Artículos de revistas sobre el tema "Mass media and art"
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Karan, Marija. "(Re)positioning art music in contemporary traditional and digital mass media/radio context". New Sound, n.º 56-2 (2020): 49–63. http://dx.doi.org/10.5937/newso2056049k.
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This paper discusses, actualizes and problematizes the representation and treatment of art music in the context of contemporary mass media radio discourse, in its traditional and digital/internet formats. The thesis is that understanding the content of high culture and art music is key to the social and cultural progress of the audience, and that it implies the clear views of the creator of the work of art music, on the one hand, and the experience of the recipient - that is, the audience, on the other hand. In this context, traditional and digital mass media must continue to act as the main transmitters/mediators of musical creation. Through the prism of art music on the radio, the types and ways of the operation of contemporary (meta) mass media are detected, as well as the effect of the reception of elements of mass/media culture on the audience. The critical-analytical-interpretive method interprets the phenomenon of artistic music on the radio and contributes to the research of the impact on the audience with music as the key parameter of mass media discourse.
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Hirst, Martin. "Art Silverblatt: Genre Studies in Mass Media. A Handbook". Publizistik 53, n.º 1 (marzo de 2008): 135–36. http://dx.doi.org/10.1007/s11616-008-0030-9.
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Lopes, Fernando Augusto Silva. "Media, art and technology: a contemporary reflection". Comunicação e Sociedade 31 (29 de junio de 2017): 299–310. http://dx.doi.org/10.17231/comsoc.31(2017).2619.
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This article is based on a report about cultural industries and their reflexes on media saturation. From that point, a reflection on technology, media and contemporary arts is presented, especially on the role of the body in the manifestation of art. This work seeks to ratify the influence of technology, of mass media and of information over the construction of the contemporary cultural values. It also provides a reflection on current contemporary artistic practices as elements that seek to evidence and question the standardizing influence of mass media and of the market. The background for the development of this article is the evolution of technologies, which expand the commodification of culture and make possible the deep social and cultural changes experienced in contemporary Western society. Finally, it is outlined a brief analysis of cultural identities and diversities in the teleinformatics era.
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Shubina, E. L. "HEDGE APPROXIMATORS AS PROFESSIONAL TOOLS OF GERMAN MASS MEDIA DISCOURSE". Professional Discourse & Communication 1, n.º 1 (29 de mayo de 2019): 83–98. http://dx.doi.org/10.24833/2687-0126-2019-1-1-83-98.
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The purpose of this paper is the analysis of German mass media texts to investigate into hedge approximators. Synonymous analytical constructions eine Art … (a kind of); so etwas wie …; (so) etwas Ähnliches wie … are used to achieve certain pragmatic purposes the discourse of mass media. The most frequent word combination is eine Art... . The structural organization of such combinations is regulated by specific rules. The majorities of nominal groups of the eine Art N type without an attribute preceding the main component (eine Art Glück) do not allow to determine the case of the second noun in modern German. Nouns of all three genders, including noun of the weak type of declination, do not have inflexions. The case form of the main word in the phrase is revealed by expanding the cluster with an attribute. The basic types of such constructions are constructions with the genitive case (eine Art gemeinsamen Traums), construction with the preposition von and a noun in the dative case (eine Art von gemeinsamem Traum) and constructions with the case agreement between the two parts of the nominal group (in einer Art gemeinsamem Traum). The distribution of these types of constructions in the contemporary German language is determined in essence by grammatical factors, namely by the oblique form of the “auxiliary” noun and also by the number and by the semantic class of the second noun. All three synonymous clusters are used both with concrete and abstract nouns. These hedge markers make possible for authors of articles to limit the degree of confidence or doubt about the authenticity of the described fact, since sometimes there is no information about the nominated object, the risks of an erroneous statement being significantly minimized. Hedge markers show that the author is detached, careful, diplomatic and aims at avoiding conflictual situations.
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Ahmed, Mohamed. "The Social Perspective in the Study of Mass Media Audience". Journal of King Abdulaziz University-Arts and Humanities 1, n.º 1 (1988): 63–92. http://dx.doi.org/10.4197/art.1-1.5.
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Barker, Deborah E. "Visual Markers: Art and Mass Media in Alice Walker's Meridian". African American Review 31, n.º 3 (1997): 463. http://dx.doi.org/10.2307/3042573.
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Chang, Zhou, Norfadilah Kamaruddin y Wan Samiati WMD. "Analysis of Mass Media Influences on British Contemporary Art: A Turner Prize perspective". Environment-Behaviour Proceedings Journal 7, SI7 (31 de agosto de 2022): 135–39. http://dx.doi.org/10.21834/ebpj.v7isi7.3773.
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Turner Prize has grown from an unattended state to an authoritative art festival. Besides the innovation of its own evaluation criteria, it also benefits from the extensive involvement of the media in the Turner Prize. The upsurge of visits and public discussion caused by this changed the cultural influence of contemporary art on the public, promoted the prosperity of the art market, and gave birth to new art forms. This paper attempts to analyse the positive and negative influences of mass media on British contemporary art from the Turner Prize and mass media. Keywords: Contemporary Art; Mass media; Turner Prize; Art Market eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3773
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Skilbeck, Ruth. "Art journalism and the impact of ‘globalisation’: New fugal modalities of storytelling in Austral-Asian writing". Pacific Journalism Review : Te Koakoa 14, n.º 2 (1 de septiembre de 2008): 141–61. http://dx.doi.org/10.24135/pjr.v14i2.949.
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The writing of art journalism has played a key yet little acknowledged role in the ongoing expansion of the international contemporary art world, and the multi-billion dollar global art economy. This article discusses some contradictory impacts of globalisation on art journalism—from extremes of sensationalist record-breaking art market reporting in the global mass media to the emergence of innovative modalities of story-telling in Australian independent journalistic art writing.
