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The New Concrete is a long-overdue survey of the rise of concrete poetry in the digital age. The accessibility of digital text and image manipulation, modern print techniques and the rise of self-publishing have invigorated a movement that first emerged in an explosion of literary creativity during the 1950s and 1960s. This new volume is a highly illustrated overview of contemporary artists and poets working at the intersection of visual art and literature, producing some of the most engaging and challenging work in either medium. Featuring an introductory essay by renowned American poet Kenneth Goldsmith and edited by celebrated poets Victoria Bean and Chris McCabe, The New Concrete is an indispensable introduction to the breadth of concrete poetry being produced today.^The New Concrete features new works by poets and artists including Jordan Abel, Vito Acconci, mIEKAL aND, Tauba Auerbach, Fiona Banner, Simon Barraclough, Michael Basinski, Erica Baum, Victoria Bean, Derek Beaulieu, David Bellingham, Caroline Bergvall, Jen Bervin, Cecilie Bjørgås Jordheim, Jaap Blonk, Christian Bök, Sean Bonney, Jean-François Bory, Pavel Büchler, Augusto de Campos, Francesca Capone, Antonio Claudio Carvalho, Bari Çetinkol, Henri Chopin, Paula Claire, Thomas A. Clark, Bob Cobbing, Tom Comitta, Judith Copithorne, Simon Cutts, Natalie Czech, Bob Dahlquist, Wally Depew, Johanna Drucker, Jesse Patrick Ferguson, Peter Finch, Alec Finlay with Ray DiPalma, Ian Hamilton Finlay, Rachel E. Foster, S.J.^Fowler, John Furnival, Philip Gallo, Ilse Garnier, Pierre Garnier, John Giorno, Marco Giovenale, Eugen Gomringer, Roel Goussey, Scott Helmes, Henningham Family Press, Sophie Herxheimer, James Hoff, Karl Holmqvist, Jenny Holzer, Susan Howe, Geof Huth, Serkan I n, Tom Jenks, Julie Johnstone, Leandro Katz, Sarah Kelly, Ronald King, John Kinsella, Anatol Knotek, Christopher Knowles, Márton Koppány, Richard Kostelanetz, Daniel Lehan, Ruark Lewis, Simon Lewty, Liliane Lijn, Tony Lopez with John S. Webb, Donato Mancini, Toby Martinez de las Rivas, Hansjörg Mayer, Chris McCabe, Steve McCaffery, Kevin Mcpherson eckhoff, nick-e melville, David Miller, Stuart Mills, Franz Mon, Robert Montgomery, Edwin Morgan, Gustav Morin, Rick Myers, Clemente Padin, Tom Phillips, Décio Pignatari, Jörg Piringer, Cia Rinne, Colin Sackett, Aram Saroyan, Richard Skelton, W. Mark Sutherland, Greg Thomas, Nick Thurston, Sue Tompkins, Andrew Topel, Cecil Touchon, Barrie Tullett, André Vallias, Nico Vassilakis, Emmanuelle Waeckerlé, Sam Winston, Cerith Wyn Evans, Ercan y Y lmaz and Eric Zboya.

kunst --- 82 --- 7.039 --- digitale poëzie --- digitale kunst --- kunst en technologie --- eenentwintigste eeuw --- kunst en literatuur --- poëzie --- literatuur --- kunst en poëzie --- Poésie visuelle

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Providing a clear, systematic account of the evolution of Bellour's thought on the nature of cinematic representation, the impact of digital technology and the response of the spectator, this is an essential guide to the work of a major contemporary thinker.

Bellour, Raymond. --- Film criticism --- film --- filmtheorie --- Frankrijk --- twintigste eeuw --- eenentwintigste eeuw --- Bellour Raymond --- filmanalyse --- kunst --- videokunst --- digitale kunst --- nieuwe media --- 791.41 --- Motion picture criticism --- Motion pictures --- Moving-picture criticism --- Criticism --- Evaluation --- Film criticism. --- Filmkritik. --- Bellour, Raymond, --- Bellour, Raymond

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"Proposes a revolutionary approach to the interpretation of art, film, and the digital. In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself. These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years-sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists. From this emerges a materialist theory-an embodied, erotic relationship to art and to the world. Marks's approach leads to an appreciation of the works' mortal bodies: film's volatile emulsion, video's fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers."--Publisher's website.

