DOCSLIB.ORG

Intermedia Studio, Introduction to Digital Video, Motion and Interactivity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Intermedia Studio, Introduction to Digital Video, Motion and Interactivity INTERMEDIA ARTS FA 215 – Intermedia Studio, Introduction to digital video, motion and interactivity Spring 2008 Instructor: Joel Tauber e-mail: [email protected] Office hours: email me for an appointment 215 Course Objective: An overview of Video Art, from 1970’s single-channel projects to current new-media oriented interactive and installation-based projects, will acquaint students with the medium of video, its relation to technology and its potential for interactivity in both analog performance and digital programming. To execute their own ideas, students will be trained to create work using the digital video camera, desktop editing and basic interactive programming. Course Description: This introductory class will acquaint the students with the computer, the digital video camera, video editing via Final Cut Pro, video presentation via DVD Studio Pro, and basic interactivity via Flash as well as the processes of production, reproduction and presentation that help define and disseminate this media into culture. An overview of Video Art, from 1970’s single-channel projects to current new-media oriented interactive and installation-based work, will support your further understanding of the history and potential of this medium. Discussions, screenings and readings will help establish a strong fine art platform for considering how you might progress and experiment in this area of art-making. While providing a basic familiarity with digital video, desktop video production and interactivity, this course will also develop a critical and interdisciplinary framework for evaluating digital work on aesthetic terms. Students will formulate objectives for their art projects through a careful consideration of the implications of video and interactivity for their own aesthetic interests. Required Materials Firewire external hard drive. The following drives are available at the bookstore and are recommended: LaCie mini Hard Drive & Hub 250GB, FireWire 400, USB 2.0 $99.99 LaCie mini Hard Drive & Hub 320GB, FireWire 400, Hi-Speed USB 2.0 $159.99 Video: 2 DVD-R (4.7GB, any brand) Mini DV tapes – source footage 1 CD-RW Web: USC e-mail account Student generated source materials Required Books Adobe Flash CS3 Professional Hands-On Training Todd Perkins, Peach Pit Press ISBN: 0321509838 The Course Reader Optional Book Apple Pro Training Series: Final Cut Pro 6 Diana Weynand, Peach Pit Press, 2007, ISBN: 0321502655 Grading Attendance Attendance will be taken at all meetings and is MANDATORY. Your final grade can be dropped one full letter grade with 2 unexcused absences. 2 tardies = 1 absence. 4 unexcused absences can result in a failing grade. Grade Breakdown 10% - Participation in Discussion of Readings, Critiques, and Screenings 10% - Tech Project 45% - Project 1 [prep 1 and 2 – 15% / final project – 30%] 35% - Project 2 [prep 1 – 10% / final project – 25%] Projects: Projects are graded on the conceptual and aesthetic quality of finished work, technical/craft expertise, and conceptual and technical investment of time. No late assignments will be accepted. Participation Your grade will be lowered if you do not actively and constructively participate in critiques. Your grade will be lowered if you do not come to class prepared to productively work on projects during open studio times. Integrity policy Any student found guilty of plagiarism, fabrication, cheating on examinations, or purchasing papers or other assignments will immediately receive a failing grade in the course. There are no exceptions to this rule. Students with Disabilities and Academic Accommodations Students requesting academic accommodations based on a disability are required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP when adequate documentation is filed. Please be sure the letter is delivered to the professor as early in the term as possible. DSP is open Monday through Friday, 8:30-5:00. The office is located in the Student Union room 301 and their phone number is 213-740-0776. PROJECTS Explanation of Grading Project grades are determined based on your attention to and investment in the overall process of art-making. While the final product of your work will be the focal point of critiques and will be a major component of your grade, you must satisfy other criteria as well: Conceptual Merit: Your projects should be interesting and well thought-out. They will be evaluated in terms of degree of ambition and complexity, and should also reflect a growing understanding of the art historical and theoretical concepts discussed in class. Technical Execution and Effort: In addition to the overall level of skill you bring to your projects, they will be evaluated for the degree to which they answer the technical requirements of the assignment and the amount of in-class and out-of-class effort evident in the project. Planning and Organization: Because the overall process is often the most challenging and innovative aspect of art-making, your project grade will take into account the level of thought and preparation of your work at each stage: from initial proposal, through the stages of work, to the presentation of the final piece. On-time and thorough presentations are a significant aspect of your final project grade. Your project preparation will also be considered in this component of your grade (see below). TECHNICAL PROJECT The technical