Relevant bibliographies by topics / New media art

Academic literature on the topic 'New media art'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "New media art"

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Kumar, Vinay. "Fine Art Pedagogy in India And Impact of New Media Art." Paripex - Indian Journal Of Research 3, no. 1 (January 15, 2012): 80–82. http://dx.doi.org/10.15373/22501991/jan2014/23.

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Gere, Charlie. "New Media Art." Art Book 12, no. 2 (May 10, 2005): 6–8. http://dx.doi.org/10.1111/j.1467-8357.2005.00520.x.

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Bastos, Flávia. "New Media Art Education." Art Education 63, no. 1 (January 2010): 4–5. http://dx.doi.org/10.1080/00043125.2010.11519046.

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Mix, E. K. "Art and New Media." Choice Reviews Online 47, no. 08 (April 1, 2010): 1411–23. http://dx.doi.org/10.5860/choice.47.08.1411.

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Yuhe, Peng. "The meaning of space in new media art based on examples of new media artworks." OOO "Zhurnal "Voprosy Istorii" 2023, no. 1-2 (January 1, 2023): 132–37. http://dx.doi.org/10.31166/voprosyistorii202301statyi61.

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New media art, bringing together technology and artistry, possesses certain characteristics uncommon for traditional forms of art. This paper takes a number of new Media artworks as examples to explore three dimensions of the use and the meaning of space in new media art.
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Frohne, Ursula. "Old Art and New Media." Afterimage 27, no. 2 (September 1999): 9–11. http://dx.doi.org/10.1525/aft.1999.27.2.9.

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Chmielnicka-Plaskota, Aleksandra, and Janina Florczykiewicz. "New media in art therapy." Special School LXXXI, no. 1 (February 29, 2020): 54–66. http://dx.doi.org/10.5604/01.3001.0013.9510.

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The article aims to show possible uses of new media in art therapy. Based on the art therapy process, it describes practical uses of new media in therapy for patients in long-term hospitalization in a daycare ward of a psychiatric hospital. The use of new media in therapy for a woman diagnosed with autism is presented. In the case of interventions for people in long-term hospitalization, a series of workshops included 16 sessions, and in the case of individual art therapy for the person diagnosed with autism - 12 sessions. The introduction of new media to art therapy resulted in the activation of creative powers, a sense of agency and self-control, objectivization of reality, and self-observation.
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Miranda, M. "Fictive art in new media." IEEE Multimedia 10, no. 2 (April 2003): 4–7. http://dx.doi.org/10.1109/mmul.2003.1195154.

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LI, Wenyi, and Hyung-gi Kim. "The Art of Shadows in New Media Art." TECHART: Journal of Arts and Imaging Science 7, no. 1 (February 29, 2020): 10–13. http://dx.doi.org/10.15323/techart.2020.2.7.1.10.

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Soreanu, Cătălin. "New Media Art: Aligning Artistic Creativity And Technological Media." Review of Artistic Education 22, no. 1 (June 1, 2021): 206–16. http://dx.doi.org/10.2478/rae-2021-0026.

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Abstract This article investigates the relationship between art and technology, pointing the constants of a process of cultural digestion which is mediated by the very sovereign technological environment – the Internet. Relying on the multiplicity and hybridization of the content formats, and also on the user involved interactivity as constructive vector-relationships, new media art and the internet art are natural consequences of the artistic practices of creative appropriation of contemporary technological media. As the complexity of the relationship between art and the technological environment becomes richer than ever, we assist to the creation of a contemporary ultra-technological culture, structurally dependent on the media and responsible for relativizing the critical positioning of the art consumer. Defining the premises of the interaction with a technologically interfaced world of art, the user (reader) of the Internet as a medium of expression is – equally – a consumer, and a producer of information (content).
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Dissertations / Theses on the topic "New media art"

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Carpenter, Eleanor J. "Politicised Socially Engaged Art and New Media Art." Thesis, University of Sunderland, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485986.

