Between 2014 and 2017, the artistic research project "TransCoding - From 'Highbrow Art' to Participatory Culture" encouraged creative participation in multimedia art via social media. Based on the artworks that emerged from the project, Barbara Luneburg investigates authorship, authority, motivational factors, and aesthetics in participatory art created with the help of web 2.0 technology. The interdisciplinary approach includes perspectives from sociology, cultural and media studies, and offers an exclusive view and analysis from the inside through the method of artistic research. In addition, the study documents selected community projects and the creation processes of the artworks Slices of Life and Read me.

The provocative pop artist's on-screen experiments, newly brought to light in this essential reference work In the 1960s, Andy Warhol (1928-1987) produced hundreds of film and video works-short and long, silent and sound, scripted and improvised. This catalogue raisonne of the artist's films, a complement to 2006's Andy Warhol Screen Tests, focuses on works he produced from 1963 to 1965. Detailed cataloguing of each work is combined with orienting and enlightening essays that cover Warhol's influences, source material, working methods, and technical innovations, as well as his engagement with the people he filmed and how they came to life on the screen. In addition, rich entries offer detailed summaries and analysis of more than a hundred individual works. The vigorous illustration program includes countless stills and documentary images to further elucidate the film works, including many that have circulated only rarely. Warhol's dynamic and creative approach to filmmaking redefined the genre, drawing audiences and receiving positive attention along with deep criticism. In 1970, he placed his films in storage for the next 14 years, taking them out of public view and distribution. During that time, critics and audiences could only piece together information about these works from hearsay, verbal accounts, and reviews. Since then, the works have been studied, preserved, and catalogued, culminating in this volume, which illuminates the true significance of Warhol's radical experiments in film and his mastery of the medium. Distributed for the Whitney Museum of American Art

Based on the omnipresent term 'Industry 4.0', the publication #material4.0 reflects the interplay between the virtual world and the physical-real space. As part of the exhibition at Galerie Stadt Sindelfingen, 13 international artists, mostly 'digital natives', examine how computer dependent automation and digitalisation are reflected in an art context. How does art output change from production to the aesthetic? How is this kind of media used in posing artistic questions? The positions of digital art pioneers fill us in. The publication documents the exhibition with numerous illustrations of works and a collection of complementary texts. Artists: Christian von Borries, Kate Cooper, JAK, Kanta Kimura, Mathilde Lavenne, Jung Lee, Florian Model, Manfred Mohr, Marco Schmitt, Lidia Sigle, Adam Slowik, Ivar Veermae, Ryszard Winiarski. With contributions by Manfred Mohr, Frieder Nake and Peter Weibel. Exhibition at the Galerie Stadt Sindelfingen (DE), 6 October 2018 - 3 March 2019. Text in English and German.

Meet some of the finest 2D and 3D artists working in the industry today and discover how they create some of the most innovative digital art in the world. More than a gallery book or a coffee table book- Digital Art Masters Volume 4 includes 50 artists and 900 unique and stunning 2D and 3D digital artworks. Beyond the breaktaking images is a breakdown of the techniques, challenges and tricks the artists employed while creating stunning imagery.
This volume, much like the previous volumes is not your standard coffee table book nor is it our usual how-to-book. This book offers inspiration and insight for the advanced amateur and professional CG artists. The Digital Art Masters series has expanded upon the competition's gallery book concept and has added the insight and experiences of professional CG artists worldwide.
Divided into 5 sections, Sci-Fi, Scene, Fantasy, Character and Cartoon, Each featured artist segement will include the thought processes behind creating unique digital images and an artist portfolio for further inspiration. Find your inspiration and discover the tips, tricks and techniques that really work.

The first collection of Annette Michelson's influential writings on film, with essays on work by Marcel Duchamp, Maya Deren, Hollis Frampton, Martha Rosler, and others. The celebrated critic and film scholar Annette Michelson saw the avant-garde filmmakers of the 1950s and 1960s as radically redefining and extending the Modernist tradition of painting and sculpture, and in essays that were as engaging as they were influential and as lucid as they were learned, she set out to demonstrate the importance of the underappreciated medium of film. On the Eve of the Future collects more than thirty years' worth of those essays, focusing on her most relevant engagements with avant-garde production in experimental cinema, particularly with the movement known as American Independent Cinema. This volume includes the first critical essay on Marcel Duchamp's film Anemic Cinema, the first investigation into Joseph Cornell's filmic practices, and the first major explorations of Michael Snow. It offers an important essay on Maya Deren, whose work was central to that era of renewal and reinvention, seminal critiques of Stan Brakhage, Hollis Frampton, and Harry Smith, and overviews of Independent Cinema. Gathered here for the first time, these texts demonstrate Michelson's pervasive influence as a writer and thinker and her role in the establishment of cinema studies as an academic field. The postwar generation of Independents worked to develop radically new terms, techniques, and strategies of production and distribution. Michelson shows that the fresh new forms they created from the legacy of Modernism became the basis of new forms of spectatorship and cinematic pleasure.

