scholarly journals Arqueologia da Mídia: interrogando o novo na artemídia / Media Archaeology: Questioning the New in Media Arts

Intexto ◽  
2017 ◽  
pp. 201 ◽  
Author(s):  
Jussi Parikka
Keyword(s):  
Popular Culture ◽  
New Media ◽  
The Other ◽  
Media Art ◽  
Media Archaeology ◽  
Art Galleries ◽  
Media Arts

Abstract“One of the most persistent things that “new” media arts have actually cocooned during their decades of Post WWII development is an appreciation of the obsolete, old and analogue. It is such a paradox, which however makes the whole issue of media arts more interesting: that the new is potentially less interesting than how the old is remediated, recycled, recursively represented. Media art that employs the newest technologies does not necessarily match up to the innovative ways of digging up old ideas, imaginary media solutions and obsolete analog technologies as ways to demonstrate that our culture is not – and should not be – based on a onetrack assumption of linear progress. What if the parallel existence of the other reality alongside the glitzy digital […] is as important in how such old technologies persist in media art, galleries, curatorial programmes and popular culture?" (Extracted from the original paper)

New Media Arts Hybridity: The Vases (Dis)communicants Between Art, Affective Science and AR Technology

2005 ◽  
Vol 11 (4) ◽  
pp. 32-42 ◽  
Author(s):  
Christine Ross
Keyword(s):  
Augmented Reality ◽  
New Media ◽  
Media Art ◽  
Mental Processes ◽  
Media Arts ◽  
New Media Art ◽  
Projection Screen ◽  
Affective Science ◽  
Augmented Reality Technology ◽  
Perception Of Time

Following Annie Coombes’s and Avtar Brah’s (authors of Hybridity and its Discontents: Politics, Science, Culture, 2000) request that we not merely apply but in fact historicise hybridity, and arguing that the art and science explorations of new media art have produced some of the strongest new media hybridities to date, the author focuses on one of the important fields of investigation currently linking media art, science and technology: augmented reality or what should be called augmented perception of time and space. This aesthetic field of investigation has led to a reassessment of representation, one that is not without (1) sharing some of the fundamental concerns of current neuroscientific investigation of mental processes and (2) questioning the image/real continuum principle at the core of recent augmented reality technology research. The article examines media artist Bill Viola’s The Passions series (2000-2001) to contend that new media’s original contribution to the practice of hybridity lies in the interaction that it both articulates and encourages with affective sciences, an interaction that redefines representation as an approximation, a facilitator - a projection screen for complex mental processes.

scholarly journals Experimental and Creative Approaches to Collecting and Distributing New Media Art within Regional Arts Organisations

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 85
Author(s):  
Georgia Smithson
Keyword(s):  
New Media ◽  
Future Generations ◽  
Media Art ◽  
Collections Management ◽  
Art Galleries ◽  
New Media Art ◽  
Art Form ◽  
Uncertain Future ◽  
Management Approaches ◽  
The 1960S

This article is an overview of preliminary research undertaken for the creation of a framework for collecting and distributing new media art within regional art galleries in the U.K. From the 1960s, artists have experimented using computers and software as production tools to create artworks ranging from static, algorithmic drawings on paper to installations with complex, interactive and process-oriented behaviours. The art-form has evolved into multiple strands of production, presentation and distribution. But are we, as collectors, researchers, artists and enthusiasts facing an uncertain future concerning the integration of new media art into institutional cultural organisations? Recently, concerns have been raised by curators regarding the importance of learning how to collect new media art if there is to be any hope of preserving the artworks as well as their histories. Traditional collections management approaches must evolve to take into account the variable characteristics of new media artworks. As I will discuss in this article, although regarded as a barrier to collecting new media artworks, artists and curators at individual institutions have recently taken steps to tackle curatorial and collections management activities concerning the often unpredictable and unstable behaviours of new media artworks by collaboration and experimentation. This method has proved successful with some mainstream, university and municipal galleries prior to acquiring or commissioning new artworks into their collections. This paper purports that by collaboration, experimentation and the sharing of knowledge and resources, these concerns may be conquered to preserve and make new media art accessible for future generations to enjoy and not to lament over its disappearance.

Little cinema culture: Networks of digital files and festival on the fringes

2019 ◽  
Vol 10 (1) ◽  
pp. 23-40
Author(s):  
Madhuja Mukherjee
Keyword(s):  
New Media ◽  
West Bengal ◽  
The Other ◽  
Media Art ◽  
Film Festivals ◽  
New Media Art ◽  
Other Hand ◽  
First Time ◽  
Experimental Films ◽  
International Festival

Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.

Crafting Change: Envisioning New-Media Arts as Critical Pedagogy

Leonardo ◽  
2006 ◽  
Vol 39 (4) ◽  
pp. 373-375 ◽  
Author(s):  
Geetha Narayanan
Keyword(s):  
New Media ◽  
Critical Pedagogy ◽  
New Technologies ◽  
Public Intellectuals ◽  
Media Art ◽  
Ample Evidence ◽  
Media Arts ◽  
New Media Art ◽  
New Millennium

As India enters the sixth year of the new millennium, there seems to be ample evidence to validate the claim that it is new technologies and their infrastructures that have supported and enabled its current economic revolution. This revolution promises a new society based on knowledge and information. This emphasis poses tremendous challenges to educators and forces them to question the fundamental tenets on which they would develop pedagogies and create learning that is both sustainable and critical. The author argues that the process of creating new-media art can in itself be construed as critical pedagogic practice and that new-media artists have a role to play as public intellectuals.

New Media Art Research Focused on Tactile Symbols

2019 ◽  
Vol 6 (2) ◽  
pp. 14-20
Author(s):  
Lu Jingqi ◽  
Su Dam Ku ◽  
Yeonu Ro ◽  
Hyung Gi Kim
Keyword(s):  
New Media ◽  
Media Art ◽  
New Media Art ◽  
Art Research
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