{"id":40295,"date":"2021-07-25T17:57:05","date_gmt":"2021-07-25T15:57:05","guid":{"rendered":"https:\/\/sud-est-forum.ro\/wp\/?p=40295"},"modified":"2021-07-25T17:57:05","modified_gmt":"2021-07-25T15:57:05","slug":"deja-vu-vs-the-visitors-impact","status":"publish","type":"post","link":"https:\/\/sud-est-forum.ro\/wp\/2021\/07\/deja-vu-vs-the-visitors-impact\/","title":{"rendered":"D\u00e9j\u00e0-vu vs. The Visitors.  IMPACT"},"content":{"rendered":"<p>&nbsp;<\/p>\n<style type=\"text\/css\">\n#foogallery-gallery-40312.fg-justified .fg-item { margin-right: 2px; margin-bottom: 2px; }\n#foogallery-gallery-40312.fg-justified .fg-image { height: 200px; }<\/style>\n\t\t\t<div class=\"foogallery foogallery-container foogallery-justified foogallery-lightbox-foobox fg-justified fg-ready fg-light fg-shadow-medium fg-shadow-inset-medium fg-loading-bars fg-loaded-fade-in fg-caption-always fg-hover-fade fg-hover-eye fg-no-js\" id=\"foogallery-gallery-40312\" data-foogallery=\"{&quot;item&quot;:{&quot;showCaptionTitle&quot;:true,&quot;showCaptionDescription&quot;:false},&quot;lazy&quot;:true,&quot;src&quot;:&quot;src&quot;,&quot;srcset&quot;:&quot;srcset&quot;,&quot;template&quot;:{&quot;rowHeight&quot;:200,&quot;maxRowHeight&quot;:300,&quot;margins&quot;:2,&quot;align&quot;:&quot;center&quot;,&quot;lastRow&quot;:&quot;smart&quot;}}\" style=\"--fg-title-line-clamp: 0; --fg-description-line-clamp: 0;\" >\n\t<div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Giorno-doing-the-dishes-in-a-still-from-Warhols-1963-short-film-John-Washing.-Photo-16mm-film-black-and-whit.jpg?ssl=1\" data-caption-title=\"Giorno doing the dishes in a still from Warhol\u2019s 1963 short film John Washing\" data-attachment-id=\"40313\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Giorno-doing-the-dishes-in-a-still-from-Warhols-1963-short-film-John-Washing_-Photo-16mm-film-black-and-whit\/452215599.jpg?resize=450%2C300&#038;ssl=1\" title=\"Giorno doing the dishes in a still from Warhol\u2019s 1963 short film John Washing\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Giorno doing the dishes in a still from Warhol\u2019s 1963 short film John Washing<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Media-Art-awards-and-grants-at-Edith-Russ-Haus-Germany.jpg?ssl=1\" data-caption-title=\"Media Art awards and grants at Edith-Russ-Haus (Germany)\" data-attachment-id=\"40314\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Media-Art-awards-and-grants-at-Edith-Russ-Haus-Germany\/3925929457.jpg?resize=400%2C300&#038;ssl=1\" title=\"Media Art awards and grants at Edith-Russ-Haus (Germany)\" height=\"300\" width=\"400\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Media Art awards and grants at Edith-Russ-Haus (Germany)<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Peter-Welz-1.jpg?ssl=1\" data-caption-title=\"Peter Welz\" data-attachment-id=\"40315\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Peter-Welz-1\/1978803370.jpg?resize=300%2C300&#038;ssl=1\" title=\"Peter Welz\" height=\"300\" width=\"300\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Peter Welz<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/The-Andy-Warhol.jpg?ssl=1\" data-caption-title=\"Film stills from Warhol long-duration 1964 film Sleep \u00a92020 The Andy Warhol\" data-attachment-id=\"40316\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/The-Andy-Warhol\/3951551064.jpg?resize=240%2C300&#038;ssl=1\" title=\"Film stills from Warhol long-duration 1964 film Sleep \u00a92020 The Andy Warhol\" height=\"300\" width=\"240\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Film stills from Warhol long-duration 1964 film Sleep \u00a92020 The Andy Warhol<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><\/div>\n\n<p>&nbsp;<\/p>\n<p>Arta ar trebui s\u0103 imite lucrarea observabil\u0103, palpabil\u0103, dar \u00een acest fel se \u00eendep\u0103rteaz\u0103 de trei ori de adev\u0103r &#8211; adev\u0103rul lu\u00e2nd forma ideal\u0103 a ceva \u00een lume, a doua genera\u021bie fiind obiectul real din lume \u0219i a treia genera\u021bie fiind interpretarea artistului. Arta care este menit\u0103 pentru senza\u021bia ochiului \u00een primul r\u00e2nd ar fi numit\u0103 mai degrab\u0103 perceptual\u0103 dec\u00e2t conceptual\u0103. New media este un termen nou, dar vast ca \u00een\u021belesuri, fiinddefinit \u00een diferite moduri \u0219i cuprinz\u00e2nd o gam\u0103 larg\u0103 de forme de art\u0103 care sunt produse, modificate \u0219i transmise prin intermediul tehnologii digitale. \u00cempreun\u0103 cu accentul pus pe nou, new media semnific\u0103 o diferen\u021b\u0103 explicit\u0103 fa\u021b\u0103 de practicile de art\u0103 care folosesc modalit\u0103\u021bide exprimare vizual\u0103 tradi\u021bional\u0103. Spectrul larg al acestui termen include arta virtual\u0103 de pe internet, arta jocurilor, bio art, anima\u021bii, instala\u021bii, art\u0103 interactiv\u0103 \u0219i grafic\u0103 pe computer, precum \u0219i practici \u00een domeniul artei \u0219i activismului.<a href=\"#_ftn1\" name=\"_ftnref1\">[1]<\/a>O mare parte din arta new mediast\u0103 la bazafundamentelor unei \u00een\u021belegeri a artei axate pe obiect, \u00een special \u00een ceea ce prive\u0219te caracteristicile sale de interactivitate, imaterialitate \u0219i efemeritate \u0219i interac\u021biunea sa complex\u0103 \u00eentre artist, oper\u0103 \u0219i spectator. Cu toate acestea, tehnologiile digitale permit arti\u0219tilor s\u0103 dezvolte \u00een mod excep\u021bional opere de art\u0103 interactive, cum ar fi arta pe internet \u0219i arta virtual\u0103, care ofer\u0103 spectatorului o libertate specific\u0103 de alegere din punct de vedere estetic. Prin diferite moduri de comunicare, anumetiparele, imagistica (vizualul), auditivul, mimica, toate transmit semnifica\u021bii nuan\u021bate publicului.Arta new media a pornit de la ideeace se axape interac\u021biunea dintre art\u0103 \u0219i \u0219tiin\u021b\u0103, iar \u00een ultimii ani, au ap\u0103rut practici de art\u0103 care prelungesc conexiunea art\u0103-\u0219tiin\u021b\u0103.<a href=\"#_ftn2\" name=\"_ftnref2\">[2]<\/a> A\u0219a cum spune \u0219i Gene Youngblood \u00een <em>Expanded Cinema<\/em> acest lucru oblig\u0103 cinematografia s\u0103 se extind\u0103 \u0219i s\u0103 devin\u0103 mai complex\u0103. Divertismentul \u00een mas\u0103 plictise\u0219te min\u021bile oamenilor. Este un sistem \u00eenchis, entropic, care nu vine cu nimic nou. Tr\u0103im \u00een \u0219ocul viitorului, deci arta ar trebui s\u0103 fie o inova\u021bie. Noi sisteme trebuie proiectate pentru informa\u021bii vechi. Artistul este un om de \u0219tiin\u021b\u0103 \u00een cele ale design-ului.<a href=\"#_ftn3\" name=\"_ftnref3\">[3]<\/a> Cre\u0219terea gradului de con\u0219tientizare a publicului este o lupt\u0103 constant\u0103 pentru multe organiza\u021bii artistice. Pentru a stabili gradul de con\u0219tientizare, multe organiza\u021bii de art\u0103 \u00eencep s\u0103-\u0219i segmenteze publicul pentru a-\u0219i acumula cele mai bune practici pentru a spori implicarea urm\u0103ritorilor. Modelele de cercetare existente \u00een domeniu implementeaz\u0103 strategii de tehnologie new media \u00een planurile lor de marketing. Cu toate acestea, implicarea publicului este adesea unilateral\u0103. Implicarea publicului este o component\u0103 esen\u021bial\u0103 pentru ceea ce numim new media. Ast\u0103zi, noile tehnologii media deschid posibilit\u0103\u021bi care nu existau \u00een trecut. Cercet\u0103rile din acest capitol de revizuire au identificat trei descoperiri comune \u00een ceea ce prive\u0219te noile tehnologii media: necesitatea profil\u0103rii adecvate a publicului contemporan pentru a stabili strategia ideal\u0103 de marketing, noile strategii media utilizate pentru cre\u0219terea audien\u021bei, \u0219i problemele legate de aplicarea noilor tehnologii media. \u00cen contextul pluralismului criticii contemporanenu exist\u0103 o singur\u0103 teorie a artei. Eforturile noastre de a \u00een\u021belege forma artei video nu trebuie s\u0103 fie direc\u021bionate numai c\u0103tre o evaluare a propriet\u0103\u021bilor mediului, ci spre stabilirea de rela\u021bii \u00eentre caracteristicile fizice sau mediile \u0219i teoriile artei, arta video include lucr\u0103ri care reflect\u0103 mai mult de un punct de vedere teoretic, deschiderea spre o form\u0103 de art\u0103 a specula\u021biei, nu doar descrierea trecutului \u0219i prezentului, ci \u0219i dezvoltarea viitorului. Astfel videoclipul poate fi descris ca lucrarea unor arti\u0219ti independen\u021bi care dezvolt\u0103 concepte sub form\u0103 de video. Aceste lucr\u0103ri sunt afi\u0219ate cel mai adesea \u00een galerii \u0219i muzee \u0219i ocazional pe posturi de radio sau televiziune prin cablu. Con\u021binutul artei video este determinat exclusiv de artist, f\u0103r\u0103 criteriile de timp de difuzare, afi\u0219are sau viabilitate comercial\u0103. \u00cen timp ce arti\u0219tii pot alege s\u0103 lucreze cu oricare dintre acestea, nu sunt obliga\u021bi de modul de prezentare. Distinc\u021bia dintre arta video \u0219i televiziune nu se dore\u0219te a fi o defini\u021bie a artei video, ci un cadru \u00een care se poate construi o identitate a artei video pe baza caracteristicilor sale unice.<\/p>\n<p>Criteriile pentru abordarea acestei noi forme sunt \u00eenr\u0103d\u0103cinate uneori prea ferm \u00een teoriile formelor de art\u0103 stabilite care sunt direc\u021bionate \u00een primul r\u00e2nd spre propriet\u0103\u021bi fizice sau tehnologice. Oricare dintre aceste abord\u0103ri critice este inadecvat\u0103 deoarece videoclipul are caracteristici unice care \u00eel disting de film, televiziune \u0219i artele plastice. Exist\u0103 dou\u0103 aspecte ale identit\u0103\u021bii unui videoclipului. \u00cen primul r\u00e2nd, este evident ca are propriet\u0103\u021bi vizibile, fizice, adic\u0103 caracteristicile pe care le vedem \u0219i tehnologia pe care o cunoa\u0219tem, iar \u00een al doilea r\u00e2nd a doua identitate este psihologia ascuns\u0103 a atitudinilor fiin\u021belor umane fa\u021b\u0103 de aceast\u0103 tehnologie. Arta privit\u0103 ca o inven\u021bie electronic\u0103 complex\u0103 \u0219i interactiv\u0103 este recent\u0103 \u00een istoria artei. Misticismul echipamentelor videoelectronice complexe dintr-o oper\u0103 de art\u0103 produce adesea o venera\u021bie fa\u021b\u0103 de tehnologie, ceea ce poate duce la identificarea tehnologiei ca art\u0103 \u00een sine. Concentrarea pe tehnologie tinde s\u0103 izoleze opera de alte forme de art\u0103 \u0219i se dezvolt\u0103 o terminologie care completeaz\u0103 aceast\u0103 izolare de ideile \u0219i lucr\u0103rile din curentul principal al artei. Dezvoltarea tehnologiei video a fost rapid\u0103: ecrane pentru proiec\u021bie de imagini mari, discuri \u0219i cipuri video pentru stocare \u0219i redare, iar imaginile mai sofisticate generate de computer fac parte doar din rapiditatea accelerat\u0103 a inven\u021biei, care e reprezentat\u0103 de mai multe instrumente disponibile pentru crearea \u0219i afi\u0219area imaginilor video. Structura artei video nu este \u00eentotdeauna narativ\u0103. Jean LucGoddard a spus c\u0103 filmul ar trebui s\u0103 aib\u0103 un \u00eenceput, un mijloc \u0219i un sf\u00e2r\u0219it, dar nu neap\u0103rat \u00een aceast\u0103 ordine.<a href=\"#_ftn4\" name=\"_ftnref4\">[4]<\/a> Unele arte video nu au nici m\u0103car un \u00eenceput, un mijloc \u0219i un sf\u00e2r\u0219it,indiferent de ordine. Lucr\u0103rile de art\u0103 video reflect\u0103 punctul de vedere personal al artistului \u0219i pot fi mai extinse \u00een dep\u0103\u0219irea limitelor. De\u0219i este adev\u0103rat c\u0103 mul\u021bi arti\u0219ti nu au avut acces la echipamente sofisticate, experimentarea poate fi, de asemenea, \u00een domeniul chestion\u0103rii domeniului teoretic, precum \u0219i al domeniului tehnologic. Exist\u0103 mai multe func\u021bii ale criticii: descrierea, interpretarea \u0219i evaluarea operelor de art\u0103. Critica se bazeaz\u0103 pe teorie, adic\u0103 provine din modul \u00een care descriem, interpret\u0103m sau evalu\u0103m o oper\u0103 de art\u0103-viziunea noastr\u0103 particular\u0103 asupra artei. \u00cenainte de a ne \u00eendrepta aten\u021bia c\u0103tre punctul de vedere care urm\u0103re\u0219te s\u0103 \u00eenlocuiasc\u0103 ideea tradi\u021bional\u0103 a unui produs \u00een art\u0103, obiectul estetic, am putea examina rela\u021bia dintre film, videoclip \u0219i obiectul din art\u0103.Videoclipul, ca \u0219i filmul, con\u021bine obiecte, dar nu constituie un obiect. Disocierea artei video de conceptul tradi\u021bional de obiect estetic este necesar\u0103, deoarece videoclipul nu are un obiect propriu-zis. Totalitatea videoclipului sau suma total\u0103 a p\u0103r\u021bilor \u0219i rela\u021bia dintre aceste p\u0103r\u021bi este at\u00e2t fizic\u0103, c\u00e2t \u0219i ideatic\u0103. Dispozitivul pentru afi\u0219area imaginilor video este legat direct, tehnic, de dispozitivul pentru \u00eenregistrarea imaginilor video. \u00cen unele arte video, obiectul este mai pu\u021bin important \u00een construc\u021bia lucr\u0103rii, \u00een timp ce \u00een altele este fie centrul lucr\u0103rii, fie o component\u0103 aparent\u0103. Accentul pe aceast\u0103 proprietate video, \u00een lucr\u0103ri individuale, poate fi plasat pe o linie continu\u0103 variind de la preocuparea direct\u0103 cu obiectul p\u00e2n\u0103 la referin\u021ba minim\u0103 a acestuia. Formalismul \u00een arta video se g\u0103se\u0219te \u00een forma sa cea mai pur\u0103 \u00een opera acelor arti\u0219ti care folosesc caracteristici video \u00een crearea artei \u00een care abstractizarea imaginilor lumii vizibile sunt interpretate ca form\u0103, sunet \u0219i culoare \u00eentr-un flux auto-referen\u021bial de componente care ofer\u0103 o experien\u021b\u0103 pur vizual\u0103 \u0219i auditiv\u0103. Durata \u00eens\u0103 poate fi o problematic\u0103 \u00een arta video, cuv\u00e2ntul plictisitor apare adesea \u00een conversa\u021bii informale despre arta video \u00een general \u0219i despre lucr\u0103rile specifice. De fapt, cuv\u00e2ntul interminabil descrie \u00een mod adecvat unele opere de art\u0103 video. Poate c\u0103 \u00een aceste lucr\u0103ri de lung\u0103 durat\u0103 (precum <em>Sleep, Empire, Eat<\/em> realizate de Andy Warhol), ar trebui pus\u0103 \u00eentrebarea dac\u0103 lucrarea este pur \u0219i simplu prea lung\u0103 sau este totodat\u0103 semnificativ\u0103, ceea ce distinge videoclipul structural, \u00een acest context, de o ne\u00een\u021belegere, din partea artistului, \u00eentre durat\u0103 \u0219i con\u021binut.Videoclipul implic\u0103 un element care poate \u00eent\u00e2rzia sau accelera ritmul mi\u0219c\u0103rii. Acest element este sunetul care poate fi folosit pentru a face timpul aparent al imaginii \u00een mi\u0219care mai lung sau mai scurt. Sunetul este o proprietate video asociat\u0103 cu imaginea \u00een mi\u0219care de la apari\u021bia filmului sonor. Adesea \u00een arta video, imaginile abstracte se g\u0103sesc \u00een contextul mi\u0219c\u0103rii, deoarece aceste forme abstracte sunt acum v\u0103zute \u00een mi\u0219care, condi\u021bia tradi\u021bional\u0103 de vizualizare a imaginii \u00een mi\u0219care se presupune c\u0103 este corect\u0103. \u00centruc\u00e2t videoclipul are capacitatea de instalare \u0219i prezentare continu\u0103, aspectul condi\u021biei de vizionare devine o problem\u0103 de alegere. \u00cen acela\u0219i timp, arta video este un proces. Procesul de formare a unei opere de art\u0103 poate fi inclus \u00een arta video datorit\u0103 propriet\u0103\u021bii video a interac\u021biunii \u00een timp real. Aceast\u0103 proprietate poate fi inclus\u0103 \u00een forma final\u0103 a artei sau ascuns\u0103, prin urmare, caracteristicile video includ at\u00e2t obiectul tangibil, c\u00e2t \u0219i imagini care nu sunt tangibile \u0219i care nu sunt obiecte. Imaginea video este alc\u0103tuit\u0103 din mi\u0219care, timp, sunet con\u021binut \u00eentr-o form\u0103 tridimensional\u0103. Modul \u00een care un artist va folosi imaginea video depinde de punctul de vedere al artistului asupra artei.