Barbis Ruder: 10 Jahre Performancekunst Im Fokus der Arbeiten der Performance- und Medienkunstlerin Barbis Ruder steht der Koerper - als Ausgangs- und Untersuchungsobjekt zugleich. In ihren Performances und multimedialen Arbeiten lotet Ruder Themen wie Wirtschaft, Arbeit, Intimitat und Konventionen aus. Der Koerper kommt im bewegten Bild, in Skulpturen, Installationen und auf der Buhne zum Einsatz. Das Buch prasentiert erstmals das gesamte Werk von Barbis Ruder und zeigt die Vielschichtigkeit ihres Schaffens. In unterschiedlichen Werkzyklen wird der Koerper immer wieder neu ver- und behandelt, im Spannungsfeld zwischen Emanzipation und Kapitalismus. Die umfangreiche Werkschau versammelt trashige Buhnenperformances und bildhauerische Werke ebenso wie Videoarbeiten und gibt Einblicke in Werkentwicklungen, die durch Zeichnungen und Studien dokumentiert sind. Erstes umfassendes Werkportrat der Performance- und Medienkunstlerin Barbis Ruder Aufwendig gestaltetes Buchobjekt, mit zahlreichen grossformatigen Abbildungen Mit Beitragen von Lona Gaikis und Peter Kozek sowie einer Einleitung von Madeleine Frey

Light has fascinated human beings since the dawn of mankind. To that end, iridescence is a compelling means to ideate and create, due to its ability to interact with light to produce captivating multi-coloured illusions that shift with the viewer's vantage point. Its kaleidoscopic nature also allows it to be subtle yet striking all at once, making it a versatile finish with lasting visual impact that pops. PALETTE 08: Iridescent explores the power and possibilities of a colour and a palette both existing in a single form through more than 100 creative projects from all around the world. Whether they are applied to create depth and dimension or used to transform physical attributes and perspectives, discover how artists and designers today are experimenting with holographic hues to generate new work and realms that intrigue and inspire.

A History of Video Art is a revised and expanded edition of the 2006 original, which extends the scope of the first edition, incorporating a wider range of artists and works from across the globe and explores and examines developments in the genre of artists' video from the mid 1990s up to the present day. In addition, the new edition expands and updates the discussion of theoretical concepts and ideas which underpin contemporary artists' video. Tracking the changing forms of video art in relation to the revolution in electronic and digital imaging that has taken place during the last 50 years, A History of Video Art orients video art in the wider art historical context, with particular reference to the shift from the structuralism of the late 1960s and early 1970s to the post-modernist concerns of the 1980s and early 1990s. The new edition also explores the implications of the internationalisation of artists' video in the period leading up to the new millennium and its concerns and preoccupations including post-colonialism, the post-medium condition and the impact and influence of the internet.

Resolutions 3 explores the wide-ranging implications of video art and video-based production in contemporary media culture. It is the third volume in a series composed of Resolution: A Critique of Video Art (1986) and Resolutions: Contemporary Video Practices (1996). While Resolution was one of the first critical texts on video art in the United States, Resolutions was one of the first books to address video as a medium across disciplines from theoretical, activist, and transnational perspectives. Resolutions 3 articulates this legacy as a challenge to reengage with the explosive viral reach of moving image-based content and its infiltration into and impact on culture and everyday life. The contributors to this work analyze what is now a fourth decade of video practices as marked within and outside the margins of art production, networked interventions, projected spectacle, museum entombment, or 24/7 streaming. Intending to broaden, contest, and amplify the mediated space that was defined by its two predecessors, this volume investigates the ever-changing state of video's deployment as examiner, tool, journal reportage, improvisation, witness, riff, leverage, and document. Contributors: Kathleen Ash-Milby, Smithsonian National Museum of the American Indian; Myriam-Odile Blin, Rouen U, France; Nancy Buchanan, California Institute of the Arts; Derek A. Burrill, U of California, Riverside; Sean Cubitt, U of Melbourne; Faisal Devji, New York U; Jennifer Doyle, U of California, Riverside; Jennifer Friedlander, Pomona College; Kathy High, Rensselaer Polytechnic Institute; Lucas Hilderbrand, U of California, Irvine; Nguyen Tan Hoang, Bryn Mawr College; Kathy Rae Huffman; Amelia Jones, McGill U; David Joselit, Yale U; Alexandra Juhasz, Pitzer College; Jessica Lawless, Santa Fe Community College; Hea Jeong Lee; Jesse Lerner, Pitzer College; Akira Mizuta Lippit, U of Southern California; Lionel Manga; Laurence A. Rickels, U of California, Santa Barbara; Kenneth Rogers, U of California, Riverside; Michael Rush, Eli and Edythe Broad Art Museum, Michigan State U; Freya Schiwy, U of California, Riverside; Beverly R. Singer, U of New Mexico; Yvonne Spielmann, U of the West of Scotland; Catherine Taft, Getty Research Institute; Holly Willis, U of Southern California.

