Journal articles: 'Visual arts and media arts'

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Goodall, Peter. "Media Representing Visual Arts." Media Information Australia 55, no. 1 (February 1990): 62–64. http://dx.doi.org/10.1177/1329878x9005500115.

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YUGAY, INGA I. "MEDIA-REALITY IN THE VISUAL ARTS." Art and Science of Television 15.2 (2019): 183–205. http://dx.doi.org/10.30628/1994-9529-2019-15.2-183-205.

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Blazhev, Boyan. "Visual Arts and Digital Technologies." Cultural and Historical Heritage: Preservation, Presentation, Digitalization 7, no. 2 (2021): 191–207. http://dx.doi.org/10.26615/issn.2367-8038.2021_2_018.

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With the advent and dissemination of digital technologies, devices and means in the middle of the twentieth century, dramatic changes occurred in all spheres of life. The data reporting environment is changing and the era of new media is approaching. Digital technologies and the global network have a fundamental impact on culture, traditions and art. In this context, in terms of visual art, digital technologies allow for the emergence of new artistic practices that take their place next to classical art activities. Leading the way is the idea that digital technology is not just a tool, but rather a creation process, thus focusing on the concept inspired by the digital context rather than on the means expressed. In modernity, visual art and scientific achievements live in harmony. Keywords: Digital Art; Art; Virtual Reality (VR); Technological Innovations; Net Art; Artificial Intelligence (AI); New Media Art

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Adeliyi, Wendy. "Caribbean Visual Arts, Social Media and Performance." Caribbean Quilt 5 (May 19, 2020): 76–79. http://dx.doi.org/10.33137/caribbeanquilt.v5i0.34384.

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The photographic installation created by María Magdalena Campos-Pons in De las dos Aguas (Between Two Waters), Campos-Pons takes the viewer on a historical journey of the two bodies of ocean water that separate Africa and the Americas Many dualities are seen in the photo, starting with the two women standing on either side of the photograph holding opposites ends of a boat.

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Wali, Muhammad Ayub, Salman Amin, and Muhammad Rehman. "Impact of Social Media in Adoption of New Trends of Visual Arts: A Case Study of Established Visual Artists in Twins Cities." Global Mass Communication Review V, no. II (June 30, 2020): 20–33. http://dx.doi.org/10.31703/gmcr.2020(v-ii).03.

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This study has investigated the problem of finding the impact of social media in adoption of new trends of visual arts on established visual artists of twin cities and also how social media facilitates in disseminating new techniques of visual arts among the art practitioners. The aims of the research were to investigate the impact of social media in adoption of new trends of visual arts among established visual artists, and also to evaluate the existing techniques of visual arts through diffusion innovation model among the established visual artists. The researcher has conducted interviews of established visual artists, questionnaires were also furnished. The stakeholders were practicing field visual artists (studio based) and visual art educators (art teachers). The result concluded from the present study was that adoption of social media has a positive significant relation with adoption of new trends of arts and impact on the skills of artists whereas adoption of social media has a negative but significant relation with use of social media.

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Wu, Jiayue. "Promoting Contemplative Culture through Media Arts." Multimodal Technologies and Interaction 3, no. 2 (May 21, 2019): 35. http://dx.doi.org/10.3390/mti3020035.

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This paper presents the practice of designing mediation technologies as artistic tools to expand the creative repertoire to promote contemplative cultural practice. Three art–science collaborations—Mandala, Imagining the Universe, and Resonance of the Heart—are elaborated on as proof-of-concept case studies. Scientifically, the empirical research examines the mappings from (bodily) action to (sound/visual) perception in technology-mediated performing art. Theoretically, the author synthesizes media arts practices on a level of defining general design principles and post-human artistic identities. Technically, the author implements machine learning techniques, digital audio/visual signal processing, and sensing technology to explore post-human artistic identities and give voice to underrepresented groups. Realized by a group of multinational media artists, computer engineers, audio engineers, and cognitive neuroscientists, this work preserves, promotes, and further explores contemplative culture with emerging technologies.

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Brunette, Peter, and David Wills. "Deconstruction and the Visual Arts: Art, Media, Architecture." Journal of Aesthetics and Art Criticism 54, no. 4 (1996): 405. http://dx.doi.org/10.2307/431930.

