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.
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Wardhani, Ariani Kusumo, Edi Chandra, and Muhammad rafi Agustina. "Tinjauan Visual Promosi Pariwisata untuk Pengembangan Budaya Betawi di Jakarta." Gondang: Jurnal Seni dan Budaya 4, no. 2 (December 4, 2020): 119. http://dx.doi.org/10.24114/gondang.v4i2.19751.
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The purpose of this study is to analyze the Betawi Culture promotional media that has been carried out by the DKI Jakarta Provincial Tourism and Culture Office and to find out the visualization needed for the development of Betawi Culture promotion in the future. A review of the existing Betawi Culture promotional media was carried out to analyze tourism promotion media through a visual review that has been carried out by the DKI Jakarta Provincial Tourism and Culture Office in developing Betawi culture for tourism promotion. The problem is focused on the Betawi tribe, which is the original ethnic group of the people of Jakarta. In order to approach this problem, a visual theory reference is used to analyze the promotional media that has been carried out by the Ministry of Tourism and Culture of DKI Jakarta. The data were collected by conducting a survey of respondents and interviews. Furthermore, descriptive qualitative analysis was carried out using visual media theory. Based on the results of the research, it shows that the Jakarta City Government Tourism and Culture Office has carried out tourism promotion activities by conducting promotions in print and digital media
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POON, STEPHEN T. F. "DATA VISUALISATION AND VISUAL DESIGN FOR INFORMATION EXTRACTION IN TRADITIONAL PRINT PUBLICATION AND DIGITAL CULTURE." Quantum Journal of Social Sciences and Humanities 2, no. 6 (November 18, 2021): 73–88. http://dx.doi.org/10.55197/qjssh.v2i6.108.
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The subject of this study is on information design and data visualisation. The aim of research is to understand perspectives of visual design in improving critical visual literacy. The objective of study is to identify various perspectives towards critical visual literacy among audiences who have access to print publications, but who are increasingly migrating to digital media platforms. In the overview of literature, this paper will be reviewing a wide range of scholarly works from authors who have effectively identified the role of data visualisation in audiences’ use of print and digital media to extract information. A mixed-methods approach is utilised for research methodology. The first method is a case study of a century-old natural science publication. German biologist Ernst Haeckel’s 1904 double volume of lithographic prints, Art Forms in Nature, will be critically discussed. The second method presents the results of a survey of Malaysian audiences’ attitudes and perceptions towards visual information, and the key factors that foster and hinder information extraction and medium use, specifically aspects of convenience and layout design. Respondents were also queried on the functionality and importance of digital media for the purpose of knowledge, research and information gathering. Analysis of survey findings show that there is still a limited scope of understanding audiences’ challenges with both lexical (reading) and visual literacies. This dilemma is essential for visual designers to acknowledge, in the context of mapping the functions of data visualisation for designing information in publications. Among commercial publishers, particularly those in digital publication sectors, the current impact of digital visual culture on traditional print publication suggests that this dilemma must be further studied to understand future implications of data visualisation and visual design on audiences seeking knowledge and information. Some recommendations will be provided.
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Killeen, Padraic. "Burned Out Myths and Vapour Trails: Vaporwave’s Affective Potentials." Open Cultural Studies 2, no. 1 (December 1, 2018): 626–38. http://dx.doi.org/10.1515/culture-2018-0057.
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Abstract As a “born digital” audiovisual music genre and visual aesthetic, vaporwave channels remnants of popular culture, advertising, and consumer technology from the 1980s and early 1990s. retrieving the strange sense of affective potential that still echoes within the outmoded, depleted myths of that era. In doing so, it opens up a unique vantage-point on our present moment, and our contemporary attachments to digital media and a still unrelenting consumer culture. Just as Walter Benjamin believed “revolutionary energies” to resound in the outmoded objects of nineteenth century culture, vaporwave invites us to recognise the affective potentials still incipient in the sounds and images of the recent past and, in doing so, to acknowledge the affective potential available in our own cultural moment.
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Knochel. "Assembling Visuality: Social Media, Everyday Imaging, and Critical Thinking in Digital Visual Culture." Visual Arts Research 39, no. 2 (2013): 13. http://dx.doi.org/10.5406/visuartsrese.39.2.0013.
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Zhao, Pei, and Xiaojun Li. "Arts Teachers' Media and Digital Literacy in Kindergarten." International Journal of Digital Literacy and Digital Competence 6, no. 1 (January 2015): 1–17. http://dx.doi.org/10.4018/ijdldc.2015010101.
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Children live in a media oriented world, and media skills need to be taught already starting from the early years. Practicing media production can be seen as a core activity for media education in early childhood. The idea is linked to the 21st century definition of media: instead of thinking of media and digital culture as a simple, one-to-one way communication, it is better to consider media as parts of systems of actions and activities. In other words, it should be seen as a form of social processes. In this case study, the authors investigated children's shared blogging in a kindergarten in two different countries. The public blog was operated between Finland and China in order to build communication between those countries and get children's viewpoints from a different culture and shared communication. Arts education (visual art) was used as a tool for the online communication and blog's content production. On the basis of this study, a shared blog could be a pedagogically functional way to teach children the social media use and interaction as a part of their early childhood education. Pedagogically organized use of social media is also the way to give young children own voice in digital media culture, and to connect other children around the world.
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Zhao, Yan, and Xu Guang Yang. "Research on Digital Media Technology in the Folk Art Design." Advanced Materials Research 926-930 (May 2014): 2550–53. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.2550.
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Digital Media Art and Design is based on a visual art, design, computer graphics and media technology intersect science disciplines of digital media. Meanwhile it is also the product of the combination of the rapid development of information technology and the arts. Through the application of Digital Media Art and Design, it not only brings innovations for modern visual communication art and design but also provides a rich form of expression and communication carriers for the folk art design, which makes it rise from the traditional to the digital level, process level. This kind of design innovates an innovative style. The elements of art and culture with national spirit got the better show in digital media technology, which makes the folk art entered its post-modern stage enter its post-modern stage, and no longer presents the main characteristics of a single.
