Journal articles: 'Media Studies and Art History'

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Thomas, Alexandra. "A Review of "Media Primitivism"." Media-N 18, no. 1 (February 1, 2022): 143–46. http://dx.doi.org/10.21900/j.median.v18i1.870.

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This is a review of Delinda Collier’s 2020 book, Media Primitivism: Technological Art in Africa, that examines its importance to the fields of art history and media studies. Collier raises fundamental concerns about racist allegories that are often left unquestioned in foundational media theory texts. In so doing, she engages the role of mediation in African art history without relying on primitivizing rhetoric.

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Bee, Susan. "Tangled Tango: A Personal History." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 140. http://dx.doi.org/10.25038/am.v0i19.308.

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Kestner, Joseph A. "VICTORIAN ART HISTORY: RAP 2 UNWRAPPED." Victorian Literature and Culture 29, no. 1 (March 2001): 149–58. http://dx.doi.org/10.1017/s1060150301291098.

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AT THE END OF THE TWENTIETH CENTURY, Victorian painting experienced at least one mass media event, so far as circulation is concerned — the appearance of Frederic Leighton’s The Bath of Psyche (1890) on the wall of the drug kingpin in Paul Thomas Anderson’s notorious film Boogie Nights of 1997. As a ferocious deal is going awry, over the desperate dealers looms one of the masterpieces of the Victorian High Renaissance, a commentary through the cool classicism of the late Victorians about the corresponding fin-de-siècle of the lately finished century. It is a stunning moment — perhaps recognized only by historians of British art — but there it is nonetheless. One is to presume that the dealer has acquired the original from the Tate Gallery, since he would never own a copy, let alone a poster! Busboy superstud Mark Wahlberg has brief, violent contact with a masterpiece.

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Polonyi, Eszter. "Media archaeology in cinema studies and art history: a response to Thomas Elsaesser’s ‘Media Archaeology as Symptom’." New Review of Film and Television Studies 14, no. 2 (March 16, 2016): 216–21. http://dx.doi.org/10.1080/17400309.2016.1152073.

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Kacunko, Slavko. "M.A.D.: Media Art Database(s) and the Challenges of Taste, Evaluation and Appraisal." Leonardo 42, no. 3 (June 2009): 245–50. http://dx.doi.org/10.1162/leon.2009.42.3.245.

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This essay seeks to delineate the possible mutual benefits that different disciplines such as art history, media studies, computer science, etc. might derive from their specific efforts at formulating requirements and strategies for the appraisal of records and data as well as scientific and other concepts related to media art in its widest sense. In this context, the author presents the M.A.D. Media Art Database project as an information system at the disposal of media art and its history and theory, and as a network interface between archived material and knowledge. With its bottom-up structure, the M.A.D. database is proposed as a decisive motive force in assembling potent aggregates of knowledge and expertise.

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Van Remoortel, Marianne, Kristin Ewins, Maaike Koffeman, and Matthew Philpotts. "Joining Forces: European Periodical Studies as a New Research Field." Journal of European Periodical Studies 1, no. 1 (July 5, 2016): 1. http://dx.doi.org/10.21825/jeps.v1i1.2573.

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In recent decades, periodical studies have burgeoned into a vibrant field of research. Increasing numbers of scholars working in disciplines across the humanities — literary studies, history, art history, gender studies, media studies, legal history, to name a few — are exploring the press as a key site for cultural production, public debate and the dissemination of knowledge. [...]

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Gräf, Bettina, and Laura Hindelang. "No Spaces without History." Middle East Journal of Culture and Communication 15, no. 3 (September 6, 2022): 219–39. http://dx.doi.org/10.1163/18739865-01503001.

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Abstract Research on urban spaces in the Gulf region has increased substantially over the last two decades, particularly with a strong focus on contemporary phenomena. However, this focus often overlooks entangled histories and past trajectories that are formative for the present. Moreover, it perpetuates the notion of the region’s ahistoricity. To challenge the Gulf cities’ presumed lack of history, we have used a media-historical approach engaging with the history of a medium (e.g., architecture, film, magazine, photography, social media) in relation to a specific city. The article first provides an overview of recent research on the Gulf’s urban cultures in various disciplines. After introducing our approach, the article then considers temporality and spatiality as research perspectives in media studies and subsequently shifts to established media-historical approaches within Middle Eastern and South Asian area studies. It evaluates the complexities of writing on the art and architectural histories of the Gulf as specific forms of media. Finally, it addresses the potential of transdisciplinarity and collaboration as methods resituating the Gulf within the Arab region, the Persianate world and the Indian Ocean, respectively.

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Gencer, Yasemin. "Translation, Print Media, and Image in Arab Modern Art." Review of Middle East Studies 54, no. 1 (June 2020): 37–49. http://dx.doi.org/10.1017/rms.2020.6.

