Postspatial, Postcolonial

Social Text ◽  
2020 ◽  
Vol 38 (3) ◽  
pp. 55-82
Author(s):  
Meryem Kamil
Keyword(s):  
New Media ◽  
Digital Divide ◽  
Digital Media ◽  
Postcolonial Studies ◽  
Three Dimensional ◽  
Resource Extraction ◽  
Political Practice ◽  
Al Jazeera ◽  
Grassroots Organization ◽  
East Jerusalem

This article centers two new media projects that imagine Palestinian decolonization, given the occupation of Palestinian land: news site Al Jazeera English’s 360-degree video tour of al-Aqsa compound in East Jerusalem and Palestinian grassroots organization Udna’s three-dimensional rendering of destroyed village Mi’ar. These digital texts reimagine Palestinian access to land as a community-driven and intergenerational project. In this analysis, access is formulated as a term that invokes the following: new-media analyses of the digital divide (or differential resources for obtaining new media across lines of race, nation, gender, etc.); disability studies’ notions of access as intimately tied to political power and infrastructure; and postcolonial studies’ criticisms of colonial access in tourism and resource extraction of the global South. The article brings together these discursive nodes to formulate an understanding of space that imagines decolonial futurity. This future-oriented political practice works toward a vision of Palestine determined by Palestinians, as opposed to limiting pragmatic wars of maneuver. This inquiry therefore is centrally concerned with the ways activists for Palestine employ immersive digital media to formulate and work toward an attachment to decolonial futurity that is both practical and utopian.

Contestations of resource extraction projects via digital media in two Nunavut communities

2014 ◽  
Vol 37 (2) ◽  
pp. 83-101 ◽  
Author(s):  
Willow Scobie ◽  
Kathleen Rodgers
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Deliberative Democracy ◽  
Postcolonial Studies ◽  
Economic Life ◽  
Resource Extraction ◽  
Baker Lake

AbstractThis study examines the use of digital media in two Nunavut communities in response to proposed resource-extraction projects. Using Dahlberg’s (2011) concepts of counterpublics and deliberative democracy, the study links tactics employed in Baker Lake and Pond Inlet to broader activists’ use of digital media to reorganise social, political, and economic life. Drawing on the field of postcolonial studies, these cases demonstrate that social media are being incorporated into the development of new political imaginaries.

scholarly journals Serenity: 3D Animation to Simulate Chinese Ink Painting

2021 ◽  
Author(s):  
◽  
Lili Shen
Keyword(s):  
New Media ◽  
Digital Media ◽  
Three Dimensional ◽  
Theoretical Research ◽  
Chinese Painting ◽  
3D Animation ◽  
Art Form ◽  
Commercial Market ◽  
Visual Style ◽  
Time And Energy

<p>Serenity is a computer generated ink-wash animated short in which the traditional aesthetics meets the new media. I combined theoretical research and physical experiment to convey a peaceful pleasant feeling with subtle movement.  The focus of this thesis is to assess the possibility and capability of digital instruments in simulating the traditional Chinese ink painting and further transplant to three-dimensional (3D) platform. This thesis presents a new approach to practice Chinese painting and to compose an animation by using 3D techniques and non-photorealistic rendering (NPR). The aim for the composition portion of this project is to produce a refreshing animated visual style and to introduce the traditional methods of Chinese painting not only to the west, but also to the new Chinese generation who usually devote their time and energy to the subjects that might guarantee a better university or job.  My research draws on the previous ink-wash animations and the visual reference on Chinese painting, and takes advantage of my personal experience in both traditional training and digital media design to exploit a potential path for ink-wash animation in the competitive commercial market. Expanding traditional ink painting into the digital field provides an opportunity for the archaic art form to be communicated and shared widely and efficiently worldwide.</p>

scholarly journals Hypermodels: An Exploration of New Media Environments and Expansive Representation of Architecture

2017 ◽  
Author(s):  
Sedef Erdoǧan Ford ◽  
Keyword(s):  
New Media ◽  
Digital Media ◽  
Mixed Reality ◽  
Three Dimensional ◽  
Physical World ◽  
Media Technologies ◽  
Architectural Production ◽  
Architectural Representation ◽  
Representation Of Architecture ◽  
Media Environments

With the advent of new digital media technologies offering immersive virtual environments have emerged new modes of architectural representation. How, in turn, can these technologies shape the less visible, and visual, aspects of architectural production? This paper considers such digital, immersive technologies as Mixed, Virtual, and Augmented Reality within the historical and theoretical context of digital media to better understand their function in charting a frontier for the three dimensional representation of architecture. I propose the notion of the hypermodel, a “hypertext version” of digital models that contains and “opens up” to more than the physical parts of a building. Hyper model is a connector of digital space and the physical world— represented via multiple forms of media—revealing the temporal expanse and informational depth of the virtual beyond the bounds of an architectural artifact. In this sense, the new medium also hints at and allows for novel collaborative methods. The new language of design and communication at work in the mixed reality medium is itself interconnected — it reflects and reinforces the inter-disciplinary and inter-media nature of architectural production today.