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Updike, Christina B., and Allison L. Rosen. "Integrating digital technology into teaching: the MDID." Art Libraries Journal 31, no. 3 (2006): 32–36. http://dx.doi.org/10.1017/s0307472200014589.
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At the same time that visual media play an ever expanding role in culture and society, technology offers new opportunities for using them in teaching and learning, far beyond what was possible with traditional analog image collections. Faculty and staff in art and art history, the library and instructional technology at James Madison University have collaborated in the creation of the Madison Digital Image Database (MDID), an innovative online teaching and learning system, to accommodate the exploding need for visual information. MDID is an open source system for managing digital images including personal image collections and displaying them in the classroom. Its support for sharing image collections among institutions and the expanding community of users offers new opportunities for collaboration in providing visual media for teaching and learning.
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Khoroshilov, D. A. "Digital mind: mediatization of social cognition in culture, science and art." Social Psychology and Society 10, no. 4 (2019): 9–22. http://dx.doi.org/10.17759/sps.2019100402.
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Psychology of social cognition as the construction of the image of the social world requires addition of the concept of deep mediatization (N. Couldry, A. Hepp). In the frames of modern sociology and cultural-historical psychology it should be talked about the mediatized construction of the image of the world, mediated by the language of mass communication. The code of media language — not verbal, but visual — is analyzed in the epistemological and methodological contexts of the visual turn in the humanities. The realization of this trend in Russian psychology is the aesthetic paradigm of the everyday life (T. Martsinkovskaya, M. Guseltseva, D. Khoroshilov). Its main idea is the comparative analysis of the languages of the scientific concepts and art and media images, what allows to explicate visibility optics of the everyday life in the modern society. The article concludes with the aesthetics and psychological explanation of the phenomena of deep mediatization of social cognition from Nicola Gogol to the popular TV series «Black mirror».
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Guan, Xuelun, and Kaihong Wang. "Visual Communication Design Using Machine Vision and Digital Media Communication Technology." Wireless Communications and Mobile Computing 2022 (March 30, 2022): 1–11. http://dx.doi.org/10.1155/2022/6235913.
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The dynamic design of graphic language can be seen everywhere in life as the digital media era progresses. Graphic designs, such as product packaging, poster design, book binding design, and logo design, are examples of traditional visual design. The print media is the most important factor. Graphic design that is aided by digital media technology is not limited to print but also includes network media. The teaching research of China’s visual design specialty is still in its early stages, the relevant teaching system reform of various colleges and universities is still being explored, and there is no unified standard in the digital information age. As a result, it is critical to conduct in-depth research using scientific and systematic methods in order to pave the way for the development of a domestic visual design specialty in the information age. Simultaneously, the popularization and development of new media have had a significant impact on traditional printing media, breaking the monotony of traditional visual communication and making modern visual design more vivid and intuitive. Visual perception in psychology is introduced into design thinking in this paper. Apart from its expression in art culture, the concept of space also encompasses the physics concepts of time and space, as well as the scientific research theory of visual perception in psychology, which transcends the perceptual cognition level of space in art design.
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Ng, Eve. "No Grand Pronouncements Here...: Reflections on Cancel Culture and Digital Media Participation." Television & New Media 21, no. 6 (July 26, 2020): 621–27. http://dx.doi.org/10.1177/1527476420918828.
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Although there are numerous prominent examples of social media misuse, these cases should not disproportionately characterize the scope or potential of digital media participation as a whole. Using cancel culture as an entry point, this essay discusses how digital practices often follow a trajectory of being initially embraced as empowering to being denounced as emblematic of digital ills. However, while platforms such as Twitter do have characteristics that militate against nuanced debate, scholars can productively direct attention to interactions in other digital spaces, particularly using methods that yield more qualitatively informative data. These spaces include message boards and comment threads, which foster more long-form engagement. It is also important to look beyond the major English-language platforms, both to account for platform-specific features and so that conditions of online discourse routine in many global contexts, such as negotiating censorship, are centrally theorized in digital media studies.
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Lewis, India. "8Visual Culture." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 141–59. http://dx.doi.org/10.1093/ywcct/mbz008.
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Abstract This chapter addresses books published in the field of visual culture in 2018 and is divided into three sections: 1. Art and the Internet; 2. Art and Society, and 3. Artists and Their Environment. The books under review cover a broad range of subjects within their specialities, but reflect general trends in contemporary writing and study in the field of visual culture. The first section explores how art critics and those in the field are continuing to deal with visual culture’s relationship with the Internet and digital media (Daniel Birnbaum, Michelle Kuo, eds. More Than Real: Art in the Digital Age; Eva Respini, ed., Art in the Age of the Internet: 1989 to Today). The second section looks at books about art in the social sphere (Kim Snepvangers and Donna Mathewson Mitchell, eds., Beyond Community Engagement: Transforming Dialogues in Art, Education, and the Cultural Sphere; Ole Marius Hylland and Erling Bjurström, eds., Aesthetics and Politics: A Nordic Perspective on How Cultural Policy Negotiates the Agency of Music and Arts; Gary Alan Fine, Talking Art: The Culture of Practice and the Practice of Culture in MFA Education). The third and final section looks at how artists negotiate their environment, responding to and altering their surroundings (Sarah Lowndes, Contemporary Artists Working Outside the City: Creative Retreat; Gabriel N. Gee and Alison Vogelaar, eds., Changing Representations of Nature and the City: The 1960s–1970s and Their Legacies).
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De Ridder, Sander. "The Banality of Digital Reputation: A Visual Ethnography of Young People, Reputation, and Social Media." Media and Communication 9, no. 3 (September 13, 2021): 218–27. http://dx.doi.org/10.17645/mac.v9i3.4176.
