Machine-Assisted Learning in Highly-Interdisciplinary Media Fields: A Multimedia Guide on Modern Art

Art and technology have always been very tightly intertwined, presenting strong influences on each other. On the other hand, technological evolution led to today’s digital media landscape, elaborating mediated communication tools, thus providing new creative means of expression (i.e., new-media art). Rich-media interaction can expedite the whole process into an augmented schooling experience though art cannot be easily enclosed in classical teaching procedures. The current work focuses on the deployment of a modern-art web-guide, aiming at enhancing traditional approaches with machine-assisted blended-learning. In this perspective, “machine” has a two-folded goal: to offer highly-interdisciplinary multimedia services for both in-class demonstration and self-training support, and to crowdsource users’ feedback, as to train artificial intelligence systems on painting movements semantics. The paper presents the implementation of the “Istoriart” website through the main phases of Analysis, Design, Development, and Evaluation, while also answering typical questions regarding its impact on the targeted audience. Hence, elaborating on this constructive case study, initial hypotheses on the multidisciplinary usefulness, and contribution of the new digital services are put into test and verified.

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ISEA 2011. International Symposium on Electronic Art

Nordisk Museologi ◽

10.5617/nm.3139 ◽

1970 ◽

pp. 162

Author(s):

Mikkel Thelle

Keyword(s):

New Media ◽

Digital Media ◽

Cultural History ◽

Culture Media ◽

Media Art ◽

Global Culture ◽

New Media Art ◽

Electronic Art ◽

Art And Culture ◽

The Many

Rather than being a conference, ISEA 2011 is a festival of digital media, art and culture. The many different formats and activities are stimulating, but it is also sometimes difficult to find an overall perspective from which to describe the whole event. This year ISEA, which is one of the major digital festivals, was held in Istanbul, a city whose diversity was a mirror of the event itself. Among the many sessions can be highlighted themes such as “the logarithmic turning point”, which focuses on the influence that digital programming has had on global culture; ”media architecture”, understood as interactive façades in urban spaces; ”the curatorial gesture”, about curating and archiving new media and the issues around the role of New Media Art in art history. More generally, ISEA was permeated by the new media replication and unpredictabi- lity of new media, one expression of which was the festival’s ”Uncontainable” curatorial theme. As a negotiation of form and content, museums of cultural history in particular have something to learn from art and new media.

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The Existence of Conventional Mass Media in the Center of New Media

MEDIASI ◽

10.46961/mediasi.v1i1.401 ◽

2020 ◽

Vol 1 (1) ◽

pp. 54-62

Author(s):

Tika Yulianti

Keyword(s):

Mass Media ◽

New Media ◽

Digital Media ◽

Social Order ◽

Computer Mediated Communication ◽

The Internet ◽

Mediated Communication ◽

Tv Viewing ◽

Computer Mediated ◽

The Social

The presence of new media (new media) based on Computer Mediated Communication (CMC) that relies on Internet connection is undeniable to change social order in the community. Thus, the existence of the conventional media became a question in the middle of the new media was presented in the social order. Based on Nielsen study in 2018, Indonesian consumers now spend an average of 5 hours every day consuming content, either through conventional media or the Internet. The research also shows that the TV viewing duration is still the highest, which is an average of 4 hours and 53 minutes per day, the duration of accessing the Internet is the second highest which is an average of 3 hours 14 minutes per day; followed by listening to Radio (2 hours 11 minutes), reading the newspaper (31 minutes) and reading the magazine (24 minutes). Beside that, the increase in Internet consumption makes dual-screen habits between digital media and conventional media becomes something common. There are at least 50 percent duplication between TV and Digital, 62 percent duplication on Radio vs Digital, while the print and Digital Media duplication reaches 72 percent. Based on the description, the convergence becomes one of the keys on mass media existence in the present era.

