BankBoos

It is useful to view all of the media together, ranging from the individual performer appearing in the flesh before his audience to the complex presentations of electronic media. They may be compared in terms of the relationship of the performer to his audience. The media also vary in the kind of performance on which they can draw, either derivatively or creatively. Media borrow from each other just as Greek drama drew on ancient myths and legends and Renaissance drama on classical and contemporary material. The voracious demands of 20th century media have driven producers and scriptwriters to acquire the rights to existent material in other media, particularly the novel and drama. Radio and television have overlapped increasingly with journalism, with many journalists becoming broadcasters and commentators. However, much of the borrowing has been mechanical and technical rather than artistic in nature. The invention of magnetic tape for recording both sound and video signals ha...

From professors to journalists: About the presentation of art on NRK (Norwegian Broadcasting Corporation), from the sixties up until today. Jan Anders Diesen & Kari Aakerli Vik From the sixties until today, there have been great changes in the ways art is mediated and presented on TV. We believe there has been a development from what you could call ”lectures delivered by professors” in the sixties to the more experience-oriented feature journalism we have today. We also believe one of the reasons behind this to be technological developments in the course of this period. In this project we wish to concentrate on how the mediation of art has changed in NRK, from the start in its role as a paternalistic public broadcaster to todays situation, with a growing competition for ratings. A relevant way to approach this would be with the aid of a comparative reading and analysis of a selection of programmes from the sixties up until today. For example, Ole Henrik Moe´s ”Tidsbilder i kuns...

How to Get Thee on T.V. A Public Access Journey Several years ago I read an article in Art Calendar about an artist who produced her own television series featuring local artists. I thought the idea was wonderful! I am, after all, a visual artist. And of course I wanted to be on television with my artwork. So I e-mailed her a few questions and she gave me lots of pointers on how to get started on a show of my own. And that’s just where I stopped! It seemed like so much work. It was so scary. At that point, I had just quit my day job to do my art full time, and I was not willing to add anything else to my plate. Like some of my paintings, I let the idea gestate for years. One day I was at a Chamber of Commerce luncheon. The guest speaker was Suzanne St. John, the executive director of our local public access station. Her presentation was compelling and inspiring. She motivated me to take the next orientation class at the station.

Since the late nineteenth century, avant-garde artists have engaged with the most advanced imaging technologies of their respective eras, including photography, film, television, and, most recently, the computer. The establishment of television in the late 1950s and early 1960s as the dominant mass medium in the United States occurred during a period in which artists who were dissatisfied with the postwar triumph of abstract painting began to rediscover the avant-gardes of the 1910s and 1920s especially Dada and Constructivism. In their attempt to bridge what they perceived to be the gap between art and life, many so-called Neo-Dada artists began to engage as critically with television as their predecessors had with photography and film. This exhibition will be the first ever to examine the impact of television on the visual arts in the United States and Europe at a crucial period in the development of both media. The origins of the media world we now inhabit in which images have come...

I am deeply interested in people. People are everything to me, they are my source for happiness, sadness and of course inspiration. My aim is to create "real" images, I attempt to expose what is going on deep within the psyche of my subjects. My photographs are of authentic people with their emotional and physical baggage exposed. When I create I tend and prefer to portrait people I have come to know intimately and have connected with. I come from Stockholm, Sweden but I have lived in Edinburgh since 1998. Perhaps my attitudes are linked to my nationality; I have been intrigued and puzzled by the differences in culture. Here, the page 3 girls smile invitingly at us on a daily basis, but to introduce humanity "as it is" tends to offend people.

Konon milan kundera yang menyastrakan penulisan sejarah itu sangat mengispirasi banyak orang untuk ikut menyelamatkan masa lalu dalam semak belukar bernama estetika. Salah seorang yang terinspirasi itu tak lain seniman sastra dan teater marhalim zaini. Lewat naskah mata sunyi ia mencoba menghidupakan sang tokoh dalam keseharian diantara ella dan suaminya yang buta. Tak ada kehantgatan yang didapatkan ella , kecuali sebendunga air mata beserta kisah yang menukil pendapat-pendapat milan kundera. Hidup ytang menderita dalam rumah yang tiris tidak membuat ella kehilanngan cinta, pun mengingat suami yang tak pernah menyentuhnya. Bayaran atas sepapasang mata suami yang buta lantaran membelanya . bagaimanapun lelaki telah hidup dalm diri ella sebagai dua semangat yang menggantikan harapan akan materi dan kemapaman duniawi meski terias keinginan ella untuk menikmati kehangatan dari tubuh yang lain, tapi murhalim sepertinya tidak teg mengeksekusi hipotesa pembaca menuju stereo tipe romantika...