This volume is a response to the growing need for new methodological approaches to the rapidly changing landscape of new forms of performative practices. The authors address a host of contemporary phenomena situated at the crossroads between science and fiction which employ various media and merge live participation with mediated hybrid experiences at both affective and cognitive level. All essays collected here move across disciplinary divisions in order to provide an account of these new tendencies, thus providing food for thought for a wide readership ranging from performative studies to the social sciences, philosophy and cultural studies.

With the aim to help teachers design and deliver instruction around world films featuring child protagonists, Cultivating Creativity through World Films guides readers to understand the importance of fostering creativity in the lives of youth. It is expected that by teaching students about world films through the eyes of characters that resemble them, they will gain insight into cultures that might be otherwise unknown to them and learn to analyze what they see. Teachers can use these films to examine and reflect on differences and commonalities rooted in culture, social class, gender, language, religion, etc., through guided questions for class discussion. The framework of this book is conceived to help teachers develop students' ability to evaluate, analyze, synthesize and interpret. The proposed activities seek to incite reflection and creativity in students, and can be used as a model for teachers in designing future lessons on other films.

An illustrated survey of the work of contemporary Belgian artist Emmanuel Van der Auwera The work of Brussels-based Belgian artist Emmanuel Van der Auwera (b. 1982) provides cautionary tales and tools for navigating information in post-truth times, making use of emerging technologies, the architecture of mass media, and more traditional approaches to image making. This book is the first to document and explore his films, VideoSculptures, and "Memento" series. Distributed for Mercatorfonds Exhibition Schedule: Pinakothek der Moderne, Munich

For more than two decades, players have led the zerg, protoss, and terrans into battle for galactic dominance in StarCraft, StarCraft II, and multiple campaign expansions. The Cinematic Art of StarCraft offers a detailed view into the history and philosophy of Blizzard's revolutionary cinematics team. Focusing on the craft and storytelling of cinematics and filled with anecdotes from the creators, The Cinematic Art of StarCraft gives fans a unique peek into the cinematics that have wowed millions of fans across the Koprulu sector.

Zina Saro-Wiwa: Did You Know We Taught Them How to Dance? is the first publication on the work of Zina Saro-Wiwa, a British-Nigerian video artist and filmmaker based in Brooklyn. Occupying the space between documentary and performance, Saro-Wiwa's videos, photographs, and sound produced in the Niger Delta region of southeastern Nigeria from 2013-2015 explore folklore, masquerade traditions, religious practices, food, and Nigerian popular aesthetics. Engaging Niger Delta residents as subjects and collaborators, Saro-Wiwa cultivates strategies of psychic survival and performance, testing contemporary art's capacity to transform and to envision new concepts of environment and environmentalism. Known for decades for corruption and environmental degradation, the Niger Delta is one of the largest oil producing regions of the world, and until 2010 provided the United States with a quarter of its oil. Saro-Wiwa returns to this contested region-the place of her birth-to tell new stories. Featuring a guest foreword by Ebiegberi Joe Alagoa; essays by Stephanie LeMenager, Amy L. Powell, and Taiye Selasi; an interview with the artist by Chika Okeke-Agulu; and recipes created by the artist.

Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of today's digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists. Showcases the critical and theoretical approaches in this fast-moving discipline Explores the history and evolution of digital art; its aesthetics and politics; as well as its often turbulent relationships with established institutions Provides a platform for the most influential voices shaping the current discourse surrounding digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists Tackles digital art's primary practical challenges - how to present, document, and preserve pieces that could be erased forever by rapidly accelerating technological obsolescence Up-to-date, forward-looking, and critically reflective, this authoritative new collection is informed throughout by a deep appreciation of the technical intricacies of digital art

In Archiveology Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology-the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers-provides ways to imagine the past and the future. Noting how the film archive does not function simply as a place where moving images are preserved, Russell examines a range of films alongside Benjamin's conceptions of memory, document, excavation, and historiography. She shows how city films such as Nicole Vedres's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays Itself (2003) reconstruct notions of urban life and uses Christian Marclay's The Clock (2010) to draw parallels between critical cinephilia and Benjamin's theory of the phantasmagoria. Russell also discusses practices of collecting in archiveological film and rereads films by Joseph Cornell and Rania Stephan to explore an archival practice that dislocates and relocates the female image in film. In so doing, she not only shows how Benjamin's work is as relevant to film theory as ever; she shows how archiveology can awaken artists and audiences to critical forms of history and memory.

Unbecoming Cinema explores the notion of cinema as a living, active agent, capable of unsettling and reconfiguring a person's thoughts, senses, and ethics. Film, according to David H. Fleming, is a dynamic force, arming audiences with the ability to see and make a difference in the world. Drawing heavily on Deleuze's philosophical insights, as well as those of Guattari and Badiou, the book critically examines unsettling and taboo footage, from suicide documentaries to art therapy films, from portrayals of mental health and autism to torture porn. In investigating the effect of film on the mind and body, Fleming's shrewd analysis unites transgressive cinema with metaphysical concepts of the body and mind. A PDF version of this book is available for free in open access via the OAPEN Library platform, Unbecoming Cinema. It has been made available under a Creative Commons Attribution 4.0 International Public License and is part of Knowledge Unlatched.