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Anderson, Frances E. "Electronic Media, Videodisc Technology, and the Visual Arts." Studies in Art Education 26, no. 4 (1985): 224. http://dx.doi.org/10.2307/1320846.

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Ilic, Vlatko. "Visual arts in the time of new media." Kultura, no. 131 (2011): 55–72. http://dx.doi.org/10.5937/kultura1131055i.

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Legrady, George. "Perspectives on Collaborative Research and Education in Media Arts." Leonardo 39, no. 3 (June 2006): 215–18. http://dx.doi.org/10.1162/leon.2006.39.3.215.

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Digital arts is by nature a hybrid practice, integrating the poetics, aesthetics and conceptual strategies of art with the logical, systematic methods of technological processes from engineering and the sciences. This article reviews the development of interdisciplinary, collaborative arts-engineering research and education at the University of California at Santa Barbara, focusing on the Media Arts & Technology graduate program from a visual/spatial arts perspective.

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Metallinos, Nikos. "Aesthetic Theories of the Visual Communication Media Arts: Television." Journal of Visual Literacy 18, no. 2 (January 1998): 217–31. http://dx.doi.org/10.1080/23796529.1998.11674540.

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Chang, Yu-Chien, and Chloe Preece. "Visual arts marketing in East Asia." Arts and the Market 8, no. 2 (October 1, 2018): 118–22. http://dx.doi.org/10.1108/aam-10-2018-031.

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Purpose The purpose of this paper is threefold. First, it reviews the background to, and development of the special issue call for papers on the topic of “Visual arts marketing in East Asia”; second, it introduces the four papers and commentary in the issue; and third, it considers some of the key areas with a rich potential for future directions of research. Design/methodology/approach The papers in this special issue comprise of both qualitative (e.g. interviews, observation, case studies) and quantitative (surveys) as well as conceptual issues for policy and artists. Moreover, the articles are interdisciplinary, drawing from art history, cultural studies, philosophy and international relations as well as marketing. Findings Findings and insights relate to topics such as the structure of the visual arts markets of East Asia, political influences on these arts markets, alternative spaces such as art festivals, ambiance and audience experience in museums and new media initiatives. Research limitations/implications The authors believe that all of the papers have implications for future thinking, research, scholarship and practice in the area of arts marketing, particularly for scholars, cultural institutions and artists working in Asia. Originality/value As far as the editors are aware, this is the first ever journal special issue on arts marketing in East Asia. In particular, the authors offer some new ideas in thinking about visual arts marketing in Asia as part of this editorial essay, particularly in considering the difficulties for both artists, arts organisations and academics in creating from the “periphery”.

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Zhong, Wen Jing. "Network of Visual Arts and Contemporary Art Pattern Reorganization." Applied Mechanics and Materials 321-324 (June 2013): 1102–6. http://dx.doi.org/10.4028/www.scientific.net/amm.321-324.1102.

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This article, based on changes in the pattern of study of contemporary art network of visual arts, contemporary art in the space environment of the network visual arts, visual arts language of visual media, interactive cyberspace realm of art, information and digital communication art platform for contemporary art pattern the basic structure of the reorganization. Through integration of the modern network multi-media production technology and visual vision production method, the traditional art like Painting, Architecture art and Dace could form a new form of art performance and visual language, and enriched the modern context of art dialogue and culture space, which is the new construction of network visual art to the modern art pattern. Compared with the real world, it is virtual and transcendent, however, Network of Visual art provided a real situation of visual experience and psychological experience to a expanding real situation. By the use of network visual space and various visual information, the thinking way and expression platform of modern digital art creation have been extended and expanded.

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Gill, Tony, and Catherine Grout. "Finding and preserving visual arts resources on the Internet." Art Libraries Journal 22, no. 3 (1997): 19–25. http://dx.doi.org/10.1017/s030747220001049x.

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Internet resources in any discipline are difficult to locate reliably, but the problem is exacerbated for the visual arts community by the intrinsic complexity of retrieving visual resources. After a brief examination of the problems associated with the discovery of networked resources, this paper outlines the development, integration and future objectives of two visual arts information services, the Art, Design, Architecture & Media Information Gateway (ADAM) and the Visual Arts Data Service (VADS), both funded for the benefit of the UK Higher Education community by the Joint Information Systems Committee.

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Houghton, L. B. T. "VIRGIL'S FOURTH ECLOGUE AND THE VISUAL ARTS." Papers of the British School at Rome 83 (September 16, 2015): 175–220. http://dx.doi.org/10.1017/s0068246215000082.