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AbstractThe anthology of primary sources presented in Modern Art in the Arab World reveals a wealth of ideas, attitudes, hopes, fears, and concerns surrounding the many facets of modernism and art. The essays therein provide first-hand accounts of developing art scenes from across the Arab world and their relationships to their audiences on local, national, transnational, and global scales. These documents, many of which have been translated from Arabic or French into English for the first time, offer individual, in situ insights into a broad range of issues pertaining to art in the twentieth century while furnishing readers with numerous threads that connect these geographies with changes through time. Four matters in particular – the centrality of translation, print media, art, and image management to modernization – permeate this anthology's content and will be explored further in the following essay.

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Dedić, Nikola. "The notion and meaning of interdisciplinarity in the studies of art and media." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 196–211. http://dx.doi.org/10.5937/saj1202196d.

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This text attempts to mark the difference between traditional, modern, monodisciplinary and contemporary interdisciplinary approaches within the analysis of reception of media and artistic contents. Monodisciplinary approaches are connected with the classical basis of humanistic and social sciences which are related to the definition of culture based on opposition between mass and elite culture (art). Avant-garde and linguistic turn within social sciences in the 60s realized re-evaluation of the notion of culture-culture is not seen anymore as a sum of elite products of human spirit but rather as a production of cultural meaning, i.e. as a discourse. This turn enabled interdisciplinary turn within the sciences as aesthetics and art history and also enabled the emergence of contemporary interdisciplinary media theory.

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Edwards, Natalie, Christopher Hogarth, and Gemma King. "Introduction: Mobility across media in the Francophone world." French Cultural Studies 29, no. 1 (January 12, 2018): 3–7. http://dx.doi.org/10.1177/0957155817739763.

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This introduces the special issue on mobility across media in various areas of the Francophone world. Articles treat the notion of mobility as understood in film, literature, visual art and advertising and explore how genres as well as national traditions intersect. They explore a range of representations of mobility, such as the mobility between people, between genres, between languages, between artistic forms and between texts across historical periods. We show that the terminology regarding movement is constantly mobile itself, having undergone significant slippage in recent decades. Overall, this volume does not seek to arrest, but to add to, the understanding of the diverse modes of mobility present in the contemporary world.

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Lawrence, William. "Advice to a student of Classics." Journal of Classics Teaching 18, no. 36 (2017): 15–16. http://dx.doi.org/10.1017/s2058631017000162.

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Look at the secondary school timetable and you will see that almost all the subjects are ancient Greek words; so the Greeks studied these ideas first and are worth studying for their ideas in their own language (just like the Romans in Latin!). Greek: Biology, Physics, Zoology, Philosophy, Mathematics, Economics, Politics, Music, Drama, Geography, History, Technology, Theatre Studies. Latin: Greek, Latin, Art, Science, Information (Latin) Technology (Greek), Computer Science, Media Studies.

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Allen, Gwen L. "Art Periodicals and Contemporary Art Worlds (Part I): A Historical Exploration." ARTMargins 5, no. 3 (October 2016): 35–61. http://dx.doi.org/10.1162/artm_a_00157.

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This essay explores the role of art periodicals in art worlds past and present. It examines the histories of Artforum and October within the context of the North American art world of the 1960s and 1970, and contextualizes these publications within a larger field of publishing practices, including self-published Salon pamphlets, little magazines, and artists' periodicals. It explores how the distribution form of the periodical affects the politics of art criticism, and considers how art magazines have served as sites of critical publicity, mediating publics and counterpublics within the art world. It also reflects on the role of magazines and newer online media in the contemporary, globalized art world.

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Borgen, Maibritt. "Fundamental Feedback: Öyvind Fahlström's Kisses Sweeter than Wine." ARTMargins 4, no. 3 (October 2015): 17–39. http://dx.doi.org/10.1162/artm_a_00121.

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The article analyzes Öyvind Fahlström's (1928–1976) performance Kisses Sweeter Than Wine, which took place as part of the festival 9 Evenings: art&engineering in New York (1966). It situates the performance's use of multimedia material as continuations of earlier investigations into manipulating language that played a central part in the artist's practice of both visual art and concrete poetry. It further argues that in Kisses Sweeter Than Wine such manipulations form a series of ruptures into the wider circulation of mass-media images, ruptures that locate Fahlström's use of media images in relation to both Pop Art and the beginning media activism under the Vietnam War.

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Pow, Whitney (Whit). "A Trans Historiography of Glitches and Errors." Feminist Media Histories 7, no. 1 (January 1, 2021): 197–230. http://dx.doi.org/10.1525/fmh.2021.7.1.197.

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In 1978, queer and transgender programmer Jamie Faye Fenton created the first piece of experimental video glitch art, Digital TV Dinner, using the Bally Astrocade, a home computer and game console of her own design that was, for six months, the cheapest home computer available. Digital TV Dinner stands as a record of computational failure: it was created by Fenton through a pointed misuse of the computer system that caused the screen to dissolve into waves of pixelated glitches. What might it mean to center the glitch as a historically trans mode of media production? And how might we write trans media history as a history of unmediation—that is, a history of undoing mediation? A history of things that cannot be documented, or that evade or dismantle mediation, in which the fullness of trans life and history exceeds the images presented in the screen itself?

