Includes 15 slides in plastic holder, inside back cover. / Digitized by Kansas Correctional Industries

"VIDEO HIROBA: Contingent Publics and Video Communication in Japan, 1966-1981" is the first major study in English or Japanese of the seminal 1970s video collective Video Hiroba (Video Plaza). Formed in the aftermath of both Expo ’70 and the late 1960s season of protest, Video Hiroba’s founding in 1972 coincided with a moment of crisis in public space. The combination of high economic growth, rapid industrialization and urbanization, and expansion of mass media in the 1960s also sparked a series of cultural debates around the effects of eizō (technological images) and media (both mass media systems and media technologies) under the highly-managed conditions of the information age, encompassed in the term kanri shakai (the managed or controlled society). Through encounters with North American video practitioners and engagements with these Japanese debates, the members of Video Hiroba developed video as an applied discourse centered on the idea of “video communication,” where video, counter to television but also to industrial capitalism, was positioned as process not product. Through individual and collective experiments with the possibilities of video, the members of Video Hiroba imagined contingent forms of community and experiences of urban space as alternative solutions to the failures of direct confrontation with authorities. Taking a cue from Video Hiroba’s concern with “video communication” over “video art,” this art historical study takes the framework of critical translation to investigate and articulate the forms of collectivity, the processes of mediation, and the systems of circulation with which Video Hiroba members experimented. After laying out the problems of visual culture and subjectivity in the arts from Japanese Surrealism through Expo ‘70, this dissertation devotes four chapters to examining Video Hiroba as a collective, charting their visions for video through their collective exhibitions, the circulation of their work domestically and internationally, the collective’s engagement with institutions, and their community-based work. Through these perspectives, it uncovers both a unique vision of video formed from the local context of 1970s Tokyo but with transnational aspirations, and an alternative lineage for contemporary Japanese socially-engaged art. The final two chapters look at the practices of individual members through a thematic lens to reveal different models of contingency in both urban space, and the discursive public space of media and culture. While these experiments chart possibilities for alternative ways of visualizing collectivity, in their attempts to make systems of media exchange both open and visible, they displace human authors. Combined with their aspirations to engage international art and video circles, in which Video Hiroba was seen as representative of “Japan” and “Asia,” this effect inadvertently played into a burgeoning techno-orientalist image for Japanese video in the early 1980s. This project thus charts competing possibilities for early video in Japan, as both a medium around which alternative modes of human-centered community could be formed, and a medium through which Japan could become, yet again, an empty image of reflection.

Thesis (M. A. ), Memorial University of Newfoundland, 1998. / Bibliography: leaves p. 98-101.

This monographic dissertation traces the development of happenings and mass media art in Argentina through the works that Argentine artist Marta Minujín created between 1961 and 1968. It argues that, in its unparalleled pursuit of a mass audience, Minujín’s art articulated a populist logic that allowed it to subvert authoritarianism in an oblique manner based in dissensus. This distinguished Minujín’s practice from that of other politically radicalized Argentine artists, who had turned their art into a form of activism and overt critique of the dictatorship of General Onganía. This dissertation also demonstrates that Minujín’s media-centric happenings and environments adopted a carnivalesque strategy of “positive negation” or ambiguous mimetic excess to reveal and critique the effects of an incipient spectacle culture.

Orientador: Milton Sogabe / Banca: Hermes Renato Hildebrand / Banca: Fábio Oliveira Nunes / Resumo: Este estudo tem o objetivo de discutir o poder da mídia utilizado para criação artística, mais especificamente a mídia espontânea. A relação entre arte e comunicação é analisada com o apoio na obra denominada Wanted Julia Margareth Cameron, de Fred Forest. São avaliados os aspectos que levam o artista a idealizar e colocar em prática suas estratégias. As ferramentas utilizadas por Forest em suas obras e a articulação delas também são contempladas neste estudo. Além disso, o potencial publicitário nas criações de Fred Forest foi igualmente objeto de consideração / Abstract: This study aims to discuss the power of the media used for artistic creation, specifically the spontaneous media. The relationship between art and communication is analyzed with the support of the work called Julia Margaret Cameron Wanted by Fred Forest, evaluating the issues that lead the artist to create their actions. The tools used by Forest in their work and the articulation of them are also addressed in this study. In addition to evaluating the advertising potential in the creations of Fred Forest / Mestre

Thesis (M.F.A.)--Mississippi State University. Department of Art. / Title from title screen. Includes bibliographical references.

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-21Bitstream added on 2014-06-13T20:27:34Z : No. of bitstreams: 1 camargo_msc_me_ia.pdf: 482562 bytes, checksum: 15c962686a1c3928d03ca9f587edf825 (MD5) / Universidade Estadual Paulista (UNESP) / Este estudo tem o objetivo de discutir o poder da mídia utilizado para criação artística, mais especificamente a mídia espontânea. A relação entre arte e comunicação é analisada com o apoio na obra denominada Wanted Julia Margareth Cameron, de Fred Forest. São avaliados os aspectos que levam o artista a idealizar e colocar em prática suas estratégias. As ferramentas utilizadas por Forest em suas obras e a articulação delas também são contempladas neste estudo. Além disso, o potencial publicitário nas criações de Fred Forest foi igualmente objeto de consideração / This study aims to discuss the power of the media used for artistic creation, specifically the spontaneous media. The relationship between art and communication is analyzed with the support of the work called Julia Margaret Cameron Wanted by Fred Forest, evaluating the issues that lead the artist to create their actions. The tools used by Forest in their work and the articulation of them are also addressed in this study. In addition to evaluating the advertising potential in the creations of Fred Forest

