scholarly journals The rhetoric of remix

2012 ◽  
Vol 9 ◽  
Author(s):  
Virginia Kuhn
Keyword(s):  
Visual Arts ◽  
Digital Technologies ◽  
Discourse Communities ◽  
Rhetorical Strategies ◽  
Text And Image ◽  
Semiotic Resources ◽  
History Of ◽  
Literacy Narrative

The affordances of digital technologies increase the available semiotic resources through which one may speak. In this context, video remix becomes a rich avenue for communication and expression in ways that have heretofore been the province of big media. Yet recent attempts to categorize remix are limiting, mainly as a result of their reliance on the visual arts and cinema theory as the gauge by which remix is measured. A more valuable view of remix is as a digital argument that works across the registers of sound, text, and image to make claims and provides evidence to support those claims. After exploring the roots of contemporary notions of orality, literacy, narrative and rhetoric, I turn to examples of marginalized, disparate artifacts that are already in danger of neglect in the burgeoning history of remix. In examining these pieces in terms of remix theory to date, a more expansive view is warranted. An approach based on digital argument is capable of accounting for the rhetorical strategies of the formal elements of remixes while still attending to the specificity of the discourse communities from which they arise. This effort intervenes in current conversations and sparks enhancement of its concepts to shape the mediascape.

scholarly journals Det multimodale ikon

2013 ◽  
Vol 28 (69) ◽  
Author(s):  
Joseph M. Conte
Keyword(s):  
Popular Culture ◽  
Digital Media ◽  
Visual Arts ◽  
Text And Image ◽  
Cognitive Poetics ◽  
Interpretive Skills ◽  
History Of

I den indledende artikel af Joseph M. Conte, “Det multimodale ikon: Syn, lyd og kognition i nyere poesi”, opridses poesiens historie frem til i dag med udgangspunkt i den tese, at der er sket et skift i den måde, hvorpå vi afkoder poesi. Mens man tidligereopfattede poesi som en kunstart, der kun udtrykte sig i én kode, nemlig bogstaverne på bogsiden, er digtet i den digitale tidsalder blevet et multimodalt ikon, i hvilket tekst og billede samvirker i betydningsdannelsen på en kompleks måde. Hvis fortolkeren skal være på højde med den nyeste poesi, kræver det ifølge Contesåledes også nye tilgange og kompetencer.Joseph M. Conte: “The Multimodal Icon: Sight, Sound and Intellection in Recent Poetries”This article examines the shift from single to multiple semiotic modes in poetry during the age of digital media. While one can argue that in the history of poetry the text has always represented “sight, sound and intellection,” the propagation of digital media and the devolution of popular culture into a predominantly graphical regime have made an irrevocable impression on poetry on-the-page. The production of multimodal poetry in print literature presents the hybridization of text and image, or typography and the visual arts. In the multimodal poetry of Emily McVarish,Steve McCaffery and Geof Huth, the reader encounters two or more semiotic modes simultaneously. The relation between text and image is not one of dependency or autonomy but rather a bilateral interactivity that requires and stimulates a cognitive poetics. Such print works demand that readers pursue a multiplicity of readingpaths and develop the interpretive skills required by multimodal metaphor in which signs are drawn from more than one mode.

Italian Minor Theatre, 2000–14: the Development of ‘Short Forms’ and the Politics of the Stage

2019 ◽  
Vol 35 (03) ◽  
pp. 195-208
Author(s):  
Silvia Mei
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Modern Dance ◽  
Minor Literature ◽  
Philosophical Concept ◽  
Short Forms ◽  
Research Fellow ◽  
History Of ◽  
Expressive Dimension ◽  
The University