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Virgil's poetry has frequently appeared in illustrated editions, and has regularly provided subjects for other works of art, including some of the most celebrated masterpieces of the western tradition. In view of its constant appropriation in literary contexts over the course of the centuries, we might expect the famous fourth Eclogue (the so-called ‘messianic’ eclogue) to have exerted more of an impact on visual culture than it appears to have done. This paper considers some of the possible reasons for the apparent scarcity of engagement with Virgil's poem beyond the literary sphere, and examines the uses to which the poet's text is put when it does make an appearance in visual media — perhaps more often than has sometimes been supposed.

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Bishop, Kathy, Catherine Etmanski, and M. Beth Page. "Engaged Scholarship and the Arts." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): I—viii. http://dx.doi.org/10.15402/esj.v5i2.68329.

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Singing and songwriting; graffiti, protest art, and mobile art installations; oral, digital, video, literary, métissage, and mixed media storytelling; drawing, photography, and other visual arts; Witness Blanketing and body mapping; embodying Indigenous literatures and expressing values through metaphor; dancing, performing, and more—as you will read in this special issue, these creative actions have become essential to the practice of engaged scholarship.

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Hagebolling, Heide. "The Academy of Media Arts Cologne." Leonardo 23, no. 2/3 (1990): 319. http://dx.doi.org/10.2307/1578631.

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Antunes, Rui Filipe. "On Computational Ecosystems in Media Arts." Leonardo 49, no. 5 (October 2016): 457. http://dx.doi.org/10.1162/leon_a_01296.

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Stipech, Alfredo, and Guillermo Mantaras. "The Digital Media and New Technologies in Visual Arts Studio." International Journal of Architectural Computing 2, no. 3 (September 2004): 389–401. http://dx.doi.org/10.1260/1478077043505441.

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Clement Emeka Akpang. "Nollywood and Churches’ Oriental Fantasies: Its Impact on Art Reception, Patronage and Expression in Contemporary Nigeria." Britain International of Humanities and Social Sciences (BIoHS) Journal 2, no. 2 (June 30, 2020): 594–602. http://dx.doi.org/10.33258/biohs.v2i2.272.

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The visual arts still suffer low reception and patronage in contemporary Nigeria as a result of an ongoing oriental stereotypical representation in Nollywood, the media and churches. This paper interrogates this problematic to address the subtle subversion of the arts that continues to grossly impede its development. Adopting the analytical tools of Content Analysis, this paper traces the origin of anti-art propagandism to missionary and colonial activities in Nigeria and establish its continues adverse propagation in Nollywood and modern churches. Findings from this paper conclude that the portrayal of visual arts in Nigerian movies as the instrument of dark practices and the further condemnation of the arts in churches as symbols of heathenism is responsible for the disdain towards the arts in contemporary Nigeria and responsible for its poor reception and patronage. The research contends, therefore, that both the media, Nollywood and churches must rethink their oriental fantasies about the arts because until that happens the anti-art culture inscribed in the consciousness of many Nigerians will continue to impede artistic progress and visual/aesthetic illiteracy.

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Lankford and Vazquez. "Media Arts Festivals: Scholarship and Artistry in Practice." Journal of Film and Video 72, no. 1-2 (2020): 5. http://dx.doi.org/10.5406/jfilmvideo.72.1-2.0005.

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Giebelhausen, Robin. "Video Inspired the Radio Star." General Music Today 30, no. 2 (September 22, 2016): 29–32. http://dx.doi.org/10.1177/1048371316671361.

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Interdisciplinary arts education in music has often included connective lines toward drama, dance, and visual arts. This article will suggest five different projects that could be used to link music to video in order to develop media arts and music interdisciplinary connections.

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Forbes, Angus Graeme. "Articulating Media Arts Activities in Art-Science Contexts." Leonardo 48, no. 4 (August 2015): 330–37. http://dx.doi.org/10.1162/leon_a_01086.

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This paper discusses the conflicting expectations for media artists taking part in art-science collaborations. Despite the increasing opportunity to participate in these interdisciplinary projects, it can be unclear how media arts activities are best articulated, or even if they need to be defined at all. Additionally, this paper examines a methodological framework widely used in the visualization community for identifying different visualization tasks within research activities. Inspired by its success, this paper proposes a new methodological framework for media arts activities in art-science contexts. This framework splits media arts activities into overlapping areas: generation, augmentation, provocation and mediation, providing a useful way to articulate the broader importance of media arts in interdisciplinary collaboration.

