Relics and Disjecta in Mexican Modernism and Post-Modernism: A Comparative Study of Archaeology in Contemporary Photography and Multi-Media Art

2005 ◽  
Vol 14 (1) ◽  
pp. 25-51 ◽  
Author(s):  
Erica Segre
Keyword(s):  
Comparative Study ◽  
Media Art ◽  
Post Modernism ◽  
Multi Media

Arts, Media, Cultures: Histories of Hybridisation

2005 ◽  
Vol 11 (4) ◽  
pp. 124-132
Author(s):  
Ryszard W. Kluszczynski
Keyword(s):  
Information And Communication Technologies ◽  
New Technologies ◽  
Critical Role ◽  
Communication Technologies ◽  
Digital Information ◽  
Media Art ◽  
Avant Garde ◽  
Media Technologies ◽  
Information And Communication ◽  
Multi Media

Nowadays we are faced with an enormous development of digital, information and communication technologies. Together with numerous phenomena, which are the products of activities that belong to the biotechnosphere, these technologies build a complex corpus called cyberculture. In this context art has an important, critical role to play. In particular (multi)media art can serve as an experimental laboratory, not only for new technologies but, especially, for studies of the new social relation(ship)s created or fuelled by those technologies. Media and multimedia information and communication technologies generate new promises, problems, and threats; and artists undertake efforts to examine this emerging area that has been repeatedly considered as a ‘post-biological syndrome’. In other words, artists do not only use media technologies, but also scrutinise and challenge them. In this sense the new (multi)media art could be deemed a successor of the avant-garde movement.

“George II and All That Stuff”: On the Value of the Neglected

2005 ◽  
Vol 36 (4) ◽  
pp. 581-607
Author(s):  
Jeremy Black
Keyword(s):  
Eighteenth Century ◽  
Comparative Study ◽  
Political History ◽  
Hard Work ◽  
Rhetorical Strategies ◽  
Archival Research ◽  
Post Modernism ◽  
High Politics

A valedictory article is a piece of sadness, but it is also an opportunity to shout at the wind. This piece is doubly written in that sense, first because it focuses on a king, and secondly because it discusses sources and emphasizes the need for archival research. Readers who are enthralled in modishness, and in the multiple mirrors of post-modernism, will proceed no further, but that simply reflects the peculiar and self-serving nature of the dominant approach to eighteenth-century British political history, with its fascination for the rhetorical strategies of discourse and its lack of interest in the contents and contours of politics, and in the hard work required to re-create them.In part this reflects a sense that somehow all this high politics has been done, but that is deeply misleading. It is particularly so for the reign of George II (1727–60), for that monarch, a king in deed as well as name, still lacks a scholarly biography. This is an important omission, for, without such a study, the monarch appears as a figure of episodic importance, distinctly secondary to his ministers, and as a restraint on them, rather than as an initiator of issues. To understand the king and his role, it is necessary to consider him not thus from the outside but rather on the basis of a thorough study that makes full use of the surviving sources. Secondly, without a focus on the king, it is difficult to understand the Anglo-Hanoverian monarchy, and the problems this created for British ministers. Thirdly, the failure to give due weight to George II ensures that Britain appears more different from Continental states than it should, and certainly removes a possible way to offer a comparative study.

scholarly journals Inter-religious Relations as a New Foundation for Comparative Religion

2020 ◽  
Vol 32 (1) ◽  
pp. 47-73
Author(s):  
Niels Reeh
Keyword(s):  
Comparative Study ◽  
Social Constructionism ◽  
Comparative Religion ◽  
Significant Other ◽  
Crucial Point ◽  
Analytical Strategy ◽  
The Social ◽  
Post Modernism ◽  
The Comparative Study ◽  
Point Of Departure

Abstract This article argues that the problems that comparative religion encountered in the 1980s and onward did not arise from the comparative project as such, but rather from the fact that comparative religion was founded on an analytical strategy that relied on defining religion. In order to overcome these problems and critique of Jonathan Z. Smith, Talal Asad and others, it is proposed that the comparative study of religion could be re-established on the basis of a different analytical strategy and more specifically on the basis of a relational perspective, in which the crucial point of departure is the finding that religions in many periods and cultural settings seem to constitute themselves in relation to at least one significant other religion. In periods and cultural settings, where religions relate to each other, we do in fact have a commonality between all religions, namely the inter-religious relation. This relation can ensure that we are not comparing things that have nothing in common. If the inter-religious relation is the point of departure, the comparative study of religion can be transformed in such a way that it is not overturned by the social constructionism or post-modernism of J. Z. Smith, Talal Asad and others.

