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.

scholarly journals “Destabilized Perception”

2018 ◽  
Vol 14 (3) ◽  
pp. 304-326
Author(s):  
Rob Coley
Keyword(s):  
First Century ◽  
Audiovisual Media ◽  
Aesthetic Form ◽  
The Media ◽  
Contemporary Media ◽  
Twenty First Century ◽  
The Aesthetic

The formerly dissident status of the essay film has, in recent years, been exchanged for a great deal of favorable attention both inside and outside academia. In the more overly moralistic commentary on the form, the contemporary essay film is submitted as a tactical response to a surfeit of audiovisual media, to an era in which most of us have become both consumers and producers of a digital deluge. The work of Adam Curtis is notably absent from these ongoing debates. Yet Curtis is far from an underground figure—he has been making essayistic films for the BBC for more than twenty years and was the first to produce work directly for the iPlayer platform. Using archival images to examine the present, his films produce counterintuitive connections and abrupt collisions that supplant the authority of narrative causality for a precarious network of associations and linkages. This article treats Curtis’s recent body of work diagnostically. It argues that, quite apart from any promise of escape or deliverance, the aesthetic form of his work actively inhabits the rhythms and vectors of contemporary media. For Curtis, the media-technological conditions of the twenty-first century provoke a crisis that is both political and epistemological, one in which sensemaking can no longer claim to take place at a distance from the infrastructure that mediates such processes but is instead thoroughly and inescapably immanent to it, a situation that prevents contact with the outside. His films are about what he calls “destabilized perception,” but importantly they are also a function of this condition, one that in turn demands a shift in how we conceive the essay film in the twenty-first century.

The Impact of Digitalization on Social Interaction and Public Space

2012 ◽  
Vol 37 (2) ◽  
pp. 92-99
Author(s):  
Susan J. Drucker ◽  
Gary Gumpert
Keyword(s):  
Public Space ◽  
Digital Media ◽  
Public Spaces ◽  
Urban Life ◽  
Mobile Media ◽  
Transformative Power ◽  
Media Environment ◽  
The Media ◽  
The Individual ◽  
The Impact

The tradition of urban public space confronts the reality of a ubiquitous, mobile ‘me media’ filled environments. Paradoxically, the ability to connect globally has the tendency of disconnecting location. The examination of modern public spaces, diversity and spontaneity in those spaces requires recognition of the transformative power of changes in the media landscape. Compartmentalization or segregation of interaction based on choice shapes attitudes toward diversity. In the digital media environment the individual blocks, filters, monitors, scans, deletes and restricts while constructing a controlled media environment. Modern urban life is lived in the interstice between physical and mediated spaces (between physical local and virtual connection) the relationship to public space. Augmented with embedded and mobile media public spaces simultaneously offer those who enter a combination of connection and detachment. This paper utilizes a media ecology model.

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.

Introduction

2013 ◽  
pp. xiv-10
Author(s):  
Carol Vernallis ◽  
Amy Herzog
Keyword(s):  
Video Games ◽  
Digital Media ◽  
Digital Age ◽  
Video Art ◽  
Music Videos ◽  
Audiovisual Media ◽  
Media Texts

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. This collection examines the rapidly shifting landscape of audiovisual media in the digital age. The volume initiates a dynamic, transdisciplinary dialogue between and among scholars, and takes up a range of media texts including blockbuster cinema, music videos, video games, amateur video compilations, documentaries, immersive theater, visualization technologies, and video art. One resonant theme is the ways sound and image can exist in myriad relations. Alongside harmonic convergences and ecstatic audiovisual mélanges, we find glitches, noise, rupture, and uncanny vestiges of outmoded practices. Our own mélange of scholarly approaches attempts to capture the texture and feel of this diverse media field.

scholarly journals Moving in stealth: On the tracking shot as a technique for imperceptibility

