Academic literature on the topic 'Media, visual and digital culture'
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Journal articles on the topic "Media, visual and digital culture"
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Bakulev, Gennady P. "Cinematic media in digital culture." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 8–14. http://dx.doi.org/10.17816/vgik1118-14.
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Periods of important technological changes greatly influence film theory, as new films usually raise the key question: what is actually a film? This problem has been discussed by film theorists over many decades.
Todays film industry, in which digital technology is being successfully integrated in the traditional narrative media and combined with the established visual paradigms, clearly demonstrates how classical artistic approaches can go along with new technical developments.
Contemporary documentary cinema is a vivid example of the ways in which digital technology can expand and deepen the area of cinematic media. Basing themselves mostly on traditional formats, media makers create products which could be rightfully considered as new genres.
By restructuring cinemas borders film scholars widen the scope of their studies. One of the ideas attracting their attention is that of expanded cinema. This concept, suggested by Gene Youngblood, is usually related to experimental media, in which the perceptive context is the key aspect of artistic creativity.
The principal task of film researchers has been to follow the continually changing horizons of cinema in the context of film history. New schemes of development often create new problems which can be solved only by means of new critical tools.
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Pratama, I. Gede Yudha. "REVITALIZATION OF MESATUA BALI CULTURE THROUGH THE DIGITAL MEDIA." ARTic 3 (March 15, 2019): 135–53. http://dx.doi.org/10.34010/artic.2019.3.2521.135-153.
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This research was compiled based on a visual design study on the revitalization of the Mesatua Bali culture which was divided into 3 (three) periods, namely: the first Balinese Mesatua (oral) culture, the second period Mesatua Balinese culture (written literature), and the third period Mesatua Bali culture (digital visual). The Mesatua Bali culture is an oral tradition culture carried out by parents to their children. In this study begins by sharpening the substance and structure of research problems designed through the structure of the thinking of researchers. The design of the structure of thought focuses on the purpose of research, namely, to find out the causes and consequences of changes in the revitalization of Balinese Mesatua culture. The method used in this study is descriptive qualitative method, in order to meet objective data needs in conducting studies on the revitalization of Balinese Mesatua culture, this study uses data collection techniques through observation, interviews, and documentation. Surgery for object research is carried out starting from observing aspects of actors, technology and targets. Furthermore, an analysis of the stimuli generated starting from space, time and atmosphere (desa-kala-patra) and the human sensory field. In the final stage a study of visual elements in visual objects is carried out starting from the composition of balance, continuity, combination, unity, typography to color. Then it is compared based on each period of the object of research with 3 (three) levels of values, namely, essential, important, and desirable to analyze aspects that influence the revitalization of the Balinese Mesat culture and dissect what are new, what remains, what was lost, and what changed from the 3 (three) periods to the revitalization of the Balinese Mesatua culture. The results of this study indicate that there is a phenomenon of change in each period from the revitalization of Balinese Mesatua culture. The phenomenon of changes occurring in the revitalization of the Balinese culture from oral to become a visual form (design) is influenced and dilaterbelak by several factors, namely: factors of actors, target factors, technological factors along with factors of space, time, atmosphere (desa-kala-patra) different in each period.
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Pratama, I. Gede Yudha. "REVITALIZATION OF MESATUA BALI CULTURE THROUGH THE DIGITAL MEDIA." ARTic 3 (March 15, 2019): 135–53. http://dx.doi.org/10.34010/artic.v3i0.2521.
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This research was compiled based on a visual design study on the revitalization of the Mesatua Bali culture which was divided into 3 (three) periods, namely: the first Balinese Mesatua (oral) culture, the second period Mesatua Balinese culture (written literature), and the third period Mesatua Bali culture (digital visual). The Mesatua Bali culture is an oral tradition culture carried out by parents to their children. In this study begins by sharpening the substance and structure of research problems designed through the structure of the thinking of researchers. The design of the structure of thought focuses on the purpose of research, namely, to find out the causes and consequences of changes in the revitalization of Balinese Mesatua culture. The method used in this study is descriptive qualitative method, in order to meet objective data needs in conducting studies on the revitalization of Balinese Mesatua culture, this study uses data collection techniques through observation, interviews, and documentation. Surgery for object research is carried out starting from observing aspects of actors, technology and targets. Furthermore, an analysis of the stimuli generated starting from space, time and atmosphere (desa-kala-patra) and the human sensory field. In the final stage a study of visual elements in visual objects is carried out starting from the composition of balance, continuity, combination, unity, typography to color. Then it is compared based on each period of the object of research with 3 (three) levels of values, namely, essential, important, and desirable to analyze aspects that influence the revitalization of the Balinese Mesat culture and dissect what are new, what remains, what was lost, and what changed from the 3 (three) periods to the revitalization of the Balinese Mesatua culture. The results of this study indicate that there is a phenomenon of change in each period from the revitalization of Balinese Mesatua culture. The phenomenon of changes occurring in the revitalization of the Balinese culture from oral to become a visual form (design) is influenced and dilaterbelak by several factors, namely: factors of actors, target factors, technological factors along with factors of space, time, atmosphere (desa-kala-patra) different in each period.
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ONG, Patricia A. L. "Visual Research Methods: Qualifying and Quantifying the Visual." Beijing International Review of Education 2, no. 1 (April 3, 2020): 35–53. http://dx.doi.org/10.1163/25902539-00201004.
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The role of visual research methods in ethnographic research has been significant, particularly in place-making and representing visual culture and environments in ways that are not easily substituted by text. Digital media has extended into mundane, everyday existences and routines through most noticeably the modern smartphone, social media and digital artefacts that have created new forms of ethnographic enquiry. Ethnographers have engaged in this relatively new possibility of exploring how social media and new technologies transform the way we view social realities through the digital experience. The paper discusses the possible role of visual research methods in multimethod research and the theoretical underpinning of interpreting visual data. In the process of interpreting and analysing visual data, there is a need to acknowledge the possible ambiguity and polysemic quality of visual representation. It presents selectively the use of visual methods in an ethnographic exploration of early childhood settings through the use of internet-based visual data, researcher and participant-generated visual materials and media, together with visual-elicited (e.g. drawings, still images, video clips) information data through several examples. This approach in ‘visualizing’ the curriculum also unveils some aspects of the visual culture or the ‘hidden curriculum’ in the learning environment.
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Blazhev, Boyan. "Visual Arts and Digital Technologies." Cultural and Historical Heritage: Preservation, Presentation, Digitalization 7, no. 2 (2021): 191–207. http://dx.doi.org/10.26615/issn.2367-8038.2021_2_018.
