Paradigme critice în performance‐ul digital interactiv
Abrahams, A., & Jamieson, H. V. (2014). CyPosium. The Book. (A. Abrahams &
H. V. Jamieson, Eds.). Brescia: Link Editions. Accesat în 27 noiembrie, 2015,
de la http://www.linkartcenter.eu/public/editions/Abrahams_Jamieson_
Cyposium_the_book_Link_Editions_2014.pdf
Ascott, R., & Shanken, E. et all. (2003). Telematic Embrace: Visionary Teories of
Art, Technology and Consciousness. (E. A. SHANKEN, Ed.). University of
California Press. Accesat la de la file:///Users/admin/Downloads/telematic‐
embrace‐visionary‐theories‐of‐art‐technology‐and‐consciousness‐by‐roy‐
ascott.pdf
Asprem, E. (2013). (3) The Magus of Silicon Valley: Ray Kurzweil’s
Transhumanism as Contemporary Esotericism | ‐. Accesat în 7 februarie,
2015, de la https://www.academia.edu/3853968/The_Magus_of_Silicon_
Valley_Ray_Kurzweil_s_Transhumanism_as_Contemporary_Esotericism
Atzori, P., & Woolford, K. (n.d.). Extended‐Body: Interview with Stelarc.
Digital Delirium. Accesat în 20 noiembrie, 2014, de la http://web.stanford.edu/
dept/HPS/stelarc/a29‐extended_body.html
Auslander, P. (n.d.). Liveness, Mediatization and Intermedial Performance.
Accesat în 5 aprilie, 2014, de la http://homes.lmc.gatech.edu/~auslander/
publications/liveness.pdf
Austin, J. L. (1975). Lecture I‐II‐IV. In How to do things with Words (Second Edi.,
p. 180). Cambridge, Massachusets: Harvard University Press.
Baker, C., Betancourt, M., Steve Buchanan, B. B., & Ana Carvalho, et all. (2008).
VjTheory‐Collective writings on real time performance. (V. Theory, Ed.). Accesat
în 17 noiembrie, 2011, de la http://www.vjtheory.net/realtime_books/
vjam_theory.htm
Barrett, B. D. (2012). Is interdisciplinarity old news? A disciplined
consideration of interdisciplinarity. British Journal of Sociology of Education,
33(1), 97–114. doi:10.1080/01425692.2012.632868
Bates, T. (2014). Performance, bioscience, care: exploring interspecies alterity.
International Journal of Performance Arts and Digital Media, 10(2), 216–231.
doi:10.1080/14794713.2014.946288
Baugh, C. (2013). Theater, Performace and Technology. The Developement and
Transformation of Scenography (1st ed. 20.). Palgrave Macmillan.
Bay‐Cheng, S., Kattenbelt, C., Lavender, A., & Nelson, R. (2010). Mapping
Intermediality in Performance. (S. Bay‐Cheng, C. Kattenbelt, A. Lavender, & R.
Nelson, Eds.). Amsterdam: Amsterdam University Press. Accesat la de la
https://books.google.com/books?id=lHgfaL6P0QwC&pgis=1
200
Bibliografie
Benson, T. C. (1982). Five Arguments Against Interdisciplinary Studies. Issues
in Integrative Studies, 1, 38–48.
Benson, T. L. (1987). Post‐Modernism and the Theory of Interdisciplinary
Studies: A Reply to Nicholson.
Bial, H. (2004). The Performance Studies Reader. Psychology Press. Accesat în 17
aprilie, 2015, de la http://books.google.com/books?id=9_EWvlnrxp0C&pgis=1
Birnbaum, D., & Volz, J. (2009). Making Worlds : Biennale Arte 2009. 53.
Esposizione Internazionale d’Arte. In D. Birnbaum & J. Volz (Eds.), Catalogul
expoziției (p. 303). Marsilio ; Roma: La Repubblica‐L’Espresso.
Birringer, J. (1991). Video Art / Performance : A Border Theory. Performing Arts
Journal, 13(3), 54–84. Accesat în 21 noiembrie 2014, de la http://www.jstor.org/
discover/10.2307/3245541?uid=3738920&uid=2&uid=4&sid=21103432291243
Birringer, J. (1998). Media and Performance ‐ Along the Border. Bltimore: The John
Hopkins University Press. Accesat în 3 iulie, 2014, de la http://books.google.ro/
books?id=Sp‐uWarorw8C&pg=PA9&dq=video+art/performance+a+border+
theory&hl=en&sa=X&ei=SFjMT4z‐ItGA wbn8txg&redir_esc=y#v=onepage&q
=video art%2Fperformance a border theory&f=false
Birringer, J. (2013a). Dance and Interactivity. Dance Research Journal, 35(3), 88–111.
Birringer, J. (2013b). What score? Pre‐choreography and post‐choreography.
International Journal of Performance Arts and Digital Media, 9(1), 7–13.
Bissell, L. (2014). The female cyborg as grotesque in performance. International
Journal of Performance Arts and Digital Media, 9(Februarie 2015), 37–41.
doi:10.1386/padm.9.2.261
Bolter, J. D., & Grusin, R. (1999). Remediation ‐ Understanding New Media (1st
ed.). MIT. Accesat în 32 martie 2015, de la http://monoskop.org/images/a/ae/
Bolter_Jay_David_Grusin_Richard_Remediation_Understanding_New_Medi
a_low_quality.pdf
Borgmann, A. (1984). Technology and the Character of Contemporary Life: A
Philosophical Inquiry. Chicago: University of Chicago Press. Accesat în 21
noiembrie, 2014, de la http://books.google.ro/books?id=GdonAgAAQBAJ&
printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Brayshaw, T., & Witts, N. (2013). The Twentieth‐Century Performance Reader (3rd.
ed.). New York: Routledge. Accesat în 9 noiembrie 2014, de la
http://books.google.com/books?id=PTIiAQAAQBAJ&pgis=1
Breder, H. (1995). Intermedia: Enacting the Liminal. Performing Arts Journal,
17(2/3), 112–120.
201
Paradigme critice în performance‐ul digital interactiv
Brey, P. (2000). Theories of Technology as Extension of the Human Faculties.
Metaphysics, Epistemology, and Technology. Research in Philosophy and
Technology, 19. Accesat în 5 aprilie, 2015, de la http://www.utwente.nl/bms/
wijsb/organization/brey/Publicaties_Brey/Brey_2000_Extension_Faculties.pdf
Broadhurst, S. (1999). Liminal Acts: A Critical Overview of Contemporary
Performance and Theory. A&C Black.
Broadhurst, S. (2011). Digital Practices: Aesthetic and Neuroesthetic Approaches to
Performance and Technology (First edit.). Palgrave Macmillan. Accesat în 29
aprilie 2015, de la https://books.google.nl/books?id=e7PnTgEACAAJ&dq=
digital+practices&hl=en&sa=X&ei=IqE_VfudPIX_UNz6geAN&redir_esc=y
Broadhurst, S., & Machon, J. (2011). Performance and Technology: Practices of
Virtual Embodiment and Interactivity. Palgrave Macmillan. Accesat în 2
decembrie, 2014, de la http://www.amazon.com/Performance‐Technology‐
Practices‐Embodiment‐Interactivity/dp/0230293654/ref=pd_sim_b_4?ie=
UTF8&refRID=0PVWNNVKGAK9DPX0G5YJ
Broadhurst, S., & Machon, J. (2012). Identity, Performance and Technology:
Practices of Empowerment, Embodiment and Technicity. Palgrave Macmillan.
Accesat în 18 aprilie, 2015, de la http://books.google.com/books?id=T53m
OaJi8GYC&pgis=1
Brynjarsdóttir, H. H., DiSalvo, C., Sengers, P., & Lodato, T. (2015). Constructing
and constraining participation in participatory arts and HCI. Int. J. Human‐
Computer Studies, 74, 107–123.
Butler, J. (n.d.). Judith Butler handout. Accesat în 24 noiembrie 2014, de la
https://www.google.ro/search?q=judith+butler+handout&oq=judith+butler+h
andout&aqs=chrome..69i57j69i59j69i60l3.4182j0j7&sourceid=chrome&es_sm=
91&ie=UTF‐8
Carlson, M. (2004). Performance. A Critical Introduction (2nd ed.). New York:
Routledge.
Carmen, A. (2011). The Interdisciplinarity in the Knowledge Society in the Arts
Education and New Information and Communicaiton Technologies. Review
of Artistic Educaiton. Accesat în 21 mai, 2014, http://search.proquest.com.
ux4ll8xu6v.useaccesscontrol.com/pqcentral/docview/1519062261?OpenUrlRe
fId=info:xri/sid:summon
Carr, N. G. (2010). The Shallows: What the Internet is Doing to Our Brains. W.W.
Norton. Accesat în 13 februarie 2015, de la http://books.google.com.gh/
books/about/The_Shallows.html?id=9‐8jnjgYrgYC&pgis=1
Carver, G., & Colin, B. (2004). New Visions in Performance; The impact of Digital
Technologies. (G. Carver & B. Colin, Eds.). Lise, The Netherlands: Swets and
Zeitlinger.
202
Bibliografie
Cellan‐Jones, R. (2014). BBC News ‐ Stephen Hawking warns artificial
intelligence could end mankind. BBC. Accesat 7 februarie 2015, de la
http://www.bbc.com/news/technology‐30290540
Channel, L. B. di V. (2010). Capturing Emotions ‐ Gideon Obarzanek. YouTube.
La Biennale. Accesat în 5 noiembrie, 2014, http://www.labiennale.org/it/
mediacenter/video/obarzanek.html
Chatzichristodoulou, M., & Zerihan, R. (2009). Introduction. In M.
Chatzichristodoulou, J. Jefferies, & R. Zerihan (Eds.), Digital Research in the Arts
and Humanities : Interfaces of Performance (pp. 1–5). Ashgate Publishing Ltd.
Chazichristodoulou, M. (2014). Cyberformance? digital or Networked
Performance? cybertheaters? Virtual Theaters?... Or all of the Above. In A.
Abrahams & H. V. Jamieson (Eds.), CyPosium ‐ The Book (pp. 19–30). Brescia:
Link Editions.
Chettiparamb, A. (2007). Interdisciplinarity: a literature review. The
Interdisciplinary Teaching and Learning Group,. Accesat în 28 decembrie 2013,
de la http://www.heacademy.ac.uk/assets/documents/sustainability/inter
disciplinarity_literature_review.pdf
ChunkyMove. (2011). Chunky Move’s Connected. YouTube. Accesat în 9
august, 2014, de la https://www.youtube.com/watch?v=VgKxTcds2V8
Clark, A. (2007). Re‐Inventing Ourselves: The Plasticity of Embodiment,
Sensing and Mind. Journal of Medicine and Philosophy, 32, 263–282. Accesat 5
ianuarie, 2015, de la http://faculty.ycp.edu/~dweiss/phl401_seminar/andy
clark re‐inventing ourselves.pdf
CNN. (2014). Turning hand gestures into music. CNN. Accesat în 3 ianuarie
2015, de la http://edition.cnn.com/videos/international/2014/12/29/spc‐art‐of‐
movement‐music‐gloves‐mi‐mu.cnn
Cooper, H., & Hedges, L. V. (2009). RESEARCH SYNTHESIS AS A
SCIENTIFIC PROCESS. In H. Cooper & L. V. Hedges (Eds.), The Handbook of
Research Synthesis and Meta‐Analysis (second edi., pp. 1–16). New York:
Russel Sage Foundation.
Couchot, E. (2005). MEDIA ART : HYBRIDIZATION AND AUTONOMY. In
First International Conference on the Media Arts, Sciences and Technologies (p. 10).
Accesat în 23 martie, 2015,la de la http://www.mediaarthistory.org/wp‐
content/uploads/2011/05/Edmond_Couchot2.pdf
Counsell, C., & Wolf, L. (2001). Performance Analysis ‐ An introductory coursebook.
(Colin Counsell & L. Wolf, Eds.). London and New York: Routledge.
203
Paradigme critice în performance‐ul digital interactiv
CREWvzwEricJoris. (2009). CREW ‐ U_Raging Standstill (2006). YouTube.
Accesat în 19 decembrie, 2014, https://www.youtube.com/watch?v=
vyTVXkoHKSE&index=6&list=PLBBC9C7EA159019A2
DasPlatforms. (2014). Robin Peckham: Tracing the Post‐Internet. YouTube.
Accesat în 17 aprilie, 2015, https://www.youtube.com/watch?v=EXuKR1dKcyo
David, J. E. (2014). Tesla’s Musk: AI is like “summoning the demon”:
Washington Post. CNBC. Accesat în 7 februarie, 2015, de la http://www.cnbc.
com/id/102121127#.
De Merdieu, F. (2008). Arta și noile tehnologii ‐ Arta video, arta digitală. Editura
Rao.
Detels, C. J. (1999). Soft Boundaries: Re‐visioning the Arts and Aesthetics in
American Education. Greenwood Publishing Group. Accesat în 16 august,
2014, de la http://books.google.com/books?id=mSjsojwcyggC&pgis=1
Di Martino, E. (2005). The Hisory of the Venice Biennale 1895‐2005. Venezia:
Papiro Arte.
