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A critical mapping of the multiplicities of Finnish artist and technology pioneer Erkki Kurenniemi -- composer of electronic music, experimental filmmaker, inventor, collector, futurologist.

New media art --- Arts, Modern --- Kurenniemi, Erkki, --- Themes, motives. --- DIGITAL HUMANITIES & NEW MEDIA/General --- COMPUTER SCIENCE/Computer Music --- ARTS/Art History/Contemporary Art --- Média --- Art numérique --- Art vidéo --- Kurenniemi, Erkki

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Joshua Greenberg explains how the combination of neighbourhood video stores and the VCR created a world in which movies became tangible consumer goods, creating a new industry and affecting the dynamics of motion picture production and consumption.

Videocassette recorders --- Video recordings industry --- Electrical & Computer Engineering --- Engineering & Applied Sciences --- Electrical Engineering --- History --- Videocassette recorders. --- History. --- Video industry --- Video tape production industry --- VCR (Video recorders) --- VCRs (Video recorders) --- Video cassette recorders --- Video tape recorders and recording --- Motion picture industry --- Home video systems --- Video tape recorders --- Television/video combinations --- Vidéo --- Video numerique --- Cinéma, histoire --- Art vidéo --- Cinéma

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Focusing on the aesthetics of video, Timeshift tests current semiotic, postmodernist and psychoanalytic approaches in the laboratory of real-life video viewing.

Art video --- Culture [Popular ] --- Culture de rue --- Culture des banlieues populaires --- Culture des classes populaires --- Culture des quartiers populaires --- Culture du peuple --- Culture ouvrière --- Culture populaire --- Cultures populaires --- Enregistrements vidéo --- Mass communication --- Mass culture --- Mass media --- Massamedia --- Media [Mass ] --- Media [The ] --- Moyens de communication de masse --- Média de masse --- Pop culture --- Popcultuur --- Populaire cultuur --- Popular arts --- Popular culture --- Video art --- Video recordings --- Video-opnamen --- Videokunst --- Volkscultuur --- Art vidéo --- Art électronique --- Electronic art --- Experimental television --- Vidéo expérimentale --- Vidéo formelle --- Vidéo-art --- 791.43.097 --- #SBIB:309H162 --- #SBIB:309H525 --- TV-films. --- Videogrammen: functies, genres, historiek --- Sociologie van de audiovisuele boodschap --- Video art. --- Video recordings. --- 791.43.097 TV-films. --- #SBIB:309H040 --- 316.77 --- 316.77 Communicatiesociologie --- Communicatiesociologie --- Videorecordings --- Videos --- Audio-visual materials --- Art, Modern --- Performance art --- Television --- Experimental films --- Culture, Popular --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Media, Mass --- Media, The --- Populaire cultuur algemeen --- TV-films --- Film --- Mass media. --- Popular culture. --- Time-based art

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An exploration of the way videogames mount arguments and make expressive statements about the world that analyzes their unique persuasive power in terms of their computational properties.Videogames are an expressive medium, and a persuasive medium; they represent how real and imagined systems work, and they invite players to interact with those systems and form judgments about them. In this innovative analysis, Ian Bogost examines the way videogames mount arguments and influence players. Drawing on the 2,500-year history of rhetoric, the study of persuasive expression, Bogost analyzes rhetoric's unique function in software in general and videogames in particular. The field of media studies already analyzes visual rhetoric, the art of using imagery and visual representation persuasively. Bogost argues that videogames, thanks to their basic representational mode of procedurality (rule-based representations and interactions), open a new domain for persuasion; they realize a new form of rhetoric. Bogost calls this new form "procedural rhetoric," a type of rhetoric tied to the core affordances of computers: running processes and executing rule-based symbolic manipulation. He argues further that videogames have a unique persuasive power that goes beyond other forms of computational persuasion. Not only can videogames support existing social and cultural positions, but they can also disrupt and change these positions themselves, leading to potentially significant long-term social change. Bogost looks at three areas in which videogame persuasion has already taken form and shows considerable potential: politics, advertising, and learning.

Video games --- Persuasion (Rhetoric) --- Social aspects. --- Rhetoric --- Forensics (Public speaking) --- Oratory --- GAME STUDIES/General --- GAME STUDIES/Game History --- SOCIAL SCIENCES/Media Studies --- Sociology of culture --- Mass communications --- Computer. Automation --- Persuasion (Rhetoric). --- Persuasion (rhétorique) --- Jeux vidéo --- Publicité intégrée dans les jeux vidéo. --- Médias en éducation. --- Aspect politique. --- Aspect social. --- Social aspects --- Jeux vidéo --- Argumentation --- Aspect social --- 527 --- Games --- video games --- informatica - specifieke toepassingen --- Jeu vidéo --- Jeu --- Art vidéo --- Informatique appliquée --- Informatique graphique --- Video games - Social aspects --- #SBIB:309H17 --- #SBIB:309H402 --- Computer- en videogames --- Media en publiekgroepen: gebruik van de boodschap, effecten van de media, --- Persuasion (rhétorique) --- Publicité intégrée dans les jeux vidéo. --- Médias en éducation.

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Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity-or both at once.From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.

Motion picture audiences --- Video art --- Motion pictures and the arts. --- Art and motion pictures. --- Motion picture industry --- History. --- Technological innovations. --- kunst --- film --- filmtheorie --- filmgeschiedenis --- video --- videkunst --- filmproductie --- filmdistributie --- experimentele film --- 791.41 --- Film industry (Motion pictures) --- Moving-picture industry --- Art and moving-pictures --- Motion pictures and art --- Arts and motion pictures --- Moving-pictures and the arts --- Electronic art --- Experimental television --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Motion pictures and the arts --- Art and motion pictures --- History --- Technological innovations --- Cultural industries --- Motion pictures --- Arts --- Art, Modern --- Performance art --- Television --- Experimental films --- Performing arts --- Audiences --- Art et cinéma. --- Art vidéo --- Cinéma Industrie --- Cinéma et arts. --- Cinéma --- Media Studies. --- Motion picture audiences. --- Video art. --- Histoire. --- Innovations. --- Publics. --- Time-based art