scholarly journals Serenity: 3D Animation to Simulate Chinese Ink Painting

2021 ◽  
Author(s):  
◽  
Lili Shen
Keyword(s):  
New Media ◽  
Digital Media ◽  
Three Dimensional ◽  
Theoretical Research ◽  
Chinese Painting ◽  
3D Animation ◽  
Art Form ◽  
Commercial Market ◽  
Visual Style ◽  
Time And Energy

<p>Serenity is a computer generated ink-wash animated short in which the traditional aesthetics meets the new media. I combined theoretical research and physical experiment to convey a peaceful pleasant feeling with subtle movement.  The focus of this thesis is to assess the possibility and capability of digital instruments in simulating the traditional Chinese ink painting and further transplant to three-dimensional (3D) platform. This thesis presents a new approach to practice Chinese painting and to compose an animation by using 3D techniques and non-photorealistic rendering (NPR). The aim for the composition portion of this project is to produce a refreshing animated visual style and to introduce the traditional methods of Chinese painting not only to the west, but also to the new Chinese generation who usually devote their time and energy to the subjects that might guarantee a better university or job.  My research draws on the previous ink-wash animations and the visual reference on Chinese painting, and takes advantage of my personal experience in both traditional training and digital media design to exploit a potential path for ink-wash animation in the competitive commercial market. Expanding traditional ink painting into the digital field provides an opportunity for the archaic art form to be communicated and shared widely and efficiently worldwide.</p>

Digital and Technical Developments in the Amblyopia Therapy

2020 ◽  
Vol 237 (10) ◽  
pp. 1172-1176
Author(s):  
Charlotte Schramm ◽  
Yaroslava Wenner
Keyword(s):  
New Media ◽  
Digital Media ◽  
Technical Progress ◽  
Therapy Monitoring ◽  
Everyday Lives ◽  
Technical Developments ◽  
The Future

AbstractThe digital media becomes more and more common in our everyday lives. So it is not surprising that technical progress is also leaving its mark on amblyopia therapy. New media and technologies can be used both in the actual amblyopia therapy or therapy monitoring. In particular in this review shutter glasses, therapy monitoring and analysis using microsensors and newer video programs for amblyopia therapy are presented and critically discussed. Currently, these cannot yet replace classic amblyopia therapy. They represent interesting options that will occupy us even more in the future.

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

Making the Most of the Internet for Failure Analysis

1998 ◽  
Author(s):  
Dan J. Bodoh
Keyword(s):  
New Media ◽  
Failure Analysis ◽  
Digital Media ◽  
Optimization Theory ◽  
The Internet ◽  
Digital Medium ◽  
Production Distribution ◽  
Digital Production ◽  
Computer Monitors ◽  
And Storage

Abstract The growth of the Internet over the past four years provides the failure analyst with a new media for communicating his results. The new digital media offers significant advantages over analog publication of results. Digital production, distribution and storage of failure analysis results reduces copying costs and paper storage, and enhances the ability to search through old analyses. When published digitally, results reach the customer within minutes of finishing the report. Furthermore, images on the computer screen can be of significantly higher quality than images reproduced on paper. The advantages of the digital medium come at a price, however. Research has shown that employees can become less productive when replacing their analog methodologies with digital methodologies. Today's feature-filled software encourages "futzing," one cause of the productivity reduction. In addition, the quality of the images and ability to search the text can be compromised if the software or the analyst does not understand this digital medium. This paper describes a system that offers complete digital production, distribution and storage of failure analysis reports on the Internet. By design, this system reduces the futzing factor, enhances the ability to search the reports, and optimizes images for display on computer monitors. Because photographic images are so important to failure analysis, some digital image optimization theory is reviewed.

Critique and the video production classroom: providing students the skills to navigate new media literacies

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Jessie Nixon
Keyword(s):  
Young People ◽  
New Media ◽  
Digital Media ◽  
Media Literacy ◽  
Literacy Skills ◽  
Video Production ◽  
Structured Interviews ◽  
Content Type ◽  
New Media Literacy ◽  
The Impact

Purpose This paper aims to demonstrate how teaching the discourse of critique, an integral part of the video production process, can be used to eliminate barriers for young people in gaining new media literacy skills helping more young people become producers rather than consumers of digital media. Design/methodology/approach This paper describes an instrumental qualitative case study (Stake, 2000) in two elective high school video production classrooms in the Midwestern region of the USA. The author conducted observations, video and audio recorded critique sessions, conducted semi-structured interviews and collected artifacts throughout production including storyboards, brainstorms and rough and final cuts of videos. Findings Throughout critique, young video producers used argumentation strategies to cocreate meaning, multiple methods of inquiry and questioning, critically evaluated feedback and synthesized their ideas and those of their peers to achieve their intended artistic vision. Young video producers used feedback in the following ways: incorporated feedback directly into their work, rejected and ignored feedback, or incorporated some element of the feedback in a way not originally intended. Originality/value This paper demonstrates how teaching the discourse of critique can be used to eliminate barriers for young people in gaining new media literacy skills. Educators can teach argumentation and inquiry strategies through using thinking guides that encourage active processing and through engaging near peer mentors. Classroom educators can integrate the arts-based practice of the pitch critique session to maximize the impact of peer-to-peer learning.

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