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By way of introduction

El texto a analizar es el fragmento del libro “Del video-arte al net-art” de Néstor Olhagary Llanos, específicamente el prólogo y la introducción. A modo de explicar bien en que consiste el video arte , expondré el ensayo completo que he realizado en torno a este texto, y luego en los artículos siguientes iré tocando los puntos que mas me parezcan discutibles, para esto utilizare los textos “Del gesto del video” de Flusser, “Videoclip, lenguaje fin de siglo” de Oscar Landi y algunos artículos encontrados en revista en relación al tema.

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A art "Trans"?

Before it seems prudent to define the video art by Nestor Olhagaray Llanos for whom the video is an art, "trans." Why Trans? As an art of transgression, transit, and finally transfer defector.

First the video to become an independent art, must break their ties with the television, this way to be on the same level of autonomy it. Thanks to this, the artist could make the video "an investigative and experimental instrument to respond to the insatiable spirit of creation that begins with the willingness to revise and reinvent the language" (The video-art net art Nestor Olhagaray Llanos, page 9).

Second traffic is an art as it realizes that his situation is not established self-sufficient, such as painting or photography, but as a transit space required for all visual arts and audiovisual this to be contemporary with the post-and trans-avant-garde idea. In line with this we can say that the video is an art in constant movement, ie an open space for creation.

The third point relates to the video as a renegade art, refers to the ability of it to work with the image desrealizante through splitting, farce, parody, and in general, thanks to a large number of procedures that challenge to the plausible. In addition, we understand that produces video simulation, ie, not satisfied with identifying a real model, however, is in constant pursuit of an infinite reality. For all this, the absence of an object to be imitated, we realize that ultimately a "picture forwarded to another image, an image is copied and model at a time, the images of all time are listed and confused." (From video art to the art of Nestor net Olhagaray Llanos, page 9). Inally

the transfer, which is nothing more than using video as a tool for problematizing the appearance of images and with them the models, thus puts into question all the paradigms. In addition, the video as all art is in the virtual and the virtus is nothing that "this proposed mapping operators of art, to move between the palimpsest models ranging from the images and ideas" (from video art net art Olhagaray Nestor Llanos, page 10).

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Of Video Art Video Art

The video art as a phenomenon born rebel against film and television who is completely independent. After that understands your condition to contain within itself all audiovisual and visual arts, not being self-sufficient art like painting or photography, but a mandatory step for all these arts.

The video however not only faced the problem of cutting the television institution, but had run into the script. For this, Néstor Olharagay sujet Llanos suggests using over the literary script.

should be noted that the literary script is just a way you have to eliminate the problem of film language towards a domination of another language as the theatrical and literary. Furthermore, and importantly, working with transparency film is not intended to other than to offer us a line and we show clearly represents reality.

is very remarkable, and perhaps most interesting about video art, hybrid condition, always being rediscovered and reinvented their language, mixing too many cultural and artistic forms, all for not having a leguaje own. However, that does not have its own language does not mean simplistic art falls into a simple spectator, on the contrary, the fact of having a multiplicity of cultural and artistic codes very different, makes viewers demanding and active beings and so it makes the video somewhat problematic and profound.

Another important issue, and now finally, is the script / project, which basically is nothing else to be aware that the work will affect other, either in social or cultural level. Therefore, the author must surrender and be aware of this, making clear his creative individuality, and ideology or particular sensitivity. In the words of Nestor Olhagaray Llanos, this becomes clear, as he tells us that "a script / project, not just build a scaffolding for concrete work, but is delivered (and delivered, it is very important), a context should read "(" The Video-art net art "Nestor Olhagaray Llanos, page 15)

Como conclusión principal, recojo que el video arte es una existencia híbrida y por lo mismo, una obra en video incorpora una gran cantidad de diversos elementos artísticos y culturales. Queda más que claro su individualidad del cine y de la televisión, así como queda clara su intencionalidad de problematizar para poder incitar a la reflexión, por medio de cuestionamientos y el lenguaje poético de las imágenes y el código kinésico. Además, resalto que el video arte presenta unas cualidades únicas para lograr plasmar la sensibilidad y la interioridad humana en niveles únicos, al mezclar pintura, fotografía, música, etc. ¿Mas me surge la pregunta si acaso este nuevo arte como fusión no will be the evolution of the oldest arts such as painting, literature, etc..?