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Wagner, Christiane. "Artworks and the Paradoxes of Media-Transmitted Reality." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 71. http://dx.doi.org/10.25038/am.v0i20.324.

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This article analyzes selected classic art that influences contemporary images. The basis of this study is an analysis of the transformation of long-established and internationally-recognized artwork through digital technology and social media. This investigation also highlights the symbolic meaning behind the representation and reproduction of media images concerning the political impact of global visual culture.Visual culture consists of images of reality that are constantly being reconfigured. Thus, the visual arts develop consensually, based on democratic ideals and freedom of expression. Nonetheless, transgression occurs due to a lack of universal reference criteria and a dissolution of common human values. This situation explains why visual culture is often misunderstood and remains unassimilated. In addition, actual tragedies in life even become confused with art due to the fact that art so often closely imitates reality.Visual arts, a significant area of concern for media outlets, involves deciphering the meaning of images that have been manipulated and instrumentalized according to particular political and ideological interests. The objective of the current proposal is to help people discern fact from fiction and to look at and understand society’s emergence and relationship to democracy. Therefore, visual arts will be analyzed through a historical and iconological lens to investigate it as a form of communication and current social effects of political images.Finally, it is also considered the artifice of images and the absolute reference values of human existence on visual arts in the face of technological progress and their effects on social networks.Article received: May 14, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Wagner, Christiane. "Artworks and the Paradoxes of Media-Transmitted Reality." AM Journal of Art and Media Studies 20 (2019): 71-85. doi: 10.25038/am.v0i20.324.

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Musneckienė, Edita. "Issue of Integrity of Art Education in the Context of Changes in Art and Visual Culture." Pedagogika 114, no. 2 (June 10, 2014): 167–79. http://dx.doi.org/10.15823/p.2014.014.

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This article examines a paradigmatic change of contemporary art education in the context of visual culture and focus to the integrity of arts in formal and informal art education. The article is based on an international research “Contemporary art and visual culture in education” which reveals the problematic aspects of contemporary arts and visual culture in education in general. The research method was the discourse analysis of the participants and researchers, who presented the insights in reflective groups and during the interview with teachers and educators.This paper explores how contemporary cultural context and the spread of visual culture provide preconditions for changes in art education. The aim of the article is to analyze theproblems and perspectives of integral arts education in formal and non-formal education: what the educational challenges and opportunities appear in the context of contemporary art and visual culture? How the integral arts could be realized in art education practice in different arts disciplines and areas of education?Contemporary art and visual culture is increasingly multidimensional, the wide range of visual art forms integral with per formative arts, new technologies and media merge the limits between the arts disciplines. That becomes relevant pedagogical problem with the fact that arts education is traditionally allocated to the separate arts subjects such as music, art, theatre, dance, which also can also be divided into separate areas. This subject segregation of the school curriculum and strong subject orientation limits multimodal contemporary arts education. Secondary Education programs provide opportunities for several options of arts education disciplines (photography, cinema art, graphic design, contemporary music technologies), but it needs special resources for the schools and professional teachers. Many schools follow on traditional model of teaching art and still focusing on simple interpretation of modern artworks, different media and technical skills.Contemporary model of teaching integrated arts and visual culture in education is challenging, because it is based on visual literacy and critical thinking skills, it emphasizes inquiry-based education, a critical understanding of contemporary art practices, problem solving and creating new valuable ideas. Knowledge and experiences came from various sources: formal, non-formal, accidental, individual.Great potential for contemporary art education has non-formal art education programs and projects. Successful project-based initiatives in art education have been excellent examples of arts integration.Artists and other creative people involved into a process of education, their collaboration with schools and communities could initiate some interdisciplinary and collaborative practices. Non-formal arts education environment creates more space for creativity, freedom and diversity. Additional arts education programs, museum and gallery education, artistic competitions and international projects allows for the wider development of arts education. Art education in the new age requires changing attitudes towards learning and teaching, changing roles of the educator and new learning environments.

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Cubitt, Sean. "Catching the History of the Media Arts." Leonardo 40, no. 5 (October 2007): 460–62. http://dx.doi.org/10.1162/leon.2007.40.5.460.