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Benezra, Karen. "Media Art in Argentina: Ideology and Critique “Después Del Pop”." ARTMargins 1, no. 2–3 (June 2012): 152–75. http://dx.doi.org/10.1162/artm_a_00023.

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This article examines the rise and reception of conceptual art in Argentina. Against dominant readings of the 1960s' and 70s' visual avant-gardes in Latin America, I reconsider the stakes of art's so-called “dematerialization” and its unique claim on ideology critique in the work of the Grupo Arte de los Medios [Media Art Group], a collective of young artists led by the philosopher and literary critic Oscar Masotta. Arguing for a re-historicization of the 1960s avant-garde as one that emerges as a self-reflexive reaction to the novel articulation of late capitalism in Argentina, I trace a critical continuity between the Grupo Arte de los Medios and the avant-gardist claims on the fusion of art and militant politics among its immediate successors. I suggest that the Argentinean avant-garde defined its radical political stance through a reflection on the immanent relation of structural cause to symbolic form, probing and pointing to the limits of the operation of estrangement.

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Loftus, Belinda. "Northern Ireland 1968–1988: Enter an Art Historian in Search of a Useful Theory." Sociological Review 35, no. 1_suppl (May 1987): 99–133. http://dx.doi.org/10.1111/j.1467-954x.1987.tb00084.x.

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Publications and museum or art-gallery displays have tended to separate the visual images related to the Northern Ireland troubles into illustrations of history, works of art and media imagery. These distinct categories to some degree reflect the growing specialisation of art workers in Europe from the late eighteenth century onwards. But in the context of the Northern Ireland conflict visual images patently cut across such distinctions. Fine art works have direct political and therefore historical impact; media images use and are used by the producers of popular emblems; visual styles are held in common by all categories of imagery. The perpetuation of the separate history illustration/artwork/media picture categories when dealing with Northern Ireland imagery is therefore attributed to the formal and informal training of British and Irish historians and art historians. An alternative theoretical basis for examining the images related to the Northern Ireland conflict is suggested, in which those images are seen as parts of visual language codes, whose constant use and re-use simultaneously adds further layers of meaning to them, ensures their real impact on social, political, economic and religious developments, and modifies the overall visual language of their producers/users. This approach is related to the work of German and Austrian art-historians and their successors, American media studies focusing on the links between institutional organisation and visual style, anthropological analyses of ritual symbols and recent sociological use of linguistic theory.

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Baugh, Scott L. "Latin American History and Critical Media Studies: Curricular Explorations." Film & History: An Interdisciplinary Journal of Film and Television Studies 34, no. 2 (2004): 65–85. http://dx.doi.org/10.1353/flm.2004.0035.

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Maier, Carla J., and Holger Schulze. "The Tacit Grooves of Sound Art. Aesthetic Artefacts as Analogue Archives." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 3 (April 9, 2018): 20–35. http://dx.doi.org/10.7146/se.v7i3.105227.

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From the perspective of sound studies and media history this article explores approaches to analogue archives coming from the fi elds of sound art and media art. The authors analyse works of art by two contemporary artists from Berlin and Aarhus focussing on archival practices of storing and retrieving: Marianthi Papalexandri-Alexandri and Morten Riis. What is actually (not merely metaphorically) ‘stored’, ‘inscribed’ or ‘archived’ in and subsequently ‘retrieved’, ‘read’ or even ‘decoded’ from a certain sound artwork? From this starting point the individual artistic practices, the research strategies and the new and surprising ways of archiving and retrieving as invented and refi ned by Papalexandri-Alexandri and Riis are described and analysed. The observed artistic practices, the authors argue, converge in the direction of sonic affordances inherent in the material instruments or storage media: These affordances are stored and retrieved, as they represent the tacit grooves of sound art.

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Collins, J. "Media Studies." Year's Work in Critical and Cultural Theory 3, no. 1 (January 1, 1993): 233–59. http://dx.doi.org/10.1093/ywcct/3.1.233.

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WALSH, J. "Media Studies." Year's Work in Critical and Cultural Theory 6, no. 1 (January 1, 1996): 140–52. http://dx.doi.org/10.1093/ywcct/6.1.140.

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WALSH, J. "Media Studies." Year's Work in Critical and Cultural Theory 7, no. 1 (January 1, 1997): 108–20. http://dx.doi.org/10.1093/ywcct/7.1.108.

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WALSH, J. "Media Studies." Year's Work in Critical and Cultural Theory 8, no. 1 (January 1, 2001): 42–51. http://dx.doi.org/10.1093/ywcct/8.1.42.

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Debby, Nirit Ben-Aryeh. "Art and Sermons: Dominicans and the Jews in Florence’s Santa Maria Novella." Church History and Religious Culture 92, no. 2-3 (2012): 171–200. http://dx.doi.org/10.1163/18712428-09220001.