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This article relies on a visual ethnography with young people between 13 and 20 years old. Young people were asked to make visual collages of fictional social media accounts, which are used in this article to analyse the signification of “good” and “bad” reputation in digital youth culture. It explores how reputation is performed visually and aesthetically in digital youth culture. The aim is to contribute to the critical study of digital reputation, it formulates an ethical critique on how the signification of digital reputation has formed alongside values and beliefs that support the growth of platform capitalism, rather than assigning a reputational value and rank responsibly. I conclude how the signification of digital reputation is not only conformist and essentialist but also meaningless. The banality of reputation argues that, in the context of popular social media, there is no real or substantial information made available to distinguish between a “good” or a “bad” reputation, except for stylized banality, a stylistic focus on lifestyle and commodities. The point is that reputation should not be banal and meaningless. Many important political and institutional decisions in a democracy rely on the evaluation of reputation and critical assessment of the information upon which such evaluations are made. Although platform capitalism has made digital reputation meaningless, it is in fact an essential skill to critically orient oneself in digital societies.
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Maragh-Lloyd, Raven. "A Digital Postracial Parity? Black Women’s Everyday Resistance and Rethinking Online Media Culture." Communication, Culture and Critique 13, no. 1 (March 2020): 17–35. http://dx.doi.org/10.1093/ccc/tcz046.
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Abstract This article examines and critiques digital media culture and its embedded postracial logics through the resistance strategies of Black women online. Specifically, I am interested in everyday resistance strategies as “seemingly innocuous” communication, which is understood from theorizations of “hidden transcripts” that black publics utilize to counteract dominance. In order to explore “everyday resistance” I employed focus groups with 20 Black women and present patterns of resistance strategies online, such as visual signifiers and posting news articles. Secondly, I interrogate how these resistance strategies “talk back” to and circumvent the underpinnings of digital media culture through the postracial logics of individuality and networked influence. Ultimately, Black women’s interconnected identities reveal the flaws of digital culture as postracial by demonstrating their resistance strategies that must work around any assumption of a “postracial parity.”
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Sezen, Diğdem. "Without a blink: Machine ways of seeing in contemporary visual culture." Interactions: Studies in Communication & Culture 11, no. 1 (April 1, 2020): 103–7. http://dx.doi.org/10.1386/iscc_00010_7.
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In the last decade following the technological and commercial advances in digital image production and in artificial intelligence, human vision-centred understanding of visuality has changed profoundly. Machine vision technologies (MVTs) are used across a wide spectrum of activities ranging from surveillance to medical diagnosis, to adaptive visual filters on social media. This commentary calls for a rethinking of visuality that takes both technological advances and lessons learned from cultural studies into consideration.
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Loisa, Riris, Diah Ayu Candraningrum, Lusia Savitri Setyo Utami, and Lydia Irena. "Cultural Participatory in Tourism Digital Marketing Communication Channel." Jurnal Komunikasi 13, no. 2 (December 11, 2021): 314. http://dx.doi.org/10.24912/jk.v13i2.13411.
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Tourism is one of Indonesia's leading sectors that has been seriously affected by the pandemic. This study aims to describe participatory culture in digital tourism marketing communication channels during the pandemic, through Instagram social media channels from micro-influencers, that focus on three priority tourism destinations that have been set by the government. By using the Participatory Media Culture Theory from Henry Jenkins, it is further studied how consumers and producers create cultural artifacts with commodity value. The research applied a netnographic method, the data were gathered and analyzed by the social media analysis application Analysis.io. The subject of research is the influencers and followers in 3 (three) Instagram accounts: @explorejogja, @indraseptianazhari, and @travelwithgerie, while the object of the research was the forms of participation as cultural artifacts in these accounts This study concludes that the participants build a participatory culture by the power of visual and narrative artifacts, as well as their spreadability. Further this research shows that (1) cultural artifacts in each account have their own characteristics, with similarities in the prosumer participation, where reposting becomes a cultural artifact that has its own power to form virtual relationships; (2) attractive visuals and informal guides in the form of narratives are also cultural artifacts that invite further involvement of participants, in the form of likes, comments, reposts, etc.; and (3) the presence of micro-influencers who are inherently intertwined with these accounts jointly contributing to the dissemination of content and their respective accounts, which in turn becomes a force for the spread of tourism marketing, especially during the pandemic. Pariwisata adalah salah satu sektor unggulan Indonesia yang terkena dampak serius dari pandemi ini. Penelitian ini bertujuan untuk mendeskripsikan budaya partisipatif dalam saluran komunikasi pemasaran pariwisata digital selama pandemi, melalui saluran media sosial Instagram dari mikro-influencer, yang berfokus pada tiga destinasi wisata prioritas yang telah ditetapkan oleh pemerintah. Dengan menggunakan Teori Budaya Media Partisipatif dari Henry Jenkins, lebih lanjut dipelajari bagaimana konsumen dan produsen menciptakan artefak budaya dengan nilai komoditas. Penelitian ini menggunakan metode netnografi, data dikumpulkan dan dianalisis dengan aplikasi analisis media sosial Analysis.io. Subjek penelitian adalah influencer dan followers di 3 (tiga) akun Instagram: @explorejogja, @indraseptianazhari, dan @travelwithgerie, sedangkan objek penelitian adalah bentuk partisipasi sebagai artefak budaya dalam akun tersebut. Penelitian ini menyimpulkan budaya partisipatori dibangun dengan kekuatan artefak visual dan naratif, serta daya sebarnya. Lebih lanjut, penelitian ini menunjukkan bahwa (1) artefak budaya di setiap akun memiliki ciri khas tersendiri, dengan kesamaan berupa partisipasi prosumer, dimana reposting menjadi artefak budaya yang memiliki kekuatan untuk membentuk hubungan virtual; (2) visual yang menarik dan panduan informal berupa narasi juga merupakan artefak budaya yang mengundang keterlibatan peserta lebih lanjut, dalam bentuk ekspresi rasa suka, komentar, repost, dll; dan (3) kehadiran micro-influencer yang secara inheren terjalin dengan akun-akun tersebut secara bersama-sama berkontribusi dalam penyebaran konten dan akunnya masing-masing, yang pada akhirnya menjadi kekuatan bagi penyebaran pemasaran pariwisata, khususnya di masa pandemi.