Brevity in experimental Italian theatre is not merely an expressive dimension of scenic creation, but a forma mentis, a conceptual vocation of young companies. The 2000s produced a minor theatre in Italy – first because of the reduced stage size, and second because of the brevity of works such as installation pieces. Moving from the linguistic disintegration of the historical avant-gardes of the twentieth century, this theatre is especially inspired by the visual arts, even though its historical roots remain fragmented and art is still seen in the synthetic language of modern dance and Futurist variety. Short forms actually become a tool for crossing artistic genres and languages. Starting from Deleuze’s and Guattari’s philosophical concept of minor literature, in this article Silvia Mei explores and analyzes work by such Italian contemporary companies as gruppo nanou, Città di Ebla, Anagoor, Opera, ErosAntEros, and Teatro Sotterraneo – all representative of what can be called installation theatre, a new theatrical wave that crosses the boundaries and specificities of artistic language, leading to the deterritorialization of theatre itself, a rethinking of the artistic work as well as its relationship with the audience. Silvia Mei is Adjunct Professor of the History of Theatre Directing and Theatre Iconography at the University of Bologna, having been a Research Fellow at the University of Turin. Her recent publications include ‘La terza avanguardia: ortografie dell’ultima scena italiana’, in Culture Teatrali, No. 14 (2015), and Displace Altofest (Valletta: Malta 2018 Foundation).

History of Art: A Survey of the Major Visual Arts from the Dawn of History to the Present Day

Art Journal ◽  
1963 ◽  
Vol 23 (1) ◽  
pp. 74
Author(s):  
Edwin C. Rae ◽  
H. W. Janson ◽  
Dora Jane Janson
Keyword(s):  
Visual Arts ◽  
History Of Art ◽  
History Of

History of the Word "Democracy" in Canada and Québec: A Political Analysis of Rhetorical Strategies

2010 ◽  
Vol 6 (1) ◽  
Author(s):  
Francis Dupuis-Déri
Keyword(s):  
The United States ◽  
Political Elite ◽  
Political Regime ◽  
The Political ◽  
Rhetorical Strategies ◽  
Founding Fathers ◽  
Discursive Strategies ◽  
Political Analysis ◽  
History Of ◽  
The Masses

An examination of the speeches of modern Canada’s “founding fathers” reveals that they were openly antidemocratic. How did a regime founded on anti-democratic ideas come to be positively identified with democracy? Drawing on similar studies of the United States and France, this analysis of the history of the term democracy in Canada shows that the country’s association with democracy was not due to constitutional or institutional changes that might have justified re-labelling the country’s political regime. Rather, it was the result of discursive strategies employed by the political elite to strengthen its ability to mobilize the masses during the World Wars.

A History of Art Education: Intellectual and Social Currents in Teaching the Visual Arts

1991 ◽  
Vol 31 (1) ◽  
pp. 168
Author(s):  
Mary Ann Stankiewicz ◽  
Arthur D. Efland
Keyword(s):  
Art Education ◽  
Visual Arts ◽  
History Of Art ◽  
History Of

scholarly journals Shakespeare in Digital Games and Virtual Worlds

2018 ◽  
Vol 18 (33) ◽  
pp. 129-144 ◽  
Author(s):  
Eleni Timplalexi
Keyword(s):  
Visual Arts ◽  
Virtual Worlds ◽  
Virtual World ◽  
Digital Games ◽  
Fundamental Aspect ◽  
Digital Gaming ◽  
Digital Performance ◽  
History Of ◽  
Immense Potential ◽  
First Time

Shakespeare’s plays have long flirted with using various artistic and medial forms other than theatre, such as cinema, music, visual arts, television, comics, animation and, lately, digital games and virtual worlds. Especially in the 20th and 21st century, a fascination with Shakespeare both as a historical and theatrical figure and as a playwright has become evident in screen based media (cinema, television and video), ranging from “faithful,” almost documented performances of his plays to free style adaptations or vague film references. Digital games and virtual worlds carry on this tradition of the transmedial journey of Shakespeare’s plays to screen based media but top it up with new forms of interaction and performativity. For the first time in the history of mankind everyone can enjoy firsthand from his armchair and for free the experience of taking part in a play by the Bard by entering a virtual world as if it was a stage and by assuming roles through avatars. The article attempts first to introduce the reader to the deeper needs that gave rise to animation, a fundamental aspect of digital gaming and virtual worlds. It then tries to illuminate the various facets of digital performance and gaming, especially in relation to Shakespeare-themed and inspired digital games and virtual worlds, by putting forward some axes of classification. Finally, it both suggests some ideas that may be of use in rendering the Shakespeare gaming experience more “complete” and “theatrical” and ends by acknowledging the immense potential for the exploration of theatricality and performativity in digital games and virtual worlds.