This article discusses some contradictory impacts of gobalisation on art journalism— from extremes of sensationalist record-breaking art market reporting in the global mass media to the emergence of innovative modalities of story-telling in Australian independent art writing.
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Leite, Rui Moreira. "Flávio de Carvalho: Media Artist Avant la Lettre". Leonardo 37, n.º 2 (abril de 2004): 150–58. http://dx.doi.org/10.1162/0024094041139175.
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This paper examines the work of Brazilian artist Flávio de Carvalho (1899-1973) from the perspective of contemporary media art, highlighting his practical and theoretical legacy. Initially associated with the Anthropophagy art movement, Carvalho used mass media creatively and incorporated insights from psychology, sociology and anthropology into his art. He realized events that went beyond “performance art,” including a pioneering presentation on television in 1957. This article offers a brief overview of Carvalho's trajectory.
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Potash, Jordan S. "Fast Food Art, Talk Show Therapy: The Impact of Mass Media on Adolescent Art Therapy". Art Therapy 26, n.º 2 (enero de 2009): 52–57. http://dx.doi.org/10.1080/07421656.2009.10129746.
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THEOLOGOU, KOSTAS, YOULI RAPTI, PETER FETTNER y YOULI PAPAIOANNOU. "ART AND COMMUNICATION AS A NOVEL EXPERIENCE IN MODERN CULTURE". Arhe 26, n.º 32 (18 de junio de 2020): 141–67. http://dx.doi.org/10.19090/arhe.2019.32.141-167.
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In this paper we discuss the deadlocks of defining art in modern culture. The lack of criteria and modernism revisited are of crucial issue in this account. The theoretical mainframe of our approach is founded on the Frankfurt School thinkers (Max Horkheimer, Theodor Adorno, Walter Benjamin), and of course Jürgen Habermas. This theoretical apparatus also draws on contemporary accounts given by Sorbonne Professor Marc Jimenez and art critic John A. Walker.[1] The paper discusses whether fine art may survive, in what forms – and to what purpose – in an age of mass media and in conditions of rapid networked communication. The paper sets off from the critical role radical art plays in today’s divided yet global world and on the continuing debates between high art and low culture, but reflects on the interaction between art, media and technology.
To support our argument we suggest Body Art and other web/digital and technological applications in art, and the cyber-art currently being produced for the internet. The paper acknowledges the numerous interactions between art and culture in a postmodern pluralistic world, and draws from the vast range of contemporary works of art to illustrate and to criticize theoretical points. The true test of theory in aesthetics is their application to particular cases. When a theory shows limitations in such an application, we gain clues as to what theoretical adjustments or innovations are called for to accommodate today’s works.
The introductory part of the essay comprehensively surveys recent debates on works of art, mass culture and society, and their socio-philosophical significance. The main discussion refers to the work of Walter Benjamin and Jürgen Habermas, aptly commented on by Marc Jimenez;[2] after exploring the complex relationships between culture and art as it’s reflected in that work, the argument provides an account of the 1980s political turn in aesthetics and explicates the impact of new communication technologies in modern culture. The narration is enhanced by specific examples of works of art in the era of mass media, web and digital culture, and underlines both the styles’ pluralism and the variety of parameters affecting the interaction between art and mass media communication. Critical findings and suggestions for further research conclude the paper.
[1] Marc Jimenez, Qu’est-ce que l’esthétique, Paris: Gallimard, 1997; John A. Walker, Art in the Age of Mass Media, London: Pluto, 2001.
[2] Jimenez, Ibid.
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Gordienko, Natalia N. "Enlightenment activities of modern mass media". Vestnik of Kostroma State University 28, n.º 1 (20 de abril de 2022): 123–28. http://dx.doi.org/10.34216/1998-0817-2022-28-1-123-128.
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The enlightenment activity of the media is aimed at raising the cultural level of people, is associated with the dissemination of information, knowledge, norms and values from the field of intangible production. The purpose of the article is to describe the main directions of enlightenment activities of the media. It talks about the importance of the enlightenment function of journalism and how to implement it. Informing consists in familiarising society with any facts or results of intellectual activity – politics, philosophy, religion, science, culture, art. These data contain socially significant knowledge, norms, values and correspond to humanistic tendencies of social development. Popularisation means the presentation of information in a form accessible to a mass audience. Media criticism is considered in the article as the ability to evaluate, analyse, interpret media content. Propaganda as a type of enlightenment activity is aimed at spreading knowledge and other information in order to form certain views, ideas, principles. The materials published in the weeklies “Rossiyskaya Gazeta” (Russian Gazette), “Argumenty i Fakty” (Arguments and Facts), “Literaturnaya Gazeta” (Literary Newspaper) are involved in the research. The main attention is paid to the current state of enlightenment in the press, its impact on the social role of journalism.
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Dahmen, Nicole Smith. "From the Walls to the Web: Media Aesthetics, Technological Innovation, and Audience Attention to Artwork Representations". International Journal of Art, Culture and Design Technologies 5, n.º 2 (julio de 2016): 30–48. http://dx.doi.org/10.4018/ijacdt.2016070103.
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Aesthetic theory considers the reciprocal relationship between the creator, the object, and the viewer of an artwork. When viewing artworks on a museum website, a new element is added to the aesthetic model: the mass-mediated representation of the art object. This research brings together art and media theory, as well as technological understanding, to study mass-mediated presentations of artworks and to gauge audiences' visual attention to artworks based on differences in media presentations. Study findings indicate that art museums are generally showing rigor for visual displays of their artworks on their websites, thereby providing a legitimate visiting experience for their virtual patrons. However, regarding technology, art museum websites are not fully embracing web capabilities. Eyetracking data provide empirical evidence of the effects of certain changed aesthetic variables in the viewing experience. From a theoretical perspective, the research showed how aesthetic theory can be placed within a media aesthetic theory model to study the mass mediated viewing experience.