Cinema has been undergoing a profound technological shift: celluloid film is being replaced by digital media in the production, distribution, and reception of moving images. Concerned with the debate surrounding digital cinema's ontology and the interrelationship between cinema cultures, "From Light to Byte" investigates the very idea of change as it is expressed in the current technological transition. Markos Hadjioannou asks what is different in the way digital movies depict the world and engage with the individual and how we might best address the issue of technological shift within media archaeologies.

Hadjioannou turns to the technical basis of the image as his first point of departure, considering the creative and perceptual activities of moviemakers and viewers. Grounded in film history, film theory, and philosophy, he explores how the digital configures its engagement with reality and the individual while simultaneously replaying and destabilizing celluloid's own structures. He observes that, where film's photographic foundation encourages an existential association between individual and reality, digital representations are graphic renditions of mathematical codes whose causal relations are more difficult to trace.

Throughout this work Hadjioannou examines how the two technologies set themselves up with reference to reality, physicality, spatiality, and temporality, and he concludes that the question concerning digital cinema is ultimately one of ethical implications--a question, that is, of the individual's ability to respond to the image of the world.

Since the beginning of the conflict in 2003, more than 300,000 lives have been lost in Darfur. Players of the video game Darfur Is Dying learn this sobering fact and more as they work to ensure the survival of a virtual refugee camp. The video game not only puts players in the position of a struggling refugee, it shows them how they can take action in the real world. Creating the Witness examines the role of film and the Internet in creating virtual witnesses to genocide over the last one hundred years. The book asks, how do visual media work to produce witnesses-audiences who are drawn into action? The argument is a detailed critique of the notion that there is a seamless trajectory from observing an atrocity to acting in order to intervene. According to Leshu Torchin, it is not enough to have a camera; images of genocide require an ideological framework to reinforce the messages the images are meant to convey. Torchin presents wide-ranging examples of witnessing and genocide, including the Armenian genocide, the Holocaust (engaging film as witness in the context of the Nuremburg trials), and the international human rights organization WITNESS and its sustained efforts to use video to publicize human rights advocacy and compel action. From a historical and comparative approach, Torchin's broad survey of media and the social practices around it investigates the development of popular understandings of genocide to achieve recognition and response-both political and judicial-ultimately calling on viewers to act on behalf of human rights.

Film history identifies Italian neorealism as the exemplar of national cinema, a specifically domestic response to wartime atrocities. "Brutal Vision" challenges this orthodoxy by arguing that neorealist films--including such classics as "Rome, Open City; Paisan; Shoeshine; "and" Bicycle Thieves"--should be understood less as national products and more as complex agents of a postwar reorganization of global politics. For these films, cinema facilitates the liberal humanist sympathy required to usher in a new era of world stability.

In his readings of crucial films and newly discovered documents from the archives of neorealism's international distribution, Karl Schoonover reveals how these films used images of the imperiled body to reconstitute the concept of the human and to recalibrate the scale of human community. He traces how Italian neorealism emerges from and consolidates the transnational space of the North Atlantic, with scenarios of physical suffering dramatizing the geopolitical stakes of a newly global vision. Here we see how--in their views of injury, torture, and martyrdom--these films propose a new mode of spectating that answers the period's call for extranational witnesses, makes the imposition of limited sovereignty palatable, and underwrites a new visual politics of liberal compassion that Schoonover calls brutal humanism.

These films redefine moviegoing as a form of political action and place the filmgoer at the center of a postwar geopolitics of international aid. "Brutal Vision" interrogates the role of neorealism's famously heart-wrenching scenes in a new global order that requires its citizenry to invest emotionally in large-scale international aid packages, from the Marshall Plan to the liberal charity schemes of NGOs. The book fundamentally revises ideas of cinematic specificity, the human, and geopolitical scale that we inherit from neorealism and its postwar milieu--ideas that continue to set the terms for political filmmaking today.

