A Response from Italy to Shaun McNiff’s Ch’i and Artistic Expression

2016 ◽  
Vol 2 (2) ◽  
pp. 27-28
Author(s):  
M. Della Cagnoletta
Keyword(s):  
2017 ◽  
Vol 73 (9) ◽  
Author(s):  
Hasan Zeybek ◽  
Ugurcan Akyuz
Keyword(s):  

2007 ◽  
Vol 18 (5) ◽  
pp. 228-234
Author(s):  
Michèle Wood
Keyword(s):  

2014 ◽  
Vol 602-605 ◽  
pp. 3886-3890
Author(s):  
Fang Li Wang ◽  
Jun Fang Wu

Fine arts, in recent years, with the rapid development of information technology, its diverse artistic expression trends to be more obvious, at the same time, the artistic expression based on multimedia has been paid more attention by the fields. This paper firstly analyzes the general characteristics of art image fusion process in multimedia environment. On this basis, the digital-to-analog conversion (DAC) method of multimedia artistic expression is proposed, which takes the Gauss Pyramid as basis. In order to verify the scientificity of this method, this paper adopts the empirical method to carry on the empirical analysis. The results show that multimedia artistic expression behavior of fine arts based on this method is significant, and has strong practicability and operability.


2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Mladen Mladenov ◽  

The article presents some historical and theoretical aspects defining intermedia as an aesthetic, cultural and social phenomenon. Its appearance in the 1950s and 1960s was triggered by the changed attitude towards art in the conditions of growing technology in society and the blurring of boundaries between different arts. The concept of intermedia is created by a group of artists who unite under the common name Fluxus, meaning „ flow of life“. Group Manifesto – Dick Higgins, composer, poet, publisher - formulates intermedia as a merger into a „ flow“ of different ways of artistic expression and means of communication. The most important distinctive features of intermedia – accessibility, non-commerciality, freedom, social engagement, compliance of modern lifestyle and the new media in it are traced. It explains the role of this aesthetic practice as an instrument in creating the hypertext of contemporary art.


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