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This paper analyzes perceptions of the Jews by the Dominican friars in latemedieval Florence and focuses on the encounter between the Christian and Jewish worlds as manifested in Santa Maria Novella church in the oral and visual traditions. The intention is to examine the representations of Jews in a particular context, that of an Italian urban society in the late fourteenth century, especially in the context of mendicant activity, by studying both preaching and art in that context.The article shows the similarities and differences between the visual and the verbal in relation to the different media discussed, and analyzes the complexity of the Dominican perception of the Jews.

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Fox, Claire, and Nicole Martin. "Preserving Pixelvision." Feminist Media Histories 7, no. 1 (January 1, 2021): 40–60. http://dx.doi.org/10.1525/fmh.2021.7.1.40.

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From 1989 to 1998, the artist Sadie Benning created nine video artworks using a Fisher-Price PXL-2000 camera, which records to audiocassette. The resulting video format is known as Pixelvision. This essay, written by video archivists, reviews the history of these works through the lens of audiovisual media preservation, and emerges from research and a series of interviews with the artist and other stakeholders. It aims to create a foundation for a collection assessment of Benning’s early video works, and explores the feasibility of preserving them. With this in mind, the essay traces the creative and technical processes involved in the production, exhibition, conservation, and distribution of such precarious media works, and discusses the innovative, ephemeral, and ultimately vulnerable media created by the PXL-2000 camcorder. This is a study of the fleeting nature of media technology, personal and social histories, and the meaning contained in audiovisual works of art.

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Shen, Ziye. "How Can We Understand the Relationship Between Artists and Their Materials in the Production of Art Glass Through Modern Technology?" Art and Society 1, no. 3 (December 2022): 23–37. http://dx.doi.org/10.56397/as.2022.12.03.

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This essay explores the relationship between the artist and their materials in the production of glass art through modern technology, and the role of glass as a medium in art rather than as a form of craft. It includes a brief history of glass as an artistic medium, the development of glass techniques and their application in the field of art. It reflects on the uniqueness of glass as a sculptural medium because of its optical properties and transparency. The rise of the American Studio Glass movement, a landmark in the history of glass art at the time, changed the tradition of using glass, and many artists began to use it to express their own artistic ideas and aesthetic views, enriching the language of glass art and making it an independent material for artistic expression. With the development of glass as a fine art media and the removal of technical limits on its use, we are seeing an increasing number of artists take use of the aesthetic and conceptual possibilities it provides. The essay uses case studies to show some artists started from materials and made some new attempts to combine works with new media.

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Hussain, Syed Ejaz. "History as Memory: Alexander in South Asian Demotic Literature and Popular Media." Asian Review of World Histories 9, no. 2 (July 16, 2021): 157–88. http://dx.doi.org/10.1163/22879811-12340092.

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Abstract The diversity and range of existing archives on the history and romance of Alexander have projected on him a multiplicity of images. Alexander’s conquests, military achievements, romance, myths, and legends have fascinated writers, scholars, historians, poets, filmmakers, the media, and designers of websites around the world. His invasion of India in 326 BCE left an indelible influence on Indian art, history, and literature. The present essay takes up a theme on which not much work has been done in modern scholarship. It focuses on the nature and diversity of the historical memory of Alexander in modern South Asia, particularly as reflected in modern Urdu and Hindi, the two major languages of the subcontinent. It also examines how Alexander is portrayed in popular culture and India’s nationalist discourse.

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Diop, Alioune. "Art and Peace (1966)." ARTMargins 9, no. 3 (October 2020): 97–100. http://dx.doi.org/10.1162/artm_a_00275.

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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.

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May, Anthony, and XiaoLu Ma. "Hong Kong: Changing Geographies of a Media Capital." Media International Australia 124, no. 1 (August 2007): 156–65. http://dx.doi.org/10.1177/1329878x0712400115.

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Thanks to its stunning entry into the ranks of world cinema in the 1970s, the history of the Hong Kong film industry up to 1997 is relatively well known. However, the coincidence of the Asian economic recession and the city's reintegration into the People's Republic of China (PRC) has worked to obscure recent developments. This article analyses contemporary Hong Kong cinema and its relations with the government of the mainland. We argue that the economic, cultural and geopolitical location of the city is contributing to developments that will allow the art cinema of the People's Republic of China to engage in international, Hollywood-dominated markets. Matters to do with production investment, censorship and film exhibition business are analysed in terms of the development of and revisions to the Closer Economic Partnership arrangement that now governs trade between the PRC and the Hong Kong Special Administrative Region (HKSAR).

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Saglier, Viviane. "Arab Americans in Film: From Hollywood and Egyptian Stereotypes to Self-Representation." Review of Middle East Studies 54, no. 2 (December 2020): 328–35. http://dx.doi.org/10.1017/rms.2021.7.

