Essay

“Video art” is a new genre, not to be confused with film, and not to be viewed as entirely separate from the medium of television, which dominates the viewing experience of video artworks. There is a relentless desire evoked in art critics and viewers alike to strictly define what exactly “video art” is, and what it is doing. Video art serves as somewhat of a paradox, responding to these questions by merely turning them back on to the viewer themselves to further contemplate: what is video art? What is art?

I intend to describe, analyse, interpret and evaluate this performance and to apply these findings to my future creative art pieces. Firstly, the collaboration of 'A Movement Through Time' was an original performance with the intention to uncover and explicitly portray the effect that multimodal technologies, being iMovie, has on the audience and how it alters meaning. The group met on a number of occasions and using a digital SLR camera, we captured a large quantity of images of myself walking across a path. For this setting, it was inside the Fine Art building of the University of Newcastle. This process took a lengthy period of time, however we attained the footage that we set out to achieve. Using iMovie, the group compiled over a hundred photos to make it look like a video. The intention of this was to fool the audience that by using video and photo editing software, you add new meaning to the once original

In the relatively short history of time-based installation, some development and changes have been made by a few artists influentially, such as Peter Campus, an American born artist, exploring a new area of new media and video art. To be specific, Campus’s works reveal a combination of video installation and single-channel video tapes. Influenced by his early career, as being a film editor, and receiving the degree of experimental psychology, Campus illuminated the idea of “staging” in a new way, and found a new relationship between the spectators and art pieces in 1970s. As follows, the essay is going to focus on the concept about how Campus’ installations approach the stage for an event by appropriately applying the effect of reflection as a basic function. Also, the essay will discuss how Campus’s works involve his body and the viewers’ during the period of the 1970s.

Imagine a dark foggy stage, with nine dancers, the women dressed in long flowing pleated skirts, clustered in a tableau. The dancers stand completely still except for their lips which pantomime the haunting voices of the exotic Middle Eastern music. This is how Sidi Laribi Cherkaoui’s piece Mosaic, danced by the Martha Graham Dance Company, opened. Mosaic was a mysterious, suspenseful and provocative work that embodied many ritual and mystical traditions from Middle Eastern culture. However, the tone of the piece was not created by the music and choreography alone, much of the overall environment was created by the technical aspects of the performance.

The film Shall We Dansu? (1995), directed by Masayuki Suo, is a heart-warming and a slice of life film that has touched the lives of everyday people. It is one of the films that has gained an exceptional popularity across the Japanese cinema along with great reviews given by prominent film critics across the globe. In this paper, I will focus on analyzing the cinematic techniques of one particular scene in the film and how they affect the development of the story. The scene that I will focus on is at the end of the film when Mai teaches dance sequences to Sugiyama and Toyoko to prepare them for the amateur dancing competition. There are multiple cinematic techniques used in this scene: medium and long shots, warm lighting, diegetic sounds of Mai’s voice overlapped by the non-diegetic sound of orchestra music, and complex camera work that follows along the dance sequences. These film techniques help understand Mai’s character in more depth, set colorful and buoyant atmosphere and put emphasis on the overall themes of the film.

On occasion, one will come across a work that is so extreme, so avant-garde, that the label of “modern” will be slapped on without hesitation, no definitive justification needed. Few pieces of art exemplify this level of artistic extremism more than John Cage’s “3 minutes and 44 seconds”. I first was exposed to this work in a music class my junior year of high school. My fellow students and I were subjected to the complete, uncut presentation of Cage’s masterpiece. For three minutes and forty-four seconds, we sat and stared at a well-dressed man sit at a sleek grand piano in complete and utter silence. To the casual observer, the visuals provided by the video are the only tangible part of the work, but a visual description of the scene is unnecessary as it is intended as a purely

This study resulted in a nonsignificant difference between the attraction to either of the racially typical names. This null finding does not support the school of thought that opinions are formed based solely on race. Some researchers have challenged Norton, Frost, and Ariely’s findings because their data is thought to be inaccurate for real-life situations. Ullrich, Krueger, Brod, and Groschupf published their response to the “less is more” finding, stating that while their hypothesis worked in a lab-type setting, it would not be applicable in the outside world (2013). In their replication study, Ullrich and colleagues found that the number of traits shown did not affect the participant’s perception of the subject being perceived. This

