Mapping the Digital Media Formats Used in Azerbaijan

2020 ◽  
Vol 65 (1) ◽  
pp. 55-84
Author(s):  
Gadirova Nigar ◽  
◽  
◽  
Keyword(s):  
Digital Media ◽  
Media Formats

Speaking of the weather

2017 ◽  
Vol 23 (4) ◽  
pp. 439-454 ◽  
Author(s):  
Klaus Bruhn Jensen
Keyword(s):  
Climate Change ◽  
Human Rights ◽  
Empirical Study ◽  
Digital Media ◽  
Climate Justice ◽  
Human Cognition ◽  
Baseline Survey ◽  
Human Communication ◽  
Media Environment ◽  
Media Formats

Climate change raises the stakes of human communication to the existential level of the species and the planet. This article presents an empirical study of how users make sense of climate change as they traverse the contemporary digital media environment. Departing from a baseline survey and drawing on the tradition of reception analysis, focus groups of different ages and with various political and religious affiliations identified distinctive themes, narratives, and arguments regarding the natural environment as represented and received across different media. Climate change appears out of scale – incommensurable not only with established media formats and genres but also with common frames of human cognition and communication. In conclusion, the article addresses climate change from the perspective of human rights and social justice, under the recent heading of climate justice.

Sculpting Image and Sound

2016 ◽  
Author(s):  
Cornelia Lund
Keyword(s):  
Digital Media ◽  
Digital Technology ◽  
Sound Art ◽  
Artistic Production ◽  
Visual Elements ◽  
Visual Music ◽  
Use Of Technology ◽  
The Status ◽  
Media Formats

Digital technology increasingly has offered new possibilities of combining audio and visual elements, be it in live performances, installations, or videos. The Canadian artist and musician Herman Kolgen plays the different genres like a virtuoso, exploring overarching themes in audiovisual performances as well as audiovisual installations. This chapter offers a case study that takes Kolgen’s work as an example of artistic production that pushes its investigation of audiovisual combinations in different directions by its flexible use of analog and digital media formats. The chapter first discusses the status of Kolgen’s work in terms of categories of audiovisual production such asvisual music, live cinema, andsound art. It then focuses on an analysis of his work under three aspects: exploration of media formats, use of technology, and relation to performance and performativity. At the same time, the chapter situates Kolgen’s work in the wider context of audiovisual art.

New digital media formats

2010 ◽  
pp. 81-99
Author(s):  
Ophelia Cheung ◽  
Dana Thomas ◽  
Susan Patrick
Keyword(s):  
Digital Media ◽  
Media Formats

scholarly journals Impossible Choreographies

2018 ◽  
Author(s):  
Gregory Bennett
Keyword(s):  
New Media ◽  
Digital Media ◽  
Video Game ◽  
Technology Process ◽  
Digital Production ◽  
Media Objects ◽  
Media Work ◽  
Interactive 3D ◽  
Media Formats ◽  
Animation Software

This exposition discusses the emergence of the database as a creative methodology, and key organising principle in the generation of a series of 3D digital animated artworks. Through detailed explication and demonstration of a complex creative process utilising a range of media formats including video, 3D model views, and interactive 3D, I aim to elucidate an intricate relationship between technology, process and artistic intent, framing this within relevant emergent critical frameworks around digital creative practice. This design strategy will enable the effective communication of some of the inherent qualities of 3D digital production, and the mapping of the operations of the ‘database’ as a pliable creative tool. Working directly into high-end 3D modelling and animation software, and taking the actions of a generic male figure as a point of departure, my animations are created in a modular fashion, building up units of performed movements, loops and cycles (both animated and motion-captured), creating a sometimes complex movement vocabulary. This recalls Lev Manovich’s notions of the database and the loop as engines of (non-linear) narrative in digital media work, in particular his principles of modularity, automation and variability as intrinsic to new media objects. In working with complex software tools I also acknowledge in the fabrication process what Rachael Kearney has termed the ‘synthetic imagination’, and Malcolm Le Grice’s conception of submerged authorship in the interaction with the ‘intelligent machine’ – the creative act as a collaboration with the embodied intellect of the software itself. Drawing on and remediating a range of sources including the photographic studies of Eadweard J. Muybridge, the choreography of Busby Berkeley, nineteenth century optical toys, and the contemporary digital video game, these works present figures which occupy a space between the animate and the inanimate, between automata (devices that move by themselves) and simulacra (devices that simulate other things).

scholarly journals Ragam Storyboard Untuk Produksi Media Pembelajaran

2021 ◽  
Vol 4 (1) ◽  
pp. 108-120
Author(s):  
Imbar Kunto ◽  
Diana Ariani ◽  
Retno Widyaningrum ◽  
Regita Syahyani
Keyword(s):  
Digital Media ◽  
Design Development ◽  
Technology Study ◽  
Study Program ◽  
Implementation Evaluation ◽  
Development Framework ◽  
Non Linear ◽  
The Media ◽  
Media Formats ◽  
Research Analysis