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Shechtman, Anna. "The Medium Concept". Representations 150, n.º 1 (2020): 61–90. http://dx.doi.org/10.1525/rep.2020.150.1.61.
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In the second half of the twentieth century, in the very decades when the concept of “media” entered the vernacular, the “medium concept” began to shape American art criticism and curation. This was no coincidence: “mediums” emerged as a category for the organization and appreciation of art as the dialectical counterpart to media, and in response to the cultural imperialism of its mass-produced forms. As art became increasingly public, mediums became the public face of art.
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Svitich, Luisa, Olga Smirnova y Mikhail Shkondin. "Social Creation and Media Publicity". Theoretical and Practical Issues of Journalism 8, n.º 2 (24 de mayo de 2019): 229–43. http://dx.doi.org/10.17150/2308-6203.2019.8(2).229-243.
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The article discusses the problems of formation of a model of informational impulse-wave interaction of society and mass media within a system of social creativity, which were suggested by A.P. Sukhodolov and co-authors, as well as characterizes systematic properties of media publicity as a factor of social creativity on the current civilization stage. Media publicity is analyzed as an informational phenomenon closely related to social art, to creativity of social practice, to interaction within society providing unity of thought and action, to intellectual interaction within a society, to enrichment of the intellect of audience groups based on continuously updated media reality in the informational potential of mass media.
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Parajuli, Pradip. "Information, Communication and Mass Media; A Positive Outlook". Historical Journal 11, n.º 1 (1 de agosto de 2020): 26–33. http://dx.doi.org/10.3126/hj.v11i1.34632.
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Mass media was gifted on the Nepali soil early as one and half century ago. We have no longer history on mass media and journalism as other countries compared to the four and half century long history of world journalism, the history of Nepalese mass media and journalism is undoubtedly a recent phenomenon. The art and science of using information to one's advantage is one of the keys to influence and power in any society. As a matter of fact man alone has the capacity to generate information through new symbols, and to share the meaning of these symbols with fellow men. One may even look with advantage at human history through the information/ communication prism.
It is the history of an ever-increasing capability to create new generated information and shares it with others to their mutual advantage to ward off danger, to inform about the new opportunities, etc. In brief, information/ communication are the key to organized human life.
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Lipskiy, Vladimir N. "Development and transformation of mass culture". Yaroslavl Pedagogical Bulletin 5, n.º 122 (2021): 218–25. http://dx.doi.org/10.20323/1813-145x-2021-5-122-218-225.
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The article shows that the phenomenon of mass culture in its current understanding is proceeded by a period of formation. Having begun its transformation with various kinds of mass spectacles even before our era, mass culture only by the middle of the XX century took shape into a modern kind of cultural practice. It is stated that for a long period, mass and «high» art were in opposition, since their value principles contradicted each other. At the same time, there comes a period in the development of mass culture when it needed «fresh» blood for its effective impact on the mass consciousness in the future, and in this situation its interested parties turned their eyes to «high» art. The article suggests that this metamorphosis had a commercial background, but at the same time this transformation marked a new stage in the formation of the analyzed phenomenon. It is shown that having entered into interaction with «high» art, mass culture not only transforms itself, under its influence, but also in a peculiar way initiates changes in the elite art itself. Attention is fixed on the fact that themovement of mass culture resembles a kind of pendulum fluctuations, which are influenced by the system of values that have developed within the framework of the social structure, and the course of the socio-historical process. Depending on this, the use of mechanisms embedded in mass media and mass communication media can transform it into a phenomenon that manifests itself in various ways. This is shown in the article on the material of the use of mass culture as an educational tool at various stages of development: both during the USSR and during the coronavirus pandemic in the 20s of the XXI century, as well as on the material of the use of mass culture mechanisms on political technologies to manipulate public consciousness.
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Zayyrbekova, Aychurok. "FREQUENCY OF AGGRESSION IN THE MASS MEDIA". Applied psychology and pedagogy 6, n.º 1 (17 de diciembre de 2020): 97–105. http://dx.doi.org/10.12737/2500-0543-2020-97-105.
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The article examines the frequency of the content of aggression in the media and its impact on the human psyche. The article presents the results of a study of the frequency of manifestation of aggression in the media, using the method of quantitative content analysis, which is based on the study of the content of any documents, media materials, literature, works of art, personal and official documents. As an object of research, we identified the frequency of manifestation of aggression, the material of the study is a random sample of 7 films ("The Great Gatsby", "Pompeii", "State Councilor", "The Third Extra", "The Diary of Memory", "Law Abiding Citizen" and "Bruce omnipotent"). The units under study are movie episodes, which we have divided into 7 categories: open manifestation of aggression (verbal and non-verbal); display of humor; unreal situations (fantasy); manifestation of sentimentality; neutral and positively oriented neutral plots; narration; manifestation of fear. Having considered all the units of study of a random sample of movies, we came to the following conclusion: aggression is one of the most common categories on television. According to the results of the study, it can be assumed that one of the reasons for the aggressiveness of modern society is the presence of a large amount of negative information in the media, this is due to the fact that a person tends to "absorb" and copy forms of behavior "from the screen", in particular, this applies to children aged up to 12 years old.
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Baragona, Alan. "Medievalism, Politics and Mass Media: Appropriating the Middle Ages in the Twenty-first Century by Andrew B.R. Elliott". Arthuriana 28, n.º 1 (2018): 74–76. http://dx.doi.org/10.1353/art.2018.0007.
