<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-1284</journal-id>
<journal-title><![CDATA[Vista. Revista de Cultura Visual]]></journal-title>
<abbrev-journal-title><![CDATA[Vista]]></abbrev-journal-title>
<issn>2184-1284</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos de Comunicação e Sociedade]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-12842022000200006</article-id>
<article-id pub-id-type="doi">10.21814/vista.4057</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[O Vídeo Como Tecnologia e Meio de Expressão Artística]]></article-title>
<article-title xml:lang="en"><![CDATA[Video as Technology and Artistic Expression Medium]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Gonçalves]]></surname>
<given-names><![CDATA[Mauro]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade do Porto Faculdade de Letras ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>12</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>12</month>
<year>2022</year>
</pub-date>
<numero>10</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-12842022000200006&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-12842022000200006&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-12842022000200006&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo: O presente trabalho procura refletir sobre o surgimento da tecnologia do vídeo e a sua utilização como meio de expressão artística. Concentrando-nos, sobretudo, no período entre a década de 1960 e a de 1990, analisamos a relação da televisão e outras instituições com a esfera artística cultural e o seu papel no desenvolvimento de práticas artísticas através do vídeo. Com efeito, estabelecemos exemplos internacionais e exemplos portugueses para uma análise plural e diversa. Por conseguinte, este trabalho elabora algumas das teorias, ideias principais e análises relativas ao papel do vídeo e da televisão na sociedade do final do século XX. Confere-se especial atenção a alguns traços ideológicos e filosóficos transversais às diversas práticas artísticas, autores e agentes da esfera cultural contemporânea para refletir sobre alguns elementos estéticos que constituem as obras deste período. A partir de uma seleção de obras e artistas, este estudo procura explorar a dimensão social do vídeo, que muitas vezes funcionou como meio democrático, instrumento de contestação social e política e meio para a reflexão pessoal do artista. Desta forma, articula-se uma abordagem à presença e representação do corpo nas obras de vídeo e outros elementos técnicos e estéticos para compreender dimensões teóricas envoltas na produção imagética deste meio.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: This paper seeks to reflect on the emergence of video technology and its use as a medium for artistic expression. Focusing mainly on the period between the 1960s and 1990s, we analyse the relationship between television and other institutions within the cultural-artistic sphere and their role in developing artistic practices through video. Thus, we have established international and Portuguese examples for a plural and diverse analysis. Therefore, this work elaborates on some theories, main ideas and research concerning the role of video and television in late 20th-century society. Special attention is given to some ideological and philosophical traits transversal to the different artistic practices, authors and agents within the contemporary cultural sphere to reflect on some aesthetic elements of the works from this period. Based on a selection of works and artists, this study seeks to explore the social dimension of video, which has often operated as a democratic medium, an instrument of social and political contestation and a medium for the artist's personal reflection. In this way, an approach to the presence and representation of the body in video works and other technical and aesthetic elements is articulated to understand the theoretical dimensions involved in the imagery production of this medium.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[vídeo]]></kwd>
<kwd lng="pt"><![CDATA[televisão]]></kwd>
<kwd lng="pt"><![CDATA[vídeo arte]]></kwd>
<kwd lng="pt"><![CDATA[arte contemporânea]]></kwd>
<kwd lng="en"><![CDATA[video]]></kwd>
<kwd lng="en"><![CDATA[television]]></kwd>
<kwd lng="en"><![CDATA[video art]]></kwd>
<kwd lng="en"><![CDATA[contemporary art]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[António]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Melo e Castro: Poesia, experimentalismos e tecnologia]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Torres]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Poesia experimental portuguesa: Contextos, ensaios, entrevistas, metolodogias]]></source>
<year>2014</year>
<page-range>157-62</page-range><publisher-name><![CDATA[Universidade Fernando Pessoa]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bensinger]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[The video guide]]></source>
<year>1981</year>
<publisher-name><![CDATA[Video-info Publications]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Caio]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Televisão 25 Anos - V episódio]]></article-title>
<source><![CDATA[Televisão 25 anos]]></source>
<year>1982</year>
<publisher-name><![CDATA[RTP]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chiu]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Yun]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Nam June Paik - Becoming robot]]></source>
<year>2014</year>
<publisher-name><![CDATA[Asia Society Museum; Yale University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="journal">
<collab>Chymefti Bozini</collab>
<article-title xml:lang=""><![CDATA[Joan Jonas - Leftside rightside]]></article-title>
<source><![CDATA[YouTube]]></source>
<year>2012</year>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cunha]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[O novo cinema português &#8212; Políticas públicas e modos de produção (1949-1980)]]></source>
<year>2015</year>
<publisher-name><![CDATA[Universidade de Coimbra]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dias]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[O corpo como texto: Poesia, performance e experimentalismo nos anos 80 em Portugal]]></source>
<year>2016</year>
<publisher-name><![CDATA[Universidade de Coimbra]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="">
