In/Retrospection is an audiovisual composition employing audio and video in an interactive form, written for a ten-piece orchestra, electronically generated audio, and video that interact with each other in a variety of ways. Not only is the use of overall interaction employed, but each element of the composition is given its own space to develop and take its place in the forefront of the listeners/viewers focus, thus shifting attention to various aspects of the composition. In this way, the composition is neither a video with accompanying audio or audio with accompanying video, but a combination of both forms. On top of this, the electroacoustic portion of the piece, employing both traditional orchestral instruments as well as electronically manipulated sounds and music, adds yet another level of interaction and attention-shifting mechanics to the composition. The constant shifting of the listener's/viewer's focus is the fundamental idea explored in In/Retrospection. / School of Music

Diplominiame darbe „Žmogaus tapatumo raiška videomene” nagrinėjama, kaip tapatumo problematika yra perteikiama videomeno kontekste. Kadangi modernusis visuomenės žmogus, nuolat veikiamas kintančio pasaulio, jau kažkieno sukurtų gyvenimo stilių gausos, stengiasi prisitaikyti prie vis sudėtingėjančių gyvenimo sąlygų, žmogaus tapatumas tapo refleksyvus, nepastovus, neaiškus ir fragmentuotas. Tapatumo sąvoka yra viena iš bendriausių ir plačiausiai vartojamų, o tapatumo klausimas, dėl nuolat kintančios ir neaiškios šiuolaikinio žmogaus egzistencijos, tampa vis aktualesnis ir vis dažniau nagrinėjamas. Tačiau būtent per refleksiją, žmogus visapusiškai sugebėdamas apmąstyti save ir savo santykį su aplinka, gali pajausti vieningą savojo tapatumo pojūtį. Diplominį darbą sudaro dvi dalys – teorinė ir praktinė. Pirmoje teorinio darbo dalyje išskiriamos kelios tapatumo sąvokos ir teorijos versijos. Analizuojama žmogaus tapatumo samprata filosofiniu, psichologiniu ir sociologiniu požiūriais, siekiama išsiaiškinti kaip žmogaus tapatumas yra formuojamas šiuolaikinėje visuomenėje, koks žmogaus santykis su aplinka ir pačiu savimi, kokia šiuolaikinių medijų įtaka tapatumo kaitai bei kaip tapatumo problematiką sprendžia eksperimentinio kino ir videomeno kūrėjai. Antroje teorinio darbo dalyje analizuojamos videoprojekcijos ir videoinstaliacijos tapatumo tema. Praktinės diplominio darbo dalies tikslas – sukurti videoprojekciją, kurioje atsispindėtų refleksyviai kuriamas žmogaus tapatumas. / Thesis "Human identity in video art" looks at how the issues of identity are conveyed in the context of video art. Because modern society man is constantly exposed to a changing world, someone has already created plenty of life styles, trying to adapt to the increasingly strained living conditions, human identity has become reflexive, fickle, uncertain and fragmented. The concept of identity is one of the most common and widely used, and the question of identity appears important and more considered. However, it is a reflection of the man being able to fully reflect on themselves and their relation with surroundings so they can feel whole again with their identity and everything else in the world. Thesis is divided into two parts - theoretical and practical. In the first of the theory part there are a few separated identity definitions and a couple of theory versions. The conception of human’s identity is been analyzed in a philosophical, psychological and social point of view. Trying to understand how the identity of human being is formed by modern society; what is the relationship with the environment and one self; what is todays media influence for the change in identity and how the film-makers are trying to solve this issue by experimental cinema and video art. In the second part of the theory video installations and video projections about identity are being analyzed. The goal in the practical part of my work is to create my own video projection, which would... [to full text]

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This study examines the means by which Clive van den Berg (b.1956) presents and explores the South African landscape and recent past, and in so doing examines the evolution of van den Berg's process of looking and interpretation. Seminal to such an investigation is a Critical examination of what history, memory and landscape are or might be perceived to be. Chapter.One centres on an evaluation of these terms and comprises a discussion of their perceived meanings particularfy as they relate to the visual arts, and especially in terms of South African art history. The investigation is facilitated by an examination of key works produced by van den Berg between 1983, which marks the commencement of the Views from the Oasis Series, and 1998, the year in which van den Berg produced the sculptural piece that comprises his contribution to the !Xoe Site Specific Project. In addition, it was in 1998 that van den Berg added the medium of video to his range of materials. Selected examples of van den Berg's earlier works, those executed in the1980s, are examined in Chapter Two. The works that are discussed here are: selected works from the Views from the Oasis Series (1983), the Large Oasis Series (1985) and the Sacred Site Series (1985). Reference is also made in this chapter to selected images from van den Berg's series of Invocations (1987). These images are examined primarily in terms of the challenge they present to conventional definitions of landscape and history. In subsequent v.urks of the 1980s van den Berg has presented the landscape more overtly as a symbol of self and personal experience. Central Park: Durban (1987) serves as an early example of work of this type and is. discussed here as it well illustrates a transition in terms of van den Berg's approach to the landscape. In Chapter Three selected vvorks produced by van den Berg in the 1990s are discussed. The works under review here are: the drawings that form part of van den Berg's Mine Dump Project (1994), his installation Men Loving (1996) executed for the Faultlines Project and the sculptural piece created for the !Xoe Site-Specific Project (1988). With these works van den Berg explores not only the marks left on the land by South African recent and colonial history or memory, but also those aspects of South Africa's past which remain hidden- and are unrecoverable. Van den Berg's more recent use of video is also referred to in Chapter Three as his use of, and approach to, this medium may be seen to add a further dimension to his investigations into history. Special attention is paid to the significance of the medium, or kinds of materials used in the creation of these 'HOrks, and condusions are drawn in terms of van den Berg's selection of subject and approach to medium in the period under study. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.