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Dean, Jonathan. "Sorted for Memes and Gifs: Visual Media and Everyday Digital Politics." Political Studies Review 17, no. 3 (October 25, 2018): 255–66. http://dx.doi.org/10.1177/1478929918807483.
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This article identifies an unease, or even squeamishness, in the way in which political science addresses social media and digital politics, and argues that we urgently need to avoid such squeamishness if we are to adequately grasp the texture and character of contemporary digitally mediated politics. The first section highlights some of the methodological assumptions that underpin this squeamishness. Section ‘Visual Culture and the “Memeification” of Politics’, drawing on a recent research project on the changing shape of the British left, highlights a number of key trends in digital politics which deserve more attention from political scientists. In particular, I stress the ways in which politics is enacted in and through visual media such as gifs, memes and other forms of shareable visual content. Section ‘Re-Orienting the Study of Digital Politics’ then mines recent literature in media and communication studies to highlight a range of conceptual and methodological approaches that might be better able to capture the contours of these emergent forms of digitally mediated politics. In the section ‘The Pleasures and Passions of Socially Mediated Politics: Towards a Research Agenda’, I articulate a possible research agenda. Overall, I encourage political scientists to see the production and exchange of digital visual media not as some frivolous activity on the margins of politics, but as increasingly central to the everyday practices of politically engaged citizens.
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CRĂCIUNESCU, Ana. "Archetypal Aspects of Visual Intertextuality in Digital Advertising." Journal of Media Research 14, no. 2 (40) (July 15, 2021): 123–32. http://dx.doi.org/10.24193/jmr.40.7.
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The semiotic decodification of advertising signs through a col- lective unconscious in the digital era is a reflection of previous individual consumption of popular culture. As a result, advertising is an impure image that contains preexisting replicated visual symbols. This visual intertextu- ality will be at the core of our archetypal approach in advertising. Based on Discourse Analysis research methodology, we have opted for a corpus of digital ads that not only showcase recent creativity in the field, but also witness the development of what we shall encapsulate under the syntagma of ‘the second generation of archetypes’. Our main aim is to demonstrate that the collective unconscious as described by Jung has changed since the apparition of infinitely replicated objects of representation through media. The Discourse Analysis will provide an interpretation residing in three in- tertextual thematic archetypes touching literature, politics and art.
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Hobbis, Geoffrey, and Stephanie Ketterer Hobbis. "An ethnography of deletion: Materializing transience in Solomon Islands digital cultures." New Media & Society 23, no. 4 (April 2021): 750–65. http://dx.doi.org/10.1177/1461444820954195.
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This article demonstrates the fragility of digital storage through a non-media-centric ethnography of data management practices in the so-called Global South. It shows how in the Lau Lagoon, Malaita Province, Solomon Islands, the capacity to reliably store digital media is curtailed by limited access to means of capital production and civic infrastructures, as well as a comparatively isolated tropical ecology that bedevils the permanence of all things. The object biography of mobile phones, including MicroSD cards, typically short, fits into a broader historical pattern of everyday engagements with materializations of transience in the Lau Lagoon. Three types of visual media are exemplary in this regard: sand, ancestral material cultures and digital visual media (photographs and videos). Ultimately, Lau experiences of transience in their visual media are located in their visual technological history and the choices they make about which materials to maintain or dispose of.
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Barbour, Kim, and Lisa Mansfield. "Intersections between Corporeal Performance and Distributed Digital Audiences: Casey Jenkins and Remediated Artistic Practice." TDR/The Drama Review 63, no. 1 (March 2019): 125–40. http://dx.doi.org/10.1162/dram_a_00820.
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Juxtaposed against the negative dialectics of digital culture and social media, Casey Jenkins’s performance practice demonstrates the artist’s agency to transmute the destructive potential of digital remediation and social media commentary into a productive and constructive internal and external artistic dialogue, moving beyond the traditional art historical discourse toward a creative practice that embraces the unwieldy culture of the internet.
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Ying, Lu, and Jan Blommaert. "Understanding memes on Chinese social media." Chinese Language and Discourse 11, no. 2 (November 24, 2020): 226–60. http://dx.doi.org/10.1075/cld.20009.lu.
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Abstract Memes as online graphic semiotic resources have developed into a globalized genre and a cultural form. The vernacularization of this global cultural form on Chinese social media is Biaoqing (literally, ‘facial expression’). Biaoqing is a phenomenon and a genre engendered by the development of information technology and growing accessibility to the internet. The most prominent features of Biaoqing on Chinese social media (cute, mischievous, decadent, dirty, violent) are spawned by and therefore reflect the structure of society. The ludic nature of Biaoqing enables them to serve as resources for new forms of communication, potential of reshaping existing social norms, the landscape of online culture, and culture and society at large. The results of this contribution constitute an invitation for a reimagination of the role of graphic semiotic signs and digital infrastructures in society, and a rethinking of theories for sociolinguistic research in a digital era.
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Reyes, Everardo, and Lev Manovich. "Cultural Viz: An Aesthetic Approach to Cultural Analytics." Leonardo 53, no. 4 (July 2020): 408–14. http://dx.doi.org/10.1162/leon_a_01927.
