Wyniki wyszukiwania:

Michael Betancourt is a theorist, historian, and artist concerned with digital technology and capitalist ideology. He is the author of The ____________ Manifesto, The History of Motion Graphics, Beyond Spatial Montage, Glitch Art in Theory and Practice, Semiotics and Title Sequences, and The Critique of Digital Capitalism. He has exhibited internationally, and his work has been translated into Chinese, French, German, Greek, Italian, Japanese, Persian, Portuguese, and Spanish, and published in journals such as The Atlantic, Make...

Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion, and Space offers an extended discussion of the morphology and structure of compositing, graphic juxtapositions, and montage employed in motion pictures. Drawing from the history of avant-garde and commercial cinema, as well as studio-based research, here media artist and theorist Michael Betancourt critiques cinematic realism and spatial montage in motion pictures. This new taxonomic framework for conceptualizing linkages between media art and narrative cinema opens new areas of experimentation for today s...

In 2002, Colombian senator, anticorruption crusader, and presidential candidate Ingrid Betancourt was kidnapped by leftist guerrillas. She was their prisoner for more than six years. Until now.

Until Death Do Us Part is the deeply personal autobiography of an extraordinary woman who gave up a life of comfort and safety to become a political leader in a country slowly being demolished by terrorism, violence, fear, and a pervasive sense of hopelessness. A memoir that reads like a fast-paced political thriller--at once poignant, chilling, and inspiring--it is a story of a...

Glitch Art in Theory and Practice: Critical Failures and Post-Digital Aesthetics explores the concept of "glitch" alongside contemporary digital political economy to develop a general theory of critical media using glitch as a case study and model, focusing specifically on examples of digital art and aesthetics. While prior literature on glitch practice in visual arts has been divided between historical discussions and social-political analyses, this work provides a rigorous, contemporary theoretical foundation and framework.