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What can film studies bring to the study of Arab culture, politics, and history? The past ten years have seen an increase in historical, theoretical, and methodological exchanges between Middle East studies and film and media studies. The sub-field of “Arab film studies” (Ginsberg and Lippard 2020, viii) has emerged as one possible intersection of these two fields of inquiry. This is illustrated by two recent book series, the Cinema and Media Cultures in the Middle East series at Peter Lang Publishing (edited by Terri Ginsberg and Chris Lippard) and the Palgrave Studies in Arab Cinema series at Palgrave Macmillan (edited by Nezar Andary and Samirah Alkassim). Waleed Mahdi's Arab Americans in Film (2020) and Peter Limbrick's Arab Modernism as World Cinema: The Films of Moumen Smihi (2020) consolidate these exchanges across ethnic studies, area studies, political sciences, (art) history, and film and media studies. While Mahdi primarily positions himself from within ethnic studies and Limbrick is first a film scholar, both have published in reference journals in film studies, Middle East studies, and cultural studies.

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Pobst, James H. "Book Review: American Media History." Journal of Communication Inquiry 29, no. 3 (July 2005): 273–76. http://dx.doi.org/10.1177/0196859905275481.

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Harutyunyan, Angela. "The Real and/as Representation: TV, Video, and Contemporary Art in Armenia." ARTMargins 1, no. 1 (February 2012): 88–109. http://dx.doi.org/10.1162/artm_a_00002.

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The article situates video art produced in Armenia in the late 1990s and early 2000s in the framework of larger social transformations from modern to post-modern society. It explores the ways in which the paradigm shift in media representations in Armenia affected art production and reception. By critically examining theories of video art as developed in the context of the Euro-American academia and their applicability to historically specific contexts, the article argues that the late 1990s brought about a rapid shift in the relationship between the real and representation in which media images were perceived as more real than “reality” of everyday non-mediatized experiences.

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Holmes, Ros. "Meanwhile in China … Miao Ying and the Rise of Chinternet Ugly." ARTMargins 7, no. 1 (February 2018): 31–57. http://dx.doi.org/10.1162/artm_a_00199.

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This article examines a series of internet artworks by the artist Miao Ying (b. 1985). Contextualizing her digital collages in relation to China's online culture and media spheres, it situates the contemporary art world's engagement with internet art in relation to anti-aesthetics and the rise of what has been termed Internet ugly. Interrogating the assumption that internet art emerging from China can only belatedly repeat works of Euro-American precedent, it argues that Miao's work presents a dramatic reframing of online censorship, consumerism and the unique aspects of vernacular culture that have emerged within China's online realm. Demonstrating a distinctly self-conscious celebration of what has often disparagingly been labeled The Chinternet, Meanwhile in China can be seen to emerge out of the broader contradictions of internet art practices that parody the relationships between The Chinternet and the World Wide Web, global capitalism and Shanzhai [fake or pirated] aesthetics, online propaganda and media democracy, and the art market's relationship to the virtual economies of an art world online.

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Frąckowiak, Maciej, and Łukasz Rogowski. "Badania nad wizualnością w perspektywie multidyscyplinarnej. Kwestionariusz Kultury Wizualnej." Kultura i Społeczeństwo 53, no. 4 (December 28, 2009): 3–55. http://dx.doi.org/10.35757/kis.2009.53.4.1.

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The Kwestionariusz Kultury Wizualnej (Polish Visual Culture Questionnaire) is a nation-wide scientiﬁc project. Over forty Polish researchers and artists, representing the fields of sociology, anthropology, cultural studies, film studies, philosophy, photography, media studies and art history, were asked to answer two questions: what is visual culture?; whether it is worthy of study and how and why? This article contains the project’s assumptions and answers to the above questions.

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Tyburczy, Jennifer. "Pornoterrorism." GLQ: A Journal of Lesbian and Gay Studies 28, no. 4 (October 1, 2022): 617–37. http://dx.doi.org/10.1215/10642684-9991369.

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Pornoterrorism is a form of mixed-media performance art in the Americas that combines postpornographic and transfeminist practices with political commentary often directed at the intersection of sex and terror. Through interviews with artists in Mexico City and visual and performance analysis, this article explores the short but potent history of pornoterrorism in Mexico, unpacking the genre and specifically examining why underground artists, formerly known as pornoterrorists, decided to relinquish certain aesthetic choices when confronted with the increasing violence and precarity of visual culture and everyday life throughout Mexico. Thus, while focused on Mexico and more specifically Mexico City, this article poses and seeks to answer a larger question on queer and transfeminist aesthetics and world making, namely, whether dissident art forms can lose their ability to subvert in the contexts of their changing geopolitical milieus.

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Jimènez Dìaz, Mario. "The Social Life of Images." Borders in Globalization Review 3, no. 2 (June 13, 2022): 78–88. http://dx.doi.org/10.18357/bigr32202220787.

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Drawing on visual studies, this mixed-media portfolio explores the mixed culture of the US–Mexico border. Emerging around the turn of the millennium as a multidisciplinary study from such diverse fields as art history, aesthetics, film theory, cultural studies, media theory, visual culture, postcolonial studies, and gender studies, visual studies respond to the need to analyze an area of growing importance in contemporary societies: that of visuality. Therefore, I try to account, without disciplinary restrictions, the processes of production of cultural meaning that have their origin in the public circulation of images. I could, thus, describe my work as investigations into “the social life of images”, analyzing the processes of the cultural construction of visuality.

