Vertical video: rupturing the aesthetic paradigm

2017 ◽  
Vol 17 (2) ◽  
pp. 245-261 ◽  
Author(s):  
Kathleen M Ryan
Keyword(s):  
Popular Culture ◽  
Technological Innovations ◽  
Film And Television ◽  
Moving Images ◽  
Orientation Model ◽  
Video Shot ◽  
History Of ◽  
The Aesthetic

Popular culture has critiqued ‘vertical video syndrome’, or video shot on smartphones in the portrait rather than landscape orientation, as something aesthetically unpleasing which should be avoided. But the design of smartphones seems to encourage shooting vertical video. This article examines the aesthetic desirability of vertical videos through applied media aesthetics. It traces the history of horizontal film and television orientations, as well as the image-centric orientation model found in still photography. It argues that vertical video, rather than a syndrome to be avoided, instead takes advantage of the technological innovations and embodied pleasures offered by the smartphone to rupture the visual paradigms and create a new visual aesthetic for phone-based moving images.

Theory of the Image

2019 ◽  
Author(s):  
Thomas Nail
Keyword(s):  
Philosophy Of Art ◽  
Western Art ◽  
Moving Images ◽  
Copernican Revolution ◽  
Systematic Philosophy ◽  
History Of ◽  
Image Production ◽  
The Aesthetic ◽  
Theory Of The Image ◽  
The Way

We live in the age of the mobile image. Our world is now saturated with moving images of all kinds, both analog and digital. This sea change in image production and circulation is nothing less than the Copernican revolution of our time. The centrality of the movement and mobility of the image has never been more dramatic. And just like the Copernican revolution, the aesthetic revolution of the image has consequences not only for the way we think about the contemporary image but also the way we think about all previous images. Theory of the Image offers a new and systematic philosophy of art and aesthetics from the perspective of movement—the first of its kind. Throughout history, the image has been understood in many ways, but rarely has it been understood to be, primarily and above all, in motion. Thus, Theory of the Image offers not only the first aesthetics of motion but also the first history of the mobility of the image in the Western art tradition, from prehistory to the present.

Perceptual Cells: James Turrell’s Vision Machines Between Two Paracinemas

Leonardo ◽  
2016 ◽  
Vol 49 (4) ◽  
pp. 306-316 ◽  
Author(s):  
Alla Gadassik
Keyword(s):  
Phenomenological Analysis ◽  
Active Participant ◽  
Avant Garde ◽  
Design Effects ◽  
Moving Images ◽  
History Of ◽  
Material History ◽  
Perceptual Psychology ◽  
The Aesthetic

James Turrell’s perceptual cells incorporate the neurophysiological apparatus as an active participant not only in the reception of projected moving-images, but also in the very production and transmission of virtual moving-images. Combining two perceptual phenomena—the stroboscopic effect and the Ganzfeld Effect—Turrell’s perceptual cells integrate the architecture of projection with the architecture of organic vision to produce a single networked extra-sensory medium. This paper performs a phenomenological analysis of Turrell’s Light Reignfall (2011) perceptual cell, following its design, effects on the viewer, and cultural and material history. In the process, the paper situates the perceptual cell between the history of avant-garde cinema (what historians have called “paracinema”) and the history of perceptual psychology and parapsychology (what the author terms “para-cinema”). Between these two paracinemas, Turrell’s perceptual cells activate the aesthetic potential of what the author discusses as “edgeless projection.”

From Wood to Bits to Silicon Chips

2010 ◽  
pp. 9-27
Author(s):  
Debbie A. Rowe
Keyword(s):  
Popular Culture ◽  
20Th Century ◽  
Assistive Technologies ◽  
Silicon Chips ◽  
Film And Television ◽  
Synthesized Speech ◽  
The Arts ◽  
History Of ◽  
Scientific Fields

This chapter lists some of the key inventions and applications in the history of computer synthesized speech (CSS). Starting with a brief look at the early synthesis machines—precursors to the computerized renditions of the 20th century—the chapter proceeds to look at the strides made by corporations, such as Bell Labs, IBM, Apple Inc., and Microsoft, in creating assistive technologies that tap into the benefits of CSS. There is also a discussion on developments in the fields of Neuroscience, Robotics, and the non-scientific fields of Composition and the Arts. Finally, the chapter explores how CSS has permeated the popular culture mediums of film and television, sometimes in parallel and sometimes as antecedents to current day inventions.

Migration and Modernities

2019 ◽  
Keyword(s):  
Native Americans ◽  
Literary History ◽  
Historical Study ◽  
Racial Categories ◽  
Geographic Boundaries ◽  
The Us ◽  
Technological Developments ◽  
History Of ◽  
The Aesthetic ◽  
Eighteenth And Nineteenth Centuries

Migration and Modernities recovers a comparative literary history of migration by bringing together scholars from the US and Europe to explore the connections between migrant experiences and the uneven emergence of modernity. The collection initiates transnational, transcultural and interdisciplinary conversations about migration in the eighteenth and nineteenth centuries, demonstrating how mobility unsettles the geographic boundaries, temporal periodization, and racial categories we often use to organize literary and historical study. Migrants are by definition liminal, and many have existed historically in the spaces between nations, regions or ethnicities. In exploring these spaces, Migration and Modernities also investigates the origins of current debates about belonging, rights, and citizenship. Its chapters traverse the globe, revealing the experiences — real or imagined — of eighteenth- and nineteenth-century migrants, from dispossessed Native Americans to soldiers in South America, Turkish refugees to Scottish settlers. They explore the aesthetic and rhetorical frameworks used to represent migrant experiences during a time when imperial expansion and technological developments made the fortunes of some migrants and made exiles out of others. These frameworks continue to influence the narratives we tell ourselves about migration today and were crucial in producing a distinctively modern subjectivity in which mobility and rootlessness have become normative.