<\/p>\n<p>&nbsp;<\/p>\n<style type=\"text\/css\">\n#foogallery-gallery-40297.fg-justified .fg-item { margin-right: 2px; margin-bottom: 2px; }\n#foogallery-gallery-40297.fg-justified .fg-image { height: 200px; }<\/style>\n\t\t\t<div class=\"foogallery foogallery-container foogallery-justified foogallery-lightbox-foobox fg-justified fg-ready fg-light fg-shadow-medium fg-shadow-inset-medium fg-loading-default fg-loaded-fade-in fg-caption-always fg-hover-fade fg-hover-eye fg-no-js\" id=\"foogallery-gallery-40297\" data-foogallery=\"{&quot;item&quot;:{&quot;showCaptionTitle&quot;:true,&quot;showCaptionDescription&quot;:false},&quot;lazy&quot;:true,&quot;src&quot;:&quot;src&quot;,&quot;srcset&quot;:&quot;srcset&quot;,&quot;template&quot;:{&quot;rowHeight&quot;:200,&quot;maxRowHeight&quot;:300,&quot;margins&quot;:2,&quot;align&quot;:&quot;center&quot;,&quot;lastRow&quot;:&quot;smart&quot;}}\" style=\"--fg-title-line-clamp: 0; --fg-description-line-clamp: 0;\" >\n\t<div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Douglas-Gordon-5.jpg?ssl=1\" data-caption-title=\"Douglas Gordon (Deja vu)\" data-attachment-id=\"40301\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Douglas-Gordon-5\/1477301483.jpg?resize=169%2C300&#038;ssl=1\" title=\"Douglas Gordon (Deja vu)\" height=\"300\" width=\"169\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Douglas Gordon (Deja vu)<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Douglas-Gordon-5-Deja-vu.jpg?ssl=1\" data-caption-title=\"Douglas Gordon (Deja vu)\" data-attachment-id=\"40300\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Douglas-Gordon-5-Deja-vu\/1204726211.jpg?resize=410%2C300&#038;ssl=1\" title=\"Douglas Gordon (Deja vu)\" height=\"300\" width=\"410\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Douglas Gordon (Deja vu)<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Douglas-Gordon-4.jpg?ssl=1\" data-caption-title=\"Douglas Gordon \" data-attachment-id=\"40299\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Douglas-Gordon-4\/3592999666.jpg?resize=512%2C300&#038;ssl=1\" title=\"Douglas Gordon\" height=\"300\" width=\"512\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Douglas Gordon<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Douglas-Gordon-3.jpg?ssl=1\" data-caption-title=\"Douglas Gordon \" data-attachment-id=\"40298\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Douglas-Gordon-3\/1362847556.jpg?resize=430%2C300&#038;ssl=1\" title=\"Douglas Gordon\" height=\"300\" width=\"430\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Douglas Gordon<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><\/div>\n\n<p>&nbsp;<\/p>\n<p>Am ales s\u0103 analizez dou\u0103 opere create la doisprezece ani diferen\u021b\u0103 una de cealalt\u0103, \u0219i voi \u00eencepe cu <em>D\u00e9j\u00e0-vu<\/em> realizat\u0103 \u00een anul 2000 de c\u0103tre Douglas Gordon. Douglas Gordon este un artist sco\u021bian contemporan cunoscut pentru abilitatea sa de a amalgama ideile preconcepute despre realitate. Prin spectacolele sale, instala\u021biile, fotografia \u0219i arta video, Gordon reajusteaz\u0103 scenele, le amestec\u0103 \u0219i \u00ee\u0219i \u00eensu\u0219e\u0219te sursele culturale. N\u0103scut pe 20 septembrie 1966 la Glasgow, Gordon a c\u00e2\u0219tigat Premiul Turner \u00een 1996, la \u0219ase ani dup\u0103 ce a studiat la Slade School of Art din Londra. Absolvent al \u0218colii de Art\u0103 din Glasgow, artistul multimedia a reprezentat Marea Britanie la Bienala de la Vene\u021bia \u00een 1997. \u00cen anul urm\u0103tor a primit premiul Hugo Boss. \u00cen prezent, Gordon locuie\u0219te \u0219i lucreaz\u0103 \u00een Berlin, Germania.<a href=\"#_ftn5\" name=\"_ftnref5\">[5]<\/a>De ceva timp Douglas Gordon face lucr\u0103ri preocupate de problemele de identitate \u0219i mortalitate, iar D\u00e9j\u00e0-vu continu\u0103 acest\u0103 serie de teme. Filmul original, al c\u0103rui titlu este <em>Dead on Arrival<\/em>, \u00eencepe cu prezentarea unui b\u0103rbat care \u00ee\u0219i raporteaz\u0103 propria crim\u0103 la o sec\u021bie de poli\u021bie. Nara\u021biunea ulterioar\u0103 este structurat\u0103 prin flashback-uri \u0219i implic\u0103 o gam\u0103 clasic\u0103 de tr\u0103d\u0103ri \u0219i identit\u0103\u021bi hollywood-iene. Personajele devin din ce \u00een ce mai confuze \u00een lucrarea lui Gordon ca urmare a repet\u0103rii scenelor \u0219i a suprapunerii coloanelor sonore. Dup\u0103 cum a subliniat criticul Richard Cork: \u00cen D\u00e9j\u00e0-vu Douglas Gordon se folose\u0219te de film\u0103ri din D.O.A. 1949-1950, un thriller de la Hollywood regizat de Rudolph Mate\u00e9.<a href=\"#_ftn6\" name=\"_ftnref6\">[6]<\/a> Filmul a fost convertit \u00eentr-un video \u0219i este proiectat simultan pe trei ecrane paralele la vitez\u0103 normal\u0103. Acest lucru are ca efect ca cele trei nara\u021biuni identice s\u0103 se propulseze din ce \u00een ce mai mult \u00een timp \u0219i s\u0103 induc\u0103 privitorilor o experien\u021b\u0103 similar\u0103 cu sentimentul de d\u00e9j\u00e0-vu. Dup\u0103 o scena macabr\u0103\u00een care, prin \u0219tampilarea dosarului de c\u0103tre m\u00e2na unui politist, cu abrevierea D.O.A, Gordon alege ca lucrarea s\u0103 continue, \u0219ise observ\u0103interesul artistului pentru utilizarea \u0219i re-utilizarea film\u0103rilor deja existente, \u00een special \u00een filmul <em>24 Hour Psycho<\/em> din anul 1993, un precedent important pentru <em>D\u00e9j\u00e0-vu<\/em>. Temele ce abordeaz\u0103 identit\u0103\u021bile, imaginea sinelui, portretele \u0219i mortalitatea sunt prezente \u00een lucrarile lui Gordon, dar \u00een special \u00een lucrarea <em>D\u00e9j\u00e0-vu.<\/em>El folose\u0219te noile tehnologii \u00een moduri transparente din punct de vedere structural, dar cu implica\u021bii extrem de complexe. Doar prin modificarea vitezei de proiec\u021biei filmului de la 24 de cadre pe secund\u0103 la 23 sau 25 de cadre \u0219i alinierea ecranelor de-a lungul peretelui unei camere mari. El \u00ee\u0219i manipuleaz\u0103 materialele \u00een configura\u021bii spa\u021biale \u0219i sculpturale \u00een care spectatorul devine personal implicat, legat \u00een nara\u021biuni \u0219i totu\u0219i distan\u021bat de dublarea, oglindirea, inversarea imaginilor.Un alt nivel al aceleia\u0219i cronologii \u00eencepe de la arta temporal\u0103 \u0219i ajunge la realitatea virtual\u0103. Exist\u0103, de fapt, una sau mai multe condi\u021bii prealabile la aceste abord\u0103ri descriptive, evolutive, care sunt \u00een consecin\u021b\u0103 t\u00e2rzii. Propunerile lui Douglas Gordon din <em>D\u00e9j\u00e0-vu<\/em> atest\u0103 mai bine natura acestei schimb\u0103ri pretinz\u00e2nd amatorismul s\u0103u \u00een domeniile pe care le abordeaz\u0103 \u0219i este dornic de aduce mass-media la nivel de canal. Aici avem o pozi\u021bie asupra abord\u0103rii artistice care dep\u0103\u0219e\u0219te problema, a\u0219a-numit\u0103 \u00een mod corespunz\u0103tor, a tehnicilor \u0219i tehnologiilor \u0219i care are leg\u0103tur\u0103 cu obiectul s\u0103u. \u00centruc\u00e2t \u00een abordarea artistului se reg\u0103se\u0219te folosirea propriului corp, obiecte g\u0103site, imagini \u00een mas\u0103 sau toate cele de mai sus, tehnologia selectat\u0103 are un moment mai nesemnificativ\u00een compara\u021bie cu tipul de leg\u0103tur\u0103 realizat\u0103 cu destinatarul. \u00cen alt\u0103 ordine de idei, Gordon realizeaz\u0103un film cu tente \u00eentunecate, macabre despre un om care este otr\u0103vit \u0219i care \u00ee\u0219i poveste\u0219te evenimentele ce au condus spre ac\u021biunile din spatele crimei sale. Povestea este relatat\u0103 printr-o serie de flashback-uri, iar sentimentul de sim\u021bire, presim\u021bire \u0219i de d\u00e9j\u00e0-vu este sporit de manipularea lui Gordon pe care o exercit\u0103 asupra privitorului. Nu trebuie uitat faptul c\u0103 exist\u0103 multe forme de atrac\u021bii mai ales \u00een art\u0103, a\u0219a c\u0103, cred c\u0103 cinema-ul atrac\u021biilor poate fi interpretat diferit de fiecare persoan\u0103, dar indiferent de forma sa, cinema-ul atrac\u021biilor va exista \u00eentotdeauna.Exist\u0103 diferite tipuri de pl\u0103cere care sunt create pentru fiecare tiparreprezent\u00e2nd categorii precum pornografia, groaza sau melodrama, pl\u0103cerile fiindexprimate prin \u021bipetele de fric\u0103 care vin ca r\u0103spuns la filmele horror sau suspinele de angoas\u0103 din filmele dramatice. Aceste genuri exist\u0103 de mult\u0103 vreme \u00een industria cinematografic\u0103, motivul pentru care creeaz\u0103 publicului acele pl\u0103ceri aparte. Gordon transform\u0103 un simplu film \u00eentr-un experiment \u0219i totodat\u0103 \u00eentr-o experien\u021b\u0103 ce are loc la nivel psihologic. Opera lui Gordon este plin\u0103 de referin\u021be \u0219i nu numai cu referire la filme, arta sa fiind mult mai mult \u00eendreptat\u0103 spre literal, ceea ce ne aminte\u0219te de fapt c\u0103 lucr\u0103rile salesuntde fapt c\u0103r\u021bile pe care le citim, filmele pe care le vedem, muzica pe care o ascult\u0103m \u0219i arta la care ne uit\u0103m,care devin o parte din via\u021ba noastr\u0103, precum sentimentele uzuale pe care ajungem s\u0103 le tr\u0103im de-a lungul acestei vie\u021bi, iar \u00eentr-un final, opera lui Gordon ajunge s\u0103 devin\u0103 ceva uzual cu care noi, privitorii, deja ne-am obi\u0219nuit.<\/p>\n<p>&nbsp;<\/p>\n<style type=\"text\/css\">\n#foogallery-gallery-40302.fg-justified .fg-item { margin-right: 2px; margin-bottom: 2px; }\n#foogallery-gallery-40302.fg-justified .fg-image { height: 200px; }<\/style>\n\t\t\t<div class=\"foogallery foogallery-container foogallery-justified foogallery-lightbox-foobox fg-justified fg-ready fg-light fg-shadow-medium fg-shadow-inset-medium fg-loading-bars fg-loaded-fade-in fg-caption-always fg-hover-fade fg-hover-eye fg-no-js\" id=\"foogallery-gallery-40302\" data-foogallery=\"{&quot;item&quot;:{&quot;showCaptionTitle&quot;:true,&quot;showCaptionDescription&quot;:false},&quot;lazy&quot;:true,&quot;src&quot;:&quot;src&quot;,&quot;srcset&quot;:&quot;srcset&quot;,&quot;template&quot;:{&quot;rowHeight&quot;:200,&quot;maxRowHeight&quot;:300,&quot;margins&quot;:2,&quot;align&quot;:&quot;center&quot;,&quot;lastRow&quot;:&quot;smart&quot;}}\" style=\"--fg-title-line-clamp: 0; --fg-description-line-clamp: 0;\" >\n\t<div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/A-scene-from-Mr.-Kjartanssons-video-The-End.Credit...Ragnar-Kjartansson-Luhring-Augustine-New-York-and-i8-Gallery-Reykjavik.jpg?ssl=1\" data-caption-title=\"A scene from Mr. Kjartansson\u2019s video The End.Credit...Ragnar Kjartansson-Luhring Augustine, New York and i8 Gallery, Reykjavik\" data-attachment-id=\"40303\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/A-scene-from-Mr_-Kjartanssons-video-The-End_Credit___Ragnar-Kjartansson-Luhring-Augustine-New-York-and-i8-Gallery-Reykjavik\/3616561421.jpg?resize=485%2C300&#038;ssl=1\" title=\"A scene from Mr. Kjartansson\u2019s video The End.Credit...Ragnar Kjartansson-Luhring Augustine, New York and i8 Gallery, Reykjavik\" height=\"300\" width=\"485\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">A scene from Mr. Kjartansson\u2019s video The End.Credit...Ragnar Kjartansson-Luhring Augustine, New York and i8 Gallery, Reykjavik<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/A-scene-from-The-Visitors.Credit...Ragnar-Kjartansson-Luhring-Augustine-New-York-and-i8-Gallery-Reykjavik.jpg?ssl=1\" data-caption-title=\"A scene from The Visitors.Credit...Ragnar Kjartansson-Luhring\" data-attachment-id=\"40304\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/A-scene-from-The-Visitors_Credit___Ragnar-Kjartansson-Luhring-Augustine-New-York-and-i8-Gallery-Reykjavik\/1343609347.jpg?resize=438%2C300&#038;ssl=1\" title=\"A scene from The Visitors.Credit...Ragnar Kjartansson-Luhring\" height=\"300\" width=\"438\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">A scene from The Visitors.Credit...Ragnar Kjartansson-Luhring<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Luhring-Augustine-present-exhibition-by-Icelandic-artist-Ragnar-Kjartansson-1.jpg?ssl=1\" data-caption-title=\"Luhring Augustine present exhibition by Icelandic artist Ragnar Kjartansson\" data-attachment-id=\"40305\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Luhring-Augustine-present-exhibition-by-Icelandic-artist-Ragnar-Kjartansson-1\/3720584050.jpg?resize=511%2C300&#038;ssl=1\" title=\"Luhring Augustine present exhibition by Icelandic artist Ragnar Kjartansson\" height=\"300\" width=\"511\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Luhring Augustine present exhibition by Icelandic artist Ragnar Kjartansson<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Other-musicians-played-in-different-rooms.Credit...Ragnar-Kjartansson-Luhring-Augustine-New-York-and-i8-Gallery-Reykjavik.jpg?ssl=1\" data-caption-title=\"Other musicians played in different rooms.Credit...Ragnar Kjartansson-Luhring Augustine, New York and i8 Gallery, Reykjavik\" data-attachment-id=\"40306\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Other-musicians-played-in-different-rooms_Credit___Ragnar-Kjartansson-Luhring-Augustine-New-York-and-i8-Gallery-Reykjavik\/776859848.jpg?resize=421%2C300&#038;ssl=1\" title=\"Other musicians played in different rooms.Credit...Ragnar Kjartansson-Luhring Augustine, New York and i8 Gallery, Reykjavik\" height=\"300\" width=\"421\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Other musicians played in different rooms.Credit...Ragnar Kjartansson-Luhring Augustine, New York and i8 Gallery, Reykjavik<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Ragnar-Kjartansson-plays-in-a-bathtub-in-an-old-mansion-in-his-video-installation-The-Visitors-1.jpg?ssl=1\" data-caption-title=\"Ragnar Kjartansson plays in a bathtub in an old mansion\" data-attachment-id=\"40307\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Ragnar-Kjartansson-plays-in-a-bathtub-in-an-old-mansion-in-his-video-installation-The-Visitors-1\/3082945954.jpg?resize=424%2C300&#038;ssl=1\" title=\"Ragnar Kjartansson plays in a bathtub in an old mansion\" height=\"300\" width=\"424\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Ragnar Kjartansson plays in a bathtub in an old mansion<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Ragnar-Kjartansson.