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Marinach, Carine, Marie-Christine Papillon y Claude Pepe. "Identification of binding media in works of art by gas chromatography–mass spectrometry". Journal of Cultural Heritage 5, n.º 2 (abril de 2004): 231–40. http://dx.doi.org/10.1016/j.culher.2003.12.002.
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Dwan, David y Emilie Morin. "Introduction: Yeats and Mass Communications". International Yeats Studies 3, n.º 1 (1 de noviembre de 2018): 1–13. http://dx.doi.org/10.34068/iys.03.01.01.
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W. B. Yeats’s pursuit of an audience led him into the world of mass media—a landscape populated first by newspapers and later by radios, which he learned to navigate with shrewdness and skill. The purpose of this special issue is to examine Yeats’s various ventures in mass communication. Enlisting a broad range of critical approaches, contributors to this volume show how the demands of print journalism and radio broadcasting informed Yeats’s poetics, his thinking about the social vocation of art, and his ideas about how literature might be best received and structured. The essays also examine the reception and legacies of Yeats’s experiments with mass media, showing how he was at once self-consciously archaic and exultantly avant-garde. This article provides an introduction to this special volume of International Yeats Studies and attendant critical concerns.
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Borgen, Maibritt. "Fundamental Feedback: Öyvind Fahlström's Kisses Sweeter than Wine". ARTMargins 4, n.º 3 (octubre de 2015): 17–39. http://dx.doi.org/10.1162/artm_a_00121.
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The article analyzes Öyvind Fahlström's (1928–1976) performance Kisses Sweeter Than Wine, which took place as part of the festival 9 Evenings: art&engineering in New York (1966). It situates the performance's use of multimedia material as continuations of earlier investigations into manipulating language that played a central part in the artist's practice of both visual art and concrete poetry. It further argues that in Kisses Sweeter Than Wine such manipulations form a series of ruptures into the wider circulation of mass-media images, ruptures that locate Fahlström's use of media images in relation to both Pop Art and the beginning media activism under the Vietnam War.
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Mazzone, Marian. "Andy Warhol: Computational Thinking, Computational Process". Leonardo 53, n.º 2 (abril de 2020): 179–82. http://dx.doi.org/10.1162/leon_a_01574.
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This article positions Andy Warhol as a model for computational thinking and art-making, linking him to concepts in new media art. Warhol's work is analyzed for its variability in form generation and output, both in painting and on the early Amiga computer. His work becomes a simulation of the abstraction of process and methods of production familiar to us in electronic computational art of today. Rather than seen as banal mass production on the modern assembly line, Warhol's work can be seen as inspiration for new media arts practitioners.
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Setiaji, Rony Siswo. "SMARTPHONE MEDIA BERKARYA SENI MASA KINI". Imaji 18, n.º 1 (30 de abril de 2020): 72–78. http://dx.doi.org/10.21831/imaji.v18i1.27826.
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Dunia telah memasuki Era Revolusi Industri 4.0. Era dimana terjadi percepatan teknologi dan digitalisasi dalam berbagai bidang. Informasi, komunikasi, interaksi, transaksi dan edukasi dapat dilakukan hanya dalam genggaman layar smartphone. Begitu pula dalam menciptakan sebuah karya seni dan desain dapat memanfaatkan teknologi smartphone. Berdasarkan studi pendahulan yang dilakukan peneliti yaitu sekitar 80% mahasiswa seni rupa dan desain tidak menggunakan teknologi smartphone untuk berkarya seni. 60 % dari mereka tidak mengenal aplikasi smartphone yang dapat dimanfaatkan untuk berkarya seni. Tulisan ini bertujuan membahas peran penggunaan teknologi khususnya smartphone dalam kegiatan berkarya seni dan desain. Berikutnya, juga membahas berbagai aplikasi untuk berkarya seni kreatif seperti filpaclip, medibangpaint, procreate, sketchbook, artflow, infinite design serta adobe ilustrator. Terakhir, tulisan ini membahas tentang bisnis karya seni dan desain online melalui berbagai alamat website yang dapat diakses menggunakan layar smartphone. Diharapkan mahasiswa seni rupa dan desain dapat memanfaatkan perkembangan teknologi tidak hanya untuk kepentingan pribadi semata, namun juga kegiatan berkarya seni kreatif serta dapat menghasilkan income.Kata Kunci: Seni, Desain, Teknologi, Smartphone, Digital SMARTPHPONE, A MEDIA FOR CREATING VISUAL ART AND DESIGN NOWADAYS Abstract The world has entered the Industrial Revolution Era 4.0. The era where technology accelerated and digitalized in various aspects. Information, communication, interaction, transactions and education are done via a smartphone. In creating a work of art and design can be done with smartphone technology. However, based on the preliminary study conducted by researcher, around 80% of art and design students do not use smartphone technology to create art. 60% of them are not familiar with smartphone applications that can be used to create art. The objective of this paper is to discuss the role of the use of technology, especially smartphones in the work of art and design. Next, discuss various applications to create creative arts such as filpaclip, medibang paint, procreate, sketchbook, artflow, infinite design and adobe illustrator. Finally, this paper discusses the online art and design business through various website addresses that can be accessed using a smartphone screen. So it is expected that fine arts and design students can take advantage of technological developments not only for personal gain, but also for creative arts activities and can generate income. Keywords: Arts, Design, Technology, Smartphone, Digital
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Kitnick, Alex. "Massage, c. 1966". October 159 (enero de 2017): 86–102. http://dx.doi.org/10.1162/octo_a_00283.
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Tied to the body, the word “massage” in the mid-1960s was also associated with media, as well as the idea of mass manipulation. Framed through the work of the media theorist Marshall McLuhan and the artist Claes Oldenburg, this essay considers the intersections between media theory and body and performance art.
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Makulbekov, А. y T. Dronzina. "THE ART AUDIENCE AS A CULTURAL PHENOMENON". Adam alemi 89, n.º 3 (30 de septiembre de 2021): 16–23. http://dx.doi.org/10.48010/2021.3/1999-5849.02.
