Artykuły w czasopismach: „Media art”

1

Kumar, Vinay. "Fine Art Pedagogy in India And Impact of New Media Art". Paripex - Indian Journal Of Research 3, nr 1 (15.01.2012): 80–82. http://dx.doi.org/10.15373/22501991/jan2014/23.

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King, Kenneth. "Art—Media—Manipulation". PAJ: A Journal of Performance and Art 43, nr 3 (2021): 63–76. http://dx.doi.org/10.1162/pajj_a_00585.

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Gere, Charlie. "New Media Art". Art Book 12, nr 2 (10.05.2005): 6–8. http://dx.doi.org/10.1111/j.1467-8357.2005.00520.x.

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Kushiyama, Kumiko. "Media Art Corridor". Journal of The Institute of Image Information and Television Engineers 65, nr 9 (2011): 1312–16. http://dx.doi.org/10.3169/itej.65.1312.

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Cubitt, Sean. "Media art futures". Futures 39, nr 10 (grudzień 2007): 1149–58. http://dx.doi.org/10.1016/j.futures.2007.05.001.

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Albrecht, Ján. "Media of Art". Human Affairs 5, nr 1 (1.06.1995): 31–52. http://dx.doi.org/10.1515/humaff-1995-050106.

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Bunt, Brogan. "Media Art, Mediality and Art Generally". Leonardo 45, nr 1 (luty 2012): 94–95. http://dx.doi.org/10.1162/leon_a_00348.

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

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Tsereteli, Asmat. "Media as Art and Art as Media (Magazines: “Theatre”, “Aril”, “Art in America”, “ARTFORUM”)". Works of Georgian Technical University, nr 1(531) (22.03.2024): 29–38. http://dx.doi.org/10.36073/1512-0996-2024-1-29-38.

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Media and culture, two influential and important spheres of public life, have a long history of coexistence. There is no media art and no art without media. It is especially important to research the forms of impact on the formation of public consciousness in these areas, as well as the results. British media theorist Dennis McQuail in his work Journalism and Society notes that all theories that study the relationship between media, culture, and society, despite conceptual differences, agree that the media can serve to liberate and unify society, as well as to fragment and divide it – both development, advancement and retreat. Despite a kind of indeterminacy, the media, which shapes and reflects society, is the main message about society. (McQuail, 1992) Culture and art are a fundamental part of public life, which creates values, develops and strengthens public relations, together with the media, forms public consciousness. “Political confrontations and wars do not cause a cultural crisis, but, on the contrary, incompatibility, aggression and wars are the result of a cultural crisis” - this conclusion of European researchers is a kind of postulate, which says everything about the role of culture in the process of improving society.

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Rinehart, Richard. "The Media Art Notation System: Documenting and Preserving Digital/Media Art". Leonardo 40, nr 2 (kwiecień 2007): 181–87. http://dx.doi.org/10.1162/leon.2007.40.2.181.

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This paper proposes a new approach to conceptualizing digital and media art forms. This theoretical approach will be explored through issues raised in the process of creating a formal declarative model (alternately known as a metadata framework, notation system or ontology) for digital and media art. The approach presented and explored here is intended to inform a better understanding of media art forms and to provide a practical descriptive framework that supports their creation, re-creation, documentation and preservation.

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권경용 i Kyu Jung Kim. "The art of tangle : Inter-media art". Korean Journal of Art and Media 10, nr 2 (listopad 2011): 163–73. http://dx.doi.org/10.36726/cammp.2011.10.2.163.

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Shintani, Joyce. "Art | 40 | Basel: Media Art with Music". Computer Music Journal 34, nr 1 (marzec 2010): 97–100. http://dx.doi.org/10.1162/comj.2010.34.1.97.

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Fernández Castrillo, Carolina. "Presentación Monográfico Media Art". Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 12, nr 2 (1.07.2014): 1–8. http://dx.doi.org/10.7195/ri14.v12i2.734.

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La influencia de los nuevos medios, las tecnologías emergentes y los descubrimientos científicos en el ámbito creativo cobra una renovada importancia en el siglo XXI. En la actualidad, son cada vez más numerosas las obras artísticas que surgen como reflejo del impacto de estos avances en la esfera socio-cultural favoreciendo una aproximación a la compleja idiosincrasia del paradigma digital. El objetivo de este número monográfico es ofrecer una genealogía del Media Art y una visión panorámica de las principales investigaciones y prácticas artísticas actuales.

