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Review: AI Art: Machine Visions and Warped Dreams, by Joanna Zylinska 回顾:人工智能艺术:机器视觉和扭曲的梦想,乔安娜·齐林斯卡
Pub Date : 2020-12-28 DOI: 10.1525/AFT.2020.47.4.82
C. Sancto
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引用次数: 0
Exhibition Review: a.O.–b.c. An audiovisual diary 展览评论:a.o. - b.c.。一个视听日记
Pub Date : 2020-12-28 DOI: 10.1525/AFT.2020.47.4.74
Elli Leventaki
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引用次数: 0
Things Shining in the Dark 在黑暗中闪耀的事物
Pub Date : 2020-12-28 DOI: 10.1525/AFT.2020.47.4.16
B. S. Worthy
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引用次数: 0
From Vertical Roll to .MOV File 从垂直滚动到。mov文件
Pub Date : 2020-09-01 DOI: 10.1525/aft.2020.473004
Annie Dell'aria
In this article, I examine artworks from two periods in the history of media art—the 1970s and the 2010s—to demonstrate how changes in our haptic relationship to screen media shift the site of criticality in contemporary media art from disruption of electronic feedback toward an intensification and embrace of image flows that actively seek the viewer's touch and gesture. I situate video art within the shifting concept of flow in everyday media consumption, reading video art practices within a larger matrix of bodily and cultural engagement with screens. I locate touch and gesture as both themes in the content of single-channel works and components of the structure of video installation. Artists discussed include Camille Henrot, Joan Jonas, Rafael Lozano-Hemmer, Bruce Nauman, and Hito Steyerl. My analysis bridges media theory and art history with close readings of salient works of art, connecting the structure of artworks employing haptic input to shifts in the broader media ecology and the dynamic interplay of touch, image, and power under our fingertips.
在这篇文章中,我考察了媒体艺术史上两个时期的艺术作品——20世纪70年代和2010年代——以展示我们与屏幕媒体的触觉关系的变化如何将当代媒体艺术的临界场所从电子反馈的破坏转变为积极寻求观众触摸和手势的图像流的强化和拥抱。我将视频艺术置于日常媒体消费的流动概念中,将视频艺术实践置于与屏幕的身体和文化接触的更大矩阵中。我将触摸和手势定位为单通道作品内容的主题和视频装置结构的组成部分。讨论的艺术家包括Camille Henrot, Joan Jonas, Rafael Lozano-Hemmer, Bruce Nauman和Hito Steyerl。我的分析将媒体理论和艺术史与对重要艺术作品的仔细阅读联系起来,将使用触觉输入的艺术作品的结构与更广泛的媒体生态的变化以及我们指尖下触觉、图像和权力的动态相互作用联系起来。
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引用次数: 0
Toward a Feeling of Animacy 走向生命的感觉
Pub Date : 2020-09-01 DOI: 10.1525/aft.2020.473006
B. Cohen
This essay offers a comparative analysis of two moving-image artworks, UuDam Tran Nguyen's Serpents' Tails (2015) and Tuaấn Mami's In One's Breath—Nothing Stands Still (2018), in order to address questions of contemporary artmaking, ecological devastation, and the public sphere in Vietnam. Set in Ho Chi Minh City, Serpents' Tails hails a question of air pollution, depicting a thrilling dance between humans and “serpents' tails” created from plastic, throwaway bags, and the exhaust fumes of motorbikes. In contrast, the slower-paced In One's Breath—Nothing Stands Still critiques extractive limestone mining in rural northern Vietnam, a process that smothers the land in a kind of white, powdery haze and slow death grip. Both works highlight a question of inequitable breathability in relation to the airscape. In comparing these two artworks, this essay aims to parse out intertwined ecological concerns in urban and rural Vietnam, represented by expressions of breathability, in relation to sociopolitical questions of speakability and animacy. Matters of more-than-human animacy cannot be divorced from pressing issues of coloniality, indigeneity, gender, sex, race, and climate justice. When “voice” and “agency” are structurally oppressed in linguistic form, eliminating a grammar of animacy (Robin Wall Kimmerer) that would convey the vitality of “nonliving” beings, then I argue that one may recuperate a feeling of animacy through the visual realm. With emotional charge, Serpents' Tails and In One's Breath—Nothing Stands Still engender a sense of nonhumans' mutual animacy, attempting to re-instill a feeling of respect for, and reciprocity with, the living land.