project will require the class to split into groups of 3 students. Each group of students will work as a team in realizing the first assignment, which is to shoot three short and simple scenes. These scenes will be edited by each member of the group in different ways. Each member of the three-person group will be responsible to shoot a scene that focuses on one of the following: 1) Physical Activity (Such as blinking, eating, running etc) 2) A local Place (Such as under a desk in Harris 220, in the elevator in Watt 6 etc) 3) Human-made Sound (Such as coughing, whistling, humming, talking…) Be prepared on the technical shooting day of class to present your specific idea of what to shoot to the group. You will have to consider how you will use the camera to create different kinds of shots. Consider not only the content of each shot, but also the form. This Technical Project will focus on technical learning including shooting, modes of camera movement, log and capture, basic editing, and exporting to QuickTime. Final technical projects will be presented for critique as an exported QuickTime file. PROJECT 1 “PERSONAL/PUBLIC SELF” Project Concept: This project will be a personal and social investigation of self, considering the public self that results from identity politics (such as gender, race, class, religion or nationality), and the personal self that exists through internal truths and personal mythologies. Your goal is to create an in-depth exploration of both a personal understanding of self and a social understanding of self, through image, sound, language and action. This project does not have to be narrative, and you are encouraged to consider more nonlinear, abstract and experimental means of communication. Most important is that you carefully consider what kind of representation will best reveal your thoughts about identity and self-definition. Project preparation (step 1) Create a list of ten or more elements that help define who you are to yourself, and who you feel you are to society. These elements must include both the personal (such as a coveted object, a greatest phobia, or your dynamic with a parent) and broader social categories (such as what it means to inhabit your body/self as a member of a certain gender, race, religion, nationality). For each item you list, you must explain specifically why it is significant: why is it important to you, and what does it communicate to others about you? This assignment is NOT a list of your favorite things. Rather, imagine that you are making a map of who you are and of the things that currently define that person to yourself and to the world. What’s important is that your list encompasses the full range of who and what you are, so that another person could accurately imagine you by reading your list. Project preparation (step 2) Following discussion with the instructor, you will choose 3-5 of your ten elements for further investigation. Your goal will be to illustrate how such an investigation would take place as a video, considering the roles of visuals, audio, time and movement. You will create a plan (this could include drawings, snap shots and written description) that outlines how you intend to approach your chosen elements and in what way you plan to have them work into a video piece. Project specifications: You will create a 5 – 10 minute video that captures 3 - 5 elements of self in the most creative and conceptually ambitious manner possible. This video will require that you carefully consider what approach to aesthetics, sound, time and movement will best communicate your ideas. Further, the project will require that you consider which video form is most appropriate for communicating the particular aspects of personal identity you wish to explore— documentary, fiction or abstraction…? Examples of such projects will be viewed in class to help you further understand the breadth of this form of expression. The final form of the video project will be burned to a DVD with a menu interface designed to relate to the project’s concept. PROJECT 2 “INTERACTIVE SELF” Project Concept: This project calls for an interactive artwork that further explores the personal and public notions of self. You will design an interactive experience that allows the viewer to actively take part in your investigation of self. Consider how a viewer / user might navigate through and venture deeper into a map of who you are to yourself and who you feel you are to society.
Load more

Recommended publications
  • VIPAW Wall Texts
    3rd Venice International Performance Art Week, 2016 Ouch – Pain and Performance A screening programme curated by Live Art Development Agency, London “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance. The works are not necessarily performances about pain, but in some way involve or invoke pain in their making or reading or experience - both the pain artists cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists from around the world whose practices address provocative issues including the lived experiences of illness, the aging female body, cosmetic surgery, addiction, embodied public protest, animalistic impulses, blood letting, staged fights, acts of self harm and flagellation, and what can happen when you invite audiences to be complicit in performance actions. Ouch featured artists: Marina Abramovic, Ron Athey, Marcel.Li Antunez Roca, Franko B, Wafaa Bilal, Rocio Boliver, Cassils, Bob Flanagan, Regina Jose Galindo, jamie lewis hadley, Nicola Hunter & Ernst Fischer, Oleg Kulik, Martin O’Brien, Kira O’Reilly, ORLAN, Petr Pavlensky.