-mbl.is-Hanna-Andresdottir.jpg?ssl=1\" data-caption-title=\"Ragnar Kjartansson. mbl.is Hanna Andr\u00e9sd\u00f3ttir\" data-attachment-id=\"40308\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Ragnar-Kjartansson_-mbl_is-Hanna-Andresdottir\/3335230761.jpg?resize=471%2C300&#038;ssl=1\" title=\"Ragnar Kjartansson. mbl.is Hanna Andr\u00e9sd\u00f3ttir\" height=\"300\" width=\"471\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Ragnar Kjartansson. mbl.is Hanna Andr\u00e9sd\u00f3ttir<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Ragnar-Kjartansson-portrait-of-the-artist.jpg?ssl=1\" data-caption-title=\"Ragnar Kjartansson-portrait of the artist\" data-attachment-id=\"40309\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Ragnar-Kjartansson-portrait-of-the-artist\/3353939690.jpg?resize=533%2C300&#038;ssl=1\" title=\"Ragnar Kjartansson-portrait of the artist\" height=\"300\" width=\"533\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Ragnar Kjartansson-portrait of the artist<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><\/div>\n\n<p>&nbsp;<\/p>\n<p>A doua oper\u0103 pe care am ales-o este cea realizat\u0103 \u00een anul 2012 de Ragnar Kjartansson, intitulat\u0103 <em>The Visitors<\/em>, deoarece cred ca este complet opus\u0103, din toate punctele de vedere, primei opere. Kjartansson tr\u0103ie\u0219te \u0219i lucreaz\u0103 \u00een Reykjav\u00edk, unde lucreaz\u0103 cu mai multe medii artistice, cre\u00e2nd instala\u021bii video, spectacole, picturi care se bazeaz\u0103 pe nenum\u0103rate referin\u021be istorice \u0219i culturale. Un patetism \u0219i o ironie de baz\u0103 leag\u0103 operele sale, fiecare fiind profund influen\u021bat\u0103 de comedia \u0219i tragedia teatrului clasic.<a href=\"#_ftn7\" name=\"_ftnref7\">[7]<\/a> Artistul estompeaz\u0103 distinc\u021biile dintre medii, iar de-a lungul timpului, Kjartansson transmite un interes pentru frumuse\u021bea \u0219i banalitatea ei \u0219i se folose\u0219te de durativ \u0219i repetitiv ca forme de explorare.<em>The Visitors<\/em> de Ragnar Kjartansson prezint\u0103 un grup de prieteni care interpreteaz\u0103 o scurt\u0103 pies\u0103 muzical\u0103. Ace\u0219ti prieteni sunt aduna\u021bi la ferm\u0103 Rokeby, o cas\u0103 construit\u0103 acum 195 de ani, cu 43 de camere, ascuns\u0103 \u00een nordul statului New York. Cu toate acestea, inova\u021bia filmului const\u0103 \u00een faptul c\u0103 indivizii nu sunt de fapt laolalt\u0103, ci filma\u021bi separat, juc\u00e2ndu-\u0219i rolurile individuale \u00een camere separate ale casei. Fiecare individ este apoi proiectat pe un ecran imens, acoperind spa\u021biul galeriei de la perete la perete. Astfel, fiecare interpret ocup\u0103 un spa\u021biu auditiv \u0219i vizual discret \u00een interiorul galeriei, \u00een timp ce face parte dintr-un ansamblu. De\u0219i e relativ simplu, exist\u0103 o melancolie \u00een caden\u021ba fraz\u0103rii simple a piesei care cre\u0219te cu fiecare repetare. Un interpret c\u00e2nt\u0103 la chitar\u0103 clasic\u0103 \u00een baie, altul c\u00e2nt\u0103 la pian, un al treilea la tamburin\u0103, etc, iar urm\u0103rirea unui grup de muzicieni c\u00e2nt\u00e2nd \u00eempreun\u0103 este mult mai aparte dec\u00e2t momentul \u00een care vezi un b\u0103rbat c\u00e2nt\u00e2nd \u00een cad\u0103 (care era \u00eensu\u0219i Kjartansson), privitorii devenind astfel doarsimpli vizitatori ai arti\u0219tilorplasa\u021bi \u00een diferite col\u021buri ale conacului. Versurile provin dintr-un poem al fostei so\u021bii a lui Kjartansson, \u00c1sd\u00eds Sif Gunnarsd\u00f3ttir. \u00cenc\u0103rca\u021bi de durerea melodiei, cuvintele ei evoc\u0103 o stare de ironie, o posibil\u0103resemnareamar\u0103.Compozi\u021bia muzical\u0103 este coerent\u0103 \u00een instalarea operei, prezent\u00e2nd un spectacol de ansamblu dinamic \u0219i emo\u021bionant la care Kjartansson face referire ca fiind un c\u00e2ntec feminin de evanghelie nihilist. Prin aranjamentul s\u0103u unic\u00een spa\u021biu muzical, The Visitors creeaz\u0103 un portret stratificat al casei \u0219i al locuitorilor ei. Pentru unii, experien\u021ba prelungit\u0103 e caracterizat\u0103 uneori ca fiind \u201esinguri \u00eempreun\u0103\u201d, ceea ce ne-a schimbat dramatic concep\u021bia despre un ad\u0103post \u0219i rela\u021biile noastre interumane.<a href=\"#_ftn8\" name=\"_ftnref8\">[8]<\/a> De altfel, titlul piesei <em>The Visitors <\/em>&nbsp;este preluat din ultimul album al trupei muzicale ABBA, realizat \u00een 1981, c\u00e2nd marele grup muzicalera pe punctul de a se desp\u0103r\u021bi.<a href=\"#_ftn9\" name=\"_ftnref9\">[9]<\/a> La sf\u00e2r\u0219itul celor 64 de minute, muzicienii \u00ee\u0219i scot unul c\u00e2te unul c\u0103\u0219tile, \u00ee\u0219i pun instrumentele deoparte \u0219i se adun\u0103 \u00eentr-o camer\u0103 mare. Acolo, l\u00e2ng\u0103 un pian cu coad\u0103, muzicacontinu\u0103, dar acum \u201ca capella\u201c. Pe m\u0103sur\u0103 ce toate camerele interioare sunt evacuate, ecranele sunt \u00een mod inevitabil golite, iar publicul ajunge s\u0103 r\u0103sune pe mi\u0219c\u0103rile interpre\u021bilor, p\u00e2n\u0103 c\u00e2nd toat\u0103 lumea se adun\u0103 \u00een fa\u021ba ecranului.<\/p>\n<p>\u00cen concluzie, de\u0219i cele dou\u0103 opere sunt \u00een esen\u021b\u0103 foarte diferite, ele au avut un impact foarte mare asupra felului \u00een care ne raport\u0103m la art\u0103 video \u0219i, mai ales asupra felului \u00een care ne folosim \u0219i ne raportam la tehnicile new media. At\u00e2t Gordon cat \u0219i Kjartansson sunt doi piloni de referin\u021b\u0103 deoarece au revolu\u021bionat modul de reprezentare, ideile puse pe ecrane, modul de expunere, tehnicile de filmare \u0219i felul \u00een care arta lor interac\u021bioneaz\u0103 direct cu publicul\/privitorul, \u00eens\u0103 am\u00e2ndoi au un lucru \u00een comun &#8211; \u0219i anume dorin\u021ba de a l\u0103sa ceva o mo\u0219tenire artei, de a fi \u0219i de a avea. Impact.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Autor: Iarina D\u0103n\u0103il\u0103<\/strong><\/p>\n<p>&nbsp;<\/p>\n<style type=\"text\/css\">\n#foogallery-gallery-40320.fg-justified .fg-item { margin-right: 2px; margin-bottom: 2px; }\n#foogallery-gallery-40320.fg-justified .fg-image { height: 200px; }<\/style>\n\t\t\t<div class=\"foogallery foogallery-container foogallery-justified foogallery-lightbox-foobox fg-justified fg-ready fg-light fg-shadow-medium fg-shadow-inset-medium fg-loading-bars fg-loaded-fade-in fg-caption-always fg-hover-fade fg-hover-eye fg-no-js\" id=\"foogallery-gallery-40320\" data-foogallery=\"{&quot;item&quot;:{&quot;showCaptionTitle&quot;:true,&quot;showCaptionDescription&quot;:false},&quot;lazy&quot;:true,&quot;src&quot;:&quot;src&quot;,&quot;srcset&quot;:&quot;srcset&quot;,&quot;template&quot;:{&quot;rowHeight&quot;:200,&quot;maxRowHeight&quot;:300,&quot;margins&quot;:2,&quot;align&quot;:&quot;center&quot;,&quot;lastRow&quot;:&quot;smart&quot;}}\" style=\"--fg-title-line-clamp: 0; --fg-description-line-clamp: 0;\" >\n\t<div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/%E2%80%98Between-Darkness-and-Light-After-William-Blake-Installation-video-Douglas-Gordon-1997.jpg?ssl=1\" data-caption-title=\"Between Darkness and Light (After William Blake), Installation video, Douglas Gordon, 1997\" data-attachment-id=\"40321\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Between-Darkness-and-Light-After-William-Blake-Installation-video-Douglas-Gordon-1997\/3964355894.jpg?resize=398%2C300&#038;ssl=1\" title=\"Between Darkness and Light (After William Blake), Installation video, Douglas Gordon, 1997\" height=\"300\" width=\"398\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Between Darkness and Light (After William Blake), Installation video, Douglas Gordon, 1997<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/DOUGLAS-GORDAN-1.jpg?ssl=1\" data-caption-title=\"DOUGLAS GORDAN \" data-attachment-id=\"40322\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/DOUGLAS-GORDAN-1\/86918287.jpg?resize=375%2C300&#038;ssl=1\" title=\"DOUGLAS GORDAN\" height=\"300\" width=\"375\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">DOUGLAS GORDAN<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/DOUGLAS-GORDAN-2.jpg?ssl=1\" data-caption-title=\"DOUGLAS GORDAN\" data-attachment-id=\"40323\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/DOUGLAS-GORDAN-2\/108527555.jpg?resize=398%2C300&#038;ssl=1\" title=\"DOUGLAS GORDAN\" height=\"300\" width=\"398\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">DOUGLAS GORDAN<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Douglas-Gordon-1.jpg?ssl=1\" data-caption-title=\"DOUGLAS GORDAN \" data-attachment-id=\"40324\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Douglas-Gordon-1\/846043125.jpg?resize=400%2C300&#038;ssl=1\" title=\"DOUGLAS GORDAN\" height=\"300\" width=\"400\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">DOUGLAS GORDAN<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Douglas-Gordon-2.jpg?ssl=1\" data-caption-title=\"DOUGLAS GORDAN \" data-attachment-id=\"40325\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Douglas-Gordon-2\/825502905.jpg?resize=401%2C300&#038;ssl=1\" title=\"DOUGLAS GORDAN\" height=\"300\" width=\"401\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">DOUGLAS GORDAN<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Douglas-Gordon-in-his-Berlin-Studio-photo-Oliver-Mark.jpg?ssl=1\" data-caption-title=\"Douglas Gordon in his Berlin Studio (photo Oliver Mark)\" data-attachment-id=\"40326\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Douglas-Gordon-in-his-Berlin-Studio-photo-Oliver-Mark\/551515418.jpg?resize=418%2C300&#038;ssl=1\" title=\"Douglas Gordon in his Berlin Studio (photo Oliver Mark)\" height=\"300\" width=\"418\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Douglas Gordon in his Berlin Studio (photo Oliver Mark)<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Douglas-Gordon-All-my-own-work-2007-C-print-%C2%A9-Studio-lost-but-found-VG-Bild-Kunst-Bonn-2019-Courtesy-Studio-lost-but-found-Berlin.jpg?ssl=1\" data-caption-title=\"Douglas Gordon, All my own work , 2007, C-print \u00a9 Studio lost but found - VG Bild-Kunst, Bonn 2019, Courtesy Studio lost but found, Berlin\" data-attachment-id=\"40327\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Douglas-Gordon-All-my-own-work-2007-C-print-%C2%A9-Studio-lost-but-found-VG-Bild-Kunst-Bonn-2019-Courtesy-Studio-lost-but-found-Berlin\/3439154196.jpg?resize=469%2C300&#038;ssl=1\" title=\"Douglas Gordon, All my own work , 2007, C-print \u00a9 Studio lost but found - VG Bild-Kunst, Bonn 2019, Courtesy Studio lost but found, Berlin\" height=\"300\" width=\"469\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Douglas Gordon, All my own work , 2007, C-print \u00a9 Studio lost but found - VG Bild-Kunst, Bonn 2019, Courtesy Studio lost but found, Berlin<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><\/div>\n\n<p>&nbsp;<\/p>\n<p><em><strong>Bibliografie<\/strong><\/em><\/p>\n<p><em><strong>C\u0103r\u021bi:<\/strong><\/em><\/p>\n<p>Gene Youngblood, <em>Expanded Cinema, Fiftieth Anniversary Edition<\/em>, Fordham University Press, 2020;<\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>Link-uri:<\/strong><\/em><\/p>\n<p>https:\/\/en.wikipedia.org\/wiki\/Ragnar_Kjartansson_(performance_artist);<\/p>\n<p>https:\/\/en.wikipedia.org\/wiki\/Ragnar_Kjartansson_(performance_artist),<\/p>\n<p>https:\/\/gagosian.com\/artists\/douglas-gordon\/;<\/p>\n<p>https:\/\/letterboxd.com\/film\/deja-vu-2000\/;<\/p>\n<p>https:\/\/tiltfactor.org\/bio-art-an-overview-of-new-medias-thriving-sibling-by-hannah-collman\/;<\/p>\n<p>https:\/\/www.forbes.com\/sites\/annapowers\/2020\/07\/31\/why-art-is-vital-to-the-study-of-science\/;<\/p>\n<blockquote class=\"wp-embedded-content\" data-secret=\"d7ts8wraGu\"><p><a href=\"https:\/\/www.icaboston.org\/exhibitions\/ragnar-kjartansson-visitors-0\/\">Ragnar Kjartansson: The Visitors<\/a><\/p><\/blockquote>\n<p><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;Ragnar Kjartansson: The Visitors&#8221; &#8212; ICA Boston\" src=\"https:\/\/www.icaboston.org\/exhibitions\/ragnar-kjartansson-visitors-0\/embed\/#?secret=Actxq4Slh3#?secret=d7ts8wraGu\" data-secret=\"d7ts8wraGu\" width=\"500\" height=\"282\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p>https:\/\/www.rogerebert.com\/roger-ebert\/on-jean-luc-godard<\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>Nota Editorului:<\/strong> <\/em><\/p>\n<p>Salut\u0103m prima colaborare cu t\u00e2nara \u015fi talentata <strong>Iarina D\u0103n\u0103il\u0103<\/strong>, absolvent\u0103 a &nbsp;Universit\u0103\u0163ii de Art\u0103 \u015fi Design din Cluj-Napoca\/UAD. Ea ne ajut\u0103 prin acest articol s\u0103 descifr\u0103m misterele unui foarte nou capitol din ultracontemporaneitate, adic\u0103 New Media Art. Cu to\u0163ii ne punem problema acestui gen de crea\u0163ie \u015fi \u00een acela\u015fi timp cerem r\u0103gazul de a \u00eentelege pasul de la olimpiana galerie de art\u0103, la computer \u015fi video. Definirea artei new media este aproape la fel de dificil\u0103 ca \u015fi definirea artei \u00een general. De ce exist\u0103 at\u00e2t de mult\u0103 confuzie \u00een acest termen? Unul dintre r\u0103spunsurile posibile ar fi c\u0103 imersia noilor medii \u00een practicile de art\u0103 contemporan\u0103 este un proces continuu; cu toate acestea, odat\u0103 cu dezvoltarea nesf\u00e2r\u0219it\u0103 a noilor medii \u0219i dispozitive digitale, nu a existat niciodat\u0103 un moment \u00een care teoreticienii \u0219i exper\u021bii s\u0103 poat\u0103 defini teoretic acest gen important \u00een arta de azi. Energia acestui tip de abordare estetic\u0103 este cuprins\u0103 \u00een conceptualizarea pe care unii o definesc ca perioada post-internet. Exist\u0103 deja arti\u0219ti \u0219i galerii care sunt str\u00e2ns lega\u0163i de arta Post-Internet, iar curatorii \u00ee\u0219i propun s\u0103 rezume modul \u00een care ace\u0219ti arti\u0219ti reflect\u0103 noua noastr\u0103 rela\u021bie cu imagini \u0219i obiecte inspirate de cultura infinit variabil\u0103 a Web-ului.