Thesis (Ph. D.)--Columbia University, 1928. / Vita. Published also as Teachers College, Columbia university, Contributions to education, no. 296. Bibliography: 73-78.

Thesis (Ph. D.)--Columbia university, 1928. / Vita. Published also as Teachers College, Columbia university, Contributions to education, no. 296. Bibliography: 73-78.

No description available.

Thesis (D. Min.)--Trinity Evangelical Divinity School, Deerfield, Ill., 1997. / Abstract. Includes bibliographical references (leaves 106-107).

[ES] La tesis propone una revisión de la emergencia y evolución del videoarte en Chile entre fines de los setenta y principios de los ochenta. Se enfoca en desentrañar las omisiones, transferencias visuales y las interacciones entre artistas, considerando la influencia de los contextos políticos y culturales. A través de entrevistas y análisis críticos de documentos históricos y vídeos, se busca comprender el papel del video como un medio de expresión y denuncia que refleja las dinámicas en tiempos de dictadura. El estudio abarca la contribución clave del festival de vídeo arte Franco-chileno y examina cómo éste influyó en el desarrollo del video arte en sus inicios en Chile. / [CA] La tesi proposa una revisió de l'emergència i evolució del videoart a Xile entre fins dels setanta i principis dels huitanta. S'enfoca a desentranyar les omissions, transferències visuals i les interaccions entre artistes, considerant la influència dels contextos polítics i culturals. A través d'entrevistes i anàlisis crítiques de documents històrics i vídeos, es busca comprendre el paper del vídeo com un mitjà d'expressió i denúncia que reflectix les dinàmiques en temps de dictadura. L'estudi abasta la contribució clau del festival de vídeo art Franco-xilé i examina com este va influir en el desenvolupament del videoart en els seus inicis a Xile. / [EN] The thesis proposes a review of the rise and evolution of video art in Chile from the late seventies to the early eighties. It focuses on uncovering omissions, visual transfers, and interactions among artists, considering the influence of political and cultural contexts. Through interviews and critical analysis of historical documents and videos, it aims to understand the role of video as a medium of expression and denunciation that reflects the dynamics during times of dictatorship. The study includes the key contribution of the Franco-Chilean video art festival and examines how it influenced the development of video art in its early stages in Chile. / Farriol Gispert, RJ. (2024). Temas, figuras y acciones sobre los orígenes del videoarte en Chile [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/207114

The history of video art has tended to be told through a narrow lens, one that understands video as a single, coherent medium, or as defined by a single political project: an opposition to broadcast television. This thesis proposes instead to look at “actually existing video”, a methodology adapted from music scholar Benjamin Piekut that looks at the concrete variety of forms that video took at particular moments and in particular places, and in the hands of particular people. Such an approach does not seek to predetermine what video is, but rather insists on video’s heterogeneity. This thesis applies this methodology by outlining the contours of what I call, following critic Jud Yalkut, “the alternative video network”. This network was an open-ended assemblage of people, instruments, practices and shared ideas that, in the 1960s and early 1970s, embraced video as a means of engaging with the politics of technology. It included the New York-based figures Nam June Paik, Woody and Steina Vasulka, Aldo Tambellini, Juan Downey and the Raindance collective (especially Paul Ryan, Frank Gillette, Michael Shamberg, Beryl Korot and Phyllis Gershuny), and a contingent from the West Coast and Canada including the collectives T.R. Uthco, Ant Farm, Image Bank and General Idea. Its ideas and practices were circulated at places like The Kitchen in New York and the Everson Museum in Syracuse (under the guidance of curators James Harithas and David Ross), and in the publications Radical Software (edited by Korot and Gershuny) and FILE (edited by General Idea). Ultimately, I argue that this network, which assembles a variety of different art histories, and social and theoretical concerns, was unified by a shared engagement with the central problem of Cold War US discourse: how to integrate humans with the new electronic technologies that proliferated in the US in the wake of World War Two. The alternative video network analyzed the dominant solutions to this problem, and offered their own alternatives.