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The dissertation explores the intertwining of video art practices and the ontological implications around the central themes and questions posed, in part, by Martin Heidegger. The essay evaluates his respective approaches to technology and "becoming" in relation to a number of central questions including the rapid dissolving of the boundaries and distinctions between video and cinema. I look at video installations by Dan Graham as they allow for interaction between the mediation of the image and the immediacy of the physical experience of the viewer, and I look at important precedents for the role of bodily performance in relation to video art. In response, I demonstrate why a philosophy of video is necessary. Finally, I also investigate the new paradigms of video production and distribution as they contrast with traditional practices and video's dialogic relations. In the context of this research I then suggest the paradigm shift of video as a democratized medium.

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Film and Media Studies


Institute for Doctoral Studies in the Visual Arts


Portland, Maine

Videosthetics: The Relationship Between Video, Art, and Technology



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