Art, body and gender: transgression and (re)creation of new realities by María Belén Angelelli

“…Technological and media developments of sixties nurtured these artistic practices, giving rise to which they were designated video performances and video art. The technical reproducibility helped save these performances works of the immediacy of the moment, and then reproduced in other places, in other times, toward thousands of spectators, expanding the possibilities of movement and reception of his metaphors. …”
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Progenitores del Vídeo. El Arte del Vídeo ante los Fantasmas de su Historia Familiar by Arturo Rodríguez

“…Tomando como base el texto del historiador y productor de televisión, John Wyver, “Coming to the terms with the frightful parent: video art and televisión”, se intenta analizar el modo en que la crítica cultural de los años ochenta influyó en el devenir de las relaciones del video con el arte y con la televisión, en una suerte de tensión familiar que determinó el camino para la institucionalización del video en los términos que hoy son admitidos. …”
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A Chance for Cinema-Writing in Electronic Literature by Will Luers

“…Through examples of cinematic electronic literature, as well as film and video art, I will present strategies for a computational cinema that welcomes chance operations into the process of signification; that seeks an “outside” within (and beside) narrative composition and authorial intent.…”
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Beyond excellence : entrepreneurs [kasetvideo]

Las Las TIC y Artes mediales: La nueva era digital en la escuela inclusiva by Diego Bernaschina

“…Como los resultados de las actividades realizadas en los distintos talleres de: Animación Stop Motion para la educación primaria, y Video Arte para la educación secundaria. En ambos talleres, esos que corresponden a la muestra del plan de asignatura complementaria en diferentes actividades artísticas-tecnológicas, dependiendo del nivel de escolaridad. …”
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Infographic components in motion design by O. Vasylieva, I. Vasylieva

“…Among the main advantages of applying motion to the design of modern media – motion-design products used for the company's project: advertising video, corporate presentation, tutorials, webinar design, video art, used on mobile devices, etc. Wide coverage of the audience, another advantage of the use of motion-design, the created product can placed on the television both on the website, in social groups, networks, video portals, which allows you to bring your product to a wide range of viewers. …”
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El Silencio del art brut: una visión diferente de un arte conectada a la vida by Cecilia Mateo Sánchez, Isabel Mengual Luna

“…Al final de la Modernidad todavía podía hablarse de disciplinas como pintura, escultura, grabado o dibujo, aun con sentido, desde hace 60 años se habla de otras prácticas tales como, instalación, performance, body art, land art, video art o art brut, etc., sin que estas puedan ser incluidas en los grandes géneros de las artes conocidos por todos. …”
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The Post-human Sound: an Interview with Michelangelo Frammartino by Alessandro Lanfranchi

“…Michelangelo Frammartino is an Italian director capable of producing a major change in international cinema: his extensive experience with video art has been the beginning of a long philosophical and artistic reflection, which included his first full-length film, Il dono (The Gift), presented at Locarno Film Festival in 2003; a path that lead him to rethink the role that cinematography has had, since its origins, in the relation with non-human otherness. …”
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To ‘Give Voice’? To ‘Speak For’? Representing Testimony and Protest at UK Immigration Detention Centres by Ewen MacArthur

“…A tendency in contemporary efforts at emancipatory politics and media production can be characterised by a critical attitude to the very notion of representation, in political terms (e.g. in certain calls for “real democracy” issued by members of movements such as Occupy) and in artistic terms (e.g. the performative rather than indexical emphasis of some video art, such as Surname Viet Given Name Nam (1989) or Reassemblage (1982) by Trinh Mi Ha). …”
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A Study on New Art Media in The Works of Four ContemporaryInternational Female Artists by nasrin esmaili, Mohammad Kazem Hassanvand

“…<br />The new art medias (including video art, installation, photography, conceptual art, digital art, performance art and alike) have had a more substantial role in reflecting female artists concerns. …”
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The Fulfilment of Creative Potential of the Individual in the Process of Audiovisual Education: The Case of the Faculty of Cinema and TV Art of the Kharkiv State Academy of Сulture... by Z. I. Alforova

“…The educational process also involves testing the creative potential of students in experimental artistic forms: video art and media art. Gradually revealing the creative abilities of each student, attentive teachers are trying to identify their individual tendencies in the audiovisual field. …”
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Nam June Paik, l'immaginazione videoartistica e la sperimentazione tecnologica by Giulio Latini

“…Fino a giungere, nel 1984, all’edificazione delle prime installazioni satellitari: «performance video via satellite», in cui il canale televisivo WNET (New York) si collegava al Centre Pompidou (Parigi) e ad altri canali televisivi americani, tedeschi e sudcoreani, attestandosi come uno dei più persuasivi esempi di incontro creativo tra televisione e video arte. Per tacere delle prime utilizzazioni artistiche della tecnologia laser (dal 1997). …”
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El espejo televisivo de Claude. Estética, ciencia y ficción en Black Mirror / Claude’s Television Mirror. Aesthetic, Science and Fiction in Black Mirror by Laura García Pousa

“…Assuming both the dramatic and aesthetic boundaries of the <em>era of drama </em>and of post-television, and the established connections between film / video-art, television / publicity, the plot of<em> Black Mirror </em>is determined by its adoption of a culturally-specific perspective on scientific and technological progress. …”
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Cinematic Art (History) and Mieke Bal's Thinking in Film by Filip Lipiński

“…Moreover, with reference to video art, Bal coined the notion of  “migratory aesthetics”, where migration not only literally concerns migrants and immigration but offers a platform to reflect on and renegotiate the issues of movement, stagnation, the everyday and their political dimensions. …”
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Agencia, materialidad y documentación del arte de los medios by Pau Alsina, Vanina Hofman

“…La misma diversidad de taxonomías aparecidas en relación al arte de los medios, en donde a menudo se destaca en la propia terminología su base tecnológica -video arte, net art, software art, a-life art etc..- nos sirve de punto de partida para reivindicar hasta qué punto la agencialidad del substrato  material y tecnológico de la práctica artística está indisolublemente unida a su discurso simbólico, y al revés en mútua reciprocidad, incluso en algo tan aparentemente inmaterial como el código informático inscrito en el epicentro del arte de los nuevos medios.…”
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REALITY THROUGH THE PRISM OF PAINTING: SIMULACRES BY MICHEL HOUELLEBECQ by Olga L. Kalashnikova.

“…The purpose of the work is to reveal the role and functions of the painting code and related to it media codes of photography, video art, architecture, advertising, and the Internet in the author of “The Map and the Territory” narrative strategy, that permits to identify some general laws of, typical for postmodern art, intermedial thinking and to clarify the concept of intermediality itself. …”
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The Analysis of Music Emotion and Visualization Fusing Long Short-Term Memory Networks Under the Internet of Things by Yujing Cao, Jinwan Park

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SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART / ЭКРАННЫЕ ФОРМЫ НА БИЕННАЛЕ СОВРЕМЕННОГО ИСКУССТВА by KARTSEVA EKATERINA A. / КАРЦЕВА Е.А.

“…These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. …”
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