Through a genealogy of photosensitive elements in media devices and artworks, this book investigates three dichotomies that impoverish debates and proposals in media art: material/immaterial, organic/machinic, and theory/practice. It combines historical and analytical approaches, through new materialism, media archaeology, cultural techniques and second-order cybernetics. Known media stories are reframed from an alternative perspective, elucidating photosensitivity as a metonymy to provide guidelines to art students, artists, curators and theoreticians - especially those who are committed to critical views of scientific and technological knowledge in aesthetic experimentations.

Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood's influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood's insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today's hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include "the paleocybernetic age," "intermedia," the "artist as design scientist," the "artist as ecologist," "synaesthetics and kinesthetics," and "the technosphere: man/machine symbiosis." Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller-a perfectly cut gem of countercultural thinking in itself-places Youngblood's radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.

In Paik's Virtual Archive, Hanna B. Holling contemplates the identity of multimedia artworks by reconsidering the role of conservation in our understanding of what the artwork is and how it functions within and beyond a specific historical moment. In Holling's discussion of works by Nam June Paik (1932-2006), the hugely influential Korean American artist who is considered the progenitor of video art, she explores the relation between the artworks' concept and material, theories of musical performance and performativity, and the Bergsonian concept of duration, as well as the parts these elements play in the conceptualization of multimedia artworks. Holling combines her astute assessment of artistic technologies with ideas from art theory, philosophy, and aesthetics to probe questions related to materials and materiality, not just in Paik's work but in contemporary art in general. Ultimately, she proposes that the archive-the physical and virtual realm that encompasses all that is known about an artwork-is the foundation for the identity and continuity of every work of art.

Videogame history is not just a history of one successful technology replacing the next. It is also a history of platforms and communities that never quite made it; that struggled to make their voices heard; that aggravated against the conventions of the day; and that never enjoyed the commercial success or recognition of their major counterparts. In Minor Platforms in Videogame History, Benjamin Nicoll argues that 'minor' videogame histories are anything but insignificant. Through an analysis of transitional, decolonial, imaginary, residual, and minor videogame platforms, Nicoll highlights moments of difference and discontinuity in videogame history. From the domestication of vector graphics in the early years of videogame consoles to the 'cloning' of Japanese computer games in South Korea in the 1980s, this book explores case studies that challenge taken-for-granted approaches to videogames, platforms, and their histories.

Tracing the evolution of the Italian avant-garde's pioneering experiments with art and technology and their subversion of freedom and control In postwar Italy, a group of visionary artists used emergent computer technologies as both tools of artistic production and a means to reconceptualize the dynamic interrelation between individual freedom and collectivity. Working contrary to assumptions that the rigid, structural nature of programming limits subjectivity, this book traces the multifaceted practices of these groundbreaking artists and their conviction that technology could provide the conditions for a liberated social life. Situating their developments within the context of the Cold War and the ensuing crisis among the Italian left, Arte Programmata describes how Italy's distinctive political climate fueled the group's engagement with computers, cybernetics, and information theory. Creating a broad range of immersive environments, kinetic sculptures, domestic home goods, and other multimedia art and design works, artists such as Bruno Munari, Enzo Mari, and others looked to the conceptual frameworks provided by this new technology to envision a way out of the ideological impasses of the age. Showcasing the ingenuity of Italy's earliest computer-based art, this study highlights its distinguishing characteristics while also exploring concurrent developments across the globe. Centered on the relationships between art, technology, and politics, Arte Programmata considers an important antecedent to the digital age.

UDON Entertainment is back with an all-new classy compilation of the creative studio's Capcom artwork! This prestigous 300-page hardcover volume gathers UDON's artists' renditions of the casts of Street Fighter, Mega Man, Darkstalkers, and other classic Capcom franchises. Included are comic covers, video game endings, promotional art, costume designs, tribute art, and much more!

An in-depth study of the expanding role of the moving image in British art over the past thirty years Over the past three decades the moving image has grown from a marginalized medium of British art into one of the nation's most vital areas of artistic practice. How did we get here? Artists' Moving Image in Britain Since 1989 seeks to provide answers, unfolding some of the narratives-disparate, entwined, and often colorful-that have come to define this field. Ambitious in scope, this anthology considers artists and artworks alongside the organizations, institutions, and economies in which they exist. Writings by scholars from both art history and film studies, curators from diverse backgrounds, and artists from across generations offer a provocative and multifaceted assessment of the evolving position of the moving image in the British art world and consider the effects of numerous technological, institutional, and creative developments. Distributed for the Paul Mellon Center for Studies in British Art