Through digital technology our moving image culture is being redefined.
The computer enables the mixture of images captured through many
different means (cinema, stills, and drawings), and enables new levels
of representation. As an electronic moving image video gave birth to simultaneity; the computer extends simultaneity to multiplicity.
“Cinema becomes therefore
a particular branch of painting - painting in time. No longer a kino-eye,
but a kino-brush.” (Manovich)
"There is no video theory in the way that there is a body of knowledge called film theory or, rather differently, television studies. There never will be. Not being really a simple and discrete entity, video prevents the prerequisite for a theoretical approach: that is, deciding upon an object about which you wish to know." Sean Cubitt, Videography 1993
“Video can be considered as a transient medium that crosses or transgresses the border of photography and cinema and of the three media only video can integrate and transform the two others. As such it is a medium of liminal passages across and between images, a rite of passage that impedes us from assigning stable borders to the image per se. Video cannot be defined as a singular field or entity but, rather, has to be defined at the level of what Gene Youngblood, early in video art’s development called intermedia.” Raymond Bellour
Media art, in its possession of new technologies of time and image, maintains a special possibility of speaking directly in the language of our time, but in its capacity of art, it has an even greater potential to address the deeper questions and mysteries of the human condition. This is the challenge to the media arts at the turning point of the century and the passage into the millenium that lies just before us. —Bill Viola “Between How and Why”
Keywords/Idea-Cloud for this course:
Video Art, Vernacular Video, Music Video, Online Video, Home Video, Digital Video, Tom Sherman (Skype), Ege Berensel - 35 years of Turkish Video Art, Video vs. Cinema, YouTube, Home Video, Experimental Video, Digital Video, DV and HDV, Video Vortex, Video vs. Television, Sean Cubitt, Nam June Paik, Bill Viola, Video as Form, Performance, Installation, Amateur Video, Online Video, Interactive Video, VCD and DVD, Activist Video, Mobile Video, Iran, Open Video, Video Aesthetics, Live Video, Video Streaming, Video Noise, Recording, Video History Project, Video vs. Audio, Ira Schneider, VJ, Visual Music, Concert Videos, Manovich, Urban Video, Urban Screens, Immersive Video, Video and Memory, Music Video, single channel video, multiple channel video, video sculpture, Electronic Art, instant playback, simultaneity, VCR, VHS,
Blair Witch Project, Mike Figgis, Steven Soderbergh, Desktop Video, DTV, film, information, McLuhan, paradigms, production, technology of present, video and medicine, tele-presence, tele-garden, Eduardo Kac, surveilance, CCTV, London, video in film, “Nullmedium”, Brecht, video vs radio, 40 Jahre Deutsche Videokunst, sony portapak, Ali Mahmut Demirel, Aras Ozgün, Video History Project, Stan Brakhage, Richard Leacock - The Art of Home Movies, Flaherty, documentary, Thomas Balkenhol, Dan Oki, Perry Baird, Takim Boyle Tutulur, Dogma 95, Lars von Trier, Guerilla-Video, Visual Anthropology, Video-On-Demand, net-lounge Berlinale 2002/2004, citizen journalists, Current-TV, Richard Linklater, Oberhausen Music Video Awards, Archive, Stock Video, Teoman Madra, Remote Control, Greenaway, Godard, Zapping, video evidence, Rodney King case, The Guardian commercial, Loop, Morph, Warp, Digital Photography, early video history, video clip, narrative, Videography, Virilio, Jameson, Video als Aufzeichnungssystem, Capture, Recording, Distribution, magnetische Signalaufzeichnung, Signal, Phenomenolgy, Database, Manovich, Videophone, Bagdad, I. Irak war