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With the advent and dissemination of digital technologies, devices and means in the middle of the twentieth century, dramatic changes occurred in all spheres of life. The data reporting environment is changing and the era of new media is approaching. Digital technologies and the global network have a fundamental impact on culture, traditions and art. In this context, in terms of visual art, digital technologies allow for the emergence of new artistic practices that take their place next to classical art activities. Leading the way is the idea that digital technology is not just a tool, but rather a creation process, thus focusing on the concept inspired by the digital context rather than on the means expressed. In modernity, visual art and scientific achievements live in harmony. Keywords: Digital Art; Art; Virtual Reality (VR); Technological Innovations; Net Art; Artificial Intelligence (AI); New Media Art
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Plenković, Mario, and Daria Mustić. "Media communication and cultural hybridization of digital society." Media, culture and public relations 11, no. 2 (September 30, 2020): 151–60. http://dx.doi.org/10.32914/mcpr.11.2.3.
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The paper is analyzing basic operative terms of visual communication in contemporary digital media environment, which determinates analytical units of media communication and the new culture of communicating and message dissemination. Theory discussion is conducted by diachronic and synchrony analysis of elements of visual communication in digital environment and theory of public action. The main goal is to establish new communicative paradigm of media communication which includes the evaluation of digital skills, media literacy and the characteristics of the new hybrid dig-ital society. Authors observe modern media communication and visual digitalization, not only in technical sense of transmission and adjustment of analog signal into digital signal, but also, simultaneous development of digital culture and adaptation of media content, media production and distribution of content to the new web environment (Web 2.0, Web 3.0, Web 4.0 and theoretical possibilities of so called Web 5.0) de-riving the new contexts of social power.
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Zhang, Xuefei. "The Application of Post-Humanism in Digital Media Visual Design——Cyberpunk 2077 as an Example." SHS Web of Conferences 155 (2023): 02005. http://dx.doi.org/10.1051/shsconf/202315502005.
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This paper answers the meaning of “post-humanism” and explains the characteristics of Cybopunk digital media style under the influence of post-humanism. Based on this, we analyze the application of this art style in games by taking Cybopunk 2077 as an example. Finally, I will explain the value of posthumanism to modern media technology and digital culture. To explain the value of post-humanism in modern media technology and digital culture is to better convey the art philosophy of “post-humanism” and the artistic attitude behind it to the public, promote the development of media technology, and further promote and expand the diversity of digital culture.
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Männig, Maria. "The Tableau Vivant and Social Media Culture." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 132–55. http://dx.doi.org/10.2478/ausfm-2021-0009.
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Abstract The article aims to analyse the tableau vivant in social media culture by emphasizing its intermedial relation to technical visual media, particularly digital photography and film. By focusing on the living picture’s specific mimetic qualities, the study traces back the tableau vivant’s history in a media archaeological perspective primarily regarding photography. It explores the current revival of the tableau vivant within social media. The article examines living pictures and the aspect of self-staging, relevant to contemporary digital culture. The tableau vivant develops between two polarities: a primarily analytical approach that allows a profound exploration of a particular artwork and the performative aspects of self-staging.
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Wu, Jiayue. "Promoting Contemplative Culture through Media Arts." Multimodal Technologies and Interaction 3, no. 2 (May 21, 2019): 35. http://dx.doi.org/10.3390/mti3020035.
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This paper presents the practice of designing mediation technologies as artistic tools to expand the creative repertoire to promote contemplative cultural practice. Three art–science collaborations—Mandala, Imagining the Universe, and Resonance of the Heart—are elaborated on as proof-of-concept case studies. Scientifically, the empirical research examines the mappings from (bodily) action to (sound/visual) perception in technology-mediated performing art. Theoretically, the author synthesizes media arts practices on a level of defining general design principles and post-human artistic identities. Technically, the author implements machine learning techniques, digital audio/visual signal processing, and sensing technology to explore post-human artistic identities and give voice to underrepresented groups. Realized by a group of multinational media artists, computer engineers, audio engineers, and cognitive neuroscientists, this work preserves, promotes, and further explores contemplative culture with emerging technologies.
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Akhaeva, Kristina G., Maria N. Dolgich, and Veronika A. Kudinova. "RANDOMLY EFFECTS IN CONTEMPORARY VISUAL CULTURE: DOMINATION OF DIGITAL AND ANALOGUE MEDIA." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 20(4) (December 1, 2015): 79–90. http://dx.doi.org/10.17223/22220836/20/11.
Full textDissertations / Theses on the topic "Media, visual and digital culture"
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Figueira, Rodrigo Minelli. "Laboratório de signos: a produção de significações na cultura visual digital." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4997.
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Previous issue date: 2007-12-12The general objective of this research is to analyze the way as the discursives strategies in what Andrew Darley defined as being the visual digital culture and it s relation with the technological possibilities and medias of communication. In its book Visual Digital Culture he defines that way the cultural forms appeared from dissemination of the graphic computer and considered it while a cultural phenomena. The idea is reach to understand of how semiotics status expressed in languages, speeches, sorts, formats, messages is conformed by the technology/media used to express them. Tries to understand how contemporaries semiotics are codified by the machines and the cultural implications of this codification. The theoretical aproach of the present work is in the studies of Semiotics of Culture. To reach our objectives we intend in basically supporting them in the works of two of these authors, Mikhail Bakthin and Iuri Lotman and in the concepts of dialogism and poliphony of first and the notion of text of the culture and the semiosphere of the second one. We will search to bring the reflection of these authors to dialogue with other authors who have attemped to reflect on the occured transformations from the dissemination of the technologies of communication and information from middle of the XX century, as the proper Darley, Lev Manovich, Paul Miller and Arlindo Machado among others. The object chosen for our research is the work of the group feitoamãos , collective of artists who since 1999 dedicate the research and experimentation to it in electronic art, having carried through single channel videos, web-art, installations and performances. We will search through the analysis of the expressiveness structures of the presentations of the group to understand the flow established between the diverse languages used in its works. Our main hypothesis is of that fragmentation, simultaneness, reiteration, not-linearity and noises they adopted are expressiveness resources inside of the context of the visual digital culture and that they are some of the characteristics and necessities of the urban condition that if they reflect, at the same time that they are expressed through and in the media. We also understand that as well as the technologies open new expressiveness possibilities, the limitations of one specific media determine the signing productions in that media. We analyze what forms they had and which are the current characteristic forms of expression of that culture. if these consolidate from the cultural configurations of determined time we can assume that at the same time that they reflect the technical possibilities, they are for these determined
O objetivo geral desta pesquisa é analisar os modos como as estratégias discursivas presentes naquilo que Andrew Darley definiu como sendo a cultura visual digital se relacionam com as possibilidades técnicas e mídias de comunicação. Em seu livro Cultura Visual Digital o autor define desta maneira as formas culturais surgidas a partir da disseminação da computação gráfica e consideradas enquanto fenômenos culturais. A idéia é buscar entender de que forma os regimes semióticos expressos em linguagens, discursos, gêneros, formatos, mensagens são conformados pela tecnologia/mídia empregada para expressálos. Ou seja, entender como as formas contemporâneas são codificadas pelas máquinas semióticas e as implicações culturais desta codificação. O recorte teórico do presente trabalho se encontra nos estudos da Semiótica da Cultura. Para alcançar nossos objetivos pretendemos nos apoiar fundamentalmente na obra de Mikhail Bakthin e Iuri Lotman e nos conceitos de dialogismo e polifonia do primeiro e da noção de texto da cultura e semiosfera do segundo. Buscaremos trazer a reflexão destes autores para dialogar com outros autores que têm tentado refletir sobre as transformações ocorridas a partir da disseminação das tecnologias de comunicação e de informação a partir de meados do século XX, como o próprio Darley, Lev Manovich, Paul Miller e Arlindo Machado entre outros. O objeto escolhido para nossa pesquisa é o trabalho do grupo feitoamãos , coletivo de artistas que desde 1999 dedica-se à pesquisa e experimentação em arte eletrônica, tendo realizado vídeos single channel , web-arte, instalações e performances. Buscaremos através da análise das estruturas expressivas das apresentações do grupo compreender os fluxos estabelecidos entre as diversas linguagens presentes em seus trabalhos. A nossa hipótese principal é a de que fragmentação, simultaneidade, reiteração, não-linearidade e ruídos são recursos expressivos adotados dentro do contexto da cultura visual digital e que são algumas das características e necessidades da condição urbana que se refletem, ao mesmo tempo que são expressos através e nos mídia. Acreditamos também que, assim como as tecnologias abrem novas possibilidades expressivas, as limitações técnicas de uma dada mídia determinam as produções sígnicas naquela mídia. Analisamos de que forma se dão e quais são as atuais formas de expressão características desta cultura; se estas se consolidam a partir das configurações culturais de determinada época podemos supor que ao mesmo tempo que refletem as possibilidades técnicas, são por estas determinadas
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Kelly, Aryn. "Mobilizing Images of Black Pain and Death through Digital Media: Visual Claims to Collective Identity After “I Can’t Breathe”." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7827.