Dinescu, Simona, L. (2007). Corpul în imaginarul virtual. Editura Polirom.
Dixon, S. (2007a). Digital Performance. A History of New Media in Theater, Dance,
Performance Art, and Installation (e‐book kin.). Cambrdige, Massachusetts and
London: Amazon.com. Accesat în 26 noiembrie, 2014, de la http://archive.
neural.it/init/default/show/1613
Dixon, S. (2007b). Performing Interactivity. In Digital Performance: A History of
New Media in Theater, Dance, Performance Art, and Installation (pp. 559–598).
Cambrdige, Massachusetts and London: MIT Press.
Doug, H., & Sally, F. (n.d.). Illuminating Video ‐ Am essential Guiede to Video Art.
Aperture and Bay Area Coalition.
Doyle, D. (2015). Out of this world: exploring embodiment and space through
artistic processes and practice. International Journal of Performance Arts and
Digital Media, 11(1), 1–17. doi:10.1080/14794713.2014.998097
Durkheim, E. (1980). Educatie si Sociologie. București: Editura Didactică și
Pedagogică.
Dusek, V. (2006). Philosophy of Technology ‐ An Introduction. Oxford: Blackewell
Publishing. Accesat în 5 ianuarie 2015, de la http://aleteya.cs.buap.mx/
~jlavalle/filMetInvComp/Philosophy_of_Technology__An_Introduction.pdf
Dyer, J. (2009). Testing Out Four Philosophies of Technology on Twitter. Don’t
Eat The Fruit. Accesat în 7 ianuarie, 2015, http://donteatthefruit.com/2009/10/
testing‐out‐four‐philosophies‐of‐technology‐on‐twitter/
204
Bibliografie
Eberle, J., & Childress, M. (n.d.). Heutagogy: It Isn’t Your Mother’s Pedagogy
Any More. National Social Science Association. Accesat în 17 septembrie, 2015,
de la http://www.nssa.us/journals/2007‐28‐1/2007‐28‐1‐04.htm
Edmonds, E. (2010). The art of interaction. Digital Creativity, 21(4), 257–264.
doi:10.1080/14626268.2010.556347
Elwell, J. S. (2006). INTERMEDIA: FORTY YEARS ON AND BEYOND.
Afterimage, 33(5), 25–28,30. Accesat în 10 noiembrie 2014, de la
http://search.proquest.com/docview/212135676?accountid=15533
Elwell, S. (2006a). HANS BREDER: FATHER OF INTERMEDIA ‐ ProQuest
Central ‐ ProQuest. Afterimage. Accesat în 15 august, 2014, http://search.
proquest.com.ux4ll8xu6v.useaccesscontrol.com/pqcentral/docview/21211945
1/fulltextPDF/1E86D9203525498FPQ/1?accountid=15533
Elwell, S. (2006b). INTERMEDIA: FORTY YEARS ON AND BEYOND ‐
ProQuest Central ‐ ProQuest. Afterimage. Accesat în 15 august, 2014,
http://search.proquest.com.ux4ll8xu6v.useaccesscontrol.com/pqcentral/docvi
ew/212135676/1E86D9203525498FPQ/2?accountid=15533#
Elwes, C. (2005). Video art: A guided tour. I. B. Tauris.
Faulkner, M., & D‐Fuse. (2006). VJ: Audio‐Visual Art and VJ Culture: Includes
DVD. Laurence King Publishing. Accesat 26 aprilie, 2014, de la
http://books.google.com/books?id=H6thUebmIWwC&pgis=1
Fdili Alaoui, S., Henry, C., & Jacquemin, C. (2014). Physical modelling for
interactive installations and the performing arts. International Journal of
Performance Arts and Digital Media, 10(2), 159–178. doi:10.1080/14794713.
2014.946284
Feenberg, A. (1991). The Parliment of Things. In Critical Theory of Technology (p.
256). Oxford: Oxford University Press. Accesat în 6 februarie, 2015,
http://www‐rohan.sdsu.edu/faculty/feenberg/CRITSAM2.HTM
Feenberg, A. (2003). Ce este filosofia Tehnologiei? Universitatea din Komaba,
Japonia, Iunie, 2003. Accesat în 5 decembrie 2017 https://polifilosofie.files.
wordpress.com/2013/10/filosofia‐tehnologiei.pdf
Feenberg, A. (2005). Critical Theory of Technology: An Overview. Tailoring
Biotechnologies, I(1), 46–64. Accesat în 11 ianuarie, 2015, de la https://www.
sfu.ca/~andrewf/books/critbio.pdf
Feenberg, A. (2010). Ten paradoxes of Technology. Techné: Research in
Philosophy and Technology, 14(1).
Ferrando, F. (2013). Humans, Cyborgs, Posthumans: Francesca Ferrando at
TEDxSiliconAlley. Accesat în 2 septembrie, 2015, https://www.youtube.com/
watch?v=RGjMUw03Bv0
205
Paradigme critice în performance‐ul digital interactiv
Ferrando, F. (2014). Metahumanism , and New Materialisms Differences and
Relations, 8(2), 26–32. Accesat în 2 septembrie, 2015, de la https://www.
youtube.com/watch?v=RGjMUw03Bv0
Fitzgerald, M. (2014). A cheat’s guide to performance art. The Sidney Morning
Herald. Sidney. Accesat în 19 noiembrie 2014, de la http://www.smh.com.au/
entertainment/art‐and‐design/a‐cheats‐guide‐to‐performance‐art‐20130404‐
2h7tl.html
Flanagan, P. (2014, Martie 16). Colour blind artist unveils world ’ s first ’
eyeborg ’ device. Telegraph, pp. 5–7. Accesat în 9 mai, 2015, de la
http://www. telegraph.co.uk/news/science/10701562/Colour‐blind‐artist‐
unveils‐worlds‐first‐eyeborg‐device.html
Ford, A. (2011). Stelarc ‐ Art, Design, Future of Man ‐ YouTube. Youtube.
Accesat în 1 mai, 2015, https://www.youtube.com/watch?v=Y1SPish8ZwQ
Franssen, M., Lokhorst, G.‐J., & van de Poel, I. (2009). Philosophy of
Technology. Accesat în 2 februarie, 2015, de la http://plato.stanford.edu/
entries/technology/#CenDesTec
Friedman, K. (2007). Intermedia, Multimedia, Media. Artifact. Accesat în 5 mai,
2014, de la http://www.intermediamfa.org/imd501/media/1232972617.pdf
Future of Life Institute. (2015). Research priorities for robust and beneficial artificial
intelligence. Accesat în 7 februarie, 2015, de la http://futureoflife.org/static/
data/documents/research_priorities.pdf
Gade, R., & Jerslev, A. (2005). Performative Realism: Interdisciplinary Studies in
Art and Media. Museum Tusculanum Press. Accesat 26 aprilie, 2014, de la
http://books.google.com/books?id=9Vdkh1KjiIMC&pgis=1
Gallarino, A. (2012). Henry Jenkins. Tranmedia 2.0. In Henry Jenkins explains his
vision of transmedia and audience engagement. Transmedia Lab, Centre
Pompidou. Accesat în 15 februarie 2016, de la
http://www.transmedialab.org/ en/events/henry‐jenkins‐explains‐his‐vision‐
of‐transmedia‐and‐audience‐engagement/
Gere, C. (2008). Digital culture (Second edi.). London: Reaktion Books. Accesat
în 8 februarie 2016, de la http://mediaartscultures.eu/jspui/bitstream/10002/
597/1/digital‐culture.pdf
Gode, V. (2009). Stelarc : Les mécaniques du corps | Stelarc | Cultures
Electroniques | Culture | fr ‐ ARTE. Cultures Electroniques. Arte. Accesat în 21
noiembrie, 2014, de la http://www.arte.tv/fr/Stelarc‐‐‐Les‐mecaniques‐du‐
corps/2645338.html
Goldberg, R. (1979). Perforamce. Live Art de la 1909 to the present. New York:
Harry N. Abrams, Inc. Publishers.
206
Bibliografie
Goldberg, R. (1979). The Art of Ideas and the Media Generation 1968 to 1986. In
Performance Art. De la Futurism to the Present (p. 240). New York: Harry N.
Abrams, Inc. Publishers.
Goldberg, R. (1988). Performance Art. De la futurism to the Present. New York:
Harry N. Abrams, Inc. Publishers.
Goldberg, R. (2011). Performance Art: de la futurism to the present (3rd ed.).
London: Thanmes&Hudson Ltd.
Goo, B. (2013). An Approach to the Content‐to‐Content Interactivity in
Performing Arts over Networks. In N. Streitz & C. Stephanidis (Eds.),
Distributed, Ambient, and Pervasive Interactions (Vol. 8028, pp. 424–429). Berlin,
Heidelberg: Springer Berlin Heidelberg. doi:10.1007/978‐3‐642‐39351‐8
Gordon, C. (2011, Aprilie). A Conversation with Your Cellphone.
HuffingtonPost. Accesat în 20 septembrie 2015, de la http://www.huffington
post.com/claire‐gordon/a‐conversation‐with‐your‐_b_818440.html
Gruber, C. (2013). Interactions ‐ Performing Actual and Virtual Spaces as Stages of
Inter‐est. Amsterdam Gent: New Thesis in Performance REsearch.
Hannes Leopoldseder, Schöpf, C., & Stocker, G. (2010). Repair : sind wir noch
zu retten. In Festival catalog (p. 447). Ostfildern: Hatje Cantz Verlag.
Hase, S., & Kenyon, C. (2013). Self‐Determined Learning: Heutagogy in Action.
Bloomsbury Publishing. Accesat în 17 septembrie, 2015, de la
https://books.google.com/books?id=SUCaAAAAQBAJ&pgis=1
Heersmink, R. (2011). Defending Extension Theory: A Response to Kiran and
Verbeek. doi: 10.1007/s13347‐011‐0035‐6
Heitlinger, S., & Bryan‐Kinns, N. (2013). Understanding performative
behaviour within content‐rich Digital Live Art. Digital Creativity, 24(2), 111–
118. doi:10.1080/14626268.2013.808962
Helbo, A. (1987). Theory of Performing Arts. John Benjamins Publishing
Company. Accesat în 16 august, 2014, de la http://books.google.com/
books?id=CQtCAAAAQBAJ&pgis=1
Hewett, Baecker, Card, Carey, Gasen, Mantei, … Verplank. (2009). 2. Definition
and Overview of Human‐Computer Interaction. In ACM SIGCHI Curricula
for Human‐Computer Interaction. Accesat în 18 septembrie, 2015, de la
http://old.sigchi.org/cdg/cdg2.html#2_1
Hickman, R. (2008). Research in Art & Design Education: Issues and Exemplars.
Intellect Books. Accesat în 23 septembrie 2014, de la http://books.google.com/
books?id=WAkLQP0lIJsC&pgis=1
207
Paradigme critice în performance‐ul digital interactiv
Higgins, D., & Higgins, H. (2001). Intermedia. Leonardo, 34(1), 49–54. Accesat în
8 noiembrie, 2014, de la https://muse.jhu.edu/journals/leonardo/v034/
34.1higgins.pdf
Hook, J., Green, D., McCarthy, J., Taylor, S., Wright, P., & Olivier, P. (2011). A
VJ Centered Exploration of Expressive Interaction ‐ Microsoft Research.
Accesat în 16 noiembrie, 2012, http://research.microsoft.com/apps/pubs/
default.aspx?id=149004
Hughes‐Freeland, F. (1998). Ritual, Performance, Media. (Felicia Hughes‐
Freeland, Ed.). London and New York: Routledge.
Isenberg, S. (2007). Applying Andragogical Principles to Internet Learning.
Cambria Press.
James, M. (2000). How to read a Film ‐ Movies, Media, Multimedia ‐ Language,
History, Theory (3rd. ed.). Oxford University Press3rd.
Johnson, P. (2014). Science, performance and transformation: performance for a
“scientific” age? International Journal of Performance Arts and Digital Media,
10(2), 130–142. doi:10.1080/14794713.2014.946282
Johnson, S. (1997). Interface Culture: How New Technology Transforms the Way We
Create and Communicate. BAsic Books. Accesat în 18 noiembrie, 2014, de la
http://books.google.it/books/about/Interface_Culture.html?id=tR6CLHzZ‐
kIC&pgis=1
Jon McKenzie. (2001). Perform or Else. De la Discipline to Performance. London,
New York: Routledge.
Jørgensen, U. A. (2012). Bodies and real‐time interfaces: in video performance
and interactive digital 3D installation art by VALIE EXPORT and Jette Gejl
Kristensen. Journal of AESTHETICS & CULTURE, 4, 1–10.
