Relevant bibliographies by topics / New media art – Preservation

Academic literature on the topic 'New media art – Preservation'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "New media art – Preservation"

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Post, Colin. "Preservation practices of new media artists." Journal of Documentation 73, no. 4 (July 10, 2017): 716–32. http://dx.doi.org/10.1108/jd-09-2016-0116.

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Purpose The purpose of this paper is to investigate the preservation practices of new media artists, in particular those working outside of the scope of major collecting institutions, examining how these artists preserve new media artworks in their custody. Design/methodology/approach The paper builds case studies of seven new media artists of differing practices and artistic approaches. For each case study, semi-structured interviews with the artists were conducted in conjunction with visits to the artists’ studios. Findings The study finds that new media artists face a number of shared preservation challenges and employ a range of preservation strategies, and that these challenges and strategies differ markedly from that of art museums and cultural heritage institutions. Research limitations/implications This study considers preservation practices for new media artists generally. Further research into specific communities of artistic practice could profitably build upon this overall framework. Practical implications The findings of this research pose a number of implications for art museums and cultural heritage institutions, suggesting new ways these institutions might consider supporting the preservation of new media artworks before works enter into institutional custody. Originality/value The literature on new media art preservation emphasizes the importance of working with artists early in the life cycle of digital artworks. This study advances this by investigating preservation from the perspective of new media artists, deepening the understanding of challenges and potential preservation strategies for these artworks prior to entering or outside of institutional custody.
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Rinehart, Richard. "The Media Art Notation System: Documenting and Preserving Digital/Media Art." Leonardo 40, no. 2 (April 2007): 181–87. http://dx.doi.org/10.1162/leon.2007.40.2.181.

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This paper proposes a new approach to conceptualizing digital and media art forms. This theoretical approach will be explored through issues raised in the process of creating a formal declarative model (alternately known as a metadata framework, notation system or ontology) for digital and media art. The approach presented and explored here is intended to inform a better understanding of media art forms and to provide a practical descriptive framework that supports their creation, re-creation, documentation and preservation.
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Kolay, Saptarshi. "Cultural Heritage Preservation of Traditional Indian Art through Virtual New-media." Procedia - Social and Behavioral Sciences 225 (July 2016): 309–20. http://dx.doi.org/10.1016/j.sbspro.2016.06.030.

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Wu, Yuelin, Donghong Li, and Fan Feng. "Evaluation of Cultural Value Validity of Digital Media Art Based on Locally Weighted Fitting Algorithm." Advances in Multimedia 2022 (July 31, 2022): 1–11. http://dx.doi.org/10.1155/2022/1751135.

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Digital media art differs from other forms of existence in the intersection of digital technology and art, and this new form of existence contains its unique value. Digital media art education crosses the disciplines of art, computer science, and technology and builds a new perspective that can encompass the academic discourse of literature and science, transcending the opposition between scientific and humanistic cultures and creating a broader knowledge structure and a new view of values and resources. In this paper, we use image quality evaluation based on local Gaussian weighted fusion and image collocation for restoration of precious cultural relics and images to realize their cultural values, in view of the current problems such as damage caused by a large number of precious paintings due to improper preservation and other problems.
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Tu, Shiqi, and Xinyu Jiang. "The “Tough Road” of Inheriting Intangible Cultural Heritage in the Age of Digital Media: Taking Dunhuang Art Academy as an Example." British Journal of Philosophy, Sociology and History 2, no. 2 (September 8, 2022): 01–04. http://dx.doi.org/10.32996/pjpsh.2022.2.2.1.

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Dunhuang intangible cultural heritage is an important form of Chinese traditional culture and the track of the accumulation of Chinese civilization. As a display platform for the export of Dunhuang culture, Dunhuang Art Academy has few scholars to study it. Therefore, based on the various opportunities and challenges posed by the works of Dunhuang Art Academy in the process of preservation, inheritance, and innovation, this paper takes the intangible cultural heritage of Dunhuang Art Academy as an example, focusing on the protection of inheritance, innovation realization in the digital society. The omni media development of Dunhuang Art Academy is discussed from four aspects: simulacra, education, media, and value realization, in order to obtain some new explorations and inspirations for expanding Dunhuang's intangible cultural heritage.
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Guttenbrunner, Mark, Christoph Becker, and Andreas Rauber. "Keeping the Game Alive: Evaluating Strategies for the Preservation of Console Video Games." International Journal of Digital Curation 5, no. 1 (June 22, 2010): 64–90. http://dx.doi.org/10.2218/ijdc.v5i1.144.

