scholarly journals Number 13 / Part I. Music. 10. Communicational Entropy in The Present’s Crisis – Mediation and Community Action through Music Management

2017 ◽  
Vol 13 (1) ◽  
pp. 86-92
Author(s):  
Oana Balan
Keyword(s):  
Contemporary Art ◽  
Art Music ◽  
Community Action ◽  
Contemporary Society ◽  
Professional Musicians ◽  
The Public ◽  
Cultural Commodity ◽  
Media Channels

Abstract Present day art phenomena that surround us from all media channels compel us, who have been educated as professional musicians, to find justifications for the sonic abuse that contemporary society is subjected to and to resuscitate, within this vitiated context, the art music meant to re-educate our people, restoring them to the conscience and value of their identity. Educating the public and bringing them closer to contemporary art is a task meant to be fulfilled by music institutions as well, since they should seek to investigate efficient methods of generating connecting bridges to the large masses by transforming music into a shared cultural commodity.

Understanding the Role of Online Media Platforms in Airport Capital Projects and Community Outreach

2021 ◽  
pp. 036119812199347
Author(s):  
Max Z. Li ◽  
Megan S. Ryerson
Keyword(s):  
Social Media ◽  
Best Practices ◽  
Community Outreach ◽  
Capital Projects ◽  
The Public ◽  
Online Social Media ◽  
Social Media Platforms ◽  
Project Phases ◽  
Media Channels ◽  
Common Content

Community outreach and engagement efforts are critical to an airport’s role as an ever-evolving transportation infrastructure and regional economic driver. As online social media platforms continue to grow in both popularity and influence, a new engagement channel between airports and the public is emerging. However, the motivations behind and effectiveness of these social media channels remain unclear. In this work, we address this knowledge gap by better understanding the advantages, impact, and best practices of this newly emerging engagement channel available to airports. Focusing specifically on airport YouTube channels, we first document quantitative viewership metrics, and examine common content characteristics within airport YouTube videos. We then conduct interviews and site visits with relevant airport stakeholders to identify the motivations and workflow behind these videos. Finally, we facilitate sample focus groups designed to survey public perceptions of the effectiveness and value of these videos. From our four project phases, to maximize content effectiveness and community engagement potential, we synthesize the following framework of action items, recommendations, and best practices: (C) Consistency and community; (O) Organizational structure; (M) Momentum; (B) Branding and buy-in; (A) Activity; (T) Two-way engagement; (E) Enthusiasm; and (D) Depth, or as a convenient initialism, our COMBATED framework.

scholarly journals Indestructible Pasts and Paranoid Presents: John Franzen against Active Forgetting in Purity

2019 ◽  
pp. 21-34
Author(s):  
Cristina Garrigós
Keyword(s):  
Traumatic Event ◽  
The Novel ◽  
Contemporary Society ◽  
The Public ◽  
The Past ◽  
Personal Archives ◽  
Conscious Process ◽  
Unconscious Desire ◽  
Selection Of

Forgetting and remembering are as inevitably linked as lifeand death. Sometimes, forgetting is motivated by a biological disorder, brain damage, or it is the product of an unconscious desire derived from a traumatic event (psychological repression). But in some cases, we can motivate forgetting consciously (thought suppression). It is through the conscious repression of memories that we can find self-preservation and move forward, although this means that we create a fable of our lives, as Nietzsche says in his essay “On the Uses and Disadvantages of History for Life” (1997). In Jonathan Franzen’s novel, Purity (2015), forgetting is an active and conscious process by which the characters choose to forget certain episodes of their lives to be able to construct new identities. The erased memories include murder, economical privileges derived from illegal or unethical commercial processes, or dark sexual episodes. The obsession with forgetting the past links the lives of the main characters, and structures the narrative of the novel. The motivated erasure of memories becomes, thus, a way that the characters have to survive and face the present according to a (fake) narrative that they have constructed. But is motivated forgetting possible? Can one completely suppress facts in an active way? This paper analyses the role of forgetting in Franzen’s novel in relation to the need in our contemporary society to deny, hide, or erase uncomfortable data from our historical or personal archives; the need to make disappear stories which we do not want to accept, recognize, and much less make known to the public. This is related to how we manage information in the age of technology, the “selection” of what is to be the official story, and how we rewrite our own history

scholarly journals Poetic Examination of Spatial Experience: Suprematist Composition No. 1, Black on Grey by Kristina Leko

