Digital Media and Appreciation

2021 ◽  
pp. 62-82
Author(s):  
Katherine Thomson-Jones
Keyword(s):  
Digital Media ◽  
Digital Images ◽  
Digital Technologies ◽  
Digital Age ◽  
Digital Art ◽  
Digital Workflow ◽  
The Media ◽  
The Aesthetic

This chapter takes up the aesthetic implications of the technology of digital images. Taken together, digital technologies for production and presentation can be understood as the materials that, used for artistic ends, comprise the media of digital art. The challenge for this chapter is to defend medium-based artistic appreciation in the digital age. I argue that awareness of the uses to which an artist puts digital materials is crucial for understanding the particular embodied achievement that is that artist’s work. The kinds of image-based art examples used in this chapter are diverse. They include examples from earlier chapters but also films that rely on a digital workflow.

scholarly journals Digital Revolution and Ideologies of Thought and Creativity in Graphic Arts

2020 ◽  
Vol 1 (1) ◽  
pp. 157-171
Author(s):  
Gamal ElDin Elkheshen
Keyword(s):  
Augmented Reality ◽  
Digital Media ◽  
Digital Art ◽  
Digital Environment ◽  
Graphic Arts ◽  
Digital Revolution ◽  
Digital Product ◽  
Interactive Application ◽  
The Aesthetic ◽  
Venice Biennale

What the scientific tide and digital revolution presented of methods and ideas for the structural and aesthetic construction of the workspace is what we will notice in this research by standing on one of the contemporary arts, which I borrowed from the digitization, which is the digital art that means the set of means that a person uses to reach a dramatic result using the computer Automated, The researcher has developed an equation to elicit the aesthetic concept of graphic artwork through the digital media used (digital art x digital environment) =the resulting digital product=new visual values, digitization has become as a technique in graphic arts based on digital materials, as the French philosopher "Pierre Levy" explains, and the researcher here represents "Art project”, ”Augmented reality” interactive application, shown at Venice biennale 56th, Egyptian pavilion as a practical Methods of the research in those digital experiments.

scholarly journals Collezioni cartografiche e digital humanities per una nuova fruizione del patrimonio: il caso della Biblioteca Estense Universitaria di Modena

2021 ◽  
pp. 95-107
Author(s):  
Sara Belotti
Keyword(s):  
Digital Media ◽  
Digital Library ◽  
Digital Humanities ◽  
Digital Technologies ◽  
Digital Age ◽  
Reggio Emilia ◽  
Music Collection ◽  
The Creation ◽  
The University ◽  
Digital Library Project

Digital humanities is an emerging discipline that has become increasingly popular in recent years, thanks to the implementation of numerous projects that aim at a dynamic dialogue between digital technologies and humanistic research. This is the scope of the project launched by the Biblioteca Estense Universitaria (BEU) di Modena in 2017, which, in collaboration with the University of Modena and Reggio Emilia, included the study, cataloguing and digitization of the cartographic collection, along with the music collection and the Muratorian collection. This project led to the creation of a digital library, inaugurated in June 2020, which not only allowed the enhancement of the cartographic collection, still little known, and to make it available, albeit only virtually, to scholars, but also led to the adoption of the IIIF protocol that allows to compare, edit, annotate and share the documents of the Este collection and collections that participate in the same circuit, providing new useful tools for research. In this context, the contribution, starting from the presentation of the Estense Digital Library project, presents the cartographic collection of the BEU and offers a reflection on the potential that the new digital media provide for the study of cartography and, more broadly, of heritage in the digital age.

scholarly journals Digital Media and the Public Information Environment: A Retrospective Assessment

2003 ◽  
Vol 28 (4) ◽  
Author(s):  
Myles Ruggles
Keyword(s):  
Digital Media ◽  
Public Information ◽  
Digital Technologies ◽  
Information Environment ◽  
The Public ◽  
Retrospective Assessment ◽  
Early Results ◽  
Economic Methods ◽  
Information And Communication ◽  
The Media

Abstract: Ten years after the emergence of the World Wide Web, the implications of new digital technologies for the news and public information function of the media are still a topic of vigorous debate. This paper, which is merely a preliminary report on an unfinished review of the literature pre-dating that event, revisits some of the critical analyses that had been articulated about the new digital media when the Web emerged. The intent of this larger, not-yet-completed project is to evaluate some major tendencies, already mapped a decade ago by research in the political economy of telecommunication, against the actual outcomes of the intervening decade of development and use of the new digital technologies of information and communication. Where the early predictions are confirmed, this re-evaluation may provide a simple means to distinguish persistent structural distortions in the public information environment from transitory or local effects, superficial influences, and alarmist predictions. Where the early results are refuted or less clearly confirmed, it may provide insight into the limits of political-economic methods of analysis.

