Capturing Unstable Media Arts - A formal model for describing and preserving aspects of electronic media art

2007 ◽  
pp. 174-189
Author(s):  
Rens Frommé ◽  
Sandra Fauconnier
Keyword(s):  
Formal Model ◽  
Electronic Media ◽  
Media Art ◽  
Media Arts

Media Arts: Arts Education for a Digital Age

2010 ◽  
Vol 112 (8) ◽  
pp. 2118-2153 ◽  
Author(s):  
Kylie A. Peppler
Keyword(s):  
Classroom Environment ◽  
Arts Education ◽  
New Technologies ◽  
Research Question ◽  
Digital Age ◽  
Digital Design ◽  
Media Art ◽  
Education Curriculum ◽  
Media Arts ◽  
K 12

Background/Context New technologies have been largely absent in arts education curriculum even though they offer opportunities to address arts integration, equity, and the technological prerequisites of an increasingly digital age. This paper draws upon the emerging professional field of “media arts” and the ways in which youth use new technologies for communication to design a 21st-century K-12 arts education curriculum. Description of prior research on the subject and/or its intellectual context and/or policy context Building on sociocultural theories of constructionism as well as Dewey's theories of the arts and aesthetics as a democratic pedagogy, this study draws upon over three years of extensive field study at a digital design studio where underprivileged youth accessed programming environments emphasizing graphics, music, and video. Purpose/Objective/Research Question/Focus of the Study This study documents what youth learn through media art making in informal settings, the strengths and limitations of capitalizing on youth culture in media art production, and the distinct contributions that media arts education can make to the classroom environment. Research Design A mixed-methods approach was utilized that analyzed data from participants and professional interviews, an archive of youths’ media art, and videotape documentation of youth at work on their projects. Conclusions/Recommendations Findings point to the ways in which youth engage with technology that encourages active learning and how new types of software can be used to illustrate and encourage this process.

New Media Arts Hybridity: The Vases (Dis)communicants Between Art, Affective Science and AR Technology

2005 ◽  
Vol 11 (4) ◽  
pp. 32-42 ◽  
Author(s):  
Christine Ross
Keyword(s):  
Augmented Reality ◽  
New Media ◽  
Media Art ◽  
Mental Processes ◽  
Media Arts ◽  
New Media Art ◽  
Projection Screen ◽  
Affective Science ◽  
Augmented Reality Technology ◽  
Perception Of Time

Following Annie Coombes’s and Avtar Brah’s (authors of Hybridity and its Discontents: Politics, Science, Culture, 2000) request that we not merely apply but in fact historicise hybridity, and arguing that the art and science explorations of new media art have produced some of the strongest new media hybridities to date, the author focuses on one of the important fields of investigation currently linking media art, science and technology: augmented reality or what should be called augmented perception of time and space. This aesthetic field of investigation has led to a reassessment of representation, one that is not without (1) sharing some of the fundamental concerns of current neuroscientific investigation of mental processes and (2) questioning the image/real continuum principle at the core of recent augmented reality technology research. The article examines media artist Bill Viola’s The Passions series (2000-2001) to contend that new media’s original contribution to the practice of hybridity lies in the interaction that it both articulates and encourages with affective sciences, an interaction that redefines representation as an approximation, a facilitator - a projection screen for complex mental processes.

Creating Emotions Through Digital Media Art

2020 ◽  
pp. 142-160
Author(s):  
Paulo Veloso Gomes ◽  
Vítor J. Sá ◽  
António Marques ◽  
João Donga ◽  
António Correia ◽  
...  
Keyword(s):  
Virtual Environments ◽  
Digital Media ◽  
Network Theory ◽  
Actor Network Theory ◽  
Technical System ◽  
Emotional States ◽  
Media Art ◽  
Immersive Environments ◽  
Media Arts ◽  
The Media

Art has a power different from all other human actions; it can produce a variety of human emotions like nothing else. The main purpose of this chapter is to study the relation between media arts and emotions. Virtual environments are increasingly being used by artists; the use of immersive environments allows the media art artist to go further than express himself, allows that through contemplation and interaction the participant also becomes part of the artistic artefact. Immersive environments can induce emotional changes capable of generating states of empathy. Considering an immersive environment as a socio-technical system, where human and non-human elements interact, establishing strong relationships, the authors used actor-network theory as an approach to design an immersive artifact of digital media art. The use of neurofeedback mechanisms during the participant's exposure to immersive environments opens doors to new types of interaction, allowing to explore emotional states to generate empathy.