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In the wake of Eric Garner’s 2014 public execution at the hands of NYPD officers, online spaces such as Twitter saw an influx of remediated imagery referencing Ramsey Orta’s bystander cell phone video of Garner’s death. These images often explicitly reference the chokehold that killed Garner and/or they reappropriate Garner’s last words: “I can’t breathe.” To what formal dimensions in Orta’s video are these remediated images responding? What broader cultural work is the creation of these images doing?
In this project, I regard Orta’s video as the point of entry for considering the cultural work of remediating images from it, as understanding its formal dimensions are necessary to recognizing the ways in which the remediated images attend to Garner’s body. I read this video using Scott Richmond’s revision of Christian Metz’s theory of cinematic identification to identify the concerning and compelling tension between over and under-identifying with onscreen subjects in Orta’s video, ultimately asserting that aligning with any body onscreen is ultimately a choice. Further, the remediated images attending to Garner’s body signal viewer’s chosen alignment with him or Orta, and claim Garner’s death as a socially constructed cultural trauma. These claims not only signal collective identification around the trauma on behalf of those who did not initially witness it, but also express belief in Garner’s experience despite a public discourse that continually emphasized his (and other black men’s) perceived violent potential.
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Matamoros-Fernandez, Ariadna. "Platformed racism: The Adam Goodes war dance and booing controversy on twitter, YouTube, and Facebook." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/120573/1/Ariadna_Matamoros%20Fernandez_Thesis.pdf.
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This thesis introduced a new way of studying racism on social media. It developed the concept of 'platformed racism' to describe how racism emerges from the design, business models, governance, and cultures of use of digital media platforms. It applied this concept to the controversy around the booing of Indigenous Australian Football League player Adam Goodes, and used the multiplatform issue mapping method to analyse how it played out on Twitter, Facebook, and YouTube. The thesis found that racism is both structural – maintained by the platforms' infrastructure and processes – and ordinary, manifesting through everyday user practices. It concludes with recommendations for counter-racism in both platform design and social media use.
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Akil, Hatem Nazir. "The visual divide Islam vs. the West, image peception in cross-cultural contexts." Doctoral diss., University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4733.
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Do two people, coming from different cultural backgrounds, see the same image the same way? Do we employ technologies of seeing that embed visuality within relentless cultural and ideological frames? And, if so, when does visual difference become a tool for inclusion and exclusion? When does it become an instrument of war? I argue that we're always implicated in visuality as a form of confirmation bias, and that what we see is shaped by preexisting socio-ideological frames that can only be liberated through an active and critical relationship with the image. The image itself, albeit ubiquitous, is never unimplicated - at once violated and violating; with both its creator and its perceiver self-positioned as its ultimate subject. I follow a trace of the image within the context of a supposed Islam versus the West dichotomy; its construction, instrumentalization, betrayals, and incriminations. This trace sometimes forks into multiple paths, and at times loops unto itself, but eventually moves towards a traversal of a visual divide. I apply the trace as my methodology in the sense suggested by Derrida, but also as a technology for finding my way into and out of an epistemological labyrinth. The Visual Divide comprises five chapters: Chapter One presents some of the major themes of this work while attempting a theoretical account of image perception within philosophical and cross-cultural settings. I use this account to understand and undermine contemporary rhetoric (as in the works of Samuel Huntington and Bernard Lewis) that seems intent on theorizing a supposed cultural and historical dichotomies between Islam and the West. In Chapter Two, I account for slogan chants heard at Tahrir Square during the January 25 Egyptian revolution as tools to discovering a mix of technology, language and revolution that could be characterized as hybrid, plural and present at the center of which lies the human body as subject to public peril. Chapter Three analyzes a state of visual divide where photographic evidence is posited against ethnographic reality as found in postcards of nude and semi-nude Algerian Muslim women in the 19th century. I connect this state to a chain of visual oppositions that place Western superiority as its subject and which continues to our present day with the Abu Ghraib photographs and the Mohammed cartoons, etc. Chapter Four deploys the image of Mohamed al-Durra, a 3rd grader who was shot dead, on video, at a crossroads in Gaza, and the ensuing attempts to reinterpret, recreate, falsify and litigate the meaning of the video images of his death in order to propagate certain political doxa. I relate the violence against the image, by the image, and despite the image, to a state of pure war that is steeped in visuality, and which transforms the act of seeing into an act of targeting. In Chapter Five, I integrate the concept of visuality with that of the human body under peril in order to identify conditions that lead to comparative suffering or a division that views humanity as something other than unitary and of equal value. I connect the figures of der Muselmann, Shylock, Othello, the suicide bomber, and others to subvert a narrative that claims that one's suffering is deeper than another's, or that life could be valued differently depending on the place of your birth, the color of your skin, or the thickness of your accent. Finally, in the Epilogue: Tabbouleh Deterritorialized, I look at the interconnected states of perception and remembering within diasporic contexts. Cultural identity (invoked by an encounter with tabbouleh on a restaurant menu in Orlando) is both questioned and transformed and becomes the subject of perception and negotiation.ID: 030646224; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (Ph.D.)--University of Central Florida, 2011.; Includes bibliographical references (p. 204-217).
