William Kaizen, Against Immediacy. Video Art and Media Populism
نویسندگان
چکیده
منابع مشابه
Video Art, Liminality, Mysticism
Liminality is a concept introduced by Victor Turner in the field of anthropology. According to him, myths can be designated as liminal phenomena which are neither here nor there; they are betwixt and between. Bill Viola is a video artist who has represented universal and pivotal dualities in his work, in a symbolic manner. The questions that this study tries to answer are as follows: What is th...
متن کاملHow to tell apart video games and new media art
Images swirl on a screen. A controller in front of it invites you to grab on and start playing. Is this a game? Or is it art? How can you tell the difference between a computer game and new media art? Like any new media technology, interactive computers have established cultural positions by shifting existing understandings of the proper place of things. A starting point for identifying the dif...
متن کاملEntertainment, Culture, and Media Art
This chapter is dedicated to explore the relationship between entertainment, culture, and media art. Firstly, the positioning of entertainment will be described including the historical point of view and also focusing on recent digital entertainment technologies. It will be clarified that entertainment is closely related to the mental sustainability of human and therefore has a close relationsh...
متن کاملInefficient lobbying, populism and oligarchy
This paper analyses the efficiency consequences of lobbying in a production economy with imperfect commitment. We first show that the Pareto efficiency result found for truthful equilibria of common agency games in static exchange economies no longer holds under these more general conditions. We construct a model of pressure groups where the set of efficient truthful common-agency equilibria ha...
متن کاملذخیره در منابع من
با ذخیره ی این منبع در منابع من، دسترسی به آن را برای استفاده های بعدی آسان تر کنید
ژورنال
عنوان ژورنال: Critique d’art
سال: 2018
ISSN: 1246-8258,2265-9404
DOI: 10.4000/critiquedart.25683