As a champion of indie films as well as a massive supporter of Vancouver talent, I remember noticing a campaign pop up on my feed for Last Stand to Nowhere. I thought about supporting it, but I was so busy that I quickly forgot. That is until Michelle Muldoon contacted me personally. Once I read about the campaign and realized that I knew practically everyone involved, I had no choice but to contribute.  However, I knew that positive press for a project like this is essential, so I also offered to interview Michelle, to which she quickly agreed. As the campaign enters its final days, enjoy reading a little about the creative genius behind this project and maybe even consider lending your support in some fashion.

Many Canadians say it helps the economy and creates equal and local competition within the market. However, this common perspective is flawed. According to Ben Myers, SVP of Market Research and Analytics for Fortress Real Developments states how “foreign buyers are likely to pay more for the same home than a domestic purchaser, making them the marginal and very pivotal buyers. Marginal buyers tend to set prices in a market place” (Myers, 2016, p.13). If one is going to pay extra on an already expensive house in Canada, how can a Canadian's wage compare and compete with such high prices? The annual median family income in 2015 was only 79,930 in Vancouver, $78,280 in Toronto and $76,950 in Montreal (Stats Canada, 2017). In 1976, people

This work is a representation of how mechanical reproduction of art leads to artworks that take the form of communicative gestures such as newspaper and demonstrates how art and non-art are interchangeable and how the role of the artist is not anymore defined by the art object itself. The shape of a face created through different fragments of magazines and postcards is a symbolic image of man that, as McHale sustains “matches up the requirements of constant change, fleeting impression and a high rate of obsolence” (McHale, 2011: 33).

The article, “Reconciling conflicting data: the global warming ‘pause’”, is about a controversial study dealing with climate change. It is controversial because some feel that the data found was altered in order to get the results certain people wanted. What the scientists did was adjust their records of ocean temperatures for their dataset. The controversy has to deal with which data the scientist used for the temperatures. One dataset was from ships in the ocean that grab ocean water in their engine rooms and then take the temperature, the other is from buoys that float along in the water and take the temperature. The scientist said that the ships temperatures where generally warmer than the buoy temperatures which are generally more

Victor was sprawled across his bed, propped up by a number of fluffy pillows against the headboard. His eyes ran over the words on the page as Yuuri recited them.

The crystalline water, as if pollution has never touched this place. Seeing my reflection when I'm crouching to use my left hand to drink, makes me wonder, my ornamented silver horns I'm so proud of, my clear silver iris and long silver hair, how would the inhabitants of this planet react at my sight. Also, my face marks that got carved into my scales, that is the meaning of my status, I'm not so different from humans of the citadel, at least my body structure, alas being 8 ft 1 maybe not so common to humans, but we rarely visit that place, since the elders like to bother us about, not mixing up with inferior races. This sun may do something to my pale skin, however, and while covering my eyes to the warm sun above, I took note of how

Corp Etranger (1994) is a video piece made by Mona Hatoum which explores the artists body with an endoscopic camera. The piece is composed of a cylindrical room with padded walls where the viewer is invited to enter and view the video of Hatoum’s internal body, displayed on the floor of the room. Using Kristeva’s strategy of abjection the internal cavities are magnified and distorted into a grotesque monster that have the effect of swallowing up the viewer. ”The symbolisation of the womb as house/room/cellar.” (Creed, 1993, p.55) The work is accompanied by an echograph of Hatoum’s breathing and heart beat, enveloping the viewer through all there senses. “I didn’t want my work to be one dimensional in the sense that it just appeals to the intellect.

Imagine a world full of chaos. In one second a bomb would go off and kill harmless people on one side of the world and on the other side billions of people die of a newly made, incurable disease. People kept on dying and there was no stopping it. Day by day, every county, all major achievements, everything would be destroyed. No one left to remember it and it's all a wink in the past.The war had been getting worse and worse. People were dying as fast as leaves falling of a tree in fall. One by one, like leaves, there would be no people left.