Ph.D.
Doctorate
Arts and Humanities
Texts and Technology
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Björck, Catrine. ""Klicka där!" : En studie om bildundervisning med datorer." Doctoral thesis, Stockholms universitet, Institutionen för etnologi, religionshistoria och genusvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-101997.
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The aim of this thesis is to study the teacher’s role when pupils are using computers to create their art work. Working with computers raises new questions for teachers and pupils. Working with digital technology requires teachers to develop new pedagogical, educational and classroom-oriented strategies. The aim of the study is therefore to investigate these strategies and what kinds of challenges and questions arise from them. I investigate how teachers at the senior level of compulsory school conduct education and learning in teaching situations when digital visual work is in focus. The theory I use is Discourse Psychology combined with Bakhtin’s theory of dialogue and learning. The Discourse Psychology approach stresses context and the idea that people construct knowledge of the world in dialogue with others. The concept of interaction is used in the study and includes how teacher and pupil interact with the use of verbal language and gestures, where the computer also can be an actor. The method consists of interviews and observation, documentation using a small video camera attached to the teacher as well as by taking notes in the classroom. When digital technology is a part of education, teachers need to have good understanding not only of handling the technology but also deciding in what way they would like to use and work with computers in education. The research contributes to an understanding of art education with computers and the conditions in school when working with digital technology.
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Rais, Saadia Subah. "Can You Hear Me? Reflexive Feminist Methodologies and Diasporic Self-Representation in the Digital Age." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71763.
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In this exploratory thesis project, I consider what emerging approaches we can take as social scientists to showcase and critically engage self-representations of diasporic individuals, who often lack visibility and legibility within the dominant cultural archive. Filmmaking as a social research practice can provide rich audiovisual data, physical and social access to materials for nonacademics, and opportunities to document and share subjects' comments and settings without the limitations of transcription. This is especially salient in the emerging media landscape of Web 2.0, where digital communications technology applications (such as Facebook, Skype, and Snapchat) are accessible by a global audience, and can act as tools for cultural identity production by diasporic individuals.
This project documents the experiences of several first- and second-generation Bangladeshi American immigrants in relation to digital communications technology advances within the past decade, for the purposes of collecting and sharing stories of diasporic individuals, offering a venue for self-expression through empathetic interviewing and collaborative oral history methods, and contributing to the American cultural archive in the context of emerging media and academic landscapes. The full project is comprised of this text document, alongside a short documentary film containing portions of audiovisual data from interviews which can be found at https://www.youtube.com/watch?v=Oh9puazpdrw.Master of Science
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Lewis, Kelly M. "Digitally mediated martyrdom: The visual politics of posthumous images in the popular struggle for social justice." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/202083/1/Kelly_Lewis_Thesis.pdf.
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This thesis introduced a new way of studying how visual social media is used to protest unjust deaths, especially those caused by police brutality and other forms of state violence. It developed the concept of 'digitally mediated martyrdom' to describe the communication practices that emerge through the online circulation of posthumous digital images of victims. It applied this concept to the murder of Khaled Said in Egypt in 2010, and to the murder of Trayvon Martin in America in 2012. It used digital ethnography methods to explore the role that visual social media play in political discourse and protest mobilisations. The thesis found that the figure of the unintentional martyr is increasingly being deployed in social justice movements to give visibility to human rights abuses and to demand radical change.
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Fiorelli, Marilei Cátia. "Artemídia e educação na UFRB: mapeando mudanças no contexto educacional a partir da cultura digital." Faculdade de Educação, 2016. http://repositorio.ufba.br/ri/handle/ri/24516.
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O foco de investigação desta pesquisa são as obras de artemídia produzidas pelos primeiros estudantes formados pelo Bacharelado em Artes Visuais com ênfase em multimeios da UFRB, Universidade Federal do Recôncavo da Bahia, na cidade de Cachoeira. Através do processo de criação destas obras, podemos visualizar um panorama do processo educacional e de seu contexto em tempos de cultura digital. Nosso objeto de estudo são os Trabalhos de Conclusão de Curso, que tratam da temática de artemídia, e nosso corpus empírico são doze TCCs produzidos dentro deste recorte, defendidos em 2014-15, pela primeira turma de ingresso no curso. Trata-se do primeiro conjunto de produção artística de artemídia dentro de um espaço institucional de ensino superior no interior da Bahia. A questão central é discutir se esses alicerçam-se em práticas da cultura digital como o trabalho colaborativo em rede, na cultura hacker, e a cultura livre, e se estas se refletem também no campo da educação. A opção metodológica adotada é descritiva quanto aos objetivos; quanto aos procedimentos técnicos, é um estudo de caso; e quanto ao tratamento dos dados é predominantemente qualitativa. Analisamos os TCCs artemidiáticos produzidos, categorizando, identificando e articulando sua produção com o contexto educacional, mapeando algumas mudanças em curso, suas implicações e suas apropriações. Como referencial teórico, nos utilizamos de conceitos em torno dos campos da cultura e arte digital e da educação contemporâneas, e seus processos de reconfiguração na cibercultura. Os resultados da pesquisa apontam que dos doze TCC’s, nove são pautados por tópicos relevantes da cultura digital. Estes, criados em uma graduação recém implantada, de uma universidade também recém implantada no interior da Bahia. Mesmo deslocada de um grande centro urbano, esta graduação apresenta em seu currículo componentes que dão suporte e viabilizam a criação em artemidia. Pela leitura e interpretação qualitativa dos trabalhos criados, foram identificadas categorias de conceitos implicados da cultura digital, que apontam caminhos e nos apresentam um panorama do contexto educacional de ensino no qual estão inseridos. Nota-se assim indícios de um processo educacional que potencialmente se instaura a partir das tecnologias e da cultura digital, que também se apoia e se reflete - a exemplo das obras produzidas - nas práticas colaborativas, na cultura livre e na cultura hacker.
ABSTRACT The aim of this research is the works of media art produced by the first students graduated in Visual Arts with an emphasis on multimedia, at Federal University of Recôncavo da Bahia - UFRB - in the city of Cachoeira. Through the creation process of these artworks, we can have an overview of the educational process in digital culture times. Our object of study are those artmedia work, created as final graduation projetc. Our empirical corpus are twelve artworks produced within this cut, defended in 2014-15, the first gratuated alumni. This is the first artistic production set of media art in a higher education in the countryside of Bahia. The core issue is to discuss the digital culture practices such as collaborative networking, the hacker culture and free culture, and if whether they are also reflected in education. The adopted methodological option is descriptive and a case study; and is predominantly qualitative. We analyze the produced media artworks, categorizing, identifying and articulating their production with the educational context, mapping out some changes in course, whith its implications and appropriations. As a theoretical concept, we use culture and digital art and contemporary education, as well as its reconfiguration process in cyberculture. The results show that nine out of twelve artworks are guided by relevant topics of digital culture. These artworks were created in a newly implemented graduation course, at a university also recentely created. Even being located far from a large urban center, this graduation show in its curriculum components that give support and enable the creation of media art. categories were identified implicated concepts of digital culture, pointing paths and present an overview of the educational teaching context in which they are inserted from reading and qualitative interpretation of the artwowks. Through this evidences we could notice that the educational process is potentially established from digital culture, which also supports and reflects the collaborative practices, the free culture and hacker culture.