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Cultural Analytics (C.A.) is an approach for analyzing media and digital culture using data methods and visual computing techniques. This article explores the aesthetic value of C.A. by approaching cultural visualizations as digital artworks. The authors present a variety of techniques developed since 2007 by members of the C.A. lab for creating visualizations of media artifacts and collections of images. Through a series of projects conducted by them, the authors discuss the artistic meaning of media visualizations and their experience in art exhibitions, workshops and seminars.
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Kusrini, Kusrini. "Potret Diri Digital dalam Seni dan Budaya Visual." Journal of Urban Society's Arts 2, no. 2 (October 10, 2015): 111–22. http://dx.doi.org/10.24821/jousa.v2i2.1448.
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Selfie merupakan bentuk tidak resmi (slang) dari potret diri digital (digital self-portraits). Keberadaannya semakin berkembang. National #Selfie Gallery di London pada 2013 menunjukkan bahwa jenis foto ini memiliki kelayakan untuk masuk galeri dan disebut sebagai karya seni. Sejumlah 19 seniman berfoto selfie dan hasilnya dipamerkan dalam bentuk video berdurasi singkat, masing-masing sekitar 30 detik. Untuk sampai di ruang pamer galeri, foto-foto selfie tersebut melalui tahap kurasi oleh kurator. Terdapat seleksi teknik dengan perangkat yang ada di dunia seni. Pada tahap selanjutnya, foto-foto selfie tersebut masuk galeri. Saat lolos seleksi dan dipamerkan di ruang galeri, serta dinikmati audiens seni, digital self-portraits menjadi sebuah karya seni dengan nilai isi makna seni, termasuk nilai estetis, serta nominal tertentu saat dibeli oleh kolektor. Jenis foto yang mengelilingi masyarakat kota tidak hanya selfie dan potret diri, namun semakin beragam. Di mana pun bertemu dengan foto, hingga dalam pengambilan keputusan maupun tindakan, berdasarkan pada apa yang dilihat. Di ranah ini, foto sudah menjadi bagian dari budaya masyarakat membentuk budaya visual. Dari budaya visual ini, bidang-bidang kehidupan lain ikut terpengaruh. Ketika foto menjadi bagian tidak terpisahkan dari kehidupan ataupun cara hidup masyarakat, bidang lain seperti ekonomi dan sosial turut larut di dalamnya. Perekonomian menjadikan dunia visual sebagai lahan bisnis yang menjanjikan. Dari sisi sosial, masyarakat menggantikan interaksi dan komunikasi langsung dengan media digital. Melihat dan mengukur seseorang dari relasi dari di media sosial, dan menilainya dari visual yang tertampil di jejaring sosial tersebut Selfie is a slang form of digital self-portrait. Now, its development has been increasing. National #Selfie Gallery in London in 2013 showed the eligibility of this type to enter the gallery and called it as a work of art. There were 19 artists taking their selfie and displayed the works in the form of short videos, each was about 30 seconds. Being displayed in the gallery, these photos of selfie had been through stages of curation by curators before they were displayed in the gallery. There was a technique of selection with the existing devices in the art world. When photographs passed the selection and were exhibited in the gallery space, and were enjoyed by the audiences, the digital self-portraits become a work of art which contain the art values in content, including aesthetics, and certain nominal when purchased by collectors. The types of photo surrounding the urban community are not only selfie and self-portrait, but more various upon them. Wherever photos are found, and when taking the decision and action in society, they are much influenced on what are seen. Based upon this realm, they have already become a part of community art which forms the visual culture. From this visual culture, other areas of life are affected. When photos become the inseparable part of life or community way of life, other areas like economic and social are fused within them. The economics makes the visual area becoming the prospective business area. From the social side, the community replaces the interaction and direct communication with the digital media. By having this understanding, we are able to see and measure a person by looking at his/her social relation through the social media, and giving the showed value as being found in its social networking.
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Saparova, Dinara R., Almagul M. Kanagatova, Albina S. Zhanbosinova, and Yelena Y. Chzhan. "Cultural/Social Media Space of the Digital Generation." Space and Culture, India 7, no. 4 (March 29, 2020): 194–207. http://dx.doi.org/10.20896/saci.v7i4.535.
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Taking the example of Kazakhstan, this study examines the formation and analysis of the cultural media space of the digital generation. Information and communication technologies are the basis of a communicative media environment that has an internal regulated structure, which affects the socialisation of a person. The content of the cultural media space of the digital generation is formed on the basis of digital technologies and represents people’s visual worldview with images, signs and symbols.
The processes of transformation of society affect the young generation and the content of the media space that determines their social and ethnocultural identity. The study presents the results of working with schoolchildren and students aged 14-18 using focus groups to explore the impact of digital culture (media culture) on adolescents in Kazakhstan. Based on the interdisciplinary approach, the findings demonstrate intergenerational contradictions because of the active involvement of Kazakhstan in the global internet community. The cultural media space of Kazakhstan has been shaping the social communications of the digital generation that has grown up in a sovereign state. The theoretical concepts of P. Bourdieu, C. Mannheim and other scientists served as a methodology for this study. Based on the interdisciplinary approach, the findings demonstrate intergenerational contradictions because of the active involvement of Kazakhstan in the global internet community. The findings also unravel that the transformation of the value orientations of adolescents is influenced by the factors of geographical location and ethnicity.
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Omar, Aznan, Syed Alwi Syed Abu Bakar, and Mahizan Hijaz Muhammad. "Budaya Berhibur Menerusi Aplikasi Smule Dalam Karya Arca Instalasi." Idealogy Journal 6, no. 2 (September 1, 2021): 43–52. http://dx.doi.org/10.24191/idealogy.v6i2.299.