<\/p>\n<p>&nbsp;<\/p>\n<style type=\"text\/css\">\n#foogallery-gallery-40329.fg-justified .fg-item { margin-right: 2px; margin-bottom: 2px; }\n#foogallery-gallery-40329.fg-justified .fg-image { height: 200px; }<\/style>\n\t\t\t<div class=\"foogallery foogallery-container foogallery-justified foogallery-lightbox-foobox fg-justified fg-ready fg-light fg-shadow-medium fg-shadow-inset-medium fg-loading-default fg-loaded-fade-in fg-caption-always fg-hover-fade fg-hover-eye fg-no-js\" id=\"foogallery-gallery-40329\" data-foogallery=\"{&quot;item&quot;:{&quot;showCaptionTitle&quot;:true,&quot;showCaptionDescription&quot;:false},&quot;lazy&quot;:true,&quot;src&quot;:&quot;src&quot;,&quot;srcset&quot;:&quot;srcset&quot;,&quot;template&quot;:{&quot;rowHeight&quot;:200,&quot;maxRowHeight&quot;:300,&quot;margins&quot;:2,&quot;align&quot;:&quot;center&quot;,&quot;lastRow&quot;:&quot;smart&quot;}}\" style=\"--fg-title-line-clamp: 0; --fg-description-line-clamp: 0;\" >\n\t<div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Eduardo-Kacs-installation-Genesis-Ars-Electronica-1999.jpg?ssl=1\" data-caption-title=\"Eduardo Kac&#039;s installation Genesis Ars Electronica 1999\" data-attachment-id=\"40330\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Eduardo-Kacs-installation-Genesis-Ars-Electronica-1999\/1321070010.jpg?resize=448%2C300&#038;ssl=1\" title=\"Eduardo Kac&#039;s installation Genesis Ars Electronica 1999\" height=\"300\" width=\"448\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Eduardo Kac's installation Genesis Ars Electronica 1999<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Incremental-God-the-installation-created-by-SAINT-MACHINE-Sergiu-Negulici.jpg?ssl=1\" data-caption-title=\"Incremental God, the installation created by SAINT MAC\" data-attachment-id=\"40331\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Incremental-God-the-installation-created-by-SAINT-MACHINE-Sergiu-Negulici\/412032522.jpg?resize=450%2C300&#038;ssl=1\" title=\"Incremental God, the installation created by SAINT MAC\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Incremental God, the installation created by SAINT MAC<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/IREAL.ro-2.jpg?ssl=1\" data-caption-title=\"IREAL.ro\" data-attachment-id=\"40332\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/IREAL_ro-2\/821263978.jpg?resize=450%2C300&#038;ssl=1\" title=\"IREAL.ro\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">IREAL.ro<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/IREAL.ro_.jpg?ssl=1\" data-caption-title=\"IREAL.ro\" data-attachment-id=\"40333\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/IREAL_ro_\/4054665463.jpg?resize=450%2C300&#038;ssl=1\" title=\"IREAL.ro\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">IREAL.ro<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Jane-Prophet-project-Silver-Heart.jpg?ssl=1\" data-caption-title=\"Jane Prophet - project Silver Heart\" data-attachment-id=\"40334\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Jane-Prophet-project-Silver-Heart\/2778342641.jpg?resize=285%2C300&#038;ssl=1\" title=\"Jane Prophet - project Silver Heart\" height=\"300\" width=\"285\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Jane Prophet - project Silver Heart<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Powder-explosion-high-speed-Photography-photographed-on-black-backdrop-red-blue-white-GETTY.jpg?ssl=1\" data-caption-title=\"Powder explosion, high speed Photography, photographed \" data-attachment-id=\"40335\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Powder-explosion-high-speed-Photography-photographed-on-black-backdrop-red-blue-white-GETTY\/3072259824.jpg?resize=400%2C300&#038;ssl=1\" title=\"Powder explosion, high speed Photography, photographed\" height=\"300\" width=\"400\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Powder explosion, high speed Photography, photographed<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><\/div>\n\n<p>&nbsp;<\/p>\n<h2>D\u00e9j\u00e0-vu vs. The Visitors.&nbsp;IMPACT<\/h2>\n<p>&nbsp;<\/p>\n<p>Art should imitate the observable, palpable work, but in this way it departs three times from the truth &#8211; the truth taking the ideal form of something in the world, the second generation being the real object of the world and the third generation being the artist&#8217;s interpretation. intended for eye sensation in the first place would be called perceptual rather than conceptual. New media is a new but broad term in terms of meaning, being defined in different ways and encompassing a wide range of art forms that are produced, modified and transmitted through digital technologies. Along with the emphasis on the new, new media signifies an explicit difference from art practices that use traditional visual expression. The broad spectrum of this term includes virtual art on the Internet, the art of games, bio art, animations, installations, interactive art and computer graphics, as well as practices in the field of art and activism. Much of the new media art is based on an understanding of object-oriented art, especially in terms of its characteristics of interactivity, immateriality and ephemerality and its complex interaction between artist, opera and spectator. However, digital technologies allow artists to exceptionally develop interactive works of art, such as internet art and virtual art, which give the viewer a specific freedom of choice from an aesthetic point of view. Through different modes of communication, certain types, imaging (visual), auditory, facial expressions, all convey nuanced meanings to the public. New media art started from the idea that focuses the interaction between art and science, and in recent years, prolong the art-science connection. As Gene Youngblood says in Expanded Cinema, this forces cinematography to expand and become more complex. Mass entertainment bores people&#8217;s minds. It is a closed, entropic system that comes with nothing new. We live in the shock of the future, so art should be an innovation. New systems need to be designed for old information. The artist is a scientist in the field of design. Raising public awareness is a constant struggle for many arts organizations.<\/p>\n<p>Existing research models in the field implement new media technology strategies in their marketing plans. However, public involvement is often one-sided. Public involvement is an essential component of what we call new media. Today, new media technologies open up possibilities that did not exist in the past. Research in this review chapter has identified three common findings regarding new media technologies: the need for adequate profiling of the contemporary audience to establish the ideal marketing strategy, new media strategies used to increase audience, and issues related to the application of new media technologies. In the context of the pluralism of contemporary criticism, there is no single theory of art. Our efforts to understand the form of video art should not be directed only at an assessment of the properties of the environment, but at establishing relationships between physical characteristics or media and art theories, video art includes works that reflect more than one theoretical point of view, the openness to an art form of speculation, not only the description of the past and the present, but also the development of the future. Thus the video can be described as the work of independent artists who develop concepts in the form of video. These works are most often displayed in galleries and museums and occasionally on radio or cable television. The content of the video art is determined exclusively by the artist, without the criteria of time for broadcasting, display or commercial viability. While artists can choose to work with any of these, they are not required by the presentation. The distinction between video art and television is not intended to be a definition of video art, but a framework in which one can build an identity of video art based on its unique characteristics.<\/p>\n<p>I chose to analyze two works created twelve years apart, and I will start with D\u00e9j\u00e0-vu made in 2000 by Douglas Gordon. Douglas Gordon is a contemporary Scottish artist known for his ability to amalgamate preconceived ideas about reality. Through his performances, installations, photography and video art, Gordon readjusts the scenes, mixes them and assimilates his cultural sources. Born on September 20, 1966 in Glasgow, Gordon won the Turner Prize in 1996, six years after studying at the Slade School of Art in London. A graduate of the Glasgow School of Art, the multimedia artist represented Great Britain at the Venice Biennale in 1997. The following year he received the Hugo Boss Prize. Gordon currently lives and works in Berlin, Germany. For some time now, Douglas Gordon has been working on issues of identity and mortality, and D\u00e9j\u00e0-vu continues this series of themes. The original film, titled Dead on Arrival, begins with the presentation of a man who reports his own crime to a police station. The subsequent narrative is structured through flashbacks and involves a classic range of betrayals and Hollywood identities. The characters become more and more confused in Gordon&#8217;s work as a result of the repetition of scenes and the overlapping of soundtracks. As critic Richard Cork pointed out: In D\u00e9j\u00e0-vu Douglas Gordon uses footage from the D.O.A. 1949-1950, a Hollywood thriller directed by Rudolph Mate\u00e9. The movie has been converted to a video and is projected simultaneously on three parallel screens at normal speed. This has the effect that the three identical narratives are propelled more and more in time and induce to the spectators an experience similar to the feeling of d\u00e9j\u00e0 vu. After a macabre scene in which, by stamping the file by a police officer, with the abbreviation DOA, Gordon chooses to continue the work, he noticed the artist&#8217;s interest in using and reusing existing films, especially in the 1993 film 24 Hour Psycho, an important precedent for D\u00e9j\u00e0-vu. Themes addressing identities, self-image, portraits, and mortality are present in Gordon&#8217;s work, but especially in D\u00e9j\u00e0-vu&#8217;s work. He uses new technologies in structurally transparent ways, but with extremely complex implications. Just by changing the projection speed of the film from 24 frames per second to 23 or 25 frames and aligning the screens along the wall of a large room. He manipulates his materials in spatial and sculptural configurations in which the viewer becomes personally involved, bound in narratives and yet distanced from dubbing, mirroring, reversing images. Another level of the same chronology starts from temporal art and reaches virtual reality. There are, in fact, one or more preconditions for these descriptive, evolutionary approaches, which are consequently late. Douglas Gordon&#8217;s proposals from D\u00e9j\u00e0-vu better attest to the nature of this change by claiming his amateurism in the areas he addresses and is eager to bring the media to the channel level. Here we have a position on the artistic approach that goes beyond the problem, so-called properly, of techniques and technologies and that is related to its object. Since the artist&#8217;s approach includes the use of his own body, found objects, mass images or all of the above, the selected technology has a more insignificant moment compared to the type of connection made with the recipient. In other news, Gordon makes a dark, macabre film about a man who is poisoned and recounts the events that led to the actions behind his crime. The story is told through a series of flashbacks, and the feeling of feeling, foreboding and d\u00e9j\u00e0 vu is enhanced by Gordon&#8217;s manipulation of the viewer. We must not forget that there are many forms of attractions especially in art, so I think that the cinema of attractions can be interpreted differently by each person, but regardless of its form, the cinema of attractions will always exist. pleasure that are created for each type representing categories such as pornography, horror or melodrama, the pleasures being expressed by the screams of fear that come in response to the movies horror or sighs of anguish from dramatic films. These genres have long existed in the film industry, which is why they create those special pleasures to the public. Gordon turns a simple film into an experiment and also into an experience that takes place on a psychological level. Gordon&#8217;s work is full of references and not only with reference to films, his art being much more literal, which in fact reminds us that the works are in fact the books we read, the movies we see, the music we listen to and the art we watch, which become a part of our lives, like the usual feelings we come to experience throughout this life, and in the end, Gordon&#8217;s work becomes something usual that we, the viewers, have already become accustomed to.