Intermedia Art

Sound and picture as basic fields that allow an individual to perceive the world do not carry the same intensity of meaning in the contemporary world. Images and scripts fight each other for dominance; the sound, be it voice, sound, or tune, with an agreed meaning or without, remains left behind. The rule of the image and script and the insignificance of fleeting, uncatchable sound extend far in the past and are certainly connected with the possibility of preserving one or the other. Man was able to preserve images as early as 40,000 b.c.; the first scripts were presumably invented in Sumer, but sound in its expression remained uncatchable until the emergence of the first audio technologies. Sound inhabits its time and disperses itself in a moment. Its life is too fleeting to attract a lot of attention or let alone allow the time needed to apply research methods. The image was easier to catch and therefore it overpowered sound and prevailed as a more faithful assistant to the exegetical mind. Of course note scripts existed, with which one could interpret sound, while at the same time neither paintings nor photography could ever offer a total record of reality. Still the registering of sound was not possible until 1877, when Thomas Edison recorded the human voice-a children's song, Mary Had a Little Lamb to be exact-on a tinfoil cylindrical phonograph on December 6 th (he had perhaps recorded the word halloo on an early paper model of a phonograph in July of the same year). The existence of technologies that make sounds accessible at all times gave hearing a new status and sound recordings entered archives, libraries, laboratories, art, and philosophies. Sound could now travel far away from its creator and seperate itself from the body, which lost control over it exactly

This thesis focuses on my dance and new media project, "There", which was shown in 2014. I want to unveil my creative process and propose possibilities for intermedia in art. First, to grasp the meaning of moving images in a dance performance, I will submit as an example the experiment within, and analysis of, the "There" production process. The reason is to investigate the value of the combination of body expression and moving images. The street dance drama, "There" looks back at life from a place between this world and the afterlife. In this place, the various stories of a diverse crowd of people unfold as a dance drama through laughter, tears, and an overflow of dancing. Profound questions about life and death are universal. I want to try to expand the expression of these concepts through the intermedia art of dance work and new media.

본 논문은 본인이 2014년에 발표한 무용과 영상 미디어를 융합한 작품 "저곳-There"을 중심으로 구성하였다. 영상과 무용을 융합한 이 작품의 제작 과정을 공개하고 향후 융합예술의 가능성을 제시해 보려는 것이다. 먼저, 무용공연에 있어서의 영상의 의미를 파악하기 위하여 “저곳-There”의 작품제작에서 실행된 실험과 분석은 어떠한 것이었는지 사례를 들어 보려한다. 그것은 신체표현과 영상의 융합적 가치 및 본 제작에 있어서 영상미디어의 역할을 고찰하기 위함이다. 거리무용극 "저곳-There"은 이승과 저승 사이 그 어디쯤 자리한 곳에서 삶을 돌아보는 작품이다. 그것은 우리가 살아가는 오늘의 이야기다. 저곳에서 잡다한 인간 군상들의 갖가지 사연들이 웃고 울며 춤을 추듯 넘실거리며 한판 춤극으로 펼쳐진다. 본 연구를 통하여 삶과 죽음이라는 인간의 보편성을, 첨단 미디어와 무용의 융합을 이용하여 표현하고 영역의 확장을 시도하려는 것이다.

Este libro-catálogo y los contenidos sonoros, textuales y visuales que lo complementan [de acceso libre en www.march.es] se publican con motivo de la exposición "Escuchar con los ojos. Arte sonoro en España, 1961-2016", Fundación Juan March.

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories.  The German version was completed in December 2012. The last chapter of the English translation was published in June 2014. First update: September 2015 (English version as PDF, 16 MB, 384 p., c. 300 ill.: http://iasl.uni-muenchen.de/links/GCA.pdf).