<collab>Electronic Arts Intermix</collab>
<source><![CDATA[Gerry schum: TV Gallery]]></source>
<year>s.d</year>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="journal">
<collab>Esquizofrenia das Artes</collab>
<article-title xml:lang=""><![CDATA[Helena Almeida - Ouve-me | 2006]]></article-title>
<source><![CDATA[YouTube]]></source>
<year>2021</year>
<month>,</month>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="journal">
<collab>Everything has its first time</collab>
<article-title xml:lang=""><![CDATA[Martha Rosler - Semiotics of the Kitchen 1975]]></article-title>
<source><![CDATA[YouTube]]></source>
<year>2017</year>
<month>,</month>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ferrão]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Sabe onde fazemos televisão?]]></article-title>
<source><![CDATA[Sabe onde fazemos televisão?... RTP]]></source>
<year>1974</year>
<month>,</month>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gigliotti]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[A brief history of RainDance]]></source>
<year>2003</year>
<publisher-name><![CDATA[Radical Software]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hatherly]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Melo e Castro]]></surname>
<given-names><![CDATA[E. M. de.]]></given-names>
</name>
</person-group>
<source><![CDATA[PO.EX: Textos teóricos e documentos da poesia experimental portuguesa]]></source>
<year>1981</year>
<publisher-name><![CDATA[Moraes Editores]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Huffman]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Video art: What&#8217;s tv got to do with it?]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Hall]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Fifer]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[lluminating video: An essential guide to video art]]></source>
<year>1990</year>
<page-range>81-100</page-range><publisher-name><![CDATA[Aperture e Bay Area Video Coalition]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Krauss]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Video: The aesthetics of narcissism]]></source>
<year>1976</year>
<publisher-name><![CDATA[MIT press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[London]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<source><![CDATA[Video from Tokyo to Fukui and Kyoto]]></source>
<year>1979</year>
<publisher-name><![CDATA[Museum of Modern Art]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[McLuhan]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[The medium is the massage: An inventory of effects]]></source>
<year>2006</year>
<publisher-name><![CDATA[Ginko Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Meigh-Andrews]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[A history of video art]]></source>
<year>2014</year>
<publisher-name><![CDATA[Bloomsbury]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Melo e Castro]]></surname>
<given-names><![CDATA[E. M. de.]]></given-names>
</name>
</person-group>
<source><![CDATA[Roda Lume]]></source>
<year>1968</year>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nmungwun]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Video recording technology: Its impact on media and home entertainmen]]></source>
<year>1989</year>
<publisher-name><![CDATA[Routledge; Taylor&amp;Francis]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pretesin-Bachelez]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
<name>
<surname><![CDATA[Zapperi]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[Defiant muses - Delphine seyrig and the feminist video collectives in France in the 1970s and 1980s]]></source>
<year>2019</year>
<publisher-name><![CDATA[Museu Nacional Centro de Arte Reina Sofia]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="">
<collab>Rádio Televisão Portuguesa</collab>
<source><![CDATA[50 anos da morte de Amadeo de Souza Cardoso]]></source>
<year>1969</year>
<month>,</month>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="">
<collab>Rádio Televisão Portuguesa</collab>
<source><![CDATA[Meios técnicos da RTP]]></source>
<year>1973</year>
<month>,</month>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rancière]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[O espectador emancipado]]></source>
<year>2014</year>
<publisher-name><![CDATA[WMF Martins Fontes]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Roussopoulos]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Seyrig]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[S.C.U.M. manifesto 1967]]></source>
<year>1976</year>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rush]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Video art]]></source>
<year>2007</year>
<publisher-name><![CDATA[Thames &amp; Hudson]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="journal">
<collab>starflyer2012</collab>
<article-title xml:lang=""><![CDATA[Nam June Paik - Global Groove, 1973]]></article-title>
<source><![CDATA[YouTube]]></source>
<year>2010</year>
<month>,</month>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sturken]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Paradox in the evolution of an art form: Great expectations and the making of a history]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Hall]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Fifer]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[lluminating video: An essential guide to video art]]></source>
<year>1990</year>
<page-range>101</page-range><publisher-name><![CDATA[Aperture e Bay Area Video Coalition]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sturken]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Olhando para trás. Arte do vídeo nos anos sessenta e setenta]]></article-title>
<source><![CDATA[CIRCA 1968]]></source>
<year>1999</year>
<publisher-name><![CDATA[Fundação Serralves]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="journal">
<collab>The Museum of Modern Art</collab>
<article-title xml:lang=""><![CDATA[Introducing virtual views: Video lives]]></article-title>
<source><![CDATA[YouTube]]></source>
<year>2020</year>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Youngblood]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[Expanded cinema]]></source>
<year>1970</year>
<publisher-name><![CDATA[P. Dutton &amp; Co]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