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Despite some theories based on the concept of “arts for art” and denying the connection with the public, in trend art cannot exist in Russia without the public. Only through the public art transmit an artistic message and realize its social functions. Re- lations with the public especially determine the development of art, the conditions for the existence of its institutions. Therefore, they always remain among the main subjects in the studies of the social functioning of art, bringing to the foreground one or another aspects of interaction. Modern civilizational trends are globalization, urbanization and the information technology rev- olution - which contributed to the rapid development of mass communication media, opened up unprecedented opportuni- ties for introducing wider masses to culture and art, turned art into an element of everyday life of a mass person.
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Zharovskiy, Egor. "Features of Culture Coverage in Crimean Mass Media". Theoretical and Practical Issues of Journalism 9, n.º 1 (23 de marzo de 2020): 173–91. http://dx.doi.org/10.17150/2308-6203.2020.9(1).173-191.
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Culture is one of the basic dimensions of social existence and human life, and influences functioning and development of any civilization. The mass media as social institute tend to focus their attention on the most significant aspects of a society's life. Items of culture often become topics of media texts. Therefore, the issue of the composition of these media texts is of currently relevance. The present-day media space is oversaturated with information and mass culture, which may result in the audience's low perceptivity of information and poorer aesthetic sense. In this relation, there is a necessity of studying features of culture coverage in the mass media in order to get an insight into the content of the culture topics. Since Russian regional mass media are an important link in the information distribution chain that provides public awareness of the culture, they require special attention. The target of the study is the range of culture topics covered in Crimean mass media. The article presents the results of a content-analytical study of media texts created by eleven Crimean mass in the period of 2015-2017. The culture topics of the texts included ethnic culture, religion, language, cultural heritage and art. Geographical location of culture topics was also taken into account. Basing on the results of the empirical study, the author infers that Crimean mass media provide non-uniform coverage of culture aspects: the media texts primarily focus on Russian and Crimean Tatar cultures, as well as on the culture of large Crimean cities, leaving behind cultural life in rural areas.
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Tuters, Marc y Kazys Varnelis. "Beyond Locative Media: Giving Shape to the Internet of Things". Leonardo 39, n.º 4 (agosto de 2006): 357–63. http://dx.doi.org/10.1162/leon.2006.39.4.357.
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Locative media has been attacked for being too eager to appeal to commercial interests as well as for its reliance on Cartesian mapping systems. If these critiques are well founded, however, they are also nostalgic, invoking a notion of art as autonomous from the circuits of mass communication technologies, which the authors argue no longer holds true. This essay begins with a survey of the development of locative media, how it has distanced itself from net art and how it has been critically received, before going on to address these critiques and ponder how the field might develop.
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Kartseva, Ekaterina A. "Transformation of Art Communications and the Art Market in the Context of Digital Culture". Observatory of Culture 16, n.º 1 (26 de marzo de 2019): 16–28. http://dx.doi.org/10.25281/2072-3156-2019-16-1-16-28.
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Digital culture has moved people to a fundamentally new environment, which has its own characteristics, patterns and practices. Studies show that the digitalization of society occurs exponentially from year to year. Society is increasingly interacting with digital, and its influence affects various aspects of modern culture. New cultural patterns of behavior are being formed, traditional communication practices are being modified. As any complex phenomenon, digital culture not only opens up new opportunities for society, but also poses new challenges. The search for an effective, ethical, comfortable interaction in the information environment has become one of the urgent tasks. The development of the art market has always largely depended on the quality and level of social and cultural communications. Today, when the mass media in the traditional sense have lost their monopoly on the production and distribution of information, giving way to “mass self-communication”, the art communications, relationships between the artist and the public, and construction of artistic careers are also undergoing certain transformations, influenced by social media. In recent years, the development of network structures, the increasing capabilities of digital storage systems, cryptocurrencies and blockchain registries have significantly changed the established system of the art market. This article is devoted to changes in the characteristics of the art market and its main subjects — artists, collectors, galleries — in the context of digital culture. These processes and paradigmatic shifts are considered both from the point of view of their technological features, and from the point of view of their influence on artistic culture and art communication in general. The article analyzes in detail what negative and positive aspects the digital culture brings to the participants of the art market.
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Spitulnik, Debra. "Anthropology and Mass Media". Annual Review of Anthropology 22, n.º 1 (octubre de 1993): 293–315. http://dx.doi.org/10.1146/annurev.an.22.100193.001453.
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Cutler, Edward. "News and the “new spirit” in art: Mass media roots of the temporal aesthetic". Communication Review 3, n.º 4 (diciembre de 1999): 251–86. http://dx.doi.org/10.1080/10714429909368587.
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Pavlova, Daniela. "New Art Forms and Process Management Strategy in an Era of Mass Digitalization". Digital Presentation and Preservation of Cultural and Scientific Heritage 11 (10 de septiembre de 2021): 297–302. http://dx.doi.org/10.55630/dipp.2021.11.28.
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In ancient times it took centuries before a genre of art was adopted as cultural development (like painting, sculpture etc.), while with the bursting expansion of modern audiovisual forms this process occurs much more frequently, and the need for publicly recognized criteria for evaluating these new media becomes more apparent.
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Atanasovski, Srđan. "Socialism or Art: Yugoslav Mass Song and Its Institutionalizations". AM Journal of Art and Media Studies, n.º 13 (15 de septiembre de 2017): 31. http://dx.doi.org/10.25038/am.v0i13.185.