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories.
The second edition for the Book on Demand (Lulu.com, 2020) includes an update of chapter II.1.1 (first edition 2014, see above in "Papers" the PDF of the HTML version).
Book on Demand printed by Lulu.com (available via International Distributors): URL: https://www.lulu.com/en/en/shop/thomas-dreher/history-of-computer-art/hardcover/product-qg94d2.html

This is the third of three introductions to the book. The first introduction is uploaded as "Theorizing Visual Studies, part one." The second was written by Kristi McGuire; this is the third, which is about the possibility that images can produce or embody arguments--that they can theorize, that they can drive arguments and not just exemplify, illustrate, or serve as memory aids. It's a promise visual studies has often made.

American animator Robert Breer’s playfully short, quickly moving
animations ‘research’ the perceptual experiences of cinematic reception that are generally ignored and buried by the industrial model of film production. They are rich in technical innovation and resist the narrative expectations of an audience weaned on entertainment films. Breer has been credited in introducing the first
visual bomb to cinema in his loop film Image by Images I (Paris 1954).

This book is about representations of the body in all fields (fine art, medicine, ethnography, racial studies, biology). It is intended for artists, art students, and people interested in theories of art.

This is the 2021 revision. Every couple of years I rewrite and update this book. The original was published by Stanford University Press in 1999 and is now out of print. This revision (the third "edition") includes examples from contemporary art, and assignments for classroom use.

All comments & questions are welcome!

2020/08/01 - 2020/10/18於台北市立美術館的展覽《藍天之下:我們時代的精神狀況>，由蕭淑文與耿一偉共同策展，參展藝術家有Baboo/FAMEME/吳書原、耿寧/李貞葳/李明學/阮慶岳/許悔之/張嘉穎/張致中/陳亮璇+致穎/發條鼻子/滯留島舞蹈劇場。

《藍天之下：我們時代的精神狀況》想表現出活展覽具一種激活性。每個作品計畫以「對話」作為基底，藝術家、策展人相互詰問，目的就是要挑起論辯，盡其可能地不設框架、沒有預定目標，傳達每個作品計畫都是一個複數組合的含義，這裡面有對話、協作、過程。最後結果，一方面它們是「展示品」；另一方面，它們開始承擔起相互參照的任務：作品作為媒介的訊息和觀眾直接互動，在於通過「觀眾」這第二層媒介，塑造了訊息傳遞的轉折路徑，讓觀看者、參與者縱身投入感知的過程，把媒介(作品)推向新的視角。整個歷程就像是他們對作品發出戰帖，而一切事物在其發展過程中表現出來的形式，與其最終呈現的形式產生的逆轉性，看到一種「激活性」都是顯而易見的。



本次展覽介於當下時刻和日常生活的「奇觀」之間，希冀從人、環境、生態、疾病種種徵兆描繪我們時代的精神狀況。除此之外，通過活展覽的結構和基本原理，建構出一種現實情境，是所有關於生命、思想與環境永續的問題、是關於我們想像的「真實世界」、是關於科技文明的普世真義。在藍天之下，自然、宇宙、天象透露許多意涵。

Valie Export and Peter Weibel collaborated in experimental films and performances. They problematized gender-related attitudes. The article presents works realized between 1968 and 1988 with a special focus on the multimedial performance "Stimmen aus dem Innenraum" (1988) and its anagrammaticism.
In: Artefactum Nr.46/December 1992-February 1993, p.17-20.

This paper investigates the relationship between BSG and the post-9/11 ecology of agitation in light of George Bush’s strategy of collective perceptual management. While most readings focus on its allegory of the war on terror, I address the audiovisual strategies by which BSG appeals to the viewer’s senses, mapping the emergence of a post-9/11 sensibility. My suggestion is that the show’s relationship with the post-9/11 reality rests in the power to address the audience’s feelings. To this end, I look at BSG’s aesthetics of crisis as operating as an affective vector, playing out in an informational system that invests in affective solicitation to provoke a bodily response in the audience. Given the status of television as the principal medium of post-9/11 governmental perceptual modulation, I argue that BSG’s relationship with the war on terror is rooted in an ability to express meaning and feeling, keeping a sensation of agitation alive throughout a four-season run. To expose the political value of the show’s aesthetics, I look not at the codes, as at the expressions and style that make up a scenario of sensorial stimulation where feeling becomes a biopolitical operator. Indeed, BSG’s cinematographic techniques and haptic visuals, chromatic shifts and aural evocations effectively manufacture agitation, exposing a tension between the show’s status as an allegory of the contemporary world and its complicity with practices of televised affective engineering.

