Le cinéma cosmique de Jordan Belson

Certains phénomènes réussissent à atteindre un coin de notre conscience si rarement sollicité que quand cela se produit, cela nous surprend et nous atteint profondément. Expérience d'auto-réalisation en même temps que rencontre avec le monde extérieur. Les films cosmiques de Jordan Belson possèdent ce pouvoir si rare et si énigmatique. Cette énigme vient essentiellement du fait, fort déconcertant, que le travail de Belson semble apartenir à la fois, à parts égales, au monde de la physique et ..

Reconstrucción y activación del patrimonio artístico con tecnología audiovisual. Experiencia de Taüll 1123

With the aim of preserving artistic heritage, museums have typically removed paintings and furniture from the places they were created for. Over the decades, the curators of these places have begun to request that these artistic works be returned, conscious of the significance that many of these works now have. Some institutions and museums have responded to these requests by providing copies of the original works. Although traditionally these copies were handmade, digital resources, such as audiovisual technology, are now being used. The Taüll 1123 project (Lleida, Spain) is an example of the use of these new tools for the benefit of artistic heritage and of modern visitors

John Latham’s cosmos and mid-century representation

The conceptual artist John Latham (1921 – 2006) is sometimes cast as disconnected to the currents of British visual culture. Latham’s idiosyncratic cosmology based upon time and events and incorporating human creativity rather than matter and energy is used to distinguish this disconnection. However, this paper argues that his work can be seen as closely related to that of other mid-century cultural producers who were engaged with alternative cosmic speculations, and part of a broader shift in the register of representation. Papers from the Latham digital archive help make this case

Image 9

Presenting Vinet's series of images to be read like a flip-book, Youngblood suggests a mythopoetic reading of the images in relation to reality

Expanded Cinema: Fiftieth Anniversary Edition [ Table of Contents]

Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic tools. Long considered the Bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth-anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world.A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far‐ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective.Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the art-historical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication

Vidéo et utopie

Youngblood Gene. Vidéo et utopie. In: Communications, 48, 1988. Vidéo, sous la direction de Raymond Bellour et Anne-Marie Duguet. pp. 173-191

Normand Grégoire : Série 4

Youngblood introduces this portfolio of Grégoire's black and white photographs stressing his intimate relationship to the subject matter