Criminal Defamation, the Criminalisation of Expression, Media and Information Dissemination in the Digital Age

2018 ◽  
pp. 1638-1661
Author(s):  
Nhamo A. Mhiripiri ◽  
Jacqueline Chikakano
Keyword(s):  
Information Dissemination ◽  
Digital Technologies ◽  
Digital Age ◽  
Western Hemisphere ◽  
Ethical Perspective ◽  
Traditional Media ◽  
Fourth Estate ◽  
The Media ◽  
Severe Punishment ◽  
Ordinary Citizens

Criminal defamation and the criminalisation of communication in general often result in severe punishment for the media and other content producers accused and prosecuted for committing such ‘crimes'. There are severe financial penalties involved and /or the incarceration of those who are convicted of breaking the law. This chapter studies the existence and feasibility of criminal defamation in largely contemporary Africa, but also making references to ‘older' democracies in the Western hemisphere. In short, the chapter critiques criminal defamation and the criminalisation of expression, making a strong legal and ethical perspective quite often using empirical materials from the courts. The inception and proliferation of new digital technologies amongst ordinary citizens also means that besides the traditional media or fourth estate, ordinary non-professional communicators are also highly likely to get into trouble over defamation, criminal defamation and other forms of crimes associated with the criminalisation of communication.

scholarly journals Will the Future Be Aquatic? Underwater Cartography, Verticality and Leonardo’s Submarine by Hito Steyerl

2021 ◽  
pp. 375-386
Author(s):  
Karolina Kolenda
Keyword(s):  
Virtual Reality ◽  
New Media ◽  
Digital Media ◽  
Digital Technologies ◽  
Present Condition ◽  
Geographical Imagination ◽  
Underwater Environment ◽  
The Future ◽  
The Media ◽  
Venice Biennale

This text explores the uses of water metaphors in the discourse of digital media on the example of Leonardo’s Submarine, a three-channel AI-generated video work by the artist and writer Hito Steyerl, presented at the Venice Biennale in 2019, as well as its subsequent installation in a purposefully built virtual reality underwater gallery in winter 2020/2021. The two venues for staging the work are discussed in the context of Steyerl’s writings on the change of the European geographical imagination from the Renaissance up to the present day and the role played in this change by digital technologies. Steyerl’s ideas about the shift from the horizontal to vertical perspective and the present condition of groundlessness are “submerged” in a watery context of the ocean to test how verticality and groundlessness behave in an underwater environment. Drawing on selected concepts developed in the field of blue humanities, this text seeks to investigate Steyerl’s practice as an artist and new media theorist to show how it employs water metaphors to challenge rather than perpetuate our habitual thinking about the ocean and the media used to represent it.

Integration Approaches of Digital Media in the Teaching/Learning Process

2018 ◽  
pp. 16-24 ◽  
Author(s):  
Zanda Rubene
Keyword(s):  
Digital Media ◽  
Learning Process ◽  
Digital Technologies ◽  
Modern Society ◽  
Social Contexts ◽  
Media Environment ◽  
Analysis And Evaluation ◽  
The Social ◽  
The Media ◽  
Teaching Learning

During the last two decades, a generation for which the life in the media environment and the use of media in everyday life has become a norm in Europe and beyond its boundaries. The representatives of this generation are engaged with technologies both at home for their entertainment and use them for learning at school and university. In addition, they would like to experience the integration of technologies in education more frequently and more extensively. The researchers in the field of social sciences have concluded that in general the social contexts in which any individual, including the school student, acquires experience and is learning in modern society have changed radically. Researchers encourage teachers to improve their skills of integrating digital technologies in education that would help students develop their information analysis and evaluation skills in the learning process, which in turn, would decrease the scope of the possible risks caused by digitalization.

Criminal Defamation, the Criminalisation of Expression, Media and Information Dissemination in the Digital Age

2017 ◽  
pp. 1-24 ◽  
Author(s):  
Nhamo A. Mhiripiri ◽  
Jacqueline Chikakano
Keyword(s):  
Information Dissemination ◽  
Digital Technologies ◽  
Digital Age ◽  
Western Hemisphere ◽  
Ethical Perspective ◽  
Traditional Media ◽  
Fourth Estate ◽  
The Media ◽  
Severe Punishment ◽  
Ordinary Citizens

Criminal defamation and the criminalisation of communication in general often result in severe punishment for the media and other content producers accused and prosecuted for committing such ‘crimes'. There are severe financial penalties involved and /or the incarceration of those who are convicted of breaking the law. This chapter studies the existence and feasibility of criminal defamation in largely contemporary Africa, but also making references to ‘older' democracies in the Western hemisphere. In short, the chapter critiques criminal defamation and the criminalisation of expression, making a strong legal and ethical perspective quite often using empirical materials from the courts. The inception and proliferation of new digital technologies amongst ordinary citizens also means that besides the traditional media or fourth estate, ordinary non-professional communicators are also highly likely to get into trouble over defamation, criminal defamation and other forms of crimes associated with the criminalisation of communication.

