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Journal articles on the topic 'New media art'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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7

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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8

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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10

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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Bunt, Brogan. "Media Art, Mediality and Art Generally." Leonardo 45, no. 1 (February 2012): 94–95. http://dx.doi.org/10.1162/leon_a_00348.

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The wide ranging, trans-disciplinary interest in technological media suggests the possibility of a new discipline concerned with the history, implications and practice of mediation. Within this context, the field of media art gains a new sense of coherence and identity. Given the lingering tension between media art and mainstream contemporary art, this may lead the latter to assert its disciplinary autonomy. This paper argues against such a move. Media art is better positioned as an integral strand within contemporary art and, more particularly, as a key space of creative enquiry and practice within a generally conceived contemporary art education.
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12

Song, Wonjin, and Joonki Paik. "Sensory-Coevolution in New Media Art." TECHART: Journal of Arts and Imaging Science 2, no. 2 (May 31, 2015): 13. http://dx.doi.org/10.15323/techart.2015.05.2.2.13.

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13

Vandenabeele, Bart. ""New" Media, Art, and Intercultural Communication." Journal of Aesthetic Education 38, no. 4 (2004): 1. http://dx.doi.org/10.2307/3527371.

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14

Grundmann, Roy. "“Old” Europe Shows New Media Art." Afterimage 34, no. 1-2 (July 2006): 4–5. http://dx.doi.org/10.1525/aft.2006.34.1-2.4.

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15

O'Brien, Paul. "New-Media Art: An Irish Context." Circa, no. 120 (2007): 34. http://dx.doi.org/10.2307/25564802.

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Vandenabeele, Bart. ""New" Media, Art, and Intercultural Communication." Journal of Aesthetic Education 38, no. 4 (2004): 1–9. http://dx.doi.org/10.1353/jae.2004.0043.

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17

Chibalashvili, Asmati, and Polina Kharchenko. "Gender theme in new media art." CONTEMPORARY ART, no. 18 (November 29, 2022): 123–30. http://dx.doi.org/10.31500/2309-8813.18.2022.269720.

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The article presents artistic projects in which the issue of gender is actualized. The above was carried out from the position of post-humanist ideas through the study of the impact of the development of technologies on modern socio-cultural processes. Thus, the projects created in different genres were analyzed, including post-cinema (“Night Walk for Edinburgh”, “A Total Jizzfest”) aimed at changing gender perceptions in society, Ellen Pearlman’s opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera” (AIBO), in which, thanks to the involvement of artificial intelligence as an actor, gender opposition is reinforced. The Female Laptop Orchestra (FLO) project is dedicated to the support of female creativity, which, thanks to the involvement of information and communication tools, combines music creation with research in its activity. An important aspect of the considered projects is defined as interactivity, which is implemented by involving the viewer in the process of their creation. It was found that, on the one hand, the digital virtual space made it possible to reduce the importance of social roles or gender affiliation, thereby leveling the stereotype of the opposition between the author’s masculinity and femininity. On the other hand, with the development of machine learning technologies, a new opposition between the human author and the artificial intelligence in the same capacity is gradually emerging.
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18

Kahraman, Ayşe. "YENİ MEDYADA ÇAĞINDA AKILLI TELEFONLARDA FOTOĞRAF." e-Journal of New World Sciences Academy 15, no. 4 (October 31, 2020): 233–41. http://dx.doi.org/10.12739/nwsa.2020.15.4.d0263.

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With combining new media and technology, there has emerged a different field. So, it has been made hard to determine the definition and scope of the new media. Constant change and development of technological opportunities also affect communication processes. Besides, the origin of the new media is computer-based; it has become desktop publishing programs, smart tablets, and manipulations on photos. The merging of photography and new media art has become one of the most popular areas via technology and the internet. This article gives information about the formation, development, and technologies of photography in smartphones in the new media age. The study aims to provide information about what is photography, photography as a form of art, the art of new media, technological migration from the camera to the mobile phone, photographs on smartphones from new media tools, advances in science and technology, and how photography is continuously increasing. It is thought that the study may contribute to the field literature to be under a single roof.
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19

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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20

Zhang, Yunhe. "A Study on the Potential of UGC New Media Platforms for Art Education: A Case Comparison Based on Wikipedia and Bilibili." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 15 (August 15, 2023): 979–90. http://dx.doi.org/10.22251/jlcci.2023.23.15.979.

