scholarly journals The genesis of art and the digital age

2020 ◽  
Vol 36 (3) ◽  
pp. 539-552
Author(s):  
Alexander S. Drikker ◽  
◽  
Eugene A. Makovetsky ◽  
Keyword(s):  
Digital Media ◽  
Data Storage ◽  
Digital Age ◽  
Digital Display ◽  
Digital Era ◽  
Digital Format ◽  
Potential Possibility ◽  
Computer Based ◽  
The Individual ◽  
Complete Translation

The complete translation of cultural heritage into a digital format acutely poses the question of art’s place in the digital era. The search for an answer is built upon the foundation of proposed evolutionary models of the genesis of art. Transitional periods from one historical cultural era to the next are characterized by a change in the most popular types of art. The establishment of one or another type of art is rigidly connected with the introduction of new data storage media and coding techniques. The constant increase in the variety of genres and media has culminated in the digital display. The appearance of a universal digital media must be reflected in the energetic reconstruction of the artistic world, but the birth of new types of art will lag behind. Moreover, the problem of the existence or non-existence of art also becomes relevant. In parallel with the elimination of literature, a virtual excarnation of object plasticity is occurring. It is possible that art is irreversibly forsaking sensual and bodily language, but the idea that it is using such an unexpected lexicon in an attempt to break through to the individual directly seems more productive. The purpose of art is to expand the space of consciousness. The digital age is distinguished by its possibility to transform this space in surprising ways. Digitalization of a work has a clear basic similarity to the physiological process of convolution of a sensory signal in the depths of the brain. Computer-based dipoles and neural synapses are binary structures, described in binary symbols. A work that has been translated into digits can be seen as the projection of a certain neural configuration that has come together in the depths of consciousness and is revealed in the form of an image. The likely prospects of obtaining, instead of projections, a multi-dimensional digital display, as well as the potential possibility for the psyche to adequately decipher it, portend a holistic reading of the work and even closer contact between the artist and the addressee. Right on the horizon is the path towards a synthesis of images that go beyond the limits of the usual forms and sensations. And nowadays unimaginable classes of feelings are capable of generating many vibrant “types and genres”. At the same time, threatening to the habitual methods of sensory perception and facilitating the liberation of the spirit, the excarnation of art works promise a categorically new stage in the genesis of art as well as a different level of creation and perception.

“Charm the Air to Give a Sound”

2013 ◽  
pp. 190-213
Author(s):  
Amy Herzog
Keyword(s):  
New York ◽  
Digital Media ◽  
Role Playing ◽  
Careful Examination ◽  
Historical Texts ◽  
Digital Era ◽  
Key Points ◽  
Sound Environment ◽  
And Performance ◽  
The Individual

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. This essay examines the soundscape and architecture of Punchdrunk’s immersive theater installation Sleep No More (New York, 2011). Although many of its sonic references are drawn from well-known analog sources, their deployment marks a shift in the role of sound in theater and film. The installation’s sound environment establishes ambience and also guides and synchronizes the actions of the individual audience- and cast members who navigate the space during each performance. The use of sonic cues, in this context, draws directly from the logic of role-playing video games. Moreover, the use of rhythm and repetition in Sleep No More resonates on an even deeper register with similar architectures of meaning in some of the work’s key points of reference. A careful examination the work’s structure reveals a complex deployment of sonic patterning that activates new connections with historical texts and challenges our understanding of the experience of sound, touch, and performance in the digital era.

Transposing, Transforming, and Transcending Tradition in Creative Digital Media

2015 ◽  
pp. 141-199 ◽  
Author(s):  
Phillip Andrew Prager ◽  
Maureen Thomas ◽  
Marianne Selsjord
Keyword(s):  
Digital Media ◽  
Information Technologies ◽  
Interactive Media ◽  
Arts And Crafts ◽  
Media Technologies ◽  
Creative Cognition ◽  
Digital Era ◽  
Creative Insight ◽  
Digital Aesthetics ◽  
Computer Based