    [Show full text]
  • Blood Rituals from Art to Murder
    The Sacrificial Aesthetic: Blood Rituals from Art to Murder Dawn Perlmutter Department of Fine Arts Cheyney University of Pennsylvania Cheyney PA 19319-0200 [email protected] [Ed. note 2/2017: Many of the links in this article have become invalid and been removed] The concept of the “sacrificial esthetic” introduced in Eric Gans’s Chronicle No. 184 entitled “Sacrificing Culture” describes a situation in which aesthetic forms remain sacrificial but have evolved from a necessary feature of social organization to a psychological element of the human condition. Gans concludes that art’s sacrificial esthetic is essentially exhausted as a creative force and argues that the future lies with simulations, virtual realities in which the spectator plays a partially interactive role. His most significant claim is that “This end of the ability of the esthetic to discriminate between the sacrificial and the antisacrificial is not the end of art. On the contrary, it liberates the esthetic from the ethical end of justifying sacrifice.” The consequence of the liberation of the ethical justification of sacrifice is the main concern of this essay. Throughout the history of art we have encountered images of blood, from the representations of wounded animals in the cave paintings of Lascaux through century after century of brutal Biblical images, through history paintings depicting scenes of war, up through the many films of war, horror, and violence. Blood is now off the canvas, off the screen and sometimes literally in your face. It is no coincidence that this substance has intrigued artists throughout history. Blood is fascinating; it simultaneously represents purity and impurity, the sacred and the profane, life and death.
    [Show full text]
  • Bob Flanagan, Sheree Rose and Masochistic Art During the NEA Controversies
    BRING THE PAIN: Bob Flanagan, Sheree Rose and Masochistic Art during the NEA Controversies by LAURA MACDONALD BFA., Concordia University, 2003 A THESIS SUBMITTED IN PARTIAL FULFILMENT GF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Art History, Visual Art and Theory UNIVERSITY OF BRITISH COLUMBIA SEPTEMBER 2005 © Laura MacDonald, 2005 Abstract Poet, performance/installation artist, self-proclaimed "supermasochist" and life-long Cystic Fibrosis sufferer, Bob Flanagan and his partner, dominatrix and fellow artist Sheree Rose created art derived from their personal explorations of sadomasochistic sex acts and relationships. This work used the lens of S/M practice to deal with issues of illness, death, gender and sex. Throughout most of their 15 year collaboration (late 1980- early 1996) Flanagan and Rose lived and worked in relative obscurity, their work being circulated mainly in small subcultural circles. It was during the years of controversies surrounding the National Endowment for the Arts (NEA), roughly 1989 to 1997, that Flanagan and Rose experienced unforeseen professional success and fame, propelling them from underground distribution in L.A. to the international art scene. These controversies arose from objections by various rightwing Christian politicians, individuals and groups who felt that the NEA had misused American tax dollars by awarding grants to artists who created and agencies that displayed "obscene" art. Flanagan and Rose were two such artists. This is a case study of the situation of Flanagan and Rose within these controversies, a situation in which there was opportunity, experimentation and heightened awareness despite (or perhaps because of) heated conflicts between opposing sets of ethics, aesthetics and lifestyle.
    [Show full text]
  • Ouch – Pain and Performance Curated by Live Art Development Agency “I
    Ouch – Pain and Performance Curated by Live Art Development Agency “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance – the pain artists might cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists whose practices address provocative issues from the lived experiences of illness, to representations of the aging female body, cosmetic surgery, addiction and self harm, animalistic impulses, and treacherous fire stunts, and what can happen when you invite audiences to be complicit in challenging embodied actions. Please note that this screening contains documentation of some historical performances for which the films are of variable quality. This screening also contains strong images, including blood and nudity. With many thanks to all of the featured artists for permission to show their work, to Sheree Rose and Janez Janša, and to Martin O’Brien. Running time 35’ approx. (on loop) Bob Flanagan (USA) Cystic Fibrosis Song 1990’s 1’32” A short film of Bob Flanagan parodying a famous Disney song to convey his experiences of living with Cystic Fibrosis.
