scholarly journals Books, Scrolls and Ripples: In Search of an Audience through the Printed Works of Helen Douglas

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 35
Author(s):  
Chris Taylor
Keyword(s):  
Digital Technologies ◽  
Small Press ◽  
Art Form ◽  
Public Recognition ◽  
The 1950S ◽  
Artist's Book

In this interview, artist and small press publisher Dr. Helen Douglas appraises the development of the artist’s book from its emergence in the 1950s and 1960s to seeking public recognition as a bone fide art form in the mid-1970s, through to the current global attention that it now attracts. Notions of the mass-produced and the handmade are questioned and examined in light of the freedom, cheapness and accessibility of digital technologies versus the time and labour of the artist in search of the haptic, intimate and conceptually complex experience.

Tracked

2020 ◽  
pp. 310-324
Author(s):  
Whitney Trettien
Keyword(s):  
Eighteenth Century ◽  
Digital Technologies ◽  
Reading Practices ◽  
Digital Devices ◽  
History Of ◽  
Artist's Book ◽  
Over Time ◽  
Social Reading

How do technologies track our reading? Digital devices today can monitor not only what you read electronically, but when, where, and for how long. From an artist’s book by Heather Weston and eighteenth-century commonplacing techniques to Kindle Highlights and social reading sites like GoodReads, this chapter takes a wide-ranging, playful look at the ways both humans and machines have used various platforms to track their reading over time. By critically examining the deep history of social reading practices, this chapter aims to bring into relief what is new or different about emerging digital technologies and the forms of reading they foster.

scholarly journals Aid in the design of antenna arrays with electronic phase steering using Matlab®

2011 ◽  
Vol 4 (8) ◽  
pp. 41
Author(s):  
Francisco José Gil Navia
Keyword(s):  
Antenna Arrays ◽  
Digital Technologies ◽  
Computer Assisted ◽  
Main Motivation ◽  
Electronic Phase ◽  
Applied Technology ◽  
Real Behavior ◽  
Virtual Prototypes ◽  
The 1950S

Antenna arrays have been used since the 1950s in multiple applications; however, it was not until recent years that, given progress in digital technologies, this application has become the fastest and most varied development in the radar world. The main motivation for their development is that they permit electronic phase steering that implies extreme phase agility, while also being tolerant to failure because of the amount of elements that comprise them. They also permit the reduction of side lobes by controlling the amplitude of each element.Because it is a currently applied technology, but with many aspects under development, it is necessary to enter this field and generate the required tools including those for computer assisted prototyping. Because of the aforementioned, this work sought to use Matlab® to create virtual prototypes of arrays that permit visualizing an approach to their real behavior stemming from certain parameters.

[Untitled]

2017 ◽  
Author(s):  
Allison Abra
Keyword(s):  
Modern Dance ◽  
Cultural Influence ◽  
Ballroom Dancing ◽  
Art Form ◽  
Ballroom Dance ◽  
New Challenges ◽  
The 1950S ◽  
Rock N Roll ◽  
Post War

The epilogue reflects on popular dance in the post-war years. After the war, going to the palais remained as popular as ever, but the dances performed within the dance halls continued their long evolution. Following on some of the individualised and independent movements introduced by the jitterbug, modern ballroom dancing slowly began to give way to new dances which could be performed without a partner, or which better accompanied rock n’ roll and later disco. Owing to their particular focus on ballroom dance, the dance profession began the modern dance era with arguably more cultural influence than the dance hall industry, but those positions had clearly undergone a switch by the 1950s. Ballroom dancing eventually became a niche professional art form, while many of the 1920s dance halls continued to operate for decades after their establishment, even as they faced new challenges of their own.

scholarly journals Education Genres Animated Poster in the Second Half of the 20th Century

2016 ◽  
Vol 8 (4) ◽  
pp. 28-42
Author(s):  
Natalia G Krivulya
Keyword(s):  
Web Sites ◽  
New Technologies ◽  
Digital Technologies ◽  
Soviet Period ◽  
Special Role ◽  
Social Strategies ◽  
Outdoor Advertising ◽  
The 1950S ◽  
The 1960S ◽  
Artistic Image

After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.

scholarly journals Modernism and Record Covers: Raising the Status of Jazz in Sweden

2021 ◽  
pp. 174997552110523
Author(s):  
Mischa van Kan
Keyword(s):  
Social Status ◽  
Main Question ◽  
Written Discourse ◽  
Case Record ◽  
Visual Objects ◽  
Visual Elements ◽  
Art Form ◽  
The Social ◽  
The Status ◽  
The 1950S