This dissertation explores the use of new mass-media forms and technologies in early twentieth-century China to preserve and disseminate Chinese cultural heritage. It focuses on the contributions of Di Baoxian (狄葆賢 1873–1941), a publisher of art and Buddhist texts who established one of the earliest photography studios in Shanghai and a publishing house for art, the Youzheng Press (有正書局). Di pioneered the use of collotype reproduction to publish traditional Chinese art and founded the major newspaper Shibao, through which he preserved traditional literary genres in the form of newspaper columns. He was also interested in the practice of ghost photography to investigate supernatural elements associated with Buddhism and provide scientific evidence for these phenomena. This study situates Di’s work within the context of other art and Buddhist publishers and examines the emerging public art arena and political press as key sites for legitimizing Chinese Buddhism and creating new images of China’s past at a pivotal moment in the country’s history. The turn of the nineteenth century saw China’s territory partitioned among imperial powers, leading to the plundering of artistic treasures by rampaging armies and art collectors. Meanwhile, political reformers advocated art education to combat what they saw as superstitious Chinese religions obstructing China’s emergence as a powerful modern state. Despite these challenges, Buddhist literati like Di saw the miraculous aspects of Chinese religions as fully compatible with art education, modern science, and technology. Engaging with Victorian science and spiritualism, they used new technologies like photography to investigate supernatural phenomena associated with Buddhism, seeking to explain and substantiate them with evidence. Visualizing the seemingly invisible through practices like ghost photography became central to their efforts to preserve China’s cultural heritage amid the fall of the Qing empire (1644–1911). This dissertation argues that visual media became the preferred mode of authenticating the past and establishing a common Chinese culture in the early Republic, marking a shift away from a text-based literati culture. It brings Buddhist studies into dialogue with histories of art, print culture, and science and technology to explain how mass media and public art culture emerged in early twentieth-century China, how the preservation of art and literature became linked to Buddhist culture, and how Buddhist literati engaged with global trends of spiritualism, science, and media technologies.

Designers of information communication technologies (ICTs) in public space often fall into the trap of designing only for the "flaneur," an unembedded mobile subject in the generic global city. They deracinate the experience of space and support the global flâneur as the paradigmatic deracinated subject. In this thesis I propose a specific vision of "en-racinating" media, that is media that takes the specificity of place seriously. A careful consideration of public art can help us in this endeavor by leveraging the artistic notion of "site specificity" in the most culturally grounded meaning of the term. I examining three public digital media/information-based public art works through the lens of urban informatics in order to see how the works do or do not en-racinate experience in a specific city: Atlanta

A proposta deste estudo é analisar os processos recentes de convergência, interação e colaboração no campo da Comunicação, permeado pela cultura e pela tecnologia -especialmente a tecnologia digital. Para isso optou-se por relacionar os processos no campo da comunicação a processos semelhantes no campo da arte, uma vez que na arte os movimentos de deslocamento de foco do produto para o processo são mais evidentes que na mídia. Ao analisar esses movimentos é possível investigar como as possibilidades recentes de circulação da informação, proporcionadas pelas tecnologias digitais, alteraram ou deslocaram as premissas do conceito de autoria, e também as premissas das Teorias da Comunicação. Embora o conceito de tecnologia adotado considere que trata-se de uma construção cultural, busco-se um distanciamento das posições de pessimismo ou de determinismo tecnológico, na tentativa de traçar um mapa das mediações sociais estampadas nas novas formas de comunicação e de expressão das sociedades. Com isso verificou-se que a globalização carrega o paradoxo de promover profundos abismos sociais, especialmente nos países da América Latina, mas também a possibilidade de proporcionar diferentes formas de organização social, além de recombinações e apropriações da própria cultura. Tal evidência contrasta com o fato de que no campo da Comunicação as teorias vigentes seguem o modelo mecânico, que já não dá conta de analisar os movimentos recentes na comunicação de modelo eletrônico, marcados pela convergência e pela co-autoria. Concluiu-se que os conceitos de destemporalização, desterritorialização e destotalização, que fundamentam a Teoria das Materialidades, podem ser usados para a reflexão sobre os processos de comunicação permeados pela chamadas novas tecnologias da Comunicação. / This study analyze the recent processes of convergence, interaction and contribution in field of the Communication, involving culture and technology - especially digital technology. For this opted to relate the processes in field of communication and similar processes in field of art, a time that in art the movements of displacement of focus the product for process was evidences than in media. When analyzing these movements are possible to investigate as the recent possibilities of propagation to information, proportionate for digital technologies, had modified or dislocated the premises of authorship concept, and also the premises of Theories of Communication. Although the adopted concept of technology considers that it is about a cultural construction, with distance of the positions of pessimism or technological determinism, in attempt to trace a map of the printed mediated social in new forms of communication and expression of societies. With this it was verified especially that the globalization loads the paradox to promote deep abysses social, in Latin America countries, but also the possibility to provide different forms of social organization, beyond recombination's and appropriations of the proper culture. Such evidence contrasts with the fact of that in the field of the Communication the effective theories follow the mechanical model that already of the account not analyze the recent movements in communication of electronic model, marked for the convergence and the co-authorship. One concluded that the concepts of tempo unlimited, territory without delimitation and without totalities, base of the Materiality Theory, can be used for the reflection on processes of communication permeability by new Communication technologies.