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digital video: 5 Text passages
| Hits |
1.  Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life»Export/Peter Weibel, «Aus der Mappe der Hundigkeit» 1969). Vito Acconci attempt-ed to draw up a classification system for his own works.[37] Between the almost private gesture, or attitude, and the [more]  |
| 2. Inke Arns «Social Technologies
Deconstruction, subversion, and the utopia of democratic communication» precision the reality TV aesthetics of the late 1990s. Classic artistic treatments of social surveillance devices include Vito Acconci («Following Piece,» 1969), Bruce Nauman («Live-Taped Video Corridor,» 1969–1970; «Video [more] |
| 3. Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art» adaptation, were suitable for mobile production and for recording non-dramaturgical, open processes.[16] Bruce Nauman's or Vito Acconci's tapes presented situative processes or «attitudes,» with a beginning and end that followed no cinematic or [more] |
| 4. Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art» context of media art now persisted for a few years. This was a populist backward step whether for reasons of marketing or, as Vito Acconci surmised at an early stage, because of a bad conscience[38] that had to yield as quickly to the change of perceptions about [more] |
| 5. Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art» specific media aspects and contexts. In «Information» these included Hans Haacke, but also see the later work of Vito Acconci, «Virtual Intelligence Mask» (1993); «UTV» (1994) by Heimo Zobernig and others; Pierre Huyghe [more] |