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Interactive fiction and video games are part of our cultural heritage. As original systems cease to work because of hardware and media failures, methods to preserve obsolete video games for future generations have to be developed. The public interest in early video games is high, as exhibitions, regular magazines on the topic and newspaper articles demonstrate. Moreover, games considered to be classic are rereleased for new generations of gaming hardware. However, with the rapid development of new computer systems, the way games look and are played changes constantly. When trying to preserve console video games one faces problems of classified development documentation, legal aspects and extracting the contents from original media like cartridges with special hardware. Furthermore, special controllers and non-digital items are used to extend the gaming experience making it difficult to preserve the look and feel of console video games.This paper discusses strategies for the digital preservation of console video games. After a short overview of console video game systems, there follows an introduction to digital preservation and related work in common strategies for digital preservation and preserving interactive art. Then different preservation strategies are described with a specific focus on emulation. Finally a case study on console video game preservation is shown which uses the Planets preservation planning approach for evaluating preservation strategies in a documented decision-making process. Experiments are carried out to compare different emulators as well as other approaches, first for a single console video game system, then for different console systems of the same era and finally for systems of all eras. Comparison and discussion of results show that, while emulation works very well in principle for early console video games, various problems exist for the general use as a digital preservation alternative. We show what future work has to be done to tackle these problems.
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Post, Colin. "The Art of Digital Curation." Archivaria, no. 92 (January 6, 2022): 6–47. http://dx.doi.org/10.7202/1084738ar.

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Artists have long engaged with digital and networked technologies in critical and creative ways to explore both new art forms and novel ways of disseminating artworks. Net-based artworks are often created with the intent to circulate outside traditional institutional spaces, and many are shared via artist-run platforms that involve curatorial practices distinct from those of museums or commercial galleries. This article focuses on a particular artist-run platform called Paper-Thin, characterizing the activities involved in managing the platform as digital curation in a polysemous sense – as both the curation of digital artworks and the stewardship of digital information in a complex technological ecosystem. While scholars and cultural heritage professionals have developed innovative preservation strategies for digital and new media artworks housed in institutional collections, the ongoing care of artworks shared through networked alternative spaces is largely carried out co-operatively by the artists and curators of these platforms. Drawing on Howard Becker’s sociological theory of art worlds as networks of co-operative actors, this article describes the patterns of co-operative work involved in creating, exhibiting, and then caring for Net-based art. The article outlines the importance, for cultural heritage professionals, of understanding the digital-curation practices of artists, as these artist-run networked platforms demonstrate emergent approaches to the stewardship of digital culture that move beyond a custodial paradigm.
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Senior, David. "Page as alternative space redux: artists’ magazines in the 21 st century." Art Libraries Journal 38, no. 3 (2013): 10–17. http://dx.doi.org/10.1017/s0307472200018630.

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In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.
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Galabova, Liana. "Problems of Digital Perceiving and Preservation of Living Cultural Heritage in Bulgarian Christian Religious Practices." Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, no. 2 (2019): 152–71. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_016.

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Contemporary technological mediation of the perceiving of Christian religious practices raises new questions of cultural interpretation, related to re-conceptualisation of participation in church life and belonging to Bulgarian traditional confessions. Unpopularity of cultural value of documenting of living religious heritage creates polemics about the opportunity of photographing and filming in sacred spaces, exposing of observed church events in media and direct transmission from sacral sites also during creation of church art and practicing of other religious rituals. Therefore attempts to balance ethnic, confessional and liturgical dimensions with tourist and public interests in accordance to global development of that discussion and potential effects of stability or instability of emerging new traditions, deserve scholarly attention. Keywords: Digitalisation, Living Heritage, Christianity, Religious Practices, Heritage Perceiving, Heritage Preservation, Church Arts
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Saisto, Anni, and T.E.H.D.A.S. "D-ark—a Shared Digital Performance Art Archive with a Modular Metadata Schema." Heritage 2, no. 1 (March 21, 2019): 976–87. http://dx.doi.org/10.3390/heritage2010064.

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Digital objects and documentation of intangible cultural heritage pose new challenges for most museums, which have a long history in preserving tangible objects. Art museums, however, have been working with digital objects for some decades, as they have been collecting media art. Yet, performance art as an ephemeral art form has been a challenge for art museums’ collection work. This article presents a method for archiving digital and audiovisual performance documentation. D-ark (digital performance art archive) is based on a joint effort by the artist community T.E.H.D.A.S., which has created the archive, and Pori Art Museum, which is committed to preserving the archive for the future. The aim is to produce sufficient standardized metadata to support this objective. This article addresses the problems of documenting an ephemeral art form and copyright issues pertaining to both the artist and the videographer. The concept of D-ark includes a modular metadata schema that makes a distinction between descriptive, administrative, and technical metadata. The model is designed to be flexible—new modules of objects or technical metadata can be added in the future, if necessary. D-ark metadata schema deploys the FRBRoo, Premis, VideoMD, and AudioMD standards. Administrative and technical metadata modules abide by Finnish digital preservation specifications.
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Dissertations / Theses on the topic "New media art – Preservation"

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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." 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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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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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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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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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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Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.