Joseph, F., Hugain‐Lacire, N., & Verena, Z. (n.d.). Digital Art Live: Exploring
the Aesthetics of Interactivity. Creative Technologies. Accesat în 15 august,
2015, de la https://colab.aut.ac.nz/wp‐content/uploads/2013/07/Journal_
Creative_Technologies_‐_Digital_Art_Live_Exploring_the_Aesthetics_of_
Interactivity_‐_2012‐12‐06.pdf
Joseph‐Nicholas, T. (2012). Introduction. In T. Joseph‐Nicholas (Ed.),
ntroduction to Digital Culture ‐ Living and Thinking in an Information AgeNo
Title (p. 5). San Diego: Cognella. Accesat în 21 aprilie, 2015, de la
https://titles.cognella.com/downloadable/download/sample/sample_id/7475/
Kai‐Christoph Hamborg, Hülsmann, J., & Kaspar, K. (2014). The Interplay
between Usability and Aesthetics: More Evidence for the “What Is Usable Is
Beautiful” Notion. Advances in Human‐Computer Interaction, 2014, 13.
doi:http://dx.doi.org/10.1155/2014/946239
208
Bibliografie
Kaiser, E. (1999). BIPED. Open Ended Group. Accesat în 21 noiembrie, 2014,
http://openendedgroup.com/artworks/biped.html
Kaye, N. (2007). Multi‐media: Video – Installation – Performance (Google eBook).
Routledge. Accesat în 26 februarie, 2013, de la http://books.google.com/
books?id=LIq8MZ8h7GUC&pgis=1
Kershaw, B., & Nicholson, H. (2011). Research Methods in Theatre and
Performance. Edinburgh University Press. Accesat în 28 noiembrie, 2014, de la
http://books.google.com/books?id=vwoAdI‐0f10C&pgis=1
Kiran, A., & Verbeek, P.‐P. (2010). Trusting our selves to technology.
Knowledge, Technology and Policy, 23(3‐4), 409–427. Accesat în 5 ianuarie 2015,
de la http://download.springer.com/static/pdf/408/art%3A10.1007%2Fs12130‐
010‐9123‐
7.pdf?auth66=1420456166_3d9969e1398ea70cc6d87c758eb5926b&ext=.pdf
Klein, J. T. (1990). Interdisciplinarity: History, Theory, and Practice. Wayne State
University Press. Accesat în 16 august, 2014, de la http://www.google.ro/
books?hl=en&lr=&id=4uM8fjxhjqsC&pgis=1
Knowles, M. (1980). The modern practice of adult education: De la pedagogy to
andragogy. Wilton, Connecticut: Association Press.
Koosel, S. (2011). Surfing the Digital Wave: Digital Identity as Extension. In
McLuhan’s Philosophy of Media Centennial Conference. Accesat în 6 ianuarie,
2015, de la https://www.academia.edu/2048738/Surfing_the_Digital_Wave_
Digital_Identity_as_Extension
Koski, K. (2010). Instances. Performing an Avatar: Second Life on Stage. In S.
Bey‐Cheng, C. Kattenbelt, A. Lavander, & R. Nelson (Eds.), Mapping
Intermediality in Performance (pp. 49–55). Amsterdam: Amsteradam University
Press.
Kozel, S. (2010). Mobile social choreographies: Choreographic insight as a basis
for artistic research into mobile technologies. International Journal of
Performance Arts and Digital Media, 6(2), 137–148.
Kuksa, I. (2008). Susan Broadhurst and Josephine Machon, ed. Performance
and Technology: Practices of Virtual Embodiment and Interactivity.
Basingstoke: Palgrave Macmillan, 2006. 203 p. £45.00. ISBN: 978‐1‐4039‐99‐
07‐8. New Theatre Quarterly, 24(01), 99. doi:10.1017/S0266464X08210092
Kurtzweil, R. (2001). The Law of Accelerating Returns. Kurtzveil Accelerating
Intelligence. Accesat în 9 ianuarie, 2015, http://www.kurzweilai.net/the‐law‐
of‐accelerating‐returns
Kurtzweil, R. (2005). The Singularity is Near: When humans transcend byology.
Viking Press.
209
Paradigme critice în performance‐ul digital interactiv
Kwastek, K. (2013). Aesthetics of Interaction in Digital Art. Katja Kwastek.
Accesat în 3 martie, 2015, de la http://www.amazon.com/Aesthetics‐
Interaction‐Digital‐Katja‐
Kwastek/dp/0262019329/ref=pd_sim_b_6?ie=UTF8&refRID=09GNGZR5SKM
A8R7YB17M
LaBiennale. (2005). 110 anni di attivita de La Biennale di Venezia: arte, architettura,
cinema, danza, musica, teatro, archivio storico. Venezia: Fondazione La Biennale
di Venezia.
LaBiennale. (2006). UnderSkin : Biennale Danza 2006 : 4. Festival Internazionale
di danza Contemporanea. In Catalogul festivalului (p. 134). Venezia : Marsilio:
Fondazione La Biennale di Venezia.
LaBiennale. (2009a). Making worlds: Biennale Arte 2009. 53 Espozitione
Internazionale d’Arte. In Catalog participări naționale și evenimente colaterale (p.
307). Venezia, Marsilia: Fondazione La Biennale di Venezia.
LaBiennale. (2009b). Making Worlds. Biennale Arte 2009. 53rd international art
exhibition. In Ghid (p. 107). Venezia, Marsilio: Fondazione La Biennale di
Venezia.
LaBiennale. (2010). Capturing Emotions : Biennale danza 2010. In Catalogul
festivalului. Venetia: Fondazione La Biennale di Venezia.
LaBiennale. (2011a). Biennale Teatro 2011. 41. Festival Internazionale del
Teatro. In Catalogul festivalului (p. ‐). Venetia: Fondazione La Biennale di
Venezia.
LaBiennale. (2011b). Illuminations : Biennale Arte 2011. 54. Esposizione
internazionale d’arte. In Ghid (p. 221). Venezia : Marsilio: Fondazione La
Biennale di Venezia.
LaBiennale. (2011c). Illuminations. Biennale Arte 2011. 54. Esposizione
internazionale d’arte Venezia. In M. Editori (Ed.), Catalogul expoziției (p. 597).
Marsilio: Fondazione La Biennale di Venezia.
LaBiennale. (2012). Awakenings : Biennale Danza 2012. In Catalogul festivalului
(p. 77). Venezia: La Biennale.
LaBiennale. (2013a). Biennale teatro 2013. 42. Festival Internazionale del Teatro.
In Catalogul festivalului (p. ‐). Venetia: Fondazione La Biennale di Venezia.
LaBiennale. (2013b). Il palazzo enciclopedico : Biennale arte 2013. 55.
Esposizione internazionale d’arte. In Vol. 2 Catalog participări naționale (p.
306). Venezia, Marsilio: Fondazione La Biennale di Venezia.
LaBiennale. (2013c). Il palazzo enciclopedico : Biennale arte 2013. 55.
Esposizione internazionale d’arte. In Ghid (p. 303). Venetia: Fondazione La
Biennale di Venezia.
210
Bibliografie
LaBiennale. (2013d). Il palazzo enciclopedico : Biennale arte 2013. 55.
Esposizione internazionale d’arte. In Vol. 1 Catalog expozitie (Vol. I., p. 446).
Venezia, Marsilio: Fondazione La Biennale di Venezia.
Laurence2. (2012). Stelarc : Les mécaniques du corps | ARTE Creative.
Creative.Arte.TV. Accesat în 21 noiembrie, 2014, http://creative.arte.tv/en/
community/stelarc‐les‐mecaniques‐du‐corps
Lélé, S., & Norgaard, R. B. (2005). Practicing Interdisciplinarity. Bioscience,
55(11), 967–975. Accesat în 10 noiembrie 2014, sw la http://search.proquest.
com/docview/216472582?accountid=15533
Lidija, G. (2014). De la Gravity to Inception: The Mind‐Bending Movie World
of Projection Mapping ‐ Architizer. Architizer. Accesat în 9 iunie, 2014,
http://architizer.com/blog/de la‐gravity‐to‐inception‐the‐mind‐bending‐movie‐
world‐of‐projection‐mapping/
Lindinger, C., Mara, M., Obermaier, K., Aigner, R., Haring, R., & Pauser, V.
(2013). The (St)Age of Participation: audience involvement in interactive
performances. Digital Creativity, 24(2), 119–129. doi:10.1080/14626268.2013.
808966
Lunden, A. (2005). THE RISE OF THE VJ ‐ DV 13.8. Accesat în 15 august, 2014,
http://search.proquest.com.ux4ll8xu6v.useaccesscontrol.com/pqcentral/docvi
ew/274632139/Record/50D5D1CC4FC3469FPQ/1?accountid=15533#
Mackrell, J. (2014). How lighting design and technology are transforming
dance on stage | Stage | The Guardian. The Guardian. Accesat în 19
noiembrie, 2014, de la http://www.theguardian.com/stage/2014/feb/04/
lighting‐design‐technology‐transforming‐dance
Madison, D. S., Hamera, J., Strine, S., Long, B. W., & Francis, M. (2006).
Performance Studies at the Intersections. In The Sage Handbook of Performance
Studies (p. 15 (out of 586)).
Malița, L. (2010). Extremele Artei. Editura Accent.
Manovich, L. (1997). CINEMA AS A CULTURAL INTERFACE. Accesat în 3
ianuarie, 2015, http://manovich.net/content/04‐projects/018‐cinema‐as‐a‐
cultural‐interface/17_article_1997.pdf
Manovich, L. (2001). What is New Media. In The Language of New Media (pp.
43–70). MIT Press.
Manovich, L. (2002). The Language of New Media. MIT Press. Accesat în 21 oc‐
tombrie 2012, de la http://books.google.com/books?id=7m1GhPKuN3cC&pgis=1
Marcelino, L. (2012). Derrick de Kerkhoven: “The problem is wither you
control the language or it controls you.” Jot Down ‐ Contemporary Culture Mag.
211
Paradigme critice în performance‐ul digital interactiv
Accesat în 20 noiembrie, 2014, de la http://www.jotdown.es/2012/08/derrick‐
de‐kerckhove‐english‐version/
Matei, C. (2011a). EDUCATION AND TRANSDISCIPLINARITY. Euromentor
Journal, 2(1), 64–70. Accesat http://search.proquest.com/docview/1130490839?
accountid=15533
Matei, C. (2011b). Education and Transdisciplinarity. Euromentor Journal.
Accesat în 15 august, 2014, http://search.proquest.com.ux4ll8xu6v.
useaccesscontrol.com/docview/1130490839?accountid=15533#
McKenzie, J. (2001). Perform Or Else: De la Discipline to Performance. Psychology
Press. Accesat în 24 noiembrie, 2014, de la http://books.google.it/books/
about/Perform_Or_Else.html?id=6M9ZW3nql2MC&pgis=1
McLuhan, M. (1964). Understanding media : the extensions of man. New York :
McGraw‐Hill.
Mcmeel, D., Brown, C., & Longley, A. (2011). Design, digital gestures and the
in[ter]ference of meaning: Reframing technology’s role within design and
place through performative gesture. International Journal of Performance Arts
and Digital Media, 7(1), 5–22.
McPhee, S. (1997). Audio‐visual Poetics in Interactive Multimedia. Convergence:
The International Journal of Research into New Media Technologies, 3(4), 72–91.
doi:10.1177/135485659700300407
MediaArtTube. (2008a). Chunky Move ‐ Mortal Engine, Crossmedia
Performance 2008. YouTube. Australia. Accesat în 23 aprilie, 2015, de la
https://www.youtube.com/watch?v=CHKLr_pvj2I
MediaArtTube. (2008b). Sonia Cillari: Se Mi Sei Vicino, Inter‐reactive
Environment. YouTube. Accesat în 17 aprilie, 2015, https://www.
youtube.com/watch?v=idNRiQCLzlQ
Miller, V. (2011). Understanding Digital Culture. SAGE Publications. Accesat în 9
august, 2015, de la https://books.google.com/books?id=QzKbwZtUqNEC&pgis=1
Mocan, R. (2013). Klaus Obermaier ‐ “My work is not simply visualization. It’s
a totally different thing.” EKPHRASIS. Images, Cinema, Theater. Media, 10(2),
50–60.
Mocan, R. (2014). Klaus Obermaier – “What interests me now, is how to bring
people into environments in which they can participate.” EKPHRASIS.
Images, Cinema, Theater. Media, 11(1), 234–243.
Modreanu, C. (2015). Utopii performative. Artisti radicali ai scenei americane in
secolul 22. București: Humanitas SA. Accesat în 29 aprilie, 2015, de la
https://books.google.com/books?id=QMulBgAAQBAJ&pgis=1
212
Bibliografie
Moles, A. (n.d.). Theoretical Analysis of the Intermedia Art Form. Buenos Aires.
Moley, D., & Brunsdon, C. (1999). The Nationwise Television Studies. In D.
Moley & C. Brunsdon (Eds.), Routledge Research in Cultural and Media Studies
(Taylor & F., p. 348). London and New York: Routledge. Accesat în 9
noiembrie, 2014, de la http://monoskop.org/images/9/99/Brunsdon_
Charlotte_Morley_David_The_Nationwide_Television_Studies_1999.pdf
Morphy, H. (2006). The Anthropology of Art ‐ a Reader. Blakwell Publishing.
