The Aesthetic Function of New Media “Serious Games”

2015 ◽  
Vol 2 (1) ◽  
pp. 1
Author(s):  
JianHua Yang ◽  
Zhao Kun ◽  
Min Yin
Keyword(s):  
New Media ◽  
Serious Games ◽  
The Aesthetic

The application of AI in the aesthetic cultivation of Chinese education

2021 ◽  
pp. 1-5
Author(s):  
Yajuan Wang ◽  
Wen li ◽  
Ruifang Xu
Keyword(s):  
New Media ◽  
Decision Tree ◽  
Chinese Language ◽  
Chinese Students ◽  
Chinese Education ◽  
Coordinated Development ◽  
Language And Literature ◽  
C4.5 Algorithm ◽  
Literature Education ◽  
The Aesthetic

This article will briefly analyse the research background and research significance of the infiltration of aesthetic cultivation in Chinese language and literature education in the context of new media. And through the calculation based on decision tree and C4.5 algorithm, the paper tries to makes the construction of infiltration system of aesthetic cultivation in Chinese language and literature education in the context of new media more scientific and reasonable. This paper also analyses the main connotation and significance of aesthetic cultivation and puts forward the effective infiltration way of aesthetic cultivation in Chinese language and literature in the context of new media, aiming at promoting the comprehensive and coordinated development of Chinese students.

Racial Recalibration

2015 ◽  
Vol 1 (3) ◽  
pp. 285-309
Author(s):  
Margaret Rhee
Keyword(s):  
Ethnic Identity ◽  
New Media ◽  
Asian American ◽  
Racial Formation ◽  
Emergent Technologies ◽  
Technological Developments ◽  
Racial Knowledge ◽  
The 1960S ◽  
The Aesthetic ◽  
Artistic Career

Widely recognized as the first video artist, Nam June Paik’s artistic career from the 1960s onwards is often understood through his pioneering appropriation of technological developments such as the television and video. Paik foresaw not only the aesthetic potential of video, but also other emerging technologies, such as robotics. While his work in robotic art is less commonly analyzed, it sheds significant light on his position not only as a foremost artist of new media but also on discussions concerning his ethnic identity. This essay demonstrates how, in the 1964 creation of robot K-456 and tv Bra for Living Sculpture, the artist deployed the strategy of racial recalibration—a racial formation that occurs through aesthetic tinkering, hacking, and recreating with emergent technologies that re-wires racial knowledge of the Asian American as robot.

Thinking Inside and Outside of the (Black) Box

Post-cinema ◽  
2020 ◽  
Author(s):  
Malte Hagener
Keyword(s):  
New Media ◽  
Black Box ◽  
Two Dimensions ◽  
Media Environment ◽  
New Model ◽  
Production And Distribution ◽  
The Aesthetic ◽  
High Level

Malte Hagener considers two dimensions of the changes in the audiovisual field: the first is exemplified by the Netflix platform on the economic and logistical level; the second concerns the aesthetic consequences of this new model of production and distribution. Characterized by a high level of autonomy and self-consciousness of this status, Netflix’s system is transforming the practice of film and the notion we have of it. Referencing Bird Box (2018), the “post-apocalyptic thriller” (Wikipedia) directed by Susanne Bier and starring Sandra Bullock, Hagener exemplifies that a post-cinema movie may be positioned between cinema, television and new media, appearing as a “self-allegory of its own position in a new media environment, especially concerning its production logic.”

Artistic Research on Life Forms: Exploring the Intersections of Science, Art and Life in the Context of Globalization

Leonardo ◽  
2008 ◽  
Vol 41 (5) ◽  
pp. 468-477 ◽  
Author(s):  
Mojca Puncer
Keyword(s):  
New Media ◽  
Complex Structure ◽  
Life Forms ◽  
The Political ◽  
Science Technology ◽  
Critical Commentary ◽  
The Social ◽  
Art Practices ◽  
The Aesthetic ◽  
Everyday Reality

Contemporary art practices are characterized by the transformation of completed or finalized objects into open works, fluid spatial situations and relations in the social field. Art processes raise the question: Can the complex structure of artworks provide an analogy and methodology that art researchers can use to co-design our culture from anthropological, philosophical, aesthetic and sociopolitical perspectives? This paper addresses this question through an examination of the artistic use of, and critical commentary on, media and available technologies, and of the artistic treatment of life forms found in the work of the younger generation of Slovenian artists (Tratnik, Berlot, Peljhan, Lovšin and others). The strategies these artists employ in their projects significantly strengthen the case for a re-articulation of the aesthetic, the ethical and the political, through a transition in various territories: art, (biotechnological) science, technology, new media and everyday reality.