<\/p>\n<p>The second work I chose was the one made in 2012 by Ragnar Kjartansson, entitled The Visitors, because I think it is completely opposite, in all respects, to the first work. Kjartansson lives and works in Reykjav\u00edk, where he works with various artistic environments, creating video installations, shows, paintings that are based on countless historical and cultural references. A pathos and a basic irony link his works, each being deeply influenced by the comedy and tragedy of classical theater. The artist blurs the distinctions between environments, and over time, Kjartansson conveys an interest in its beauty and banality and uses the durable and repetitive as forms of exploration. The Visitors by Ragnar Kjartansson presents a group of friends who perform a short piece of music. These friends are gathered at Rokeby Farm, a 43-room house built 195 years ago hidden in upstate New York. However, the film&#8217;s innovation is that the individuals are not actually together, but filmed separately, playing-and individual roles in separate rooms of the house. Each individual is then projected on a huge screen, covering the gallery space from wall to wall. Thus, each performer occupies a discreet auditory and visual space inside the gallery, while being part of an ensemble. Although relatively simple, there is a melancholy in the cadence of the simple phrasing of the piece that increases with each repetition. One performer plays classical guitar in the bathroom, another plays the piano, a third plays the tambourine, etc., and watching a group of musicians playing together is much different than when you see a man playing in the tub (who was Kjartansson himself). The spectators thus becoming mere visitors of the artists placed in different corners of the mansion. The lyrics come from a poem by Kjartansson&#8217;s ex-wife, \u00c1sd\u00eds Sif Gunnarsd\u00f3ttir. Loaded with the pain of the song, her words evoke a state of irony, a possible great resignation. The musical composition is coherent in the installation of the work, presenting a dynamic ensemble show and emotional that Kjartansson refers to as a nihilistic female gospel song. Through its unique arrangement in the musical space, The Visitors creates a layered portrait of the house and its inhabitants. For some, prolonged experience is sometimes characterized as &#8222;alone together&#8221;, which dramatically changed our view of shelter and our interpersonal relationships. In fact, the title of The Visitors is taken from the last album of the band ABBA, made in 1981, when the big band was about to break up. At the end of the 64 minutes, the musicians take off their headphones one by one, put their instruments aside and gather in a large room. There, next to a grand piano, the music continues, but now a cappella. As all the interior rooms are evacuated, the screens are inevitably emptied and the audience resounds on the performers&#8217; movements, until everyone gathers in front of the screen.<\/p>\n<p>In conclusion, although the two works are essentially very different, they had a very big impact on the way we relate to video art and, especially, on the way we use and relate to new media techniques. Both Gordon and Kjartansson are two pillars of reference because they have revolutionized the way they are represented, the ideas put on the screens, the way they are exposed, the filming techniques and the way their art interacts directly with the audience\/viewer, but both have one thing in common. Namely the desire to leave something a legacy of art, to be and to have. Impact.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Author: Iarina D\u0103n\u0103il\u0103<\/strong><\/p>\n<p>&nbsp;<\/p>\n<style type=\"text\/css\">\n#foogallery-gallery-40337.fg-justified .fg-item { margin-right: 2px; margin-bottom: 2px; }\n#foogallery-gallery-40337.fg-justified .fg-image { height: 200px; }<\/style>\n\t\t\t<div class=\"foogallery foogallery-container foogallery-justified foogallery-lightbox-foobox fg-justified fg-ready fg-light fg-shadow-medium fg-shadow-inset-medium fg-loading-default fg-loaded-fade-in fg-caption-always fg-hover-fade fg-hover-eye fg-no-js\" id=\"foogallery-gallery-40337\" data-foogallery=\"{&quot;item&quot;:{&quot;showCaptionTitle&quot;:true,&quot;showCaptionDescription&quot;:false},&quot;lazy&quot;:true,&quot;src&quot;:&quot;src&quot;,&quot;srcset&quot;:&quot;srcset&quot;,&quot;template&quot;:{&quot;rowHeight&quot;:200,&quot;maxRowHeight&quot;:300,&quot;margins&quot;:2,&quot;align&quot;:&quot;center&quot;,&quot;lastRow&quot;:&quot;smart&quot;}}\" style=\"--fg-title-line-clamp: 0; --fg-description-line-clamp: 0;\" >\n\t<div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/3D-Model-Aphrodite-With-Golden-Virtual-Reality-Glasses-On-Blue-Background.-Concept-Of-Art-And-...-GETTY.jpg?ssl=1\" data-caption-title=\"3D Model Aphrodite With Golden Virtual Reality Glasses On Blue Background. Concept Of Art And ...( GETTY)\" data-attachment-id=\"40338\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/3D-Model-Aphrodite-With-Golden-Virtual-Reality-Glasses-On-Blue-Background_-Concept-Of-Art-And-___-GETTY\/3228375800.jpg?resize=430%2C300&#038;ssl=1\" title=\"3D Model Aphrodite With Golden Virtual Reality Glasses On Blue Background. Concept Of Art And ...( GETTY)\" height=\"300\" width=\"430\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">3D Model Aphrodite With Golden Virtual Reality Glasses On Blue Background. Concept Of Art And ...( GETTY)<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Andrei-Gamart-RADAR-2021-2.jpg?ssl=1\" data-caption-title=\"Andrei Gamart RADAR 2021\" data-attachment-id=\"40339\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Andrei-Gamart-RADAR-2021-2\/672753871.jpg?resize=319%2C300&#038;ssl=1\" title=\"Andrei Gamart RADAR 2021\" height=\"300\" width=\"319\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Andrei Gamart RADAR 2021<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Brasov-Underground-Museum-BUM-primul-muzeu-de-arta-new-media-din-Romania-1.jpg?ssl=1\" data-caption-title=\"Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia\" data-attachment-id=\"40340\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Brasov-Underground-Museum-BUM-primul-muzeu-de-arta-new-media-din-Romania-1\/4218612655.jpg?resize=200%2C300&#038;ssl=1\" title=\"Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia\" height=\"300\" width=\"200\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Brasov-Underground-Museum-BUM-primul-muzeu-de-arta-new-media-din-Romania-3.jpg?ssl=1\" data-caption-title=\"Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia\" data-attachment-id=\"40341\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Brasov-Underground-Museum-BUM-primul-muzeu-de-arta-new-media-din-Romania-3\/3105889503.jpg?resize=449%2C300&#038;ssl=1\" title=\"Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia\" height=\"300\" width=\"449\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Brasov-Underground-Museum-BUM-primul-muzeu-de-arta-new-media-din-Romania-4.jpg?ssl=1\" data-caption-title=\"Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia\" data-attachment-id=\"40342\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Brasov-Underground-Museum-BUM-primul-muzeu-de-arta-new-media-din-Romania-4\/3011315153.jpg?resize=450%2C300&#038;ssl=1\" title=\"Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Brasov-Underground-Museum-BUM-primul-muzeu-de-arta-new-media-din-Romania-5.jpg?ssl=1\" data-caption-title=\"Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia \" data-attachment-id=\"40343\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Brasov-Underground-Museum-BUM-primul-muzeu-de-arta-new-media-din-Romania-5\/2141254978.jpg?resize=450%2C300&#038;ssl=1\" title=\"Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Bra\u0219ov Underground Museum (BUM), primul muzeu de art\u0103 new media din Rom\u00e2nia<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Claire-Fristot-and-Silvia-Gradinaru-at-RADAR-2021-2.jpg?ssl=1\" data-caption-title=\"Claire Fristot and Silvia Gr\u0103dinaru at RADAR 2021\" data-attachment-id=\"40344\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Claire-Fristot-and-Silvia-Gradinaru-at-RADAR-2021-2\/1017655890.jpg?resize=450%2C300&#038;ssl=1\" title=\"Claire Fristot and Silvia Gr\u0103dinaru at RADAR 2021\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Claire Fristot and Silvia Gr\u0103dinaru at RADAR 2021<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Claire-Fristot-and-Silvia-Gradinaru-at-RADAR-2021.jpg?ssl=1\" data-caption-title=\"Claire Fristot and Silvia Gr\u0103dinaru at RADAR 2021\" data-attachment-id=\"40345\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Claire-Fristot-and-Silvia-Gradinaru-at-RADAR-2021\/2524173929.jpg?resize=450%2C300&#038;ssl=1\" title=\"Claire Fristot and Silvia Gr\u0103dinaru at RADAR 2021\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Claire Fristot and Silvia Gr\u0103dinaru at RADAR 2021<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/RADAR-2021.jpg?ssl=1\" data-caption-title=\"RADAR 2021\" data-attachment-id=\"40346\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/RADAR-2021\/1942573193.jpg?resize=531%2C300&#038;ssl=1\" title=\"RADAR 2021\" height=\"300\" width=\"531\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">RADAR 2021<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Ragnar-Kjartansson-Woman-in-E-2016-photo-credits-Andrew-Miller-courtesy-of-the-artist-Luhring-Augustine-New-York-and-i8-Gallery-Reykjavik.jpg?ssl=1\" data-caption-title=\"Ragnar Kjartansson - Woman in E, 2016 - photo credits Andrew Miller, courtesy of the artist, Luhring Augustine, New York and i8 Gallery, Reykjav\u00edk\" data-attachment-id=\"40347\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Ragnar-Kjartansson-Woman-in-E-2016-photo-credits-Andrew-Miller-courtesy-of-the-artist-Luhring-Augustine-New-York-and-i8-Gallery-Reykjavik\/2295307168.jpg?resize=450%2C300&#038;ssl=1\" title=\"Ragnar Kjartansson - Woman in E, 2016 - photo credits Andrew Miller, courtesy of the artist, Luhring Augustine, New York and i8 Gallery, Reykjav\u00edk\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Ragnar Kjartansson - Woman in E, 2016 - photo credits Andrew Miller, courtesy of the artist, Luhring Augustine, New York and i8 Gallery, Reykjav\u00edk<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Ragnar-Kjartansson-1.jpg?ssl=1\" data-caption-title=\"Ragnar Kjartansson\" data-attachment-id=\"40348\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Ragnar-Kjartansson-1\/2251772898.jpg?resize=449%2C300&#038;ssl=1\" title=\"Ragnar Kjartansson\" height=\"300\" width=\"449\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Ragnar Kjartansson<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Ragnar-Kjartansson-in-action-on-his-temporary-studio-in-Vienna.jpg?ssl=1\" data-caption-title=\"Ragnar Kjartansson-in action on his temporary studio in Vienna\" data-attachment-id=\"40349\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Ragnar-Kjartansson-in-action-on-his-temporary-studio-in-Vienna\/3480214262.jpg?resize=409%2C300&#038;ssl=1\" title=\"Ragnar Kjartansson-in action on his temporary studio in Vienna\" height=\"300\" width=\"409\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Ragnar Kjartansson-in action on his temporary studio in Vienna<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Shih-Chieh-Huang-EX-DD-06-2006-courtesy-of-lipmag.com_.jpg?ssl=1\" data-caption-title=\"Shih Chieh Huang, EX-DD-06, 2006 (courtesy of lipmag.com)\" data-attachment-id=\"40350\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Shih-Chieh-Huang-EX-DD-06-2006-courtesy-of-lipmag_com_\/4106226451.jpg?resize=475%2C300&#038;ssl=1\" title=\"Shih Chieh Huang, EX-DD-06, 2006 (courtesy of lipmag.com)\" height=\"300\" width=\"475\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Shih Chieh Huang, EX-DD-06, 2006 (courtesy of lipmag.com)<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/The-Experience-Machine-exhibition-at-Ikkan-Art-International-2012-courtesy-of-artinasia.com_.jpg?ssl=1\" data-caption-title=\"The Experience Machine exhibition at Ikkan Art International, 2012 (courtesy of artinasia.com)\" data-attachment-id=\"40351\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/The-Experience-Machine-exhibition-at-Ikkan-Art-International-2012-courtesy-of-artinasia_com_\/1982212750.jpg?resize=450%2C300&#038;ssl=1\" title=\"The Experience Machine exhibition at Ikkan Art International, 2012 (courtesy of artinasia.com)\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">The Experience Machine exhibition at Ikkan Art International, 2012 (courtesy of artinasia.com)<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/World-Skin-1997-Maurice-Benayouns-Virtual-Reality-Interactive-Installation.jpg?ssl=1\" data-caption-title=\"World Skin (1997), Maurice Benayoun&#039;s Virtual Reality Interactive Installation\" data-attachment-id=\"40352\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/World-Skin-1997-Maurice-Benayouns-Virtual-Reality-Interactive-Installation\/811669782.jpg?resize=445%2C300&#038;ssl=1\" title=\"World Skin (1997), Maurice Benayoun&#039;s Virtual Reality Interactive Installation\" height=\"300\" width=\"445\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">World Skin (1997), Maurice Benayoun's Virtual Reality Interactive Installation<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><div class=\"fg-item fg-type-image fg-loading\"><figure class=\"fg-item-inner\"><a href=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Coperta-5-Ai-Weiwei-Chinese-1957%E2%80%93-Forever-Bicycles-2011-installation-view-at-Taipei-Fine-Arts-Museum-Image-courtesy-Ai-Weiwei-Studio-%C2%A9-Ai-Weiwei.jpg?ssl=1\" data-caption-title=\"Ai Weiwei Chinese 1957\u2013 Forever Bicycles, 2011, installation view at Taipei Fine Arts Museum Image courtesy Ai Weiwei Studio \u00a9 Ai Weiwei\" data-attachment-id=\"40354\" data-type=\"image\" class=\"fg-thumb\"><span class=\"fg-image-wrap\"><img data-recalc-dims=\"1\" src=\"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/cache\/2021\/07\/Coperta-5-Ai-Weiwei-Chinese-1957%E2%80%93-Forever-Bicycles-2011-installation-view-at-Taipei-Fine-Arts-Museum-Image-courtesy-Ai-Weiwei-Studio-%C2%A9-Ai-Weiwei\/3480370893.jpg?resize=450%2C300&#038;ssl=1\" title=\"Ai Weiwei Chinese 1957\u2013 Forever Bicycles, 2011, installation view at Taipei Fine Arts Museum Image courtesy Ai Weiwei Studio \u00a9 Ai Weiwei\" height=\"300\" width=\"450\" class=\"skip-lazy fg-image\" decoding=\"async\" loading=\"lazy\"><\/span><span class=\"fg-image-overlay\"><\/span><\/a><figcaption class=\"fg-caption\"><div class=\"fg-caption-inner\"><div class=\"fg-caption-title\">Ai Weiwei Chinese 1957\u2013 Forever Bicycles, 2011, installation view at Taipei Fine Arts Museum Image courtesy Ai Weiwei Studio \u00a9 Ai Weiwei<\/div><\/div><\/figcaption><\/figure><div class=\"fg-loader\"><\/div><\/div><\/div>\n\n<p>&nbsp;<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\">[1]<\/a>https:\/\/tiltfactor.org\/bio-art-an-overview-of-new-medias-thriving-sibling-by-hannah-collman\/; accesat la data de 7.06.2021;<\/p>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\">[2]<\/a>https:\/\/www.forbes.com\/sites\/annapowers\/2020\/07\/31\/why-art-is-vital-to-the-study-of-science\/; accesat la data de 7.06.2021;<\/p>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\">[3]<\/a> Gene Youngblood, <em>Expanded Cinema, Fiftieth Anniversary Edition<\/em>, Fordham University Press, 