Mullis, E. (2013). Dance, Interactive Technology, and the Device Paradigm ‐
ProQuest Central ‐ ProQuest. Dance Research Journal, 45(3), 111–124. Accesat
21 noiembrie, 2014, de la http://search.proquest.com.ux4ll8xu6v.useaccess
control.com/pqcentral/docview/1541678692?OpenUrlRefId=info:xri/sid:sum
mon&accountid=15533
Nae, C. (2015). Moduri de a percepe. O introducere în teoria artei moderne și
contemporane. Editura Polirom. Accesat în 22 aprilie, 2015, de la
https://books.google.com/books?id=Z324BgAAQBAJ&pgis=1
Nedelkopoulou, E., Joris, E., Bekaert, P., & Vanhoutte, K. (2014). On the border
between performance, science and the digital. International Journal of
Performance Arts and Digital Media, 10(2), 246–254. Accesat în 15 august, 2015,
de la http://www.tandfonline.com.proxy.library.uu.nl/doi/pdf/10.1080/
14794713.2014.946290
Nestor, R., & Mihalache, A. (2008). Ce este arta digitală? Dilema Veche. Accesat
în 8 noiembrie, 2014, http://agenda.liternet.ro/articol/7621/Raluca‐Nestor‐
Adrian‐Mihalache/Ce‐este‐arta‐digitala.html
Newell, W. (1983). The Case for Interdisciplinary Studies: Response to
Professor Bensons’s Five Arguments. Issues in Integrative Studies, 2, 1–19.
Accesat în 28 decembrie, 2013, de la https://blogs.commons.georgetown.edu/
cctp‐505‐fall2011/files/The‐Case‐for‐Interdisciplinary‐Studies.pdf
Noble, G., & Pickles, D. (n.d.). Long Form Improvisation, Feedback Loops and
Cybernetics. Body, Space, Technology Journal. Accesat în 23 martie, 2015, de la
http://people.brunel.ac.uk/bst/vol1202/glennnoble/glennnoble.pdf
Oddey, A., & White, A. C. (2006). The Potential of Spaces: The Theory and Practice
of Scenography and Performance. (A. Oddey & A. C. White, Eds.). Bristol:
Intellect ltd. Accesat în 3 iulie, 2014, de la https://books.google.nl/books?id=
Rv0sC4JisCgC&pg=PT20&lpg=PT20&dq=The+Potential+of+Spaces:+The+The
ory+and+Practice+of+Scenography+and+Performance&source=bl&ots=hJw8
w46ixo&sig=HXavNsbgl5NqJm4b53p21jL_S5s&hl=en&sa=X&ei=5y8xVa7VB
8O6swH62YHoCw&ved=0CDMQ6AEwAg
213
Paradigme critice în performance‐ul digital interactiv
Oliver, M. (2012). Me‐but‐not‐me: Teaching the digital double. International
Journal of Performance Arts and Digital Media, 8(2), 189–204.
Oliver, M. L. (2013). THE DIGITAL PERFORMER : PERFORMANCE ,
TECHNOLOGY AND NEW PERFORMANCE PARADIGMS. University of
Salford, Salford, UK. Accesat în 9 august, 2015, de la http://usir.salford.ac.uk/
30850/1/Mary_Oliver_PhD_submission.pdf
Paiz, J. M., Angeli, E., Wagner, J., Lawrick, E., Moore, K., Anderson, M., …
Keck, R. (2013). APA Formatting and Style Guide. General Format. Purdue
OWL. Accesat în 25 aprilie, 2015, https://owl.english.purdue.edu/owl/
resource/560/01/
Palmer, S. (2015). The tech trends that will change the world ‐ CNN.com. CNN.
Accesat în 9 ianuarie, 2015, de la http://edition.cnn.com/2015/01/08/opinion/
tech‐trends‐changing‐world‐shelly‐palmer/index.html
Parker, J. (2012). Digital humanities, digital futures. Arts and Humanities in
Higher Education, 11(1‐2), 3–7. doi:10.1177/1474022211435777
Pascual, B. B. (2013). (Capturing) intention: The life of an interdisciplinary
research project. International Journal of Performance Arts and Digital Media,
9(1), 61–81.
Pavel, L. (2015). Aesthetic Negotiations of Identity – Between Embodied and
Disembodied Performance. EKPHRASIS. Images, Cinema, Theater. Media,
1(Creative Boycott), 80–90. Accesat în 24 ianuarie, 2016, de la
http://ekphrasisjournal.ro/docs/R1/13E7.pdf
Pavis, P. (2001). Theatre studies and interdisciplinarity. Theatre Research
International, 26(2), 153–163. Accesat în 15 august, 2014, de la
http://search.proquest.com/docview/221552082?accountid=15533
Pelias, R. J., & Oosting, J. van. (2004). A Paradigm for Performance Studies. In
P. Auslander (Ed.), Performance. Critical concepts in Literary and Cultural
Studies (2003rd ed., Vol. 73, pp. 219–231). Routledge. Accesat în 29 aprilie,
2015, de la https://books.google.nl/books?id=CyywmXnHXg4C&pg=PA227
&lpg=PA227&dq=a+paradigm+for+performance+studies+pelias&source=bl&
ots=RqSqvD2fgU&sig=NiN4fM1GHHwjynE7LSvClEiFYsQ&hl=en&sa=X&ei
=psFAVdLeN4KqUen3gNgJ&ved=0CFMQ6AEwCA#v=onepage&q=a
paradigm for performanc
Penny, S. (2011). Towards a Performative Aesthetics of Interactivity. The
Fibreculture Journal, (19). Accesat în 21 aprilie, 2015, de la http://nineteen.fibre
culturejournal.org/fcj‐132‐towards‐a‐performative‐aesthetics‐of‐interactivity/
Pink, S. (2003). Interdisciplinary agendas in visual research: re‐situating visual
anthropology. Visual Studies, 18(2), 179–192. doi:10.1080/14725860310001632029
214
Bibliografie
Ploeger, D. (2011). Sonic prosthetics: Exploring posthuman personal space in
digital performance. International Journal of Performance Arts and Digital Media,
7(2), 155–169.
Ponsford, M. (2015). 7 “impossible” dance GIFs to trick your eyes ‐ CNN.com.
CNN. CNN. Accesat în 3 aprilie, 2015, http://edition.cnn.com/2015/04/03/
world/dance‐films‐trick‐videos/index.html
Popa, M. D., Stănciulescu, A., Florin‐Matei, G., Tudor, A., Zgavardici, C., &
Chiriacescu, R. (2011). Dicționar enciclopedic. Editura Enciclopedică. Accesat în
24 noiembrie, 2014, de la http://www.toatecuvintele.ro/cuvant/performance
Popat, S. (2006). “Ways of Thinking, Ways of Doing”: Review of the second
international conference for digital technologies and performance arts.
International Journal of Performance Arts and Digital Media, 2(2), 209–2014.
Popovici, I. (2007, August). Cum să faci performance în România. Atelier
Liternet. Accesat în 26 mai, 2015, de la http://atelier.liternet.ro/articol/4861/
Iulia‐Popovici/Cum‐sa‐faci‐performance‐in‐Romania.html
Poptech. (2011). Gideon Obarzanek and Reuben Margolin: A meeting of the
minds. Youtube. Accesat în 9 august, 2014, de la https://www.youtube.com/
watch?v=ojR4dLFuPJI
Powell, B. D., & Shaffer, T. S. (2009). The haunting of Performance Studies.
Liminalities: A Journal of Performance Studies, 5(1).
Price, M. L., Mocan, R., Gourdin, A., Roels, C., & Kaipainen, M. (2008). EMIM
EUROPEAN MASTER ’ S IN INTERACTIVE MULTIMEDIA ( EMIM ) –
BEYOND BOLOGNA. In INTED 2008, Martie 3‐5 2008, Valencia, Spain.
Rapaport, H. (2011). Intermedia: A Consciousness‐based Process. Hans Brader
in conversation with Herman Rapaport. PAJ 99, 99, 11–23. Accesat în 28
decembrie, 2013, de la http://www.mitpressjournals.org/doi/pdf/10.1162/
PAJJ_a_00051
Reed, A., & Phillips, A. (2013). Additive race: colorblind discourses of realism
in performance capture technologies. Digital Creativity, 24(2), 130–144.
doi:10.1080/14626268.2013.808965
Reed, B. (2015). Bill Gates is the latest brilliant person to warn artificial
intelligence could kill us all. Accesat în 7 februarie, 2015, de la
https://www.yahoo.com/tech/s/bill‐gates‐latest‐brilliant‐person‐warn‐
artificial‐intelligence‐154513637.html
Reese, T. (1995). Mapping interdisciplinarity. The Art Bulletin, 77(4), 544.
Accesat în 16 august, 2014, de la http://search.proquest.com.ux4ll8xu6v.use
accesscontrol.com/docview/222955778?accountid=15533#
215
Paradigme critice în performance‐ul digital interactiv
Reeves, S. (n.d.). Designing Interfaces in Public Settings ‐ understandind the Role of
the Spectator in Human Computer Interaction. London: Springer Verlag. Accesat
în 3 iulie, 2014, de la http://citeseerx.ist.psu.edu/viewdoc/download?doi=
10.1.1.152.8897&rep=rep1&type=pdf
Română, A. (2009). Dicționarul explicativ al limbii române (a II‐a.). București:
Academia Română.
Runcan, M. (2011a). Signore Misterioso. O anatomie a spectatorului. București:
Unitext.
Runcan, M. (2011b). Teorii ale receptarii spectacolului_suport 2011.
Russell, T., Brizee, A., Angeli, E., Keck, R., Paiz, J. M., Campbell, M., &
Rodríguez‐Fuentes, R. (2014). MLA Works Cited: Electronic Sources (Web
Publications). Purdue OWL. Accesat în 25 aprilie, 2015, https://owl.english.
purdue.edu/owl/resource/747/08/
Sager, R. (2014). Watch These Beautiful Drones Dance With Cirque du Soleil |
TIME. Time. Accesat în 27 septembrie, 2014, de la http://time.com/3430309/
watch‐these‐beautiful‐drones‐dance‐with‐cirque‐du‐soleil/
Salter, C. (2010). Entangled: Technology and the Transformation of Performance. The
MIT Press. Accesat în 23 martie, 2015, de la http://www.amazon.com/
Entangled‐Transformation‐Performance‐Chris‐Salter/dp/0262195887/ref=pd_
sim_b_2?ie=UTF8&refRID=0PVWNNVKGAK9DPX0G5YJ
Sant, T. (2013). Internet : How far have we come since Theatrical performance
on the Internet : How far have we come since Hamnet ? International Journal of
Performance Arts and Digital Media, 9(2), 247–259. doi:10.1386/padm.9.2.247
Scaparro, diretto da M. (2009). Mediterraneo : Biennale Teatro 2009 : 40.
Festival internazionale del teatro. In R. Canziani & M. Scaparro (Eds.),
Catalogul festivalului (p. 144). Venezia : Marsilio: Fondazione La Biennale di
Venezia.
Schechner, R. (2004). Performance theory (Essays on.). London & New York:
Taylor & Francis e‐Library. Accesat în 23 martie, 2015, de la http://wiki.
dxarts.washington.edu/sandbox/groups/general/wiki/f290d/attachments/88f2
e/Performance theory ‐ Richard Schechner [1977].pdf?sessionID=c545bdd9aaf
bac931cdcb9138e309ae90c7b3578
Schechner, R. (2009). Performance ‐ Introducere și Teorie. București: Unitex
(Uniter).
Schiphorst, T. (2014). Breath , skin and clothing : Using wearable technologies
as an interface into ourselves. International Journal of Performance Arts and
Digital Media, 2(2), 37–41. doi:10.1386/padm.2.2.171/1
216
Bibliografie
Scott, H. (2009). What is Grounded Theory? ‐ Grounded Theory Online;
supporting GT researchers. Grounded Theory Online. Accesat în 4 februarie,
2014, de la http://www.groundedtheoryonline.com/what‐is‐grounded‐theory
Shafer, J. W., Brown, G. H., Boyd, B., Marino, D., & Donald Merritt, I. (2005).
Arts Go the Distance: Creating a Low‐Budget, Long‐Distance Collaboration.
Educause Quarterly, (2), 42–49.
Sharachchandra, L., & Norgaard, R. B. (2005). Practicing Interdisciplinarity.
Bioscience. Accesat în 16 august, 2014, de la http://search.proquest.com.ux
4ll8xu6v.useaccesscontrol.com/docview/216472582?accountid=15533#
Shetty, D. (n.d.). Multimedia maverick: Multi‐disciplinary artist Jason Wee
moves between written, performing and visual art forms, with many works
in multimedia ‐ ProQuest Central ‐ ProQuest. The Straits Times. Accesat în 10
noiembrie, 2014, de la http://search.proquest.com.ux4ll8xu6v.useaccess
control.com/pqcentral/docview/929709727/92B94375F40F47C0PQ/15?account
id=15533
Shetty, D. (2012, Martie 22). Multimedia maverick. The Straits Times. Singapore.