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Joseph, AnnRené. "Arts Education in Jeopardy." International Dialogues on Education Journal 8, no. 1/2 (March 8, 2022): 51–83. http://dx.doi.org/10.53308/ide.v8i1/2.251.

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The COVID-19 pandemic shut down the world and arts education! Performing arts classes across the world were labeled as deadly activities and banned for in-person instruction and experiences in schools and communities for months. Strict mandates were enforced for masking students and social distancing. Restrictions for talking, singing, playing instruments, dancing, touching, ventilation, sharing equipment and resources in visual, performing, and media arts, and group activities associated with arts education were daunting. The arts have been described as a universal language that celebrates and honors culture, diversity, ethnicity, inclusion, and individual authenticity, as well as basic education in the United States. Consequently, the impact of pandemic mandates resulted in social, emotional, and psychological trauma for those affected, as people are born to dance, sing, act, create, make music, and play—individually and collectively. How have arts educators, students, and programs survived with resilience during this unprecedented time in history?

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Mathews, Patricia, Rosemary Betterton, and Hilary Robinson. "Looking on: Images of Femininity in the Visual Arts and Media." Woman's Art Journal 10, no. 2 (1989): 44. http://dx.doi.org/10.2307/1358215.

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Heneraliuk, Lesia. "Ways of cross-media research formation." Слово і Час, no. 3 (May 26, 2020): 3–27. http://dx.doi.org/10.33608/0236-1477.2020.03.3-27.

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The paper offers to extend the historical time frame of modern cross-media studies formation. The start of this research direction dates not from the 1950-60s, as it is usually considered to be, but from the early 20th century, the ‘synthesis epoch’. Development of neosyncretism was accompanied by creating bright theories in aesthetics and art criticism and promoting the concept of arts’ interaction by the humanities. Three scholars — H. Wolfin, M. Dessoir, and A. Warburg were the pioneers of the modern interdisciplinary research field. The author considers that the range of influences on the cross-media studies in literary criticism should be broadened with the works of philosophers and art critics who started to use the cross-media strategies (not the term itself) when analyzing the works of literature and arts. The leading role belonged to the Iconology school (E. Panofsky, R. Wittkower, E. Gombrich et al.). Their methods were based on applying tools of various disciplines. In the first place, they took into account connections between literature and visual arts. Henceforth, philology interpolated the iconological method into visual and comparative studies. One of the contemporary leading cross-media researchers, W. J. T. Mitchell, named his first book “Iconology: Image, Text, Ideology” (1986). In the middle of the 20th century, philosophy had a considerable influence on the cross-media research formation. In particular, literary critics referred to phenomenology (the works by M. Dufrenne, R. Ingarden. M. Merleau-Ponty) and actualized the analysis of interacting arts once more. A visual turn in culture caused growing attention to the issues of apperceptive cross-sensual experience. The newest works in the fields of perception psychology, gestalt psychology, neurolinguistics, and neurophysiology also support the general cross-media theory. It is possible that, due to the mutual influences of sciences, a uniform platform for studying syncretic phenomena will be created.

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Yunita Putri, Okta, and Yofita Sandra. "PENGARUH PENGGUNAAN MEDIA AUDIO VISUAL TERHADAP HASIL BELAJAR MATERI SENI RUPA PESERTA DIDIK KELAS VII DI SMPN 02 RANAH AMPEK HULU TAPAN." Serupa The Journal of Art Education 9, no. 4 (December 25, 2020): 394. http://dx.doi.org/10.24036/stjae.v9i4.110316.

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Okta Yunita Putri (2020): The Influence of Using Audio Visual Media on Learning Outcomes of Class VII Students in Visual Arts at SMPN 02 Ranah Ampek Hulu Tapan. Thesis Department of Fine Arts, FBS UNP. This research was conducted in order to find out the purpose of the effect of the use of audio visual media on the learning outcomes of class VII students in SMPN 02 Ranah Ampek Hulu Tapan. The method used in this research is quasi-experimental (quasi-experimental) and in this study using a Non Equivalent Control Group Design. The sampling design used was purposive sampling. After all tests are carried out, the Sig value can be obtained. (2-tailed as much as (0.003 <0.005) and the post-test tcount of 3.102, greater than ttable (0.3102> 2,000), then H0 is rejected and H1 is accepted, therefore the learning outcomes of the experimental group are significantly different Compared with the control group, the researcher concluded that the use of Audio Visual media had a positive (good) effect and significantly different on the learning outcomes of students in the learning process of visual art material for class VII at SMPN 02 Ranah Ampek Hulu Tapan.Keywords : Media, Audio Visual, Learning Outcomes, Fine Arts

