scholarly journals Transgression as a Profanation in the Contemporary Art

2015 ◽  
pp. 18-24
Author(s):  
Olessya V. Stroeva
Keyword(s):  
Contemporary Art ◽  
Political Action ◽  
Media Culture ◽  
Street Art ◽  
Modern Culture ◽  
Artistic Activity ◽  
The Social ◽  
Social Art ◽  
The Media ◽  
Market Relations

Analyses the postmodern concepts of “transgression” and “bricolage” in relation to contemporary art. Addressing the street art and the social art the author shows how the model of bricolage with the elements of transgression­profanity works in the modern culture. The mass audio­visual culture dictates a new way of perceiving art works, and all of them are the reflections of the media culture, or its bricolage “bounce.” The media culture and the society of globalisation in general produce a syncretic or bricolage environment with a “soft ban” system anticipating transgression; it is the erosion of boundaries which creates the illusion of transgression steps that can turn an artistic activity into a political action or make it balance on the verge of breaking the law. However, in such a type of culture, a transgression step is not opposed by a ban but by another transgression state which is a part of the system of market relations already

scholarly journals NEKRASOV'S DISCOURSE OF THE MODERN INTERNET SPACE

2020 ◽  
Vol 117 (6) ◽  
pp. 157-164
Author(s):  
Tatiyana I. Erokhina ◽  
Keyword(s):  
Media Culture ◽  
The Internet ◽  
Information Communication ◽  
Modern Culture ◽  
Media Technologies ◽  
Creative Personality ◽  
The Media ◽  
The Creation ◽  
The Individual ◽  
Cultural Hero

In modern culture, a special place is occupied by the Internet space, which is a space for obtaining information, communication, constructing virtual reality and self-realization of the individual. The Internet space has a multifunctional nature and is part of the media culture, in the context of which ideas about the creative personality, artistic creativity, and cultural memory are updated. The process of representation of a creative personality in the Internet space is especially actively developing during anniversary events and dates that form an informational occasion. On the eve of the 200th anniversary of Russian poet N. A. Nekrasov, the author of the article turned to understanding the Nekrasov discourse of the modern Internet space. The aim of the research is to analyze the Nekrasov discourse in terms of its representation, specificity, and functions. In the course of the study, the author considered options and ways to represent the poet's work on the Internet: special projects dedicated to the life and work of N. A. Nekrasov were analyzed. There is a tendency to represent biographical information about N. A. Nekrasov on the Internet, which transforms or destroys the stereotypical ideas about the poet received in the course of school education. Special attention is paid to the media technologies of the mythologization of the personality and creativity of N. A. Nekrasov, which are associated with the creation of new myths about the poet as a cultural hero who acquires a trickster beginning, and the mythologization of the Nekrasov chronotope is indicated. The author draws attention to the specifics of the Nekrasov discourse, which is associated with the creation of hypertext in the Internet space. The article considers the principles of hypertextual construction of the Nekrasov discourse, notes its non-linearity, actualization of the creative activity of the addresser and addressee, and features of modeling the Nekrasov text in the Internet space. The author outlined the main functions of the Nekrasov discourse that have informational and symbolic meaning, and noted its positive and negative connotations.

The Image of a Solo Instrument Player as a Media Celebrity in the 21st Century

2020 ◽  
Vol 2 (14) ◽  
pp. 9-28
Author(s):  
Marta Gabryelczak-Paprocka
Keyword(s):  
21St Century ◽  
Media Coverage ◽  
Pop Culture ◽  
Modern Culture ◽  
Academic Literature ◽  
Artistic Activity ◽  
The Social ◽  
Music Interpretation ◽  
Contemporary Media ◽  
Solo Instrument

