scholarly journals Audiovisual practices of new media and their communicative nature

2021 ◽  
Author(s):  
Anastasiia Tormakhova
Keyword(s):  
New Media ◽  
Comparative Approach ◽  
Media Art ◽  
Common Features ◽  
Software Applications ◽  
The Arts ◽  
Wide Range ◽  
Art Practices ◽  
Digital Objects ◽  
Basic Characteristics

The purpose of the article is to analyze the specifics of audiovisual practices of new media and reveal their communicative nature. The methodology of the work is to involve an analytical approach to highlight the features of new media and their components. A comparative approach was used to highlight the features of audiovisual practices and media art. Scientific Novelty. The specifics of audiovisual practices of new media, which are characterized by interactivity, are revealed. Their role in communication through audiovisual content is emphasized. Simplifying the mechanisms for creating an audiovisual product in software applications makes it easy to distribute messages. In contrast to media art, which has a clear aesthetic function, in audiovisual practices prevail communicatively. Conclusions. New media occupy a significant place in the modern cultural space. A wide range of phenomena that can be attributed to new media is characterized by certain common features. These include their communicative nature and existence on the Internet. Audiovisual practices of new media are extremely diverse. They include both media art and practices that contain an aesthetic component but cannot be fully attributed to the arts. The art practices of new media are evolving through a combination of birth digital and became digital objects. Communication and interactivity are the basic characteristics of new media audiovisual practices.

scholarly journals Forking Paths in New Media Art Practices: Investigating Remix

Media-N ◽  
2021 ◽  
Vol 17 (1) ◽  
Author(s):  
Xtine Burrough ◽  
Owen Gallagher ◽  
Eduardo Navas
Keyword(s):  
New Media ◽  
Short Story ◽  
Emerging Technology ◽  
Digital Art ◽  
Media Culture ◽  
Media Art ◽  
Special Issue ◽  
New Media Art ◽  
Art Practices ◽  
Point Of Reference

This special issue of Media-N on contemporary approaches to remix was inspired by Jorge Luis Borges’s short story, “The Garden of Forking Paths,” a recurring point of reference in the development of media culture. Prior to terms such as new media, digital art, media art, and remix, Borges’s narrative exploration of bifurcation as a means of reflecting on the possibility of multiple simultaneous realities with no clear beginning or end has offered a literary and philosophical model for creative uses of emerging technology throughout the twentieth century. The essays included in this special issue provide a glimpse into the relation of Borgesian multiplicity and remix as an interdisciplinary methodology. 

Beyond the cinematic: Reinventing Chinese martial arts through new media art practices

2019 ◽  
Vol 6 (2) ◽  
pp. 367-391
Author(s):  
Wayne Wong
Keyword(s):  
New Media ◽  
Martial Arts ◽  
Media Art ◽  
Kung Fu ◽  
New Media Art ◽  
Martial Art ◽  
Art Form ◽  
Art Practices ◽  
The 1960S ◽  
Martial Arts Cinema

Abstract This article argues that the reinvention of Chinese martial arts through new media art practices reveals new aesthetic potentialities not readily available in the conventional cinematic medium. While martial arts cinema has captivated the global audience with visual and visceral excitements, most notably through the new-style wuxia films of the 1960s and the kung fu craze of the 1970s, it focuses on representational strategies characteristic of imaginative irreversibility and passive immersivity. The former refers to the rigid segregation of reality and fantasy that discourages the possibility of reversal, whereas the latter describes the immersive wuxia and kung fu spectacles as a disembodied experience, contrary to the core of martial arts learning and practice. To address the above issues, martial arts-inspired new media artworks, such as susuan pui san lok's RoCH Fans & Legends (2015) and Jeffery Shaw, Sarah Kenderdine and Hing Chao's Lingnan Hung Kuen Across the Century (2017), look for alternative approaches to represent martial arts imaginations for the goals of preserving an intangible cultural heritage and promoting an intellectual reflexivity. In so doing, not only do the new media artworks help to reposition Chinese martial arts as an everyday art form via conventional art spaces worldwide through the transnational and transregional flow of cinema, but they also establish the subtle connection between traditional martial art and contemporary art in the context of globalization.

scholarly journals “THIS ISN'T A PICASSO, IT'S A FERRARI”: PRESENTISM, PRECARITY AND DEPENDENCE IN NEW MEDIA ART PRACTICES

2021 ◽  
Author(s):  
Roopa Vasudevan
Keyword(s):  
Law Enforcement ◽  
New Media ◽  
Operating Systems ◽  
Cutting Edge ◽  
Data Sources ◽  
Media Art ◽  
Art Practice ◽  
New Media Art ◽  
Art Practices ◽  
The Creation

New media artists—and, more broadly, those who consider themselves to be “creative” technologists—increasingly find themselves questioning whether or not to use tools that are owned or administered by companies that engage in activity that they consider to be problematic, such as surveillance, cooperation with discriminatory law enforcement practices, or toxic work cultures. However, it is difficult to conceive of a tech-based art practice that functions without utilizing $2 of the dominant technologies that we find ourselves surrounded by on a regular basis. As a result, artists who work with technology are inevitably thrust into perpetually shifting situations or environments, controlled by the tech industry, which then directly impact the creation of their work; its longevity; and, often, their own perceptions of it. This paper represents the beginnings of an investigation into the relationships between new media artists, the tools they use for their work (including data sources and APIs, hardware and software, operating systems, and project storage), and those who control these technologies. I seek to portray this creative community as one that exists in a state of constant uncertainty, and that finds itself in this position at the behest of the interests of the tech industry—which both uses artists’ work as a way of positioning itself as cutting-edge and original, and as a means of locating potential sites of intentional misuse and subversion. Artists are thus forced to constantly adapt their processes to the demands of those who control the technology, ultimately reinforcing the authority of these dominant systems.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

Music after the Fall

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
New Media ◽  
Contemporary Music ◽  
The United States ◽  
Art Music ◽  
Sound Art ◽  
Musical Composition ◽  
Western Art ◽  
Wide Range ◽  
Definition Of ◽  
The Cold War

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.

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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