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breaks the TV literary

seen earlier that the video had to break his almost filial relationship with the TV in order to become a free and independent art is real But this separation? Is it justified? Is there any substantive argument to support this separation?

For Flusser function was to serve video to television as a tool for storing and documenting information, an object that allows you to record TV programs to then be edited and censored, that is why the video used for television. In the words of Flusser "The purpose of the video is to serve the television. To that end precisely what subjects produced their decision ... ... It is therefore an instrument that serves the purposes of the television system, which, in turn, is an element of the cultural system and determines that conditions us "(" The Video gesture "by Flusser, page 190)

Now, contradictory to Flusser, I argue against a word, speed. Television and video if there are two separate things and then show one of many by which the video and television and indpendizan distencian.

Television product of their need to sell more, and also by the echo of that TV time is literally gold, had to take a form of work where the speed of the images and the changes are the main thing, so we see the news, a veritable flurry of news that does not even give us time to process them. Furthermore, in the talk we witness interviewed was bombarded with questions and more questions without giving them the skills to take the time to reflect or expose it their point of view, if you dare commit such a sin, will be assaulted with more questions and will be viewed as uninformed.

For its part, the video, without this need to deliver and produce, found a way to "restore life to their own pace" (Television and Video Art: Thinking against the clock to Margarita Schultz, Cord Magazine loose page 4) developing its own line of work that article they call "default." Thanks to this, the video art can be giving back to the viewer the ability to concentrate, to shelve the leading paced life with the constant bombardment of images of everyday life, again returns you the ability to reflect, to contemplate and become co-author of a work.

Basically, differences between TV and the video is therefore what Nestor says in his foreword Olhagaray Llanos about how the video should oppose the "incestuous relationship that he handed the television institution . Divorce necessary to define and develop his power today to talk as equals with television. "(From the video-art net-art Olhagaray Nestor Llanos, page 9) it is completely based on speed and time.

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sujet "Script?


When I read for the third time sujet interpreted the text as a script suggested alternative Olhagaray Nestor Llanos. Because deep down it kind of script would be more adaptive to video art for more than a structured outline is only a guide to objectives.

But to discuss this one must first address the literary script How should we understand the literary script? What is it? The literary script performs the function they have in general all the scripts, which is to structure and systematize the way to carry out production, thus giving an order, camouflaging the signifier and eliminating among other things, the film leguaje own video, so you can say that the video gets the poetry inherent in the images and language in physiotherapy.

On the other hand, the subject seems to be a guide rather than a structure, a guide in close relationship with its author, says Nestor Olhagaray Llanos "a statement of the purposes that the author assumes is going to permeate his work, to choose and commit such thematic issues with certain expressive therapies, providing a specific instance of reading and cultural inscription "(From video art to the art of Nestor net Olhagaray Llanos, page 14) is, this would be as a guide, not as a model rigid, but a series of goals and intentions expressed in a physical place where the author can use to guide many times as desired. This means that the author plays the role of screenwriter and film director as opposed to video or film where the director and writers are differentiated tasks and roles.

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Transparency Film, film simpleton

As a result of the script and the economic interests of certain industries, film, transparency film arises, in order to disguise the significant problematizing of audiovisual works. This is nothing else than the antithesis of video art.

