{"id":514,"date":"2011-05-08T17:24:36","date_gmt":"2011-05-08T17:24:36","guid":{"rendered":"http:\/\/www.maarav.org.il\/english\/?p=514"},"modified":"2017-08-31T16:44:41","modified_gmt":"2017-08-31T16:44:41","slug":"creative-actuality","status":"publish","type":"post","link":"https:\/\/maarav.org.il\/english\/2011\/05\/08\/creative-actuality\/","title":{"rendered":"Creative Actuality"},"content":{"rendered":"

Creative Actuality<\/strong> brings together writing and specially commissioned internet-based projects that consider the influences of contemporary technologies on issues such as self-reflexivity, the difficulties of representation, self-made media content, and the camera\u2019s role within documentary-based art and video.<\/p>\n

Technological developments such as web platforms and the availability of consumer electronic devices have led to a dramatic increase in user-generated digital content. This, together with new web-platforms designed to host such content, have generated a fundamental change in the way we create and consume images and data represented through them, particularly documentary media. This issue of Ma\u2019arav focuses on the interaction between contemporary technological developments and the media and arts in an effort to shed light on academic paradoxes of portrayal through the practices of art and experimental documentary. Ruthie Ginsberg considers the Eden Abergil episode on Facebook and \u201cRock the Kasbah in Hebron,\u201d a music video filmed by IDF soldiers on duty in Palestine. Maria Lind\u2019s introduction to her project, The Greenroom: Reconsidering the Documentary and Contemporary Art, assesses the meaning of documentary within global mass media and the international contemporary art world. Michael Zupraner created a video work from material culled through B\u2019Tselem\u2019s camera distribution project and discusses the use of video in Palestine. Ozge Erzoy considers Susan Meiselas\u2019 web-based initiative, akaKurdistan, and the link between photography and nationality through references to Hannah Arendt and Ariella Azoulay. Jon Rafman\u2019s \u201cNine Eyes of Google Street View\u201d is a photo essay in consideration of the corporation\u2019s cutting-edge map feature.<\/p>\n

It is published in conjunction with the exhibition \u201cInto the Eye of the Storm\u201d<\/a>, curated by Chen Tamir, that was on exhibit at the Israeli Center for Digital Art from Nov. 25th, 2010 to February 26, 2011 as part of VideoZone V<\/a>, the Biennial of International Video Art.<\/p>\n

Editors:
\nChen Tamir, Independent Curator
\nEyal Danon, Director of the Israeli Center for Digital Art<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Creative Actuality brings together writing and specially commissioned internet-based projects that consider the influences of contemporary technologies on issues such as self-reflexivity, the difficulties of representation, self-made media content, and the camera\u2019s role within documentary-based art and video.<\/p>\n","protected":false},"author":22,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[],"yoast_head":"\n\n\n\n\n\n\n\n\n\n\n\n\n\t\n\t\n\t\n