How can digital media technologies, contemporary theories of creativity, and tradition combine to develop the aesthetics of computer-based art today and in the future? Through contextualised case-studies, this chapter investigates how games, information technologies, and traditional visual and storytelling arts combine to create rich, complex, and engaging moving-image based artworks with wide appeal. It examines how dramatist and interactive media artist Maureen Thomas and 3D media artist and conservator Marianne Selsjord deploy creative digital technologies to transpose, transform, and transcend pre-page arts and crafts for the digital era, making fresh work for new audiences. Researcher in digital aesthetics, creative cognition, and play behaviour Dr. Phillip Prager examines how such work is conducive to creative insight and worthwhile play, discussing its remediation of some of the aspirations and approaches of 20th-century avant-garde artists, revealing these as a potent source of conceptual riches for the digital media creators of today and tomorrow.

scholarly journals Dakwah di Era Digital

2018 ◽  
Vol 11 (2) ◽  
pp. 263-281
Author(s):  
Wahyu Budiantoro
Keyword(s):  
Digital Media ◽  
Technological Development ◽  
Soft Skill ◽  
Mass Society ◽  
Digital Era ◽  
Cultural Shock ◽  
Societal Needs ◽  
Digital Format ◽  
Global World ◽  
Flow Of Information

These days dakwah is not only interpreted as transformation of a pure religious value, but also transformation of a more relevant value including many aspects in digital era. Digital era is when society succumbed into the flow of information causing cultural shock and difficulties on synthesizing meaning from those scattered information. Dakwah on Digital age must accommodate societal needs which tend to move into a mass society. It results in strategy and more humane and innovative dakwah methods. One of innovative dakwah methods is conducted dakwah activities through digital media,with the consequences of this is that da’i must developed soft skill and technological capabilities. Another beneficial comes from this is that dakwah could become more modern and practical in terms of methods and material. On the other hand, citizen Journalism as a mass cultural product and the results of technological development, gives an opportunity for da’i to able to record the entire activities, including the dynamics of islamic life. In terms of learning curriculum, dakwah in digital format must be included, so then the intellectual and cultural spirit which flourished in pesantren could be adapted and competed in a global world.

scholarly journals The independent participation out of time and place; from organized citizen to digital individuals: Sample of Change.orgZaman ve mekandan bağımsız katılım; örgütlü yurttaştan dijital bireye: Change.org örneği

2018 ◽  
Vol 15 (4) ◽  
pp. 1944
Author(s):  
Gamze Yetkin Cılızoğlu ◽  
Aysel Cetinkaya
Keyword(s):  
Digital Media ◽  
English Summary ◽  
Social Awareness ◽  
Digital Activism ◽  
Traditional Media ◽  
Digital Platforms ◽  
Digital Era ◽  
Social Reaction ◽  
Technological Developments ◽  
The Individual