    [Show full text]
  • ON PAIN in PERFORMANCE ART by Jareh Das
    BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed.
    [Show full text]
  • Hatred of Capitalism Would Be a Much Better Title
    "I looked through your magazine and I was repelled by the title, Semiotext(e). It's so dry, you just want to throw it in the trash, which I did. Listen: Hatred of Capitalism would be a much better title. It's stunning. The world is starving for thoughts. If you can think of something, the language will fall into place, but the thought is what's going to do it." —Jack Smith A READER edited by Chris Kraus and Sylvère Lotringer SEMIOTEXT(E) ACKNOWLEDGEMENTS The editors would like to thank all the friends who helped us retype portions of this manuscript: Priyanka Basu, Shannon Durbin, Jim Fletcher, Giovanni Intra, D'Arcy Cook Jones, John Kelsey, Hedi El Kholti, Tessa Laird, Joan Laughlin, Allison Madigsohn, Keith Pirlot, Sara Reich, Steve Shimada, Tom Simpson, Mark Stritzel, Joel Tauber, John Tremblay, and Robert Hardwick Weston Additional editing: Mark Von Schlegell Assistant editors: Shannon Durbin and Tessa Laird Designed at The Royal Academy of Nuts + Bolts, D.O.D. www.TheRoyalAcademy.org We gratefully acknowledge financial assistance in the publication of this book from the California Arts Council. This work, published as part of a program of aid for publication, received support from the French Ministry of Foreign Affairs and the Cultural Services of the French Embassy in the United States. Cover photo by Mark Borthwick Text at top of back cover from Algeria by Kathy Acker HATRED OF CAPITALISM, A READER. Copyright © 2001 Edited by Chris Kraus and Sylvère Lotringer. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews.
    [Show full text]
  • AMELIA G. JONES Robert A
    Last updated 4-15-16 AMELIA G. JONES Robert A. Day Professor of Art & Design Vice Dean of Critical Studies Roski School of Art and Design University of Southern California 850 West 37th Street, Watt Hall 117B Los Angeles, CA 90089 USA m: 213-393-0545 [email protected], [email protected] EDUCATION: UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty in modernism, contemporary art, film, and feminist theory; minor in critical theory. Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.” UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.” HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983. Honors thesis on American Impressionism. EMPLOYMENT: 2014-present UNIVERSITY OF SOUTHERN CALIFORNIA, Roski School of Art and Design, Los Angeles. Robert A. Day Professor of Art & Design and Vice Dean of Critical Studies. 2010-2014 McGILL UNIVERSITY, Art History & Communication Studies (AHCS) Department. Professor and Grierson Chair in Visual Culture. 2010-2014 Graduate Program Director for Art History (2010-13) and for AHCS (2013ff). 2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies. Professor and Pilkington Chair. 2004-2006 Subject Head (Department Chair). 2007-2009 Postgraduate Coordinator (Graduate Program Director). 1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of Art History. 1999ff: Professor of Twentieth-Century Art and Theory. 1993-2003 Graduate Program Director for Art History. 1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and Adviser. Designed and taught two graduate seminars: Contemporary Art; Feminism and Visual Practice.
    [Show full text]
  • Self-Portrait Photography As a Technology of Embodiment Author(S): Amelia Jones Source: Signs, Vol
    The "Eternal Return": Self-Portrait Photography as a Technology of Embodiment Author(s): Amelia Jones Source: Signs, Vol. 27, No. 4 (Summer, 2002), pp. 947-978 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/3175940 Accessed: 20/10/2009 00:55 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Signs. http://www.jstor.org Amelia Jones The "Eternal Return": Self-Portrait Photography as a Technology of Embodiment The subject"has no relationto him[/her]self that is not forcedto defer itself by passingthrough the other in the form ..
