The Art of Digital Video

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Esar Artes. Digital video art 103. CHAKANA Sonqollay Multiverse 1

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Lights, camera, action. Your story starts here.

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Ipswich Libraries. Monash University. Our nationally ranked Master of Fine Arts degree is an idea-centered program encouraging broad media exploration, in-depth projects and engagement with theoretical and cultural issues.

The MFA program encourages our graduate students to take advantage of excellent private studio space, technical facilities and the opportunity to teach. Graduate students receive focused, individual attention in their studio work from professionally active research and teaching faculty. In their first year, graduate students work closely with faculty as graduate assistants, often helping in their courses and gain experience to teach independently.

Request info. Fenton and her collaborators, Raul Zaritsky and Dick Ainsworth sound , were part of the video art community around Chicago in the late s, and the video was originally produced for "Electronic Visualization Event 3" organized by Dan Sandin and Tom DeFanti's Electronic Visualization Laboratory in Chicago May, This program of works prepared in advance screened in a seat theater using a high-intensity GE video projector.


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The importance of this early work is principally anticipatory. It provides an explicit connection between contemporary developments with digital glitches and the earlier innovations of analog video processing. Digital TV Dinner portends future engagements with the "materiality" of the digital signal as an intervention in the execution of programming code within the computer system itself. The early date of this tape, coupled with the approach to creating its visuals, make it one of the first, if not the very first, "glitch" video.

Tom DeFanti's voice-over narration opens the YouTube version, speaking over the credits and into the start of the video itself:.

Between Film, Video, and the Digital

This piece represents the absolute cheapest one can go in home computer art. The music here is done by Dick Ainsworth using the same system, but pounding it with your fingers instead of your fist. The process DeFanti describes for the creation of this audio-visual work is one that emphasizes the performative over and against the explicitly programmed.