2020, pag.66-69;<\/p>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\">[4]<\/a>https:\/\/www.rogerebert.com\/roger-ebert\/on-jean-luc-godard; accesat la data de 8.06.2021;<\/p>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\">[5]<\/a>https:\/\/gagosian.com\/artists\/douglas-gordon\/; accesat la data de 8.06.2021<\/p>\n<p><a href=\"#_ftnref6\" name=\"_ftn6\">[6]<\/a> https:\/\/letterboxd.com\/film\/deja-vu-2000\/; accesat la data de 8.06.2021<\/p>\n<p><a href=\"#_ftnref7\" name=\"_ftn7\">[7]<\/a> https:\/\/en.wikipedia.org\/wiki\/Ragnar_Kjartansson_(performance_artist), accesat la data de 9.06.2021;<\/p>\n<p><a href=\"#_ftnref8\" name=\"_ftn8\">[8]<\/a> https:\/\/www.icaboston.org\/exhibitions\/ragnar-kjartansson-visitors-0; accesat la data de 9.06.2021;<\/p>\n<p><a href=\"#_ftnref9\" name=\"_ftn9\">[9]<\/a>https:\/\/en.wikipedia.org\/wiki\/Ragnar_Kjartansson_(performance_artist); accesat la data de 9.06.2021<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a9 Sud-Est Forum&nbsp; &amp; Iarina D\u0103n\u0103il\u0103 2021<\/strong><\/p>\n<p>&nbsp;<\/p>\n<div id=\"fb_send_like\"><\/div>","protected":false},"excerpt":{"rendered":"<p>&nbsp;<\/p>\n[foogallery id=\"40312\"]\n<p>&nbsp;<\/p>\n<p>Arta ar trebui s\u0103 imite lucrarea observabil\u0103, palpabil\u0103, dar \u00een acest fel se \u00eendep\u0103rteaz\u0103 de trei ori de adev\u0103r &#8211; adev\u0103rul lu\u00e2nd forma ideal\u0103 a ceva \u00een lume, a doua genera\u021bie fiind obiectul real din lume \u0219i a treia genera\u021bie fiind interpretarea artistului. Arta care este menit\u0103 pentru senza\u021bia ochiului \u00een primul r\u00e2nd ar fi numit\u0103 mai degrab\u0103 perceptual\u0103 dec\u00e2t conceptual\u0103. New media este un termen nou, dar vast ca \u00een\u021belesuri, fiinddefinit \u00een diferite moduri \u0219i cuprinz\u00e2nd o gam\u0103 larg\u0103 de forme de art\u0103 care sunt produse, modificate \u0219i transmise prin intermediul tehnologii digitale. \u00cempreun\u0103 cu accentul pus pe nou, new media semnific\u0103 o diferen\u021b\u0103 explicit\u0103 fa\u021b\u0103 de practicile de art\u0103 care folosesc modalit\u0103\u021bide exprimare vizual\u0103 tradi\u021bional\u0103. Spectrul larg al acestui termen include arta virtual\u0103 de pe internet, arta jocurilor, bio art, anima\u021bii, instala\u021bii, art\u0103 interactiv\u0103 \u0219i grafic\u0103 pe computer, precum \u0219i practici \u00een domeniul artei \u0219i activismului.<a href=\"#_ftn1\" name=\"_ftnref1\">[1]<\/a>O mare parte din arta new mediast\u0103 la bazafundamentelor unei \u00een\u021belegeri a artei axate pe obiect, \u00een special \u00een ceea ce prive\u0219te caracteristicile sale de interactivitate, imaterialitate \u0219i efemeritate \u0219i interac\u021biunea sa complex\u0103 \u00eentre artist, oper\u0103 \u0219i spectator. Cu toate acestea, tehnologiile digitale permit arti\u0219tilor s\u0103 dezvolte \u00een mod excep\u021bional opere de art\u0103 interactive, cum ar fi arta pe internet \u0219i arta virtual\u0103, care ofer\u0103 spectatorului o libertate specific\u0103 de alegere din punct de vedere estetic. Prin diferite moduri de comunicare, anumetiparele, imagistica (vizualul), auditivul, mimica, toate transmit semnifica\u021bii nuan\u021bate publicului.Arta new media a pornit de la ideeace se axape interac\u021biunea dintre art\u0103 \u0219i \u0219tiin\u021b\u0103, iar \u00een ultimii ani, au ap\u0103rut practici de art\u0103 care prelungesc conexiunea art\u0103-\u0219tiin\u021b\u0103.<a href=\"#_ftn2\" name=\"_ftnref2\">[2]<\/a> A\u0219a cum spune \u0219i Gene Youngblood \u00een <em>Expanded Cinema<\/em> acest lucru oblig\u0103 cinematografia s\u0103 se extind\u0103 \u0219i s\u0103 devin\u0103 mai complex\u0103. Divertismentul \u00een mas\u0103 plictise\u0219te min\u021bile oamenilor. Este un sistem \u00eenchis, entropic, care nu vine cu nimic nou. Tr\u0103im \u00een \u0219ocul viitorului, deci arta ar trebui s\u0103 fie o inova\u021bie. Noi sisteme trebuie proiectate pentru informa\u021bii vechi. Artistul este un om de \u0219tiin\u021b\u0103 \u00een cele ale design-ului.<a href=\"#_ftn3\" name=\"_ftnref3\">[3]<\/a> Cre\u0219terea gradului de con\u0219tientizare a publicului este o lupt\u0103 constant\u0103 pentru multe organiza\u021bii artistice. Pentru a stabili gradul de con\u0219tientizare, multe organiza\u021bii de art\u0103 \u00eencep s\u0103-\u0219i segmenteze publicul pentru a-\u0219i acumula cele mai bune practici pentru a spori implicarea urm\u0103ritorilor. Modelele de cercetare existente \u00een domeniu implementeaz\u0103 strategii de tehnologie new media \u00een planurile lor de marketing. Cu toate acestea, implicarea publicului este adesea unilateral\u0103. Implicarea publicului este o component\u0103 esen\u021bial\u0103 pentru ceea ce numim new media. Ast\u0103zi, noile tehnologii media deschid posibilit\u0103\u021bi care nu existau \u00een trecut. Cercet\u0103rile din acest capitol de revizuire au identificat trei descoperiri comune \u00een ceea ce prive\u0219te noile tehnologii media: necesitatea profil\u0103rii adecvate a publicului contemporan pentru a stabili strategia ideal\u0103 de marketing, noile strategii media utilizate pentru cre\u0219terea audien\u021bei, \u0219i problemele legate de aplicarea noilor tehnologii media. \u00cen contextul pluralismului criticii contemporanenu exist\u0103 o singur\u0103 teorie a artei. Eforturile noastre de a \u00een\u021belege forma artei video nu trebuie s\u0103 fie direc\u021bionate numai c\u0103tre o evaluare a propriet\u0103\u021bilor mediului, ci spre stabilirea de rela\u021bii \u00eentre caracteristicile fizice sau mediile \u0219i teoriile artei, arta video include lucr\u0103ri care reflect\u0103 mai mult de un punct de vedere teoretic, deschiderea spre o form\u0103 de art\u0103 a specula\u021biei, nu doar descrierea trecutului \u0219i prezentului, ci \u0219i dezvoltarea viitorului. Astfel videoclipul poate fi descris ca lucrarea unor arti\u0219ti independen\u021bi care dezvolt\u0103 concepte sub form\u0103 de video. Aceste lucr\u0103ri sunt afi\u0219ate cel mai adesea \u00een galerii \u0219i muzee \u0219i ocazional pe posturi de radio sau televiziune prin cablu. Con\u021binutul artei video este determinat exclusiv de artist, f\u0103r\u0103 criteriile de timp de difuzare, afi\u0219are sau viabilitate comercial\u0103. \u00cen timp ce arti\u0219tii pot alege s\u0103 lucreze cu oricare dintre acestea, nu sunt obliga\u021bi de modul de prezentare. Distinc\u021bia dintre arta video \u0219i televiziune nu se dore\u0219te a fi o defini\u021bie a artei video, ci un cadru \u00een care se poate construi o identitate a artei video pe baza caracteristicilor sale unice.<\/p>\n<p>Criteriile pentru abordarea acestei noi forme sunt \u00eenr\u0103d\u0103cinate uneori prea ferm \u00een teoriile formelor de art\u0103 stabilite care sunt direc\u021bionate \u00een primul r\u00e2nd spre propriet\u0103\u021bi fizice sau tehnologice. Oricare dintre aceste abord\u0103ri critice este inadecvat\u0103 deoarece videoclipul are caracteristici unice care \u00eel disting de film, televiziune \u0219i artele plastice. Exist\u0103 dou\u0103 aspecte ale identit\u0103\u021bii unui videoclipului. \u00cen primul r\u00e2nd, este evident ca are propriet\u0103\u021bi vizibile, fizice, adic\u0103 caracteristicile pe care le vedem \u0219i tehnologia pe care o cunoa\u0219tem, iar \u00een al doilea r\u00e2nd a doua identitate este psihologia ascuns\u0103 a atitudinilor fiin\u021belor umane fa\u021b\u0103 de aceast\u0103 tehnologie. Arta privit\u0103 ca o inven\u021bie electronic\u0103 complex\u0103 \u0219i interactiv\u0103 este recent\u0103 \u00een istoria artei. Misticismul echipamentelor videoelectronice complexe dintr-o oper\u0103 de art\u0103 produce adesea o venera\u021bie fa\u021b\u0103 de tehnologie, ceea ce poate duce la identificarea tehnologiei ca art\u0103 \u00een sine. Concentrarea pe tehnologie tinde s\u0103 izoleze opera de alte forme de art\u0103 \u0219i se dezvolt\u0103 o terminologie care completeaz\u0103 aceast\u0103 izolare de ideile \u0219i lucr\u0103rile din curentul principal al artei. Dezvoltarea tehnologiei video a fost rapid\u0103: ecrane pentru proiec\u021bie de imagini mari, discuri \u0219i cipuri video pentru stocare \u0219i redare, iar imaginile mai sofisticate generate de computer fac parte doar din rapiditatea accelerat\u0103 a inven\u021biei, care e reprezentat\u0103 de mai multe instrumente disponibile pentru crearea \u0219i afi\u0219area imaginilor video. Structura artei video nu este \u00eentotdeauna narativ\u0103. Jean LucGoddard a spus c\u0103 filmul ar trebui s\u0103 aib\u0103 un \u00eenceput, un mijloc \u0219i un sf\u00e2r\u0219it, dar nu neap\u0103rat \u00een aceast\u0103 ordine.<a href=\"#_ftn4\" name=\"_ftnref4\">[4]<\/a> Unele arte video nu au nici m\u0103car un \u00eenceput, un mijloc \u0219i un sf\u00e2r\u0219it,indiferent de ordine. Lucr\u0103rile de art\u0103 video reflect\u0103 punctul de vedere personal al artistului \u0219i pot fi mai extinse \u00een dep\u0103\u0219irea limitelor. De\u0219i este adev\u0103rat c\u0103 mul\u021bi arti\u0219ti nu au avut acces la echipamente sofisticate, experimentarea poate fi, de asemenea, \u00een domeniul chestion\u0103rii domeniului teoretic, precum \u0219i al domeniului tehnologic. Exist\u0103 mai multe func\u021bii ale criticii: descrierea, interpretarea \u0219i evaluarea operelor de art\u0103. Critica se bazeaz\u0103 pe teorie, adic\u0103 provine din modul \u00een care descriem, interpret\u0103m sau evalu\u0103m o oper\u0103 de art\u0103-viziunea noastr\u0103 particular\u0103 asupra artei. \u00cenainte de a ne \u00eendrepta aten\u021bia c\u0103tre punctul de vedere care urm\u0103re\u0219te s\u0103 \u00eenlocuiasc\u0103 ideea tradi\u021bional\u0103 a unui produs \u00een art\u0103, obiectul estetic, am putea examina rela\u021bia dintre film, videoclip \u0219i obiectul din art\u0103.Videoclipul, ca \u0219i filmul, con\u021bine obiecte, dar nu constituie un obiect. Disocierea artei video de conceptul tradi\u021bional de obiect estetic este necesar\u0103, deoarece videoclipul nu are un obiect propriu-zis. Totalitatea videoclipului sau suma total\u0103 a p\u0103r\u021bilor \u0219i rela\u021bia dintre aceste p\u0103r\u021bi este at\u00e2t fizic\u0103, c\u00e2t \u0219i ideatic\u0103. Dispozitivul pentru afi\u0219area imaginilor video este legat direct, tehnic, de dispozitivul pentru \u00eenregistrarea imaginilor video. \u00cen unele arte video, obiectul este mai pu\u021bin important \u00een construc\u021bia lucr\u0103rii, \u00een timp ce \u00een altele este fie centrul lucr\u0103rii, fie o component\u0103 aparent\u0103. Accentul pe aceast\u0103 proprietate video, \u00een lucr\u0103ri individuale, poate fi plasat pe o linie continu\u0103 variind de la preocuparea direct\u0103 cu obiectul p\u00e2n\u0103 la referin\u021ba minim\u0103 a acestuia. Formalismul \u00een arta video se g\u0103se\u0219te \u00een forma sa cea mai pur\u0103 \u00een opera acelor arti\u0219ti care folosesc caracteristici video \u00een crearea artei \u00een care abstractizarea imaginilor lumii vizibile sunt interpretate ca form\u0103, sunet \u0219i culoare \u00eentr-un flux auto-referen\u021bial de componente care ofer\u0103 o experien\u021b\u0103 pur vizual\u0103 \u0219i auditiv\u0103. Durata \u00eens\u0103 poate fi o problematic\u0103 \u00een arta video, cuv\u00e2ntul plictisitor apare adesea \u00een conversa\u021bii informale despre arta video \u00een general \u0219i despre lucr\u0103rile specifice. De fapt, cuv\u00e2ntul interminabil descrie \u00een mod adecvat unele opere de art\u0103 video. Poate c\u0103 \u00een aceste lucr\u0103ri de lung\u0103 durat\u0103 (precum <em>Sleep, Empire, Eat<\/em> realizate de Andy Warhol), ar trebui pus\u0103 \u00eentrebarea dac\u0103 lucrarea este pur \u0219i simplu prea lung\u0103 sau este totodat\u0103 semnificativ\u0103, ceea ce distinge videoclipul structural, \u00een acest context, de o ne\u00een\u021belegere, din partea artistului, \u00eentre durat\u0103 \u0219i con\u021binut.Videoclipul implic\u0103 un element care poate \u00eent\u00e2rzia sau accelera ritmul mi\u0219c\u0103rii. Acest element este sunetul care poate fi folosit pentru a face timpul aparent al imaginii \u00een mi\u0219care mai lung sau mai scurt. Sunetul este o proprietate video asociat\u0103 cu imaginea \u00een mi\u0219care de la apari\u021bia filmului sonor. Adesea \u00een arta video, imaginile abstracte se g\u0103sesc \u00een contextul mi\u0219c\u0103rii, deoarece aceste forme abstracte sunt acum v\u0103zute \u00een mi\u0219care, condi\u021bia tradi\u021bional\u0103 de vizualizare a imaginii \u00een mi\u0219care se presupune c\u0103 este corect\u0103. \u00centruc\u00e2t videoclipul are capacitatea de instalare \u0219i prezentare continu\u0103, aspectul condi\u021biei de vizionare devine o problem\u0103 de alegere. \u00cen acela\u0219i timp, arta video este un proces. Procesul de formare a unei opere de art\u0103 poate fi inclus \u00een arta video datorit\u0103 propriet\u0103\u021bii video a interac\u021biunii \u00een timp real. Aceast\u0103 proprietate poate fi inclus\u0103 \u00een forma final\u0103 a artei sau ascuns\u0103, prin urmare, caracteristicile video includ at\u00e2t obiectul tangibil, c\u00e2t \u0219i imagini care nu sunt tangibile \u0219i care nu sunt obiecte. Imaginea video este alc\u0103tuit\u0103 din mi\u0219care, timp, sunet con\u021binut \u00eentr-o form\u0103 tridimensional\u0103. Modul \u00een care un artist va folosi imaginea video depinde de punctul de vedere al artistului asupra artei.<\/p>\n<p>&nbsp;<\/p>\n[foogallery id=\"40297\"]\n<p>&nbsp;<\/p>\n<p>Am ales s\u0103 analizez dou\u0103 opere create la doisprezece ani diferen\u021b\u0103 una de cealalt\u0103, \u0219i voi \u00eencepe cu <em>D\u00e9j\u00e0-vu<\/em> realizat\u0103 \u00een anul 2000 de c\u0103tre Douglas Gordon. Douglas Gordon este un artist sco\u021bian contemporan cunoscut pentru abilitatea sa de a amalgama ideile preconcepute despre realitate. Prin spectacolele sale, instala\u021biile, fotografia \u0219i arta video, Gordon reajusteaz\u0103 scenele, le amestec\u0103 \u0219i \u00ee\u0219i \u00eensu\u0219e\u0219te sursele culturale. N\u0103scut pe 20 septembrie 1966 la Glasgow, Gordon a c\u00e2\u0219tigat Premiul Turner \u00een 1996, la \u0219ase ani dup\u0103 ce a studiat la Slade School of Art din Londra. Absolvent al \u0218colii de Art\u0103 din Glasgow, artistul multimedia a reprezentat Marea Britanie la Bienala de la Vene\u021bia \u00een 1997. \u00cen anul urm\u0103tor a primit premiul Hugo Boss. \u00cen prezent, Gordon locuie\u0219te \u0219i lucreaz\u0103 \u00een Berlin, Germania.