Against Ambience diagnoses - in order to cure - the art world's recent turn toward ambience. Over the course of three short months - June to September, 2013 - the four most prestigious museums in New York indulged the ambience of sound and light: James Turrell at the Guggenheim, Soundings at MoMA, Robert Irwin at the Whitney, and Janet Cardiff at the Met. In addition, two notable shows at smaller galleries indicate that this is not simply a major-donor movement. Collectively, these shows constitute a proposal about what we wanted from art in 2013. While we're in the soft embrace of light, the NSA and Facebook are still collecting our data, the money in our bank accounts is still being used to fund who-knows-what without our knowledge or consent, the government we elected is still imprisoning and targeting people with whom we have no beef. We deserve an art that is the equal of our information age. Not one that parrots the age's self-assertions or modes of dissemination, but an art that is hyper-aware, vigilant, active, engaged, and informed. We are now one hundred years clear of Duchamp's first readymades. So why should we find ourselves so thoroughly in thrall to ambience? Against Ambience argues for an art that acknowledges its own methods and intentions; its own position in the structures of cultural power and persuasion. Rather than the warm glow of light or the soothing wash of sound, Against Ambience proposes an art that cracks the surface of our prevailing patterns of encounter, initiating productive disruptions and deconstructions.

In Hitler in the Movies: Finding Der Fuhrer on Film, a Shakespearean and a sociologist explore the fascination our popular culture has with Adolf Hitler. What made him ... Hitler? Do our explanations tell us more about the perceiver than the actual historical figure? We ask such question by viewing the Hitler character in the movies. How have directors, actors, film critics, and audiences accounted for this monster in a medium that reflects public tastes and opinions? The book first looks at comedic films, such as Chaplain's The Great Dictator or Ernst Lubitsch's To Be or Not to Be (1942), along with the Mel Brooks's 1983 version. Then, there is the Hitler of fantasy, from trash films like The Saved Hitler's Brain to a serious work like The Boys from Brazil where Hitler is cloned. Psychological portraits include Anthony Hopkins's The Bunker, the surreal The Empty Mirror, and Max, a portrait of Hitler in his days in Vienna as a would-be artist. Documentaries and docudramas range from Leni Reinfenstahl's iconic The Triumph of the Will or The Hidden Fuhrer, to the controversial Hitler: A Film from Germany and Quentin Tarantino's fanciful Inglourious Basterds. Hitler in the Movies also considers the ways Der Fuhrer remains today, as a ghostly presence, if not an actual character. Why is he still with us in everything from political smears to video games to merchandise? In trying to explain this and the man himself, what might we learn about ourselves and our society?

The media technologies that surround and suffuse our everyday life profoundly affect our relation to reality. Philosophers since Plato and Aristotle have sought to understand the complex influence of apparently simple tools of expression on our understanding and experience of the world, time, space, materiality and energy. The Digital Image and Reality takes up this crucial philosophical task for our digital era. This rich yet accessible work argues that when new visual technologies arrive to represent and simulate reality, they give rise to nothing less than a radically different sensual image of the world. Through engaging with post-cinematic content and the new digital formats in which it appears, Strutt uncovers and explores how digital image-making is integral to emergent modes of metaphysical reflection - to speculative futurism, optimistic nihilism, and ethical plasticity. Ultimately, he prompts the reader to ask whether the impact of digital image processes might go even beyond our subjective consciousness of reality, towards the synthesis of objective actuality itself.

The definitive art book for the remastered Spyro Reignited Trilogy, for fans young and old. In 2018 Toys for Bob Studios thrilled fans world wide by releasing Spyro Reignited Trilogy, a faithful remaster encompassing all three titles from the beloved Spyro trilogy introduced in 1998. The Art of Spyro is a meticulously crafted compendium filled with in-depth behind-the-scenes content, insightful quotes from top illustrators in the industry, anecdotes from the game developers, and a dazzling assortment of incredible concept art, some of which has never been seen by the public. It is a must-have for art lovers, games, fans... and the fun-loving adventurer in all of us.