Locative Media Arts and Political Aesthetics

2019 ◽  
pp. 93-118
Author(s):  
Rowan Wilken
Keyword(s):  
Smartphone Application ◽  
Vital Role ◽  
Media Art ◽  
Media Arts ◽  
Locative Media ◽  
Political Aesthetics ◽  
Critical Issues

Chapter 4 explores the vital role that locative media art plays in illuminating tensions associated with contemporary technologically mediated culture, with this art serving as criticism, as an enactment of a subtle political aesthetics. Taking up these themes, this chapter explores three specific projects—Blast Theory’s You Get Me; Josh Begley’s Metadata+ iOS smartphone application; and Julian Oliver’s Border Bumping. These projects have been selected for the ways that they utilize different location technologies; for the critical issues they raise; and, for the opportunities they present for thinking through aesthetics and its relationship to politics.

scholarly journals Arqueologia da Mídia: interrogando o novo na artemídia / Media Archaeology: Questioning the New in Media Arts

Intexto ◽  
2017 ◽  
pp. 201 ◽  
Author(s):  
Jussi Parikka
Keyword(s):  
Popular Culture ◽  
New Media ◽  
The Other ◽  
Media Art ◽  
Media Archaeology ◽  
Art Galleries ◽  
Media Arts

Abstract“One of the most persistent things that “new” media arts have actually cocooned during their decades of Post WWII development is an appreciation of the obsolete, old and analogue. It is such a paradox, which however makes the whole issue of media arts more interesting: that the new is potentially less interesting than how the old is remediated, recycled, recursively represented. Media art that employs the newest technologies does not necessarily match up to the innovative ways of digging up old ideas, imaginary media solutions and obsolete analog technologies as ways to demonstrate that our culture is not – and should not be – based on a onetrack assumption of linear progress. What if the parallel existence of the other reality alongside the glitzy digital […] is as important in how such old technologies persist in media art, galleries, curatorial programmes and popular culture?" (Extracted from the original paper)

Research on Talents Training Pattern of Digital Media Arts Major Based on College-Enterprise Cooperation

2014 ◽  
Vol 971-973 ◽  
pp. 2617-2620 ◽  
Author(s):  
Sai Hua Xu ◽  
Ying Xiong
Keyword(s):  
Digital Media ◽  
Work Study ◽  
Media Art ◽  
Personnel Training ◽  
Media Arts ◽  
Training Pattern ◽  
Technical Ability ◽  
Vocational Colleges

Digital media art major is a new major of combining the art with technology that has been developed in recent years. At present, the personnel training pattern of some high vocational colleges have some defects, such as blurry personnel orientation, unified curriculum system and too much theoretical curricula, etc. This paper has explored personnel training pattern of digital media art based on work-study combination and college-enterprise cooperation, which enables the college-enterprise cooperation combination to achieve more fully through the typical projects of enterprises and major curricula to connect. It finally carries out the goal of training the compound art talents of high technical ability.

The synthetic color sense of Pipilotti Rist, or, Deleuzian color theory for electronic media art

2011 ◽  
Vol 10 (4) ◽  
pp. 475-497 ◽  
Author(s):  
Carolyn L. Kane
Keyword(s):  
New Media ◽  
Electronic Media ◽  
Color Theory ◽  
Media Art ◽  
New Media Art ◽  
Color Sense ◽  
Machine Systems ◽  
Haptic Sensation

Electronic artist Pipilotti Rist’s colorful and sensuous video installations enliven the new media landscape and offer a fresh paradigm for conceptualizing color in electronic media art. This article traverses this landscape in Rist’s work by way of Gilles Deleuze’s equally unique and idiosyncratic color theory. While Deleuze articulated his color theory in terms specific to painting, his theory was nonetheless structured out of analogies to inorganic, electronic, and synthetic, machine systems, and thus it is highly compatible for discussions of color in electronic aesthetics. This article explicates Deleuze’s argument that color is a form of haptic sensation that is not nostalgic, nor purely meaningless, but rather offers fresh affects, erotics, and sensorial possibilities that balance meaning and chaos, and affect and logic. The article concludes that the much-needed continuation of color philosophy within new media art is broached through Rist’s synthetic, yet lively artwork.

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