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Fusari, Massimiliano. "Post-produced cultures : meta-images, aesthetics and the Hawzas." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/15360.
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The present work explores my practice as a photojournalist researching anthropological issues in the Muslim world. I use the Hawzas, the Muslim Shi’a seminaries, as my case study to invite a visually informed approach to the human sciences, and promote a practical usage of aesthetics. Because of the dramatic disproportion between socio-cultural relevance and under-representation, the Hawzas offer an extremely valuable opportunity to research issues of Orientalism and Orientalist visual archives. By questioning my own fieldwork practice alongside the visual signification of the Hawzas, I reconnect the pre-production to the post-production phase, and encompass within it a shared outlook issues of both the Real and the represented. I posit the photograph within wider multimedia and multi-audience practices as a stand-alone communicative device and part of a montage to assess its communicative features in relation to the verbal as a caption, and to the visual, in montage. Through this, I distinguish a phenomenological framework of analysis to urge a radical rethinking of personal and social agencies, and suggest the notion of communicative hubs for today’s globalised identities. I evince the extent to which the digital is reshaping forms of visual-led and multimedia production, knowledge distribution and media consumption to finally contextualise the photograph as ‘semantics without ontology.’ I conclude by advocating my ideas of the ‘Meta- Image’ and ‘Public Cultures 2.0’ as two integrated formats for visual-led communication, digital media practice, social engagement and public impact as specifically addressing Muslim cultures.
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Rapoport, Robert S. "The iterative frame : algorithmic video editing, participant observation & the black box." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8339bcb5-79f2-44d1-b78d-7bd28aa1956e.
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Machine learning is increasingly involved in both our production and consumption of video. One symptom of this is the appearance of automated video editing applications. As this technology spreads rapidly to consumers, the need for substantive research about its social impact grows. To this end, this project maintains a focus on video editing as a microcosm of larger shifts in cultural objects co-authored by artificial intelligence. The window in which this research occurred (2010-2015) saw machine learning move increasingly into the public eye, and with it ethical concerns. What follows is, on the most abstract level, a discussion of why these ethical concerns are particularly urgent in the realm of the moving image. Algorithmic editing consists of software instructions to automate the creation of timelines of moving images. The criteria that this software uses to query a database is variable. Algorithmic authorship already exists in other media, but I will argue that the moving image is a separate case insofar as the raw material of text and music software can develop on its own. The performance of a trained actor can still not be generated by software. Thus, my focus is on the relationship between live embodied performance, and the subsequent algorithmic editing of that footage. This is a process that can employ other software like computer vision (to analyze the content of video) and predictive analytics (to guess what kind of automated film to make for a given user). How is performance altered when it has to communicate to human and non-human alike? The ritual of the iterative frame gives literal form to something that throughout human history has been a projection: the omniscient participant observer, more commonly known as the Divine. We experience black boxed software (AI's, specifically neural networks, which are intrinsically opaque) as functionally omniscient and tacitly allow it to edit more and more of life (e.g. filtering articles, playlists and even potential spouses). As long as it remains disembodied, we will continue to project the Divine on to the black box, causing cultural anxiety. In other words, predictive analytics alienate us from the source code of our cultural texts. The iterative frame then is a space in which these forces can be inscribed on the body, and hence narrated. The algorithmic editing of content is already taken for granted. The editing of moving images, in contrast, still requires a human hand. We need to understand the social power of moving image editing before it is delegated to automation. Practice Section: This project is practice-led, meaning that the portfolio of work was produced as it was being theorized. To underscore this, the portfolio comes at the end of the document. Video editors use artificial intelligence (AI) in a number of different applications, from deciding the sequencing of timelines to using facial and language detection to find actors in archives. This changes traditional production workflows on a number of levels. How can the single decision cut a between two frames of video speak to the larger epistemological shifts brought on by predictive analytics and Big Data (upon which they rely)? When predictive analytics begin modeling the world of moving images, how will our own understanding of the world change? In the practice-based section of this thesis, I explore how these shifts will change the way in which actors might approach performance. What does a gesture mean to AI and how will the editor decontextualize it? The set of a video shoot that will employ an element of AI in editing represents a move towards ritualization of production, summarized in the term the 'iterative frame'. The portfolio contains eight works that treat the set was taken as a microcosm of larger shifts in the production of culture. There is, I argue, metaphorical significance in the changing understanding of terms like 'continuity' and 'sync' on the AI-watched set. Theory Section In the theoretical section, the approach is broadly comparative. I contextualize the current dynamic by looking at previous shifts in technology that changed the relationship between production and post-production, notably the lightweight recording technology of the 1960s. This section also draws on debates in ethnographic filmmaking about the matching of film and ritual. In this body of literature, there is a focus on how participant observation can be formalized in film. Triangulating between event, participant observer and edit grammar in ethnographic filmmaking provides a useful analogy in understanding how AI as film editor might function in relation to contemporary production. Rituals occur in a frame that is dependent on a spatially/temporally separate observer. This dynamic also exists on sets bound for post-production involving AI, The convergence of film grammar and ritual grammar occurred in the 1960s under the banner of cinéma vérité in which the relationship between participant observer/ethnographer and the subject became most transparent. In Rouch and Morin's Chronicle of a Summer (1961), reflexivity became ritualized in the form of on-screen feedback sessions. The edit became transparent-the black box of cinema disappeared. Today as artificial intelligence enters the film production process this relationship begins to reverse-feedback, while it exists, becomes less transparent. The weight of the feedback ritual gets gradually shifted from presence and production to montage and post-production. Put differently, in cinéma vérité, the participant observer was most present in the frame. As participant observation gradually becomes shared with code it becomes more difficult to give it an embodied representation and thus its presence is felt more in the edit of the film. The relationship between the ritual actor and the participant observer (the algorithm) is completely mediated by the edit, a reassertion of the black box, where once it had been transparent. The crucible for looking at the relationship between algorithmic editing, participant observation and the black box is the subject in trance. In ritual trance the individual is subsumed by collective codes. Long before the advent of automated editing trance was an epistemological problem posed to film editing. In the iterative frame, for the first time, film grammar can echo ritual grammar and indeed become continuous with it. This occurs through removing the act of cutting from the causal world, and projecting this logic of post-production onto performance. Why does this occur? Ritual and specifically ritual trance is the moment when a culture gives embodied form to what it could not otherwise articulate. The trance of predictive analytics-the AI that increasingly choreographs our relationship to information-is the ineffable that finds form in the iterative frame. In the iterative frame a gesture never exists in a single instance, but in a potential state. The performers in this frame begin to understand themselves in terms of how automated indexing processes reconfigure their performance. To the extent that gestures are complicit with this mode of databasing they can be seen as votive toward the algorithmic. The practice section focuses on the poetics of this position. Chapter One focuses on cinéma vérité as a moment in which the relationship between production and post-production shifted as a function of more agile recording technology, allowing the participant observer to enter the frame. This shift becomes a lens to look at changes that AI might bring. Chapter Two treats the work of Pierre Huyghe as a 'liminal phase' in which a new relationship between production and post-production is explored. Finally, Chapter Three looks at a film in which actors perform with awareness that footage will be processed by an algorithmic edit.The conclusion looks at the implications this way of relating to AI-especially commercial AI-through embodied performance could foster a more critical relationship to the proliferating black-boxed modes of production.