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"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
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Eriksson, Björling Mikael. "Reshaping the picture : communication in the new media age." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2274.

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The last decade a number of digital mediums such as computers, internet, digital cameras and mobile phones have entered people’s lives. How have these mediums changed the way we communicate and consume media? This work examines two ongoing trends in this new digital media landscape. The first trend is about how newspapers have reshaped in the digital media landscape. The second trend is about personal publishing in general and blogging in particular. The questions asked are: How have the new mediums changed the way we communicate, create and consume media? And how are pictures used and what role do they play? It is important to ask these questions now when we are in the midst of a changing media landscape. A qualitative research approach with in-depth interviews, document analysis and a literature study has been performed. The thesis describes how people’s means for communication have changed through history. From the oral culture, the writing culture, the printing culture until the first media age and today’s new media age. It concludes that the new media age is different compared to the previous ages. Today’s communication and media flow is to a higher degree multi-directional compared to the previous ages. People have the means to respond and interact with traditional media such as newspapers. The interaction with the readers has become an important part of the publishing process. Personal publishing and blogging is blossoming and today there are numerous tools available for personal publishing of content at internet. The creation of digital content images and text has become easier and faster. The new digital technologies have eliminated the time and space boarders. Millions of mobile phones with inbuilt cameras results in that we witness pictures of situations we never had pictures of before. These pictures can easily be published for a large audience instantly regardless time and space. The new media age is about personalization and individualization of content creation, content publishing and content consumption. Interactivity is important and the main driver is communication between people.
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Books on the topic "New media art – Preservation"

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

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Chinese artists: New media, 1990-2010. Atglen, PA: Schiffer, 2010.

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New media in late 20th-century art. New York, N.Y: Thames and Hudson, 1999.

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

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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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Film, art, new media: Museum without walls? Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.

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Book chapters on the topic "New media art – Preservation"

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Wijers, Gaby. "UNFOLD." In Cultural Inquiry, 193–203. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_20.

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UNFOLD: Mediation by Reinterpretation is a research project and interdisciplinary network initiated by LIMA, Platform for Media Art in Amsterdam, that examines reinterpretation as an emerging practice for artistic production, presentation, and preservation of media works. New elements stretch the boundaries of traditional preservation methods and require insights from both the artist and the curator to decide how pieces can be restaged. This essay investigates how to deal with the changes of digital/media artworks over time, and how to preserve and mediate their performative aspects.
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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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Martin, Nicole. "Digital Preservation and the Information Package." In Conservation of Time-Based Media Art, 196–203. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003034865-16.

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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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Conference papers on the topic "New media art – Preservation"

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Mukai, Hibiki. "An Interactive and Digital Puppeteering Interface for new musical expression (IDPI)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.115.

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Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models and silhouettes and to contribute to cultural preservation and fixing of the tradition(s) of puppet theatre. This project will explore the potential of puppetry as a musical expressive medium by new media, including the sensor, 3D sound system, digital projection, and 3D simulation. The conceptual aim of the project is to integrate traditional and new forms of puppetry through different interfaces that will advance traditional forms of cultural expressions. This project focuses on analogies and differences between different puppet theatre traditions. A key aspect is the relationship between the Western puppetry and the Eastern puppetry traditions, and the impact of the resulting cross- cultural dialogue in dramatic performances with figures. In seeking to identify the potential effects of digital puppetry, I will obtain a new vocabulary for gestural musical performance and can develop guidelines that can be used for future creative theatrical practice in the field of digital puppetry. The aim of my research project is to design an interactive digital puppetry system which is sensitive to gestural acts of puppeteers and enriches the performances as a musical expressive medium on its own right. Such a system will serve creative possibilities using digitalisations of old forms by puppet restoration and preserving its instructions. Through analyses of European and Japanese traditional puppet theatres, I will achieve a new cross-cultural form of puppetry. Thus, I investigate how acts and music of puppetry can be restored from not only actual traditional. puppet theatre, but also archives and documents, then performed and remediated with digital performance technology. Furthermore, my investigation includes in transitioning layers between old and new media — objects of puppet theatre and digital simulation – alternative action and transformation. I believe that the digital re-presentation of traditional puppetry is one of the most efficient and effective ways to impart to later generations and also to revitalise the arts of puppet theatres. An orientation toward new medias will enable me to explore 'tradition' and the puppet as a technological media object. Through my digital practice and an encounter with old, lost, forgotten puppet theatre, I set out to create something new.
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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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Moriyama, Tomoe. "Meta-Visual/Media/Space-Algorithmic "Intersection," the new aspect of media art exhibition." In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179119.

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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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Reports on the topic "New media art – Preservation"

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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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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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