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Exploring the connections and conflicts within politicised socially engaged new media art practices has involved an investigation into the language, characteristics and methodologies of visual art, new medi~ art (NMA) and socially engaged art (SEA), as well as the hybrid practice of socially engaged new media art (SENMA). The investigation includes research through the practice of curating RISK: Creative Action in Political Culture which presented SEA and NMA practice and encouraged dialogue which informed the themes and vocabularies.The thesis focuses on the vocabulary used to: understand values of object and process; define and utilise different kinds of tools; and describe differences between concepts of interactivity, participation and collaboration. It then contextualises the political relevance of these themes by situating them within current theoretical debates about politicised creative practice in chapter 5, mapping the tensions of political intent, strategy and tactics, distribution and distance. Topologies of different types of networks, platforms and open source development methodologies are used to map parallel concepts between politicised NMA and SEA.
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Jensen, Michelle. "New Media and Interactivity." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1522.

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Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.
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Jensen, Michelle. "New Media and Interactivity." University of Sydney, 2006. http://hdl.handle.net/2123/1522.

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Master of Visual Arts
Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.
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Woolf, Sam. "Expanded media : interactive and generative processes in new media art." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420707.

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Pinxit, Vaughn. "Stillness: A meditation in new media art." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93556/1/Vaughn_Pinxit_Thesis.pdf.

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While technology is often seen as a noisy, impatient and pervasive aspect of our lives, this practice-led research project investigated the counter proposition–that we might be able to evoke sensations of stillness through technology-mediated artworks. Investigations into stillness were informed by Buddhism, phenomenology, and experiences of meditation and the practice of archery. By combining visual art, performance, installation, video and interaction design, a series of experimental, interdisciplinary artworks were produced and exhibited to evoke a sense of stillness and to impel audiences to consider the form and nature of stillness in relation to time, space and motion.
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Sunderhaus, Nathan. "Urban mediation new media art and the city /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148071505.

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Thesis (Master of Architecture)--University of Cincinnati, 2007.
Advisor: Michael McInturf. Title from electronic theses title page (viewed Feb. 6, 2007). Includes abstract. Keywords: Urban Architecture; New Media Art; Social Interaction. Includes bibliographic references.
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SUNDERHAUS, NATHAN ALLEN. "URBAN MEDIATION: NEW MEDIA ART AND THE CITY." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148071505.

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Frost, Stephen. "Natural Bridge: Environmental Art in New Media Documentary." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367220.

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The Natural Bridge Project is a pilot study into design form as it applies to the Digital Media Documentation of Environmental Art. This component of the project aims to develop a new form of New Media Art Documentary that will help urban people reconnect with the natural environment. The project throws doubt on existing assumptions surrounding “connectivity” via the Internet and the positive attributes of social media. It argues that social media actually disconnects people from each other and from the natural environment. In an attempt to offer a solution to this problem, the Natural Bridge Project seeks ways to use digital media not as a marketing tool but rather as a way to promote wellbeing through an appreciation of the natural environment through art. It begins by studying the design of documentary films on art and identifies two dominant design formulas. It finds that one formula is primarily concerned with commerce and the other with ideology. The research then identifies “content-driven” design, as espoused by the Program for Art on Film (a joint venture between the New York Metropolitan Museum and the J.P. Getty Trust), as a viable alternative but discovers that the Program has not conducted studies into the practical application of content- driven design.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Balaskas, Vasileios (Bill). "Mapping utopian art : alternative political imaginaries in new media art (2008-2015)." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2844/.

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This thesis investigates the proliferation of alternative political imaginaries in the Web-based art produced during the global financial crisis of 2008 and its aftermath (2008- 2015), with a particular focus on the influence of communist utopianism. The thesis begins by exploring the continuous relevance of utopianism to Western political thought, including the historical context within which the financial crisis of 2008 occurred. This context has been defined by the new political, social and cultural milieu produced by the development of Data Capitalism – the dominant economic paradigm of the last two decades. In parallel, the thesis identifies the “organic” connections between leftist utopian thought and networked technologies, in order to claim that the events of 2008 functioned as a catalyst for their reactivation and expansion. Following this analysis, the thesis focuses on how politically engaged artists have reacted to the global financial crisis through the use of the World Wide Web. More specifically, the thesis categorises a wide range of artworks, institutional and non-institutional initiatives, as well as theoretical texts that have either been written by artists, or have inspired them. The result of this exercise is a mapping of the post-crisis Web-based art, which is grounded on the technocultural tools employed by artists as well as on the main concepts and ideals that they have aimed at materialising through the use of such tools. Furthermore, the thesis examines the interests of Data Capitalists in art and the Internet, and the kinds of restrictions and obstacles that they have imposed on the political use of the Web in order to safeguard them. Finally, the thesis produces an overall evaluation of the previously analysed cultural products by taking into account both the objectives of their creators and the external and internal limitations that ultimately shape their character. Accordingly, the thesis locates the examined works within the ideological spectrum of Marxist and post-Marxist thought in order to formulate a series of proposals about the future of politically engaged Web-based art and the ideological potentialities of networked communication at large.
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Barriga, Maria Fernanda. "Deconstructing Feminist Art and The Evolution of New Media." Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10255533.