Books on the topic "Media, visual and digital culture"
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Krista, Harper, ed. Participatory visual and digital methods. Walnut Creek, California: Left Coast Press, 2013.
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Potter, John, and Julian McDougall. Digital Media, Culture and Education. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-55315-7.
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Kavoori, Anandam P. Digital media criticism. New York: P. Lang, 2010.
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Kavoori, Anandam P. Digital media criticism. New York: Peter Lang, 2010.
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Digital media criticism. New York: Peter Lang, 2010.
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Digital visual culture: Theory and practice. Bristol, UK: Intellect, 2009.
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PostNegritude visual and literary culture. Albany: State University of New York Press, 1997.
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Understanding digital culture. Los Angeles: SAGE, 2011.
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Deguillaume, Frédéric. Hybrid robust watermarking and tamperproofing of visual media. Genève: Université de Genève, 2002.
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University of Pune. Department of Communication Studies, ed. Metamorphosis of new media and digital culture. Delhi: Lenin Media, 2015.
Find full textBook chapters on the topic "Media, visual and digital culture"
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Gotti, Maurizio, and Larissa D’Angelo. "Mediating Disputes with Digital Media." In Law, Culture and Visual Studies, 631–48. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-90-481-9322-6_28.
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Scopigno, Roberto. "Mixing Visual Media for Cultural Heritage." In Emerging Technologies and the Digital Transformation of Museums and Heritage Sites, 297–315. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-83647-4_20.
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Björk, Helena. "Post-internet Verfremdung." In Post-Digital, Post-Internet Art and Education, 285–98. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73770-2_17.
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AbstractThe ease of uploading images on Instagram has meant that a whole generation grows up paying closer attention to visual language. At the same time, Instagram and other social media have come to dominate visual culture to the extent that we need to make an effort to unlearn what they have taught us. Here the internet is seen not only as a vital part of visual culture but also as a site of learning. This chapter presents a school assignment as a possible approach to online visual culture. By creating Instagram fiction, we can understand how social media operate both visually and socially. Parody and estrangement, or the Brechtian Verfremdungseffekt, are examples offered to examine a phenomenon and activate critical thinking.
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Sirois, Guillaume. "Digital Media in the Visual Art World: A Renewed Relationship with the Market." In Rethinking Cultural Criticism, 163–84. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7474-0_8.
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Peñate Domínguez, Federico. "Informal Strategies for Learning History in Japanese Mass Media Visual Culture: A Case Study of the Mobile Game Fate/Grand Order." In History Education in the Digital Age, 181–94. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-10743-6_10.
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Nurbani, S., J. Haiba, Y. A. Barlian, and A. R. Ramadhan. "Designing verbal messages and visual media for the tourism destination of Curug Putri." In Dynamics of Industrial Revolution 4.0: Digital Technology Transformation and Cultural Evolution, 35–39. London: Routledge, 2021. http://dx.doi.org/10.1201/9781003193241-7.
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Agnese, Roberta. "Archival Reenactement and the Role of Fiction." In Cultural Inquiry, 91–98. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_10.
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The Atlas Group created a digital mixed-media archive of contemporary Lebanese history, made up of produced and found documents. These archives look immediately ambiguous: they don’t collect historical documents; they actually contain visual artefacts created by the Lebanese artist Walid Raad. These digital mixed-media archives — partly accessible on the web but also physically exhibited and performed — are not intended to preserve the memory of the past, but they become indeed useful to actualize history by giving it back in the form of a historical fiction. What if archives should not deal with memory, but with amnesia? And what kind of historical temporality do they re-activate?
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Kaempf, Sebastian. "Digital media." In Visual Global Politics, 99–103. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Interventions: Routledge, 2018. http://dx.doi.org/10.4324/9781315856506-13.
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Moreno, Megan A., and Jonathan D. D’Angelo. "Digital Media Theory." In Handbook of Visual Communication, 323–33. Second edition. | New York, NY: routledge, 2020. | Series: Routledge communication series: Routledge, 2020. http://dx.doi.org/10.4324/9780429491115-30.
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Singh, Raahat Devender. "Digital Visual Media Forensics." In Cryptographic and Information Security, 663–721. Boca Raton, Florida : CRC Press, [2019]: CRC Press, 2018. http://dx.doi.org/10.1201/9780429435461-23.
Full textConference papers on the topic "Media, visual and digital culture"
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Paxoumaki, Sofia Alexandra, and Nikos Antonopoulos. "Professional Photographers of Instagram: The Meaning of Visual Communication Through Modern Photography in Digital Society." In – The Barcelona Conference on Arts, Media & Culture 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2435-9475.2020.3.
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Skender, Lana. "Visual culture as new educational socio-technological paradigm." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.12149s.
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Digital technology has enabled the predominance of visual communication and rapid and simultaneous image transmission beyond the original context. In the “culture of the image,” communication, identity formation, and social patterns are transmitted by image. Under such conditions, visual literacy is considered as elementary literacy and goes towards the critical reading of visual content messages. This situation has also prompted a reflection on the art education paradigm turn towards the broader concept of visual culture as a new socio-technological paradigm. The Croatian results of the Delphi method survey showed that most experts see the paradigm turn, from fine art to visual culture, because of technological changes in society. Technological developments manifested through the Internet, mass media, and social networks affect new generations testing and understanding the world in new ways, most often through technology. It is essential to change the content, practices, and teaching methods.
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Zeng, Qiaoling, Mingu Lee, and Juhyun Eune. "Interactive Animation Design of Egyptian Totem Elements under the Digital Media Technology." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001937.
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This paper is a record of the creation process based on the cross-over study of visual, animation, and interaction design of ancientEgyptian totemic elements with the use of digital media technology. Through an in-depth analysis of the creation process of theanimation interaction work from an art design perspective, this paper points out the importance of theme setting as well as thepotential problems during the process of visual, animation, and interaction design, and puts forward the corresponding solutions.In addition, a systematic summary of the design concept in the animation interaction as well as other additional concepts is madethrough the work Tutan, which is presented in the paper.Tutan consists of 22 groups of single-module elements derived from ancient Egyptian totems, which were dismantled and reorganizedto reconstruct the main picture. Through the use of animation and interaction design, the designer aspires to build a connectionbetween people and the work Tutan, in an attempt to promote the ancient Egyptian culture among the general public, entertain theviewers, and establish a connection between culture, technology, viewers, and the work itself.