This thesis focuses on my work media and performance work, “Sinawi -Time Consoles Me”, which was shown in 2012 and 2013. I want to unveil my producing processes and propose possibilities of integrating image art and performance. The theme of the work was to visualize the concept of time and space behind media art. Exploring the relationship among space, human bodies and vision, I used a range of media including video, sound and performance. Especially, I repeated many experiments to find the right balance of image art and dance based on Korean traditional dance and Talchum (Korean traditional mask dance). This study pursues the best possible use of formative elements of physical expressions, images, sounds, space, lights, properties, etc.

It has often been a challenge to secure adequate financial and institutional support to present electro-acoustic music in appropriate physical spaces, with sufficient staffing and technical infrastructure. A handful of unusual opportunities arose in the late 1960s for partnerships between a business and artists. One of these was the Electric Circus, a discothèque in New York City, based upon an artistic conception by electronic composer Morton Subotnick in collaboration with visual artist Tony Martin. This paper explores the dynamics between artistic and commercial values at the Electric Circus and in a series of new music venues that ensued. It also offers as a counter example the highly non-commercial activity that flowed from Subotnick’s open access studio housed at New York University, sparking the careers of a group of young composers of note.

Co-curating by Jo Hsiao and Yi-Wei Keng, “Between Earth and the Sky: The Spiritual State of Our Times” seeks to embody the active nature of a live exhibition. Dialogue is the very foundation of each work in this exhibition. The artists and the curator cross-examine one another, for the purpose of sparking debate. As much as possible, there is no fixed framework or pre-established goal. Each work expresses an assembly of many meanings. Here, dialogue, collaboration and process take place.



The final results are, on the one hand, “exhibited works,” but on the other hand, they begin to carry out the mission of cross-referencing: The works serve as messages of the medium, directly interacting with visitors. And through visitors, who form a second level of the medium, a transformative channel in message transmission is formed, allowing viewers and participants to fully throw themselves into the process of perception, and moving the medium (the work) to a new vantage point. The whole process is like challenging the works to battle. And in everything that takes shape within it, in all the forms expressed, and in the reversibility ultimately produced by these forms, their “active nature” is readily apparent.



This exhibition lies in between the immediate moment and the “spectacle” of daily life, seeking to depict the spiritual state of our times from a variety of perspectives: people, environment, ecology and ailment. Moreover, through the structure and basic principles of a live exhibition, a vision of reality materializes, regarding life and thought, environmental sustainability, the “real world” we imagine, and the universal meaning of technological civilization. Under the azure sky, nature, the universe and the stars reveal many meanings.

The article reconstructs the history of artistic media combinations: from networking with media (telephone, radio, television) in net-works to networks (resp. net projects) and their consequences for established definitions of art.
In: Gerbel, Karl/Weibel, Peter (ed.): Mythos Information. Welcome to the Wired World. @rs electronica 1995 (Brucknerhaus Linz, June 1995). Vienna 1995, p.54-67.
URL: https://archive.aec.at/media/assets/60e0dbe6faaf520132424dfb27ed196d.pdf  (Supplement: bibliography of the catalogue AEF 95. URL: http://dreher.netzliteratur.net/4_MedienkunstArs_Literature.html ).

https://global.oup.com/academic/product/experimentalisms-in-practice-9780190842758