Accesat în 10 noiembrie, 2014, de la http://search.proquest.com/docview/
929709727?accountid=15533
Sieni, V. (2014). Vanghelo Secondo Matteo. Biennale danza 2014. 27 quadri
corregrafici. 9. Festival Interanzionale di Danza Contemporanea. In Venetia
(Ed.), Collegio Danza. Special project (p. 144). Fondazione La Biennale di
Venezia.
Smântână, D. (2008). Problema anglicismelor în limba română actuală ‐
LimbaRomana. Revista Limba Română, XVIII(5‐6). Accesat în 25 martie, 2015,
de la http://limbaromana.md/index.php?go=articole&n=467
Smith, A. (n.d.‐b). Steve Dixon (2007) Digital Performance: A History of New
Media in Theatre, Dance, Performance Art, and Installation. In Culture
Machine. Cambridge, MA and London: The MIT Press. Accesat în 26
noiembrie, 2014, de la http://www.culturemachine.net/index.php/cm/rt/
printerFriendly/170/151
Sommerer, C., Laurent, M., & King, D. (2008). INTERFACE CULTURES –
ARTISTIC ASPECTS OF INTERFACE DESIGN. Transcript Verlag. Accesat în
18 noiembrie, 2014, de la http://www.transcript‐verlag.de/ts884/ts884_1.pdf
Spence, J., Andrews, S., & Frohlich, D. M. (2014). Now, where was I?
negotiating time in digitally augmented autobiographical performance.
Journal of Media Practice. Accesat în 12 august, 2015, de la http://www.tandf
online.com.proxy.library.uu.nl/doi/abs/10.1386/jmpr.13.3.269_1#abstract
217
Paradigme critice în performance‐ul digital interactiv
Spence, J., Frohlich, D., & Andrews, S. (2013). Performative experience design:
where autobiographical performance and human–computer interaction meet.
Digital Creativity, 24(2), 96–110. doi:10.1080/14626268.2013.808964
Stern, N. (2013). In production – A narative inquiry on Interactive Art.
Interactive Art and Embodiment – The Implict Body as Performance, 304.
Stewart, H., & Kenyon, C. (2001). No Moving de la andragogy to heutagogy in
vocational education. ePublications@SCU.
Stockrocki, M. (2005). Interdisciplinary Art Education: Building Bridges to Connect
Disciplines and Cultures. National Art Education Association. Accesat în 23
septembrie 2014, de la http://books.google.com/books?id=7Y6qAAAACAAJ&pgis=1
Stylianou, G. (2011). Klaus Obermaier Monography. Aveiro. Accesat în 22 aprilie, 2015,
de la https://www.scribd.com/doc/60107297/Klaus‐Obermaier‐Monography
Tomassini, S., & Sieni, V. (2013). Abitare il mondo : performance e ascolti,
trasmissione e pratiche: Biennale Danza 2013. In Catalogul festivalului (p. 141).
Fondazione La Biennale di Venezia.
Tomassini, S., & Sieni, V. (2014). Mondo nuovo, gesto luogo comunità. Biennale
Danza 2014 9. Festival Internazionale di Danza Contemporanea. In Catalogul
festivalului (p. 177). Venetia: Fondazione La Biennale di Venezia.
TransformingPainTV. (2010). Dancing with the Digital Dervish. Accesat în 1
februarie, 2016, de la https://www.youtube.com/watch?v=EIQw_QTshLU
Transmediale. (2011). Digital Liveness: Philip Auslander (US) about digital
liveness in historical, philosophical perspective. Vimeo. Vimeo. Accesat în 12
decembrie, 2014, de la http://vimeo.com/20473967
Tribe, M., & Reena, J. (n.d.). New Media Art. Taschen.
Trondle, M., Kirchberg, V., & Tschacher, W. (2014). Is This Art? An
Experimental Study on Visitors’ Judgement of Contemporary Art. Cultural
Sociology, 1749975513507243–. doi:10.1177/1749975513507243
Udsen, L. E., & Jørgensen, A. H. (2005). The aesthetic turn: unravelling recent
aesthetic approaches to human‐computer interaction. Digital Creativity, 16(4),
205–216. doi:10.1080/14626260500476564
Vaccarino, E. G. (2007). Body & eros : Biennale Danza 2007 : 5. Festival
internazionale di danza contemporanea. In Catalogul festivalului (p. 141).
Venezia : Marsilio: Fondazione La Biennale di Venezia.
Vaccarino, E. G. (2008). Beauty : Biennale Danza 2008 : 6. Festival interna‐
zionale di danza contemporanea. In Catalogul festivalului (p. 111). Venezia :
Marsilio: Fondazione La Biennale di Venezia.
218
Bibliografie
Vanhemert, K. (2014). A High‐Tech Dance Performance Melds Human Bodies
With Code. WIRED. Accesat http://www.wired.com/2014/12/high‐tech‐
dance‐performance‐melds‐human‐bodies‐code/
Verstraete, G. (2010). Intermedialities: A Brief Survey of Conceptual Key
Issues. Acta Univ. Sapientiae, Film and Media Studies, 2, 7–14.
Visnjic, F. (2013). Recent work by Adrien M / Claire B + “eMotion” ‐ Tool for
interactive visual performance. Creative Applications Networks. Accesat în 18
Noiembrie, 2014, de la http://www.creativeapplications.net/profile/recent‐
work‐by‐adrien‐m‐claire‐b‐emotion‐tool‐for‐interactive‐visual‐performance/
Visnjic, F. (2014). Transcranial ‐ Collaborative project by Klaus Obermaier, Daito
Manabe and Kyle McDonald. Creative Applications Networks. Accesat în 18
noiembrie, 2014, de la http://www.creativeapplications.net/can_labs/transcranial/
Weisling, A. (2012). (3) Master’s Dissertation: A Case for a Notational System
for Live Visual Performance | ‐ Academia.edu. Master thesis. Accesat în 19
noiembrie, 2014, de la https://www.academia.edu/1933512/Masters_
Dissertation_A_Case_for_a_Notational_System_for_Live_Visual_Performance
Weiss, D. M., Propen, A. D., & Reid, C. E. (2014). Design, Mediation, and the
Posthuman. Lexington Books. Accesat în 15 decembrie, 2014, de la
https://books.google.com/books?id=9H1MBAAAQBAJ&pgis=1
Weiss, G. (2008). Interwinings. Interdisciplinary encounters with Merleau‐Ponty.
(G. Weiss, Ed.). Albany: State University of New York Press. Accesat în 22
februarie, 2016, de la http://m.friendfeed‐media.com/183ef9e4ee6331fbc1af12
eebe296086c6aab6d3
Whatley, S., & Varney, R. (2009). Born digital; dance in the digital age.
International Journal of Performance Arts and Digital Media, 5(1), 51–63.
Wijnans, S. (2010). The Moving Body as a Spatial Sound Generating Instrument
Defining the Three Dimensional Data Interpreting Methodology (3DIM). Bath Spa
University. Accesat în 11 martie, 2015, de la http://www.mudanx.nl/PhD/
PhDTitlePage.html
Willis, H. (2009). REAL TIME LIVE: CINEMA AS PERFORMANCE. Afterimage,
37(1), 11–15. Accesat în 10 noiembrie, 2014, de la http://search.proquest.com/
docview/212097926?accountid=15533
WiredUK. (2013). Imogen Heap Performance with Musical Gloves Demo: Full
Wired Talk 2012. YouTube. Accesat în 5 ianuarie, 2015, https://www.youtube.
com/watch?v=6btFObRRD9k
219
Paradigme critice în performance‐ul digital interactiv
Woycicki, P. (2014). A critical study of physical participation in Blast Theory’s
Can You See Me Now ? International Journal of Performance Arts and Digital
Media, 10(2), 193–204. doi:10.1080/14794713.2014.946286
Zaman, G., & Goschin, Z. (2010). Multidisciplinaritate, interdisciplinaritate şi
transdisciplinaritate: abordări teoretice şi implicaţii pentru strategia
dezvoltării durabile postcriză*. Simpozionul „Criza globală şi reconstrucţia
ştiinţei economice”. Accesat în 28 decembrie, 2013, de la http://s3tore.ectap.ro/
articole/532_ro.pdf
220
Anexe
Ane
Supporting Multimedia Artists: A S
Evenimente artistice multimedia/video art/performance
în cadrul proiectului Europe 21, octombrie
Nr. Nume artist Nume eveniment Forma artistică
crt.
1. Diferiți artiști Les Instants Video Instalație
Numerique et Poetiques
2. Anais Belmont Quasi una fantasia Instalație video
art
3. Dominik Barbier Sous le Signe dʹAverroes Instalație
Haans op de Beeck Rencontres Live video and
Simon Mullan internationales 3D generated
4. Hamza Halloubi Paris/Berlin/Madrid environments
Philipp Lachenmann
Les van Steen
Ovidiu Anton, Guillame
Aubry, Alexandra Photography,
video
5. Baumgarten, Catrin Bolt, Asil Cite Interantionale des installation,
Bothun, Eva Chitilek, Audrey Arts painting, etc.
Cottin, Emdal Jakob, Eva
Engelbert, Ann Guillaume,
Akiko Hoshima, Franz Kapfer,
exa 1
Social Policy for 2020 and beyond?
sau asemenea, identificate de grupele 26, 27, 28, 29 și 30
e – decembrie 2011, The Hagues University
Perioada Locul Organizator Localitate Grup
de lucru
4‐13 noiembrie Diferite Les Instants Video Marsilia 28
2011
La Compagnie și
4‐17 noiembrie La Compagnie Ecole Superieure Marsilia 28
2011 dʹart dʹAix en
Provence
4 noiembrie Espace Rencontres Marsilia 28
2011 Culturelle Averroes
18 noiembrie Centre Rencontres
2011 Pompidou internationales Paris 28
Paris/Berlin/Madrid
10 – 16 Cite Paris 28
noiembrie 2011 Internationale
des Arts
Nr. Nume artist Nume eveniment Forma artistică
crt.
Maryse Larivière, Sissa
Micheli, Takao Minami, Judith
Pichlmüller, Vanessa Safavi,
Marie‐Alice Schultz, Charlene
Shi, Pier Stockholm, Özlem
Sulak, Shingo Yoshida, Anna‐
Sabine Zürrer.
6. Hans Hillman, Jiri Salamoun Ich hab geträumt, ich film
wär ein Hund, der
träumt.
7. Karin Bandelin Raumerinnerungen – film
Erinnerungsräume
(Spacial memories –
memory spaces)
8. Mike Steiner Live to Tape, The Mike Early video art
Steiner Collection at
Hamburger Bahnhof
9. Various artists Divided Heaven 1945‐
1968
10. Johanna Reich Treated as if unable to Video art
be seen (Konrad‐von‐
Soest Award 2011)
Perioada Locul Organizator Localitate Grup
de lucru
16 noiembrie – Kunst‐ Kunstbibliothek Berlin 28
5 februarie 2012 bibliothek
13 octombrie Galerie Galerie Ratskeller Berlin 28
2011 – 18 Ratskeller Lichtenberg
noiembrie 2011
1 februarie 2011 National Hamburger 28
– 8 ianuarie Gallery Bahnhof ‐ Museum Berlin 28
2012 für Gegenwart –
28
11 noiembrie Neue Neue Berlin
2011 – martie National‐ Nationalgalerie
2013 galerie
2 septembrie ‐ LWL‐Landes‐ LWL‐ Munster
27 noiembrie museum Landesmuseum
2011 Münster für Münster für Kunst
Kunst und und
Kultur‐ Kulturgeschichte
geschichte
Nr. Nume artist Nume eveniment Forma artistică
crt.
11. Village Underground ‐ The
Wall in London East end
12. Dan Walwin TELE Film ( The video
Het Filmhuis Den Haag itself and the way
13. it was set up with
14. the audio installa‐
tions, certainly
15. explored the
boundaries and
16. possibilities of
new media art)
17. Cyprien Gaillard.
Theater aan het Spui
Vincent Lévy
Super nature The Bristol encounters Short film and
18. Daniel Shiffman festival animation
Antoine Schmitt
Hugo Verlinde Europe Now Intercultural
dialogue
Mama grande Multimedia
production
Le Cube behavioral video
permanent exhibition of installation art,
5 multimedia artistsʹ interactive
work. design
installation art
Perioada Locul Organizator Localitate Grup
de lucru
Kickstarter London 27
fundraising
noiembrie 2011 BNG cultural The Hague 27
fund
noiembrie 2011 The Hague 27
noiembrie 2011
Bristol 27
noiembrie 2011 Theater RAST Amsterdam 27
noiembrie 2011 World Theater Amsterdam 27
Festival
21 Septembrie Le Centre Paris 29
2011 – 9 ianua‐ Pompidou
rie 2012
Le Cube 29
1 octombrie
2011 – 1
octombrie 2012
Nr. Nume artist Nume eveniment Forma artistică
crt.