The Joy of Looking

2020 ◽  
pp. 65-96
Author(s):  
Mike Goode
Keyword(s):  
Aesthetic Experience ◽  
Media Art ◽  
The Sublime ◽  
Multi Media

The chapter locates the subversive political potential of Blake’s art not in its cultivation of an audience elite enough to rise to the challenge of the sublime but in its viral medial appeals to audiences’ heterogeneous tastes for beauty. Individual Blake pictures have long tended to circulate apart from the composite, multi-media art to which they are supposedly integral. The chapter argues that this tendency activates formal potentials in the art. Blake worked at a time when aesthetic philosophers conceived of aesthetic experience, particularly of “the beautiful,” as an organic legislative force. The chapter argues for the potential radicalism of Blake’s multi-media art for its own age—and for others—on the grounds that it turns “the beautiful” into a legislative force designed to activate and exploit the disintegrated, heterogeneous wants of the populations that experience it.

scholarly journals IMMERSIVE TECHNOLOGIES OF J. VAL DEL OMAR’S MEDIA ART (“APANORAMIC IMAGE OVERFLOW”, “DIAPHONY”, “TACTILE VISION”) AS AN EXPRESSION OF HIS CONCEPT OF “MECHANICAL MYSTICISM”

2021 ◽  
Vol 17 (1) ◽  
pp. 51-71
Author(s):  
OLGA V. KOLOTVINA ◽  
Keyword(s):  
Mystical Experience ◽  
Three Dimensional ◽  
Media Art ◽  
Affective States ◽  
Emotional Involvement ◽  
Cultural Experience ◽  
Spanish Film ◽  
Media Technologies ◽  
Multi Media ◽  
The Aesthetic

The article analyzes three media technologies for creating an immersive polysensory environment, developed back in 1940–1960s by the Spanish film director and engineer Jose Val del Omar. The technologies are considered in the context of the director’s key concept, which he called “mechanical mysticism”. It was aimed at creating a cinematic analogy of mystical experience by transforming the mysticism of Spanish culture into cinematic technologies. The author reveals how the conversion of the suggestive artistic potential of Spanish mysticism into the immersiveness of film technologies allowed J. Val del Omar to create art spaces that took the system of illusions beyond the visual into special modes of psychological experiences. On the example of his films (Water- Mirror of Granada, 1955, and Fire in Castile, 1961), the author analyzes the originality of the engineering solutions of J. Val del Omar’s technologies, defines the strategies of immersiveness and their rootedness in Spanish mysticism, qualifies the aesthetic impact of these media technologies on viewers. The article demonstrates that immersiveness is achieved by using a shock strategy of interlacing the effects of suggestiveness and defamiliarization (“ostranenie”), as well as through the expansion of the range of the viewer’s sensory perception and the effect of synesthesia. The suggestive impression effect is enhanced by visual poetic metaphors that reveal to the viewers the historically formed sensual imagery of Spanish mysticism. With the help of optical and light technologies, the semantic field of a film is not only visualized, but also illusively materialized as a three-dimensional image. НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 54 THE ART AND SCIENCE OF TELEVISION In general, the strategies reproduce the sensual immersiveness, which is inherent in the Spanish Catholic cultural experience. Such strategies block the viewers’ psychological distancing mechanisms and cause affective states and emotional involvement in the art spaces. Such technological innovations for creation of immersive spectacular audio-visual environments brought the J. Val del Omar’s cinema into the field of multi-media, and therefore he could rightfully be considered the forerunner of media art, the creator of art spaces, which later became known as sound and video installations.

scholarly journals Film and Media as a Site for Memory in Contemporary Art

2017 ◽  
Vol 14 (1) ◽  
pp. 157-173
Author(s):  
Domingo Martinez Rosario
Keyword(s):  
Contemporary Art ◽  
Cultural Memory ◽  
Media Art ◽  
The Past ◽  
Multi Media ◽  
A Site ◽  
The Relationship ◽  
Film And Video ◽  
With Memory

Abstract This article explores the relationship between film, contemporary art and cultural memory. It aims to set out an overview of the use of film and media in artworks dealing with memory, history and the past. In recent decades, film and media projections have become some of the most common mediums employed in art installations, multi-screen artworks, sculptures, multi-media art, as well as many other forms of contemporary art. In order to examine the links between film, contemporary art and memory, I will firstly take a brief look at cultural memory and, secondly, I will set out an overview of some pieces of art that utilize film and video to elucidate historical and mnemonic accounts. Thirdly, I will consider the specific features and challenges of film and media that make them an effective repository in art to represent memory. I will consider the work of artists like Tacita Dean, Krzysztof Wodiczko and Jane and Louise Wilson, whose art is heavily influenced and inspired by concepts of memory, history, nostalgia and melancholy. These artists provide examples of the use of film in art, and they have established contemporary art as a site for memory.

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