Two years after the 1966 military coup in Argentina, three musicians, Norberto Chavarri, Roque de Pedro and Guillermo Gregorio formed the intermedia performance collective Movimiento Música Más (MMM). Movimiento Música Más — which can be translated as “the movement of music plus,” or the “more than music movement” — combined experimental music, visual art, poetic performance and political action, carrying out activities in concert halls, plazas and city buses during one of Argentina’s most brutal juntas.
This chapter examines the activist art of this little-known “Other” avant-garde that existed at the periphery of 1960s internationalism, focusing on two of MMM’s performance pieces: “Plaza para la Siesta de un Domingo,” (1970) in which the group held a well-publicized birdsong contest in a city plaza while MMM performed in a large cage, and the 1971 “Música para Colectivo Línea 7,” composed by Norberto Chavarri, during which the group performed on a city bus, using the vehicle itself as an instrument. These two performances embody MMM’s approach to experimentalism; a commitment to bringing art and people into public spaces during a time of rigid governmental control of those spaces and bodies, and an interest in the political symbolism generated by their actions.
Though seemingly conceptually indebted to the activities of Fluxus and other 1960s arts collectives in Europe and the United States, MMM were for the most part unaware of these developments, creating domestically inspired aesthetic responses to the complex problems of late 1960s and early 1970s Buenos Aires.
The primary ethnographic and archival sources for this research are MMM founders Guillermo Gregorio, a composer/performer living in the United States since the late 1980s, and composer Norberto Chavarri, who remains in Argentina. MMM as a group was always in flux in terms of its membership, but it counted among its ranks photographers, graphic designers, painters and blue collar laborers in addition to musicians and composers like Gregorio, Chavarri and de Pedro.
Prevailing narratives of Argentine history and 20th century experimentalism ignore MMM, but this chapter argues that their activities shed light upon how creative individuals respond to extreme situations. In addition, a look at MMM’s work allows us to explore some problems in the narratives of experimentalism to put forth another case study of what Branden Joseph has called “minor history,” in his work on canonically-challenged intermedia artist Tony Conrad. This chapter examines the intermedia “outsystem” of MMM in Buenos Aires, the group’s localized take on experimentalist aesthetics, and their interconnections to more cosmopolitan forms of these practices.
The arts and music scene of 1960s Argentina was a complex period of almost obsessive aesthetic internationalization, in an (ultimately failed) attempt to bring Argentine arts to global attention (cf. Giunta 2007). There was an enormous amount of institutional support for this internationalist project, which created its own problems as the relationship between artists and the institutions eventually became untenable, in part because of the perceived imperialist nature of some of the funding sources, as art historian Andrea Giunta (2007) has argued in-depth.
What set MMM apart from their Argentine contemporaries, according to Gregorio and Chavarri, was a committed focus to collective art-making and engagement with the general public. According to Chavarri, “violence and intolerance have been present throughout my musical life. Before, during, and after Ongania, with governments that were democratic or military – death came from both the left and the right...art was our exit door from the shadowy world that plagued us.” (Translated email correspondence with the author, 8 September 2010). Regarding the broader historical backdrop of 1960s Argentine artists’ incorporation of politics in their work, Giunta has described “a constant friction between the political and cultural spheres” that led to a situation within which “politics became unavoidable for artists not only as a theme in their work, but also as a problem that had to be resolved with the creation of new art forms” (Giunta 2007:5). Chavarri suggests that the deep and continuing problems of artmaking in Argentina are not simply delimited by what we as onlookers might call “times of turmoil” such as those of the Ongania regime, but are wounds that continue to injure for years beyond the initial trauma.
Although the effectiveness of political activism in the arts is typically judged by its enduring impact, MMM’s work presents an interesting vantage point from which to consider the cultural work achieved by smaller gestures that remain submerged in a culture’s prevailing historical narratives.
As we continue to push outward from our studies of canonical locations of experimentalism like Western Europe and the United States, we have an opportunity and responsibility to learn from these peripheral or “minor” forms of experimentalism and incorporate their unique expressions into a more globally representative historical narrative. In the case of MMM, what are the implications of the fact that, inspired by the proto-Fluxus text pieces of LaMonte Young, MMM carried that cosmopolitan inspiration to very different localized ends? How does the difficult and perilous political backdrop of a military regime affect our interpretation of these creative works and the people who make them?
As a growing number of scholars reconsider the “great stories” (Berkhofer 1995) of experimentalism, the case of MMM presents us with another diving board for further exploration and critical revision of these narratives.

