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The Turn to Liveness : = Media Art and the Live Transmission.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	The Turn to Liveness :/
Reminder of title:	Media Art and the Live Transmission.
Author:	McGough, Laura.
Description:	1 online resource (168 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 79-08(E), Section: A.
Contained By:	Dissertation Abstracts International79-08A(E).
Subject:	Art history. -
Online resource:	click for full text (PQDT)
ISBN:	9780355679908

The Turn to Liveness : = Media Art and the Live Transmission.
McGough, Laura.

The Turn to Liveness :Media Art and the Live Transmission. - 1 online resource (168 pages)

Source: Dissertation Abstracts International, Volume: 79-08(E), Section: A.

Thesis (Ph.D.)--State University of New York at Buffalo, 2018.

Includes bibliographical references

The aim of this dissertation is to explore the current turn to liveness within the media arts through an analysis of the live televisual transmission. In specific, I posit that this turn is actually a return, and frame contemporary live televisual works as a part of a rich, but understudied, media art genre marked by a long history of experimentation with the live transmission as an artistic medium. I argue that artists across media generations have worked to distinguish the live televisual transmission as an art form through a strategic leveraging of the medium's most basic characteristics: co-presence, unpredictability and leakiness. To demonstrate this, I analyze a range of live televisual transmission artworks beginning with Lucio Fontana's Luminous Images in Movement (1952) to recent live streaming projects that utilize social media broadcasting platforms. I critically read across the live televisual transmission across four genealogies of practice to determine how artists: 1) developed an aesthetics of the live transmission distinguishable from both visual arts practices and mainstream media; 2) activated the live transmission as a two-way send and receive link to establish a spatial and temporal co-presence in which artist and viewer shared screen space in real-time; 3) introduced unpredictability to the live transmission as a strategy to interpellate viewers and enhance participation; and 4) exploited the inherent leakiness of the live televisual transmission to create unique spectatorial experiences that revealed its materiality and countered hegemonic control of the airwaves. I conclude with a brief exposition on the future of the live televisual transmission as an artistic genre by examining emerging practices of live witnessing.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355679908Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

The Turn to Liveness : = Media Art and the Live Transmission.
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520 $a The aim of this dissertation is to explore the current turn to liveness within the media arts through an analysis of the live televisual transmission. In specific, I posit that this turn is actually a return, and frame contemporary live televisual works as a part of a rich, but understudied, media art genre marked by a long history of experimentation with the live transmission as an artistic medium. I argue that artists across media generations have worked to distinguish the live televisual transmission as an art form through a strategic leveraging of the medium's most basic characteristics: co-presence, unpredictability and leakiness. To demonstrate this, I analyze a range of live televisual transmission artworks beginning with Lucio Fontana's Luminous Images in Movement (1952) to recent live streaming projects that utilize social media broadcasting platforms. I critically read across the live televisual transmission across four genealogies of practice to determine how artists: 1) developed an aesthetics of the live transmission distinguishable from both visual arts practices and mainstream media; 2) activated the live transmission as a two-way send and receive link to establish a spatial and temporal co-presence in which artist and viewer shared screen space in real-time; 3) introduced unpredictability to the live transmission as a strategy to interpellate viewers and enhance participation; and 4) exploited the inherent leakiness of the live televisual transmission to create unique spectatorial experiences that revealed its materiality and countered hegemonic control of the airwaves. I conclude with a brief exposition on the future of the live televisual transmission as an artistic genre by examining emerging practices of live witnessing.
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