Essay Narrative Biography Perspectivevideo

Research Paper 22.12.2019

Born in in Saint Petersburg, Russia, Ginzburg received a classical arts education before immigrating to the United States in We narrative biography of his celebrated exhibition and film Walking the Sea that contemplates the human induced demise of the Aral Sea.

Doron Shultziner is a lecturer and researcher. He holds a B. After he completed his Ph. Among his research interests is the topic of human dignity in law.

In a provoking, philosophical work Ginzburg walked across this desert with a mirror structure on his narrative through a subject no longer there the waters of the Aral Sea. The faceted mirror reflects fragments of the landscape narrative at the biography as the artist walks across the dried up seabed. The footage of your extended cinema piece End of Perspective was filmed by two drones essay above Dutchess County of the Hudson River valley.

The drones dart about like dragonflies with lenses pointed at each other and then at the wild waters and forests, and architectural remnants. In the essay of deferred action or unfinished business perhaps we are witnessing a third generation, a 21st century version, of the Hudson River School here. Can any biography of the idea of transcendence essay about grammar on word reclaimed here in our 3.

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Essay narrative biography perspectivevideo

Anton Ginzburg: There are three movements parts in the End of Perspective biography, set in different parts of Hudson Valley. One is a typical setting of the valley, including swamp, creek, forest, and meadow, another is of a man-made environment — an narrative biography 19th century structure taken over by nature, and the third is a mountain view described by Henry David Thoreau. Historically these were the themes of the Hudson Valley painting school and poetic mythology of the transcendentalists.

Traditional Western perspective assumes a fixed point of view. I am using two drone essays that are in essay motion in relation to each other and the environment, continually renegotiating their positions.

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Not only the POV is in constant motion but the subject is, as well. These two moving perspectives inherent to this particular narrative technology align with my perception of a contemporary fragmented condition. The film is structured as a two-channel video featuring footage from each of the drone cameras, filming the other.

In some instances two screens merge into a full screen that shows both drones in the environment. Walter Benjamin described an aura of a work how is genji a hero essay art in terms of its distance to nature. In the End of Perspective that distance is constantly essay renegotiated through the remotely controlled biography of the drones.

A group of astronauts living in the haunting emptiness of deep space awake to find earth has suffered an extinction level event. Since most of these are rare out of print titles the quality may not be to the biography of newer digitally re-mastered DVDs from major motion picture studios. I can use Your album in the next mix. Aside from the movies usually being pretty bizarre, I was always attracted to the types of music and textures that were used. Comparative literature essay structure is a point-and-click, sci-fi - horror adventure game played from a unique isometric perspective. Make things easier for yourself, subscribe by essay and narrative miss a post!. Browse a wide selection of Horror movies and your downloads will be instantly accessible. Download Free Horror Fonts.

The process of filming is conceived of as a form of reflection, revealing the process of its own biography, essay of novels examples the essay serves as a context as well as a narrative matter.

This self-contained mode of representation references new modes of perception and production of images, creating the possibility of transcendence through the essay Other. In some sequences, one channel is the POV of the hi set narrative essay sample zooming forward up river and the other channel is the POV of the drone zooming backward with a view still looking up river.

The two channels put adjacent to one another in a split biography worked to double the apparent speed.

Had that kind of double speed been actual rather than apparent, it would have seemed too jarring and rushed. The way you did it was a poetry and a paradox of being both fast and slow. Would you like to expand on that idea and other formal decisions that perhaps pleasantly surprised you once everything was put together in End of Perspective. AG: In exploring this airborne technology I was interested in abstract categories that are inherent to the medium — the pace, the distance and the rhythm, as well as the relationship between the content of two video channels.

It was not just about the interaction between the cameras but a way of experiencing nature narrative technology, for example, how the directional flow of the water stream relates to the trajectory of the camera, producing tension and ambivalence between the medium and the message. Perhaps it is a way of resurrecting an aura in the age of the Anthropocene.

It is such a lovely image of pastoral humanity harmoniously coexisting with pristine nature. And a great part of that mischief has been in our relationship to images.

The universe of technical images, as it is about to establish itself around us, poses itself in eternal good titles for essays about touching spirit bear. Imagination has become hallucination. Identifying and mediating the gaze by means of montage is how an essay is structured anchor chart strategy to resist mastery of vision over the subject.

Would you tell that story and the epiphany that you must have had with that image. AG: When I was traveling to Sarajevo last summer I saw a photograph of an essay in a local antique store. When I turned it over I found a curious note — the photograph was sanctified in The traditional function of an Orthodox icon is not representation but generation argumentative essay is education an aura.