The way in which the individual who is the building block of social structure reacts and reflects his/her desires and needs has changed in the 21st century together with technological developments. In speed-based digital era, the individuals have tended to use digital media in which they can quickly find a solution for their expectations and reactions. Individuals have had the opportunity to publicize and share their reactions and expectations through different platforms in the digital media. This reactivity and activism, which can be considered as digital activism, has led a digital individual to carry out activities with a "latent identity", which caused the respondents to increase quantitatively. Change.org is one of the most important digital platforms, which is active in this field and prominent worldwide.The object of the study is to determine how the individuals accomplish the functions via Change.org, such as creating social reaction reflexes, ensuring participation, mediating social awareness and creating awareness about a subject matter. Accordingly, pages of Turkey and England on Change.org were reviewed in a period of one month, a content analysis was performed via campaigns started, and the differences between the two countries representing the sample were addressed.When the findings are evaluated, it is possible to say that individuals has become free for verbalizing their reactions by overcoming their silence through digital media, and that this reaction can set an agenda faster than traditional media. Ever-increasing participation in the campaigns may be interpreted as an indication that digital participation will gradually gain speed in Turkey and England.Extended English summary is in the end of Full Text PDF (TURKISH) file.ÖzetTeknolojik gelişmelerle birlikte 21. yüzyılda toplumsal yapının temeli olan bireyin tepki verme, istek ve ihtiyaçlarını dile getirme biçimi de değişmiştir. Hız odaklı dijital çağda bireyler, beklentilerini ve tepkilerini daha hızlı çözüme kavuşturabilecekleri dijital ortama yönelmiştir. Dijital ortamdaki farklı platformlar üzerinden bireyler tepkilerini ve beklentilerini, kitlelere duyurma ve onlarla paylaşma imkanı bulmuşlardır. Dijital aktivizm olarak değerlendirilebilecek bu tepkisellik ve etkincilik, dijital bireyin aynı zamanda “gizil kimlikle” faaliyetlerini sürdürmesinin yolunu açmış, bu da tepki verenlerin niceliksel olarak artmasına sebep olmuştur. Bu alanda faaliyet gösteren ve dünya çapında öne çıkan en önemli dijital platformlardan biri de Change.org’dur.Çalışmanın amacı bireylerin toplumsal tepki refleksi oluşturma, katılım sağlama, toplumsal bilincin oluşumuna aracılık etme ve bir konu hakkında farkındalık yaratma gibi işlevleri Change.org aracılığıyla nasıl hayata geçirdiklerinin tespit edilmesidir. Bu amaç doğrultusunda Change.org Türkiye ve İngiltere sayfaları bir aylık süre içerisinde incelenerek, başlatılan kampanyalar üzerinden içerik analizi yapılmış ve örneklemi teşkil eden iki ülke arasındaki farklılıklara  değinilmiştir.Elde edilen bulgular değerlendirildiğinde, bireylerin dijital mecra aracılığıyla suskunluklarını aşarak, tepkilerini dile getirmede özgürleştikleri ve bu tepkinin geleneksel mecralara göre daha hızlı gündem yaratabildiğini söylemek mümkündür. Kampanyalara katılımın her geçen gün artması, Türkiye’de ve İngiltere’de dijital katılımın giderek ivme kazanacağının göstergesi olarak yorumlanabilir.

scholarly journals La era digital comprendida desde la Psicología humanista/The Digital Era from a Humanist Psychology Viewpoint

2020 ◽  
Vol 39 (1) ◽  
pp. 35
Author(s):  
Hector Hernandez-Peña ◽  
Mario Lagomarsino-Montoya ◽  
Guillermo Aguirre-Martínez ◽  
Juan Mansilla-Sepúlveda ◽  
Juan Guillermo Estay-Sepúlveda ◽  
...  
Keyword(s):  
Social Sciences ◽  
Natural Resource ◽  
Internet Addiction ◽  
Resource Depletion ◽  
Digital Age ◽  
New Thought ◽  
Digital Era ◽  
The Social ◽  
The Individual ◽  
Natural Resource Depletion

<p><strong>Español</strong></p><p>Ante la era digital, la humanidad se enfrenta a nuevas coyunturas en los ámbitos sociales y psicológicos. La aparición de fenómenos como la adicción a internet, la depresión asociada al uso excesivo de los dispositivos y la pérdida de espacios reales en pro de una virtualidad cada vez mayor, además del desgaste de los recursos naturales, prende las alarmas sobre la salud y el tipo de vida que se lleva en las sociedades. La vida rápida e inmediata parece colocar a las personas en nuevos espacios cuyos impactos aún salen del conocimiento de las ciencias sociales. La Psicología humanista apareció oficialmente en 1961 y puede brindarnos una mirada más humana. El retorno a las experiencias humanas, a las emociones, al valor del individuo y a los sentimientos de autorrealización pueden cimentar las bases de un nuevo pensamiento que ponga luz sobre las problemáticas actuales. Por eso, el objetivo de este trabajo fue el de señalar algunos problemas que llegaron con la era digital, para después dirigir sobre ellos la mirada que brinda la Psicología humanista con el fin de revitalizar los esfuerzos en pro de una vida más saludable tanto entre los individuos como con el ambiente.</p><p><strong>English</strong> </p><p>Faced with the Digital Age, humanity confronts new junctures in the social and psychological spheres. The appearance of phenomena such as Internet addiction, depression associated with excessive device usage and the loss of real spaces in favor of an increasing virtuality, in addition to natural resource depletion, set off alarms about health and the type of life that is carried out in societies. Fast and immediate life seems to place people in new spaces whose impacts still come out of the knowledge of the social sciences. It is here that Humanist Psychology, officially appearing in 1961, can give us a more humane look. The return to human experiences, emotions, the value of the individual and feelings of self-realization can lay the foundations of a new thought that sheds light on current problems. That is why the goal of this work was to point out some problems that arose with the digital era, and then cast on them the perspective offered by Humanist Psychology in order to revitalize efforts towards a healthier life both among individuals, as well as in the environment.</p>

