His eclectic installations, live performances, award-winning sound design and videos have been exhibited, screened, and performed internationally including TiMaDi, London, England Post-Screen Festival, Lisbon, Portugal Festival ECUA-UIO, Quito, Ecuador Future Places Festival, Porto, Portugal Transmediale, Berlin, Germany, and the International Symposium on Electronic Art. An early adopter of vj tools for live performance graphics, she continues to explore the synergistic and improvisational work-flow these tools provide to video and animation artists.ĭavid Fodel is an artist, educator, curator and writer whose recent work concerns itself with reading and writing traces of systems and processes, technological and otherwise, that are overlooked, invisible, and mute in an attempt to animate and actualize those potential languages. Honored by Adobe as a Master Teacher for her contributions to digital education, she has taught motion graphics and 3D design and animation at Bay Area colleges. By using them, with no naturalistic but absolutely modern strokes, the author manages to reach a perfect communion with the natural world". In awarding a prize to Kopmar's film "Night Fishing with Cormorants", the judges of Prix Simona Gesmundo Animation Festival described it as "A beautiful and fascinating work containing inspirations coming from a distant literary and pictorial past. Her award-winning abstract animations have shown in film festivals around the world where they were recognized for their unique combination of expressive graphics and arresting sound. It is intended to promote discussion/inquiry into the values and larger social implications of virtual reality as a whole.īetsy Kopmar is a painter, photographer, and director of experimental animations who lives and works in Berkeley, California. A surprising structural connection between these images and a type of 'spiritual transcendence' is revealed. Elementos visuales y sonoros series#It is part of an ongoing series of video pieces, each featuring progressively more abstract imagery of people ecstatically donning VR headsets while engaging in a wide range of activities from fishing to surgery. At the same time, the chapter emphasizes the continued importance of conventional film criticism to our methodology as film scholars, since critique can allow the necessary distance to consider, rigorously, the object of study in all its dimensions and depth.“ VR 01 - Selection From” is a four minute excerpt from the video installation work 'VR 01' by Morgan Beringer Studio, 2020. Instead of simply writing about and interpreting films in conventional ways, many scholars have become aware both of the power and pleasure involved in approaching films from curatorial perspectives that allow for a more personal, embodied, and emotional response to films. In the contemporary moment, the chapter argues, these acts of bricolage have contributed to a “curatorial turn” in film scholarship more broadly. The chapter then traces acts of bricolage through the history of African film scholarship, emphasizing in particular acts of bricolage by female thinkers and filmmakers who have too frequently been erased from accounts of African film history. Through revisiting the early writings of African filmmaker/scholar Paulin Soumanou Vieyra, it starts with the concept of bricolage – a concept which embraces the epistemic potential of undisciplining boundaries between theory and immersion in the “object” of one's theorizing – festivals, in Vieyra's case. African filmmaking to emerge, through the incorporation of new methodologies that draw together the overlapping activities of theory and practice. In a decolonizing spirit that respects heterogeneity, this chapter aims to reveal the potential for alternative and more complex histories and herstories of. Within African film studies, it has become commonplace to draw a distinction between the radical political agenda of the first African filmmakers, in the 1960s, and the more diffuse, less ideological interests of more contemporary filmmakers.
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