‘I want to say I may have seen my son die this morning’: Unintentional unreliable narration in digital fiction

2012 ◽  
Vol 21 (2) ◽  
pp. 136-149 ◽  
Author(s):  
Astrid Ensslin
Keyword(s):  
Comparative Analysis ◽  
New Media ◽  
Digital Medium ◽  
Partial Closure ◽  
Two Generations ◽  
The Aesthetic ◽  
Unreliable Narration ◽  
Multisensory Experience

This article offers comparative close readings of two digital fictions that feature various types and degrees of unintentional unreliable narration. Its prime focus lies on the affordances and restraints provided by hypertextual, multilinear, multimodal, interactive and ludic new media with respect to the aesthetic representation and textual embedding of unreliability. To this end, I have chosen narratives from two ‘generations’ of digital fiction – a hyperfiction par excellence, and a hypermedia narrative, both of which are multilinear by definition yet deal with the ideas of closure and narrative framing in very different ways. In particular, I shall examine how unintentional, psycho-pathological unreliability in the sense of Riggan’s (1981; cf. Heyd, 2006; Jahn, 1998) ‘madman’ are represented in afternoon, a story (Joyce, 1987) and the German hypermedia novel Quadrego (Maskiewicz, 2001). My comparative analysis shows how manifestations of deviant yet not devious, in the sense of quietly deceptive narration, are aesthetically enriched by techniques afforded by the digital medium, such as hypertextual multilinearity, lack of or partial closure, multisensory experience, fluid transitions and boundaries and, most significantly, the play with reader agency, which may – in cases of radical multilinearity – even lead to readerly unreliability.

A Cinema of Movement

Screen Bodies ◽  
2017 ◽  
Vol 2 (2) ◽  
pp. 45-63
Author(s):  
Michele Barker
Keyword(s):  
New Media ◽  
Slow Motion ◽  
New Approach ◽  
Moving Image ◽  
Media Arts ◽  
Moving Images ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

In this article, I consider some of the aesthetic and temporal forces that give us the opportunity to rethink the relationship between movement and perception in cinema and new media practice. Following Bergson and Deleuze, I offer an idea of the moving image that considers how we can move with the image’s movement. Through a discussion of my own media arts practice, I suggest a new approach to the creation of images that create movement, one where we feel rather than see imperceptibility. Considered in relation to other artistic and scientific deployments of imperceptibility revealed in the use of slow motion in contemporary moving images, this “feeling” of movement summons a kind of time that is neither atemporal nor a subdivision of time but rather a time of moving with images.

scholarly journals Border hacking: una conversione artistica dei confini nazionali nella società delle reti

Venezia Arti ◽  
2020 ◽  
Author(s):  
Paolo Berti
Keyword(s):  
New Media ◽  
Mobile Devices ◽  
The Internet ◽  
Media Art ◽  
Positioning Systems ◽  
New Media Art ◽  
Identity Control ◽  
Satellite Positioning ◽  
The Aesthetic ◽  
Border Surveillance

Through the category of ‘border hack’ (proposed by Rita Raley) and the analysis of three meaningful artworks (Transborder Immigrant Tool by Electronic Disturbance Theatre 2.0 and b.a.n.g. lab, BorderXing Guide by Heath Bunting and Shadows from Another Place by Paula Levine), the aim of this article is to investigate the aesthetic-political practices around the notion of transnational border. These are works of a performative nature and are linked to the networked environment of the Internet. They exemplify a brand-new season of New Media Art, in which the electromagnetic armamentarium of satellite positioning systems and mobile devices takes on a tactical dimension of confrontation with the equally technological governmental-military strategies of border surveillance and identity control.

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