2019 ◽  
Vol 14 (1) ◽  
pp. 40-54
Author(s):  
Toni Pape
Keyword(s):  
Law Enforcement ◽  
Video Games ◽  
Video Art ◽  
Crime Fiction ◽  
Art Galleries ◽  
Audiovisual Media ◽  
Media Objects ◽  
Third Person ◽  
The Aesthetic ◽  
Argument Proceeds

This article explores recent uses of the tracking shot in various media. Examples drawn from television, video games and video art reveal that recent audiovisual media have frequently used a particular kind of tracking shot that follows an individual through a complex environment. This article argues that this tracking shot contributes to an aesthetic of stealth, that is, a perceptual attunement to notions of imperceptibility and secrecy. The stealth tracking shot can thus be seen as one of the aesthetic principles that articulate discourses of securitisation. The argument proceeds in three steps. First, the article shows that this specific use of the tracking shot takes inspiration from third-person video games. An analysis of the stealth game Splinter Cell: Blacklist (2013) shows how the mobile ‘following camera’ allows the viewer to perceive the avatar in his or her environment. Then, in an analysis of the unbroken tracking shot in True Detective (2014), it is demonstrated how this kind of tracking shot contributes to a reformulation of the notions of law enforcement underlying crime fiction. Specifically, the tracking shot is related to the notion of stealth democracy. Finally, the article considers Hito Steyerl’s video ‘Guards’ to show that the aesthetic principles of stealth operate not only in individual media objects but more generally in public spaces and institutions such as museums and art galleries. To conclude, the article situates the stealth tracking shot in a more general consideration of the politicality of media aesthetics.

MURAL, KEKUATAN MODAL, DAN MASYARAKAT

DeKaVe ◽  
2013 ◽  
Vol 1 (1) ◽  
Author(s):  
Akbar Annasher
Keyword(s):  
Public Space ◽  
Public Spaces ◽  
Communication Media ◽  
Mural Painting ◽  
The People ◽  
The Media ◽  
Mural Art ◽  
The City ◽  
The Voice ◽  
Special Region

Broadly speaking, this paper discusses the phenomenon of murals that are now spread in Yogyakarta Special Region, especially the city of Yogyakarta. Mural painting is an art with a media wall that has the elements of communication, so the mural is also referred to as the art of visual communication. Media is a media wall closest to the community, because the distance between the media with the audience is not limited by anything, direct and open, so the mural is often used as media to convey ideas, the idea of ??community, also called the media the voice of the people. Location of mural art in situations of public spatial proved inviting the owners of capital to use such means, in this case is the mural. Manufacturers of various products began racing the race to put on this wall media, as time goes by without realizing the essence of the actual mural art was forced to turn to the commercial essence, the only benefit some parties only, the power of public spaces gradually occupied by the owners of capital, they hopes that the community can view the contents of messages and can obtain information for the products offered. it brings motivation and cognitive and affective simultaneously in the community.Keywords: Mural, Public Space, and Society.

Perbandingan metode promosi kesehatan terhadap perubahan persepsi ibu tentang sex education pada anak prasekolah

2016 ◽  
Vol 32 (11) ◽  
pp. 421
Author(s):  
Evi Septiani ◽  
Shinta Prawitasari ◽  
Ova Emilia
Keyword(s):  
Health Promotion ◽  
Preschool Children ◽  
Sexual Violence ◽  
Sex Education ◽  
Media Campaign ◽  
Audiovisual Media ◽  
Health Promotion Campaign ◽  
Lecture Method ◽  
The Media ◽  
Perception Score

Effectiveness of audiovisual health promotion campaign on perception of mothers in preschool children sex educationPurposeThis study aimed to compare the effect of health promotion through a lecture method with audiovisual aides and leaflets on the change of mother’s perception about sex education to preschoolers.MethodsPre and posttests were done with 64 mothers with preschool children who attend ABA Pringwulung and Al-Islam kindergarten. ResultsThe health promotion through lecture method with audiovisual aides increased mothers’ perception score about sex education to preschoolers higher than the media leaflet.ConclusionsThis study contributes to the knowledge that developing a media campaign is important in order to change the perceptions of sex education in parents of preschoolers. This research suggested UPT P2TP2A Sleman District to continue the program of socialization and prevention of sexual violence in children by using lecture method combined with audiovisual media in conducting health promotion.