In the article entitled The Image of a Solo Instrument Player as a Media Celebrity in the 21st Century, the author analyses the profiles of three musicians promoted by the contemporary media. These artists are: Lola Astanova, Stjepan Hauser and David Garrett. All of them, apart from the fact they are technically skilful performers, are also media personalities. They combine classical playing style with pop-culture image and visual setting of their performances. The author attempts to uncover the sources of their popularity and explain the mechanisms how the demand for the artistic activity of instrumentalists creating art (both music interpretation and the widely understood setting of a performance) synthetising tradition and innovativeness is generated. The described phenomena include the topics related to: the specificity of the images of celebrity instrument players and their function in the society, the homogenous culture of the 21st century, the widely-understood media coverage, consumerism, etc. The article has two parts. The first part is theoretical and it is based on the analysis and description of academic literature connected with the chosen subject matter referring to sociological topics and modern tendencies connected with culture. Another point in this section of the article is the presentation of the profiles of the selected artists. The second part is the report from the academic study conducted by the author of the article. It is a description of interviews with responders who wanted to share their opinions about the recordings of Astanova, Hauser and Garrett which were presented to them. The interviews were conducted by means of the social media and phone. The studies showed how different the impressions related to the same recordings might be even in a small group of respondents. These conclusions might serve as an inspiration for the development of research studying the influence of transformations taking place in modern culture on the tastes of audiences and the actual demand for artists who are well-adjusted to the requirements of modern audiences in terms of their image.

scholarly journals #unmaskedselfiesinsolidarity. From Digital Artivism to the Collective Care of Social Art in Public Space

2020 ◽  
pp. 87-106
Author(s):  
Klare Lanson ◽  
Marnie Badham ◽  
Tammy Wong Hulbert
Keyword(s):  
International Students ◽  
Public Space ◽  
Media Studies ◽  
Contemporary Art ◽  
Social Exchange ◽  
Chinese Students ◽  
Mobile Media ◽  
The Social ◽  
Social Art ◽  
Physical Spaces

Contemporary mobile media affords new insights into social and creative practices while expanding our understanding of what kinds of public space matter. With the continual rise of the social in contemporary art which sees relationships as the medium, smartphones have become important devices for individual political expression, social exchange and now contemporary art. This article draws on media studies and contemporary art theories to discuss #unmaskedselfiesinsolidarity (2020), a socially engaged artwork engaging more than 300 contributors in a few short weeks within the online and physical spaces of RMIT University in the heart of Melbourne, Australia. This artwork was instigated during the initial February 2020 outbreak of the coronavirus in Wuhan, China in response to expressions of fear and isolation, travel bans, and growing racism targeting international students. It employed one of the most pervasive barometers of popular and public culture today, the selfie. Through its messages of care alongside signs of solidarity from Chinese students suffering anxiety and isolation, #unmaskedselfiesinsolidarity moved individual selfie expressions of identity into the realm of socially engaged arts and public space.

Interaction Between Media Culture and Legal Culture and Their Impact on the Media Regulation System in Bulgaria

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Bisera Zankova
Keyword(s):  
Regulatory System ◽  
Media Culture ◽  
Regulation System ◽  
Political Will ◽  
The Public ◽  
Management Culture ◽  
Media Regulation ◽  
The Social ◽  
The Media ◽  
Regulatory Culture

The article discusses the democratic changes in the Bulgarian society and the new regulatory system from the perspective of media and legal cultures. The article analyzes legal phenomena as such, as well as the social environment in which they have emerged and developed during the years of democratic transition. Law is a social regulator and has to serve the public interest. In Bulgaria, however, it has always been subject to the political will of the majorities and could not fulfill its function to provide the necessary basis for the establishment of democratic regulatory culture, management culture and culture of independence within the media.

Introduction

2017 ◽  
Author(s):  
Angela Harutyunyan
Keyword(s):  
Soviet Union ◽  
Contemporary Art ◽  
Social Institutions ◽  
Historical Study ◽  
East European ◽  
The Soviet Union ◽  
The Social ◽  
Social Art ◽  
The Aesthetic ◽  
The Individual