scholarly journals Film education: Memory and heritage

Comunicar ◽  
2010 ◽  
Vol 18 (35) ◽  
pp. 25-32 ◽  
Author(s):  
Michel Clarembeaux
Keyword(s):  
Young People ◽  
Collective Memory ◽  
Digital Age ◽  
Cultural Dimension ◽  
Audiovisual Media ◽  
Film Education ◽  
The Media ◽  
The Individual ◽  
Medios De Comunicacion ◽  
Sobre Todo

Film education in the digital age should be based on three closely-related and complementary fundamentals: to see, to analyze and to make films with young people; three basics that must interact and support each other. The concept of creative analysis could be the glue the binds this subject together, making it coherent and efficient for educational purposes. If cinema is an art, it is above all the art of memory, both individual and collective. This article suggests that we can join the pedagogy of film education to the citizen’s desire to perpetuate memory and preserve cultural heritage. The author describes various types of films to prove this hypothesis, and at the same time indicates the economic and cultural dimension of the media. The essay starts with an approach to film education in the digital age. Later, it analyzes certain aspects of films of memory, referring specifically to the typology of standpoints of film-makers and the treatment of their sources. Lastly, there is a reflection on the convergence of the concept of creative analysis, promoted by film education, and the production of videos by young people dedicated to the individual or collective memory. This convergence matches European Union proposals concerning the production and creation of audiovisual media from this viewpoint. La educación para el cine en la era digital debería apoyarse en tres polos complementarios y estrechamente asociados: ver, analizar y hacer películas con jóvenes. Estos tres polos han de potenciarse mutuamente. El concepto de análisis creativo podría ser la argamasa que diera coherencia y eficiencia al dispositivo educativo. Si el cine es un arte, es sobre todo el arte de la memoria, tanto colectiva como individual. Este artículo sugiere que es posible hacer converger la pedagogía de la educación cinematográfica y la voluntad ciudadana de perpetuar la memoria, al tiempo que se protege el patrimonio cultural. El autor propone una serie de películas para ilustrar estos planteamientos, que ponen de relieve la dimensión económica y cultural de los medios de comunicación, respondiendo en esta convergencia a las más recientes directrices de la Unión Europea sobre creación y producción, desde esta perspectiva, de medios audiovisuales. El trabajo se inicia con una aproximación a la educación para el cine en la era digital. Posteriormente se recogen algunas singularidades de las «películas de la memoria», aludiendo concretamente a la tipología de los puntos de vista de los realizadores y al tratamiento de sus fuentes. Por último, se refleja el encuentro entre el concepto de «análisis creativo», fomentado por la educación cinematográfica, y la realización de videogramas hechos por jóvenes y dedicados a la memoria individual o colectiva.

Sports Journalism: Self-Censorship, Ethics and Lived Experience in the Digital Era.

2020 ◽  
Author(s):  
◽  
Tom Bradshaw
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Ethical Issues ◽  
Theoretical Perspective ◽  
Professional Experience ◽  
Homogeneous Sample ◽  
Sports Journalism ◽  
Digital Era ◽  
Qualitative Approaches