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Cortoni, Ida. "DIGITAL MEDIA AND INCLUSIVE EDUCATION IN HOME-SCHOOLING." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end019.
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"The paper focuses on one of the aspects most investigated and monitored in recent years by the Desi index (Digital Economy and Society Index) on the digitization process in Europe, human capital, with an in-depth focus on primary school teachers. The emergent state of Covid 19 has had a strong impact in the field of education, so much so that the uses of digital technology and its applications are now an essential topic in public and political debate. The implementation of digital devices for education, during the lockdown, has necessarily led to a reflection on the methodological paths that can be applied and tested in the educational context. There are many uncertainties linked to the validity of new digital didactic approaches and to the communicative and transmissive effectiveness of the contents where the digital skills of teachers and families and the lack of adequate equipment risk compromising the objective of effective and inclusive education. How can educational quality and inclusion be guaranteed through digital communication, beyond socio-cultural inequalities? How can school digital capital guarantee new educational planning in the classroom? These are the main questions of the paper, which will focus on illustrating the communicative strategies of visual storytelling and graphicacy as tools for democratising digital communication, for sociocultural inclusion and for reducing sociocultural inequalities, by illustrating the structural framework and the main actions/strategy of the European Erasmus Plus project CAVE (Communication and Visual Education in homeschooling)."
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Souliotou, AZ. "TRANSFORMATIONS OF MONA LISA: THE CASE OF A DISTANCE EDUCATION ART-ANDTECHNOLOGY PROJECT." In The 7th International Conference on Education 2021. The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/24246700.2021.7131.
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Mona Lisa by Leonardo Da Vinci has been subject to numerous and various transformations in the form of (re)interpretations, reproductions, replicas, appropriations and parodies. Mona Lisa is far more than a mere Renaissance portrait or a symbol of its time. Instead Mona Lisa is radically connected with artistic movements and practices throughout the history of art as well as with the 20th and 21st century visual culture, visual commerce and social media imagery. This paper presents an activity in a higher education Department of Early Childhood where students experimented with digital tools and made a collective artwork of digital transformations of Mona Lisa. This digital experiment was a distance education project which took place during the COVID-19 pandemic restrictions in Greece. At first, students were given examples of appropriations and parodies of Mona Lisa from the history of art as well as from the visual culture. Then students gave their own "responses" through making digitally transformed versions of Mona Lisa which they put together in a collective digital mosaic. Clones, distortions, semi-transparencies, repositions and other transformations within 75 Mona Lisa versions render this collective artwork a composition with reference to pixel structure. Students' collective artwork contributed to the deeper understanding of Da Vinci's masterpiece and increased their confidence and familiarity with Renaissance painting. The case of this activity proves that digital culture is a catalyst for art history learning and creativity in the classroom. Furthermore, this activity fosters collaborative learning through distance education and turns out to be a vehicle for empowering learners in a digital world, as well as for developing linguistic, numerical and multisensory skills through digital creativity. Keywords: Mona Lisa, Leonardo Da Vinci, distance education, higher education, digital art, participatory practices, community resilience
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Васильева, Ж. В. "Digital transformations of the visual image of the representatives of generation Z." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.81.37.068.
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в современном социокультурном пространстве наиболее востребованным медиаканалом выступает интернет, транслирующий визуальные вестиментарные коды молодому потребителю. Цифровая реальность оперативно распространяет актуальный fashion-контент посредством социальных сетей, воспринимаемых в качестве источника передачи информации поколением Z. Специфика его мировоззрения характеризуется активной коммуникацией с брендами и потреблением цифрового fashion-продукта. Задачей данной статьи выступает анализ цифровой трансформации визуального образа generation Z, цифровых технологий приобретения реальной одежды, причин появления цифровой одежды и сферы ее применения потребителем данной возрастной группы. in the modern socio-cultural space, the most popular media channel is the Internet, which broadcasts visual vestigial codes to a young consumer. Digital reality promptly distributes current fashion content through social networks, which are perceived as a source of information transmission by Generation Z. The specifics of his worldview are characterized by active communication with brands and the consumption of a digital fashion product. The purpose of this article is to analyze the digital transformation of the visual image of generation Z, digital technologies for purchasing real clothing, the reasons for the appearance of digital clothing and the scope of its application by the consumer of this age group.
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Holleran, Samuel. "Ultra Graphic: Australian Advertising Infrastructure from Morris Columns to Media Facades." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4028p0swn.
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This paper examines the development of infrastructures for outdoor advertising and debates over visual ‘oversaturation’ in the built environment. It begins with the boom in posters that came in the 19th century with a plethora of new manufactured goods and the attempts by civic officials to create structures that would extend cities’ available surface area for the placement of ads. It then charts the rise of building-top ‘sky signs,’ articulated billboards, kiosks, and digital media facades while detailing the policy initiatives meant to regulate these ad surfaces. This work builds on ongoing research into the development of signage technologies in Sydney and Melbourne, the measurement and regulation of ‘visual pollution’, and the promotion of entertainment and nightlife in precincts defined by neon and historic signage. This project responds to the increasing ambiguity between traditional advertising substrates and building exteriors. It charts the development of display technologies in relation to changing architectural practices and urban landscapes. Signage innovation in Australia has been driven by increasingly sophisticated construction practices and by the changing nature of cities; shifting markedly with increased automobility, migration and cultural change, and mobile phone use. The means by which urban reformers and architectural critics have sought to define, measure, and control new ad technologies—sometimes deemed ‘visual pollution’— offers a prehistory to contemporary debates over ‘smart city’ street furniture, and a synecdoche to narratives of degradation and ugliness in the post-war built environment. These four thematically linked episodes show how Australian civic officials and built environment activists have responded to visual clutter, and the fuzzy line between advertisers, architects, and builders erecting increasingly dynamic infrastructures for ad delivery. This progression shows the fluctuating place of advertisement in the built environment, ending with the emergence of today’s programmable façades and urban screens.
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Hill, Rodrigo, Marcos Steagall, and David van Vliet. "Augmenting Community Narratives: An Exploration of Lens-based Image and Publication Design." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.84.