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This research project is an interpretation of a societal phenomenon in terms of the culture of using digital application for leisure and entertainment especially regarding the human behaviour and its obsession of using these applications in the social media platforms. This idea was translated by using the idea of an installation of a fabricated sculpture. The idea of how the digital media plays a major role for leisure and its obsession was inspired by the artist Scott Snibbe. This reference includes on how netizens utilize and share their interests and interactions with these digital media, games and other kinds of digital media entertainments. The method used for this practical studio research are through self critical evaluation, studio experimentation and contextual reviews. This research project was intended to contribute to the field of fine arts in terms of collecting symbolic visual narratives and its issues of the collective culture in regarding of leisure and entertainment and its popularity as a life style today. With hope this research project will give a major impact in terms of understanding towards its trend and the digital entertainment itself. The variation, the ever changing content of its application has impacted the popular culture itself through its spirit and behaviour, the wants and needs projected by the new expression of consumerism.
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Horeck, Tanya. "Screening Affect: Rape Culture and the Digital Interface in The Fall and Top of the Lake." Television & New Media 19, no. 6 (April 27, 2018): 569–87. http://dx.doi.org/10.1177/1527476418768010.
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Although it often goes unremarked, digital screens are a key point of commonality across the many different transnational renditions of the story of violence against girls and women found in contemporary TV crime drama. The Fall (United Kingdom, 2013–) and Top of the Lake (United Kingdom/Australia/New Zealand/United States, 2013–) are two striking examples of TV crime dramas that frame their self-conscious interrogation of rape culture through digital media. Considering the mutual imbrication of feminist politics and the deployment of new media technologies on these shows, this essay considers how the digital interface functions as a way of mediating viewer response to violence against women. Resisting a reading of digital technologies as either inherently oppressive or inherently liberatory, the essay explores how these TV series navigate the tension between the simultaneous violence of new media and its investigative/feminist/affective potential.
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Grubnic, Tanja. "Nosthetics: Instagram poetry and the convergence of digital media and literature." Australasian Journal of Popular Culture 9, no. 2 (September 1, 2020): 145–63. http://dx.doi.org/10.1386/ajpc_00024_1.
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This article considers the proliferation of nostalgic aesthetics in Instagram poetry (‘instapoetry’). Though often overlooked, the relationship between the platform and the poetry itself is a vibrant entry point into debates about the handwritten, analogue and vintage styles of instapoetry. Connecting modernist and postmodernist arguments about nostalgia, this article provides a critical and conceptual lens with which to analyse the visual aspects of nostalgic aesthetics – referred to as ‘nosthetics’ – characteristic of instapoetry, investigating how and why the genre impersonates the pre-digital, analogue past. Combining scholarship on platforms, nostalgia and instapoetry shows how the concept of nosthetics can be used as a framework for literary and visual analysis of instapoetry. The theoretical framework proposed recommends three developments for those researching nostalgic aesthetics in instapoetry. First, greater attention should be paid to the platform. Second, engagement with scholarship on popular culture and nostalgia is needed. Finally, it is insightful to return to the notion of space at the heart of Johannes Hofer's original definition of nostalgia.
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Zhong, Wen Jing. "Network of Visual Arts and Contemporary Art Pattern Reorganization." Applied Mechanics and Materials 321-324 (June 2013): 1102–6. http://dx.doi.org/10.4028/www.scientific.net/amm.321-324.1102.
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This article, based on changes in the pattern of study of contemporary art network of visual arts, contemporary art in the space environment of the network visual arts, visual arts language of visual media, interactive cyberspace realm of art, information and digital communication art platform for contemporary art pattern the basic structure of the reorganization. Through integration of the modern network multi-media production technology and visual vision production method, the traditional art like Painting, Architecture art and Dace could form a new form of art performance and visual language, and enriched the modern context of art dialogue and culture space, which is the new construction of network visual art to the modern art pattern. Compared with the real world, it is virtual and transcendent, however, Network of Visual art provided a real situation of visual experience and psychological experience to a expanding real situation. By the use of network visual space and various visual information, the thinking way and expression platform of modern digital art creation have been extended and expanded.
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Wang, Xinyuan, and Laura Haapio-Kirk. "Emotion work via digital visual communication: A comparative study between China and Japan." Global Media and China 6, no. 3 (April 12, 2021): 325–44. http://dx.doi.org/10.1177/20594364211008044.
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Through the smartphone, the production and circulation of digital visual media have become as costless and accessible as audio and text-based communication. It would be challenging to be a contemporary ethnographer without engaging with digital practices which in Japan and China at least, tend towards being highly visual. Digital visual communication is recognised in literature as an effective and accessible form of communication, with an increasing number of studies in the field of digital anthropology, media studies and Internet studies exploring the consequences of digital images on social media. There is a pressing need to understand local forms of visual communication in the digital age, where the visual has become an essential part of daily communication. This article deals particularly with the rise of visual digital communication among older adults in China and Japan. Drawing on 16-month ethnographies conducted simultaneously between 2018 and 2019 in China and Japan, this article contributes to the discussion of visual communication in light of this semiotic shift happening online, which is then contextualised within people’s offline lives. The ethnographies in both China and Japan find that, first of all, visual communication via digital media enables more effective and efficient phatic communication and emotion work. In addition, the ethnographies point to a question about ‘authenticity’ in interpersonal communication. The ethnographies show that in some cases, the deployment of visual communication via the smartphone is not so much about being able to express ‘authentic’ personal feelings but rather, in being able to effectively establish a digital public façade according to social norms.
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Hananto, Brian Alvin. "IMPLEMENTASI BUDAYA KOREA PADA PERANCANGAN IDENTITAS VISUAL “MIREOKKI”." Jurnal Dimensi DKV Seni Rupa dan Desain 5, no. 1 (April 1, 2020): 1. http://dx.doi.org/10.25105/jdd.v5i1.6855.