<a href=\"#_ftn5\" name=\"_ftnref5\">[5]<\/a>De ceva timp Douglas Gordon face lucr\u0103ri preocupate de problemele de identitate \u0219i mortalitate, iar D\u00e9j\u00e0-vu continu\u0103 acest\u0103 serie de teme. Filmul original, al c\u0103rui titlu este <em>Dead on Arrival<\/em>, \u00eencepe cu prezentarea unui b\u0103rbat care \u00ee\u0219i raporteaz\u0103 propria crim\u0103 la o sec\u021bie de poli\u021bie. Nara\u021biunea ulterioar\u0103 este structurat\u0103 prin flashback-uri \u0219i implic\u0103 o gam\u0103 clasic\u0103 de tr\u0103d\u0103ri \u0219i identit\u0103\u021bi hollywood-iene. Personajele devin din ce \u00een ce mai confuze \u00een lucrarea lui Gordon ca urmare a repet\u0103rii scenelor \u0219i a suprapunerii coloanelor sonore. Dup\u0103 cum a subliniat criticul Richard Cork: \u00cen D\u00e9j\u00e0-vu Douglas Gordon se folose\u0219te de film\u0103ri din D.O.A. 1949-1950, un thriller de la Hollywood regizat de Rudolph Mate\u00e9.<a href=\"#_ftn6\" name=\"_ftnref6\">[6]<\/a> Filmul a fost convertit \u00eentr-un video \u0219i este proiectat simultan pe trei ecrane paralele la vitez\u0103 normal\u0103. Acest lucru are ca efect ca cele trei nara\u021biuni identice s\u0103 se propulseze din ce \u00een ce mai mult \u00een timp \u0219i s\u0103 induc\u0103 privitorilor o experien\u021b\u0103 similar\u0103 cu sentimentul de d\u00e9j\u00e0-vu. Dup\u0103 o scena macabr\u0103\u00een care, prin \u0219tampilarea dosarului de c\u0103tre m\u00e2na unui politist, cu abrevierea D.O.A, Gordon alege ca lucrarea s\u0103 continue, \u0219ise observ\u0103interesul artistului pentru utilizarea \u0219i re-utilizarea film\u0103rilor deja existente, \u00een special \u00een filmul <em>24 Hour Psycho<\/em> din anul 1993, un precedent important pentru <em>D\u00e9j\u00e0-vu<\/em>. Temele ce abordeaz\u0103 identit\u0103\u021bile, imaginea sinelui, portretele \u0219i mortalitatea sunt prezente \u00een lucrarile lui Gordon, dar \u00een special \u00een lucrarea <em>D\u00e9j\u00e0-vu.<\/em>El folose\u0219te noile tehnologii \u00een moduri transparente din punct de vedere structural, dar cu implica\u021bii extrem de complexe. Doar prin modificarea vitezei de proiec\u021biei filmului de la 24 de cadre pe secund\u0103 la 23 sau 25 de cadre \u0219i alinierea ecranelor de-a lungul peretelui unei camere mari. El \u00ee\u0219i manipuleaz\u0103 materialele \u00een configura\u021bii spa\u021biale \u0219i sculpturale \u00een care spectatorul devine personal implicat, legat \u00een nara\u021biuni \u0219i totu\u0219i distan\u021bat de dublarea, oglindirea, inversarea imaginilor.Un alt nivel al aceleia\u0219i cronologii \u00eencepe de la arta temporal\u0103 \u0219i ajunge la realitatea virtual\u0103. Exist\u0103, de fapt, una sau mai multe condi\u021bii prealabile la aceste abord\u0103ri descriptive, evolutive, care sunt \u00een consecin\u021b\u0103 t\u00e2rzii. Propunerile lui Douglas Gordon din <em>D\u00e9j\u00e0-vu<\/em> atest\u0103 mai bine natura acestei schimb\u0103ri pretinz\u00e2nd amatorismul s\u0103u \u00een domeniile pe care le abordeaz\u0103 \u0219i este dornic de aduce mass-media la nivel de canal. Aici avem o pozi\u021bie asupra abord\u0103rii artistice care dep\u0103\u0219e\u0219te problema, a\u0219a-numit\u0103 \u00een mod corespunz\u0103tor, a tehnicilor \u0219i tehnologiilor \u0219i care are leg\u0103tur\u0103 cu obiectul s\u0103u. \u00centruc\u00e2t \u00een abordarea artistului se reg\u0103se\u0219te folosirea propriului corp, obiecte g\u0103site, imagini \u00een mas\u0103 sau toate cele de mai sus, tehnologia selectat\u0103 are un moment mai nesemnificativ\u00een compara\u021bie cu tipul de leg\u0103tur\u0103 realizat\u0103 cu destinatarul. \u00cen alt\u0103 ordine de idei, Gordon realizeaz\u0103un film cu tente \u00eentunecate, macabre despre un om care este otr\u0103vit \u0219i care \u00ee\u0219i poveste\u0219te evenimentele ce au condus spre ac\u021biunile din spatele crimei sale. Povestea este relatat\u0103 printr-o serie de flashback-uri, iar sentimentul de sim\u021bire, presim\u021bire \u0219i de d\u00e9j\u00e0-vu este sporit de manipularea lui Gordon pe care o exercit\u0103 asupra privitorului. Nu trebuie uitat faptul c\u0103 exist\u0103 multe forme de atrac\u021bii mai ales \u00een art\u0103, a\u0219a c\u0103, cred c\u0103 cinema-ul atrac\u021biilor poate fi interpretat diferit de fiecare persoan\u0103, dar indiferent de forma sa, cinema-ul atrac\u021biilor va exista \u00eentotdeauna.Exist\u0103 diferite tipuri de pl\u0103cere care sunt create pentru fiecare tiparreprezent\u00e2nd categorii precum pornografia, groaza sau melodrama, pl\u0103cerile fiindexprimate prin \u021bipetele de fric\u0103 care vin ca r\u0103spuns la filmele horror sau suspinele de angoas\u0103 din filmele dramatice. Aceste genuri exist\u0103 de mult\u0103 vreme \u00een industria cinematografic\u0103, motivul pentru care creeaz\u0103 publicului acele pl\u0103ceri aparte. Gordon transform\u0103 un simplu film \u00eentr-un experiment \u0219i totodat\u0103 \u00eentr-o experien\u021b\u0103 ce are loc la nivel psihologic. Opera lui Gordon este plin\u0103 de referin\u021be \u0219i nu numai cu referire la filme, arta sa fiind mult mai mult \u00eendreptat\u0103 spre literal, ceea ce ne aminte\u0219te de fapt c\u0103 lucr\u0103rile salesuntde fapt c\u0103r\u021bile pe care le citim, filmele pe care le vedem, muzica pe care o ascult\u0103m \u0219i arta la care ne uit\u0103m,care devin o parte din via\u021ba noastr\u0103, precum sentimentele uzuale pe care ajungem s\u0103 le tr\u0103im de-a lungul acestei vie\u021bi, iar \u00eentr-un final, opera lui Gordon ajunge s\u0103 devin\u0103 ceva uzual cu care noi, privitorii, deja ne-am obi\u0219nuit.<\/p>\n<p>&nbsp;<\/p>\n[foogallery id=\"40302\"]\n<p>&nbsp;<\/p>\n<p>A doua oper\u0103 pe care am ales-o este cea realizat\u0103 \u00een anul 2012 de Ragnar Kjartansson, intitulat\u0103 <em>The Visitors<\/em>, deoarece cred ca este complet opus\u0103, din toate punctele de vedere, primei opere. Kjartansson tr\u0103ie\u0219te \u0219i lucreaz\u0103 \u00een Reykjav\u00edk, unde lucreaz\u0103 cu mai multe medii artistice, cre\u00e2nd instala\u021bii video, spectacole, picturi care se bazeaz\u0103 pe nenum\u0103rate referin\u021be istorice \u0219i culturale. Un patetism \u0219i o ironie de baz\u0103 leag\u0103 operele sale, fiecare fiind profund influen\u021bat\u0103 de comedia \u0219i tragedia teatrului clasic.<a href=\"#_ftn7\" name=\"_ftnref7\">[7]<\/a> Artistul estompeaz\u0103 distinc\u021biile dintre medii, iar de-a lungul timpului, Kjartansson transmite un interes pentru frumuse\u021bea \u0219i banalitatea ei \u0219i se folose\u0219te de durativ \u0219i repetitiv ca forme de explorare.<em>The Visitors<\/em> de Ragnar Kjartansson prezint\u0103 un grup de prieteni care interpreteaz\u0103 o scurt\u0103 pies\u0103 muzical\u0103. Ace\u0219ti prieteni sunt aduna\u021bi la ferm\u0103 Rokeby, o cas\u0103 construit\u0103 acum 195 de ani, cu 43 de camere, ascuns\u0103 \u00een nordul statului New York. Cu toate acestea, inova\u021bia filmului const\u0103 \u00een faptul c\u0103 indivizii nu sunt de fapt laolalt\u0103, ci filma\u021bi separat, juc\u00e2ndu-\u0219i rolurile individuale \u00een camere separate ale casei. Fiecare individ este apoi proiectat pe un ecran imens, acoperind spa\u021biul galeriei de la perete la perete. Astfel, fiecare interpret ocup\u0103 un spa\u021biu auditiv \u0219i vizual discret \u00een interiorul galeriei, \u00een timp ce face parte dintr-un ansamblu. De\u0219i e relativ simplu, exist\u0103 o melancolie \u00een caden\u021ba fraz\u0103rii simple a piesei care cre\u0219te cu fiecare repetare. Un interpret c\u00e2nt\u0103 la chitar\u0103 clasic\u0103 \u00een baie, altul c\u00e2nt\u0103 la pian, un al treilea la tamburin\u0103, etc, iar urm\u0103rirea unui grup de muzicieni c\u00e2nt\u00e2nd \u00eempreun\u0103 este mult mai aparte dec\u00e2t momentul \u00een care vezi un b\u0103rbat c\u00e2nt\u00e2nd \u00een cad\u0103 (care era \u00eensu\u0219i Kjartansson), privitorii devenind astfel doarsimpli vizitatori ai arti\u0219tilorplasa\u021bi \u00een diferite col\u021buri ale conacului. Versurile provin dintr-un poem al fostei so\u021bii a lui Kjartansson, \u00c1sd\u00eds Sif Gunnarsd\u00f3ttir. \u00cenc\u0103rca\u021bi de durerea melodiei, cuvintele ei evoc\u0103 o stare de ironie, o posibil\u0103resemnareamar\u0103.Compozi\u021bia muzical\u0103 este coerent\u0103 \u00een instalarea operei, prezent\u00e2nd un spectacol de ansamblu dinamic \u0219i emo\u021bionant la care Kjartansson face referire ca fiind un c\u00e2ntec feminin de evanghelie nihilist. Prin aranjamentul s\u0103u unic\u00een spa\u021biu muzical, The Visitors creeaz\u0103 un portret stratificat al casei \u0219i al locuitorilor ei. Pentru unii, experien\u021ba prelungit\u0103 e caracterizat\u0103 uneori ca fiind \u201esinguri \u00eempreun\u0103\u201d, ceea ce ne-a schimbat dramatic concep\u021bia despre un ad\u0103post \u0219i rela\u021biile noastre interumane.<a href=\"#_ftn8\" name=\"_ftnref8\">[8]<\/a> De altfel, titlul piesei <em>The Visitors <\/em>&nbsp;este preluat din ultimul album al trupei muzicale ABBA, realizat \u00een 1981, c\u00e2nd marele grup muzicalera pe punctul de a se desp\u0103r\u021bi.<a href=\"#_ftn9\" name=\"_ftnref9\">[9]<\/a> La sf\u00e2r\u0219itul celor 64 de minute, muzicienii \u00ee\u0219i scot unul c\u00e2te unul c\u0103\u0219tile, \u00ee\u0219i pun instrumentele deoparte \u0219i se adun\u0103 \u00eentr-o camer\u0103 mare. Acolo, l\u00e2ng\u0103 un pian cu coad\u0103, muzicacontinu\u0103, dar acum \u201ca capella\u201c. Pe m\u0103sur\u0103 ce toate camerele interioare sunt evacuate, ecranele sunt \u00een mod inevitabil golite, iar publicul ajunge s\u0103 r\u0103sune pe mi\u0219c\u0103rile interpre\u021bilor, p\u00e2n\u0103 c\u00e2nd toat\u0103 lumea se adun\u0103 \u00een fa\u021ba ecranului.<\/p>\n<p>\u00cen concluzie, de\u0219i cele dou\u0103 opere sunt \u00een esen\u021b\u0103 foarte diferite, ele au avut un impact foarte mare asupra felului \u00een care ne raport\u0103m la art\u0103 video \u0219i, mai ales asupra felului \u00een care ne folosim \u0219i ne raportam la tehnicile new media. At\u00e2t Gordon cat \u0219i Kjartansson sunt doi piloni de referin\u021b\u0103 deoarece au revolu\u021bionat modul de reprezentare, ideile puse pe ecrane, modul de expunere, tehnicile de filmare \u0219i felul \u00een care arta lor interac\u021bioneaz\u0103 direct cu publicul\/privitorul, \u00eens\u0103 am\u00e2ndoi au un lucru \u00een comun &#8211; \u0219i anume dorin\u021ba de a l\u0103sa ceva o mo\u0219tenire artei, de a fi \u0219i de a avea. Impact.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Autor: Iarina D\u0103n\u0103il\u0103<\/strong><\/p>\n<p>&nbsp;<\/p>\n[foogallery id=\"40320\"]\n<p>&nbsp;<\/p>\n<p><em><strong>Bibliografie<\/strong><\/em><\/p>\n<p><em><strong>C\u0103r\u021bi:<\/strong><\/em><\/p>\n<p>Gene Youngblood, <em>Expanded Cinema, Fiftieth Anniversary Edition<\/em>, Fordham University Press, 2020;<\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>Link-uri:<\/strong><\/em><\/p>\n<p>https:\/\/en.wikipedia.org\/wiki\/Ragnar_Kjartansson_(performance_artist);<\/p>\n<p>https:\/\/en.wikipedia.org\/wiki\/Ragnar_Kjartansson_(performance_artist),<\/p>\n<p>https:\/\/gagosian.com\/artists\/douglas-gordon\/;<\/p>\n<p>https:\/\/letterboxd.com\/film\/deja-vu-2000\/;<\/p>\n<p>https:\/\/tiltfactor.org\/bio-art-an-overview-of-new-medias-thriving-sibling-by-hannah-collman\/;<\/p>\n<p>https:\/\/www.forbes.com\/sites\/annapowers\/2020\/07\/31\/why-art-is-vital-to-the-study-of-science\/;<\/p>\n<p>https:\/\/www.icaboston.org\/exhibitions\/ragnar-kjartansson-visitors-0;<\/p>\n<p>https:\/\/www.rogerebert.com\/roger-ebert\/on-jean-luc-godard<\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>Nota Editorului:<\/strong> <\/em><\/p>\n<p>Salut\u0103m prima colaborare cu t\u00e2nara \u015fi talentata <strong>Iarina D\u0103n\u0103il\u0103<\/strong>, absolvent\u0103 a &nbsp;Universit\u0103\u0163ii de Art\u0103 \u015fi Design din Cluj-Napoca\/UAD. Ea ne ajut\u0103 prin acest articol s\u0103 descifr\u0103m misterele unui foarte nou capitol din ultracontemporaneitate, adic\u0103 New Media Art. Cu to\u0163ii ne punem problema acestui gen de crea\u0163ie \u015fi \u00een acela\u015fi timp cerem r\u0103gazul de a \u00eentelege pasul de la olimpiana galerie de art\u0103, la computer \u015fi video. Definirea artei new media este aproape la fel de dificil\u0103 ca \u015fi definirea artei \u00een general. De ce exist\u0103 at\u00e2t de mult\u0103 confuzie \u00een acest termen? Unul dintre r\u0103spunsurile posibile ar fi c\u0103 imersia noilor medii \u00een practicile de art\u0103 contemporan\u0103 este un proces continuu; cu toate acestea, odat\u0103 cu dezvoltarea nesf\u00e2r\u0219it\u0103 a noilor medii \u0219i dispozitive digitale, nu a existat niciodat\u0103 un moment \u00een care teoreticienii \u0219i exper\u021bii s\u0103 poat\u0103 defini teoretic acest gen important \u00een arta de azi. Energia acestui tip de abordare estetic\u0103 este cuprins\u0103 \u00een conceptualizarea pe care unii o definesc ca perioada post-internet. Exist\u0103 deja arti\u0219ti \u0219i galerii care sunt str\u00e2ns lega\u0163i de arta Post-Internet, iar curatorii \u00ee\u0219i propun s\u0103 rezume modul \u00een care ace\u0219ti arti\u0219ti reflect\u0103 noua noastr\u0103 rela\u021bie cu imagini \u0219i obiecte inspirate de cultura infinit variabil\u0103 a Web-ului.<\/p>\n<p>&nbsp;<\/p>\n[foogallery id=\"40329\"]\n<p>&nbsp;<\/p>\n<h2>D\u00e9j\u00e0-vu vs. The Visitors.&nbsp;IMPACT<\/h2>\n<p>&nbsp;<\/p>\n<p>Art should imitate the observable, palpable work, but in this way it departs three times from the truth &#8211; the truth taking the ideal form of something in the world, the second generation being the real object of the world and the third generation being the artist&#8217;s interpretation. intended for eye sensation in the first place would be called perceptual rather than conceptual. New media is a new but broad term in terms of meaning, being defined in different ways and encompassing a wide range of art forms that are produced, modified and transmitted through digital technologies. Along with the emphasis on the new, new media signifies an explicit difference from art practices that use traditional visual expression. The broad spectrum of this term includes virtual art on the Internet, the art of games, bio art, animations, installations, interactive art and computer graphics, as well as practices in the field of art and activism. Much of the new media art is based on an understanding of object-oriented art, especially in terms of its characteristics of interactivity, immateriality and ephemerality and its complex interaction between artist, opera and spectator. However, digital technologies allow artists to exceptionally develop interactive works of art, such as internet art and virtual art, which give the viewer a specific freedom of choice from an aesthetic point of view. Through different modes of communication, certain types, imaging (visual), auditory, facial expressions, all convey nuanced meanings to the public. New media art started from the idea that focuses the interaction between art and science, and in recent years, prolong the art-science connection. As Gene Youngblood says in Expanded Cinema, this forces cinematography to expand and become more complex. Mass entertainment bores people&#8217;s minds. It is a closed, entropic system that comes with nothing new. We live in the shock of the future, so art should be an innovation. New systems need to be designed for old information. The artist is a scientist in the field of design. Raising public awareness is a constant struggle for many arts organizations.