本文对UuDam Tran Nguyen的《蛇的尾巴》(2015)和Tuaấn Mami的《在一个人的呼吸中——没有什么是静止的》(2018)这两件动态图像艺术作品进行了比较分析,以解决越南当代艺术创作、生态破坏和公共领域的问题。《蛇的尾巴》以胡志明市为背景,讲述了一个关于空气污染的问题,描绘了人类和由塑料、一次性塑料袋和摩托车尾气制成的“蛇的尾巴”之间令人兴奋的舞蹈。相比之下,节奏较慢的《在一个人的呼吸中——没有什么是静止的》批评了越南北部农村的石灰岩开采,这种开采过程使土地笼罩在一种白色的粉状雾霾中,慢慢地死亡。这两个作品都强调了与空气景观有关的不公平的透气性问题。通过比较这两件作品,本文旨在分析越南城市和农村交织在一起的生态问题,以可呼吸性的表达为代表,与可说话性和动物性的社会政治问题有关。超越人类生命力的问题不能与殖民、土著、性别、性别、种族和气候正义等紧迫问题分开。当“声音”和“能动性”在语言形式中被结构性地压制,消除了传递“无生命”存在的活力的动画语法(罗宾·沃尔·基默尔),然后我认为人们可以通过视觉领域恢复动画的感觉。《蛇的尾巴》和《在一个人的呼吸中——万物不息》充满了情感,产生了一种非人类的相互生命力,试图重新灌输一种对生命土地的尊重和互惠的感觉。
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引用次数: 0
Book Review: Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics by Elizabeth Otto 书评:《闹鬼的包豪斯:神秘灵性、性别流动性、酷儿身份和激进政治》,作者:伊丽莎白·奥托
Pub Date : 2020-09-01 DOI: 10.1525/aft.2020.473010
Francesca Ferrari
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引用次数: 1
Photographer's Field Notes 摄影师现场笔记
Pub Date : 2020-09-01 DOI: 10.1525/aft.2020.473002
H. Allen
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引用次数: 0
Exhibition Review: 24/7: A Wake-Up Call for Our Non-Stop World 展览回顾:24/7:为我们永不停歇的世界敲响警钟
Pub Date : 2020-09-01 DOI: 10.1525/aft.2020.473009
Ger Zielinski
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引用次数: 1
Exhibition Review: At First Light: The Dawning of Asian Pacific America 展览回顾:曙光初现:亚太美洲的曙光
Pub Date : 2020-09-01 DOI: 10.1525/aft.2020.473008
J. Glick
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引用次数: 1
Fetish, Demolition, Ruins 恋物,拆除,废墟
Pub Date : 2020-09-01 DOI: 10.1525/aft.2020.473005
Rodrigo Lopes de Barros
This article compares the video Reinforced Concrete (2012) by Lucas Ferraço Nassif, begun during Antje Ehmann and Harun Farocki's 2011 workshop-based project Labour in a Single Shot in Rio de Janeiro, and the performance Bustox (2014), which was carried out by the Brazilian experimental theater collective ERRO Grupo in Florianópolis. Each artwork can be read as an attempt to defetishize an idol of Brazilian capitalism, former billionaire Eike Batista. Moreover, Ehmann and Farocki's workshop can be seen as an attack on the process of fetishizing products of labor, fetishization being one of the main characteristics of capitalist society. Ehmann and Farocki's project, and consequently Nassif's video, are connected to the work of theoreticians such as Jacques Derrida and Giorgio Agamben concerning the themes of improvisation and profanation. The concept of the fetish is also revitalized by taking into consideration Latin American thinkers Fernando Ortiz and Osório César.
本文比较了Lucas ferrao Nassif的视频《钢筋混凝土》(2012)和巴西实验剧团ERRO Grupo在Florianópolis的表演《Bustox》(2014)。这两部作品是由Antje Ehmann和Harun Farocki于2011年在里约热内卢的工作坊项目《Labour in a Single Shot》中创作的。每件艺术品都可以被解读为对巴西资本主义偶像、前亿万富翁埃克·巴蒂斯塔(Eike Batista)的贬低。此外,埃曼和法罗基的工作坊可以被看作是对劳动产品的拜物教过程的攻击,拜物教是资本主义社会的主要特征之一。Ehmann和Farocki的项目,以及Nassif的视频,与雅克·德里达(Jacques Derrida)和乔治·阿甘本(Giorgio Agamben)等理论家关于即兴创作和亵渎主题的工作有关。由于拉丁美洲思想家费尔南多·奥尔蒂斯(Fernando Ortiz)和Osório csamar,恋物癖的概念也重新焕发了活力。
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引用次数: 0
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Comparative Technology Transfer and Society
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