art history, theater, performance studies, heritage studies, and anthropology.
| Author | : Henry Shukman |
| Publisher | : Catapult |
| Total Pages | : 352 |
| Release | : 2019-10-15 |
| Genre | : Philosophy |
| ISBN | : 1640092633 |
"If you've ever wondered how a messed up kid like you or me might master the wisdom of Zen, One Blade of Grass is the adventure for you. It's great company—and after reading it, you might recognize that you're further along than you imagined." —David Hinton, editor and translator of The Four Chinese Classics and author of The Wilds of Poetry One Blade of Grass tells the story of how meditation practice helped Henry Shukman to recover from the depression, anxiety, and chronic eczema he had had since childhood and to integrate a sudden spiritual awakening into his life. By turns humorous and moving, this beautifully written memoir demystifies Zen training, casting its profound insights in simple, lucid language, and takes the reader on a journey of their own, into the hidden treasures of life that contemplative practice can reveal to any of us. "This heartfelt and beautifully written memoir provides one of the most insightful, informative, and honest accounts of Zen practice yet to appear in English." —Stephen Batchelor, author of After Buddhism
| Author | : Justin Remes |
| Publisher | : Columbia University Press |
| Total Pages | : 130 |
| Release | : 2020-07-14 |
| Genre | : Performing Arts |
| ISBN | : 0231548281 |
Absence has played a crucial role in the history of avant-garde aesthetics, from the blank canvases of Robert Rauschenberg to Yves Klein’s invisible paintings, from the “silent” music of John Cage to Samuel Beckett’s minimalist theater. Yet little attention has been given to the important role of absence in cinema. In the first book to focus on cinematic absence, Justin Remes demonstrates how omissions of expected elements can spur viewers to interpret and understand the nature of film in new ways. While most film criticism focuses on what is present, such as images on the screen and music and dialogue on the soundtrack, Remes contends that what is missing is an essential part of the cinematic experience. He examines films without images—such as Walter Ruttmann’s Weekend (1930), a montage of sounds recorded in Berlin—and films without sound—such as Stan Brakhage’s Window Water Baby Moving (1959), which documents the birth of the filmmaker’s first child. He also examines found footage films that erase elements from preexisting films such as Naomi Uman’s removed (1999), which uses nail polish and bleach to blot out all the women from a pornographic film, and Martin Arnold’s Deanimated (2002), which digitally eliminates images and sounds from a Bela Lugosi B movie. Remes maps out the effects and significations of filmic voids while grappling with their implications for film theory. Through a careful analysis of a broad array of avant-garde works, Absence in Cinema reveals that films must be understood not only in terms of what they show but also what they withhold.
| Author | : Arthur C. Clarke |
| Publisher | : RosettaBooks |
| Total Pages | : 261 |
| Release | : 2012-11-30 |
| Genre | : Fiction |
| ISBN | : 0795324979 |
In the Retro Hugo Award–nominated novel that inspired the Syfy miniseries, alien invaders bring peace to Earth—at a grave price: “A first-rate tour de force” (The New York Times). In the near future, enormous silver spaceships appear without warning over mankind’s largest cities. They belong to the Overlords, an alien race far superior to humanity in technological development. Their purpose is to dominate Earth. Their demands, however, are surprisingly benevolent: end war, poverty, and cruelty. Their presence, rather than signaling the end of humanity, ushers in a golden age . . . or so it seems. Without conflict, human culture and progress stagnate. As the years pass, it becomes clear that the Overlords have a hidden agenda for the evolution of the human race that may not be as benevolent as it seems. “Frighteningly logical, believable, and grimly prophetic . . . Clarke is a master.” —Los Angeles Times