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Objectives The purpose of this study is to explore how art education can be achieved in user participation in editing content and comments by comparing new media platforms under the UGC model-Wikipedia and Bilibili. Methods For this, a case comparison method was applied to Wikipedia and Bilibili, two new media sites that follow the UGC model. The two platforms were compared by carefully examining a number of factors, including media editing techniques, knowledge linkages, and media participants. To gather data and gain comprehensive insights into the Wikipedia and Bilibili platforms, this research identified and compared the similarities and differences between the two based on relevant information, including content characteristics and user interaction patterns. Results The results of the study are as follows. First, for users, sharing their opinions about an artist or an art work or gaining art knowledge by editing text is an act of thinking about art-related content or information afterwards, which itself has the meaning of art education. Second, for the platform operator, it can expand the influence of the platform and attract more groups to participate in the activities of the platform, which is also an act of mass communication of art. Third, in today's visual information explosion, it is necessary to further consider how text editing and visual information can be better combined in the UGC platform to make more contributions to art education for the public. Conclusions Based on the results of the analysis, the significance of the new media platforms in the UGC model- Wikipedia and Bilibili-for art education and the potential for development are illustrated. By conducting a comparative analysis, the similarities and differences between the two can be identified, allowing for a comprehensive understanding of their characteristics, benefits, and drawbacks. This can provide valuable insights for the development and utilization of art education through new media platforms.
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21

Barinova, Yana. "“NEW VISUALITY”, IMAGE AND IMAGINATION IN THE CONTEXT OF NEW MEDIA ART." Doxa, no. 2(40) (December 21, 2023): 47–55. http://dx.doi.org/10.18524/2410-2601.2023.2(40).307200.

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The publication examines the specifics of the image, imagination and the formation of “new visuality” in the context of the development of New Media Art. The analysis of the problem is carried out on two levels: a) conceptual searches of theorists of media philosophy, who proclaimed an iconic turn in modern culture and art; b) art projects of modern artists working in the field of new media art (technoart, bioart, software art, etc.). Modern philosophy in the light of new trends and socio-cultural practices understands the problems of correspondence between the image and the original, representation, the crisis of the concept of Image in modern art. It is about the formation of a new media narrative, which is capable of exploring new compositional possibilities offered, for example, by a computer database. The basic principles of new media are outlined: modularity, automation, variability, transcoding, etc.
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22

Zhao, Hui wen, and Yi nong Tian. "Optimization study of media creation ideas based on the new media environment." SHS Web of Conferences 167 (2023): 02015. http://dx.doi.org/10.1051/shsconf/202316702015.

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Nowadays, new media are being used in more and more fields, most notably in the communication industry, with endless online media and ever-evolving cell phone terminals appearing in our lives all the time and becoming an essential part of our lives. Under the influence of this background, the creation and dissemination of art have gradually become dependent on new media and have begun a profound transformation. On the one hand, the new media has promoted the circulation of art, making the originally niche art categories to the mass market; on the other hand, the expanding market and audience also play an important role in influencing art creation. Therefore, the creative thinking of art creators nowadays will also change accordingly with the change of the background of the times.
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23

Waki, Fábio. "Ontology for New Media Hybridity." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 5, no. 1 (December 27, 2017): 97–101. http://dx.doi.org/10.14195/2182-8830_5-1_21.

