What is Medium Specificity?
Medium specificity is a consideration in aesthetics and art criticism. According to Clement Greenberg, medium specificity holds that "the unique and proper area of competence" for a form of art corresponds with the ability of an artist to manipulate those features that are "unique to the nature" of a particular medium.
Medium specific can be seen to mean that "the artwork is constituted by the characteristic qualities of the raw material." This would probably include the techniques used to manipulate the materials. "Medium-specificity is based on the distinct materiality of artistic media."
Today, the term is used both to describe artistic practices and as a way to analyze artwork. Medium specificity suggests that a work of art can be said to be successful if it fulfills the promise contained in the medium used to bring the artwork into existence.
Archived from <https://en.wikipedia.org/wiki/Medium_specificity>
Medium specific can be seen to mean that "the artwork is constituted by the characteristic qualities of the raw material." This would probably include the techniques used to manipulate the materials. "Medium-specificity is based on the distinct materiality of artistic media."
Today, the term is used both to describe artistic practices and as a way to analyze artwork. Medium specificity suggests that a work of art can be said to be successful if it fulfills the promise contained in the medium used to bring the artwork into existence.
Archived from <https://en.wikipedia.org/wiki/Medium_specificity>
What is Experimental Video?
Experimental film is an artistic practice diminishing visual art and cinema. It was originally found in European avant-garde movements in the twentieth century. Experimental film has the characteristic of not having linear narrative, using various techniques, and non-synchronous sound. Most of the experimental films are made with low budget (financed by the artist) and with small number of people.
Experimental film emerged in Europe in the nineties since the cinema has become the medium of avant-garde movement in visual art. Dadaists and Surrealists explored experimental films. The most famous experimental film is Luis Buñuel andSalvador Dalí's Un chien andalou (1929).
Experimental film emerged in Europe in the nineties since the cinema has become the medium of avant-garde movement in visual art. Dadaists and Surrealists explored experimental films. The most famous experimental film is Luis Buñuel andSalvador Dalí's Un chien andalou (1929).
Some examples
"Dream" Is an Experimental Film about the surreal works of a dream and how through our rapid thoughts comes abstract meaning. It's conveyed as one big dream. The film's meaning also conveys the multidimensional spectrum of contrast that creates equality both in and out of our subconscious minds. | "Self Portrait" By Jake Cauty. "A short award winning film delving deep into the disturbing mind of Jake Cauty. Try to understand the powerful imagery that is his mind, emptied out onto your screen. 'This is my Self Portrait.' " |
Artist Maya Deren
Maya Deren (April 29, 1917 – October 13, 1961) was one of the most important American experimental filmmakers of the avant-garde art during the 1940s~1950s. Deren not only was a filmmaker, but also was a choreographer, dancer, film theorist, poet, lecturer, writer and photographer. Deren's belief was that the purpose of film is to create an experience.
In her film she used editing, multiple exposures, jump cutting, superimposition, slow-motion and other camera techniques to create pursued motion that express stream of consciousness. There’s a film called Meshes of the Afternoon(1943) which she collaborated with Alexander Hammid. This film was perhaps one of the most important experimental films in American cinema.
Deren later made some more films on her own, such as At Land(1944), A Study in Choreography for Camera(1945), and Ritual in Transfigured Time (1946). She conducted all the process of making film with just one other person Hella Heyman (Got help on taking the film, Cameraman).
It was amazing to know that she did all the job by herself except for taking the film because her videos I watched were very interestingly and beautifully made. What I especially liked was how she edited all the shots into one film.
She had a major public exhibition in Village’s Provincetown Playhouse in Feb. 1946. The title was ‘Tree Abandoned Films’ and it included <Meshes of the Afternoon>, <At Land>, and <A Study in Choreography for the Camera>. The exhibition was very successful, being completely sold out. Deren was heavily influential to up coming avant-garde filmmakers, such as Curtis Harrington, Stan Brakhage, and Kenneth Anger.
In her film she used editing, multiple exposures, jump cutting, superimposition, slow-motion and other camera techniques to create pursued motion that express stream of consciousness. There’s a film called Meshes of the Afternoon(1943) which she collaborated with Alexander Hammid. This film was perhaps one of the most important experimental films in American cinema.
Deren later made some more films on her own, such as At Land(1944), A Study in Choreography for Camera(1945), and Ritual in Transfigured Time (1946). She conducted all the process of making film with just one other person Hella Heyman (Got help on taking the film, Cameraman).
It was amazing to know that she did all the job by herself except for taking the film because her videos I watched were very interestingly and beautifully made. What I especially liked was how she edited all the shots into one film.
She had a major public exhibition in Village’s Provincetown Playhouse in Feb. 1946. The title was ‘Tree Abandoned Films’ and it included <Meshes of the Afternoon>, <At Land>, and <A Study in Choreography for the Camera>. The exhibition was very successful, being completely sold out. Deren was heavily influential to up coming avant-garde filmmakers, such as Curtis Harrington, Stan Brakhage, and Kenneth Anger.
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Artist Stan Brakhage
Stan Brakhage, (James Stanley Brakhage, January 14, 1933 – March 9, 2003) was an American non-narrative filmmaker. He is considered to be one of the most important artists in film making of twentieth century.
In about 50 years, Brakhage created a lot and various types of work. He experimented variety of formats, approaches, and techniques. He did handheld camerawork, sometimes even painted on the celluloid directly, scratched the film, collaged the film, and also used multiple exposures. His films are generally silent, has variety of colors, and had 24 frames per one second.
In about 50 years, Brakhage created a lot and various types of work. He experimented variety of formats, approaches, and techniques. He did handheld camerawork, sometimes even painted on the celluloid directly, scratched the film, collaged the film, and also used multiple exposures. His films are generally silent, has variety of colors, and had 24 frames per one second.
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