This book addresses the discursive and representational field of contemporary art in Armenia in the context of the post-Soviet condition, from the late 1980s through the 1990s up until the early 2000s. Contemporary art, I argue, is what best captures the historical and social contradictions of the period of the so-called ‘transition’, especially if one considers ‘transition’ from the perspective of the former Soviet republics that have been consistently marginalized in Russian- and East European-dominated post-socialist studies. Occupying a sphere distinct from other social and cultural spheres of productive activity and yet inextricably connected to social institutions, contemporary art in Armenia has become a negative mirror for the social: art has been viewed as that which reflects those wishes and desires for emancipation that the social world has been incapable of accommodating in both late Soviet and post-Soviet contexts. Contemporary art’s status as a negative mirror is due to its particular historical emergence in transnational (Soviet) and national (post-Soviet) contexts, its peculiar institutionalization in relation to official cultural discourse, and to a prevailing belief in art’s autonomy. Throughout the two decades that encompass the chronological scope of this work, contemporary art has encapsulated the difficult dilemmas of autonomy and social participation, innovation and tradition, progressive political ethos and national identification, the problematic of communication with the world beyond Armenia’s borders, dreams of subjective freedom and the imperative to find an identity in the new circumstances after the collapse of the Soviet Union. These are questions that have occupied culture and society at large, in the post-Soviet context and beyond. Yet the contradictions embedded in these questions are best crystallized in contemporary art, because of its peculiar position within the social sphere. This historical study aims at outlining the politics (liberal democracy), aesthetics (autonomous art secured by the gesture of the individual artist) and ethics (ideals of absolute freedom and radical individualism) of contemporary art in Armenia in post-Soviet conditions from a critical perspective and in ways that point towards the limitations of the aesthetic ...

scholarly journals MENUMBUHKAN NILAI-NILAI KEARIFAN LOKAL MELALUI KARYA TARI KOREOGRAFER PEREMPUAN DI SUMATERA BARAT: SUATU TINJAUAN GENDER

Humanus ◽  
2016 ◽  
Vol 12 (2) ◽  
pp. 53
Author(s):  
Fuji Astuti
Keyword(s):  
Gender Studies ◽  
Social Order ◽  
The Other ◽  
Artistic Activity ◽  
Other Hand ◽  
The Social ◽  
The Media

DEVELOPING LOCAL WISDOM VALUES THROUGH THE DANCE WORKS OF FEMALE CHOREOGRAPHERS IN WEST SUMATERA: A GENDER STUDIES Minagkabau in the social order, the personality of a woman governed by a norm that is contained in the content of the values of sumbang duo baleh (the twelfe of improper behaviors). As a female choreographer, the values of sumbang duo baleh are not only seen in the attitude of her personality, but also in the content her dance work as a reflection of her personality. However, all the twelfe values cannot considered altogether in a dance. If all the content of those values are fully referenced in the dance work, choreographers feels such rules would hamper creativity, especially in the embodiment of motion to the media staple in dance. The values of twelfe improperly behaviors can be implemented into the dance are walk improperly, sit improperly, stand improperly, look improperly, improper clothing, and improper behaviors. On the other hand, the involvement of women in artistic activity, driven by the demands of the economy. For that reason, women no longer have to rely on the man as the leader of the household, or be the responsibility of the system as in the economy in the longhouse, yet can already be anticipated through achievement in art. It likewise trigger the choreographer seeks to meet the needs of consumers, even vying to create markets that are commercial.Key words: The twelfe lacks, choreographer, dance AbstrakDalam tatanan sosial masyarakat Minagkabau, kepribadian seorang perempuan diatur oleh suatu norma yang tertuang dalam kandungan nilai-nilai sumbang duo baleh. Sebagai seorang koreografer perempuan, kandungan sumbang duo baleh tidak hanya terlihat dalam sikap kepribadiannya, namun kandungan nilai-nilai itu juga dapat terlihat dalam karya tari sebagai cerminan  kepribadiannya. Kandungan nilai sumbang duo baleh tidak semuanya dapat dituangkan dalam karya tari. Jika semua kandungan nilai-nilai tersebut secara utuh dijadikan acuan dalam berkarya tari, koreografer merasakan aturan-aturan tersebut akan menghambat kreativitas, terutama dalam perwujudan gerak yang menjadi media pokok dalam tari. Adapun kandungan nilai sumbang duo baleh dengan lugas dapat diimplementasikan  ke dalam tari adalah sumbang jalan, sumbang duduak, sumbang tagak, sumbang penglihatan, sumbang pakaian, dan sumbang kurenah. Di sisi lain, keterlibatan perempuan dalam aktivitas kesenian, didorong oleh tuntutan perekonomian. Untuk itu, perempuan tidak lagi harus menggantungkan perekonomian sepenuhnya kepada laki-laki sebagai pemimpin rumah tangga, atau menjadi tanggung jawab kaum sebagaimana dalam sistem perekonomian di rumah gadang, namum sudah dapat diantisipasi melalui prestasi dalam berkesenian. Hal demikian pula memicu para koreografer berupaya memenuhi kebutuhan konsumen, bahkan berlomba-lomba untuk menciptakan pasar yang sifatnya komersil.Kata Kunci: Sumbang duo baleh, koreografer, tari