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Review of Jihoon Kim, Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, New York: Bloomsbury, 2016, 404 pp., ISBN 978-1-6289-2293-6. In Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, Jihoon Kim tries to describe the ontology of contemporary artworks produced within the universe of New Media Art, particularly the ontology of those works he understands as hybrid moving images, images whose typical materialities are denatured, deconstructed, and resignified when remediated through digital platforms, technical supports or artistic practices initially strange to them. Revising theories by important art critics of the last decades, such as Clement Greenberg and Rosalind Krauss, and combining them with theories by contemporary art critics, such as Lev Manovich and Peter Weibel, Kim provides us new tools for understanding why this New Media hybridity is feasible as visual fruition, as well as why it is progressively capable of grasping new, historically-oriented, image possibilities.
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24

Abdelmessih, Marie Thérèse. "Intermediating Aural and Visual Divides in Ahmed Shafie’s Print Literary Media and Hassan Khan’s New Media Art." Middle East Journal of Culture and Communication 15, no. 1-2 (June 15, 2022): 173–92. http://dx.doi.org/10.1163/18739865-01501012.

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Abstract New literary media in print has changed its paradigms by converging with new media art; likewise, new media art draws on narrative techniques and poetic images. These paradigm transmutations have generated collaborative links binding distinct creative practices, intensifying the reading engagement and/or immersive experience. The mutual interpenetrations of print literary media and new media art challenges traditional understandings of literary, visual and acoustic practices, urging us to rethink mainstream/popular and local/global divides. This paper draws on new literary writing in print by Ahmed Shafie (b. 1977), a Cairo-based writer, poet and translator, along with new media art by Hassan Khan (b. 1975), a Cairo-based writer, composer, and new media artist, both informed by regional and worldwide cultures. By intermediating their visual, verbal and/or aural experiences, this paper addresses the convergent strategies used to produce signification in a worldwide rapidly changing cultural context. The intensity of the reader’s/viewer’s/user’s engagement with the literary or visual experience will be explored to reconsider intermediation as an act of intervention.
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Yuan, Lu, and Surng Gahb Jahng. "Visual Illusion in New Media Installation Art." TECHART: Journal of Arts and Imaging Science 6, no. 1 (February 28, 2019): 37–41. http://dx.doi.org/10.15323/techart.2019.2.6.1.37.

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Scholz, Trebor. "New-Media Art Education and Its Discontents." Art Journal 64, no. 1 (April 1, 2005): 95. http://dx.doi.org/10.2307/20068369.

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Hye-Sook Jeon. "Tactility of Body in New Media Art." Misulsahakbo(Reviews on the Art History) ll, no. 33 (December 2009): 359–88. http://dx.doi.org/10.15819/rah.2009..33.359.

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Cepeda, Rene G. "Rescuing new media art from technological obsolescence." DAT Journal 4, no. 3 (December 6, 2019): 37–46. http://dx.doi.org/10.29147/dat.v4i3.145.

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As time passes and digital technologies become obsolete, more and more new media artworks face the possibility of being lost forever. As many new media artworks depend on certain technologies, when these technologies are replaced with other or are not available any more, steps should be taken to make older artworks compatible with newer technologies that replace them. Using Jon Ippolito’s concepts of storage, emulation, migration and reinterpretation, this text attempts to provide a basic framework to understand each different concept and the advantages and disadvantages to their implementation. This is all done using Gilbertto Prado’s restoration of Desertesejo (2000/2014/2018) to illustrate the process.
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Freire, Manuelle, and Erin McCarthy. "Four Approaches to New Media Art Education." Art Education 67, no. 2 (March 2014): 28–31. http://dx.doi.org/10.1080/00043125.2014.11519262.

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Scholz, Trebor. "New-Media Art Education and Its Discontents." Art Journal 64, no. 1 (March 2005): 95–108. http://dx.doi.org/10.1080/00043249.2005.10791162.

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31

Flynn, Bernadette. "Review: New Screen Media Cinema/Art/Narrative." Media International Australia 104, no. 1 (August 2002): 140–41. http://dx.doi.org/10.1177/1329878x0210400124.

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32

Kwon, Kyoung Ah, and Joon Sung Yoon. "Frozen Happening: Rediscovery in New Media Art." Journal of Basic Design & Art 20, no. 4 (August 31, 2019): 1–11. http://dx.doi.org/10.47294/ksbda.20.4.1.