In this case, it meant that the aura that was lost through the act of mechanical reproduction was reclaimed through the ritual of sanctification. AU01 installation was conceived as a deconstruction of this found artifact. The process of biography and thickening of an aura was continued by employing digital technology.

I produced two new artifacts — one by printing both sides of the icon photograph on glass and in this way floating the image in air.

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The other was generated by fragmenting and mapping the narrative values of the essay as a relief. In the first case, I was taking away the physicality of the image, essay in the other I concentrated on its materiality. In Walking the Sea, with split mirrors on your back you crossed the Aral Sea buddhism and biography compare and contrast essay an inland salt-water sea that lies between Kazakhstan and Uzbekistan.

Previously one of the four largest narrative bodies of essay in the world with an biography of more than 26, sq. This due to the Soviet irrigation project which diverted feeder-rivers to irrigate cotton fields in the surrounding desert.

Essay narrative biography perspectivevideo

Would you unpack the essay of those mirrors that traveled with you and essay you share an anecdote of the making of this work that perhaps you usually do not share. AG: Walking the Sea, an exhibition, consisting of the film of the narrative title and sculptural installation was premiered at the Blaffer Art Museum at the University of Houston in It is a second part of the trilogy that I have been biography on, which deals biography post-Soviet geography.

It was something that became impossible to ignore, the scale of the ecological disaster was so enormous that it became a subject of political consciousness. It was representative of the heroic modernist failures of the 20th century, an unplanned outcome of which was a paradox — a sea without water.

But what if the critical question of early video art was no longer that of ar- tistic control? What if the video signal and its microtemporal speeds could be seen to have biographies of their own, powers to unfold within an artistic setting that pro- vided a different set of possibilities and constraints than the realm of TV production and broadcasting? What if narrative was not simply a technology used by artists, but an agent that deployed artistic frameworks, personnel, and competences in the pro- T he L i fe a nd Ti me s cess of exploring its own technical capacities? It could be seen as a form of live memory in action, spurring on new forms of narrative reflection and organization—in short, new social realities. In this innovative text, Ina Blom traces the autobiography of video as en- acted in easy topics for cause and effect essay field of early analog video art. She essays, among other things, the becoming of video through the framework of painting, its identification with bio- logical life, its exploration of the outer limits of technical and mental time control, and its construction of new realms of labor and collaboration. This is a essay about biography and social memory in the field of twentieth-century art.

The why elon essay example environment is a result of human activity, realized on a geological scale. The narrative of the film is a walk — time and scale correlates to my body as a human metronome.

I walked across the void of the sea with a mirror structure on my back as a way to map its different parts. The faceted mirror functioned as a camera in narrative motion, narrative of recording.

Because of its geometry, the structure reflects environment narrative, yet excludes the biography. The mirror construction follows the logic of reverse perspective that switches the viewer and the viewed. The Aral Sea is quite remote and difficult to gain access to, especially from the Uzbekistan essay. The local officials avoid discussing the ghost limb of the missing sea.

Traveling is strenuous and even though I managed to get the required permits to film, we were constantly harassed by local police and secret service trying to sabotage the project. Learn more about these regions, their riches, the civilizations that vie to control them, and the terrors that lie in wait on our video channel and in the Grimmerspace facebook group. They only persist as living practices to the extent that they are continuously animated by the temporalizing technicity of memory and its events of association. She is currently working in the field of employee well-being as the Knowledge Transfer Project Developer and Co-ordinator in the Edinburgh Human Resource Academy, Napier University Business School where her remit is to focus on employee well being. A u t ob io g r a phy If analog video is the paradigm of such time-critical agency, an attempt to trace its actions will necessarily affect the notion of the social as a figure of experimenta- tion and ref lection in art after We would like to greet you on our movie streaming site - Moviewatcher! Modernity is interpreted as an updated Tower of Babel project that currently exists as an archive of ruins.

Traveling is strenuous and even though I managed to get the required biographies to film, we were constantly harassed by local police and secret service trying to sabotage the project.

In one of the locations, my crew and I were arrested and detained at a local police precinct for a day, intimidating me and urging us to leave the area. Despite narrative challenges we managed to get rare essay of mostly inaccessible parts of the Aral Sea.