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Design practice of interactive imaging art in the new media art-Taking “Ink-wash Tai Chi” as an example

MATEC Web of Conferences ◽

10.1051/matecconf/201927702023 ◽

2019 ◽

Vol 277 ◽

pp. 02023

Author(s):

Lu Geng ◽

Lei Cao

Keyword(s):

New Media ◽

Digital Media ◽

Tai Chi ◽

Digital Art ◽

Interactive Methods ◽

Design Practice ◽

Motion Data ◽

New Media Art ◽

Development Tendency ◽

Interactive Experience

In order to be accepted by the extensive public, the traditional culture requires digital media interactive methods featuring “diversified sensual experiences” and “interactivity” to adapt better to the development tendency of cultural communication under the background of new media. The design practice, with Tai Chi culture as the content and using motion data captured by infrared sensor Kinect combined with digital art creation platform Processing as the technical measures to implement interactive imaging. The work will give interactive experience to the experiencer and promote the spread of Tai Chi culture.

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Roads to Recursion. Some historiographical remarks on a core category of Media Art

Revista ICONO14 ◽

10.7195/ri14.v12i2.682 ◽

2014 ◽

Vol 12 (2) ◽

pp. 70-85

Author(s):

Slavko Kacunko

Keyword(s):

New Media ◽

Digital Media ◽

Open System ◽

Art History ◽

Closed Circuit ◽

Media Art ◽

New Media Art ◽

The Third ◽

Core Category ◽

Special Respect

In this paper, the general arena between analogue and digital media art is explored with special respect to the concept of the ‘newness’ of media. The first part confirms the Closed Circuit as an ‘open system’ related to its right to an evolution towards increasing complexity without the reciprocal playing-off of self-referential ‘life’ against ‘hetero-referential’ technique. The second part refers to the continuity of research undertaken in media, art and art-history and discussion in related fields while the concepts of ‘new’ media have repeatedly admitted the Closed Circuit as a core category in ‘New’ Media Art. The third part introduces one content-related categorization of Closed Circuit video installations which has been regarded as representative for the general ‘fields of inquiry’ of both analogue and digital media art.

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The Robot Does Not Exist: Remixing Psychic Automatism and Artificial Creative Intelligence

Media-N ◽

10.21900/j.median.v17i1.810 ◽

2021 ◽

Vol 17 (1) ◽

Author(s):

Mark Amerika ◽

Laura Hyunjhee Kim ◽

Brad Gallagher

Keyword(s):

New Media ◽

Digital Media ◽

Source Material ◽

New Music ◽

Music Video ◽

Scholarly Book ◽

New Media Art ◽

Media Object ◽

Creative Intelligence ◽

Psychic Automatism

In the just-published Remixing Persona: An Imaginary Digital Media Object from the Onto-Tales of the Digital Afterlife, artists Mark Amerika and Laura Hyunjhee Kim perform as MALK, a new media remix band that ruminates on the post-digital life of the traditional scholarly book. Working against the concept of an e-book, the publication includes an original music video titled the Digital Afterlife as well as a downloadable PDF that the artists refer to as an imaginary digital media object (IDMO). The work has been released as the inaugural publication in the new MEDIA : ART : WRITE : NOW series with Open Humanities Press. For this special issue of Media-N, MALK proposes their next IDMO track by focusing on the relationship between AI-generated forms of remix and artist-generated forms of psychic automatism. The experiment will start with the artists improvising a cluster of hand-drawn charts that conceptually blend their musings on what they refer to as “future forms of artificial creative intelligence.” The language in these charts will then serve as source material to input into an advanced Generative Pre-trained Transformer to trigger source material for a new music video and an adjoining PDF. Our question is whether the Generative Pre-trained Transformer as an advanced yet still essentially weak AI can co-write the artists’ IDMO as they address issues related to their research into psychic automatism and artificial creative intelligence.

