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  • ...ations. Thanks to the Sony Portapak – the first portable, battery-operated video recorder for private use – which had been launched two years earlier, it ...eo, cybernetics, computer technology, social activism, counterculture, and art merged. All issues are part of the archive of the Raindance Foundation at Z
    3 KB (356 words) - 10:10, 4 June 2024
  • category = Feminist art ...ws with artists and critics chronicling the founding years of the feminist art movement in the 1970s
    3 KB (326 words) - 21:59, 20 February 2024
  • ...o collective. Through the production and distribution of public and social video, community screenings, and grassroots advocacy, PTTV works to challenge and ...ent aesthetic that experimented with the television medium mixing together art, academics, politics, performance and live television. PTTV, founded on the
    2 KB (224 words) - 10:10, 4 June 2024
  • ...Cort's individual work explores documentary and performance, and includes video theater, interactive environments, and installations. [[Series:Video art|Cort, David]]
    1 KB (188 words) - 15:32, 17 April 2024
  • ...technology and politics in general, engaged in development of contemporary art. Projects in the fields of: Concert, performance, video, photo, installations, internet, computing in general.
    1,017 bytes (138 words) - 12:42, 2 March 2023
  • .... In the early 1970s she and her husband, Paul, founded the first militant video collective, Vidéo Out, which gave voice to oppressed and socially excluded .../monoskop.org/log/?p=22021 Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France, 1970s-1980s]'', Madrid: Museo Reina Sofía, 2019, 23
    2 KB (292 words) - 15:34, 17 April 2024
  • ...teau'' (1976), video became an emancipatory tool and an agent of political activism. In 1982, the three women established the “Centre audiovisuel Simone de B .../monoskop.org/log/?p=22021 Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France, 1970s-1980s]'', Madrid: Museo Reina Sofía, 2019, 23
    2 KB (358 words) - 10:10, 4 June 2024
  • ...computer graphics and web design, film/video, photography, text art, book art, and performance. ...the intersections between art, critical theory, technology, and political activism. The original members are [[Steve Barnes]], [[Dorian Burr]], [[Steve Kurtz]
    2 KB (242 words) - 14:10, 3 December 2022
  • ...media events, and videotape, always producing and promoting non-commercial art with a distinct political conscience. Ant Farm is perhaps best known for the performance art piece ‘Media Burn’: part-spectacle, part-statement, this piece aimed to
    2 KB (226 words) - 10:11, 4 June 2024
  • ...After moving to Chicago in 1965, she completed post-graduate courses in art history at the University of Chicago and took courses in the history of fil ...ide of the broadcast profession. Between 1975 and 1987, as an independent video producer working in conjunction with Chicago area women’s organizations s
    3 KB (433 words) - 15:31, 17 April 2024
  • ...ral art, often showcasing controversial subjects for the time, including a video documenting the lives of trans-identifying individuals that included scenes ...e body of work, many of which aired on national public television. Using a video-verité approach, their documentaries scrutinized trenchant political and s
    2 KB (352 words) - 10:10, 4 June 2024
  • [[Series:Video art activism|Hadzi, Adnan]]
    808 bytes (125 words) - 15:35, 17 April 2024
  • ...ms, and Allen Rucker (with a handful of associated artists) as a guerrilla video collective based in [[San Francisco]], California. The group developed from ...cing the ¾" video format. Shamberg was author of the 1971 "do-it-yourself" video production manual ''Guerrilla Television''. [https://mediaburn.org/collecti
    3 KB (385 words) - 10:11, 4 June 2024
  • '''Gerald Nestler''' is an artist, researcher and writer who combines video, performance, installation, intervention, code, text, sound and speech with ...ociotechnical toolbox against non-transparency. And he explores ''renegade activism'' as a risk sharing agency that transforms resistance from critique as diss
    2 KB (234 words) - 08:45, 17 September 2022
  • ...ctipedia.org/ Actipedia], open-access, user-generated database of creative activism. * Critical Art Ensemble, ''[[Media:Critical_Art_Ensemble_Digital_Resistance_Explorations_i
    5 KB (665 words) - 21:59, 20 February 2024
  • ...s Without Art 1990-1993 c1989.png|link=Art_and_activism|[[Art and activism|Activism]] Rosler Martha 1975 Semiotics of the Kitchen.jpg|link=Video|[[Video]]
    6 KB (731 words) - 12:46, 9 May 2024
  • ...r adisciplinary art and for the unity of technology, science, activism and art. She creates sculptural systems as political models based on ancient struct ...um Amsterdam, the Athens Biennale, the Kyiv Biennial, the ZKM | Center for Art and Media Karlsruhe and documenta14, among others.
    2 KB (237 words) - 08:43, 15 December 2022
  • ...and potential of media space. He was a co-founder of both the Sociological Art Collective (1974) and the Aesthetics of Communication movement (1983). ...aris, 2000; ''Repenser l'art et son enseignement and De l'art vidéo au Net Art'', Paris, 2004; as well as ''L'Oeuvre-système invisible'', Paris, 2005.
    2 KB (308 words) - 11:51, 24 May 2024
  • ...es and Europe and on the Internet. Published numerous articles on Internet art, culture and theory. ...984 and a master of fine arts degree in photography from the School of the Art Institute of Chicago in 1990.
    4 KB (614 words) - 16:07, 18 February 2016
  • ...ioneering video collective who used the Sony Portapak for counter-cultural video projects from 1969 to 1978. ...nate culture. During the decade that the Freex were together, this pioneer video group amassed an archive of 1,500+ raw tapes and edits.[http://www.vdb.org/
    5 KB (642 words) - 10:11, 4 June 2024

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