19. Oliver Ratsi photos and
videos
20. a collective exhibition “Session 4 / All of The video artists
Above”,
21. Rafael Lozano Hemmer Trackers” multimedia artist
22.
23. seminar about digital
24. art.
International meeting
about new cinema and
contemporary art
big Vjing party,
25. Kitsou Dubois, the @rt Outsiders new forms of
Festival, contemporary
creation and its
link with science
and technology
26. “Island” Photo video
27. projection
“Traweling toward the
light”
Perioada Locul Organizator Localitate Grup
Le Cube de lucru
1 octombrie 29
2011 – 31 de‐
cembrie 2011 Le Palais de Tokyo Paris 29
18 octombrie La Gaité Lyrique Paris 29
2011 – 31 de‐ 29
cembrie Le Cube Paris 29
29
26 octombrie –
t 13 noiembrie
2011
7 – 29
noiembrie 2011
18 – 26 Le Centre Le Centre Paris
Pompidou and La
noiembrie 2011 Pompidou Gaité Lyrique
19 noiembrie Le Centre Mercoeur Paris
2011
23 noiembrie 23 several places all Paris 29
decembrie 2011 over the city.
8 noiembrie SinPRO Timisoara 29
2011 Calina Gallery Calina Gallery Timisoara 29
14 noiembrie
2011
Nr. Nume artist Nume eveniment Forma artistică
crt.
28. “Die Ernst Jandl Show”
29. “Posibil‐Nesigur” photography,
video and
installation
30. Aya Kato “Flower of Memory”
31. Matei Apostolescu
32. Alexandru Solomon “Films. Archive.
Installation”
33. International Festival of Film
Experimental Film experimental
34. Peter Greeenaway “Live Cinema VJ live performance
35. Performance –
36. Lupercyclopedia”
37.
Opening Contemporana exhibition of
2” young artists
Art of Hacking works by artists
with a hackerʹs
attitude.
TODAYSART 2011
Perioada Locul Organizator Localitate Grup
de lucru
18 noiembrie Museeum of Museeum of Art Timisoara 29
2011 Art Timisoara Timisoara
25 noiembrie TIMCO TIMCO Gallery Timisoara 29
2011 Gallery
noiembrie 2011 Digital Gallery Bucuresti 29
Art Bucuresti 29
Bucuresti 29
noiembrie 2011 Orange
Concept Store Bucuresti 29
13 octombrie
2011‐20 noiem‐
brie 2011
International
17‐20 Festival of Scala Cinema
noiembrie 2011 Experimental
Film
e 17 noiembrie Sala Bucuresti 29
2011 Polivalenta
28 noiembrie Sala Palatului Palace Hall Bucuresti 29
2011
Netherlands Netherlands Media
s Media Art Art Institute
Institute
Amsterdam 30
The Hague 30
Nr. Nume artist Nume eveniment Forma artistică
crt.
38. Europalia International
Art festival
39. Europalia Brazil: exhibitions,
September 16, 2011 to music, dances,
January 15, 2012 theatres, circuses
literatures, confe‐
rences, and films
Grupul de lucru: 30 [Shi(Toshi) Tang, Lotte Meijer, Marie Jean‐Richard, Soeraya
Grupul de lucru: 29 [Annemiek van Zeijl, Florin Stet, Hysni Haxholli, Joanna Ku
Grupul de lucru: 28 [Bo van der Wolf, Martijn van Luenen, Samuel van Steen, Bu
Grupul de lucru: 27 [Natasja Rensen, Dionne van het Kaar, Dagmar Dijkhuizen, Sara
Grupul de lucru: 26 [Iulia Ilyina, Iper Karaoglu, Matthijs Plijnaar, Kim Wellewee
prof. coordonator: D. van Ginhoven
cercetători: Rodica Mocan, Nicoleta Sălcudean
Perioada Locul Organizator Localitate Grup
de lucru
Brussels 30
16 septembrie 30
s, 2011 – 15
‐ ianuarie 2012
a Dilrosun, Mireille van der Hoeven]
urek, Margaux Mira, Pieter van der Oest]
usra Durmuskaya, Nina de Korte]
ah Loukas]
erd]
Anexa 2
Supporting Multimedia Artists:
A Social Policy for 2020 and beyond?
Interviuri semistructurate cu artiști din domeniul
multimedia/video art/performance, realizate de grupele 26, 27, 28, 29 și 30
în cadrul proiectului Europe 21,
octombrie – decembrie 2011, The Hagues University
prof. coordonator: D. van Ginhoven
cercetători: Rodica Mocan, Nicoleta Sălcudean
nr. crt. : 1
Nume artist: Anais Muré
Locul si momentul interviului: 19 noiembrie, 2011, Muzeul Louvre
Grupul de lucru: 30 [Shi(Toshi) Tang, Lotte Meijer, Marie Jean‐Richard, Soeraya Dilrosun,
Mireille van der Hoeven
Throughout the interview, I noticed an interesting point. It permits to draw a
comparison between the use of ancient multimedia arts and the contemporary
multimedia arts. The Louvre museum is one of the worldʹs largest museums which are
the most visited art museum in the world and a historic monument. Most of the art is
old, but few artists come to diffuse their creation in that museum. Regarding the funds,
we can affirm that by being one of the world’s largest museums, it receives financial
helps from the government. By being the most visited art museum in the world, it also
receives funds coming from the entrance of the visitors although it is free for the
students. On that point it can be interesting to draw a comparison with the Netherlands
Media Art Institute, where we got other interviews. The size and the fame of each
museum plays a role on the funds that each can receive. Moreover, it can be also an
interesting point to draw a comparison between cities like Amsterdam and Paris that
can be characterized as big capital city and smaller one like The Hague in the
Netherlands and Besancon in France.
AM: Multimedia performance is the performance of artist using new technologies or
technologies more or less old. All this technology material knowledge can be linked to
video, image, sounds, projection in order to realize works that resulted to be plurimedia.
This expression is more appropriate to the case: they use different canal system playing
on our senses like the view, and the hear.
229
Paradigme critice în performance‐ul digital interactiv
What is the description of interactive multimedia performance? (“real time” which is
“live” so “face to face live performance”)
AM: I think it is quite hard to define exactly what an interactive multimedia
performance is especially when it comes to define when a multimedia performance
turns into an interactive multimedia performance. Interaction means that it is necessary
to make a person that came as a spectator, interact and interfere in the performance. It
also includes, all that concern real time and live performance, the thing is nowadays,
regarding new technologies, there are new several supports that allow more to set that
kind of interactions than in the sixties. This different technology can be webcam,
movement detector or even the example of the visitor being filmed and integrated at
the same time on the realization of the multimedia performance.
You are working at the Louvre Museum, how do you use the multimedia in that
museum? Regarding the fact that the art is more old than contemporary.
AM: Within the Louvre museum there are not lots of artists coming to diffuse their
creation. If they come, it is going to be very controlled given the fact that we have huge
constraints regarding the building: it will be like the control of the materiel needed the
electricity needed. Indeed, this is a building that is ranked with an important history
and contents. The multimedia performance will then take place on specific places like
the auditorium or on video projection rooms.”
How do you use multimedia in old art then?
AM: In the museum of ‘Beaux arts’, it deals more with od art than modern and
contemporary art. We use multimedia as a mediation support bound for visitors. We
elaborate some contents and the context of the work like the artistic area, the historic
period and then thanks to multimedia support it goes on scree that you can find on
each room.
Is such art still an instrument for expressing militant views on various contemporary
issues?
AM: I think so, yes. Of course, it always depends on the artist message, how he uses
these different medias. It can be an efficient way. As we include the word video, the
performance can be seen as a movie, and just like through a movie, it permits to give
emotions that means to construct a message and have an important impact on peoples.
The sound and lights can also be crucial.”
Does Events the European Union support multimedia artists? Do artists get some
funds by the European Union?
AM: I don’t possess enough knowledge to speak about the funds within Europe. I
made an internship at the Museum of Arts & Design in New York, United States in
2006 regarding the research of funding. I have noticed that it is not the same logic in
France at all. In the United States, the funding politic is reduced and based on the
education. That is the reason why the entire American museum have integrated it in
high schools. The high school’s activity permits to measure what they can earn from the
230
Anexe
State. That is a little part of the functioning of the funding. On the other part, the
country has got a private demand politic of funding. It can be a request to organisms
like foundations or to individuals. This is a really efficient machine that permits to
analyse each time regarding each art performance which foundation would be the most
likely to give private funds: it can be a rich independent man that already gave funds
or an foundation that could potentially give fund for the first time regarding her
ideology. For poor people, it exists a subscription politic: people can take out a
subscription.
nr. crt. : 2
Nume artist: Pierre‐Antoine Boillon și Pierre‐Amar Cheraitia
Locul și momentul interviului: December 11, 2011, Besancon
Grupul de lucru: 30 [Shi(Toshi) Tang, Lotte Meijer, Marie Jean‐Richard, Soeraya Dilrosun,
Mireille van der Hoeven
Pierre‐Antoine Boillon and Pierre‐Amar Cheraitia are two French men passionate
about video art. They use multimedia in order to direct video clips. They live thanks to
their passion and encourage anyone who has the opportunity to do it. They define a
multimedia art performance as a performance “that manage to gather as much as possible the
different power that possess a video: the 3D, a good image, typographical effects, animations.”
According to them, regarding the role of multimedia art, they consider with “no
doubts” that the “multimedia democratized itself and became opened to a major part of the
world population”. They qualify multimedia as “an efficient instrument for expressing
militant views on various contemporary issues”. As they were not born during the sixties,
they assume that the discourse has changed “at the same time that multimedia evolved”
especially regarding the development of new technologies. Events funded by the
European Union are often focused on specific relevant issues like multiculturalism,
neighbourhood and social inclusion. Pierre‐Antoine Boillon and Pierre‐Amar Cheraitia
consider this approach as being limiting given the fact that “art can be really diverse and
it is not a good thing to consider it as having a one specific aim”. They think it is too bad to
focus on specific relevant issues and as a consequence, they consider that it is
determining a specific discourse in video art performance. Artists would be “influenced
and would follow that specific discourse without letting any possibility to open minds.
Regarding the funding, Pierre‐Antoine Boillon and Pierre‐Amar Cheraitia, as
directors of a small company in Besançon in France, don’t receive any help from the
French government. They precise that it exists “some funding for young entrepreneur and
also some funding for the direction of short films.” To the European level know, they
“haven’t heard anything about the European Union being interested in funding this type of
production.” They suppose that it exists for bigger companies like important music label
supporting really famous artists” but they add that they have not enough knowledge on
that topic to confirm it. Until now, these two French directors were not expecting
anything from the European Union but this interview has definitely attracted their
attention they want to” try to have a closer look to a potential European funding.”
231
Paradigme critice în performance‐ul digital interactiv
Finally, Pierre‐Antoine Boillon and Pierre‐Amar Cheraitia evoke their latest work
that is, according to them, a real multimedia performance. The video was directed in
Tokyo, Japan during the month of November and was posted on the internet on
November 21st. The main function was to “link the sound and the image.”
This interview is interesting in a way that it deals with two professionals that are
really implicated on the multimedia art environment. They use multimedia art,
especially films, every day to produce art performances. They pay attention to every
detail to be original. Art is mostly a passion, and throughout the interview it is
interesting to see how they speak about it. They see its value and potential for
producing benefits. Moreover, they clearly affirm that multimedia art is an instrument
for expressing militant views on various contemporary issues. Since the 90’s, the
development of new technologies and the phenomenon of globalization led to the
democratization of multimedia. It is not a surprise that they consider multimedia as an
efficient instrument of expressing views. Furthermore, they think that events funded by
the European Union are often focused on specific relevant issues like multiculturalism,
neighbourhood and social inclusion. They consider this type of approach to funding of
expression as being limiting. They see art as a freedom of expression.
Their company does not receive any funding from the French government, neither
from the European Union. It is interesting to draw a comparison with the other
interviews. The Louvre museum in Paris receives a lot of funding from the French
government because the Louvre Museum is a public institution and La Petite Video is a
private company. Within France, there is a big difference in the funding between the
public and the private sector. Moreover, the private company does not receive private
help. We can notice that in the future, it will be maybe necessary to organize the system
of financial help in a different way to support enthusiastic multimedia artists. As
mentioned before, we can also notice a difference between the French system and the
Dutch system in funding.
Let’s give us a short presentation of you and your work within the company La
Petite Video.
PB&PC: La Petite Video is a company that belongs to two boys passionate of multi‐
media, that are around 23years old. Two people from Besançon( France). We direct
video clip, wedding or company videos. However our main activity is the direction of
video clip. According to us, art is everywhere with the use of video; indeed, for few
artists, it is necessary to create a universe and help them by directing them. It
constitutes the first link with art. Then, the framework is really important element:
move 10cm on the right or on the left can make of your video a real report or a video
clip. As we direct video, we need to know how to adapt ourselves as quick as possible.