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<p><strong>Abstract</strong></p><p>The Implementation of Korean Culture in Mireokki’s Visual Identity Design. Globalization made Indonesia exposed to other nation’s cultures. One of the mainstream cultures that are being exposed to Indonesian peoples is the popular culture of Korea. From foods, music, films, lifestyles and also design artifacts from Korea can be found here in Indonesia. One of Korean’s food that is widely favored in Indonesia is tteokbokkis, in which tteokbokki became the basis for food innovation development conducted by Stefani Octavia from the department of Food Technology, Universitas Pelita Harapan. On a collaborative work held by the Department of Food Technology and the Department of Visual Communication Design, there is a visual identity design made by Shella Subagia towards the product developed by Octavia, called “Mireokki”. Using qualitative design methods, Subagia succeeded in designing a logo, packaging, digital promotion media and brand activation which incorporates visuals from the Korean culture. This article contains the research and assessment that the author had done on the design works made by Subagia. The conclusion is that the form implementation of external contexts can be performed when the designer had the basic ability to create a design that is coherent and also united. </p><p><br /><strong>Abstrak</strong></p><p>Implementasi Budaya Korea pada Perancangan Identitas Visual “Mireokki”. Globalisasi membuat kita semakin terekspos dengan budaya-budaya luar. Salah satu bentuk budaya populer yang tengah dikonsumsi masyarakat Indonesia adalah budaya Korea. Mulai dari makanan, musik, film, gaya hidup sampai artefak-artefak desain dari Korea banyak ditemukan di Indonesia. Salah satu makanan Korea yang tengah digemari di Indonesia adalah tteokbokki. Jenis makanan tersebut menjadi referensi dari pengembangan makanan dan inovasi yang dilakukan oleh Stefani Octavia dari program studi Teknologi Pangan Universitas Pelita Harapan. Pengembangan dilakukan dalam rangka kerjasama antara program studi Teknologi Pangan dan Desain Komunikasi Visual, melalui perancangan identitas visual oleh Shella Subagia terhadap produk inovasi Octavia yang bernama “Mireokki”. Dengan menggunakan metode perancangan kualitatif, Subagia berhasil menggagas perancangan logo, kemasan, media digital promosi dan juga brand activation yang mengimplementasikan karakter visual dari budaya Korea. Tulisan ini berisi penelitian dan penilaian kritis terhadap proses perancangan yang dilakukan oleh Subagia. Simpulan yang dihasilkan bahwa implementasi rupa dari konteks eksternal dapat dilakukan selama desainer memiliki kemampuan dasar untuk menggagas desain yang koheren dan menyatu.</p>
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Hong, Na. "Digital-Media-Based Interaction and Dissemination of Traditional Culture Integrating Using Social Media Data Analytics." Computational Intelligence and Neuroscience 2022 (May 31, 2022): 1–11. http://dx.doi.org/10.1155/2022/5846451.
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This paper adopts the approach of the Internet fusion digital media to conduct in-depth research and analysis on the interaction and communication of traditional culture. This structural information can be used to express and describe the Internet requirements. With the increasing demand for the Internet applications, the number of objects in the network and the complexity of the structure are also growing, so we can design suitable clustering algorithms to obtain more reasonable network structure information by using different semantic information in the heterogeneous information network. Firstly, the caching scheme is transformed into a backpack problem, and the storage scheme is obtained recursively by using dynamic programming, after which the computational task is optimized based on this storage scheme by using the whale algorithm to make it the least costly. The exact balance between the connotation essence of traditional culture and the emotional resonance in modern life has not yet been found, and the visual language belonging to cultural aesthetics under the combination of traditional and modern aesthetics needs to be explored for a long time. From an objective point of view, the digital art communication of cultural elements still suffers from five problems: lack of communication cultivation and stratification of target audiences, low quality of transcription of digital artworks, unbalanced economic and cultural values, uneven development of digital art communication forms, and low degree of Internet adaptation. A ranking algorithm based on fusing multiple meta-paths is proposed to better reflect the ranking values of different object distributions of the Internet data in heterogeneous information networks, which can obtain better clustering, while better clustering can be calculated to obtain more reasonable rankings, and finally, the types of the Internet-oriented applications are divided into multiple reasonable clusters. The effects of selecting different meta-paths on the clustering algorithm and the effects of fused meta-paths versus single meta-paths on the clustering results are given in the experimental results section. Also compared with other clustering algorithms, the I-RankClus algorithm can better achieve the data clustering classification for the Internet application scenarios.
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Woo, Tack, Kwangyun Wohn, and Nigel Johnson. "Categorisation of New Classes of Digital Interaction." Leonardo 44, no. 1 (February 2011): 90–91. http://dx.doi.org/10.1162/leon_a_00103.
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This article introduces a new concept, digital interactivity, through examining local digital culture; and video game culture is employed as a metaphor to interpret local digital culture. As a result, ‘control-’ and ‘communication’-based interaction are initiated, based on ‘user to media’ relationships. Based on the degree of physical interaction, ‘liminal’ and ‘transitive’ interactions are initiated. Less physical digital interaction is described as ‘liminal’ interaction and more physical digital interaction is described as ‘transitive’ interaction. These new classes of digital interaction can be applied to real-world examples, such as digital interactive installation artworks and video games.
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Rusted, Brian. "Editor's introduction: visual studies, digital imaging and new media." Visual Studies 19, no. 1 (April 2004): 2–6. http://dx.doi.org/10.1080/1472586042000204807.
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Legrady, George. "Culture, Data and Algorithmic Organization." Leonardo 45, no. 3 (June 2012): 286. http://dx.doi.org/10.1162/leon_a_00378.
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The author presents his interactive digital installations of the past decade, featured in museums, media arts festivals and galleries, that engage the audience to contribute data that is then transformed into content and visually projected large scale in the exhibition space. Collected over time, the data occasions further data-mining, algorithmic processing, with visualization of the results.
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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.
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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.
