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This article applies the author’s experience as an artist working with video and photography, plus his recent research and publishing on the theme of Technologies of Romance, to the work of three contemporary artists using video. It explores video art for its potential to collect and transmit affective images and to act itself as an ‘object’ capable of communicating sentiment and sensuality. The article develops a current increase of interest within the author’s cultural and academic environment in evaluations of affect, emotion, love, intimacy, etc. in art theory, history and museum studies. In doing so the author’s own Technologies of Romance theme develops its investment in theories of history into a dialogue with the Science Museum and with processes of museology.
The article explores the new way of seeing enabled by cycling in relation to the experience and temporality of late nineteenth century modernity, questioning how this influenced photographers’ approach to the representation of what was, effectively, a modern, moving, gaze.
In this piece Anna Geurts and Oli Betts explore the concept of micro-fellowships, thinking about what short-term, high-yield collaborations between universities and museums can do to enhance the research capabilities of both.