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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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Zhao, Pei, and Xiaojun Li. "Arts Teachers' Media and Digital Literacy in Kindergarten." International Journal of Digital Literacy and Digital Competence 6, no. 1 (January 2015): 1–17. http://dx.doi.org/10.4018/ijdldc.2015010101.

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Children live in a media oriented world, and media skills need to be taught already starting from the early years. Practicing media production can be seen as a core activity for media education in early childhood. The idea is linked to the 21st century definition of media: instead of thinking of media and digital culture as a simple, one-to-one way communication, it is better to consider media as parts of systems of actions and activities. In other words, it should be seen as a form of social processes. In this case study, the authors investigated children's shared blogging in a kindergarten in two different countries. The public blog was operated between Finland and China in order to build communication between those countries and get children's viewpoints from a different culture and shared communication. Arts education (visual art) was used as a tool for the online communication and blog's content production. On the basis of this study, a shared blog could be a pedagogically functional way to teach children the social media use and interaction as a part of their early childhood education. Pedagogically organized use of social media is also the way to give young children own voice in digital media culture, and to connect other children around the world.

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Clüver, Claus. "From the “Mutual Illumination of the Arts” to “Studies of Intermediality”." International Journal of Semiotics and Visual Rhetoric 3, no. 2 (July 2019): 63–74. http://dx.doi.org/10.4018/ijsvr.2019070104.

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This article offers an overview of the development of the interdisciplinary study of the interrelations of the arts and media during the past one-hundred years. From a focus on the binary relations of literature and the visual arts, music, and film these investigations turned into what came to be called “Interarts Studies” with a new tendency to include the interrelations of non-verbal arts and also to study configurations of a decidedly non-artistic nature. In the 1990s this would lead to the reconception of the arts as well as the applied arts and some non-artistic genres as media and their interrelations as intermediality. Simultaneously there began full-fledged attempts to construct a theoretical foundation for the study of intermediality (and transmediality) as a humanistic field, emphasizing media combination, intermedial reference, and intermedial transposition, especially adaptation. This article highlights developments in the German- and English-language discourse on these matters.

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Janeway, Michael, and András Szántó. "Arts, Culture, and Media in the United States." Journal of Arts Management, Law, and Society 32, no. 4 (January 2003): 279–92. http://dx.doi.org/10.1080/10632920309596981.

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Taylor, E. Andrew. "Rethinking the Performing Arts for the Media Age." Journal of Arts Management, Law, and Society 25, no. 3 (September 1995): 206–24. http://dx.doi.org/10.1080/10632921.1995.9941800.

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Sanni, M. Ifran, Alifya Nurcahya, and Taufiq Kurniawan. "Video Dokumenter Informasi Kesenian Sisingaan Pada Dinas Pendidikan dan Kebudayaan Kabupaten Subang." CICES 7, no. 1 (February 17, 2021): 45–55. http://dx.doi.org/10.33050/cices.v7i1.1461.

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In the field of information, audio visual is one of the supporting media in delivering effective information, and is more attractive in its presentation. One of them is sisingaan art from Subang Regency, West Java. Currently, the art of sisingaan requires the design of media in the form of audio-visual because in presenting information on the existing side arts, there is no latest information on the latest side arts. The purpose of this study is to design audio-visual based media so that it can be useful and become an attraction for the community and art craftsmen regarding matters related to the arts of Subang district and increasing the number of sisingaan uses every year. The research methodology carried out during this research is problem analysis method, data collection method, design analysis method and media production concept method which includes preproduction, production and postproduction. After analyzing the above problems, the researchers designed a video for the Sisingaan art information of Subang Regency which is used to provide historical information and a very important lion shape icon. From the design of the art information video, it is hoped that the public will know more about the historical value and the lion symbol icon in the secondary arts of Subang Regency which cannot be removed or replaced with anything.

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Lindsay Kistler Mattock. "Mapping the Traces of the Media Arts Center Movement." Moving Image: The Journal of the Association of Moving Image Archivists 17, no. 2 (2017): 119. http://dx.doi.org/10.5749/movingimage.17.2.0119.