Regarding the editing part: it is certainly the most important part, the part where you
can transform a video by changing a minor element like the light, or the addition of
special effects.
232
Anexe
Why did you decide to build such a company?
PB&PC: The video is mostly a passion for us. We think that if nowadays someone has
the opportunity to live thanks to his passion he has to do it. And that is exactly what
we do. It permits us to travel, to meet some artists and learn always more on the work,
because we never know enough.
How do you define a “multimedia art performance”? Which style of production fall
under the definition of multimedia art performance? What do these styles mean?
PB&PC: According to us, a multimedia performance is the fact to manage to gather as
much as possible the different power that possess a video: the 3D, a good image,
typographical effects, animations, inlay etc. Most of the time, it is that kind of
introduction that we find at the beginning of a movie.
Is such art still an instrument for expressing militant views on various contemporary
issues?
‐ Has the discourse changed since the 60’s?
‐ What are the current issues?
PB&PC: There are no doubts. The multimedia democratized itself and became opened
to a major part of the world population. As a consequence, nowadays, it is easier to
diffuse information in the whole world thanks to different mean, back up like the
sound, an image or the video. Multimedia art is an efficient mean to express himself
and inform at a higher level: the world. Regarding the discourse in the sixties, we were
not born, so we don’t really know what were the relevant issues at that time but we
guess that of course the discourse has changed at the same time that the multimedia
has evolved.
Events funded by the European Union are often focused on specific relevant issues
like multiculturalism, neighbourhood and social inclusion. Is this type of approach
to funding art expression considered as being limiting or censoring?
‐ Is it determining a specific discourse in video art performance?
‐ Is it throwing this form of expression into underground movement?
PB&PC: We think that kind of approach can be considered as limited: art can be really
diverse and it is not a good thing to consider it as having a one specific aim. It can serve
so much different issues so that focusing on specific relevant issues like multicultu‐
ralism for example is, in a sense, not giving to art its own value. It is then kind of a
determination of a specific discourse in video art performance, as director or artists will
most of the time be influenced by the pre conceived discourse. It means that they will
follow that specific discourse without letting any possibility to their mind to open and
develop itself. As a sort of conclusion, we would say that art is so diverse, that it is too
bad to summarize it and making it focus on specific relevant issues only although it is
necessary for art to deal with this issues a minimum.
233
Paradigme critice în performance‐ul digital interactiv
What and when was your last work ? Would you qualify it of a video art performance ?
Why ? Tell me about one of your work that is, according to you, a real multimedia art
performance.
PB&PC: We recently went to Japan ( during November) in order to direct a video clip
of an artist from Besançon. It is a common project between the company and the
guitarist himself. We are the one that link the sound and the image in order to set place
to a video of art performance. According to us, this is our best direction linking musical
art and video. It results a real multimedia performance. Indeed, on that video, we tried
to use and mix at the same time the sound of the guitarist Thomas Monica and the
image. We decided to direct this video clip in Tokyo, Japan in order to give another
dimension to the performance, it is interesting to play on different style, to contrast the
video. Indeed, we think it is really important to pay attention to each detail so that at
the end, you obtain a good multimedia performance. Here is the link of our direction in
Tokyo: http://www.youtube.com/watch?v=C9hi1dWv_Q0, video posted on internet on
the 21st of November.
In terms of funding, is the EU interested to finance this type of production and is
this topic related?
PB&PC: As a small company based in Besancon in France, we haven’t heard anything
about the European Union being interested in funding this type of production. We
don’t receive any financial help from the French government, so it is hard for us to
imagine getting some direct funds from the European Union. Maybe for a bigger
companies like important music label supporting really famous artists. It is not our
case. We are trying to make people discover a new form of art, and not a commercial
art that everyone can see all the time.
What do you expect from the EU?
PB&PC: That question never gets to our mind as we have never expected anything
form the European Union. I made some research and I saw that the budget regarding
this topic is quite important. So maybe we should try to have a closer look to a potential
European funding. But until now, we were not expecting anything because it seemed to
us like an impossible mission.
What can you say regarding funding to the nation level? Do you receive funds or
money from the French government?
PB&PC: We don’t receive any funds from the French government or other institutions.
However it exists in France, some funding for young entrepreneur and also some
funding for the direction of short films.”
234
Anexe
nr. crt. : 3
Nume artist: Nichole Jordan
Locul și momentul interviului: 3 decembrie, 2011, Haga
Grupul de lucru: 30 [Shi(Toshi) Tang, Lotte Meijer, Marie Jean‐Richard, Soeraya
Dilrosun, Mireille van der Hoeven
Nicole Jordan was born in Trinidad and raised in Canada. Since her childhood she
is involved in music. Her studies were related to music and she completed a
psychology master and PhD. in England. As soon as she completed her studies she
started singing and teaching music professionally. Nicole Jordan performances in
churches often, “churches are easy to get into in terms of renting, nice acoustics, and a
good place to sing.”
She cannot be characterized as a singer or songwriter. She mostly sings songs that
are written by other songwriters. Her lyrics mostly do not involve contemporary issues,
only issues directly related to her personal life. For example, in her show, Sweet
Solitude, this was related to online living. In her shows she finds it important that the
audience sees “real and genuine issues”. Because of her shows she rehearses constantly,
for example during cleaning. She is interested to add visual dimension to her
performances, only if they do not distract the show. According to Jordan, “each video‐
art form needs to work together; if you take two video‐art forms apart it will not work.
And you can ruin the show or the goal to create something new.” With her ensemble
Alchemy, they work on opera dance but it was a bit literal and it limited them. Sweet
solitude had dance music and poetry. Poetry was written by local people. The show
before that was called Black & White. In that show they were paying a tribute to the
1930 music and dance scene. They had projections of Charlie Chaplin and other videos
and they were recreating them live on stage. In her network she has connections with a
few videographers.
Using media art in the future can place her classical music in a different genre and
attract a different audience. For her shows and because she has a friendship with the
church, she uses the church as a venue. According to Jordan, “artists should be
fundamentally funded by the European Union, but there should be a balance between
funding artists how have established their self and starting artists.” Also she finds it
important that artist’s work for their own funding, for example, by promoting the
event.
Although she had language problems in the beginning of her career in The
Hague, she still met some key people how believe in her. She thinks artists have a
responsibility to comment on issues. For example, there is Hollywood art in which the
message is very clear and popular art: it tells you what you are supposed to think and
at the end you feel good or feel bad. If you come to the less mainstream and less funded
art, the messages are not so defined. It makes you think and come up with your own
ideas. It presents something and then you can have your own response to it.
235
Paradigme critice în performance‐ul digital interactiv
Furthermore, she finds that since the 60s art is more commercialized. She
understands that without funding by the European Union, many artists are pushed in
to underground movements, “it is the only option they have. Look at Nelson Mandela,
his book was written underground literally.”
Throughout the interview we noticed some interesting points for our research.
First, it was interesting to hear the point of view of somebody who has relatively little
experience with the phenomenon of video‐art. As stated in the results, she has only
used it once in a production called “Sweet Solitude”. It was interesting for us to hear
that she is interested in adding a visual dimension to her shows, but it’s very important
not to distract from the actual performance. Finding the right balance can be
challenging and we think that finding this balance is a field yet to be explored by many
artists and videographers. It’s hard to define what video‐art can actually add to a
performance, and especially to a performance like we have seen from Jordan. This is
mainly because video‐art is such a broad term; this has also been stated in the results of
the interview in Amsterdam. What is for sure is that video‐art is constantly changing
and might not always have a clear beginning or ending. Adding it to a performance can
change it into a more timeless piece.
Another interesting point from the interview is that according to Ms Jordan,
artists have the responsibility to comment on issues. As can be read in the other
interviews, everybody agrees that art can be seen as an instrument to express militant
views. As stated, coming up with your own ideas after seeing a performance is a way
for an artist to make you think about these issues. However this can be seen in a lot of
different ways, for example interfering and interacting directly with the artist and in
other times it is more in a way of being “pushed” to think in a certain direction by the
performance. This is called “Hollywood art” by Ms Jordan and is also stated in the
Paris interview by saying that video‐art can be just like a movie, constructing a message
with a clear impact.
Regarding the funding we we’re not surprised that Ms Jordan had a clear and
strong opinion. Of course its important artists have access to funding, but there should
be a clear balance between artists who have established themselves and who are just
starting up. It was interesting to hear that Ms Jordan depends on the funding, but also
tries to promote her events as much as possible. It seems like in the Netherlands there
are a lot of different ways for funding. As can be read in the Amsterdam interview, the
funding for media‐art will stop. This means artists who are purely working with video‐
art will be cut from the funding, but artists who are in a different genre like Jordan are
not. We think collaboration between artists in different areas of art expression can
become very important in the future, if the Dutch Government continues to cut the
funding of video‐art. The importance of private funding is certainly going to be bigger
in the upcoming years.
236
Anexe
nr. crt. : 4
Nume artist: Anouk la Verge
Locul și momentul interviului: 25 noiembrie, 2011, Amsterdam
Grupul de lucru: 30 [Shi(Toshi) Tang, Lotte Meijer, Marie Jean‐Richard, Soeraya Dilrosun,
Mireille van der Hoeven
La Verge defined multimedia art as time based art; “it is moving images, sounds,
performances, (for example, walks in the city), constantly changing, on‐going, there
may not be a beginning or ending. It always takes more than one second and it is
constantly changing, in contrast to paintings and photography, which is one stable
image.” Then she defined multimedia performance as “definition of multimedia
performance could be light performance, internet based, sound, image, walks in the
city, dinner, eating it is very broad.”
To compare the multimedia art from the 60’s and of today, la Verge stated that
work was done by artist himself around the 60’s, and the performance include the
audiences more often nowadays.
About the funding, la Verge mentioned serious issues in the Netherlands for
multimedia artists. “The institution is funded by the Dutch government and it is 80% of
the whole budget. However, the Dutch government want to stop the fund. The new
government do not want to support any media art in The Netherlands. The entire fund
for media art and theatre production will get cut off after 2013 (Appendix 2). We also
get a fund from the city of Amsterdam, but it will also end. The institute may close
down after that. Before the government has changed, there was lots of funding for the
artists. One hope. Maybe the government will fall down.”
La Verge commented that the European Union does limit art expression of art by
not funding, but does not censor it. Artists still have freedom of expression in EU, but
may not have enough budget to complete the art or making it known to the public.
Especially a small institution like Netherland Media Art Institute will have hard time
after the fund ends in 2013.
The new Dutch government and city hall will stop the fund for media art after
2013. Then, many small institutes might disappear due to lack of budget since private
sponsors only favour to support the major, large scale institutes. Unlike large institutes,
small institutes can show various exhibitions and artists with more experiments. If this
kind of art fades away, it will lead to a disappearing of culture, freedom of expression
and delivery methods of social messages to the public. It will largely affect the future of
Dutch society. Since multimedia art is broad and includes a lot of artists, cutting fund
on multimedia art will affect wide range of artists and artistic institutes in the
Netherland. It will be a big loss in Dutch society; knowledge is getting lost. loss of
culture, loss of innovation. Future is really uncertain for them after 2013, ʺthere is going
to be a huge gap between a high art and no art” (van Winden, 2011). The European
Union needs to support where there is acute need, such as local artists and small scale
institutes. The matter is what actions these small scale artists should do to get a better
support.
237
Paradigme critice în performance‐ul digital interactiv
nr. crt. : 5
Nume artist: Sandra Fauconnier
Locul și momentul interviului: 3 decembrie, 2011, Amsterdam
Grupul de lucru: 30 [Shi(Toshi) Tang, Lotte Meijer, Marie Jean‐Richard, Soeraya Dilrosun,
Mireille van der Hoeven
We can define multimedia as a very broad definition. “I would say that multimedia
performance is any type of performing arts when it is using media and new media”.
We can define V‐Jing as live mixing of image and sound resulting in a unique, live
performance in front of an audience. There are artist who concentrate themselves more
on live performance but there are also artists who concentrate more on pre‐recorded
performance. “There are VJ’s who made software themselves and also VJ’s who use
pre‐defined images”. “It is quite diverse what they do but it is about the interaction
between music and the image and of course in front of an audience”.
Multimedia has changed since the sixties; this change is a reaction of the evolution
of technology. “In the 60’s we only used the video and you could not even project a
video yet”. An example of an artist who is using new media performance started is
Jeffrey Shaw, he uses laser as an art performance. In the 70’s there were more low tech
performances and in the 90’s it became higher tech. “It’s an ever changing aspect and
that will continue in the future”.
The funding of art expression by the European Union is limited. Small organi‐
zations make more use of national and private funds because they can’t apply for funds
of the EU for small events. The EU is funding research orientated projects like
collection research. “. It would be great if there are in the future more possibilities of
funding from the side of the European Union, especially now this sector in the
Netherlands losing its funds”. “We have to look for other possibilities because the
Dutch government decided to stop funding this sector.”