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Feminist artists during the second wave movement wanted to gain the same rights as men in a historically male-dominated art world, a world that was being influenced more and more by modernist ideals. It was during this precise moment that postmodernists helped transform art, in addition to the fields of literature, music, architecture, law, and philosophy. The synthesis between postmodernism and feminism helped art evolve in non-traditional ways. In this thesis, I seek to answer the question: “How did postmodernism influence feminist artists from 1970-1982 to create the adaptation of new media?” Evidence of this influence is seen in the evolution of new media such as performance, decorative arts, video, photography, femmage, and collage. As I examine the synthesis between postmodernism and feminist art, I will also show evidence of how second wave feminist movement influenced the evolution of postmodernism, and how the mixture of postmodern and feminist ideals influenced these women artists.

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Books on the topic "New media art"

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Grosenick, Uta, ed. New Media Art. Cologne, Germany: Taschen, 2006.

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Michael, Rush, ed. New media in art. 2nd ed. London: Thames & Hudson, 2005.

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Broderick, Mick, and Antonio Traverso. Trauma, media, art: New perspectives. Newcastle upon Tyne: Cambridge Scholars, 2010.

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Adrian, Shaughnessy, O'Reilly John, and Intro (Firm : London, England), eds. Print, film, new media. London: Laurence King, 2001.

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(Firm), V. Tape. New media guide 1997. [Toronto, Ontario, Canada: V tape, 1997.

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Germany) Galerie von Braunbehrens (Munich. New media reloaded. München: Galerie von Braunbehrens, 2012.

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1951-, Rieser Martin, Zapp Andrea, British Film Institute, and Zentrum für Kunst und Medientechnologie Karlsruhe, eds. New screen media: Cinema/art/narrative. London: British Film Institute, 2002.

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1974-, Cook Sarah, ed. Rethinking curating: Art after new media. Cambridge, MA: MIT Press, 2010.

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Gallery, Queensland Art, ed. National New Media Art Award 2012. South Brisbane, Qld: Queensland Art Gallery, 2012.

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guan, Zhongguo mei shu, ed. TransLife: International triennial of new media art. Liverpool: Liverpool University Press, 2011.

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Book chapters on the topic "New media art"

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Green, Susan L. "New Media Art." In An Introduction to the Making of Western Art, 154–74. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003354840-7.

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Franco, Francesca. "New media, new technologies and new systems." In Generative Systems Art, 128–40. New York: Routledge, 2017. | Series: Digital research in the: Routledge, 2017. http://dx.doi.org/10.4324/9781315581637-8.

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Bredella, Nathalie. "New media art institutes." In The Architectural Imagination at the Digital Turn, 45–64. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003189527-3.

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Shanken, Edward A. "Contemporary Art and New Media." In A Companion to Digital Art, 461–81. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118475249.ch21.

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Widrich, Virgil, Stefan Reiter, and Stefan Unger. "Art and science." In Inszenierung und neue Medien / Presentation and New Media, 18. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-0981-6_2.

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Feige, Daniel Martin. "Computer Games as Works of Art." In Computer Games and New Media Cultures, 93–106. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-2777-9_6.

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Grubgeld, Elizabeth. "New Media, New Lives: Self-Publication, Blogging, Performance Art." In Disability and Life Writing in Post-Independence Ireland, 139–66. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37246-0_6.

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Bartlem, Edwina. "Emergence: New Flesh and Life in New Media Art." In The Future of Flesh, 155–78. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230620858_9.

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Xu, Hantian, Lin Zhang, and Ziruo Xue. "New Media Art and Post-human Masks." In Culture and Computing, 354–70. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05434-1_24.

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Mazzone, Marian. "Sound and Image in New Media Art." In Teaching Electronic Music, 208–22. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815349-16.

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Conference papers on the topic "New media art"

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Richardson, Andrew. "New Media, New Craft?" In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179121.

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Zheng, Ying, and Peng Zhang. "Interactive Video Installation Art Under New Media Art." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.018.