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33

Jin, Lianghui. "New Technology and New Shadow Play: New Media's Technical Promotion of Shadow Play." E3S Web of Conferences 236 (2021): 05065. http://dx.doi.org/10.1051/e3sconf/202123605065.

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Shadow Play is an ancient traditional folk art, which has been included in the Representative List of the Intangible Cultural Heritage of Humanity at present. Different forms of entertainment sources have appeared one after another with the rapid development of society. Because of its lack of competitiveness, Shadow Play has disappeared from the public's eye increasingly. In the meanwhile, different digital media technologies are used in a wide range of all aspects of life and entertainment. It’s also a particular fine opportunity for Shadow Play to develop itself again. This article attempts to discuss the application of digital media art in the content and stage of Shadow Play and combine digital media art with the stage presentation of Shadow Play. There is some advice that is come up for the development of Shadow Play in the contemporary society, which also provides a better conservation for traditional art and hands it down.
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Sang, Yijun, and Elizabeth M. Sagubo. "Compliance of New Media Art Course in Chinese Middle School." Journal of Education, Humanities and Social Sciences 27 (March 5, 2024): 5–9. http://dx.doi.org/10.54097/dj0na146.

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Since the 21st century, with the rapid rise of the Internet, a variety of new media continue to appear, especially the rise of network media and electronic equipment, which has brought great changes to human information dissemination and communication, and made mankind enter a new era of information dissemination. In this era, in addition to using computers as a tool for art creation, art educators began to study the application of new media such as computers and networks in art classroom and teaching practice.In order to adapt to the development trend of international art education, China has added the content of new media art education in art curriculum standards, middle school art textbooks and middle school art courses. However, compared with the developed countries in the world, the current middle school new media art education in China generally has some problems, such as low attention, limited teaching content, lack of teacher training courses and so on. These problems have seriously affected the development of middle school new media art curriculum and teaching in China.Since the 2022 version of the art curriculum standard clearly puts forward the content of the new media art curriculum, the focus of this paper is how schools and teachers adapt to the curriculum standard and solve the difficulties encountered in the implementation of the new media art curriculum standard.
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Menezes, Marta de. "Biology as a new media for art: An art research endeavour." Technoetic Arts 13, no. 1 (June 1, 2015): 115–23. http://dx.doi.org/10.1386/tear.13.1-2.115_1.

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van der Meulen, Sjoukje. "A Strong Couple: New Media and Socially Engaged Art." Leonardo 50, no. 2 (April 2017): 170–76. http://dx.doi.org/10.1162/leon_a_00963.

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Despite the relevance of new media art for the critical understanding of the information and network societies today, it is largely ignored as a socially engaged practice—certainly compared to other forms of socially engaged artistic practices in the international field of contemporary art. This article outlines the reasons for this relative neglect and specifies different kinds of new media art that qualify for the category of socially engaged art beyond leftist politics and ideologies transposed to the realm of art. Proposing and mobilizing a “media-reflexive” art theory, which emerged from the author’s doctoral dissertation, this claim is substantiated by the analysis of three exemplary digital art projects by Joseph Nechvatal, George Legrady and Blast Theory, respectively.
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Hearon, Jim. "New Zealand Sonic Art." Computer Music Journal 27, no. 1 (March 2003): 101–3. http://dx.doi.org/10.1162/comj.2003.27.1.101.

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Guangyu, Liu. "On New Media Art, Its Development and Achievement in China." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 12, no. 2 (July 1, 2014): 168–80. http://dx.doi.org/10.7195/ri14.v12i2.718.