<\/p>\n<p>Existing research models in the field implement new media technology strategies in their marketing plans. However, public involvement is often one-sided. Public involvement is an essential component of what we call new media. Today, new media technologies open up possibilities that did not exist in the past. Research in this review chapter has identified three common findings regarding new media technologies: the need for adequate profiling of the contemporary audience to establish the ideal marketing strategy, new media strategies used to increase audience, and issues related to the application of new media technologies. In the context of the pluralism of contemporary criticism, there is no single theory of art. Our efforts to understand the form of video art should not be directed only at an assessment of the properties of the environment, but at establishing relationships between physical characteristics or media and art theories, video art includes works that reflect more than one theoretical point of view, the openness to an art form of speculation, not only the description of the past and the present, but also the development of the future. Thus the video can be described as the work of independent artists who develop concepts in the form of video. These works are most often displayed in galleries and museums and occasionally on radio or cable television. The content of the video art is determined exclusively by the artist, without the criteria of time for broadcasting, display or commercial viability. While artists can choose to work with any of these, they are not required by the presentation. The distinction between video art and television is not intended to be a definition of video art, but a framework in which one can build an identity of video art based on its unique characteristics.<\/p>\n<p>I chose to analyze two works created twelve years apart, and I will start with D\u00e9j\u00e0-vu made in 2000 by Douglas Gordon. Douglas Gordon is a contemporary Scottish artist known for his ability to amalgamate preconceived ideas about reality. Through his performances, installations, photography and video art, Gordon readjusts the scenes, mixes them and assimilates his cultural sources. Born on September 20, 1966 in Glasgow, Gordon won the Turner Prize in 1996, six years after studying at the Slade School of Art in London. A graduate of the Glasgow School of Art, the multimedia artist represented Great Britain at the Venice Biennale in 1997. The following year he received the Hugo Boss Prize. Gordon currently lives and works in Berlin, Germany. For some time now, Douglas Gordon has been working on issues of identity and mortality, and D\u00e9j\u00e0-vu continues this series of themes. The original film, titled Dead on Arrival, begins with the presentation of a man who reports his own crime to a police station. The subsequent narrative is structured through flashbacks and involves a classic range of betrayals and Hollywood identities. The characters become more and more confused in Gordon&#8217;s work as a result of the repetition of scenes and the overlapping of soundtracks. As critic Richard Cork pointed out: In D\u00e9j\u00e0-vu Douglas Gordon uses footage from the D.O.A. 1949-1950, a Hollywood thriller directed by Rudolph Mate\u00e9. The movie has been converted to a video and is projected simultaneously on three parallel screens at normal speed. This has the effect that the three identical narratives are propelled more and more in time and induce to the spectators an experience similar to the feeling of d\u00e9j\u00e0 vu. After a macabre scene in which, by stamping the file by a police officer, with the abbreviation DOA, Gordon chooses to continue the work, he noticed the artist&#8217;s interest in using and reusing existing films, especially in the 1993 film 24 Hour Psycho, an important precedent for D\u00e9j\u00e0-vu. Themes addressing identities, self-image, portraits, and mortality are present in Gordon&#8217;s work, but especially in D\u00e9j\u00e0-vu&#8217;s work. He uses new technologies in structurally transparent ways, but with extremely complex implications. Just by changing the projection speed of the film from 24 frames per second to 23 or 25 frames and aligning the screens along the wall of a large room. He manipulates his materials in spatial and sculptural configurations in which the viewer becomes personally involved, bound in narratives and yet distanced from dubbing, mirroring, reversing images. Another level of the same chronology starts from temporal art and reaches virtual reality. There are, in fact, one or more preconditions for these descriptive, evolutionary approaches, which are consequently late. Douglas Gordon&#8217;s proposals from D\u00e9j\u00e0-vu better attest to the nature of this change by claiming his amateurism in the areas he addresses and is eager to bring the media to the channel level. Here we have a position on the artistic approach that goes beyond the problem, so-called properly, of techniques and technologies and that is related to its object. Since the artist&#8217;s approach includes the use of his own body, found objects, mass images or all of the above, the selected technology has a more insignificant moment compared to the type of connection made with the recipient. In other news, Gordon makes a dark, macabre film about a man who is poisoned and recounts the events that led to the actions behind his crime. The story is told through a series of flashbacks, and the feeling of feeling, foreboding and d\u00e9j\u00e0 vu is enhanced by Gordon&#8217;s manipulation of the viewer. We must not forget that there are many forms of attractions especially in art, so I think that the cinema of attractions can be interpreted differently by each person, but regardless of its form, the cinema of attractions will always exist. pleasure that are created for each type representing categories such as pornography, horror or melodrama, the pleasures being expressed by the screams of fear that come in response to the movies horror or sighs of anguish from dramatic films. These genres have long existed in the film industry, which is why they create those special pleasures to the public. Gordon turns a simple film into an experiment and also into an experience that takes place on a psychological level. Gordon&#8217;s work is full of references and not only with reference to films, his art being much more literal, which in fact reminds us that the works are in fact the books we read, the movies we see, the music we listen to and the art we watch, which become a part of our lives, like the usual feelings we come to experience throughout this life, and in the end, Gordon&#8217;s work becomes something usual that we, the viewers, have already become accustomed to.<\/p>\n<p>The second work I chose was the one made in 2012 by Ragnar Kjartansson, entitled The Visitors, because I think it is completely opposite, in all respects, to the first work. Kjartansson lives and works in Reykjav\u00edk, where he works with various artistic environments, creating video installations, shows, paintings that are based on countless historical and cultural references. A pathos and a basic irony link his works, each being deeply influenced by the comedy and tragedy of classical theater. The artist blurs the distinctions between environments, and over time, Kjartansson conveys an interest in its beauty and banality and uses the durable and repetitive as forms of exploration. The Visitors by Ragnar Kjartansson presents a group of friends who perform a short piece of music. These friends are gathered at Rokeby Farm, a 43-room house built 195 years ago hidden in upstate New York. However, the film&#8217;s innovation is that the individuals are not actually together, but filmed separately, playing-and individual roles in separate rooms of the house. Each individual is then projected on a huge screen, covering the gallery space from wall to wall. Thus, each performer occupies a discreet auditory and visual space inside the gallery, while being part of an ensemble. Although relatively simple, there is a melancholy in the cadence of the simple phrasing of the piece that increases with each repetition. One performer plays classical guitar in the bathroom, another plays the piano, a third plays the tambourine, etc., and watching a group of musicians playing together is much different than when you see a man playing in the tub (who was Kjartansson himself). The spectators thus becoming mere visitors of the artists placed in different corners of the mansion. The lyrics come from a poem by Kjartansson&#8217;s ex-wife, \u00c1sd\u00eds Sif Gunnarsd\u00f3ttir. Loaded with the pain of the song, her words evoke a state of irony, a possible great resignation. The musical composition is coherent in the installation of the work, presenting a dynamic ensemble show and emotional that Kjartansson refers to as a nihilistic female gospel song. Through its unique arrangement in the musical space, The Visitors creates a layered portrait of the house and its inhabitants. For some, prolonged experience is sometimes characterized as &#8222;alone together&#8221;, which dramatically changed our view of shelter and our interpersonal relationships. In fact, the title of The Visitors is taken from the last album of the band ABBA, made in 1981, when the big band was about to break up. At the end of the 64 minutes, the musicians take off their headphones one by one, put their instruments aside and gather in a large room. There, next to a grand piano, the music continues, but now a cappella. As all the interior rooms are evacuated, the screens are inevitably emptied and the audience resounds on the performers&#8217; movements, until everyone gathers in front of the screen.<\/p>\n<p>In conclusion, although the two works are essentially very different, they had a very big impact on the way we relate to video art and, especially, on the way we use and relate to new media techniques. Both Gordon and Kjartansson are two pillars of reference because they have revolutionized the way they are represented, the ideas put on the screens, the way they are exposed, the filming techniques and the way their art interacts directly with the audience\/viewer, but both have one thing in common. Namely the desire to leave something a legacy of art, to be and to have. Impact.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Author: Iarina D\u0103n\u0103il\u0103<\/strong><\/p>\n<p>&nbsp;<\/p>\n[foogallery id=\"40337\"]\n<p>&nbsp;<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\">[1]<\/a>https:\/\/tiltfactor.org\/bio-art-an-overview-of-new-medias-thriving-sibling-by-hannah-collman\/; accesat la data de 7.06.2021;<\/p>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\">[2]<\/a>https:\/\/www.forbes.com\/sites\/annapowers\/2020\/07\/31\/why-art-is-vital-to-the-study-of-science\/; accesat la data de 7.06.2021;<\/p>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\">[3]<\/a> Gene Youngblood, <em>Expanded Cinema, Fiftieth Anniversary Edition<\/em>, Fordham University Press, 2020, pag.66-69;<\/p>\n<p><a href=\"#_ftnref4\" name=\"_ftn4\">[4]<\/a>https:\/\/www.rogerebert.com\/roger-ebert\/on-jean-luc-godard; accesat la data de 8.06.2021;<\/p>\n<p><a href=\"#_ftnref5\" name=\"_ftn5\">[5]<\/a>https:\/\/gagosian.com\/artists\/douglas-gordon\/; accesat la data de 8.06.2021<\/p>\n<p><a href=\"#_ftnref6\" name=\"_ftn6\">[6]<\/a> https:\/\/letterboxd.com\/film\/deja-vu-2000\/; accesat la data de 8.06.2021<\/p>\n<p><a href=\"#_ftnref7\" name=\"_ftn7\">[7]<\/a> https:\/\/en.wikipedia.org\/wiki\/Ragnar_Kjartansson_(performance_artist), accesat la data de 9.06.2021;<\/p>\n<p><a href=\"#_ftnref8\" name=\"_ftn8\">[8]<\/a> https:\/\/www.icaboston.org\/exhibitions\/ragnar-kjartansson-visitors-0; accesat la data de 9.06.2021;<\/p>\n<p><a href=\"#_ftnref9\" name=\"_ftn9\">[9]<\/a>https:\/\/en.wikipedia.org\/wiki\/Ragnar_Kjartansson_(performance_artist); accesat la data de 9.06.2021<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a9 Sud-Est Forum&nbsp; &amp; Iarina D\u0103n\u0103il\u0103 2021<\/strong><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"author":23,"featured_media":40354,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[18201,76,18215],"tags":[],"class_list":["post-40295","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-eveniment","category-home","category-news"],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9P2fo-atV","jetpack_featured_media_url":"https:\/\/i0.wp.com\/sud-est-forum.ro\/wp\/wp-content\/uploads\/2021\/07\/Coperta-5-Ai-Weiwei-Chinese-1957%E2%80%93-Forever-Bicycles-2011-installation-view-at-Taipei-Fine-Arts-Museum-Image-courtesy-Ai-Weiwei-Studio-%C2%A9-Ai-Weiwei.jpg?fit=1100%2C733&ssl=1","_links":{"self":[{"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/posts\/40295","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/comments?post=40295"}],"version-history":[{"count":9,"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/posts\/40295\/revisions"}],"predecessor-version":[{"id":40357,"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/posts\/40295\/revisions\/40357"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/media\/40354"}],"wp:attachment":[{"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/media?parent=40295"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/categories?post=40295"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sud-est-forum.ro\/wp\/wp-json\/wp\/v2\/tags?post=40295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}