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Kusahara, Machiko, Kazuhiko Hachiya, Masahiko Inami, Sachiko Kodama, Ryota Kuwakubo, Taro Maeda, Nobumichi Tosa, Hiroaki Yano, and Hiroo Iwata. "Device art, a new approach in media art." In ACM SIGGRAPH 2006 Research posters. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179622.1179788.

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Undiana, Nala Nandana. "New Media Art: Between Art, Design, and Technology." In 4th International Conference on Arts Language and Culture (ICALC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200323.023.

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Nam, Su Hyun. "Meditative process in new media art." In SA'15: SIGGRAPH Asia 2015. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2835641.2835648.

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Luo, Changgen, and Xuemei Yuan. "Research on new media art based on diversified media." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.142.

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"New Media Art Design Combined with Art and Digital Technology." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29009.

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Graham, Beryl S. "Museums, New Media Art, Documentation and Collection." In Electronic Visualisation and the Arts (EVA 2011). BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/eva2011.37.

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Barber, Gabriela, and Marcos Lafluf. "New Media Art ; un abordaje al videomapping." In XIX Congresso da Sociedade Ibero-americana de Gráfica Digital 2015. São Paulo: Editora Edgard Blücher, 2015. http://dx.doi.org/10.5151/despro-sigradi2015-70184.

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Guo, You, Daoxun Wang, and Wenjun Cui. "The Study of New Media Art Aesthetic." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.113.

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Reports on the topic "New media art"

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Grazia Mattei, María. Art and New Media in Italy. Inter-American Development Bank, February 2003. http://dx.doi.org/10.18235/0006628.

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Rudyk, Myroslava. Нові ролі і функції соціальних медіа у волонтерській діяльності в період російсько-української війни з 24 лютого 2022 року. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11739.

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The article studies social media as a communication platform during the war. The set of mass communication tools to meet the audience’s information needs, coordination of volunteer activities, popularization of the volunteer movement, and involvement of the Internet community in helping the Armed Forces were analyzed. During the Russian-Ukrainian war, social media became the platform where the exchange of information takes place much faster; good analytics could be found quickly, which were pushed out of the information space. Also, social media have taken on the role of a platform where you can coordinate work, unite society around important issues, organize assistance to the army, and report on the needs of the Armed Forces. That is why the presentation of volunteering in social media is considered a relevant research topic because the presentation of volunteering in social networks has generally changed the content of blogging. Stars of show business, politicians, people of art, and educational and scientific fields have done incredible things with social media’s help in organizing military aid. We believe that the volunteer movement through social media has expanded the functions and role of these communication platforms, demonstrating the importance of Internet communication and the effectiveness of using the latest media tools in wartime. The historiography of the study covers the works of Ukrainian and foreign scientists. Among them are L. Horodenko, V. Hvozdiev, B. Potiatynyk, G. Synorub, A. Rohulskyi, D. Rashkoff, and others. The war situation in Ukraine has opened up new requests for blogging activities, exceptional support, and initiation of volunteering. The content of bloggers is now 80 percent filled with the topic of war. The presentation of volunteer work is considered individually and collectively on behalf of foundations and public organizations. We believe that a significant advantage of an active volunteer movement in social networks is fast communication, which contributes to the rapid resolution of crucial tasks. Keywords: social media, volunteering, information, war.
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Yatsymirska, Mariya. Мова війни і «контрнаступальна» лексика у стислих медійних текстах. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11742.