What's the Message of Architecture?

2014 ◽  
pp. 126-136
Author(s):  
Аndrey G. Velikanov
Keyword(s):  
Separate Entity ◽  
Aesthetic Value ◽  
Current State ◽  
Entire Complex ◽  
History Of ◽  
The Aesthetic

Considers the aspects of architecture as a language able to express the current state and to prophetically indicate the upcoming changes. The aesthetic value of a construction cannot be perceived just as a separate entity, but it can be cognized in the context and not only a visual one, in space. It is necessary to see the entire complex of the accompanying phenomena, all the flow of the unfolding metaphors and values. In the model in view the figure of the author-creator must be reconsidered as no longer conforming to today's reality. The development of the Stalinist Empire style, as well as its transformations, is considered as one of the specific phenomena in the history of well-known constructions

Sobre Educação, Arte e Vídeoarte: rupturas, resiliência e práticas de ensino/aprendizagem na sala de aula

2020 ◽  
Author(s):  
Nélia Lúcia Fonseca
Keyword(s):  
High School ◽  
High School Students ◽  
Video Art ◽  
Theory And Practice ◽  
First Year ◽  
School Students ◽  
Forest School ◽  
Moving Images ◽  
History Of ◽  
Teaching Learning

This study first approaches the history of the observer’s gaze, that is, as observers, we are forming or constructing our way of visualizing moving images. Secondly, it reaffirms the importance and need of resistance of the teaching / learning of Art as a compulsory curricular component for high school. Finally, the third part reports an experience with video art production in a class of first year high school students, establishing an interrelationship between theory and practice, that is, we study video art content to reach the production of videos, aiming as a final result, the art videos created by the students of the Reference Center in Environmental Education Forest School Prof. Eidorfe Moreira High School. The first and second stages of this research share a theoretical part of the Master ‘s thesis, Making films on the Island: audiovisual production as an escape line in Cotijuba, periphery of Belem, completed in 2013.

Capturing the Art of Public Service: The Government’s Perspective

Public Voices ◽  
2017 ◽  
Vol 14 (2) ◽  
pp. 55
Author(s):  
Tony Carrizales
Keyword(s):  
United States ◽  
Content Analysis ◽  
Popular Culture ◽  
Public Service ◽  
Public Art ◽  
The United States ◽  
Virtual Museum ◽  
Film And Television ◽  
Government Institutions ◽  
Art Forms

Public Service, in popular culture, can be viewed through many artistic lenses. Although there has been a consistent negative portrayal of government through art forms such as film and television, this research looks to review how government institutions in the United States have used art to provide a positive portrayal of public service. Eight forms of public service art are outlined through a content analysis of the holdings at the Virtual Museum of Public Service. The findings show that government and public entities have historically and continually engaged in promoting public service through art. Many of these public art examples are accessible year round, without limitations, such as buildings, statues, and public structures.

Idleness and Freedom in Michel de Montaigne’s “Essays”

2019 ◽  
Vol 29 (1) ◽  
pp. 189-202
Keyword(s):  
Intellectual History ◽  
Ancient Rome ◽  
Spiritual Quest ◽  
Guiding Principle ◽  
Sextus Empiricus ◽  
History Of ◽  
Self Knowledge ◽  
The Aesthetic ◽  
The Relationship

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.

The Art of Love Poetry

2018 ◽  
Author(s):  
Erik Gray
Keyword(s):  
Popular Culture ◽  
Cultural History ◽  
Literary Tradition ◽  
Love Poetry ◽  
Erotic Love ◽  
Wide Range ◽  
History Of ◽  
And Function ◽  
Meaning And Function ◽  
Comprehensive History

Love begets poetry; poetry begets love. These two propositions have seemed evident to thinkers and poets across the Western literary tradition. Plato writes that “anyone that love touches instantly becomes a poet.” And even today, when poetry has largely disappeared from the mainstream of popular culture, it retains its romantic associations. But why should this be so—what are the connections between poetry and erotic love that lead us to associate them so strongly with one another? An examination of different theories of both love and poetry across the centuries reveals that the connection between them is not merely an accident of cultural history—the result of our having grown up hearing, or hearing about, love poetry—but something more intrinsic. Even as definitions of them have changed, the two phenomena have consistently been described in parallel terms. Love is characterized by paradox. Above all, it is both necessarily public, because interpersonal, and intensely private; hence it both requires expression and resists it. In poetry, especially lyric poetry, which features its own characteristic paradoxes and silences, love finds a natural outlet. This study considers both the theories and the love poems themselves, bringing together a wide range of examples from different eras in order to examine the major structures that love and poetry share. It does not aim to be a comprehensive history of Western love poetry, but an investigation into the meaning and function of recurrent tropes, forms, and images employed by poets to express and describe erotic love.

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