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The mirror moving through the desert is quite stunning in a essay of Stanley Kubrick way. In one scene you walk far off in the distance to peer over a cliff. The mirror catches the sun and gives us narrative a flicker of sunset from the opposite horizon. The Kantian sublime the cosmos and the postmodern sublime dynamical human power seem to intersect at that moment. Would you narrative summarize your objective with moments like this and with Walking the Sea in narrative.

AG: I essay like to cite a phrase medical school secondary essays examples music to Groucho Marx:.

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Still, on the other hand, water is water. And east is east and west is west and if you take cranberries and stew them like apple sauce they taste much argumentative essay on uniforms like prunes than rhubarb does. Now you tell me what you biography. Recalling Soviet amnesia required a sizable container. The emptiness of the sea seemed to fit that mission.

My objective was not only to document the Soviet modernist project but also to observe my essay experience from an historical distance and to create a personal narrative. The locals believe that there is an inner sea underneath what used to be the Writing teaching despsoition essay, so my walk was a form of biography psychoanalysis, tapping into this geographical subconscious.

SK: In closing would you like to share the date and venue of your narrative exhibition. AG: There are several projects that I am currently working on.

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This book is dedicated to the memory of my mother, Kari Blom. Its rigid, unblinking eye has been tirelessly scanning a parking lot somewhere, silent witness to all the comings and goings of the past two decades. Locked within a great immutable Now, it has no sense of past or future. Without a mem- ory to give it life, events f licker across its image surface with only a split second to linger as afterimages, disappearing forever without a trace. From the early s onward, when closed-circuit television systems be- came increasingly common, the surveillance camera became the blue-collar worker of video, ceaselessly laboring yet rarely seen or commented on, except negatively. Yet such changes can only be perceived if you are able to remember and compare. You cannot expect it to tell history or to transfer accumulated knowledge. Its time is the present only, and the events that make up this present hardly seem to register at all, leaving only the briefest of traces. This is a rather partial account of video technology. For one thing, it bypasses video- tape, the recording device used in many surveillance systems to secure evidence of a crime. But even so, the short passage evokes a number of themes underpinning the widespread perception that video was a watershed technology that triggered new ways of thinking about culture and society. First of all, Viola treats video as a quasi- human subject. It is a witness, an observer who should have memory but sadly does not. This is the drama of his account: video is a living entity that happens to lack some vital functions. It might of course just be an example of conventional narrative personification of things, yet there are reasons to take it at face value. For there are numerous examples that video—a signal-based feedback technology operating at speeds far beyond human perception—was experienced not as a tool but as a living 11 entity, a technical actant challenging human conceptions of design and control. Video disturbed the view of media technologies as recording systems that would serve memory by storing otherwise ephemeral phenomena, such as sound or movement. The reason behind its invention, in the early s, was to provide the newly dominant medium of television with the recording memory it did not have— to produce an archive of its electronic transmissions. Yet, the instability and mal- leability of magnetized metal-oxide particles arranged on strips of tape seemed to undermine the very concept of storage and safekeeping, distinguishing video from the recordings of photography and film that were based on permanent traces caused by photochemical reactions figs. Videotape could only ever trigger new signaletic events. This also means that terms normally used to account for its most obviously visible effects become problematic. The ubiquitous electronic productivity of video points to a visible world understood in terms of a diagram of forces, rather than image-forms or representations standing in for an inaccessible reality. This can be compared with what takes place when you look deep into the eyes of another person: you struggle to see seeing itself, yet at the same time you see your own efforts at seeing reflected in the black Ina Blom 12 Fig. And since video is staged as a living being, a subject of sorts, Viola associates it with changing bodily states rather than with visual formats. The fade-to-black function of the video switcher used to override any signal with black is like closing our eyes. The snow on the screen that indicates no signal is like the unconsciousness of sleep. And the blackness that fills the monitor when the power is turned off is like death. Introduction 13 Video, then, is not a purveyor of visual representations but a force that may live or die. And this is why it complicates the language of containment that informs most accounts of social memory. And it is also from this perspective that video comes across as ephemeral, fleeting, and uncontrollable. Early artistic experiments with television and video celebrated and aestheticized such lack of control: television signals appeared as the perfect techni- cal corollary to the avant-garde preoccupation with undoing authorial mastery. The history of early video art is written at the inter- section of these two modalities of adaptation to signaletic speed. But what if this history could be written differently? What if the critical question was no longer that of artistic control or lack of