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Borschke, Margie. "Rethinking the Rhetoric of Remix." Media International Australia 141, no. 1 (November 2011): 17–25. http://dx.doi.org/10.1177/1329878x1114100104.

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How did ‘remix’, a post-production technique and compositional form in dance music, come to describe digital culture? Is it an apt metaphor? This article considers the rhetorical use of remix in Lawrence Lessig's case for copyright reform in Remix: Making Art and Commerce Thrive in the Hybrid Economy (2008). I argue that Lessig's understanding of remix is problematic, as it seems unable to accommodate its musical namesake and obscures the particular history of media use in recent music culture. Drawing on qualitative analysis of popular music cultures, I argue that the conceptualisation of remix as any media made from pre-existing media is problematic. The origins of remix, I argue, provides a lens for thinking critically about the rhetorical uses of the term in current discourse and forces us to ponder materialities. My aim is not to dispute the word's contemporary meaning or attempt to establish a correct usage of the term – clearly a wide variety of creators call their work remix; instead, this article considers the rhetorical work that remix is asked to perform as a way of probing the assumptions and aspirations that lurk behind Lessig's argument.

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Dalia, Yoseph, Emily C. Milam, and Evan A. Rieder. "Art in Medical Education: A Review." Journal of Graduate Medical Education 12, no. 6 (December 1, 2020): 686–95. http://dx.doi.org/10.4300/jgme-d-20-00093.1.

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ABSTRACT Background The use of fine art in medical education has a long history. Numerous studies have investigated the potential benefits of incorporating art in medical education; however, there are gaps in knowledge regarding the efficacy, methodology, and clinical significance of these studies. Objective This scoping review of the literature aims to describe the available literature on the incorporation of art education in medical school and residency. Methods PubMed, Google Scholar, and MedEDPortal were queried from their inception dates through December 2019. English-language studies providing a detailed methodology and detailed analysis were included. A total of 37 studies were identified. Upon further screening of the studies' methodologies and results, 16 studies describing art education implemented with medical students and 12 studies describing art education implemented with residents were included for final review. Results Various methods of art education exist, including Visual Thinking Strategies (VTS), rigorous curricula, and unstructured roundtable discussions with art curators or artistically minded clinicians. Studies range in duration, art media, and type of analysis. Conclusions There has been an increasing effort to incorporate fine art education into medical training, primarily to enhance visual perception skills and empathy. Although there is limited research on its efficacy, and wide variations in study methodologies exist, results consistently indicate that participants find the incorporation of art into curricula beneficial. Further research analyzing which methodologies are most likely to yield statistically and clinically significant improvements in visual perception and empathy may lead to increased utilization of this teaching method.

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Poremba, Cindy. "Discourse Engines for Art Mods." Eludamos: Journal for Computer Game Culture 4, no. 1 (April 26, 2010): 41–56. http://dx.doi.org/10.7557/23.6113.

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This paper presents a genealogy of "art mod" (artistic videogame modification) definitions and frameworks. Such frameworks serve, either intentionally or unintentionally, to establish modding within a tradition of analysis and critique: whether participatory design, alternative media, folk art, and/or fine art. By situating the definition and history of art mods within a particular discourse, researchers construct the ground from which to make arguments towards organizing the reception and critique of these works. Such arguments include whether mods in general (and art mods in particular) are inherently political or banal (even boring), whether these works speak back at all to games themselves (and whether they should), whether these works are powerful and disruptive; or compromised (by virtue of their parasitic position), and as a result marginal. A genealogy of art mod frameworks highlights the boundary politics of the critique of art mods, and the problem of presenting transparent interpretive lenses in an interdisciplinary field such as game studies.

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Lukasik, Christopher. "Race and the Rise of a Mass Visual Culture: The Case of David Hunter Strother’s Virginia Illustrated." American Literary History 32, no. 3 (2020): 446–79. http://dx.doi.org/10.1093/alh/ajaa013.

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Abstract The publication of David Hunter Strother’s Virginia Illustrated under the pseudonym Porte Crayon in Harper’s Monthly (1854–56) provides a compelling case study through which to consider the role of race in the development of a US mass visual culture. The media combinations found within and the reception history of Virginia Illustrated demonstrate the importance of racialized viewing to the early success of Harper’s Monthly at a critical moment in media history. To be sure, Virginia Illustrated circulated racist stereotypes to be mass consumed, but the image/text operations of Strother’s literary sketches and illustrations also extended the privileges and pleasures inherent in the performance of the white male gaze to the expanding readership of Harper’s Monthly despite the differences in region, gender, and class of that audience. The case study of Virginia Illustrated challenges us to revisit the oddly marginalized relationship of nineteenth-century illustration to literary, art, and media history and invites us to situate nineteenth-century US literature into the wider media landscape of which it was undoubtedly a part.

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Cocker, Alan. "Editorial." Back Story Journal of New Zealand Art, Media & Design History, no. 1 (December 1, 2016): 2–3. http://dx.doi.org/10.24135/backstory.vi1.8.

