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In A Sun With No Shadow, Farocki calls attention to the subtle differences between the simulations for combat training and PTSD. With the former, the sun can be programmed to cast shadows in the virtual combat zones, while the latter, less expensive technology does not offer this feature.",[42,43],99,10752,1.098,"\u002FvAAewnS4z28TUj9mcMHYV6GDwZo.jpg","2010-01-01",10,"Ernste Spiele 4 – Sonne ohne Schatten","en",{"id":51,"adult":6,"title":52,"video":6,"overview":53,"softcore":6,"genre_ids":54,"popularity":56,"vote_count":8,"poster_path":57,"release_date":58,"vote_average":8,"backdrop_path":23,"original_title":59,"original_language":49},1226222,"Looking through a Glass Darkly","An experimental media installation of three windows exploring fragments of liminality. Three unique re-constructions of experiential instances volumising the cataclysms of thresholds. Experience the absence of definition, the absence of boundaries set and the absence of rationale. A myth is not to be understood, a myth is passed on, like a game of Chinese whispers, it takes its course and ages with time, suiting the demography and tale, it warps and distorts",[55],18,0.5194,"\u002F1AI25PLYc2T59ieyzugPzZ93X8m.jpg","2023-01-04","இருண்ட கண்ணாடி வழியாகப் பார்க்கிறேன்",{"id":61,"adult":6,"title":62,"video":6,"overview":63,"softcore":6,"genre_ids":64,"popularity":65,"vote_count":35,"poster_path":66,"release_date":67,"vote_average":68,"backdrop_path":23,"original_title":62,"original_language":69},1038470,"Sea Body","Videoinstallation with methacrylate \u002F no sound \u002F  2018. 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A reflection on the concepts of institutional violence, repression and collective trauma, focusing on the pattern of eye attacks by state security forces.",[],1.6127,"\u002FoXHDPPRshQqVmfSByqa44GNegPN.jpg","2023-11-17","Arrancar los ojos","es",{"id":106,"adult":6,"title":107,"video":6,"overview":108,"softcore":6,"genre_ids":109,"popularity":110,"vote_count":8,"poster_path":111,"release_date":112,"vote_average":8,"backdrop_path":113,"original_title":107,"original_language":49},1460209,"Phase Shifting Index","A multi-channel video installation about movement and bodies.",[],0.7128,"\u002FsV1ifaGKzCH4FYD6zdVMNgSmYV.jpg","2020-02-26","\u002FejvR3yznCd1JimMh4md8zX0r1iS.jpg",{"id":115,"adult":6,"title":116,"video":6,"overview":117,"softcore":6,"genre_ids":118,"popularity":119,"vote_count":8,"poster_path":120,"release_date":121,"vote_average":8,"backdrop_path":122,"original_title":116,"original_language":104},1442812,"La bolsa \u002F Die Tüte","",[],0.4294,"\u002Fw1r8wNRhdZY9XD8AiqYsuCWFSNv.jpg","2025-04-04","\u002FsVsHrCWf2fKRWkE7rEN1imQylfN.jpg",{"id":124,"adult":6,"title":125,"video":6,"overview":126,"softcore":6,"genre_ids":127,"popularity":128,"vote_count":35,"poster_path":129,"release_date":46,"vote_average":47,"backdrop_path":23,"original_title":130,"original_language":49},1231050,"Serious Games 2 – Three Dead","An exploration of how the U.S. military employs video game technology to train troops for war. Three Dead depicts a military exercise within a mock Iraqi town built on the outskirts of Twentynine Palms, California, blurring the line between computer simulation and reality.",[42,43],0.9656,"\u002FA7Y8EkI7N3f29epDrRNzebo27e3.jpg","Ernste Spiele 2 – 3 tot",{"id":132,"adult":6,"title":133,"video":6,"overview":134,"softcore":6,"genre_ids":135,"popularity":136,"vote_count":35,"poster_path":137,"release_date":46,"vote_average":47,"backdrop_path":23,"original_title":138,"original_language":49},1231055,"Serious Games 3 – Immersion","An exploration of how the U.S. military employs video game technology to train troops for war. In Immersion, Farocki presents footage of a role-playing exercise in which military psychologists demonstrate how to use the PTSD program