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The article examines the language of the russian-ukrainian war of the 21st century based on the materials of compressed media texts; the role of political narratives and psychological-emotional markers in the creation of new lexemes is clarified; the verbal expression of forecasts of ukrainian and foreign analysts regarding the course of hostilities on the territory of Ukraine is shown. Compressed media texts reflect the main meanings of the language of the russian-ukrainian war in relation to the surrounding world. First of all, the media vocabulary was supplemented with neologisms – aggressive and sad: “rashism”, “denazification”, “katsapstan”, “orks”, “rusnia”, “kremlins”, “parebrik”, “in the swamps”, “nuclear dictator”, “putinism”, “two hundred” and others. Numerals acquired new expressive and evaluative meanings: “200s” (dead), “300s” (wounded), “400s” (russian military personnel who filed reports for termination of the contract), “500s” (hopelessly drunk russian soldiers, alcoholics who are unable to perform combat tasks). The language of war intensified the slogans of the struggle for state independence and people’s freedom. The scope of the greeting “Glory to Ukraine! – Glory to Heroes!”. New official holidays have appeared in the history of Ukraine since 2014: “Heroes of the Heavenly Hundred” Day (February 20), “Ukrainian Volunteer Day” (March 14), “Defenders and Defenders of Ukraine Day” (October 14), “Volunteer Day” (5 December). As you know, the professional holiday of the military is the Day of the Armed Forces of Ukraine” (December 6). A special style is characteristic of media texts on military topics: “Iron Force of Ukraine” (Iron Force of Ukraine), “digitize the Army” (for effective simulation of military operations); “grain corridor” (export of Ukrainian grain to African and European countries); “don’t let Ukraine lose” (the position of the Allies at the first stage of the war), “Ukraine must win!” (the position of the Allies in the second stage of the war); “in the Russian-Ukrainian war, the thinking of the 19th century collided with the thinking of the 21st century”, “a politician is a person who understands time” (Grigori Yavlinskyy, Russian oppositionist); “aggressive neutrality” (about Turkey’s position); “in Russia”, “there, in the swamps” (in Russia), “weak, inadequate evil” (about Russia), “behind the fence”; “a great reset of the world order”; “technology of military creativity”; “they are not Russian and not Ukrainian, they are Soviet”, “people without mentality”, “in Ukraine and without Ukraine” (Vitaly Portnikov about a separate category of Russian-speaking citizens in Ukraine); “information bed of Ukraine” (about combat operations on the front line; “when a descendant asks me what I did in those terrifying moments, I will know what to answer. At the very least, I did not stand aside” (opinion of a Ukrainian fighter). Compressed in media texts is implemented in the headline, note, infographic, chronicle, digest, help, caption for photos, blitz poll, interview, short articles, caricature, visual text, commercial, etc. Researchers add “nominative-representative text (business card text, titles of sections, pages, names of presenters, etc.) to concise media texts for a functional and pragmatic purpose.” accent text (quote, key idea); text-navigator (content, news feed, indication of movement or time); chronotope”. A specific linguistic phenomenon known as “language compression” is widespread in media texts. Language compression is the art of minimization; attention is focused on the main, the most essential, everything secondary is filtered out. Compression uses words succinctly and sparingly to convey the meaning as much as possible. For example, the headline “Racism. What is the essence of the new ideology of the Russian occupiers?”. The note briefly explains the meaning of this concept and explains the difference from “nazism” and “fascism”. Key words: compressed media text, language compression, language of war, emotional markers, expressive neologisms, political journalism.
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Sek, Sophal. New Media Startups Initiatives are a Complement not a Replacement for Independent Media in Cambodia. Critical Asian Studies, July 2021. http://dx.doi.org/10.52698/zdak9215.

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Baluk, Nadia, Natalia Basij, Larysa Buk, and Olha Vovchanska. VR/AR-TECHNOLOGIES – NEW CONTENT OF THE NEW MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11074.

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The article analyzes the peculiarities of the media content shaping and transformation in the convergent dimension of cross-media, taking into account the possibilities of augmented reality. With the help of the principles of objectivity, complexity and reliability in scientific research, a number of general scientific and special methods are used: method of analysis, synthesis, generalization, method of monitoring, observation, problem-thematic, typological and discursive methods. According to the form of information presentation, such types of media content as visual, audio, verbal and combined are defined and characterized. The most important in journalism is verbal content, it is the one that carries the main information load. The dynamic development of converged media leads to the dominance of image and video content; the likelihood of increasing the secondary content of the text increases. Given the market situation, the effective information product is a combined content that combines text with images, spreadsheets with video, animation with infographics, etc. Increasing number of new media are using applications and website platforms to interact with recipients. To proceed, the peculiarities of the new content of new media with the involvement of augmented reality are determined. Examples of successful interactive communication between recipients, the leading news agencies and commercial structures are provided. The conditions for effective use of VR / AR-technologies in the media content of new media, the involvement of viewers in changing stories with augmented reality are determined. The so-called immersive effect with the use of VR / AR-technologies involves complete immersion, immersion of the interested audience in the essence of the event being relayed. This interaction can be achieved through different types of VR video interactivity. One of the most important results of using VR content is the spatio-temporal and emotional immersion of viewers in the plot. The recipient turns from an external observer into an internal one; but his constant participation requires that the user preferences are taken into account. Factors such as satisfaction, positive reinforcement, empathy, and value influence the choice of VR / AR content by viewers.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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Ibrayeva, Galiya, Saltanat Anarbaeva, Violetta Filchenko, and Lola Olimova. Online News Consumption in Central Asia. Edited by Jazgul Ibraimova. The Representative Office of the Institute for War and Peace Reporting in Central Asia, September 2019. http://dx.doi.org/10.46950/201902.