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The genre of the mass song is one of the fundamental phenomena in aesthetics and practice of socialist realism. Mass songs are supposed not only to be accessible to the lay audience, but also to be composed in a way that invites the participation of amateurs. Importantly, the institutions which have been disseminating the mass song under state socialism, such as various institutions of education, culture and art, have also served as mechanisms for the normalization of its ideological content. This article summarizes important aspects of the concept of the mass song in general and offers a multifaceted exemplification, before proceeding to discuss the history of mass songs in socialist Yugoslavia (including, by and large, what is usually referred to as partisan songs), with emphasis on the institutional framework through which they were practiced and disseminated, and on specificities that the genre had accrued within the Yugoslav framework. This historical framework of practicing mass songs in Yugoslavia provides a platform for opening the question of intrinsic incompatibility between the project of a classless society and the institution of art. In regards to this, article discusses contemporary practice of Yugoslav mass songs as practiced by self-organized choirs and their new political potential. Article received: May 6, 2017; Article accepted: May 14, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Atanasovski, Srđan. "Socialism or Art: Yugoslav Mass Song and Its Institutionalizations." AM Journal of Art and Media Studies 13 (2017): 31-42. doi: 10.25038/am.v0i13.185
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Schmidt, Wendelin. "Mass media and visual communication". Third Text 19, n.º 3 (mayo de 2005): 307–16. http://dx.doi.org/10.1080/09528820500049296.
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Kim, Lee Jin. "A Media Art of the COVID-19 Era - [The Mask Debate]". CONTENTS PLUS 20, n.º 1 (27 de febrero de 2022): 1–13. http://dx.doi.org/10.14728/kcp.2022.20.01.001.
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Bezruchko, Oleksandr y Volodymyr Bardyn. "Presentation of the Sacred Heritage of Boikos by Means of Audiovisual Art". Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, n.º 1 (1 de junio de 2022): 38–45. http://dx.doi.org/10.31866/2617-2674.5.1.2022.256950.
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The purpose of the study is to analyze the coverage of the Boiko church heritage in live-action films and documentary films, in mass media and in photographs. To determine the role of audio-visual art in the coverage of sacred objects of Boikivshchyna and to prove the necessity to preserve works of sacred heritage by means of photo art. The researh methodology consists in the application of the following methods: theoretical – the analysis of television plots and documentaries providing information about the church art of Boikivshchyna, synchronous and comparative method for deeper analysis of film adaptations of M. Gogol’s work, generalization of media influence on the formation of public opinion. Scientific novelty. For the first time the reflection of audiovisual means has been analyzed and a detailed analysis of documentaries, film adaptations, television reports and photo exhibitions representing the church art of the Boikos has been made. The factors influencing the importance of the popularization of sacred heritage have been defined. Conclusions. In the article, we have analyzed the coverage of the church heritage of Boikos in live-action films and documentary films, in mass media and in photographs. With the help of the analysis of television plots and documentaries, the role of audiovisual art in the coverage of sacred objects has been defined. The factors influencing the preservation of works of church heritage have been studied and generalized in detail.
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Choy, Maria C. "The Art of Bilingual Editing of Magazines". Babel. Revue internationale de la traduction / International Journal of Translation 42, n.º 2 (1 de enero de 1996): 84–94. http://dx.doi.org/10.1075/babel.42.2.04cho.
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Abstract Mass communication has become a daily feature of our technological civilisation. This is as true of cross-cultural or intercultural encounters as it is of intra-cultural communication, and mass media have facilitated effective international information flow. Bilingual editing becomes an important medium of mass communication. The effectiveness of such communication rests upon the grammatical, lexical, sociolinguistic, socio-cultural, discourse and strategic competence of participants (editors, writers, translators and readers). It rests upon their ability to use creatively and to respond sensitively to language. In this dynamic process of communication, a bilingual editor not only plays the role of translator but also acts as a mediator; as Hatim and Mason (1990:223) suggest, s/he "has not only a bilingual ability but also a bi-cultural vision". In view of the diversity of usage of bilingual editing in the media, this research delves into the bilingual editing of magazines in Hong Kong. The study focuses on translation only from English and Chinese, or vice versa. Inasmuch as there is very little academic attention to bilingual editing and its nature, processes and techniques, or to the role of translation in bilingual editing, it is believed that this research will help facilitate cross-cultural communication between Westerners and Chinese. Résumé Dans notre civilisation, marquée par le seau de la technologie, la communication de masse relève du quotidien. Cette remarque est valable tant en ce qui concerne les rencontres interculturelles que la communication intraculturelle. De plus, la communication de masse favorise l'échange efficace des informations à l'échelon international. Les publications bilingues sont devenues un important support de la communication de masse. L'efficacité de cette communication repose sur le discours grammatical, lexical, socio-linguistique, socio-culturel et sur la compétence stratégique de ceux qui y participent (rédacteurs, écrivains, traducteurs et lecteurs). Elle repose sur leur faculté d'utiliser le langage avec créativité et d'y réagir avec sensibilité. Dans ce processus de communication dynamique, le rédacteur bilingue joue non seulement le rôle de traducteur mais aussi de médiateur, comme le suggèrent Hatim et Mason (1990:223): il ou elle "dispose non seulement d'une capacité de bilinguisme mais aussi d'une vision biculturelle". Au vu de la diversité d'emploi de la rédaction bilingue dans les médias, cette recherche fouille dans l'univers de l'édition de magazines bilingues à Hong Kong. L'étude se concentre uniquement sur la traduction de l'anglais et du chinois et vice-versa. Dans la mesure où dans les milieux académiques, on attache très peu d'importance à l'édition bilingue, à sa nature, à ses processus et techniques, ou au rôle de la traduction dans le monde de l'édition bilingue, l'auteur estime que cette recherche facilitera la communication interculturelle entre les Occidentaux et les Chinois.