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Poster, Mark. "Visual studies as media studies." Journal of Visual Culture 1, no. 1 (April 2002): 67–70. http://dx.doi.org/10.1177/147041290200100106.

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Mitchell, W. J. T. "There Are No Visual Media." Journal of Visual Culture 4, no. 2 (August 2005): 257–66. http://dx.doi.org/10.1177/1470412905054673.

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Podobnik, Uršula, and Jurij Selan. "Visual Art Gifted Child in Pre-School and Early School Years." Creativity. Theories – Research - Applications 8, no. 2 (November 20, 2021): 86–102. http://dx.doi.org/10.2478/ctra-2021-0019.

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Abstract Visual arts media in pre-school and early school years and development of children’s drawing are well researched. However, when one considers that children are endowed with a talent for visual arts, the research is not as comprehensive and clear-cut. The signs of freedom of expression and imagination, intuitiveness and originality, an inclination to individual work, high sensitivity, and other indicators begin to show soon after visual art gifted (VAG) children enter the representative stages of visual arts. This article was based on a longitudinal case study that was carried out to show some aspects of the functioning of a VAG child in pre-school and early school years and to make some suggestions on how to consider the needs of VAG children.

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Syed Abu Bakar, Syed Alwi, Aznan Omar, Noor Enfendi Desa, Siti Humaini Said Ahmad @ Syed Ahmad, Rosmidahanim Razali, and Sharifah Nursahilah Syed Omar. "Perjalananku: Penggunaan Medium Elektronik (Cahaya) Dalam Karya Seni Arca." Idealogy Journal 6, no. 2 (September 1, 2021): 60–66. http://dx.doi.org/10.24191/idealogy.v6i2.300.

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This research represents time using electronic medium through sculpture. An electronic media (light) is one of new medium in Malaysian visual arts. The use of electronic (light) as a medium, does bloom up medias in Malaysian visual arts. The exploration of this new medium, was inspired by Dan Flavin. The research includes element of light and social sharing. This research method practiced the studio base based on Wallas’ theory. This research project would benefit the societies, at the same time it would contribute to a process of creating an art works. The combination between electronic (light) and conventional medium will diverse the use of medium in producing art works.

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Gagnon, Jean, and Alain Depocas. "Documentation and Conservation of the Media Arts Heritage." Leonardo 38, no. 5 (October 2005): 369. http://dx.doi.org/10.1162/leon.2005.38.5.369.

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STROEVA, OLESYA V., and SERGEY V. ARONIN. "NEW TRENDS IN THE EVOLUTION OF VISUAL ARTS INFLUENCED BY MEDIA TECHNOLOGIES." Art and Science of Television 15.1 (2019): 173–93. http://dx.doi.org/10.30628/1994-9529-2019-15.1-173-193.

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Militz, Klaus Ulrich. "Cause and Effect in Cross-Media Fertilization: the Impact of Historicity." New Theatre Quarterly 14, no. 54 (May 1998): 146–50. http://dx.doi.org/10.1017/s0266464x00011969.

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It is the modernist wisdom that each art or medium should be defined in its own terms, so as to delimit it from other arts or media, while also arriving at certain conclusions as to the ‘message’ of the medium in question and its preferred subject-matters. This tradition has often been criticized for an inherent essentialism, and a less prescriptive approach is proposed in the following article – which, while taking the interaction between the different arts and media into account, also attempts to understand this in its historical perspective. The author, Klaus Ulrich Militz, concentrates mainly on the interrelations between the audio-visual performing arts of theatre, cinema, and television, and refers in particular to a number of artistic approaches to theatre which appear to be based on media interplay as a major source of aesthetic innovation. He also includes some crucial statements by theatre artists, suggesting different ways in which they came to locate their aesthetic positions. Klaus Ulrich Militz is a member of the media research group at the University of Edinburgh, and is currently completing his doctoral thesis on the work of Rainer Werner Fassbinder.

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Zhang, Xiaolong. "What is visual Vaporwave? Vaporwave arts and their history and position in China." Mutual Images Journal, no. 10 (December 20, 2021): 295–326. http://dx.doi.org/10.32926/2021.10.zha.vapor.