2018 ◽  
Vol 12 (1) ◽  
pp. 163-176
Author(s):  
Katarina Rukavina
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Virtual Space ◽  
Spatial Experience ◽  
The Public ◽  
Social Sphere ◽  
The Social ◽  
Material Goods ◽  
Art Intervention ◽  
The City

The paper analyses the concept of space in contemporary art on the example of Suprematist Composition No. 1, Black on Grey by Kristina Leko from 2008. Referring to Malevich’s suprematism, in December 2008 Leko initiated a project of art intervention in Ban Jelačić Square in Zagreb, where she intended to cover in black all commercials, advertisements, signs and names of various companies. This poetic intervention, as the artist calls it, was intended to prompt people to relativise material goods in the pre-Christmas period. However, despite the authorisation obtained from the city authorities, the companies concerned refused to remove their respective advertisements, be it for only for 24 hours, so this project has never been realised. The project, however, does exist in the virtual space, which is also public, and continues to act in the form of documentation. The non-feasibility of the intervention, or rather its invisibility on Jelačić Square, makes visible or directly indicates the ordering of the powers and the constellation of values in the social sphere, thus raising new questions. Indeed, in this way it actually enters the public space, sensitising and expanding it at the same time.

scholarly journals The road to sustainable creativity: mobile autonomy beyond auto-mobility

2015 ◽  
pp. 6-19
Author(s):  
Pascal Gielen
Keyword(s):  
Contemporary Art ◽  
Free Market ◽  
Organizational Structures ◽  
Contemporary Society ◽  
The Road ◽  
Long Run ◽  
The Individual ◽  
Market Solutions

AbstractHow can artists stay autonomous, and keep their creativity alive in the contemporary society? In this paper is stated that the individual bourgeois model of the artist is not sufficient any more to make autonomous art and to stay creative on the long run. If artists want to stay mobile and autonomous they need to build collective organizational structures, which are called 'traveling caravan'. In the parallel historical shifts between 1970 and 2000 from liberalism to neo-liberalism, from Fordism to post-Fordism and from modern to contemporary art, artists need to build up their own artistic biotope if they need to make their work without governmental interference (subsidizes) and free market solutions. The cooperative can be seen as an interesting model to develop such a 'mobile autonomy'.

scholarly journals Advancing Research into Dark Participation

2021 ◽  
Vol 9 (1) ◽  
pp. 209-214
Author(s):  
Oscar Westlund
Keyword(s):  
Digital Media ◽  
Media Literacy ◽  
Emerging Technologies ◽  
Hate Speech ◽  
Thematic Issue ◽  
Contemporary Society ◽  
Online Harassment ◽  
The Public ◽  
Media Manipulation

Dark participation is and should be an essential concept for scholars, students and beyond, considering how widespread disinformation, online harassment, hate speech, media manipulation etc. has become in contemporary society. This commentary engages with the contributions to this timely thematic issue, which advance scholarship into dark participation associated with news and misinformation as well as hate in a worthwhile way. The commentary closes with a call for further research into four main areas: 1) the motivations that drive dark participation behaviors by individuals and coordinated groups; 2) how these individuals and groups exploit platforms and technologies for diverse forms of dark participation; 3) how news publishers, journalists, fact-checkers, platform companies and authorities are dealing with dark participation; and 4) how the public can advance their media literacy for digital media in order to better deal with dark participation. Authorities must advance and broaden their approaches focused on schools and libraries, and may also use emerging technologies in doing so.

