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Vanderbeek, Stan

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Vanderbeek fut un visionnaire précoce, depuis ses premiers collages animés, créés dans l’esprit surréaliste et dadaïste de Max Ernst, mais avec une simplicité sauvage et brute plus proche de l’expressionnisme de la Beat Generation (Terry Gilliam de Monty Python cite Vanderbeek comme l’une de ses premières sources d’inspiration). Ses expériences utopiques du cinéma élargi, (construction d’un théâtre hémisphérique avec des dizaines de projecteurs, films d’animation par ordinateur, expériences holographiques) le menèrent à concevoir des fresques mondiales par fax, des projections sur de la vapeur et des émis-sions de télévision interactive.

Vanderbeek, Stan, - 1968-

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In 1965, the experimental filmmaker Stan VanDerBeek (1927-1984) unveiled his Movie-Drome, made from the repurposed top of a grain silo. VanDerBeek envisioned Movie-Drome as the prototype for a communications system--a global network of Movie-Dromes linked to orbiting satellites that would store and transmit images. With networked two-way communication, Movie-Dromes were meant to ameliorate technology's alienating impulse. In The Experience Machine, Gloria Sutton views VanDerBeek--known mostly for his experimental animated films--as a visual artist committed to the radical aesthetic sensibilities he developed during his studies at Black Mountain College. She argues that VanDerBeek's collaborative multimedia projects of the 1960s and 1970s (sometimes characterized as "Expanded Cinema"), with their emphases on transparency of process and audience engagement, anticipate contemporary art's new media, installation, and participatory practices. VanDerBeek saw Movie-Drome not as pure cinema but as a communication tool, an "experience machine." In her close reading of the work, Sutton argues that Movie-Drome can be understood as a programmable interface. She describes the immersive experience of Movie-Drome, which emphasized multi-sensory experience over the visual; display strategies deployed in the work; the Poemfield computer-generated short films; and VanDerBeek's interest, unique for the time, in telecommunications and computer processing as a future model for art production. Sutton argues that visual art as a direct form of communication is a feedback mechanism, which turns on a set of relations, not a technology.--Publisher website.

New media art. --- Technology and the arts. --- Art --- Arts and technology --- Arts --- Arts, Modern --- History. --- Vanderbeek, Stan --- Van der Beek, Stan --- Beek, Stan van der --- Vanderbeek, Stanley --- Criticism and interpretation. --- DIGITAL HUMANITIES & NEW MEDIA/New Media Art --- ARTS/Art History/Contemporary Art --- ARTS/Photography & Film/General --- New media art --- Technology and the arts --- History --- Criticism and interpretation --- Art / history / general. --- Art. --- Art / digital. --- Vanderbeek, Stan. --- Médias et technologie. --- Histoire. --- Critique et interprétation --- Art - History --- Vanderbeek, Stan - Criticism and interpretation --- Art history --- History of art

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Art --- Film --- Motion pictures. --- History. --- 778.5 --- 791.43 --- kunst --- film --- video --- videokunst --- video-installaties --- kunst en film --- experimentele film --- filmtheorie --- kunsttheorie --- Fluxus --- VanDerBeek Stan --- Eames Charles --- Eames Ray --- Warhol Andy --- Broodthaers Marcel --- Sharits Paul --- Nauman Bruce --- Paik Nam June --- Farocki Harun --- Debord Guy --- Jürss Ute Friederike --- Kentridge William --- Marker Chris --- Akerman Chantal --- 7.038/039 --- 791.46 --- Filmfotografie. Filmkunst --- Filmkunst. Films. Cinema --- 791.43 Filmkunst. Films. Cinema --- 778.5 Filmfotografie. Filmkunst --- Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History --- History and criticism --- Art history --- History of art

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Bilder sind heute in hohem Ma�e mobil(isiert). Dafür sorgen nicht nur ihre mediale Diffusion und technische Reproduzierbarkeit, sondern vor allem auch die vielfältigen, beweglichen Apparaturen zur Projektion. Projektion ist dabei nicht nur als eine geometrische Anordnung zu verstehen, die durch Lichtstrahlen erzeugt wird, sondern als vermittelnde Form zwischen zweidimensionalem Bild und dreidimensionalem Raum. Sie unterliegt zeitlichen und räumlichen Kategorien, ihre Projektionsgeometrie wird durch Perspektive, Kartographie und Architektur gestärkt. In ihrem Bilderfluss vermag sie zugleich Illusion und Verfremdungen zwischen psychischer und physischer Realität hervorzurufen. Die Beiträge des Bandes zeigen: Nachdem der Rekurs auf den Apparat (film- )künstlerisch lange illusionsentlarvend eingesetzt wurde, kehren Bildprojektionen nun als neue Formen der Zerstreuung und optischen Täuschung, als phantastische Bilder oder Bildchimären in der Zuschauerimagination zurück. Mit den digitalen und postmedialen Bedingungen des Kinos und der Installation sind sie neu zu hinterfragen.--Backcover.

kunst --- fotografie en architectuur --- 7.036/039 --- 7.02 --- 7.01 --- Los Angeles --- VanDerBeek Stan --- expanded cinema --- Margreiter Dorit --- Deren Maya --- Lumière Auguste --- Lumière Louis --- Gordon Douglas --- Coleman James --- Sherman Cindy --- Simmons Laurie --- Rodin Auguste --- Rilke Rainer Maria --- Narkevicius Deimantas --- stedenbouw --- eenentwintigste eeuw --- twintigste eeuw --- film en architectuur --- architectuur --- video-installaties --- installaties --- fotografische technieken --- fotografische techniek --- filmtechniek --- kunsttechniek --- projectie --- projecties --- film --- kunst en fotografie --- fotografie --- kunst en film --- Film-Installation. --- Video-Installation. --- Projektion. --- Architektur. --- Fotografie. --- Kunst. --- Video installations (Art) --- Film installations (Art) --- Installations (Art) --- Motion pictures --- Screen-reliant installations (Art) --- Video art --- Projektion; Kinematographie; Fotografie; Exhibition Cinema; Screen; Architektur; Raum; Stadt; Immersion; Kunst; Film; Kunstgeschichte des 20. Jahrhunderts; Kunstwissenschaft; Photography; Architecture; Space; Urbanity; Arts; Art History of the 20th Century; Fine Arts --- Architecture. --- Art History of the 20th Century. --- Arts. --- Film. --- Fine Arts. --- Space. --- Urbanity.