scholarly journals Values of Mediasphere and E-Culture

2019 ◽  
Vol 8 (1) ◽  
pp. 173-184
Author(s):  
Ludmila Baeva
Keyword(s):  
Information Society ◽  
Electronic Communication ◽  
Media Culture ◽  
Global Information ◽  
Modern Culture ◽  
Human Value ◽  
The Media ◽  
Contemporary Media ◽  
Main Factor

The article focuses on the axiological aspects of consciousness under conditions of the development of contemporary media culture and e-culture. Relying on theories of mediaphilosophy the author considers the media as a main factor of the determination of human value in the information society. The research is aimed at eliciting the peculiarities of modern media culture in the context of an existential and axiological approach that enables the determination of the effect the development of the mediasphere in modern culture has on the world of human values. In this case, media (mediasphere) is understood in its broad sense as a sphere of electronic communication with diverse forms of appearance and electronic mass media, generating the global information space. The author suggests the analysis of the penetration of communication e-culture (and its forms) and media-culture. The author argues that the values of media-culture (freedom, personality orientation, pragmatism, and other) developed under the conditions of information and ethic pluralism, which give a person more responsibility of spiritual choice.

Inkluzywny potencjał sztuki społecznej

2021 ◽  
pp. 7-22
Author(s):  
Krystyna M. Błeszyńska ◽  
Małgorzata Orłowska ◽  
Joanna Salska McNeil
Keyword(s):  
Social Exclusion ◽  
Contemporary Art ◽  
Social Practice ◽  
Social Activism ◽  
Art Market ◽  
Pedagogical Practice ◽  
Social Rehabilitation ◽  
The Social ◽  
Social Art

One of the most interesting phenomena in contemporary art is the interpenetration of art and social practice. The artist’s search for new forms of expression and finding himself on the contemporary art market are intertwined with social activism and attempts to contest the existing order. By presenting the variety and ambiguity of activities classified as social art, the authors attempt to interpret them critically. By situating the analysed phenomenon in the context of overcoming social exclusion and social rehabilitation interactions, they also try to determine whether, and if so, to what extent it can enrich the current pedagogical practice. Two questions become key here. One of them is the question of the essence of social art. The second one is to define the significance of including the role of the Artist and Participant of artistic activities in the repertoire of the social roles of the excluded subject to date.

scholarly journals Budaya Media Sosial, Edukasi Masyarakat, dan Pandemi COVID-19

2020 ◽  
Vol 7 (5) ◽  
Author(s):  
Muchammad Bayu Tejo Sampurno ◽  
Tri Cahyo Kusumandyoko ◽  
Muh Ariffudin Islam
Keyword(s):  
Social Media ◽  
Public Education ◽  
Media Culture ◽  
Research Approach ◽  
Public Health Services ◽  
Media Communication ◽  
The Public ◽  
The Social ◽  
The Face ◽  
The Media