The Oxford Handbook of Sound and Image in Digital Media

2013 ◽  
Keyword(s):  
Public Space ◽  
Digital Media ◽  
Art Music ◽  
Video Art ◽  
Political Conflict ◽  
Inland Empire ◽  
Audiovisual Media ◽  
Production And Distribution ◽  
The Media ◽  
The Aesthetic

This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of disciplinary expertise, from film studies and philosophy to musicology, pornography, digital gaming, and media studies, the book charts new territory by analyzing what it calls the “media swirl” and the “audiovisual turn.” It draws on a range of media texts including blockbuster cinema, video art, music videos, video games, amateur video compilations, visualization technologies, documentaries, and immersive theater to address myriad subjects such as the transition of cinematic discourses to digital production and distribution, the relations between screens and public space, and the shifting nature of noise within digital ecosystems. It also examines noise, droning, and silence as recurring themes in New Extremist films of Europe, along with temporal and generic anomalies by citing examples such as the Silent Hill videogame series, the performance/installation Sleep No More, and the poetics of David Lynch’s Inland Empire. In addition, the book discusses the translation of information into digital media, how music has both shaped and become embedded within the aesthetic culture of political conflict, the nature of “realism” in relation to new audiovisual media networks, and the accelerated aesthetics of networked mediascape and the ways in which they may be connected to contemporary labor and global capitalism.

13 Current Media Business Models in the Digital Age – the Takeaways for Bulgaria

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Ivo Indjov ◽  
◽  
◽  
Keyword(s):  
Digital Media ◽  
Business Models ◽  
Research Question ◽  
Public Funding ◽  
Digital Age ◽  
Well Being ◽  
Left Wing ◽  
Main Research ◽  
Viral Spread ◽  
The Media

The study seeks an answer to the current problem of the deepening global crisis of classic media business models in the digital age and the need to seek sustainable new forms of financing. This state of the journalistic media, resp. of quality journalism is the result of competition from the Internet and major online platforms, but also from acute financial crises, the most recent one caused by Covid-19. They hit the two market foundations of the media company the hardest – advertising and sales. Financially afflicted media repel citizens and are a direct threat to democracy. Weakened, they fall under external dependence, and cannot control the politicians and those in power; neither can they oppose the viral spread of misinformation and fake news on social media. The main research question is “Is it possible – and in what way – to save the media financially in the digital age?” 13 current media-financing models with an emphasis on digital media have been studied - beyond advertising, classified ads etc., which until recently ensured the well-being of the press and television. Two different media business models were also considered: taz – a successful German left-wing alternative newspaper based on cooperative ownership and a solidary model of attracting readers, and “Capital” – a Bulgarian business-oriented medium that successfully applies new forms of financing. Both editions focus on digital transition. The elements of comparison show that for several reasons the “taz model”, which provides a much more direct and emotional connection with the readership, is not applicable to Bulgaria in the medium term. The main conclusion of the study is that in order to survive in the digital age, journalistic media must have a flexible pluralistic funding model. Depending on the nature of the media, its target groups and the specifics of society, it may contain only part or a wider range of the following main sources of funding: market; state / public funding; structures of civil society and citizens.

scholarly journals Commentary: Reflecting the new realities of the digital age

2007 ◽  
Vol 13 (1) ◽  
pp. 8-18
Author(s):  
Matt Mollgaard
Keyword(s):  
Core Competencies ◽  
Digital Technologies ◽  
Digital Age ◽  
Journalism Education ◽  
Digital Platforms ◽  
Digital World ◽  
The Future ◽  
The Media ◽  
Education Conference

Three broad themes reflecting the role of the media in the digital age emerged from the Journalism Downunder journalism education conference in Auckland in December 2006. These were trepidation, confusion and celebration. The sense of trepidation relates to a fear of the unknown and unknowable: a sense that digital technologies are changing at a speed that confounds attempts to master them before they morph into new forms. Another theme was the confusion created by the new digital technologies. This confusion is related to the fetish-isation of gadgets and the growing gap between those who have always interacted with the digital world and those who have had it thrust upon them. The third theme was cautious celebration. The power, speed and usefulness of digital creation, transmission and reception opens up communication and the media to people in previously unimaginable ways. This commentary is an overview of papers presented at the conference, with some general conclusions reached about the future of journalism in the digital age. While the new digital platforms and technologies do present significant challenges to traditional journalism, they are also enabling technologies that offer opportunities to reinvigorate newsgathering. Although the future of journalism is a digital one, the core competencies of a good journalist will be as important as ever.

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