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It is a pleasure to be able to introduce the first issue of BackStory. The idea behind this journal is to provide a medium for those interested in ‘looking back’ at New Zealand’s art, media and design history. These are the stories that lie behind current media, art and design production and practice in this country. It is envisaged that this new journal will provide an opportunity to explore our rich heritage in these fields. In part the motivation to launch a new journal is to meet a perceived need. The country presently does not have a journal which has the focus envisaged for BackStory. The Journal of New Zealand Art History (JoNZAH) was last published in 2012/13 and its absence has meant that those interested in reading and writing about this aspect of our cultural history lost a valued publication. The editorial team has approached the Hocken Library who provided editorial and production input for the JoNZAH and gained their support for the BackStory initiative. It is acknowledged that the new journal is not a re-launch or continuation of the JoNZAH. Instead, BackStory: Journal of New Zealand Art, Media and Design History, seeks to broaden the scope of its predecessor to include media and design history. The editorial teamhope that those who valued the JoNZAH will find value in this journal as a worthy successor.The initial editorial team for BackStory is drawn from the Auckland University of Technology (AUT) and an Editorial Advisory Board has been established. The establishing editorial team are Minna Pesonen (Designer), Rosemary Brewer, Alan Cocker and Peter Hoar from the School of Communication Studies, Peter Gilderdale from the School of Art & Design and Simon Mowatt from the Faculty of Business. It is the hope of this team that BackStory has an appeal beyond academia and will inspire contributions from those working in this country’s libraries, galleries and museums as well as others who have an interest in the history of New Zealand art, design, photography and media. We are pleased that this first issue contains contributions from curators at the Auckland Museum and Te Papa, and that there is a wide representation of different material drawn from across the target disciplines. Our hope is that the quality of the research and writing, and the common New Zealand focus will entice readers into crossdisciplinary explorations. All submissions except commentaries will be blind peer reviewed by two reviewers to conform to university research publication standards but we are seeking contributions that will have an appealbeyond the university. In the so-called online age the decision to publish a printed form is deliberate. The editorial team are seeking the highest print production standards conscious of the artifact value of this journal.

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Bao, Weihong. "Archaeology of a Medium: The (Agri)Cultural Techniques of a Paddy Film Farm." boundary 2 49, no. 1 (February 1, 2022): 25–69. http://dx.doi.org/10.1215/01903659-9615389.

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This essay explores a critical dialogue between methods and conceptions of cultural techniques—the second wave of media archaeology—and a case in contemporary Chinese documentary. I examine filmmaker Mao Chenyu, who is also an organic farmer, a critical thinker and writer, and a film exhibitor. Mao provides an intriguing case of how ethnography, ecology, and cosmology intertwine; how media art can take the form of media activism by redefining its boundaries and exhibition space; and how media art can be rethought by replacing its usual focus on media as object with a focus on media as space, community, and social process. By engaging Mao's film practice and critical writings, I test the promise and limits of cultural techniques to reopen the question of culture and public sphere without privileging the a priori of technical operations as the programmability of society.

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Ugarte Calleja, Seber. "Penumbras en el imaginario hiperreal / Shadows in Imaginary Hyperreal. A Review of the Visual Communication and Art History from Visual Studies." Revista Internacional de Ciencias Sociales 5, no. 1 (March 30, 2016): 15–22. http://dx.doi.org/10.37467/gka-revsocial.v5.358.

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ABSTRACTThe categories of thought on the resources of the visual image and the mass media, are being developed in a cross from the mid-sixties. After poststructuralism and postmodernism has generated a need that is not superficial and that responds to widespread debate on visual communication and its epistemological value. The new communication paradigm is experienced as a construcción superimposed layers in which aesthetics, art, media and information are built around hybrid and complex rhetoric, a forum for interchange that from the technical reproducibility of modernity, has do swapping in a binary framework overflowing. The relevant social, economic and policy of this new territory is one of the areas of operation and expansion of the critical section and is around Visual Studies which has produced such mainstreaming. The visual display is contemporary border and in this scientific paper is specifically the need for a shift in thinking about art historicist revision in relation to visual communication.RESUMENLas categorías de pensamiento en torno a los recursos de la imagen audiovisual y el mass-media, se vienen desarrollando de forma transversal desde mediados de la década de los sesenta. Tras el Postestructuralismo y la Posmodernidad se ha generado una necesidad que no es superficial y que responde a un debate generalizado sobre la Comunicación Visual y su valor epistemológico. El nuevo paradigma comunicacional se experimenta como una construcción superpuesta de capas en la que estética, arte, medios de comunicación y la información se construyen alrededor de una retórica híbrida y compleja; un espacio de interrelación que desde la reproductibilidad técnica, de la modernidad, ha ido permutando en un desbordante entramado binario. La relevancia social, económica y política de este nuevo territorio es uno de los campos de actuación y expansión de la crítica, y es en torno a los Estudios Visuales que se viene produciendo en ésta una marcada transversalidad. El despliegue visual contemporáneo es transfronterizo y en este ensayo científico se reflexiona sobre la necesidad de un cambio de pensamiento, a propósito de la revisión historicista del arte y en relación a la comunicación visual.