Works Cited
Berkhofer, Robert F. 1995. Beyond the Great Story: History as Text and Discourse.
Boston: Harvard University Press.
Deleuze, Gilles & Guattari, Felix. 1986. Kafka: Toward a Minor Literature. Minneapolis,
MN: University of Minnesota Press.
Giunta, Andrea. 2007. Avant-Garde, Internationalism, and Politics: Argentine Art in the
Sixties. Durham, NC: Duke University Press.
Joseph, Branden W. 2011. Beyond the Dream Syndicate: Tony Conrad and the Arts
after Cage. New York: Zone Books.

"Iconic Power is a collection of original articles that explores social aspects of the phenomenon of icon. Having experienced the benefits and realized the limitations of so called "linguistic turn," sociology has recently acknowledged a need to further expand its horizons. "Visual sociology" is emerging as a separate field and prominent scholars announce the coming of "the pictorial turn." The methods and themes taken up in these studies respond to this shift in social scientific interest. Each contribution to this book carefully tests the analytic purchase and empirical implications of iconicity. If we can succeed in understanding the iconic, we should be able to know our culture much better.

As the Australian sociologist of art Eduardo de la Fuente pointed out, "Iconic Power" is "the strongest theoretical statement to yet come out of the 'strong program' in cultural sociology." He emphasized the importance of 'iconicity' as the concept that more than 'ritual' or even 'performance' promises to break free of economistic, linguistic, and other kinds of reductionisms that plague the cultural sciences. The British cultural sociologist David Inglis praised the book's wide empirical coverage. For these reasons, "Iconic Power" can serve as a guide on how to approach the tremendous social efficacy of the visual and other non-discursive symbols. "

Why have the problems of dwelling, urban living and built environment become intrinsic to a significant part of nowadays’ artistic production? Why do so many artists use space as their medium and interact as creative users of space with the redundancies and contradictions of lived space? How can artworks ranging from portable objects, fixed images and built environments give an assessment of the reification of space in post-Fordist societies? I conjecture that through a critical inquiry into many of modern architecture’s values, Contemporary Art (or, more materialistically speaking, the visual arts produced in our time of existence), has been, in a productive and creative way, addressing built spatiality, the physical awareness of space-time, the length of movement and stillness, and the problems and contingencies of belonging and indeterminacy, of permanence and isolation, of placement and displacement.
I argue that the visual arts field has inquired, reconceived and reinterpreted the human dwelling, the tectonic and anthropological processes of construction and montage, with a clear perception that architecture works as a life mediator and lever, a purveyor of power and a far-reaching image of power.
I have been studying a set of art works developed between 1960 to the present day by artists like Constant Niuwenhuis, Claes Oldenburg, Hans Haacke, Gordon Matta-Clark, Kristof Wodszicko, Dan Graham, Vitor Burgin, James Casabere, and Angela Ferreira as examples of a bottom-up poetics which deals with such relational concepts as community, street, dwelling and utopia and also as examples of a deferred cultural counter-measure against the colonization of the public domain by the holy alliance between “Bureaucracy and Property” (Benevollo, 1979: 26), what David Harvey (2003) characterizes as “accumulation by dispossession” (pp. 145-152). In this paper, I debate the artworks developed by some of these artists claiming they are strong visual analogies of many of today’s “dynamic orders and disorders”2 (apud Atlee, 2007: 11) of urban space.

The traditional exhibition "Critics Have Chosen" of the Belgrade Cultural Centre, presents the exhibition projects of art historians who are the recipients of the ’’Lazar Trifunović’’ Award for the best art critique practice and the critique review of the contemporary art scene in Serbia. The laureate of the ’’Lazar Trifunović’’ award for 2016 was Sanja Kojić Mladenov for the text written for the monographic publication ’’Bogdanka Poznanović: Kontakt Art’’ published by the Museum of Contemporary Art of Vojvodina.
The exhibition addresses the topic of destruction and recovery, as the problem and the needs of individuals within the complex socio-political relations and systems. The modern society is permeated with the problem of migration, and with nationalism, racism and violence as consequences of the late market and capital. In the conditions of the imposed destructive global policies, the question arises of the possibility of an individual for the own, personal possibilities of living and working, as well as for building an egalitarian society.

