VIDEO ART
Early video artworks fleshed out video as a unique medium for the first time outside of television, military, and institutional power. Video became accessible to artists with new tape devices to make it decks and cameras portable. Today, video is even more portable as an embedded feature of smart technologies. Smart devices like tablets and smartphones, have made the mass media of video an even more massive communicator of events, places, and personas by increasing the scale of video with de-centralized networks. In the past, video has been a product for home entertainment as physical media to be purchased and now exists as digital media through data streaming. As video has become more high-definition, television became a menu based digital operation. Motion picture industries want filmmakers and audiences alike to accept video as the logical next step for filmic material by achieving great picture quality. The low cost of video production equipment democratized expensive processes for creatives who made “indie films.” Video also gave rise to digital cinema with CGI movies that are quickly distributed for general audiences. Video games on the other hand acknowledge the title of “video” depending on if players are looking at a TV, or a PC monitor. On the internet, video conotes a clip that is loaded or live broadcasted as it frequently was on television. In computer vision programming, the electronic signal of video provides real-time image whose pixels provide associable tags for detecting objects and causes systematic reactions for machines. The vision of machines is also derived from and provides smart tools for video surveillance utilized by businesses, offices, schools, hospitals, homes, and prisons.
Depending on the social and commercial usage of video, it’s technical characteristics receive different treatments. Therefore, we really only know what video through its output. The output of video is always a screen, seen in the form of monitors, projection, and headsets. The interfacing with a video screen is what formats determinations what people think video really is. Due to the multiple kinds of screens, I contend that video is always a signal, and more specifically a live signal. That the point of video is for the screen to host the appearance of anything that can be mediatized or digitized electronically. The appearance of being on a screen is what makes the presence of individuals, environments, media, and machines seen. Video screens make the perspective of cameras and dimensions of cyberspace observable for the both human and computer vision. It is for these reasons that Video Art is not a dead term to me. It is a term that draws attention to the dynamics of the video screen and the character of the signal transmitted. Video art still negotiates our assumptions and brings awareness to its medium. Video Art inspires us to consider what video is and what it can be...?
About Me ︎ Curriculum Vitae
Project Index︎︎︎
2023
Videosphere: You’re Always On A Screen Somewhere...
Brown Bunny
Inertia
2022
MAX Jitter Programming
FxR Versus AhR
Async Rolling
Always On
Enframing Rey
The Vidiot
Computer Home Entertainment
2021
Machine Learning: ATM
Pursuing Earth
THE LIBERTARIAN
Wiley World Wide Weather
ReWind Compressor
Discarding Earth
Being A Passenger
2020
Can(t) See Me Now!
ColorPress Brush
White Ball Flux Brush
THE APP
2019
PATS
2018
Ice Cream Drone
2015
Vanilla ISIS
2017
Invisible Foci
2014
Digital Synthesis Illustration
2013
Rood World
Synthesis Ilustration
2011
Verse
Master (Series)
Video Being
2010
Dance Aches
Bangalor
︎ macherno@buffalo.edu
︎ videoarchaeology
︎ michaelchenoff
︎ michaelchernoff
︎ videosignified
︎ michaelchernoff
︎ Videosphere
©2010-2023 Michael Chernoff