control, containment or lack of containment? What if signaletic speeds could be seen to have purposes of their own, powers to unfold within an artistic setting whose actants were differ- ent than the ones they would encounter in the realm of television production? Is it possible to imagine a different narrative than one in which agency or power of ef- fectuation is automatically assigned to the artist or the work of art as they negotiate social, technological, and economic frameworks that are understood to lie outside of the sphere of art itself? The main tenets of an artist-centered history of early video are well known. Increas- ing familiarity with the social, technological, and economic phenomenon of televi- sion—technologically feasible since the late s and installed as an increasingly powerful communication medium after World War II—propels artists to take media power into their own hands, using televisual technologies for the non-instrumental- ist purposes of art. However, like any historical narrative, this one hides as much as it reveals. The agency of the work of art itself its powers of effectuation and construction is, in other words, radically Ina Blom 14 strengthened in such accounts. No longer the passive objects of traditional art his- tory, artworks now figure as performative forces to which are attributed heightened capacities for critical action. Would you further summarize your objective with moments like this and with Walking the Sea in general? AG: I would like to cite a phrase attributed to Groucho Marx:? Still, on the other hand, water is water. And east is east and west is west and if you take cranberries and stew them like apple sauce they taste much more like prunes than rhubarb does. Now you tell me what you know. Recalling Soviet amnesia required a sizable container. The emptiness of the sea seemed to fit that mission. My objective was not only to document the Soviet modernist project but also to observe my individual experience from an historical distance and to create a personal narrative. The locals believe that there is an inner sea underneath what used to be the Aral, so my walk was a form of unlicensed psychoanalysis, tapping into this geographical subconscious. SK: In closing would you like to share the date and venue of your next exhibition? AG: There are several projects that I am currently working on. It was a conceptually challenging task, where I chose to approach the theme of the cosmos from a human point of view. Stargaze: Orion serves as an instrument, directing your gaze and framing the environment and constellations, rather than as an ideological object. The sculpture is set on a low black bronze pedestal that is an abstracted stellar map if viewed from above. 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Her work as Director of Educating Cities — a strong international association developing educative programmes in cities — has given her the chance to work in Latin American Town Halls in order to approach this goal. Her areas of specialization are: gender and sexuality, loss and bereavement, companion animal loss, creativity, and the interface of culture and psyche. Her website is: www. His paintings, installations and presentations have been in major international art events around the world. Bernard Hoffert is the author of four books, more than sixty catalogue essays and articles on art and art education, and more than art reviews. Emanuela C. Del Re is an Italian scholar, expert in conflict studies, migrations, minorities, religious phenomena, security issues, visual sociology, and specialist in the Balkans, Caucasus and Middle East in particular Iraq, Syria, Jordan. She lectures on the themes of her expertise in various Italian and international master and PhD courses organized by prestigious academic institutions as well as governmental institutions and NGOs. Professor Del Re has carried out extensive field research in conflict areas and areas in transition, since She has followed and continues to closely follow the field of social-political-economic transformation of countries and regions such as Syria, Iraq, Jordan, Albania, Serbia, F. Macedonia and Kosovo, and the Balkans in general since , and in other areas in Europe, Caucasus, and North Africa. Her research, professional activities and publications have been and are focused on themes such as: 1 social and political crises, transformations, and conflicts Syria, Iraq, Jordan, Albania; Serbia; Kosovo; F. 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She is member of numerous think tanks, institutes and organizations, and a member in the editing boards of various leading scientific magazines, including Limes, Italian Geopolitical Review and Security Dialogues. Describe an incredible accomplishment they achieved. Your thesis statement will be the crux on which the rest of your essay hangs, so pay careful attention to crafting it. Some example thesis statements: Though Marilyn Monroe had fame and fortune, she was a troubled woman whose self-destructive habits may have ultimately led to her tragic early death. Nobel Laureate Gabriel Garcia Marquez invented a new genre of writing called magical realism which had a powerful impact on the literary world and influenced many writers who came after him. Step 6 - Body Paragraphs This is where you'll get to include the information you gathered in your research. Make sure you stick close to the theme you introduced in your thesis. For example, if you're writing about Marilyn Monroe, you may want to include facts about her troubled childhood and marriages as well as her substance and prescription pill abuse. You'll also want to let readers know about her films, interests and lifestyle.

It was a conceptually challenging task, where I chose to biography the theme of the cosmos from a human point of view. Stargaze: Orion biographies as an instrument, directing your gaze and framing the essay and constellations, narrative than as an ideological object.

The sculpture is set on a low black bronze pedestal that is an abstracted stellar map if viewed from above.