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This essay is aimed to introduce the development status of the new media art in China; the author gave its definition based on his own understanding and observation, which included various forms. Moreover, the developing environment of the new media art in the world is presented systematically in the essay. The author combed the art history and technology history which are closely connected with the birth of the new media art. China has achieved many accomplishments in new media art forms, such as the successful hosting of 2008 World Olympic Games and 2010 World expo. In the opening ceremony of 2008 World Olympic Games, interactive art, installation art and virtual space are in perfect use. Especially, “scroll” has combined all the above technological methods into display, which brought about stunning sensory impact to the audiences. After two years, Shanghai was the focus of the world, 242 countries and international organizations that have attended 2010 Shanghai World expo. The new media art forms are bloomed and flourished, China pavilion’s Qingming Riverside was endowed with new vitality via these new art media forms.
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Strehovec, Janez. "New media art as research: art-making beyond the autonomy of art and aesthetics." Technoetic Arts 6, no. 3 (February 1, 2009): 233–50. http://dx.doi.org/10.1386/tear.6.3.233_1.

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Mironova, Tatiana. "Plurality the types of art in contemporary art: specifics of media art." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 139–48. http://dx.doi.org/10.32461/2226-3209.2.2021.239992.

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The purpose of the article is to study the types of artistic creativity in modern fine arts, taking into account the specifics of media arts. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The scientific novelty of the work is to understand the specifics of the new media arts, taking into account their interactivity, network communication, and virtuality. Conclusions. The interaction of visual art forms and interactive technologies is a combination of artistic manifestations with visualization and programming, so, unlike the processes of classical education, this art practice, in addition to the artist, requires group work of specialists in various fields. Artists working in new forms of visual art play the role of "director" of the project, embodying their own artistic ideas in collaboration with other participants. The actualization of the art of new media is manifested primarily through the expansion of artistic creativity and the creation of multimedia projects that combine VR, AR technology, animation, and traditional shaping and drawing. Therefore, modern visual arts are becoming a powerful tool and communicative tool of modern culture. Today, Ukrainian artists are actively using visual images as central elements of visual culture. Since modern cultural communication significantly influences the formation, providing the composition and translation of cultural values, with the help of visual images artists are able to more accurately express the idea of the work, to make it understandable to the maximum number of viewers.
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Li, Pingping. "Interpretation of Online Artworks of Digital Art Design in the New Media Environment." Journal of Environmental and Public Health 2022 (June 20, 2022): 1–9. http://dx.doi.org/10.1155/2022/9566844.

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In order to realize the interpretation of online artworks, the art design of artworks is studied on the basis of new media digital environment. Through the presentation of digital works, the enhancement of dramatic art appreciation, the balanced display of art appreciation, and the enhancement of digital aesthetic creation, the interpretation of artworks has been successfully completed, which strongly supports the digitization of new media. Art design is to constantly breed an updated online art space and attract and summon more viewers’ new experience, new creation, and new perception so as to trigger and develop new propositions, new exploration, and new atmosphere of new media drama. For the current construction of traditional art design, new media digital technology plays a major role. The transformation of digital technology and Internet media is another “holographic” extension of the human body, which has an extremely strong impact on new media art and comprehensively updated our life, art, and aesthetic concepts. This is not only a revolution of media but also a change of art. At the same time, it is also accompanied by the “expansion” of art theory. What this change ultimately needs to complete is the revolution of media culture that affects the development process of human civilization.
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Ljajić, Samir, and Milan Dojčinović. "Transmedial context of new media technologies and contemporary art." Univerzitetska misao - casopis za nauku, kulturu i umjetnost, Novi Pazar, no. 22 (2023): 111–23. http://dx.doi.org/10.5937/univmis2322111l.

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New communication forms and patterns that are imposed in the era of digital media and new media technologies based on the Internet protocol affect the transformation of art, but also new ways of artistic expression using modern software and tools. The paper discusses the transmedial context of new media, such as social networks and Web platforms, for the promotion of works of art and the opportunities that the online sphere provides for the affirmation of artists. The special importance of the aesthetics of communication in the subject domain, as well as the new forms of digital art represented by the direction of Holo-art, was highlighted. Virtual galleries and online art communities are part of digital culture, whose postulates we cannot ignore. New artistic directions and possibilities established by the prefix "digital" must be considered in the interdisciplinary relation between media and art.
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Hartadinata, Muhammad Poeji, Yohannes Firzal, and Gun Faisal. "Penerapan Arsitektur Dekonstruksi pada Perancangan Pusat Kreativitas Seni Media Baru di Pekanbaru." JAUR (JOURNAL OF ARCHITECTURE AND URBANISM RESEARCH) 6, no. 1 (November 10, 2022): 1–8. http://dx.doi.org/10.31289/jaur.v6i1.5643.