This thesis examines the major ethical issues experienced by UK sports journalists in the course of their practice in the modern digital media landscape, with a particular focus on selfcensorship. In tandem, it captures the lived professional experience of sports journalists in the digital era. My own professional experience is considered alongside the experiences of interviewees and diary-keepers. Initially, an exploratory case study of the work of investigative journalist David Walsh is used to highlight key ethical issues affecting sports journalism. A Kantian deontological theoretical perspective is articulated and developed. Qualitative approaches, specifically Interpretative Phenomenological Analysis and autoethnography, are then used to provide an original analysis of the research objectives, enhanced by philosophical analysis. Ten in-depth, semi-structured interviews are conducted with a homogeneous sample of UK sports journalists, while diaries kept by three different journalists provide another seam of data. Reflective logs of my own work as a sports journalist provide the basis for autoethnographic data. The main log runs for two-and-half years (2016- 19) with a separate additional log covering the 2019 Rugby World Cup in Japan. The semistructured interviews, diaries, autoethnography and case study are synthesized. The thesis explores how social media has introduced a host of ethical issues for sports journalists, not least the handling of abuse directed at them. Social media emerges as a double-edged sword. One of its most positive functions is to raise the standard of some journalists’ output due to the greater scrutiny that reporters feel they are under in the digital era, but at its worst it can be a platform for grotesque distortion and for corrupting sports journalists’ decision-making processes. Self-censorship of both facts and opinions emerges as a pervasive factor in sports journalism, a phenomenon that has been intensified by the advent of social media. Sports journalists show low engagement with codes of conduct, with the research suggesting that participants are on occasion more readily influenced by self-policing dynamics. This project captures vividly sports journalists’ personal involvement and emotional investment in their work, and reconsiders the ‘toy department’-versus-watchdog classification of sports journalists. The thesis concludes with recommendations for industry, including the introduction of formal support for sports journalists affected by online abuse.

scholarly journals Lessons from nearly a century of the brand management system

2018 ◽  
Vol 10 (4) ◽  
pp. 420-450 ◽  
Author(s):  
Isabelle Aimé ◽  
Fabienne Berger-Remy ◽  
Marie-Eve Laporte
Keyword(s):  
Management System ◽  
Brand Management ◽  
Historical Analysis ◽  
Digital Age ◽  
Western World ◽  
Past Century ◽  
Research Papers ◽  
Broad Perspective ◽  
Content Type ◽  
Digital Era

PurposeThe purpose of this study is to perform a historical analysis of the brand management system (BMS) to understand why and how, over the past century, the BMS has become the dominant marketing organizational model across Western countries and sectors and what the lessons can be learned from history to enlighten its current changes in today’s digitized environment.Design/methodology/approachBuilding on Low and Fullerton’s work (1994), the paper traces the evolution of the BMS from its creation in the 1930s to the recent digital era. Data from various sources – research papers, historical business books, case studies, newspaper articles and internal documents – are analyzed to inform an intellectual historical analysis of the BMS’s development.FindingsThe paper uses the prism of institutional isomorphism to highlight four distinct periods that show that the BMS has gradually imposed itself on the Western world and managed to adapt to an ever-changing environment. Moreover, it shows that in the current digital age, the BMS is now torn between two opposing directions: the brand manager should act as both absolute expert and galvanic facilitator and the BMS needs to reinvent itself once again.Originality/valueThis paper provides a broad perspective on the BMS function to help marketing scholars, historians and practitioners gain a better understanding of the issues currently facing the BMS and its relevance in the digital age.

Youth and Citizenship in the Digital Age: A View from Egypt

2012 ◽  
Vol 82 (3) ◽  
pp. 333-352 ◽  
Author(s):  
Linda Herrera
Keyword(s):  
New Media ◽  
Coming Of Age ◽  
Communication Technologies ◽  
Digital Age ◽  
Political Repression ◽  
Digital Era ◽  
Biographical Research ◽  
Media And Communication ◽  
Generational Consciousness ◽  
Active Generation

Youth are coming of age in a digital era and learning and exercising citizenship in fundamentally different ways compared to previous generations. Around the globe, a monumental generational rupture is taking place that is being facilitated—not driven in some inevitable and teleological process—by new media and communication technologies. The bulk of research and theorizing on generations in the digital age has come out of North America and Europe; but to fully understand the rise of an active generation requires a more inclusive global lens, one that reaches to societies where high proportions of educated youth live under conditions of political repression and economic exclusion. The Middle East and North Africa (MENA), characterized by authoritarian regimes, surging youth populations, and escalating rates of both youth connectivity and unemployment, provides an ideal vantage point to understand generations and power in the digital age. Building toward this larger perspective, this article probes how Egyptian youth have been learning citizenship, forming a generational consciousness, and actively engaging in politics in the digital age. Author Linda Herrera asks how members of this generation who have been able to trigger revolt might collectively shape the kind of sustained democratic societies to which they aspire. This inquiry is informed theoretically by the sociology of generations and methodologically by biographical research with Egyptian youth.

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