The French auteur Robert Bresson, director of such classics as "Diary of a Country Priest" (1951), "The Trial of Joan of Arc" (1962), "The Devil, Probably" (1977), and "L'Argent" (1983), has long been thought of as a transcendental filmmaker preoccupied with questions of grace and predestination and little interested in the problems of the social world. This book is the first to view Bresson's work in an altogether different context. Rather than a religious--or spiritual--filmmaker, Bresson is revealed as an artist steeped in radical, revolutionary politics.
Situating Bresson in radical and aesthetic political contexts, from surrealism to situationism, "Neither God nor Master" shows how his early style was a model for social resistance. We then see how, after May 1968, his films were in fact a series of reflections on the failure of revolution in France--especially as "failure" is understood in relation to Bresson's chosen literary precursors, Dostoyevsky and Tolstoy, and Russian revolutionary culture of the nineteenth century.
Restoring Bresson to the radical political culture from which he emerged--and to which he remained faithful--Price offers a major revision of the reputation of one of the most celebrated figures in the history of French film. In doing so, he raises larger philosophical questions about the efficacy of revolutionary practices and questions about interpretation and metaphysical tendencies of film historical research that have, until now, gone largely untested.

The 1961 film The Misfits saw the collaboration of director John Huston with playwright Arthur Miller and brought together on screen Clark Gable and Marilyn Monroe in what would be their final roles. Adding to the production's luster, the elite photo agency Magnum was hired to do the on-set photography. The photographs of this landmark film represent the end of an era of Hollywood stardom and the emergence of a new vision of the actor's craft. In Famous Faces Yet Not Themselves, George Kouvaros offers a multilayered study of the Magnum photographs that illuminates larger changes in Hollywood acting during the postwar period. Just as the industrial context of film production evolved dramatically in the decades after the war, Kouvaros asserts, so too did the iconography associated with the figure of the actor. Photographs of Hollywood stars such as Monroe, Gable, Montgomery Clift, James Dean, Joan Crawford, Marlene Dietrich, and Humphrey Bogart form the basis of an evocative analysis of the way photography gave shape to fundamental shifts in the nature of screen acting, perceptions of celebrity, and the relationship between actor and audience. By closely scrutinizing the images produced on the set of one of America's most haunting and least understood films, Kouvaros presents a new recognition of the connection between the power of star culture, art photography, and the film industry during a time of rapid social transformation.

Events of the past decade have dramatically rewritten the American national narrative, bringing to light an alternate history of nation, marked since the country's origins by competing geopolitical interests, by mobility and migration, and by contending ethnic and racial groups. In this revised and expanded edition of "Film Nation," Robert Burgoyne analyzes films that give shape to the counternarrative that has emerged since 9/11--one that challenges the traditional myths of the American nation-state. The films examined here, Burgoyne argues, reveal the hidden underlayers of nation, from the first interaction between Europeans and Native Americans ("The New World"), to the clash of ethnic groups in nineteenth-century New York ("Gangs of New York"), to the haunting persistence of war in the national imagination ("Flags of Our Fathers" and "Letters from Iwo Jima") and the impact of the events of 9/11 on American identity ("United 93" and "World Trade Center"). "Film Nation" provides innovative readings of attempts by such directors as Martin Scorsese, Clint Eastwood, and Oliver Stone to visualize historical events that have acquired a mythical aura in order to open up the past to the contemporary moment.

Many believe Max Steiner's score for "King Kong" (1933) was the first important attempt at integrating background music into sound film, but a closer look at the industry's early sound era (1926--1934) reveals a more extended and fascinating story. Viewing more than two hundred films from the period, Michael Slowik launches the first comprehensive study of a long-neglected phase in Hollywood's initial development, recasting the history of film sound and its relationship to the "Golden Age" of film music (1935--1950).

Slowik follows filmmakers' shifting combinations of sound and image, recapturing the volatility of this era and the variety of film music strategies that were tested, abandoned, and kept. He explores early film music experiments and accompaniment practices in opera, melodrama, musicals, radio, and silent films and discusses the impact of the advent of synchronized dialogue. He concludes with a reassessment of "King Kong" and its groundbreaking approach to film music, challenging the film's place and importance in the timeline of sound achievement.

Before the advent of television, cinema offered serialized films as a source of weekly entertainment. This book traces the history from the days of silent screen heroines to the sound era's daring adventure serials, unearthing a thriving film culture beyond the self-contained feature. Through extensive archival research, Ilka Brasch details the aesthetic appeals of film serials within their context of marketing and exhibition, looking at how they adapted the pleasures of a flourishing crime fiction culture to both serial visual culture and the affordances of the media-modernity of the early 20th century. The study furthermore traces the relationship of film serials to the broadcast models of radio and television and thereby shows how film serials introduced modes of storytelling that informed popular culture even beyond the serial's demise.