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Tradicionalna izložba “Kritičari su izabrali”, Kulturnog centra Beograda, predstavlja izložbene projekte dobitnika/ca nagrade “Lazar Trifunović – Društva istoričara umetnosti, Katedre za modernu umetnost Filozofskog fakulteta u Beogradu i Kulturnog centra Beograda, za najbolju kritičku umetničku praksu i kritički osvrt na savremenu scenu u Srbiji. Kako je nagrada 2016.  dodeljena za tekst monografske publikacije Bogdanka Poznanović: Kontakt Art, koja je nastala kroz analizu profesionalnog, edukativnog i stvaralačkog rada multimedijalne umetnice iz Novog Sada, a kao rezultat primene feminističke metodologije, istorijsko-umetničkog i feminističkog teorijskog okvira, prilikom koncipiranja nove izložbe u Galeriji Kulturnog centra Beograda, kao tema se prirodno nametnulo preispitivanje rodnih uloga i odnosa, stereotipa, pozicija žene u društvenopolitičkim i umetničkim sistemima, kao i pitanja identiteta.

Con la llegada de las vanguardias a principios del siglo pasado, comienzan a desdibujarse los límites entre los diferentes campos artísticos, incorporándose en cada uno de ellos elementos de imposible conciliación hasta entonces. Tal fue el caso de artistas plásticos que dejaron testimonio de su interés por el sonido en varias de sus obras (Erratum musical, Duchamp, 1913). Al mismo tiempo, las actividades de algunos de los miembros más destacados del movimiento futurista (Marinetti, Russolo…), dirigidas a revalorizar el ruido por sobre la armonía tonal y a hacer de aquel una herramienta de expresión necesaria en el ámbito de las Bellas Artes, abrían el camino de lo que vendría a ser el arte intermedia de los años 1960, representado por grupos como FLUXUS. Sin olvidar, la importancia capital que los estudios de compositores experimentales como John Cage o Pierre Schaeffer tuvieron en artistas como Nam June Paik o George Brecht.

Todas estas prácticas, que interrelacionaban la música con las artes visuales, tuvieron una continuidad en las siguientes décadas con la aparición de nuevas generaciones de artistas que, sirviéndose de aquellos primeros avances transformadores, reconfiguraron el escenario del Arte Sonoro y consolidaron su devenir. Christian Marclay (San Rafael, California, 1955), recuperó el vinilo como instrumento generador de sonidos estridentes, en un guiño inevitable a los artistas de FLUXUS, que ya lo habían utilizado años atrás. Marclay, que manipulaba y creaba discos (Recycled Records, 1980-1986), aunando lo acústico con lo performático y con la idea del reciclaje, fue también el artífice del <<phonoguitar>>, un tocadiscos-guitarra que le permitía moverse por el escenario como una estrella del Rock. Esto sucedía en Nueva York en los años 1980. Una década después, en Escocia, Susan Philipsz (Glasgow, 1965) volvía a incluir el elemento performático en su obra, esta vez mediante la retransmisión a través de varios canales de sonido de su voz, que podía cantar un conocido tema de The Yardbirds o de Radiohead. En contraposición a Marclay, Philipsz reutilizaba la canción popular como medio de evocación y como garante de un sentimiento compartido en colectividad.

Le phénomène de la connectivité qui, autrefois, était établi
par les rapports directs, ensuite amélioré par les technologies traditionnelles et plus tard par les nouveaux médias, est
aujourd’hui beaucoup plus efficace dans les réseaux numériques. Ce phénomène a toujours caractérisé l’avant-garde.
Il suffit de penser aux échanges intenses entre les artistes
futuristes, particulièrement ceux de Filippo Tommaso Marinetti, théoricien et leader du mouvement. Les contacts étaient
faits par l’échange de lettres, la diffusion de magazines,
mais aussi les relations personnelles entre artistes et écrivains, en particulier lors d’événements visant la promotion
du mouvement (les soirées de poésie, les conférences, les
représentations théâtrales, les expositions, les ballets, les
rencontres dans les cafés littéraires et même les bagarres !).