on their colleagues, who describe traumatic wartime experiences. On a second channel, their descriptions play out as virtual renderings.",[42,43],0.9446,"\u002F1uHdWx20jFcALvJZuPdYjH6FR5r.jpg","Ernste Spiele 3 – Immersion",{"id":140,"adult":6,"title":141,"video":6,"overview":142,"softcore":6,"genre_ids":143,"popularity":145,"vote_count":8,"poster_path":146,"release_date":147,"vote_average":8,"backdrop_path":23,"original_title":141,"original_language":49},1430667,"Mitzukos Dream","In \"Mitzukos Dream\" you watch sleeping people, each filmed for one night with a willdlife camera that reacts to movement. 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Bijl’s meticulous choice of locations, belle époque dress (including bathing costumes) and his cinematographically perfect imitation of the rather jerky black & white images, as well as the patina and the perfectly imitated scratches on the film emulsion, all resulted in a perfect replica: an apparently forgotten roll of film from the days of silent film. Bijl himself classifies this faultless slice of life, one of his rare excursions into film and video, under ‘cultural tourism’, one of the elements of his work in which he popularizes cultural history subjects and reduces them to clichés for the general public.",[42],0.8005,"\u002FtvsPrV5OEpLRsaheD9LHxzxQBfS.jpg","2000-06-25","\u002FjJ83DGBYRQwnGgPlwpWPXaGAFJ8.jpg","nl",{"id":159,"adult":6,"title":160,"video":6,"overview":161,"softcore":6,"genre_ids":162,"popularity":163,"vote_count":8,"poster_path":164,"release_date":165,"vote_average":8,"backdrop_path":23,"original_title":160,"original_language":49},1644885,"Xanadu","Xanadu is a 4-channel video installation by Robert Boyd that represents a history of apocalyptic thought as a series of MTV-style music videos.",[],0.436,"\u002FqhW6srz3MTNGmAGUb7sTf9KLtPh.jpg","2006-01-10",{"id":167,"adult":6,"title":168,"video":6,"overview":169,"softcore":6,"genre_ids":170,"popularity":171,"vote_count":8,"poster_path":172,"release_date":173,"vote_average":8,"backdrop_path":23,"original_title":168,"original_language":49},693804,"Disappear Here","2 Small Channel Video Installation, featuring a monologue excerpted from an untitled novel by Alissa Bennett",[55],1.7428,"\u002FizJawE9Vh7O9zKl73Z8lrGKQSYy.jpg","2004-01-15",{"id":175,"adult":6,"title":176,"video":6,"overview":177,"softcore":6,"genre_ids":178,"popularity":179,"vote_count":8,"poster_path":180,"release_date":181,"vote_average":8,"backdrop_path":182,"original_title":176,"original_language":82},706449,"Highbushes burning","The chasm through which light bleeds , bleeds out of proportion with bright spectral flickers flaming the trees abrading out the tissues with excruciating vigour gaining momentum",[55],0.8128,"\u002FwD9TvuuPgE12fkLvrAJY7HUzsMM.jpg","2018-12-24","\u002Fu5U7LnxrKbY8xiL3kqYmwILQjg3.jpg",{"id":184,"adult":6,"title":185,"video":6,"overview":186,"softcore":6,"genre_ids":187,"popularity":188,"vote_count":8,"poster_path":189,"release_date":190,"vote_average":8,"backdrop_path":191,"original_title":185,"original_language":49},706552,"Familiar Slip","In Familiar Slip (2019) Seraj revisits places of significance that have shaped her experience as an Iranian livingabroad. Seraj physically projects her extensive archive of videos from her life in Iran onto the domestic spaces of her current life in Canada and the US. Some of these places from her past, such as her grandmother’s home in Tehran or childhood school in Dehkadeh, no longer exist. Seraj re-stages the fragments of her memories through the process of folding time and collapsing space in an effort to carve out new neurological pathways, making use of the present to recreate the past, while recognizing the impermanence of all things. Familiar Slip is an attempt to fix these recollections into a more lasting medium: a requiem for faded