Conclusion

2018 ◽  
Author(s):  
Samuel Llano
Keyword(s):  
Public Health ◽  
Public Space ◽  
Social Conflict ◽  
Musical Performance ◽  
The Public ◽  
Political Interests ◽  
Musical Practices ◽  
The Media ◽  
The City

As is described in this conclusion, more than the media and culture, Madrid’s public space constituted the primary arena where reactions and attitudes toward social conflict and inequalities were negotiated. Social conflict in the public space found expression through musical performance, as well as through the rise of noise that came with the expansion and modernization of the city. Through their impact on public health and morality, noise and unwelcomed musical practices contributed to the refinement of Madrid’s city code and the modernization of society. The interference of vested political interests, however, made the refining of legislation in these areas particularly difficult. Analysis of three musical practices, namely, flamenco, organilleros, and workhouse bands, has shown how difficult it was to adopt consistent policies and approaches to tackling the forms of social conflict that were associated with musical performance.

scholarly journals From roadman to royalties: Inter-representational value and the hypercapitalist impulses of grime

2021 ◽  
pp. 174165902110243
Author(s):  
Orlando Woods
Keyword(s):  
Digital Media ◽  
Music Industry ◽  
Music Videos ◽  
Digital Recording ◽  
Commercial Success ◽  
Production And Distribution ◽  
Ubiquitous Access ◽  
Rap Artists

This paper explores how digital media can cause the representational value of rap artists to be transformed. Ubiquitous access to digital recording, production and distribution technologies grants rappers an unprecedented degree of representational autonomy, meaning they are able to integrate the street aesthetic into their lyrics and music videos, and thus create content that offers a more authentic representation of their (past) lives. Sidestepping the mainstream music industry, the digital enables these integrations and bolsters the hypercapitalist impulses of content creators. I illustrate these ideas through a case study of grime artist, Bugzy Malone, who uses his music to narrate his evolution from a life of criminality (selling drugs on the street; a ‘roadman’), to one in which his representational value is recognised by commercial brands who want to partner with him because of his street credibility (collecting ‘royalties’). Bugzy Malone’s commercial success is not predicated on a departure from his criminal past, but the deliberate foregrounding of it as a marker of authenticity. The representational autonomy provided by digital media can therefore enable artists to maximise the affective cachet of the once-criminal self.

scholarly journals A Relic of Communism, an Architectural Nightmare or a Determinant of the City’s Brand? Media, Political and Architectural Dispute over the Monument to the Revolutionary Act in Rzeszów (Poland)

Arts ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 8
Author(s):  
Sławomir Gawroński ◽  
Dariusz Tworzydło ◽  
Kinga Bajorek ◽  
Łukasz Bis
Keyword(s):  
Public Space ◽  
Political Communication ◽  
Critical Analysis ◽  
Historical Memory ◽  
Media Discourse ◽  
Political Dimension ◽  
Social Events ◽  
The Media ◽  
Mutual Relations ◽  
The Impact

This article deals with the issues of architectural elements of public space, treated as components of art and visual communication, and at the same time determinants of the emotional aspects of political conflicts, social disputes, and media discourse. The aim of the considerations is to show, with the usage of the principles of critical analysis of media discourse, the impact of social events, political communication, and the activity of mass communicators on the perception of the monument of historical memory and the changes that take place within its public evaluation. The authors chose the method of critical analysis of the media discourse due to its compliance with the planned purpose of the analyses, thus, providing the opportunity to perform qualitative research, enabling the creation of possibly up-to-date conclusions regarding both the studied thread, and allowing the extrapolation of certain conclusions to other examples. The media material relating to the controversial Monument to the Revolutionary Act, located in the city of Rzeszów (Poland), was selected for the analysis. On this example, an attempt was made to evaluate the mutual relations between politically engaged architecture and art, and the contemporary consequences of this involvement in the social and political dimension.

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