It is clear that the opportunities to get funded by the EU are greater when you
collaborate with other institutions and even with other countries. Small institutions
should work together because if they get funded by the European Union this way then
they can grow and continue to grow. Together there are more possibilities to spread
information because working together with other countries means working in a wider
field. Small institutions like the Netherlands Media Art Institute will lose its national
funds from the Dutch government and if nothing is happening, they have to stop
making and presenting art and this will lead to a huge cultural loss.
nr. crt. : 6
Nume artist: Olof van Winden
Locul și momentul interviului: 2 decembrie, 2011, Amsterdam
Grupul de lucru: 30 [Shi(Toshi) Tang, Lotte Meijer, Marie Jean‐Richard, Soeraya Dilrosun,
Mireille van der Hoeven
One of the projects for example was the institute of urgent matters, here they were
pretending that the world would collapse and explode and if you had a creative idea
you could go to them and they executed your idea on the spot. And I also thought that
this was a nice kind of institute because right now it is dark, we do not know, we jump
into it, we are curious, we are not afraid and then they came up with answers.
238
Anexe
The last event organized by The Netherlands Media Art Institute was ‘Leap into the
Void’. This event was a reflection on today’s society. It was a reaction to the decision of
the Dutch government to stop funding art institutions. “All the securities we used to have
are collapsing around us, not only in culture but also in education and science”.
However, this annual event was not only about The Netherlands but also about
freedom of information in general, with the example of wiki leaks; and about the
situation in North Africa and The Middle East. “So it was basically about kind of issues
that are shaking the big save structures that we are always dependent on. What was
different this year to the other years is that there was a lot of academic participation,
like the Royal Academy of The Hague”.
Van Winden also mentioned that he was arrested for the campaigns he did in the
past. ʺI was arrested and I had a smile on my face. That was the best thing what can
happen because it helped to get attentions. This year, during the protest, I got in the
physical contact with the military police, beaten up and arrested again.ʺ
In The Netherlands, all art institutions will lose their funds so the future in this
field is very unsure. But the people working at the Netherlands Media Art Institute are
curious and will not give up. There are no clear answers yet for a solution to this
problem but they will keep on going with a lot of energy. It is a sad situation because
“all the securities we used to have are collapsing around us, not only in culture but also
in education and science”.
A solution to continue to keep these platforms alive could be entrepreneurship,
between small and large institutions within a country but also collaboration with other
countries. “If there is no money we have to look to other ways. We are always
interesting in collaboration”. This should be on the agenda of all art institutions
nowadays.
nr. crt. : 7
Nume artist: Cleverson de Oliveira
Locul și momentul interviului: ***
Grupul de lucru: 30 [Shi(Toshi) Tang, Lotte Meijer, Marie Jean‐Richard, Soeraya Dilrosun,
Mireille van der Hoeven
De Oliveira, a Brazilian artists living in Belgium, provided information that the
event was organized by Europalia. He stated that the main purpose and message of the
event were to show the reality of contemporary Brazil, revealing the stereo type images
from the past. ʺBrazil is not only about Samba or the Amazons. It is the old image.
There is much more about it. We want to show the true Brazil of the moment.ʺ Then he
also mentioned another purpose was to spread the relationships worldwide,
connecting Brazil with Europe and other countries. He also said that ʺI do not get so
much financial support from Europalia or European Union individually and directly.
They let me display my works for only two days in this festival, for free. However,
there is a potential to approach many people in these two days. It is a great
opportunity.ʺ
239
Paradigme critice în performance‐ul digital interactiv
A large opportunity was opened up for small scale artists, de Oliveira, through
Europalia Brazil. Most of the artists participating in this event are small scale, but this
large scale event gives them opportunities to spread their arts and messages. Europalia
International Art Festival could be a great example of collaboration. It is collaboration
among wide varieties of artists, including multimedia artists, and numerous countries.
Even though each artists or institutes only have few days to express their works, it
provided them many opportunities to get to known to the public. Such international
event approach wide range of audiences and the European Union in a very effective
manner.
nr. crt. : 8
Nume artist: Johanna Reich
Locul și momentul interviului: ***
Grupul de lucru: 28 [Bo van der Wolf, Martijn van Luenen, Samuel van Steen, Busra
Durmuskaya, Nina de Korte]
Is video art still an instrument for expressing militant views on various contemporary
issues?
As the literature explains, vidéo‐art was in the 1970’s and 1980’s an effective instrument
for expressing militant views. As the degree of recalcitrance and rebellion within
European society seems to have decreased, did it also in art? If we look at the themes of
the different venues where video‐art was displayed, we notice that contemporary
issues are certainly present. It seems so that vidéo‐artists are inspired by certain issues
in this society and reflect that in their work. Les Instants Vidéo summons its visitors to
engage in a ‘poetic revolution’, inspired by the Arabic spring.
What are contemporary issues in Europe that artists find important?
JR: I think that contemporary artists rarely think in the distributions of the genre: it
uses the means by which one can express a subject best. The classification of genres in
painting, video art, etc., but art historians / criticizers use these things to sell art. The
imaginary ʺvideo art scene,ʺ is only during festivals or exhibitions. Of course there are
topics that reflect our time and are then absorbed by the art and exhibition scene.
Topics such as revolution or crisis will occur in all sectors of the arts ‐ at all times.
What were the predominant issues in video art in the 1960’s and has the discourse in
video art changed since the 60’s and how?
JR: What was ʺthe themeʺ of video art? :‐) Surely you set the video art of the 60s often
with the main topics of the 60s: revolution, liberation from the narrow middle‐class
background, etc. ‐ the topics of the time, which could express yourself with a
wonderful ʺnewʺ medium. But these issues were also tackled by the performance art, in
actions and happenings. I think art always reflects the themes of their time ‐ whether in
an explicit or abstract way. In general terms, I would ask, is it always about existential
issues? Life, power, conflict, order ‐ exactly the topics that make the field of politics.
240
Anexe
Do video artist want to express an opinion or (political) view?
JR: Whether video is a medium better than other artistic media is beside the point:
digitally reproduced paintings can be spread worldwide in the network and therefore
take political influence. Video art has been and is certainly used to in order to address
political issues – but so have the other genres such as painting also done as well. Look, for
example, at the battle depictions in ancient times or ‐ much later, though ‐ statements like
Malevichʹs black square on a white background. Malevichʹs Black Square I find an
interesting statement, because they ‐what, unfortunately, many contemporary artworks
do not ‐ contain a timeless statement, which also receives a controversial validity today.
Generally, I think itʹs important that art – especially when it expresses itself politically ‐
cannot be used as a propaganda medium, but should retain its freedom.
Within the European context, EU‐funded cultural events are often focused on specific
relevant issues (multiculturalism, neighborhood, social inclusion,). Is this type of
approach to funding art expression considered as being limiting or even censoring?
○ Is it determining a specific discourse in video art performance?
○ Can the EU use video art as a tool to promote goals such as ‘European integration’?
○ Is it throwing this form of expression into underground movement?
○ Do video artists that receive funding feel more limited or censored than ‘free’ artists?
JR: I would say no, anyway as long as we have the right of freedom of expression and a
right of artistic freedom.
How does the EU subsidize video art and should it do so?
JR: Certainly, the EU supports cultural work or art. But artistic promotions run mostly
on a much more local level to promote the city or state level. Institutions or festivals are
more likely for the EU to fund‐ however I rarely have to deal with this, and if I do it is
non‐directly. More interesting to see is the request/increase in each country who
promote their ambitious art differently: the Netherlands have been a pioneer and a
special showcase in terms of quality and the promotion of art. The future will tell how
this will be later on. [In 2006 I attended a residence in Luxembourg, which was partly
supported by EU funds. But largely I produce my art from other funds, project funding,
private funds or even cash prizes.
nr. crt. : 9
Nume artist: Marc Mercier
Locul și momentul interviului: ***
Grupul de lucru: 28 [Bo van der Wolf, Martijn van Luenen, Samuel van Steen, Busra
Durmuskaya, Nina de Korte]
Is video art still an instrument for expressing militant views on various contemporary
issues?
MM: What exactly does militant entail? To transmit a precise message, comprehensive,
to convince a public, the largest as possible, that should be mobilized to defend a
certain cause. I do not think that that is the primary function of art in general, especially
241
Paradigme critice în performance‐ul digital interactiv
not in video art. Secondly, a video work that is not militant, can also be political. It is
not the same thing. A political work questions the world of today, and our view
towards this world, without collecting responses, without looking for solutions, but
looking for new questions. Video art is way more political than a militant film when it
enforces to transmit the existing audiovisual language. That is to say when it becomes
poetry. It is impossible to have a political revolution without a poetic revolution. When
we think of the world in the old languages, we risk making the same mistakes as we
did in the past. Political video art revolutions the old language of cinema, literature,
sound etcetera. I would say that the esthetic forms of video art should not be inferior to
political content, but placing art above politics.
What are contemporary issues in Europe that artists find important?
MM: Love, sexuality, pollution, social injustice, the beauty of the world, solitude,
racism, sexism, immigration, poetry… Basically, all actual or not actual themes inspire
video artists that feature in our exposition. It depends, but it can be issues such as
question of identity, time, connections to the others and the world, purpose of life, and
artistic questions.
Do video artist want to express an opinion or (political) view?
MM: No. Consciously not. Some do have the purpose to express a political view, but it
is not the majority. Moreover, when we analyze video‐work we can experience a
political message, whereas this was not a priori the objectivie of the artist. Like stated
by McLuhan, ‘the medium is the message’. The way I express myself, the tools and
technologies I use to create an oeuvre and to transmit it, also expresses a political view
of the world.
How does the EU subsidize video art and should it do so?
MM: Sometimes the E.U. subsidizes video art. Not often. Naturally, I think that Europe
should support this form of art much more. Not only the diffusion, but also the
production of experimental, and non‐commercial work as well. It (The E.U., red)
should support laboratory research much more.
nr. crt. : 10
Nume artist: Nicole Donkers
Locul și momentul interviului: ***
Grupul de lucru: 28 [Bo van der Wolf, Martijn van Luenen, Samuel van Steen, Busra
Durmuskaya, Nina de Korte]
Is video art still an instrument for expressing militant views on various contemporary
issues?
ND: As a video artist, it is always important to consider the message that you want to
show. However, a video , although containing a certain message the artist wants to
express, is always open to interpretation. Artists never wánt people to make the same
conlusion they did. Just like good art, good video art makes people think.
242
Anexe
What are contemporary issues in Europe that artists find important?
ND: Video art is a reflection of the society we live in. All issues that are predominant in
modern day society can be found in art. Issues as identity, religion, society, exclusion,
love and loneliness are timeless. Currently, some video artists get inspired by the
Occupy movement and the uprising in Northern Africa.
What were the predominant issues in video art in the 1960’s and has the discourse in
video art changed since the 60’s and how?
ND: When video art was coming up in the 1960’ss and 1970’s, it was more about
experimenting with the artform itself. Techniques were not yet fully developed and
artists were seeking the opportunities in the technical field. One of the main drivers for
change in video art is technological innovation. Some years later, in the 1970’s, more
video’s with a shocking content were made. In that time, society was recalcitrant and
rebelling, and that was reflected in the art. Artists wanted to break new grounds and
explore new directions. Later, in the 1980’s, we could see a trend pushing the borders,
but then on the technical side. Radical experiments with sound and image were made,
often with psychedelic outcomes. In video art during that decade, focus lay more on
capturing the viewer with the light and forms of the video, not so much the content.
Expression was important. In the past decade, around the year 2000, we can also notice
a certain shift. Our generation demands a clue. People expect, even in the liberal and
un‐dictating domain of art, a storyline with an outcome or a certain climax. When
people watch my artwork they often ask: what is going to happen? Whereas the video
itself is the headline. More than before, people demand art to be an experience with a
specific outcome. This phenomena is present in modern day society. Also, the line
between video art and documentaries is fading. More videos appear which have a
certain story, or that really explore something. A good example is the work of Prix de
Rome‐winning video artist Nicoline van Harskamp. More and more videos show short
scenario’s. Whereas before, artists were limited in what was possible. Now, video art is
generally digital, easy to share and easier to develop.
Do video artist want to express an opinion or (political) view?
Gabriel Soucheyre: Some might want to express a political view, but mainly it is about
expressing their own opinions on issues or just experimenting with emotions, etc.
ND: Not so much political, but more societal. A lot of artists are inspired by issues
within society. One successful Dutch video artist that engages in political themes is
Nicoline van Harskamp. With her videos she puts question marks to modern society.
Within the European context, EU‐funded cultural events are often focused on
specific relevant issues (multiculturalism, neighborhood, social inclusion,). Is this
type of approach to funding art expression considered as being limiting or even
censoring?
○ Is it determining a specific discourse in video art performance?
○ Can the EU use video art as a tool to promote goals such as ‘European integration’?
○ Is it throwing this form of expression into underground movement?
○ Do video artists that receive funding feel more limited or censored than ‘free’ artists?
243
The words you are searching are inside this book. To get more targeted content, please make full-text search by clicking here.
Mocan, Rodica - Paradigme critice in performance-ul digital interactiv
Discover the best professional documents and content resources in AnyFlip Document Base.
Search