MacSong: Karaoke and the Academy

Prospects ◽  
2004 ◽  
Vol 28 ◽  
pp. 627-638
Author(s):  
Jeffrey Gray

When Walter Benjamin wrote this sentence in the 1930s, he had in mind both the new directions of the press, which was opening more and more spaces in which its readers could write, and the new films and newsreels, where “any man today can lay claim to being filmed” (“Work of Art,” 233) and where, rather than actors, “people … portray themselves” (234; emphasis Benjamin's). Benjamin's attitude toward this collapse of the distinction between author and public was ambivalent. Phrases such as “the phony spell of a commodity” (233), to describe the cult of the movie star, suggest his nostalgia for a time when the aura of the “original” work of art had not yet begun to decay. On the other hand, his idea that “mechanical reproduction emancipates the work of art from its parasitical dependence on ritual” (226) pointed enthusiastically to the new technologies as part of a liberationist meta-narrative.

2020 ◽  
Vol 19 (2) ◽  
pp. 115
Author(s):  
Fransisco Budi Hardiman

<p><em>Walter Benjamin’s essay, The Work of Art in the Age of Mechanical Reproduction (1939), has revealed the fundamental changes of modern work of art affected by its mechanical reproduction. Camera, tape recorder, print machine have turned the work of art to be mass consumption, autonomous from tradition and ritual, and it has now a political function. According to Benjamin all of those new technologies have faded up the aura since the work of art lost its authenticity and its uniqueness. We are in the different era than Benjamin’s because nowadays digital reproduction by means of the internet ends the need of medium for the work of art, multiply and spread it very rapidly. The author comments on Benjamin’s analysis and applies it to discuss the ontological, epistemological, and axiological issues of the work of art in the age of digital reproduction. He argues that in the digital age the work of art will be still auratic if it reveals ‘the extraordinary’ in the experience of our humanity.</em></p><p><em> </em></p><p><strong>Key words</strong>:<em> aura, hyperpolitization, work of art, medium, attention, digital reproduction </em></p>


1922 ◽  
Vol 26 (140) ◽  
pp. 325-330
Author(s):  
S. Heckstall Smith

If the thought of another war troubles you, then don't read this article. If you would rather say to yourself as the Secretary of State said to the Air Conference, “ There won't be another war for ten years, so why worry? ” then no doubt you will think with him that it is better to let other nations have alk the bother and expense of trying to advance; after all, we are jolly fine fellows and can soon pick up. If, on the other hand, you have imagination which gives you a nasty queasy sensation when you think of what might be, then perhaps the following notes, albeit disjointed and mostly stale, may at least conjure up in you thoughts of your own on the subject. This is all that is needed to help, our advancement in the air–the stimulation of spoken and written thoughts by the British nation, for if every taxpayer in the British Empire says “ Air Force,” then the Press and Parliament will say it too.


2020 ◽  
Vol 7 (2) ◽  
pp. 411-430
Author(s):  
Maja Tabea Jerrentrup

Abstract The art of bodypainting that is fairly unknown to a wider public turns the body into a canvas - it is a frequently used phrase in the field of bodypainting that illustrates the challenge it faces: it uses a three-dimensional surface and has to cope with its irregularities, but also with the model’s abilities and characteristics. This paper looks at individuals who are turned into art by bodypainting. Although body painting can be very challenging for them - they have to expose their bodies and to stand still for a long time while getting transformed - models report that they enjoy both the process and the result, even if they are not confident about their own bodies. Among the reasons there are physical aspects like the sensual enjoyment, but also the feeling of being part of something artistic. This is enhanced and preserved through double staging - becoming a threedimentional work of art and then being staged for photography or film clips. This process gives the model the chance to experience their own body in a detached way. On the one hand, bodypainting closely relates to the body and on the other hand, it can help to over-come the body.


2015 ◽  
Vol 21 (6) ◽  
pp. 855-868 ◽  
Author(s):  
Tomas KAČERAUSKAS

The article deals with issues of technologies in the environment of creative economy and creative society, mostly focusing on the following topics: 1) invasion of technologies, which is accompanied by technical illiteracy or simplification of intellection presupposed by a certain technique (e.g. computers); 2) new technologies emerge in the environment dominated by consumption in order to boost consumption; 3) political, media and communication technologies are intertwined to the extent that allows us to speak about the technologized society; 4) technologies are inseparable from creative activities: on the one hand, development of technologies needs creativity, on the other hand, every branch of creative industries needs certain technologies; 5) technologic development is conditioned by their syncretism, i.e. their ability to serve the art (technē) of life and creative intentions; 6) in the creative society, happiness does not depend on constantly upgraded (i.e. consumed) technologies but is rather possible in spite of them; 7) unlimitedness is the greatest limitation of global technologies: unconnected with any existential region, they billow in the wind of ever newer technologies.


The article investigates the activities of the Soviet plenipotentiary in Paris in the period of August-October 1927 in connection with the «Rakovsky Incident» - a scandal in the French press that arose after the signing of Ch. Rakovsky in early August 1927 of a statement by the left opposition. Four main areas of activity were identified: contacts with French politicians; cooperation with french press; a new proposal on the Franco-Soviet agreement on debts and credits; interaction with Moscow. The Soviet plenipotentiary in Paris, trying to use all his contacts and acquaintances, tried to get in touch with various French politicians and enlist their support. But the growing campaign of criticism regarding the “Rakovsky case” led to the fact that fewer and fewer politicians contacted him, or only gave empty assurances of support. Even Ch. Rakovsky’s close friend, Anatole de Monzie, behaved extremely indecisively. On the other hand, as recorded in a number of documents, Ch. Rakovsky himself sometimes behaved too self-confidently, ignoring advices. Regarding the press, with the exacerbation of the campaign, the number of newspapers that were ready to cooperate with the Soviet plenipotentiary in Paris decreased. Some of them paid money for it, some printed critical material at the direction of the owners of these newspapers, some followed the dominant trend of criticism of a diplomat. Only the newspaper of the Communist Party - "L'Humanité" - until the end remained loyal to the Soviet plenipotentiary. Ch. Rakovsky laid great hopes on his new proposal for debts and credits. But it was criticized by literally everyone: French politicians, the Paris press, and even their own Soviet government (in close cooperation with which these theses were developed). The leadership of the USSR in the person of I. Stalin spent a lot of effort to discredit Ch. Rakovsky and worsen his situation. This was especially vivid during the period of «Incident». By September 13, official Moscow was silent, and all requests for assistance and proposals for improving the situation were essentially ignored. All of the above was the reason for the very poor efficiency of Ch. Rakovsky’s actions and led to his further departure from France.