AbstractThis study wants to explore the public education of COVID-19 through the social and cultural media in it. Furthermore, this research also identifies how the media affect the community and by involving mass media communication in strategies to raise awareness about COVID-19 prevention and prevention efforts. This study uses a qualitative method by utilizing a virtual ethnographic approach that refers to the ethnographic research approach conducted in online settings about the internet and social media. The results show that (1) social media culture in Indonesia can act as a teacher who can educate the public and stimulate in the latest research related to COVID-19; (2) as education for public health services; (3) directing people to their websites and landing pages for information on the latest and most trusted COVID-19; (4) marketing innovative services such as health care social funding services; (5) posts related to case information, photos, and results (with permission) relating to COVID-19 to educate the public; (6) sharing reviews and testimonies of patients who recover as motivation and initial prevention efforts; and (7) providing support among Indonesian citizens in the face of the COVID-19 pandemic.Keywords: Social Media Culture, Public Education, Covid-19 Pandemic AbstrakPenelitian ini ingin mengeksplorasi tentang edukasi masyarakat terhadap COVID-19 melalui media sosial dan budaya yang ada di dalamnya. Lebih lanjut, penelitian ini turut mengidentifikasi bagaimana media mempengaruhi masyarakat dan dengan melibatkan komunikasi media massa  dalam strategi untuk meningkatkan kesadaran tentang usaha penanganan dan pencegahan COVID-19. Penelitian ini menggunakan metode kualitatif dengan memanfaatkan pendekatan virtual etnografi yang mengacu pada pendekatan penelitian etnografi yang dilakukan dalam pengaturan online tentang internet dan media sosial. Hasil penelitian menunjukkan bahwa (1) budaya media sosial di Indonesia dapat bertindak sebagai guru yang mampu mengedukasi masyarakat dan menstimulasi dalam penelitian terbaru terkait COVID-19; (2) sebagai pendidikan layanan kesehatan masyarakat; (3) mengarahkan masyarakat ke situs web dan halaman arahan mereka untuk informasi terkait COVID-19 terbaru dan terpercaya; (4) memasarkan layanan inovatif seperti layanan dana sosial perawatan kesehatan; (5) posting terkait informasi kasus, foto, dan hasil (dengan izin) yang berkaitan dengan COVID-19 untuk mengedukasi masyarakat; (6) berbagi ulasan dan testimoni pasien yang sembuh sebagai motivasi dan upaya awal pencegahan; dan (7) memberikan dukungan antar warga negara Indonesia dalam menghadapi pandemi COVID-19.Kata kunci: Budaya Media Sosial, Edukasi Masyarakat, Pandemi Covid-19

Murder with Impunity: The Construction of Arab Masculinities and Honor Crimes

1970 ◽  
pp. 38-45
Author(s):  
May Abu Jaber
Keyword(s):  
Violence Against Women ◽  
Social Boundaries ◽  
Religious Institutions ◽  
The Social ◽  
The Family ◽  
The Media ◽  
The One ◽  
Male Authority ◽  
Cultural Networks ◽  
Gender Specific

Violence against women (VAW) continues to exist as a pervasive, structural,systematic, and institutionalized violation of women’s basic human rights (UNDivision of Advancement for Women, 2006). It cuts across the boundaries of age, race, class, education, and religion which affect women of all ages and all backgrounds in every corner of the world. Such violence is used to control and subjugate women by instilling a sense of insecurity that keeps them “bound to the home, economically exploited and socially suppressed” (Mathu, 2008, p. 65). It is estimated that one out of every five women worldwide will be abused during her lifetime with rates reaching up to 70 percent in some countries (WHO, 2005). Whether this abuse is perpetrated by the state and its agents, by family members, or even by strangers, VAW is closely related to the regulation of sexuality in a gender specific (patriarchal) manner. This regulation is, on the one hand, maintained through the implementation of strict cultural, communal, and religious norms, and on the other hand, through particular legal measures that sustain these norms. Therefore, religious institutions, the media, the family/tribe, cultural networks, and the legal system continually disciplinewomen’s sexuality and punish those women (and in some instances men) who have transgressed or allegedly contravened the social boundaries of ‘appropriateness’ as delineated by each society. Such women/men may include lesbians/gays, women who appear ‘too masculine’ or men who appear ‘too feminine,’ women who try to exercise their rights freely or men who do not assert their rights as ‘real men’ should, women/men who have been sexually assaulted or raped, and women/men who challenge male/older male authority.

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