memories.",[],0.4189,"\u002FeAEBkSC2icbIWSJ0ozJSjCZQB1C.jpg","2019-03-29","\u002F2KnZsM6uMfFdRwBmINEfbpWaDZD.jpg",{"id":193,"adult":6,"title":194,"video":6,"overview":195,"softcore":6,"genre_ids":196,"popularity":197,"vote_count":8,"poster_path":198,"release_date":199,"vote_average":8,"backdrop_path":23,"original_title":194,"original_language":49},1711978,"Mini Epochs","Experimental animated film made for the Palazzo Zenobio at the Venice Biennale in 2003",[88],1.1043,"\u002F43CZFgVFM1sVgChP00dSbHNVZCb.jpg","2003-01-01",{"id":201,"adult":6,"title":202,"video":6,"overview":203,"softcore":6,"genre_ids":204,"popularity":205,"vote_count":8,"poster_path":206,"release_date":207,"vote_average":8,"backdrop_path":23,"original_title":208,"original_language":49},733319,"Pixel Forest","Each pixel is separated like an exploded screen, set in a chaotic way into the space. The video has a whole movement in the room, as one three dimensional image. The experience resembles the brain, working with electromagnetic waves and low voltage information.",[],0.7829,"\u002FoEH60pmgQNTyyag5nBJdvUWmHov.jpg","2016-02-24","Pixelwald",{"id":210,"adult":6,"title":211,"video":6,"overview":212,"softcore":6,"genre_ids":213,"popularity":215,"vote_count":8,"poster_path":216,"release_date":217,"vote_average":8,"backdrop_path":23,"original_title":211,"original_language":49},1297878,"Violent Incident: Man-Woman, Segment","In this video work Bruce Nauman explores violence, gender and behaviour. Set around a simple middle class dining table, the scene quickly escalates into a slapstick fight between a man and a woman. Their actions become increasingly more erratic and aggressive yet also ridiculous and cartoon-like as the video progresses. Nauman explores the ways in which anger can be provoked by others and questions the way we can react to them. Much like many of his other artworks, he employs the use of humour and exaggeration to explore serious and even dangerous topics - he produced this work as a result of his frustration with futile acts of violence in ordinary life. He explains, “The viewer is presented with a hypnotic repetition of pointlessly cruel and destructive violence which is both seductive and alienating.”",[214],10751,1.4146,"\u002Fy4Xb529javXgaw2Q2xFLGHAghyA.jpg","1986-07-26",{"id":219,"adult":6,"title":220,"video":6,"overview":221,"softcore":6,"genre_ids":222,"popularity":223,"vote_count":8,"poster_path":224,"release_date":225,"vote_average":8,"backdrop_path":23,"original_title":220,"original_language":49},686473,"The Other Side","The Other Side is a double-screen video installation commissioned as part of Breakwell’s residency at the De La Warr Pavilion in Bexhill-on-Sea, East Sussex during the summer and autumn of 2000. The film was shot on the Pavilion’s upper landing, the camera positioned looking out through the curved windows of the stairwell across the exterior balcony to a view of the sea and the horizon. It comprises two alternating sequences projected onto either side of a free standing wall. Footage of elderly couples ballroom dancing on the balcony outside has been slowed down to the rhythm of the accompanying soundtrack, an extract from Franz Schubert’s Nocturne in E-flat Major (Op.148) overlaid by the sounds of breaking waves and seagulls. In the alternating scene, played to the same sound, panoramic vistas of the view out of the building towards the sea and horizon beyond are empty of human presence.",[],0.5789,"\u002FhMn93r3fw6Rr2OrINGQ0lEekkqb.jpg","2002-01-01",2,40,"The relationship between the human body and the perception of space in the field of today's use of technology is questioned by showing parts of the ancient Qi Gong dragon form.",0.6231,"\u002FeQ4EsYybBR1FBA0xAz9kisKXKvT.jpg","2024-04-12",[233],"DE",{"results":235},{},[],"de",[],[],45,"See Through the Dragon Head sits in the sweet spot of what works for tonight.",[]]