The media producer must be able to design the message and then simultaneously visualize the idea of the message before continuing it at the next production stage of various media formats that may be developed for learning. As for seeing the needs of the Education Technology study program students related to the production of learning media, the researcher determined the purpose of this study was to produce a variety of storyboards for the production of instructional media. The ADDIE development framework is used in this development research, while the procedures in this model are carried out linearly or a work process will occur continuously. The following are the steps that will be carried out in this research: Analysis (Analyze.), Design (Design), Development (Implementation), Implementation (Implementation), Evaluation (Evaluation). The output in the form of a storyboard for digital media production is the result of this development, which consists of two storyboard template formats based on linear and non-linear presentation flows. Mahasiswa sebagai media developer harus mampu mendesain pesan kemudian secara simultan melakukan visualisasi ide dari pesan tersebut sebelum melanjutkannya pada tahap produksi selanjutnya dari beragam format media yang mungkin dikembangkan untuk pembelajaran. Adapun melihat kebutuhan dari para mahasiswa terkait produksi media-media pembelajaran, maka dengan ini peneliti menentukan tujuan dari penelitian ini adalah menghasilkan ragam storyboard untuk produksi media pembelajaran. Model pengembangan yang digunakan pada penelitian pengembangan ini adalah dengan menggunakan framework ADDIE, adapun pada ADDIE ini dilakukan secara linear atau akan terjadi proses kerja yang dilakukan secara kontinyu prosesnya. Berikut langkah-langkah yang akan dilakukan dalam penelitian ini: Analisis (Analyze.), Desain (Design), Pengembangan (Development), Implementasi (Implementation), Evaluasi (Evaluation). Hasil dari penelitian pengembangan ini adalah produk berupa storyboard untuk produksi media digital berdasarkan alur penyajian yang terdiri dari dua format template storyboard linear dan non-linear.

Reading and Collaboration

2021 ◽  
pp. 177-202
Author(s):  
Andrew Klobucar ◽  
Megan O'Neill
Keyword(s):  
Digital Media ◽  
Writing Pedagogy ◽  
Theory And Practice ◽  
Computer Assisted ◽  
First Year ◽  
Writing Courses ◽  
First Year Composition ◽  
Almost All ◽  
Traditional Approaches ◽  
Media Formats

The introduction of digital media into university writing courses, while leading to innovative ideas on multimedia as a rhetorical enhancement means, has also resulted in profound changes in writing pedagogy at almost all levels of its theory and practice. Because traditional approaches to examining and discussing assigned texts in the classroom were developed to help students analyze different genres of print-based texts, many university educators find these methods prohibitively deficient when applied to digital reading environments. Even strategies in reading and text annotation need to be reconsidered methodologically in order to manage effectively the ongoing shift from print to digital or electronic media formats within first year composition. The current study proposes one of the first and most extensive attempts to analyze fully how students engage with digital modes of reading to demonstrate if and how students may benefit from reading digital texts using computer-assisted text analysis (CATA) software.

scholarly journals Powerful Entanglements: Interrelationships Between Platform Architectures and Young People’s Performance of Self in Social Media

2021 ◽  
pp. 87-107
Author(s):  
Viktoria Flasche
Keyword(s):  
Social Media ◽  
Young People ◽  
Longitudinal Studies ◽  
Digital Media ◽  
Cultural Practices ◽  
Subject Positions ◽  
Youth Cultures ◽  
Economic Strategies ◽  
Social Media Platforms ◽  
Media Formats

AbstractThis chapter explores intertwinements between digital media and communicative and socio-cultural practices as they emerge in relation to contemporary cultures, specifically youth cultures. Social media platforms such as Facebook, Instagram and TikTok are discursive-operative networks within a framework of economic strategies. The chapter’s empirical approach draws on the assumption that young people’s aesthetic practices, transmitted via social media formats, evoke in each instance specific relational modes that preform a space of possible subject positions. The chapter summarises the findings of two selective longitudinal studies examining young people’s practices of self-articulation, consistently interpreted in the context of the specific platform used in each instance. These findings point to the potential of aesthetic-tentative practices as performed by young people to catalyse societal critique.

Moral panics and digital-media logic: Notes on a changing research agenda

2018 ◽  
Vol 15 (2) ◽  
pp. 379-388 ◽  
Author(s):  
Sean Hier
Keyword(s):  
Digital Media ◽  
Research Agenda ◽  
Moral Panic ◽  
Research Note ◽  
Moral Panics ◽  
Audience Engagement ◽  
Media Logic ◽  
And Control ◽  
Media Formats ◽  
Point Of Departure

This research note critically comments on the lack of attention that moral panic scholars are devoting to the ways in which changing digital media formats are reshaping the dynamics of interaction involved in public claims-making, modes of audience engagement, and techniques of regulation and control. Angela McRobbie and Sarah Thornton’s seminal deconstruction of conventional moral panic studies is used as a point of departure to supplement the logic of mass mediation with insights into some of the structuring principles that ground the logic of digital mediation.

scholarly journals Performing history/ies with obsolete media

2017 ◽  
pp. 24-38
Author(s):  
Marietta Kesting
Keyword(s):  
Digital Media ◽  
South African ◽  
Cultural Memory ◽  
Transnational History ◽  
Media Technology ◽  
High Definition ◽  
Media Usage ◽  
South Africans ◽  
Black South Africans ◽  
Media Formats

The article addresses the tension between old (analogue) media and new (digital) media usage and their specific materialities by discussing the question of the preserving and re-telling of (subjective and national) history and histories. It analyses Pied Piper’s Voyage (2014), a photo-film of emerging South African artist Lebohang Kganye in the context of the South African photographic and filmic archive. In order to address the question of agentiality and transmission of memory through media this article interrogates the strategies of this piece, using a “hand-made” or analogue aesthetic in a high-definition video, and focuses on how the usage of obsolete media formats resonates both with the artists’ own subjective history and with the (chrono-)politics of representation and in/visibility in South Africa’s transnational history—including the often absent photo and film archive of black South Africans’ lives under apartheid and thus the negotiation of cultural memory in the present. It asks how media technology performs historicity: how can outdated formats invoke or announce pastness? Which different temporalities can they project? What desires and “atmospheres” may they create by staging or presenting “auratic” qualities?

Sign in / Sign up

Export Citation Format

Share Document