African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. Beginning in1969 the biennial Festival panafricain du cin\u00e9ma et de la t\u00e9l\u00e9vision de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras. These \u201cNollywood\u201d films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema.Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a unique comparison of these two main African cinema modes.

Bill Viola began producing video works in the early 1970s, and since then has captivated audiences with his poignant and beautifully wrought interpretations of human experience. He is today considered among the most celebrated proponents of the medium of video art. This is the first monograph to chart Viola's career in full, covering his education in New York, his earliest major films of mirages in the Sahara desert and of hospital medical imagery, his retrospective at the Whitney Museum of American Art in New York 1997 and his recent installations in Venice, New York, Tokyo, London and Berlin. Hanhardt outlines the key visual, literary and spiritual influences on Viola's work and his changing approach to the medium of film in response to technological advancement. Woven into the discussion are illustrations of Viola's most significant works, including Information (1973), The Passing, (1991), The Greeting (1995), Going Forth by Day (2002) and Martyrs, the 2014 film commissioned for St Paul's Cathedral in London, as well as reproductions of Viola's sketches and notebooks that bring his working process to life. Supplemented by a select chronology, bibliography and list of public collections, Bill Viola offers a rare and fascinating account of one of contemporary art's most powerful creative minds.

Why do early films present the Netherlands as a country full of canals and windmills, where people wear traditional costumes and wooden shoes, while industries and modern urban life are all but absent? Images of Dutchness investigates the roots of this visual repertoire from diverse sources, ranging from magazines to tourist brochures, from anthropological treatises to advertising trade cards, stereoscopic photographs, picture postcards, magic lantern slide sets and films of early cinema. This richly illustrated book provides an in-depth study of the fascinating corpus of popular visual media and their written comments that are studied for the first time. Through the combined analysis of words and images, the author identifies not only what has been considered Ytypically DutchOE in the long nineteenth century, but also provides new insights into the logic and emergence of national cliches in the Western world.

The collection of papers that makes up this book arises largely from the joint activities of two specialist groups of the British Computer Society, namely the Displays Group and the Computer Arts Society. Both these groups are now more than 20 years old and during the whole of this time have held regular, separate meetings. In recent years, however, the two groups have held a joint annual meeting at which presentations of mutual interest have been given and it is mainly from the last two of these that the present papers have been drawn. They fall naturally into four classes: visualisation, art, design and animation-although, as in all such cases, the boundaries between the classes are fuzzy and overlap inevitably occurs. Visualisation The graphic potential of computers has been recognised almost since computing was first used, but it is only comparatively recently that their possibilities as devices for the visualisation of complex. and largely ab stract phenomena has begun to be more fully appreciated. Some workers stress the need to be able to model photographic reality in order to assist in this task. They look to better algorithms and more resolution to achieve this end. Others-Alan Mackay for instance-suggest that it is "not just a matter of providing more and more pixels. It is a matter of providing congenial clues which employ to the greatest extent what we already know.

Digital Arts presents an introduction to new media art through key debates and theories. The volume begins with the historical contexts of the digital arts, discusses contemporary forms, and concludes with current and future trends in distribution and archival processes. Considering the imperative of artists to adopt new technologies, the chapters of the book progressively present a study of the impact of the digital on art, as well as the exhibition, distribution and archiving of artworks. Reflecting contemporary research in the field, case studies illustrate concepts and developments outlined in Digital Arts. Additionally, reflections and questions provide opportunities for readers to explore terms, theories and examples relevant to the field. Consistent with the other volumes in the New Media series, a bullet-point summary and a further reading section enhance the introductory focus of each chapter.

Videogames are firmly enmeshed in modern culture. Acknowledging the increasing cultural impact of this rapidly changing industry on artistic and creative practices, "Videogames and Art" features in-depth essays that offer an unparalleled overview of the field.
Together, the contributions position videogame art as an interdisciplinary mix of digital technologies and the traditional art forms. Of particular interest in this volume are machinima, game console artwork, politically oriented videogame art, and the production of digital art. This new and revised edition features an extended critical introduction from the editors and updated interviews with the foremost artists in the field. Rounding out the book is a critique of the commercial videogame industry comprising essays on the current quality and originality of videogames.