    [Show full text]
  • Disabilities and Sexualities: Exploring Intersections and Multiplicities
    Citation: Das, A (2016) Disabilities and Sexualities: Exploring Intersections and Multiplicities. Graduate Journal of Social Science, 12 (1). ISSN 1572-3763 Link to Leeds Beckett Repository record: https://eprints.leedsbeckett.ac.uk/id/eprint/3508/ Document Version: Article (Published Version) Creative Commons: Attribution-Noncommercial-No Derivative Works 3.0 The aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law. The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team. We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis. Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on [email protected] and we will investigate on a case-by-case basis. Sexualities & Disabilities Graduate Journal of Social GJSS Science Volume 12, Issue 1 – February 2016 http://gjss.org Graduate Journal of Social GJSS Science Graduate Journal of Social Science February 2016, Volume 12, Issue 1 Editors: Arpita Das, The Asian-Pacific Resource & Research Centre for Women Remi Joseph-Salisbury, Centre for Ethnicity and Racism Studies, University of Leeds, UK [email protected] Copy Editor: Nadia Hai, Carleton University, Canada Web Editor: Michael En, University of Vienna, Austria Layout & Design Editor: Boka En, University of Vienna, Austria Cover Image: Matt Olson Photography – http://www.gomattolsonphotography.com The Graduate Journal of Social Science (ISSN: 1572-3763) is an open-access online journal focusing on methodological and theoretical issues of interdisciplinary rele- vance.
    [Show full text]
  • [email protected] CURRICULUM VITAE BIO Jan Tumlir Is An
    JAN TUMLIR 5051 ½ Coringa Drive. L.A., CA. 90042 C: (323) 547 8827 E: [email protected] CURRICULUM VITAE BIO Jan Tumlir is an art-writer and teacher based in Los Angeles. He is a founding editor of the local art journal X-TRA, and his articles appear regularly in Artforum and Flash Art. He has written catalog essays for such artists as Bas Jan Ader, Uta Barth, John Divola, James Welling, Jorge Pardo and Cyprien Gaillard. Tumlir is a member of the MFA faculty at Art Center College of Design, and has in the past taught at Otis, CalArts, USC, UCR and UCLA. This year he is visiting Washington University in St. Louis as the Wallace Herndon Smith Distinguished Professor of Art. His book LA Artland, a survey of contemporary art in Los Angeles co- written with Chris Kraus and Jane McFadden, was published by Black Dog Press in 2005. Hyenas Are…, a book on artist Matthew Brannon, was published by Mousse in 2011. Tumlir’s latest book, The Magic Circle, On The Beatles, Pop Art, Art-Rock and Records was published by Onomatopee in 2015. EDUCATION Jan. 1987-Dec. 1988: MFA, California Institute of the Arts. Sept. 1983-Dec. 1985: BFA, University of California, Los Angeles. Sept. 1981-June 1983: California State University, Long Beach. BOOKS 2015: The Magic Circle: On The Beatles, Pop Art, Art-Rock and Records, Onomatopee. 2014: X-TRA Collected Writings, X-TRA. 2013: In the Good Name of the Company, Picturebox & ForYourArt. 2011: Matthew Brannon: Hyenas Are… Mousse Publishing. 2010: Endless Bummer: Surf Elsewhere, with Drew Heizler, Blum & Poe.
    [Show full text]
  • I WHAT IS OPPOSED to I a Struggle Towards Purity by A. DENZ ÜSTER
    WHAT IS OPPOSED TO I A Struggle Towards Purity by A. DEN İZ ÜSTER Submitted to the Institute of Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts Sabancı University Spring 2007 i © A. Deniz Üster 2007. All Rights Reserved ii WHAT IS OPPOSED TO I A Struggle Towards Purity APPROVED BY: Faculty. Selim Birsel ....................................... (Thesis Advisor) Faculty. Can Candan …………………………. Faculty. Elif Ayiter …………………………. DATE OF APPROVAL: …………………………. iii ABSTRACT WHAT IS OPPOSED TO I A Struggle Towards Purity A. Deniz Üster M.A. in Visual Arts and Visual Communication Design Spring 2007 Thesis Advisor: Selim Birsel Keywords: Body, impurity, abject, transgression of boundaries. The purpose of this thesis is to suggest a reading of my works, which I produced in two years, around the concepts of purity and impurity. In this study, the role of “dirt” is examined in terms of social regulations and bodily disorder. While defining these conceptions, I considered the “transgression of boundaries” as my focal point. Related with this statement, the problematics of how dirt is interconnected with locality and blurs the borderlines; and in what way the body becomes responsible for that irregularity, were analyzed. In this exhibition, the projects I produced assume the body as the primal source of impurity, and by implication, the term abject was evaluated from the point of psychoanalysis. In this way, it will be clearly seen that impurity, in all senses, attacks the totalizing and thus the discriminatory aspect of identity, system and order. By this means, most of my works challenge the constancy of the body's entirety.