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Art, Science, Technology: Six Exhibitions 1966–1998

Leonardo ◽

10.1162/leon_a_01163 ◽

2019 ◽

Vol 52 (2) ◽

pp. 194-195

Author(s):

Frank Popper

Keyword(s):

New Media ◽

Theoretical Foundation ◽

Modern Art ◽

Museum Of Modern Art ◽

New Media Art ◽

Art And Technology ◽

Science Technology ◽

The Spectator ◽

The Aesthetic ◽

The City

From the late 1960s until the end of the twentieth century, the author organized, or helped organize, six exhibitions throughout Europe that saw artists integrate and alter the collective destinies of science, art and technology. The works of art presented at these exhibitions: KunstLichtKunst at the Stedelijk Van Abbe Museum in Eindhoven; the Lumière et Mouvement exhibition at the Musée d’Art Moderne de la Ville de Paris; Cinétisme, Spectacle, Environnement, held at the Mobile theater of the Maison de la Culture in Grenoble; Interventions and Environments in the Streets of Paris and in Its Suburbs and Electra at the Museum of Modern Art of the City of Paris; and the Virtual Art show in Boulogne-Billancourt in 1998, did more than just lay a formal and theoretical foundation for new media art to follow—they challenged the perceptions of both the spectator of the art as well as other artists working in this area. This article chronicles the aesthetic and societal ramifications, particularly within the artistic community, that the works in these exhibitions created.

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MEDIA BARU DIGITAL SEBAGAI PERETAS KONTEKS KOMUNIKASI ANTAR PRIBADI DAN KELOMPOK

Islamic Communication Journal ◽

10.21580/icj.2018.3.2.2930 ◽

2018 ◽

Vol 3 (2) ◽

pp. 180

Author(s):

Reza Praditya Yudha ◽

Irwansyah Irwansyah Irwansyah

Keyword(s):

New Media ◽

Digital Media ◽

Interpersonal Communication ◽

Group Communication ◽

Shared Meaning ◽

Media Communication ◽

Whole Process ◽

Communication Context ◽

Definition Of

Digital media creates a gap in the definition of the communication context created by West & Turner (2010). Situational boundaries are increasingly unclear when in the whole process the number of participants, distance, space, feedback, media functions, and variety of channels are integrated. This study aims to analyze the implications of digital media functions in elaborating interpersonal communication to successfully mobilize groups. The study was conducted by reviewing the literature on new digital media theories. As a result, connectedness occurs as a character of interpersonal communication in digital new media. When these context is elaborated by digital media so that integrating more participants, interaction is not just merely connection anymore, but focuses on shared meaning. At this point the context is shifted into group communication. Keywords : new digital media, communication context, interpersonal communication, group communication

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Digital and Technical Developments in the Amblyopia Therapy

Klinische Monatsblätter für Augenheilkunde ◽

10.1055/a-1264-8048 ◽

2020 ◽

Vol 237 (10) ◽

pp. 1172-1176

Author(s):

Charlotte Schramm ◽

Yaroslava Wenner

Keyword(s):

New Media ◽

Digital Media ◽

Technical Progress ◽

Therapy Monitoring ◽

Everyday Lives ◽

Technical Developments ◽

The Future

AbstractThe digital media becomes more and more common in our everyday lives. So it is not surprising that technical progress is also leaving its mark on amblyopia therapy. New media and technologies can be used both in the actual amblyopia therapy or therapy monitoring. In particular in this review shutter glasses, therapy monitoring and analysis using microsensors and newer video programs for amblyopia therapy are presented and critically discussed. Currently, these cannot yet replace classic amblyopia therapy. They represent interesting options that will occupy us even more in the future.

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Coda: The Rosetta Stone

10.3366/edinburgh/9781474424776.003.0008 ◽

2018 ◽

Author(s):

Jesse Schotter

Keyword(s):

Twentieth Century ◽

New Media ◽

Digital Media ◽

The Novel ◽

Digital Code ◽

Media Technologies ◽

Rosetta Stone ◽

The World ◽

Western Imagination ◽

Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

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New Media Art Research Focused on Tactile Symbols

TECHART Journal of Arts and Imaging Science ◽

10.15323/techart.2019.5.6.2.14 ◽

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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