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This investigation is the first attempt in Central Asia to measure online news consumption. It focuses on identifying trends of online news consumption and sources of news content in the region. The publication contains the results of online survey with participation of 4,130 online news consumers, in-depth interviews with 20 experts in new media who know regional and local peculiarities of news outlets, and analysis of news accounts in social media. The research will be useful to journalism faculties, news media, researchers, and international organisations, as well as to all who are interested in development of digital media in the region. The publication is available in English, Kazakh, Kyrgyz, Russian, Tajik and Uzbek languages.
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Kalenych, Volodymyr. IMMERSIVE TECHNOLOGIES OF JOURNALISM IN THE UKRAINIAN AND GLOBAL MEDIA SPACE. Ivan Franko National University of Lviv, March 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12161.

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The article deals with the new technologies of immersive journalism in the Ukrainian and global mediaspace for the example of specific media. The 360° video stands out among the main formats of immersive journalism, in it the viewer himself explores the video space, becoming a witness of events. The formats of photogrammetry, virtual reality (VR), 3D panoramas and 3D maps are also immersive. New formats and technologies have revolutionized the media sphere and allowed to create more dynamic and interesting stories. Immersive technologies made possible to transport the audience directly to the center of the news event through the format of 360-degree video and three-dimensional virtual reality, providing the «effect of presence». The format of 3D models and photogrammetry allowed users to interact with stories on a visual level more actively. Immersive technologies have also had a profound impact on the functioning of immersive journalism and fundamentally changed the way audiences interact with news stories. «Radio Svoboda», «Texty», «Ukraїner», «The New York Times», «The Guardian», «Der Tagesspiegel», «WDR» and other media experiment with the immersive formats. They give the opportunity for viewers to be in the center of a news event directly or to get an interactive, data-rich experience. This immersive approach allowed for increased empathy and understanding of each information consumer because they can feel and see the environments which are associated with a particular story. Key words: new media, media format, media technology, immersive technologies, immersive journalism.
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Yatsymirska, Mariya, and Bohdan Markevych. MEDIA TEXTS AND PERSUASION. Ivan Franko National University of Lviv, March 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12170.

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Abstract. The article clarifies specific concepts of persuasion in media texts; describes new techniques of media influence based on materials of online publications; shows the role of expressive means of language and emotions in visual communication. In social communication, persuasive logos refer to meaningful words and thoughts conveyed through mass media and logically perceived as a reasonable persuasion to proper actions based on the principles of morality, ethics, and culture; informational and influential accents. In modern science (Philosophy, Psychology, Rhetoric, Linguistics), logos has acquired not only new meanings, but also has become an important concept of rational expression of free ideas, meanings, reflections. From this perspective, new media serve as the most concentrated source of logosphere and eidosphere creation, which should be thoroughly studied and analyzed every day. The research on multimedia texts, genre diversity, new platforms, and online publications has significantly contributed to the Media Studies. Techniques of persuasive communication, methods of argumentation, and verbal tools form a separate area of the research within the field. Unlike manipulation, persuasion is the conscious use of written or spoken language, interactive visualization, and infographics to influence someone’s beliefs, views, or actions; gain someone’s support, approve the suggested ways of behavior, intentions, etc. Means of persuasion in media texts serve as logical information accents aimed at the proper perception of the corresponding meanings. In general, factors of persuasion are to influence the masses and the motivation of their actions, modify views, and form public opinion. In journalism, these are meaningful words, thoughts, principles of high-quality narrative with the use of convincing arguments, facts and, most importantly, positive intentions for the readers. Persuasive media texts exclude manipulation of public opinion, trust and people’s inclination to perceive doctrines imposed on them. Keywords: persuasion, concept, visual information, social communication.
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Editors, Intersections. Talking 'Religion': Publics, Politics, and Media. Intersections, Social Science Research Council, May 2024. http://dx.doi.org/10.35650/int.4067.d.2024.

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