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The Collected Writings of Takahiko Iimura
"Taka iimura has been making films since the early 1960s. His work has gone through a series of relatively clear, consistent developments: from 1962 to 1968, iimura was largely involved with surreal imagery, with eroticism, and with social criticism; from 1968 through 1971, he continued to use photographic imagery, but worked with it in increasingly formal ways; from 1972 until 1978, he devoted himself very largely to a series of minimalist explorations of time and space. During the years since, iimura has been more fully involved with video than with film." --Scott MacDonald "Although Taka was and continues to be an active part of the New York avant-garde scene, he always remained an enigmatic, mysterious presence, pursuing his own unique route through the very center of the avant-garde cinema. While the intensity and the fire of the American avant-garde film movement inspired him and attracted him, his Japanese origins contributed decisively to his uncompromising explorations of cinema's minimalist and conceptualist possibilities. He has explored this direction of cinema in greater depth than anyone else." -- Jonas Mekas
飯村隆彦のメディア・ワールド
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Culture as Capital
By following and reproducing the cultural turn, the rhetoric of cultural mix and hybridism is disseminated today primarily in its crossing of trade barriers. Cultures reduced to their exchange value function as capital - an accumulative, speculative and, ultimately, financial affair. In some of its media and site-(un)specific manifestations, process art - which aims to encompass both old and new media art - seems to resist this pressure, despite, nonetheless, not being protected from regulations and incorporations. In the present collection of his recent essays, Slavko Kacunko discusses the process art by crossing the disciplines of art history and comparative media-, visual- and -cultural s...
Preservation, Radicalism, and the Avant-Garde Canon
Combining a range of content with self-reflexive examination by scholars and practitioners, this edited volume interrogates the contemporary significance of the avant-garde. Rather than focusing on a particular region, period, or movement, the contributors bring together case studies to examine what constitutes the avant-garde canon.
Video Art
73 kunstneres bidrag om video art
The Experience Machine
An argument that the collaborative multimedia projects produced by Stan VanDerBeek in the 1960s and 1970s anticipate contemporary new media and participatory art practices. In 1965, the experimental filmmaker Stan VanDerBeek (1927–1984) unveiled his Movie-Drome, made from the repurposed top of a grain silo. VanDerBeek envisioned Movie-Drome as the prototype for a communications system—a global network of Movie-Dromes linked to orbiting satellites that would store and transmit images. With networked two-way communication, Movie-Dromes were meant to ameliorate technology's alienating impulse. In The Experience Machine, Gloria Sutton views VanDerBeek—known mostly for his experimental anim...
A Critical Cinema
It is widely understood that writing can discuss writing, but we rarely consider that film can be used as a means of analyzing conventions of the commercial film industry, or of theorizing about cinema in general. Over the past few decades, however, independent cinema has produced a body of fascinating films that provide intensive critiques of nearly every element of the cinematic apparatus. The experience of these films simultaneously depends on and redefines our relationship to the movies. Critical Cinema provides a collection of in-depth interviews with some of the most accomplished "critical" filmmakers. These interviews demonstrate the sophistication of their thinking about film (and a ...
Frequencies
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Hijikata Tatsumi and Butoh
Hijikata Tatsumi's explosive 1959 debut Forbidden Colors sparked a new genre of performance in Japan - butoh: an art form of contrasts, by turns shocking and serene. Since then, though interest has grown exponentially, and people all over the world are drawn to butoh's ability to enact paradox and contradiction, audiences are less knowledgeable about the contributions and innovations of the founder of butoh. Hijikata Tatsumi and Butoh traces the rollicking history of the creation and initial maturation of butoh, and locates Hijikata's performances within the intellectual, cultural, and economic ferment of Japan from the sixties to the eighties.
After Taste. Critique of insufficient reason
After Taste is an inquiry into a field of study dedicated to the reconsideration, reconstruction and rehabilitation of the concept of Taste. Taste is the category, whose systematic, historical and actual dimensions have traditionally been located in a variety of disciplines. The actuality and potential of the study is based on a variety of collected facts from readings and experiences, which materialize in the following features: One concept (figurative Taste), two thinking traditions (analytic and synthetic/continental) and three interrelated dimensions (systematic, historic and actual) are presented in three volumes. As such, the study presents a salient comprehensive companion for wider r...