The transparency film is MLA simplicity of their messages and obsessive quest to imitate reality and thus make it more digestible and simple message for the masses of consumers. In addition, the linear time that often develop the stories and the speed at which the work revolves determine other characteristic, the destruction of time to think about what you see question avoids the issue of what is seen and reflect or delve deeper into the images. And with the above, that is the product of a literary script, the film loses the richness of the multiple meanings that gives the image.

turn the video-art works like a hammer that breaks up our reality and distorts it, posing the reflection and problematization of the work. So too, we see video art, avant-garde elements rupturitas (both post-and trans) that allow us to see the world under a different lens, a lens unreal, subjective and open. See also the rhythms of video art, which, unlike the transparency film, or try to pass term commences so that there is a focus and a reflection on our part, in the observed image, thus fulfilling its aim and deliver a message to be interpreted in multiple ways.

A rough example of what the film transparency, would be a telenovela. These stories present us with simple and even cheap in the sense of quality. The telenovelas are simple compression, specially made to avoid problematizing and mentally get off the ground, so be in a state of "dumbing down" seeing that square with banal images, and this way out of the daily grind, the latter is another factor in giving more prominence to transparency film, film simpleton.

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The video clip, very close to video art and far too

When thinking about video clip does not usually consider all the elements that comprise it, as games are chronological, its ability to destroy and rebuild a reality, symbology, visual effects, some combinations Dada images and surreal. All this because the video clip shares a lot with video art.

his first break with what might be called "mother or sister", video art had to face the television as we know. In turn, the video clip should break its ties with the marketing, says Oscar Landi: "The video clip is in the central brand marketing of its origin, but as an aesthetic genre has become independent, is a separate entity" (Video clip end of the century language Oscar Landi, page 36)

Now, as the technical side we must refer that both styles of video game shares the storm. See video clips in which we live in chaos time, sometimes the beginning of the video is itself the end (producing a cycle), while others use visual collages, etc.

The use of plastic is not uncommon to find video clips, they have taken from tables worlds (Caribbean Blue by Enya) to which they give life in the video. In addition, we rarely found in both videos fall into dream world and play with symbols. These two types of video meeting itself, the influence of other arts, in the case of the video clip is the site of a new aesthetic that transcends the television screen and conditions, influences and infiltrates the other arts "(The video clip, end of the century language Oscar Landi, page 36). Now also have a marked difference and that is that the video clip "is a visual code itself and usually sing the lyrics to anchor a sense of the fragmented sequence of visual elements" (The video clip of the century language Oscar Landi , page 39)

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Another video clip that serves as an example of what discussed above.

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The purpose of the video, is to deliver a message What does the author use to get to send that message? Then the script / project. The

project is all that is done the work and its impact on society, which is expected to generate and for what. While it is not completely structured and fixed, as it is aware of the subjectivity of people, it is clear that the author always has a purpose which is to transmit a significant. So the project is nothing that we can have a clear conception of the work you create will be exhibited in society and therefore it will cause a reaction, the objective in my opinion is that this reaction is as positive as possible but there we value judgments do not think.

The script is a guide, as we said, in order to reach this goal is to deliver the desired intention.

words, we can say that in the background behind the script / project is the whole background of the video to make and with it his whole message.

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Father of Video Art

If we talked so much video art, the minimum is to know a little about its founder, Nam June Paik, the father of video art, a Korean-born American. Recognized worldwide for his works. The guidance in this great artist was to humanize the technology and transform it into an instrument of critical reflection and fun.

now wanted to show the outline of his work go up what appear to be their scripts:
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Video art is the way out, escape from a world ruled by an audiovisual television and film. It is an art form extremely open, where as we have seen can move from the most diverse arts and lots of cultures, making it extremely rich art product of hybridity. In turn, the fact of being a tool that troubles the existence and understanding the message, find the reflection, so must it open to interpretation.

also have to remember that video allows create a reality on the basis of another reality, we can play with time, making it appear a second, 30 minutes, is a complex art and abstraction rather broad.

I conclude with a quote from Nam June Paik "art is a farce, just need to do something nobody has done before."