Darbe nagrinėjama propagandos samprata, animacijos bruožai, animacijos, kaip propagandos įrankio, naudojimo priežastis. Darbo tikslas - išnagrinėti animacijos, kaip propagandos įrankio, naudojimą. Siekiant šio tikslo nagrinėjama bendra propagandos sąvoka, remiantis amerikiečių psichologo Knight Duplan teorija bei nacionalsocialistų partijos naudota propaganda Antrojo pasaulinio karo laikotarpiu, aptariami animacijos, kaip vizualinės kūrybos formos, bruožai, remiantis animatoriumi Tomu Mitkumi, remiantis Gintautu Mažeikiu aptariama propaganda šiuolaikiniame kontekste, nagrinėjami propagandinės animacijos kūriniai (Education for Death: The Making of the Nazi(1943), Der Fuehrer's Face (1942), Ending Overfishing (2012)). Kūrybiniame darbe, remiantis gautomis teorinėmis žiniomis, pateikiama propagandos interpretacija. Galutinis kūrybinio darbo rezultatas – animacinis video kūrinys „Cary Care“. / This work analyzes the concept of propaganda, the main aspects of animation and the reasons of the use of animation as a tool of propaganda. The aim of this work is to analyze the use of animation as a tool of propaganda. The purpose of this work is being attained by describing the definition of propaganda and its main principles according to American psychologist Knight Duplan and discussing the national socialist party’s use of propaganda during the period of World War II, describing the main aspects of animation according to animator Tomas Mitkus, discussing the use of propaganda in modern times, according to Gintautas Mažeikis, and analyzing the examples of propaganda animation(Education for Death: The Making of the Nazi(1943), Der Fuehrer's Face (1942), Ending Overfishing (2012)). The attained theoretical knowledge is applied in the creative project. The creative projects gives the author‘s interpretation of propaganda. The final result of creative project is an animated video work „Cary Care“.

The Screen Test (Americana/Australiana) project is a collection of works that re-makes selected fragments of film spanning cinema history. Through a process of selectively slowing and stilling this form, of what Laura Mulvey calls Delayed Cinema, opens up new possibilities for interpreting and understanding cinema and the photographic. The aesthetic qualities and repetition of the scene or shot are re-created and re-performed, allowing an alternate form of cinema to take place. This alternate cinema takes on the characteristic of the Hollywood screen test and thus we can see each piece as the artist performing the screen test for each film. However, over time the screen test becomes the site for shifting the aesthetic elements within the film and shaping the narrative as a form of aesthetic building block. The viewing of each fragment allows for a new reading of film that suspends or subverts the temporal narrative and allows the contained segment to exist outside of the film opening up the possibility of constructing and emphasizing new iconic images and meanings. Each video piece is supplemented with a photographic still in tableaux form that further explores the aesthetic material of the film or shot raising the aesthetic components of the film ( props, locations etc) to the level of fetishism that may have been missed in the original version. This photographic rendering of the film fragment rethinks the possibilities of photographic tableaux and its relation to the iconic and indexical of photomedia art practice. Similarly, each photographic work is informed by theories of film analysis and psychology that has examined the primacy of the film still with Freudian notions of the primal scene and the uncanny. We are after all bringing to life the graveyard of cinema history. These photographic qualities of the mis en scene and the indexical of metonymy allow a heightened aesthetic experience, which transforms itself into an aberration of the director’s intended meaning, thereby reconstructing this meaning within the context of camp humour and irony. The work also acts as a playful and absurd interpretation of the cult of celebrity within cinema and the art world, which frees up of the interpretation of the film’s meaning and becomes the site for contemporary re-readings of film culture. The juxtaposition of the American Hollywood film and its emphasis on studio lighting, props, character and dialogue against the outdoor location of the Australian films conflates the two cultural imperatives, allowing for the examination of cultural myth through cinema. American cinema is revealed as the dominant culture whose imperialism dogs Australian film and fosters a culture of low self-esteem. Further, the Americana works become the site for cultural examinations of gender, narcissism and war - both real and imagined – and Hollywood is explored in terms of its social imaginings and how they play into real life events. The Australiana component explores the mythology of the Australian landscape with an emphasis on the culture of masculinity and self-destructive violence. However, each work is the result of a conflation of both cultures and other films, or parts of the same film, shifted within the fragment. The production of each photographic and video piece requires the taking on of the role of director, cinematographer, actor and producer. Through the use of interactive technologies such as DVD and the Internet not only am I able to experience a new subjective relationship with the intricacies of cinema but also by recreating these cinematic fragments I am able to bring into being and transform the spectre of cinema into the realm of contemporary art practice.

This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 96-101). Also available in electronic format on the Internet.

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaves 25-26).

Thesis (M.F.A.)--Georgia State University, 2008. / Title from file title page. Constance Thalken, committee chair; Joseph Peragine, Niklas Vollmer, committee members. Description based on contents viewed July 24, 2009. Includes bibliographical references (p. 34-35). Screenplay: p. 36-44.