Experimental films --- Video art. --- History and criticism. --- Video art --- film --- filmtheorie --- video --- kunst --- kunsttheorie --- nieuwe media --- digitale cultuur --- digitale kunst --- internetkunst --- animatie --- twintigste eeuw --- eenentwintigste eeuw --- lichamelijkheid --- 7.01 --- Electronic art --- Experimental television --- Art, Modern --- Performance art --- Television --- History and criticism --- Time-based art

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What is the role of the curator when organizing digital art exhibitions in offline and online spaces? Analyzing the influence and impact of curating digital art, the book focuses on how the experiments of curators, artists and designers opened the possibility to reconfigure traditional models and methods for presenting and accessing digital art. In the process, it addresses how web-based practices challenge certain established museological values and precipitate alternative ways of understanding art's stewardship, curatorial responsibility, public access and art history. Through more than twenty interviews with artists and curators in the course of the last ten years, and flanked by an extensive timeline, the reader of this publication is given an insight into the discourse on digital art and its curation today

Museology --- Art --- exhibitions [events] --- digital art [visual works] --- exhibition curators --- artists [visual artists] --- New media art --- Computer art --- Art and the Internet --- Curatorship --- kunst --- 069 --- 7.039 --- eenentwintigste eeuw --- museologie --- tentoonstellingen --- digital art --- digitale kunst --- kunsttheorie --- Arts, Modern --- Internet and art --- Internet --- Art exhibition techniques --- Display techniques in art --- Exhibition techniques in art --- Exhibitions --- Art, Computer --- Computer craft --- Digital art --- Curating --- Curatorial practice --- Exhibition techniques --- Display techniques --- curating --- computer art [visual works] --- new media art --- New media art. --- Computer art. --- Art and the Internet. --- Curatorship. --- Art museum curators. --- Exhibition techniques. --- net art --- Video art --- Installations (Art) --- Museologie ; cureren van tentoonstellingen --- Nieuwe media ; digitale kunsten --- Kunst; Digitale kunst --- 069.4 --- Museologie ; werkwijzen mbt het opzetten van tentoonstellingen --- Art numérique --- Commissaires d'exposition. --- Expositions artistiques. --- Expositions.

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Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image. Review: What is a moving image? Through close analyses of a stunning range of post-media moving-image artists, Jihoon Kim assesses and reworks forty years of debate on medium specificity, formal abstraction, recycled footage, image processing and installation aesthetics. The resulting critiques of convergent and discrete media, ontologies of the image, and the role of art in the communicative epoch we are now entering have profound implications not just for the media arts but for art and media in the 21st century. Sean Cubitt, Professor of Film and Television, Goldsmiths, University of London, UK Between Film, Video, and the Digital is a paramount important transdisciplinary study of contemporary media fusion under the sign of technologically advanced processing of moving images and images of motion. It dismantles the identity of a medium as essentially hybrid and draws on an impressive array of art works since the 1990's that reconfigure and interlace experimental cinema, video installation, and digital animation. Jihoon Kim's in-depth comparative analysis of intermedial properties and aesthetic appearances of still and moving images reveals multiple and diverse conditions of today's visual media in flexible, fluid, and in-between forms. Transversing the narrow meanings of both 'medium specificity' and 'post-media' in media and film studies and art criticism where disciplinary discourse aims to establish borders, this book insists on hybridity as key concept for a comprehensive critical theory of artistic practices that is needed when we want to understand all possible forms of vision and visuality in moving images. Yvonne Spielmann, Professor of Media Studies, The University of the West of Scotland, UK; author of Video. The Reflexive Medium and Hybrid Culture: Japanese Media Arts in Dialogue with the West Through the lenses of hybridity, this book provides a novel approach to post-cinema. Page after page, we discover a territory where medium specificity dissolves, but the pleasure of moving images increases. Passionate and informed, this book leads us on an unexpected journey. Francesco Casetti, Thomas E. Donnelley Professor of Humanities and Film and Media Studies, Yale University, USA

Motion pictures --- Digital media --- Image processing --- Cinéma --- Médias numériques --- Traitement d'images --- Philosophy. --- Digital techniques. --- Philosophie --- Techniques numériques --- Philosophy --- Digital techniques --- Cinéma --- Médias numériques --- Techniques numériques --- kunst --- eenentwintigste eeuw --- film --- video --- installaties --- video-installaties --- projectie --- fotografie --- digitale kunst --- internetkunst --- digitale film --- nieuwe media --- experimentele film --- essayfilm --- mediumspecificiteit --- postcinema --- postmedia --- 7.01 --- #SBIB:309h520 --- #SBIB:309H1326 --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- #SBIB:309H520 --- Audiovisuele communicatie: algemene werken --- ART --- Computerkunst. --- Film. --- Medienkunst. --- SOCIAL SCIENCE --- Videokunst. --- Digital. --- Media Studies.