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By Vaporwave we refer to a digital-born electronic music genre and a trend in visual aesthetics. It emerged in some US-based online communities in the early 2010s, and now its visual expressions are in vogue in Chinese visual media context. In this article, Vaporwave’s aesthetics are discussed through three stages of analysis. In the first part, the paper outlines relevant theories and general features of Vaporwave’s (both visual and musical) aesthetics; next, the paper focuses on Vaporwave's visual characteristics, and, to provide a deeper understanding of its visual aesthetics, I discuss a school of painting derived from early twentieth-century Italy—Metaphysical art. In the second part, the article discusses why and how vaporwave aesthetics are inseparable from some Japanese visual characteristics and how it is represented in China, with particular reference to examples of Japanese comics from the 1980s/early 1990s and one popular Chinese video-focused social media TikTok in recent years. In the third part, the article focuses on illustrating Vaporwave's visual features in the Chinese context in recent years, and several examples are provided.

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Łabędzka, Izabella. "Gao Xingjian’s Dialogue with Literary and Visual Traditions." Porównania 26 (June 15, 2020): 331–43. http://dx.doi.org/10.14746/por.2020.1.19.

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The paper is devoted to the contemporary Chinese prose and drama writer, painter,stage director and author of experimental art films, Gao Xingjian. My aim is topresent his innovative solutions in the field of different arts and media. I try toanalyze his works in a broad context of Eastern and Western culture and to showthe flexibility with which he crosses the narrow borders of arts, makes use of therich heritage of his native traditional culture, Chinese Taoist philosophy with itsprocessual understanding of reality. I also point at his interest in the aesthetics ofemptiness and artistic minimalism.

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Schmidt, Wendelin. "Mass media and visual communication." Third Text 19, no. 3 (May 2005): 307–16. http://dx.doi.org/10.1080/09528820500049296.

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Wong, Wayne. "Beyond the cinematic: Reinventing Chinese martial arts through new media art practices." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 367–91. http://dx.doi.org/10.1386/jcca_00012_1.

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Abstract This article argues that the reinvention of Chinese martial arts through new media art practices reveals new aesthetic potentialities not readily available in the conventional cinematic medium. While martial arts cinema has captivated the global audience with visual and visceral excitements, most notably through the new-style wuxia films of the 1960s and the kung fu craze of the 1970s, it focuses on representational strategies characteristic of imaginative irreversibility and passive immersivity. The former refers to the rigid segregation of reality and fantasy that discourages the possibility of reversal, whereas the latter describes the immersive wuxia and kung fu spectacles as a disembodied experience, contrary to the core of martial arts learning and practice. To address the above issues, martial arts-inspired new media artworks, such as susuan pui san lok's RoCH Fans & Legends (2015) and Jeffery Shaw, Sarah Kenderdine and Hing Chao's Lingnan Hung Kuen Across the Century (2017), look for alternative approaches to represent martial arts imaginations for the goals of preserving an intangible cultural heritage and promoting an intellectual reflexivity. In so doing, not only do the new media artworks help to reposition Chinese martial arts as an everyday art form via conventional art spaces worldwide through the transnational and transregional flow of cinema, but they also establish the subtle connection between traditional martial art and contemporary art in the context of globalization.

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McGladrey, Margaret, Madeline Oliff, and Emma Draper. "Re-envisioning media literacy education as feminist arts-activism." Cultural Trends 28, no. 5 (October 20, 2019): 354–65. http://dx.doi.org/10.1080/09548963.2019.1679992.

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Burstein, Joyce. "Integrating Arts: Cultural Anthropology and Expressive Culture in the Social Studies Curriculum." Social Studies Research and Practice 9, no. 2 (July 1, 2014): 132–44. http://dx.doi.org/10.1108/ssrp-02-2014-b0010.

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Social studies is the combined study of several disciplines including cultural anthropology where expressive culture is defined and described. Expressive culture is the processes, emotions, and ideas bound within the social production of aesthetic forms and performances in everyday life. It is a way to embody culture and to express culture through sensory experiences such as dance, music, literature, visual media, and theater. By integrating the arts into social studies, students are introduced to cultural ideals, traditions, and norms inherent in their own lives. This article describes the use of cultural anthropology as a vehicle to teach social studies concepts with visual and performing arts. Two examples of coequal social studies and arts units are examined in second and sixth grades.

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Journal articles on the topic 'Visual arts and media arts'

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