Blockade of Leningrad in the visual arts

2020 ◽  
pp. 51-58
Author(s):  
S. T. Makhlina ◽  
Keyword(s):  
Visual Arts ◽  
Civic Duty ◽  
Soviet Art ◽  
Great Patriotic War ◽  
History Of ◽  
The City ◽  
Propaganda Posters

In the history of wars, humanity has more than once met with the blockade of cities of one of the belligerent countries. The blockade of Leningrad introduced a new page in the history of mankind. The artists who lived in the city during the blockade did not stop their work, understanding it as their civic duty, contributing to confronting the enemy and giving hope to achieve victory. Every day on the streets of Leningrad there were propaganda posters, caricatures of enemies, which were created by graphic artists, painters and sculptors. The works created by them entered the treasury of Soviet art and represent its golden fund. Despite all the difficulties of life in the besieged city, exhibitions were organized in it. The years of the Great Patriotic War inscribed a special page in the history of Soviet art, reflected the life of Leningraders in the besieged city and their struggle for victory over the enemy.

Comparing Digital vs Paper Decision Aids about the Use of Antipsychotic Medication: Client, Clinician, Caregiver and Administrator Perspectives

2017 ◽  
Vol 7 (1) ◽  
pp. 21-30
Author(s):  
Yaara Zisman-Ilani ◽  
Ksenia O Gorbenko ◽  
David Shern ◽  
Glyn Elwyn
Keyword(s):  
Decision Making ◽  
Decision Aids ◽  
Digital Technologies ◽  
Psychiatric Medication ◽  
Structured Interviews ◽  
Medical Decisions ◽  
Digital Devices ◽  
Stakeholder Groups ◽  
Digital Format ◽  
History Of

Objective: Decision Aids (DAs) help patients participate in medical decisions. DAs can be in paper or digital format, but little is known about the readiness of people with psychosis to use digital technologies for decision-making in psychiatry. We evaluated attitudes and readiness for digital DAs among four stakeholder groups: people with psychosis, clinicians, caregivers, and administrators.Methods: Semi-structured interviews included 19 respondents: six people with a history of psychosis (clients), six clinicians, five caregivers, and two administrators. We recorded, transcribed, and coded interviews for themes using a qualitative inductive analytic process.Results: Our analysis revealed three key themes addressing readiness for involvement in an interactive digital decision-making: (1) preferences for paper DAs; (2) disadvantages of digital DAs (lack of computer skills, lack of access to digital devices, compounded by clients’ age and socioeconomic status); (3) advantages of digital DAs (accessibility to illiterate people or those with disabilities, decrease in cognitive burden).Conclusions: Our study suggests that the introduction of digital DAs into psychiatric medication consultations could be potentially well received. Appropriate training and access to digital devices may facilitate the adoption of digital DAs in mental health care. 

»Die Natur braucht keine Namen«

Rhetorik ◽  
2019 ◽  
Vol 38 (1) ◽  
pp. 72-93
Author(s):  
Julia Enzinger
Keyword(s):  
Present Article ◽  
Swiss Alps ◽  
Rhetorical Strategies ◽  
Human History ◽  
Geological Time ◽  
Literary Representation ◽  
Self Reflection ◽  
History Of ◽  
Do So

Abstract The present article investigates the literary representation of biographical and geological coherence in Max Frisch’s narrative Der Mensch erscheint im Holozän (1979), a story about a pensioner suffering from dementia, who has to cope with both the erosion of his memory as well as the geological erosion in the Swiss Alps. On the basis of Hayden White’s tropics of discourse and Stephen Jay Gould’s study on Myth and Metaphor in the Discovery of Geological Time, the rhetorical strategies being used by Frisch are examined in order to articulate the tension between human history and the history of nature and earth. Focusing on the two main tropes in the text, synecdoche and irony, the analysis will show how the text tries to escape forms of anthropomorphism – especially by generating a ›transhuman‹ perspective – but ultimately confesses its failure to do so. Holozän thus can be seen as an ironical (self-)reflection on the limits of rhetoric and language in terms of depicting non-human history.

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