Abstract 
This research focuses on my artwork, "In Painting, Their Stories" in 2014 and 2015 in order to  explore the significance of moving images in intermedia art. In this intermedia art, I made paintings by wheelchair artists into moving images and attempted to blend cinematic techniques and other genres. This work tried to eliminate discrimination against disabled or handicapped people through deconstruction and recombination of existing genres, and the mutual exchange between moving images and various contemporary arts such as dance, theater, fine art, music, etc. What functions can achieve the role of the moving images as the expanding of the body and sense in intermedia art? In this research, I attempt to examine the role of expanding of the body and sense that moving images can contribute, through cinematic production techniques. With moving images production, I used motion graphics and various animation techniques, chroma key compositing, projection mapping method, etc. Moreover, I tried to converge into performers, live music and the passage of drama with moving images. This paper is composed of three sections: motion graphics, chroma key compositing and projection mapping.

Keywords 
intermedia art, expansion of body and sense, motion graphics, chroma key compositing, projection mapping

국문초록 
본 연구는 융합예술에 있어서의 영상이 가지는 의의를 모색하기 위해, 연구자가 2014년과 2015년에 참가한 작품 “그림 속, 그녀들의 이야기”를 중심으로 전개하였다. 본 작품은 휠체어 화가들의 그림을 춤과 드라마에 어울리도록 영상으로 움직이게 하고 다양한 영상 기법과 타 장르와의 융합을 시도한 작품이다. 영상과 함께 무용, 연극, 미술, 음악, 라이브 드로잉 퍼포먼스, 라이브 연주 등 현대 예술의 다양성과 기존 장르의 해체 및 재결합, 장르간의 상호 교류를 통해 장애와 비장애의 구별을 없애고자 하였다. 융합예술에서 영상이 가져다주는 신체와 감각의 확장적 역할은 어떠한 기능으로 달성될 수 있는가. 본 연구에서는 영상이 기여할 수 있는 신체와 감각의 확장적 역할을 작품에서 사용된 영상 제작방법을 통해 고찰하고자 한다. 영상에 있어서는 주된 방법으로서 모션그래픽스와 애니메이션의 다양한 기법, 크로마키 촬영 및 합성, 프로젝션 맵핑 등이 활용되었고, 출연자 및 라이브 연주와 호흡을 맞추어 가며 융합을 시도하였다. 본 논문은 모션 그래픽스, 크로마키 합성, 프로젝션 맵핑로 구성하였다.

중심어
융합예술, 신체와 감각의 확장, 모션 그래픽스, 크로마키 합성, 프로젝션 맵핑

Niklas Luhmann developed an art theory as a part of his systems theory. The article discusses Luhmann's  theory of art and the work of art.  The consequences of Luhmann's definition of the system of art (his connection between autopoiesis and the autonomy of art) for intermedia art are explained from a critical point of view. An alternative theory of art is proposed demonstrating that the systems theory offers fundamentals for other than Luhmann's conclusions concerning definitions of art and the art work.
In: kritische berichte. Heft 4/2008, S.54-57.

It has often been a challenge to secure adequate financial and institutional support to present electro-acoustic music in appropriate physical spaces, with sufficient staffing and technical infrastructure. A handful of unusual opportunities arose in the late 1960s for partnerships between a business and artists. One of these was the Electric Circus, a discotheque in New York City, based upon an artistic conception by electronic composer Morton Subotnick in collaboration with visual artist Tony Martin. This paper explores the dynamics between artistic and commercial values at the Electric Circus and in a series of new music venues that ensued. It also offers as a counter example the highly non-commercial activity that flowed from Subotnick’s open access studio housed at New York University, sparking the careers of a group of young composers of note.

