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Acknowledgements | ||
Introduction | 1 | |
1 | A History in Four Moments | 7 |
2 | When Video First Captured Our Imagination | 23 |
3 | "To Tell the Truth..." | 35 |
4 | Narratives | 47 |
5 | Memory Work | 59 |
6 | Identifying Codes / Learning to See | 71 |
7 | The Use of the Self to Structure Narrative | 83 |
8 | The Problem of Description | 95 |
9 | A Tableau Vivant | 107 |
10 | Another Kind of Anthropology | 115 |
11 | There's Something Perverse about This Relationship... | 129 |
Afterword | 139 | |
Appendix | 147 | |
Index | 150 |
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Add Videotexts, When the video camera first appeared on the market, artists hailed the newly available equipment as the new pencil, the better canvas, the best eye of all. The medium was exciting and revolutionary: low-cost and low-tech; everybody was curious as galler, Videotexts to the inventory that you are selling on WonderClubX
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Add Videotexts, When the video camera first appeared on the market, artists hailed the newly available equipment as the new pencil, the better canvas, the best eye of all. The medium was exciting and revolutionary: low-cost and low-tech; everybody was curious as galler, Videotexts to your collection on WonderClub |