Representing, Performing and Mitigating Climate Change in Contemporary Art Practice

Leonardo ◽  
2012 ◽  
Vol 45 (2) ◽  
pp. 124-131 ◽  
Author(s):  
Gabriella Giannachi
Keyword(s):  
Climate Change ◽  
New Media ◽  
Contemporary Art ◽  
Visual Arts ◽  
Art Practice ◽  
Quarter Century ◽  
The Public

Over the last quarter-century, an increasing number of artists have been variously engaging the public in artworks addressing the anthropogenic phenomenon known as climate change. Focusing specifically on works developed in the fields of visual arts, performance and new media, and on a body of theory attempting to distinguish between terms such as nature, landscape, weather, climate and environment, this article aims to offer an exploration of how these works, by adopting, often concurrently, three strategies—representation, performance and mitigation—affect our understanding of our changing relationship to nature and climate.

scholarly journals Contemporary art music and its audiences: Age, gender, and social class profile

2018 ◽  
Vol 24 (1) ◽  
pp. 60-77 ◽  
Author(s):  
Katarzyna Grebosz-Haring ◽  
Martin Weichbold
Keyword(s):  
Social Class ◽  
Contemporary Art ◽  
Art Music ◽  
New Music ◽  
Music Festivals ◽  
Social Patterns ◽  
Active Involvement ◽  
The Social ◽  
Cultural Movements ◽  
Motivational Structure

Contemporary art music (CAM) has experienced significant aesthetic changes in recent decades and has acted as a seismograph for socio-cultural movements. New music festivals have had a significant influence on the development and perception of this music by promoting aesthetic pluralism, introducing new concert formats, and expanding to unusual venues. These movements induce changes in the social patterns of CAM consumers and have an impact on the traditional high culture audience profile. This article relies on audience surveys at three European CAM festivals and draws on Bourdieu’s (1984) and Schulze’s (1992) class and lifestyle concepts in order to explore demographic characteristics and social class in CAM audiences. As the results show, consumption of CAM is still a distinctive practice sustained by an exclusive community having considerable education and “musical capital”. Nevertheless, the festivals show heterogeneity in the age structure and motivational structure of attendees as well as in specific patterns regarding knowledge, experience and active involvement with CAM. The analysis shows that aesthetic pluralism can lead to greater social openness regarding social class affiliation.

#GirlGamers, Soldiers, and Public Relations: Analyzing Gender Representation in U.S. Army Esports

2022 ◽  
Author(s):  
Jolene Fisher ◽  
Joshua Foust
Keyword(s):  
Public Relations ◽  
Critical Discourse Analysis ◽  
Video Game ◽  
Critical Discourse ◽  
Public Image ◽  
Team Members ◽  
The Public ◽  
Video Game Play ◽  
Media Channels

Abstract While interest in esports is widespread across demographic categories, the gendered norms surrounding video game play have been replicated, resulting in a male-dominated space. Scholars argue that broadening representations of gamers is necessary to normalizing women’s presence in esports. As nongaming organizations enter the space, they have a unique opportunity to disrupt established norms through their representations of esports competitors. This study analyzes the representation of U.S. Army Esports (USAE) team members via official social media channels. USAE was created as a public relations tool to engage with a younger audience, redefine the public image of the Army, and recruit soldiers. Using a critical public relations framework and critical discourse analysis, we examine the discourse around gender and esports constructed through USAE’s representation of team members and the role of public relations practice in reinforcing or disrupting existing norms.

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

Technology and Terror

2018 ◽  
pp. 3637-3653 ◽  
Author(s):  
Maximiliano Emanuel Korstanje ◽  
Geoffrey Skoll
Keyword(s):  
Financial Market ◽  
Vital Role ◽  
Cultural Value ◽  
Contemporary Society ◽  
Digital Cameras ◽  
Biometric Technology ◽  
The Public ◽  
Leading Role ◽  
Culture Of Fear ◽  
Trust In Technology

The present chapter discusses to what extent rationality plays a leading role not only in forming a culture of fear in western societies, but paves the ways for undemocratic attitudes and reactions. Our founding parents envisaged a world where progress, rationality, and technology played a vital role in building a better place to live. They never imagined the effects of 9/11 nor the financial market and stock crisis in 2008. The rise of uncertainty as a main cultural value of contemporary society raised the question of how much technology facilitated the evolution towards a more pacific, fairer, and safer world. We have witnessed how 9/11 strengthened a process of securitization where high technology was used to surveille citizens, accompanied by ethical dilemmas as illustrated by the Edward Snowden case. David Lyon (2003) points to the public spaces of airports, city squares, and restaurants which are monitored by digital cameras and biometric technology. Securitization has reinforced authorities' trust in technology while terrorist attacks continue across the globe.

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