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Hess, Djamila y Deddy Mulyana. "Beyond Art: Graffiti as a Medium of Counterpublics". Jurnal Komunikasi: Malaysian Journal of Communication 38, n.º 3 (30 de septiembre de 2022): 1–19. http://dx.doi.org/10.17576/jkmjc-2022-3803-01.
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The use of a variety of art forms to support citizens’ dissent and protest is a long-standing tradition in Indonesia. This work aims at investigating the role of artistic, low-technology modes of communication in the form of graffiti for the mediation of interests of counter publics. Therefore, we focus on graffiti and its utilization within the ARAP (People’s aliance against eviction) movement in Tamansari, Bandung (Indonesia). Based on Grounded Theory and with the help of interviews with artists and activists as well as observations, and a content analysis of the artworks, different ways graffiti can contribute to the representation of interests of counterpublics are investigated. Our results show that graffiti is not simply a substitute for missing mass media coverage as often indicated. The special quality of graffiti allows not only for the utilization as a means for opposing marginalization tendencies in media and society, but it also bears its own media-specific characteristics that other (communication) media cannot provide: Through its emotional approach and its media-specific characteristics, communicating via graffiti allows for addressing and sensitizing (new) audiences. Additionally, graffiti supports the aims of the movement such as communicating information, framing events, mobilizing, and motivating activists and residents, as well as contesting space. In this regard, the ARAP movement reappropriates the public space for the people they aim to represent through the creative practice of graffiti. Keywords: Counterpublic, graffiti, protest movement, street art, social movement.
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Ritzer, Ivo. "Maghreb forever: From Third-Worldism to the epistemology of multiplicity in media culture". Journal of African Cinemas 11, n.º 2 (1 de octubre de 2019): 103–15. http://dx.doi.org/10.1386/jac_00009_1.
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Abstract Focusing on Post-Third Cinema in the Maghreb, this article analyses productions that break ith both the elitism and the nativist agenda of Third Cinema to establish film as a mass art, which, hile still heavily politicized, no longer needs to call itself ‘African’, or ‘Arabic’ or ‘non-western’, fter all. Post-Third Cinema may therefore be a paradigm of multiplicity within World Cinema that is based n an emphatically universal approach. Regarded this way, it is an art form that is universal to the extent that it achieves a global appeal that transcends cultural differences. Drawing on the epistemology of multiplicity, as in recent times laid out by scholars such as Alain Badiou, Fredric Jameson or Quentin eillassoux, this article maps Post-Third Cinema as a paradigm of a media culture of multiplicity, ocusing on the idea of a cinematic epistemology that possesses a unique capacity for thought on its own.
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Calo, Mary Ann. "A Community Art Center for Harlem: The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century". Prospects 29 (octubre de 2005): 155–83. http://dx.doi.org/10.1017/s0361233300001721.
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During the interwar decades, African American artists grew in number and visibility, and a wide range of publications featured stories on so-called Negro art. Notices on Negro art exhibitions and educational initiatives appeared in the black press and the mainstream mass media, as well as in special interest publications ranging from Art News to the Club Candle (the newsletter of the New Rochelle Women's Club). Though small in number, collectively these events served as opportunities to measure the overall progress or pulse of the African American artist.
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O'Reilly, Rachel. "Compasses, Meetings and Maps: Three Recent Media Works". Leonardo 39, n.º 4 (agosto de 2006): 334–39. http://dx.doi.org/10.1162/leon.2006.39.4.334.
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The article explores possible cultural approaches to new-media art aesthetics and criticism through an in-depth appraisal of recent works by three contemporary practitioners from Asia and the Pacific: Lisa Reihana, Vernon Ah Kee and Qiu Zhijie. Particular attention is paid to the issues of place, location and cultural practice in their work, issues currently under-examined in new-media art discourse. The analysis pays close attention to the operationality of the works, the influence of pre-digital aesthetic histories and the richly locative and virtual schemas of indigenous epistemologies that serve to meaningfully expand Euro-American notions of locative media art.
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Shestakova, Eleonora. "Приключения эстетической функции в кулинарном медиатексте". Studia Rossica Gedanensia, n.º 9 (31 de diciembre de 2022): 157–71. http://dx.doi.org/10.26881/srg.2022.9.09.
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Adventures of the aesthetic function in culinary media text The paper formulates and substantiates the importance of distinguishing food photo as a new independent type of text and a genre of culinary media text, as well as its genre variant – a photo of a thematic dessert. Food photo, as a culinary media text, has a special «mass-media-gastronomic» language. In the thematic dessert photo, the aesthetic wholeness and function are tightly fused with other functions and address the practice and objectivity of social-home reality and leisure time. In food photography it is not important to play with food, as in food art, but it is important to use familiar sweetness and its images with many purposes, including changes of behavior in leisure and mass-media.
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Jati, Rocky Prasetyo. "THE EXISTENCE OF INDONESIAN LOCAL ART CULTURE THROUGH DIGITAL BASED COMMUNITY MEDIA". ICCD 2, n.º 1 (26 de noviembre de 2019): 489–93. http://dx.doi.org/10.33068/iccd.vol2.iss1.193.
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The development of information and communication technology has brought a change in social life. That phenomenon also has an impact on the changes in the management strategies of the existing community media. The visible development of information and communication technology is also the development of the use of digital technology. Human innovation is currently focusing on electronic media which has been developed in the current digital age. The digital age is an era that leads humans to move from the use of analog technology in digital technology which is currently also rapidly growing with the convergence of Internet. During this period, conventional media or the traditional media acts as mass media delivered electronically. Local culture that has certain characteristics can be a product that has additional high value when it is adjusted to media development. Some efforts can be made to make community media as a mean to market local culture throughout the world. Those efforts can be made by incorporating local culture into the content of digital-based community media. Those efforts have been practiced by the Paguyuban Kridho Laras Karawitan and Paguyuban Karawitan Renggo Budoyo in Klaten. They used Internet technology with Facebook and YouTube as the platform.