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Yu, Feng Bo. "The Integration and Extension of Digital Medium Design and Traditional Medium Design." Applied Mechanics and Materials 121-126 (October 2011): 1138–42. http://dx.doi.org/10.4028/www.scientific.net/amm.121-126.1138.
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Medium is a way to express idea and convey information. It’s the most important tool to spread information and exchange idea as well as conduct interpersonal communication in the human society. With the diversification of social culture and communicative content, the far-reaching development of media renders profound change to the ways of spreading information. Digital medium, as a new platform brought about by information digitalization, shares the same theoretical basis with traditional visual communication design with respect to design philosophy, and design elements. On the other hand digital medium shows distinctive aesthetic and formal feature in terms of modes of transmission and visual expression. This paper aims to discuss the design principle and theoretical basis of digital medium, to explore its relation with traditional visual communication design theory and thus to find out the theoretical evidence for the development of digital medium.
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Kristianto, Bernard Realino Danu, and Rustono Farady Marta. "MONETISASI DALAM STRATEGI KOMUNIKASI LINTAS BUDAYA BAYU SKAK MELALUI VIDEO BLOG YOUTUBE." LUGAS Jurnal Komunikasi 3, no. 1 (July 9, 2019): 45–56. http://dx.doi.org/10.31334/ljk.v3i1.415.
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This study aims to understand the convergence of digital media into the reality of peak phenomenon of modern society needs in the present. The popular culture of exploiting new media as a means of monetization obscures the movitation and the purpose of new media itself is created.In the discussion, it will show how the owner of YouTube account Bayu Skak, doing self presentation as a representation of Java community in audio visual works, as well as how monetization runs on the video blogs he created in the media platform YouTube.The researchers concluded that the YouTube Media as one of the popular new media forms clearly offers space for modern society to make money and contribute to capitalism by providing an opportunity for account owners to present himself and work through audio-visual media.
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Putintseva-Ardanskaya, Valeria V. "“Save as…”. The role of a computer interface in digital ontology." Izvestiya of Saratov University. New Series. Series: Philosophy. Psychology. Pedagogy 21, no. 1 (March 24, 2021): 48–51. http://dx.doi.org/10.18500/1819-7671-2021-21-1-48-51.
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The article provides the analysis of the computer interface as a digital world phenomenon in correlation with its constitutive and representative function for image production. Several concepts of media theorists and researchers of visual culture of new (i. e. digital) media (M. Hansen, D. Bruno, D. Drucker) are examined in the context of considering intermediary functions of interface between the computer code message and the user. The analysis of the project of art group Share Lab about the interface and algorithms of Facebook for user behavior is being carried out. The representative role of interface in production of the ontological reality of media is considered, which is correlated both with the production of a media event and with such concept of a contemporary world as “post-truth”. The conclusion is offered that the constitutive role of computer interface is manifested both in social practices of digital media users and production of media events with attention to its representative function.
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Defa, Wisman Hadi, and Daulat Saragi. "Development of Visual Media Characteristic of Batak Culture “Dalihan Na Tolu” for Students in 6th Grade Elementary School." Britain International of Humanities and Social Sciences (BIoHS) Journal 2, no. 3 (October 30, 2020): 757–64. http://dx.doi.org/10.33258/biohs.v2i3.336.
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The research is using the 4 D Thiagarajan development model consisting of Define, Design, Development and Dissemination. The validation results of three experts consisting of material experts, design experts and media experts with a very decent category. Once validated by the three experts, the media tested on two groups of small groups and big groups by demonstrating the effectiveness of the media. One of the patterns of kinship adopted from the value of Batak culture contains many positive and good elements that can be used as a role model in the use of technology. Making the use of technology is growing by having a cultural corridor that can align in its development and use in both the digital world though. In this study gave birth to a visual learning media that collaborated with the values of Batak culture.
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AnDong, Li, and Fang JianJun. "Letterpress Reproduction——Information Visualization Design." E3S Web of Conferences 236 (2021): 05079. http://dx.doi.org/10.1051/e3sconf/202123605079.
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At present, with the rapid development of society, digital media has become the mainstream of vision. Digital vision makes people form a new reading form of “Super-Attention”. The visual performance of letterpress printing conforms to this new form of visual reading very well. It is different from the tactile feeling of ordinary printing that further packages and shapes the original information and improves the expectation of information interpretation and experience to a high level. At the same time, the manual culture highlighted by letterpress printing is also one of the best means to cushion the tension of inconsistent technology and culture in modern society. We don't know the result of the confrontation between paper and digital media, but letterpress printing in digital society has shown its unique “Paper-Based” feelings. Through detailed analysis of the historical evolution of letterpress printing, the comparison between traditional letterpress printing and modern letterpress printing, this paper presents clearly the development of letterpress printing for readers, so that readers can truly understand this unique traditional process; and then it elaborates on the application of modern letterpress in creative products and the development status quo of modern letterpress at home and abroad. This paper probes into how to popularize the new nirvana letterpress once again, thus providing a set of modern application attempt of letterpress printing - Rejuvenation of Letterpress information visualization design, and from practice, looking for letterpress regeneration after integrating new design ideas in the new media era.
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Liu, Tingting. "Video Games as Dating Platforms: Exploring Digital Intimacies through a Chinese Online Dancing Video Game." Television & New Media 20, no. 1 (November 1, 2017): 36–55. http://dx.doi.org/10.1177/1527476417736614.
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In the relatively young field of new media studies, both video games and online dating platforms are identified as being important and popular genres of digital products, which are often discussed separately. This article argues that these two genres of digital products are not so much separate but entangled elements of the same processes of technological shifts in media industry, development of people’s online leisure activities, and the convergence of digital genres. To provide empirical evidence, this article examines a Chinese dancing video game, QQ Dazzling Dance (QQ Xuan Wu), which creatively juxtaposes these two genres of participatory digital culture and recognizes the analytical and critical values in doing so.