Archival research about a 1969 collaboration between artists Charlotte Moorman and Nam June Paik, when they visited London’s Institute of Contemporary Arts gallery to perform a collection of works titled Avant-Garde Music. As part of the event, Moorman – a key figure of intermedia art experiments and activities of the 1960s and 1970s – was billed to ‘play dustbins, whistles, balloons, guns, door buzzers, etc.’.  One critic writing for the Guardian commented that the evening was ‘fun’, but ultimately characterised by an enduring feeling of ‘waiting’, never amounting to more than a collection of ‘disjointed squibs’.  While Moorman’s work in particular has previously been characterised as ‘inauthentic’ and in terms of theatrical excess, this chapter seeks to challenge and reconfigure that discursive state of contestation for productive use. It shows how Moorman radically critiqued established tenets of modernism, persisting misnomers of ‘authenticity’ and the hierarchical orderings of the patrilinear canon in a feminist mode. Book can be found here: https://orpheusinstituut.be/en/publications/performance-subjectivity-and-experimentation

Sound und Bild als fundamentale Bereiche haben nicht dieselbe intensive Bedeutung in der heutigen Welt. Bilder und Schriften kämpfen um die Vorherr-schaft; der Sound, sei es die Stimme, der Ton oder die Melodie, mit oder ohne besondere Bedeutung, bleibt zurück. Die Herrschaft von Bild und Schrift und die Belanglosigkeit des flüchtigen, nicht zu fassenden Sounds reichen weit in die Vergangenheit zurück und stehen sicher mit der möglichen Bewahrung des einen oder anderen in Verbindung. Der Mensch war in der Lage, Bilder schon 4000 v. Chr. zu bewahren; die ersten Schriften wurden vermutlich in Sumer erfunden, doch der Sound in seinem Ausdruck blieb bis zur Entwicklung der ersten Audiotechnologien unfassbar. Der Sound lebt in seiner Zeit und verflüchtet sich in einem Moment. Er ist zu flüchtig, um große Aufmerksamkeit zu erregen oder gar über die notwendi-ge Zeit für Untersuchungsmethoden zu verfügen. Das Bild war einfacher zu bewahren und folglich übertrumpfte es den Sound. Selbstverständlich gab es geschriebene Noten, mit denen der Sound interpretiert werden konnte, wäh-rend gleichzeitig weder Gemälde noch die Fotographie jemals eine gesamte reale Aufzeichnung überhaupt bieten konnten. Noch war das Aufzeichnen des Sounds bis 1877 nicht möglich, bis Thomas Edison die menschliche Stimme-ein Kinderlied um genau zu sein Mary Had a Little Lamb-auf einem zylinder-förmigen Phonographen am 6. Dezember aufgezeichnet (möglicherweise hatte er das Wort Hallo auf einem früheren Papiermodell des Phonographen im Juli desselben Jahres aufgezeichnet).

Full Title:
Visual Landscapes and the Garden of Pixels: Reaching the Ambience through the use of Slow Motion in Digital Video

Abstract:
The last four decades of 20th century, the remarkable progress of technology affected the world of art and many categories in it such as moving image, sound and music. Early filmmakers’ and video artists’ experimentation in these sub-fields made visible the need of exploration and description of visual and audio deeper meanings, of ‘what lives behind’. This paper constitutes a critical approach on the role this cinematic effect plays into turning the real time elements of moving image into an ambient moving image landscape in which the viewer is being immersed. It also focuses on motion pictures philosophy and specific video works of contemporary artists such as Bill Viola (video installation), Brian Eno (ambient music), Marc Rothko (abstract painting) and James Turrell (light installation). Is there any relation of elements between a high-speed filmed image and ambient music or between ambient music, abstract painting and light art installation? Does a slow motion moving image piece gives birth to an experimental visual genre, that of ambient moving image? This paper is trying to establish that the element of slow motion transforms moving image into a visual ambient landscape, into a primordial secret visual garden where the viewer’s eye wants to be immersed.

Course tutors:
Andy Stiff / Jonathan Kearney