Author(s):  
Diego Liberati

In many fields of research, as well as in everyday life, it often turns out that one has to face a huge amount of data, without an immediate grasp of an underlying simple structure, often existing. A typical example is the growing field of bio-informatics, where new technologies, like the so-called Micro-arrays, provide thousands of gene expressions data on a single cell in a simple and fast integrated way. On the other hand, the everyday consumer is involved in a process not so different from a logical point of view, when the data associated to his fidelity badge contribute to the large data base of many customers, whose underlying consuming trends are of interest to the distribution market. After collecting so many variables (say gene expressions, or goods) for so many records (say patients, or customers), possibly with the help of wrapping or warehousing approaches, in order to mediate among different repositories, the problem arise of reconstructing a synthetic mathematical model capturing the most important relations between variables. To this purpose, two critical problems must be solved: 1 To select the most salient variables, in order to reduce the dimensionality of the problem, thus simplifying the understanding of the solution 2 To extract underlying rules implying conjunctions and/or disjunctions between such variables, in order to have a first idea of their even non linear relations, as a first step to design a representative model, whose variables will be the selected ones When the candidate variables are selected, a mathematical model of the dynamics of the underlying generating framework is still to be produced. A first hypothesis of linearity may be investigated, usually being only a very rough approximation when the values of the variables are not close to the functioning point around which the linear approximation is computed. On the other hand, to build a non linear model is far from being easy: the structure of the non linearity needs to be a priori known, which is not usually the case. A typical approach consists in exploiting a priori knowledge to define a tentative structure, and then to refine and modify it on the training subset of data, finally retaining the structure that best fits a cross-validation on the testing subset of data. The problem is even more complex when the collected data exhibit hybrid dynamics, i.e. their evolution in time is a sequence of smooth behaviors and abrupt changes.


2009 ◽  
pp. 2325-2336
Author(s):  
Thomas B. Cavanaugh

When Walter Benjamin wrote his famous essay The Work of Art in the Age of Mechanical Reproduction, he shone a light on the cultural changes inherent in technology’s ability to infinitely reproduce and distribute art. One of the important consequences of this development was the democratization of art’s availability, allowing the general population to experience artwork that they would otherwise be unable to access. Now technology has advanced to a point where not only is art’s reproduction available to anyone who wants it, its very production is now accessible to almost everyone, even if the prospective artist is utterly devoid of training, expertise, or even talent. With software-based artistic assistance and low-threshold electronic distribution mechanisms, we have achieved the promise of Benjamin’s blurred distinction between artist and audience. As a result, the process by which art is produced has now been democratized, resulting in legitimate questions regarding quality, taste, and the legitimacy of authorship in a human-technological artistic collaboration.


2007 ◽  
Vol 8 (1) ◽  
pp. 51-55 ◽  
Author(s):  
Deborah Wythe

Librarians and archivists who work in museums live a kind of double life. On the one hand, we consider ourselves information professionals: we belong to organizations such as SAA, ALA, SLA, or ARLIS, and we adhere to archival and library standards and ethics. On the other hand, museum departments operate within an organizational structure that is very different from a library, with dissimilar priorities and a unique institutional culture. Our day-to-day job requires a level of internal collaboration if we are to interpret and bridge these differences successfully. When I became involved in planning, and later editing and coauthoring, a . . .


1983 ◽  
Vol 97 (4) ◽  
pp. 266-283
Author(s):  
Lyckle De Vries

AbstractIn 1750 and 1751 Jan van Gool published two volumes of artists' biographies entitled De Nieuwe Schouburg (Note 2). This sequel to Houbraken's Groote Schouburgh (.Note I) is an important source for Dutch art history of the period around 1700. The author's opinions are not strictly governed by the rules of art theory, nor is he a convinced Classicist. His main aim is to give complete and reliable information on the lives and works of artists. In so doing he cannot refrain from giving personal opinions. These characterize him as a competent art critic, who seems to have had an eye for style and quality. He despises work by contemporaries who still adhere to the Leiden tradition of fijnschilderen (small-scale, highly-finished painting). In his view the composition of a painting is of prime importance in assessing its quality, for it is mostly there that an artist's inventiveness, or lack of it, is revealed. Another aspect of great importance is the expression of emotions in painted figures through their glances, gestures and attitudes. Van Gool praises not only history painters who prove to have abilities in this field, but also painters of genre scenes and portraits. He pays far more attention to a painter's brushwork than his style of drawing, his predilection being for masters with a 'courageous' brush. Relatively little attention is given to colour and light and to the plasticity of painted figures. Van Gool's ideals seem to be summed up in the word natural. The essential qualities of the subjects painted must be made visible in the work of art. A painstaking realism in the Leiden tradition would endanger this ideal as much as a severe Classicism. The observation of reality should not be carried so far that details become more important than totalities, but on the other hand the overall form should not be idealized to such an extent that reality is forgotten.


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