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Torres-Acosta, A. A., W. Martínez-Molina y E. M. Alonso-Guzmán. "State of the Art on Cactus Additions in Alkaline Media as Corrosion Inhibitors". International Journal of Corrosion 2012 (2012): 1–9. http://dx.doi.org/10.1155/2012/646142.
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This research in progress includes results on the corrosion performance of reinforcing steel in alkaline media when two different dehydrated cacti (Opuntia ficus-indica—Nopal—and Aloe Vera) were used as additions in pH 12.5 and 13.3 solutions and in concrete. The dehydrated cactus addition was mixed at different concentrations by either solution or cement mass (0.10%, 0.25%, 0.5%, 1.0%, and 2.0%). Half-cell potentials and LPR measurements were performed at different time periods to characterize the possible corrosion inhibiting effect of the cactus additions tested in such alkaline media. Results showed good corrosion inhibiting effect of dehydrated Nopal on reinforcing steel, in all tested solutions, when chloride ions are present. Aloe Vera did show also corrosion inhibiting improvements in some extent. The addition of such cactus led to an apparent formation of a denser and more packed oxide/hydroxide surface layer on the steel surface that decreased corrosion activity. This oxide/hydroxide layer growth was confirmed by microscopic evaluation of the metal surface layer performed at the end of the research program. The preliminary findings suggest that adding Nopal at concentrations between 1% and 2%, by mass, might be suitable for durability enhancing applications in alkaline media, especially in concrete structures.
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Savernini, Erika. "Apresentação do dossiê - Art, Media and Technology: as life and media merge". Lumina 11, n.º 2 (30 de agosto de 2017): 1–2. http://dx.doi.org/10.34019/1981-4070.2017.v11.21448.
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O dossiê Art, Media and Technology: as life and media merge, organizado pela profa. Vibeke Sorensen (NTU, Singapure), apresenta sete artigos e ensaios interconectados de pesquisadores e artistas, cujas obras teóricas e/ou artísticas caracterizam-se por atravessar mais de uma área de conhecimento e/ou formas artísticas e midiáticas.
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Zembylas, Tasos. "Controversial works of art". Communicating/Doing Politics 3, n.º 3 (31 de diciembre de 2004): 385–407. http://dx.doi.org/10.1075/jlp.3.3.03zem.
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Art is a public affair because its meaning is always collectively negotiated. Thus, public conflicts that are triggered by works of art are essentially political and inevitable. The analysis of these conflicts points to the effective limits of acceptability of art in a given social constellation. The following paper investigates two types of art conflicts: (1) conflicts that, at first glance, revolve around the interpretation and the aesthetic appreciation of an artwork; and (2) conflicts that explicitly call into question the legal legitimacy of publication of an artwork. This investigation aims to reveal the variety of contents and conditions which pre-structure public conflicts. Further, it opens a normative discussion of the current forms of dealing with such conflicts in the mass media and in the jurisdiction. Such a critical discussion is necessary, since the political quality of a society can be assessed on how it relates to its own conflicting nature.
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Medcalf, Alexander. "Between art and information: communicating world health, 1948–70". Journal of Global History 13, n.º 1 (14 de febrero de 2018): 94–120. http://dx.doi.org/10.1017/s1740022817000304.
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AbstractWith the advent of new media technologies and approaches in the twentieth century, public health officials became convinced that health needed mass media support. The World Health Organization believed that educating people, as well as informing them about the health situation around the world, could assist in the enduring fight against disease. Yet in an increasingly competitive media landscape, the agency recognized the need to persuade people and hold their attention through attractive presentation. Public information, the name given to the multiple strategies used to communicate with the public, was rarely straightforward and required the agency not only to monitor the impact of its own efforts but also to identify opportunities to further enhance its reputation, especially when this was in danger of damage or misappropriation. The WHO’s understanding of public information provides insights into the development of international information, communication, and education networks and practices after 1945, as well as the increasingly central position of these processes in generating support for and evincing the value of international organizations.
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Parajuli, Pradip. "Women’s Media Habit on Watching Television". Patan Pragya 11, n.º 02 (31 de diciembre de 2022): 93–100. http://dx.doi.org/10.3126/pragya.v11i02.52102.
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Mass media is a potential agent in the empowerment of women. It influences their social, political and economic dimensions. As a result, they become capable of encountering constraints that come across their way of development process. Effective communication has the potential to enhance women’s quality of life, protect them in the fragile environment and create a knowledge-based society that is more responsive to change and development issues. It can lead to the empowerment of women, enabling them to take control of their lives and participate as equal to men in development. Art and science of using information to one's own advantage is the key to influence the society. In today's world, mass media occupies an important place in socialization. It has contributed to emergence of public opinions and public images on important issues in the mass society. Major modern medium is the television—the foremost source of communication even for poor and illiterate people. Indeed, television is a prestigious, powerful and empowering tool that can raise awareness, generate interaction and increase knowledge. Although television is not generally available to communities in very isolated rural areas, increasingly in many developing countries itis becoming a reality even in the countryside. In fact, television plays a significant role in socialization of community’s members - influencing their attitude, performance and manner.
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Kim, Sonyoung. "Disasters and pains represented by mass media and art media in the digital platform era: construction of reality and virtuality". Journal of Digital Art Engineering and Multimedia 8, n.º 4 (31 de diciembre de 2021): 441–51. http://dx.doi.org/10.29056/jdaem.2021.12.08.
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Jina Kim. "Mass Media and Art in the 1990s: From Rodney King Incident to O.J. Simpson Trial". Journal of History of Modern Art ll, n.º 25 (junio de 2009): 179–211. http://dx.doi.org/10.17057/kahoma.2009..25.007.
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