Titlebook

Vldl379

Central Bank Objectives and Autonomy,allation or interactive live performance. This chapter examines productions of five women artists active in these presentation modes whose creative outputs are imbued with themes of gender, social relationships, and urban and natural environments—Suzan Pitt, Tabaimo, Rose Bond, Marina Zurkow and Miw

perimenopause

熱情贊揚

deface

Heterodoxy

Introduction,s book. It had been our intention to trace developments since the 1970s, but things have turned out rather differently in the end, and perhaps inevitably, given the incalculable explosion of all kinds of animation everywhere. The pervasiveness of animated phenomena, and the impossibility of capturin

拋物線

Lines and Interruptions in Experimental Film and Video,ary works by a range of artists, but it also lights on historical precedents, offering a perspective on aspirations and concepts that have been associated with linear aesthetics. Continuous lines and vectors, which partly reflect the illusion of continuity in film and video, have often been aligned

Assignment

痛恨

Twenty-First Century Flicker: Jodie Mack, Benedict Drew and Sebastian Buerkner,lmost sculptural—attention to frame intervals and the kinetic visual rhythms and patterns they can create exposes the stroboscopic ‘pulse’ of cinematography and the limits of ‘a(chǎn)nimation’. More than this, creative use of flicker offers us, as subjects, a valuable opportunity to reassess our relations

ADORN

genesis

Analogon: Of a World Already Animated,ations think especially hard about movement, time and, unsurprisingly, animation: what motivates something to move. In their remarkably different ways, . (2007–2008) and . (1987) undertake a radical thinking-through of change, respectively as mutation and its constituents, and the capacities of film