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Zitzewitz, Karin. "Life in Ruins: Materiality, the City, and the Production of Critique in the Art of Naiza Khan." Journal of Asian Studies 74, no. 2 (March 27, 2015): 323–46. http://dx.doi.org/10.1017/s0021911814002228.

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Naiza Khan'sThe Manora Archive(2007–), the product of her long-term engagement with a small island in Karachi's harbor, is exemplary of both Pakistan's vibrant contemporary art and its burgeoning discourse of urban space. Dominated by a naval base and port rejuvenation project, nearly all of Manora's civilian population was bought out by investors in 2006 for a now-abandoned real estate development. Khan has recorded the island's abandoned architecture in photographs and video, documenting its descent into ruins. Her visual archive, which also includes drawings, prints, and paintings based on the photographs, presents Manora's ruins as metonymic of Karachi's colonial and postcolonial histories. This article makes two interlocking claims: first, that Khan's artistic work supplements scholarship on the relationship between violence and urban development by highlighting issues of temporality and bodily experience, and, second, that her work productively exploits the tension between the documentary mode and more traditional artistic media.

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Segre, Erica. "Relics and Disjecta in Mexican Modernism and Post-Modernism: A Comparative Study of Archaeology in Contemporary Photography and Multi-Media Art." Journal of Latin American Cultural Studies 14, no. 1 (March 2005): 25–51. http://dx.doi.org/10.1080/13569320500043623.

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Brown, Robert L. "The Kingdom of Siam: The Art of Central Thailand, 1350–1800. Edited and curated by Forrest McGill; co-curated by Pattaratorn Chirapravati. Asian Art Museum, Chong-Moon Lee Center for Asian Art and Culture, and Peabody Essex Museum. Ghent: Snoeck Publishers; Chicago: Art Media Resources; Bangkok: Buppha Press, 2005. 200 pp. $29.95 (paper)." Journal of Asian Studies 66, no. 1 (February 2007): 285–87. http://dx.doi.org/10.1017/s0021911807000526.

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Denson, Shane. "James J. Hodge. Sensations of History: Animation and New Media Art. Minneapolis: University of Minnesota Press, 2019. 232 pp." Critical Inquiry 47, no. 4 (June 1, 2021): 789–91. http://dx.doi.org/10.1086/714539.

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DeNotto, Michael. "Philosophy Talk." Charleston Advisor 24, no. 3 (January 1, 2023): 49–52. http://dx.doi.org/10.5260/chara.24.3.49.

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Produced by Stanford University and KALW public media, Philosophy Talk is the streaming platform for the public radio program that has been on the air for almost 20 years. The philosophers and their diverse guests discuss a wide range of academic topics in an accessible and engaging manner, and there is content to support disciplines across academia, including literature, history, dance, art, political science, business, and gender studies.

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Taylor, Lauren. "Introduction to Alioune Diop's “Art and Peace” (1966)." ARTMargins 9, no. 3 (October 2020): 87–96. http://dx.doi.org/10.1162/artm_a_00274.

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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.

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Mann, Deandra Rose. "To Have and To Hold … Or Not? Deaccessioning Policies, Practices, and the Question of the Public’s Interest." International Journal of Cultural Property 24, no. 2 (May 2017): 113–59. http://dx.doi.org/10.1017/s0940739117000091.

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Abstract:Shockwaves echoed through the media and the arts community when the Delaware Art Museum chose to deaccession pieces from its collection and when the public learned that the Detroit Institute of Arts might be forced to do the same. Further concern arose when financial troubles compelled the Corcoran Gallery of Art to merge with the National Gallery of Art and George Washington University. An examination of the climate and legal battles surrounding these events shows how these institutions chose to cope with the financial adversity that put their collections at risk and illustrates the precarious position of works in a museum’s collection when that museum experiences financial distress. This article explores the ethical, judicial, and legislative frameworks currently governing deaccessioning and ultimately advocates for new legislative solutions to guide the deaccession process in order to provide the opportunity to maintain these works in the public sphere.

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Wood, Kelli, and David S. Carter. "Art and technology: archiving video games for humanities research in university libraries." Art Libraries Journal 43, no. 4 (October 2018): 185–95. http://dx.doi.org/10.1017/alj.2018.29.

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AbstractOver the past half-century video games have become a significant part of our cultural environment, in part, by leading advances in both technology and artistic innovation. In recent years librarians and researchers have recognized these games as cultural objects that require collection and curation. Developing and maintaining collections of this fast moving and somewhat ephemeral media, however, poses challenges due to constantly advancing technology and a corresponding lack of consistent terminology. This article addresses the literature and critical issues surrounding collections of video games within libraries and presents a case study of the University of Michigan’s Computer and Video Game Archive (CVGA), one of the largest academic archives of its kind. Moreover, video games are situated in a humanistic approach to the field of game studies as the article draws on the relevance of methods from art history and film studies.

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Journal articles on the topic 'Media Studies and Art History'

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