Puts forward a new, provocative history of queer cinema in Brazil. Through an analysis of contemporary Brazilian cinematic production,Cannibalizing Queer: Brazilian Cinema from 1970 to 2015 discusses which queer representations are erased and which are acknowledged in the complex processes of cultural translation, adaptation, and "devouring" that defines the Brazilian understanding of sexual dissidents and minorities. Joao Nemi Neto argues for Brazilian cinema studies to acknowledge the importance of 1920s modernism and of antropografia, a conceptual mode of cannibalism, to adopt and extrapolate a perverse form of absorption and raise the stakes on queer theory and postcolonialism, and to demonstrate how they are crucial to the development of a queer tradition in Brazilian cinema. In five chapters and two "trailers," Nemi Neto understands the term "queer" through its political dimensions because the films he analyzes represent characters that conform neither to American coming-out politics nor to Brazilian identity politics. Nonetheless, the films are queer precisely because the queer experiences and affection explored in these films do not necessarily insist on identifying characters as a particular sexuality or gender identity. Therefore, attention to characters within a unique cinematic world raises the stakes on several issues that hinge on cinematic form, narrative, and representation. Nemi Neto interviews and examines the work of Joao Silverio Trevisan and provides readings of films such as AIDS o furor do sexo explicito (AIDS the Furor of Explicit Sex, 1986), and Dzi Croquettes (2009) to theorize a productive overlap between queer and antropofagia. Moreover, the films analyzed here depict queer alternative representations to both homonormativity and heteronormativity as forms of resistance, at the same time as prejudice and heteronormativity remain present in contemporary Brazilian social practices. Graduate students and scholars of cinema and media studies, queer studies, Brazilian modernism, and Latin American studies will value what one early reader called "a point of departure for all future research on Brazilian queer cinema.

Learn how to paint on your iPad like the professionals in Beginner's Guide to Procreate, a comprehensive introduction to this industry-standard software. Accessible and versatile, Procreate is an ideal tool for anyone wanting to give digital painting a go. Step-by-step tutorials, quick tips, and inspiring artwork ensure you'll have all you need to create stunning concept art quickly and easily.

This is a book about video art, and about sound art. The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form. Paul Hegarty considers the work of a range of artists (including Steve McQueen, Christian Marclay, Ryan Trecartin, and Jane and Louise Wilson), proposing different theories according to the particular strategy of the artist under discussion. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts. Applying contemporary sound theory to the world of video art, Paul Hegarty offers an entirely fresh perspective on the interactions between sound, sound art, and the visual.

Digital Currents explores the growing impact of digital technologies on aesthetic experience and examines the major changes taking place in the role of the artist as social communicator. Just as the rise of photographic techniques in the mid 1800s shattered traditional views about representation, so too have contemporary electronic tools catalysed new perspectives on art, affecting the way artists see, think, and work, and the ways in which their productions are distributed and communicated. Digital Currents explores the growing impact of digital technologies on aesthetic experience and examines the major changes taking place in the role of the artist as social communicator. Margot Lovejoy recounts the early histories of electronic media for art making - video, computer, the internet - in the new edition of this richly illustrated book. She provides a context for the works of major artists in each media, describes their projects, and discusses the issues and theoretical implications of each to create a foundation for understanding this developing field. Digital Currents fills a major gap in our understanding of the relationship between art and technology, and the exciting new cultu

This updated third edition of Studio Television Production and Directing introduces readers to the basic fundamentals of studio and control room production. Accessible and focused, readers of this updated third edition will gain fluency in essential studio terms and technology and acquire the necessary skills to make it in the industry. This book is your back-to-the-basics guide to common technology-including principles of directing, assistant directing, technical directing, audio ops, the basics of studio lighting, an introduction to set design, camera ops, floor directing, story types (VO, VO/SOT, PKG), basic engineering, and more. Whether an established professional or a student, this book provides readers with the technical expertise to successfully coordinate live or taped studio television today. In this new edition, author Andrew Hicks Utterback offers an expanded glossary and new material on visualization walls, alternative camera mounts, basic engineering, and news narrative diagramming.

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. -- .