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This presentation proposal advances a pedagogical case study that focuses on innovative ways of promoting visual literacy for undergraduate students through lens-based image-making and digital technologies. The curriculum was designed to be delivered throughout an academic semester at Auckland University of Technology South Campus, Manukau City, Aotearoa New Zealand. The content is formatted for first-year students of the Diploma in Arts endorsed in Communication Design. The Diploma in Arts is appealing to students who may be seeking a shorter design qualification. In addition, the programme provides for students who have not met or have narrowly missed University Entrance (UE) criteria. The presentation focuses on the structure and contents of the pedagogical experience where lecturers and students are connected in the design studio through agency and literacy rather than just observing pedagogical prescriptions. In this active environment, the hidden curriculum that deals with the participant's cultural background and natural epistemologies is valued and validated. In creating the engagement for visual literacy, the brief requires students to consider aspects of community, taking the role of a storyteller equipped with skills to create visual content that is meaningful and actual. The course is divided into two parallel design studio approaches: one that deals with visual literacy through the photographic image and practice; and the other is concerned with aspects of the nature of the media, augmented reality and image dissemination in digital platforms. The first area focused on visual literacy through photographic practice, using the politics of photographic language and representation, employing portraiture analysis and image creation. This approach encompasses the conceptual aspects associated with photographic images and the technical aspects of lens-based image-making. The second area focused on understanding digital media, the application of tools and how to take advantage of the interactive environment to promote awareness and reflect change in the community. This part of the brief intended to create an understanding of the issues associated with online environments, providing students with skills to operate creatively and fluidly in response to the fast-paced nature of online image-sharing platforms. Within this context, techniques of digital image construction and manipulation were investigated in the light of industry applications and best practice workflows. These learning areas were underpinned by an online blog where students actively recorded their design process, tests, and contextual influences that impacted their design practice. The studio environment fostered an inclusive and participatory form of teaching and learning and employed students' smartphones as an accessible tool to produce and understand images. The project contributes to knowledge about the design studio through a framework for Visual literacy and media education, where students learn principles of photography practice and digital technologies. It contributes to reflections about the use of mobile phone technologies as a common entry way apparatus to visual literacy and imagery generator.
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Sampaio, Valzeli. "Wish Mango Tree: hybrid experimentation and creation." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.109.
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This essay presents the process of creating the artistic project at augmented reality “Wish Mango Tree” is configured as a specific site / public intervention for installing in the georeferenced mango trees of the city of Belém a technological device for electronic labeling and the creation of a hollow steel plate at mango tree. This process involves experimentation and creation related to Visual Arts, Design and programming, experienced through a mobile application, being a physical hybrid intervention. “Wish Mango Tree” is inspired by the work “Wish Tree” , a series of art installations in process, started in 1981, by the Japanese artist, and member of the Fluxus group, Yoko Ono. She chooses a tree native to a place, or plants one under her guidance. The public is invited to tie a wish in writing and hang it on the tree. Yoko has already installed this work in some cities in the world. “Wish Mango Tree” proposes an action similar to the public and passers-by of the mango trees in Belém. The project promotes interaction between individuals: humans and mango trees. Digital content can be viewed in the augmented reality app at the site specific where mango leaf wishes can be accessed by anyone. “Mangueira Desejo” seeks to fill a gap or lack identified: the invisibility of mango trees, seeking to use technology to give visibility to a social and ecological problem. The political dimension of the project is revealed in giving visibility to the mango trees, activating the collective memory and provoking questions and commitments from the individuals involved: trees, people, and institutions. This artistic project aimed at experimentation and creation related to Visual Arts and Design, experienced through a mobile application. And evokes the affective memory of its participants, seeking to enhance, strengthen and maintain the identity and cultural memory of Pará through digital media. The project fits into the artistic and cultural area: Visual Arts, with the creation of proposals in the Visual Arts area, through the areas: installation, intervention mechanisms, specific site, urban art, digital art, new media, photography , being a hybrid proposal between art and digital design. In addition to addressing the experience of the visual arts in their technical, formal and conceptual reflections, of creation, diffusion, training and memory. In this sense, the project promotes creation, experimentation and design associated with a historical, social, cultural, sustainable and / or technological context, which can be translated into propositional actions that address graphic design, interactive media, web design/applications, design of games. The mango trees themselves are objects of public interest, the app invites everyone to “hang” their desires on the “Wish Mango Trees ”, promoting the transformation of the mango trees into a receptacle for the aspirations of the people who cross it. The app will promote remotely a network experience that triggers a physical experience in the main mango trees of the square, when approaching a mango tree to start the action, which will give visibility to the cloud of annotations at mango leaves through mobile app.
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Nakatsu, Ryohei, and Chamari Edirisinghe. "Artistic Communication Using Digital Media." In 2011 Second International Conference on Culture and Computing (Culture Computing). IEEE, 2011. http://dx.doi.org/10.1109/culture-computing.2011.43.
Full textReports on the topic "Media, visual and digital culture"
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Tabinskyy, Yaroslav. VISUAL CONCEPTS OF PHOTO IN THE MEDIA (ON THE EXAMPLE OF «UKRAINER» AND «REPORTERS»). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11099.
Full textAbstract:
The article is devoted to the analysis of the main forms of visualization in the media related to photo. The thematic visual concepts are described in accordance with the content of electronic media, which consider the impact of modern technologies on the development of media space. The researches of the Ukrainian and foreign educational institutions concerning the main features of modern photo is classificate. Modifications and new visual forms in the media are singled out. The main objective of the article is to study the visual concepts of modern photo and identify ideological and thematic priorities in photo projects. To achieve the main objective in the article a certain methodology were used. Due to the historical-theoretical description it was possible to substantiate the study of visual concepts. The conceptual-system method was used to study the subject of media photo projects. The main results of the research are the definition of visual concepts of photo on the example of electronic media and the identification of the main thematic features in the process of visual filling of the media space. Based on the study, we can conclude that today the information field needs quality visual content. For successful creation of visual concepts it is necessary to single out thematic features of modern photo and to carry out classifications on ideological and semantic signs. Given the rapid development of digital technologies, the topic of the scientific article we offer is relevant for scientists, journalists, media researchers, visual journalism experts and photojournalists. Modern space is filled with a large number of pictorial materials, which in most cases form specific images, patterns or stereotypes in the mind of the reader (viewer). Also important is the classification of photo used in journalistic publications. That is why there is a need to explore the content and principles of distribution of ideological priorities of photo in the media. The substantiation of scientists about the important place of photography in the modern media space and the future development of visual technologies, which already use artificial intelligence, is relevant.
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Norris, Adele. Thesis review: The storytellers: Identity narratives by New Zealand African youth – participatory visual methodological approach to situating identity, migration and representation by Makanaka Tuwe. Unitec ePress, October 2018. http://dx.doi.org/10.34074/thes.revw4318.
Full textAbstract:
This fascinating and original work explores the experiences of third-culture children of African descent in New Zealand. The term ‘third-culture kid’ refers to an individual who grows up in a culture different from the culture of their parents. Experiences of youth of African descent is under-researched in New Zealand. The central research focus explores racialised emotions internalised by African youth that are largely attributed to a lack of positive media representation of African and/or black youth, coupled with daily experiences of micro-aggressions and structural racism. In this respect, the case-study analysis is reflective of careful, methodological and deliberative analysis, which offers powerful insights into the grass-roots strategies employed by African youth to resist negative stereotypes that problematise and marginalise them politically and economically.
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.
Full textAbstract:
The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.