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Culture movement in society has a linear relationship with the development of the art. To face the demands of the times, the artists start to integrate the arts with other disciplines in the process of the creation of works of art considered to be more able to accommodate the expression and the communication is conveyed in a work of art. This is known as new media art. New media art which is the result of undue hybridisation between pure art with technology capable of growing very rapidly. This development extends to all regions in Indonesia. In Pekanbaru, new media art was getting very enthusiasm of the pop art from a variety of backgrounds and ages, but it is unfortunate development is still lacking. This problem can be seen from the lack of facilities or container that can overshadow and accommodate creativity and introduce the work of new media art. Based on these problems, it needed a container that can overshadow the pop art new media as well as introduce new media art to the community, therefore drafted a center for creativity of new media art which can facilitate the activities in the field of new media art whether in the form of the process of creation of works of new media art and activities pertujukkan Design Creativity Center New Media Art is applying the principles of the Architecture of Deconstruction which has the meaning of freedom of the rhetorical structures of composition that is formal. The freedom of form that is a representation of the way of thinking the architecture of the deconstruction that do not want to be bound from the rules that have been there to interpret the freedom of the air-creativity, innovative and always fresh in the new media art. So in the hope Center for the arts creative media this can bring out the creativity of the artist through the architectural elements dekontruktif.
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44

Whitehead, Vagner Mendonça. "Queering New Media Art : Looking back, looking forward." Media-N 14, no. 1 (September 26, 2018): 81–90. http://dx.doi.org/10.21900/j.median.v14i1.68.

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On February, 23 2018, during the National College of Art Association Conference in Los Angeles, Richard Rhinehart, Liss LaFleur and I co-chaired a panel titled “Queering New Media Art and Asking Questions about Nothing”. This panel was presented within the New Media Caucus’ Media Lounge day of events. Based on my presentation that day, this essay will use my personal experiences with the New Media Caucus and academia in the last twenty years to explore the relationships amongst art, new media, and queerness, expose some problems with these terms, and potentially provide one of many ways out of perpetuating their continuous entanglement.
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Ma, Tianhe, and Hyung-Gi Kim. "Application of Repeated Images in New Media Art." TECHART: Journal of Arts and Imaging Science 5, no. 4 (November 30, 2018): 11–12. http://dx.doi.org/10.15323/techart.2018.11.5.4.11.

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Jingqi, Lu, Su Dam Ku, Yeonu Ro, and Hyung Gi Kim. "New Media Art Research Focused on Tactile Symbols." TECHART: Journal of Arts and Imaging Science 6, no. 2 (May 31, 2019): 14–20. http://dx.doi.org/10.15323/techart.2019.5.6.2.14.

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Li, Yi, and Surng Gahb Jahng. "Analysis of Digital New Media Art Work “Eyes”." TECHART: Journal of Arts and Imaging Science 6, no. 2 (May 31, 2019): 6–8. http://dx.doi.org/10.15323/techart.2019.5.6.2.6.

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Cao, Jing Yu, and Jin Wan Park. "New media installation art in the music field." TECHART: Journal of Arts and Imaging Science 7, no. 1 (February 29, 2020): 21–25. http://dx.doi.org/10.15323/techart.2020.2.7.1.21.

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Li, Yi, and Surng Gahb Jahng. "Application of synesthesia technology in new media art." TECHART: Journal of Arts and Imaging Science 7, no. 3 (August 31, 2020): 1–8. http://dx.doi.org/10.15323/techart.2020.8.7.3.1.

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Mumik, Maja. "Body Extended. The Corporeality in New Media Art." Glimpse 15 (2014): 77–81. http://dx.doi.org/10.5840/glimpse20141515.

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