    [Show full text]
  • 2018 Biennial Catalogue
    BERENICE ABBOTT, VITO ACCONCI, GUGLIELMO ACHILLE CAVELLINI, DERRICK ADAMS, MATTHEW ALBRITTON, SHAREE ALLEN, ERIKA NJ ALLEN, BARRY ANDERSEN, LARS ANDERSON, KARIN MAMMA ANDERSSON, RAQUEL ANDRÉ, NOBUYOSHI ARAKI, DIANE ARBUS, JUNE ARCHER MILLER, JOEL ARMOR, LINDSEY ARMOR, CHRIS ASHWELL, EUGÈNE ATGET, STÉPHANE AUBIER, AZIZ+CUCHER, BILLY BACH, GORDON BAER, DARRYL BAIRD, JIMMY BAKER, GARY BARAT, STEPHANIE BARBER, PETER BARBERIE, CARISSA BARNARD, MIRANDA BARNES, TAD BARNEY, MORTON BARTLETT, MATTHEW BAUMAN, CHRISTINE BAWILI, JOSEPH JOHN BAYER, MOWAZO BEMBEREZA, ACHINTO BHARDRA, RICHARD BILLINGHAM, KARL BLOSSFELDT, JYMI BOLDEN, LIU BOLIN, STEVE BOOT, CAITI BORRUSO, VALERIE BOWER, SLATER BRADLEY, DR. SVEA BRAEUNERT, NICK BRANDT, SEBASTIAAN BREMER, LISA BRITTON, DAN BROWNE, FRANCIS BRUGUIÈRE, KATHE BURKHART, PAUL BUSH, JAMES BUTKUS, DA’MON BUTLER, HARRY CALLAHAN, MICHAEL CAPORALE, PAULA CHAMLEE, CLÉMENT CHÉROUX, JOHN CHERVINSKY, JOHN CHEWNING, LARRY CLARK, CHIVAS CLEM, BERNADETTE CLEMENS-WALATKA, MARK COHEN, TEJU COLE, MARJORY COLLINS, WILTON, COMPRES, CHRIS CONE, COURTTNEY COOPER, ALBERTO COUCEIRO, RENÉE COX, STUDIO CREATURE, BRUCE CRIPPEN, VICTORIA SANTA CRUZ, THIRZA CUTHAND, BILL DAVIS, ALAIN DECLERCQ, JACK DELANO, BONNIE DEVARCO, TONY DEVARCO, NAZLI DINCEL, STACEY DOLEN, BRIAN DOOLEY, TRACY DOYLE, DOUG DUBOIS, DIANA DUNCAN HOLMES, CHERYL DUNN, MATT EICH, RACHEL ELLIOTT, MAJD ELSABBAGH, PAZ ENCINA, CHRIS ENGMAN, SUSAN ERNST, RHIANNON EVANS, CAMRYN EVERSON, HARUN FAROCKI, TRACY FITCH, BOB FLANAGAN, ROBERT A. FLISCHEL, BOB FLISHEL, ADONIS FLORES, CHARLES FONTAYNE, NANCY FORD CONES, MAUREEN FRANCE, ROBERT FRANK, LATOYA RUBY FRAZIER, TIM FREEMAN, REBECCA FREIMUTH, TOM FRIEDMAN, SIEGFRIED A. FRUHAUF, EMILY FUNK, KELLY GALLAGHER, JOHN GANIS, YORDY CABRERA GARCIA, RON GEIBERT, ARIANA GERSTEIN, LINDA GILLINGS, HANS GINDLESBERGER, CHRIS GLASS, JOHN GLENN, ANTHONY GOICOLEA, DAVID GOLDES, KARØ GOLDT, JUAN-SÍ GONZÁLEZ, LUIS GONZÁLEZ PALMA, CAREY GOUGH, KATY GRANNAN, JOAN C.
    [Show full text]