By introducing a wider understanding of the discourse of modernism at the time that record covers were introduced, this article investigates record covers as a means through which various actors in the Swedish jazz scene connected jazz with modernist art forms. In the 1950s, specific designs for record sleeves became integrated into the ways in which jazz was mediated in Sweden, which coincided with wider debates about whether jazz could be seen as an art form. The main question of this article is: How did the artwork on record covers influence the acceptance of jazz as an art form in Sweden? In responding to this question, the article aims to demonstrate that, in addition to written discourse, visual objects – in this case record covers – were of great importance to the rising status of jazz in Sweden in the 1950s and 1960s. More broadly, I argue that the visual elements in music cultures can be just as important, if not more so, than written forms of discourse, for negotiating the social status of music.

scholarly journals Defending the aesthetic: the conservation of an artists’ book

2013 ◽  
Vol 38 (1) ◽  
pp. 32-37
Author(s):  
Erica Foden-Lenahan ◽  
Gustavo Grandal Montero ◽  
Ana Paula Hirata Tanaka
Keyword(s):  
21St Century ◽  
Poor Quality ◽  
The Internet ◽  
Internet Age ◽  
Art Form ◽  
50Th Birthday ◽  
Artist's Book ◽  
The Aesthetic ◽  
Opening Up

Modern and contemporary books, easily replaceable in the internet age, are weeded from collections and disposed of because of their poor quality materials and construction. For an art library, where obsolescence is rarely an issue, the 20th- and 21st-century book can be a problem. Rare and seminal works in our collections are crumbling because they are acidic or perhaps they just cannot withstand the handling (and photocopying). We have become alert to the conservation of books from the hand-press period, but do not always know what to do with recent publications, or we cannot afford to undertake the measures necessary. As the artist’s book as an art form reaches its 50th birthday, we highlight the conservation of one such volume, in hopes of opening up discussion about the care of our contemporary treasures.

scholarly journals Principles of digital technologies introduction in the cultural and artistic practice

2020 ◽  
Author(s):  
Tetyana Sovgyra
Keyword(s):  
Artificial Intelligence ◽  
Digital Technology ◽  
Digital Technologies ◽  
Integrated Approach ◽  
Artistic Process ◽  
Works Of Art ◽  
Art Form ◽  
Algorithmic Art ◽  
Artificial Intelligence Technology ◽  
Static Images

Purpose of the Article. The study is related to the study of the current state of culture and best practices in using the latest digital technologies in the cultural and artistic process. The author analyzes the specifics of the works created through the use of "artificial intelligence" technology. The methodology is based on an integrated approach and analytical (in the analysis of philosophical, art history, cultural literature on the subject of research), historical (in clarifying the stages of the formation of algorithmic art as a modern art form) and conceptual (in analyzing and characterizing the conceptual and terminological research system) research methods. The scientific novelty lies in the fact that for the first time the specifics of using digital technologies, in particular artificial intelligence, in the field of art, is considered. The article discusses the role of digital technology in the process of creating works of art. Conclusions. It was revealed that artificial intelligence is a technology that can only produce invariants of already created masterpieces, the recombination of what has already been created by man. Using digital technology, you can create not only static images in the form of paintings printed on a 3D printer but also dynamic video installations. The principles of the functioning of artificial intelligence technology in the process of creating works of art are considered. It was revealed that with the help of artificial neural networks commercial projects related to the recognition of images and sound information are successfully implemented.

Up Close and Personal: Opera and Television Broadcasting in the 1950s

2019 ◽  
Vol 13 (2) ◽  
pp. 216-231
Author(s):  
DANIELLE WARD-GRIFFIN
Keyword(s):  
Leonard Bernstein ◽  
Metropolitan Opera ◽  
Art Form ◽  
Television Broadcasting ◽  
Opera House ◽  
South Bend ◽  
The 1950S ◽  
Television Producers

AbstractThis article examines early pedagogical experiments in opera on television that were meant to attract new audiences in the 1950s. The aesthetics of early television have often been thought to run contrary to opera, particularly in its grander iterations, but I argue that television producers capitalized upon the traits of early television to personalize opera, both on and off screen. Comparing two NBC pedagogical initiatives—a 1958 Omnibus program starring Leonard Bernstein and the 1956–57 visits of the NBC Opera Company to Saint Mary's College (South Bend, Indiana)—I explore how these efforts were meant to approximate the opera fan's experience as well as prepare audience members to enter the opera house. Ultimately, although opera on television failed to secure a strong foothold in the 1950s, it helped to re-envision the ways in which American audiences could relate to the art form and set the terms for the Metropolitan Opera Live in HD broadcasts today.

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