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Bastos, Flávia. "New Media Art Education". Art Education 63, nr 1 (styczeń 2010): 4–5. http://dx.doi.org/10.1080/00043125.2010.11519046.

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Mix, E. K. "Art and New Media". Choice Reviews Online 47, nr 08 (1.04.2010): 1411–23. http://dx.doi.org/10.5860/choice.47.08.1411.

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Kuwakubo, Ryota. "Media Art for Bootstrapping". Journal of The Institute of Image Information and Television Engineers 65, nr 1 (2011): 59–63. http://dx.doi.org/10.3169/itej.65.59.

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Li, Zhenhua. "Media Art in Beijing". Leonardo 40, nr 3 (czerwiec 2007): 222–23. http://dx.doi.org/10.1162/leon.2007.40.3.222.

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Marie-Pascale-Huglo i J. Villeneuve. "Introduction: Memory, Media, Art". SubStance 34, nr 1 (1.01.2005): 78–80. http://dx.doi.org/10.1353/sub.2005.0006.

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Radojicic, Dragana. "Culinary art in media". Glasnik Etnografskog instituta 57, nr 1 (2009): 93–106. http://dx.doi.org/10.2298/gei0901093r.

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Bishop, Ryan, i John W.P. Phillips. "Media Art at UMAT". Theory, Culture & Society 24, nr 7-8 (grudzień 2007): 359–69. http://dx.doi.org/10.1177/0263276407086406.

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Kawakita, Makiko, i Yasushi Sonobe. "Art Place as Media:". Japan Marketing Journal 42, nr 4 (31.03.2023): 27–38. http://dx.doi.org/10.7222/marketing.2023.019.

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21

Almási, Zsolt. "AI? Predictive Media. Art". Disegno 7, nr 1 (2023): 106–17. http://dx.doi.org/10.21096/disegno_2023_1zsa.

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In this paper, I shall explore the relationship between predictive text2image technology and art. To do this, I shall navigate the discursive landscape that facilitates the consideration of this cultural phenomenon within a rational framework. This is necessary because public discourse is mostly dominated by unrealistic expectations resulting from identifying this technology as “Artificial Intelligence.” The theoretical frame is posthumanism, which affords us the necessary intellectual tools to scrutinise the genesis of what Manovich calls “predictive media.” Equipped with the appropriate terminology, I will explore the process of the creation of images with a special focus on prompt engineering and curation to showcase the collaborative effort of the artist and the application. Furthermore, I shall refer to the competitions (Sony, Főfotó) wherein this technology plays a consequential role, to traditional art forms that share some crucial features with this technology, and some concerns related to predictive media will be raised. Through this analysis, I argue that contrary to early responses, predictive media applications bear the hallmark of art, and their creators rightfully merit the designation of artists.

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22

Kwon, Soojin. "Media Archaeology and Junk Media as Post-Media Art". Journal of Literature and Film 24, nr 1 (30.04.2023): 7–27. http://dx.doi.org/10.36114/jlf.2023.4.24.1.7.

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LI, Wenyi, i Hyung-gi Kim. "The Art of Shadows in New Media Art". TECHART: Journal of Arts and Imaging Science 7, nr 1 (29.02.2020): 10–13. http://dx.doi.org/10.15323/techart.2020.2.7.1.10.

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Kim, Min Ji. "Interactivity of Media Art and Art as Software". KOREA SCIENCE & ART FORUM 17 (30.09.2014): 57. http://dx.doi.org/10.17548/ksaf.2014.09.17.57.

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신은주. "The business of commercializing media art -Focusing on commercialized, hardware-based media art-". Journal of Korea Design Knowledge ll, nr 27 (wrzesień 2013): 323–32. http://dx.doi.org/10.17246/jkdk.2013..27.030.

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Soreanu, Cătălin. "New Media Art: Aligning Artistic Creativity And Technological Media". Review of Artistic Education 22, nr 1 (1.06.2021): 206–16. http://dx.doi.org/10.2478/rae-2021-0026.

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

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Amangeldiyeva, Gulmira S., Muratbek B. Toktagazin, Bauyrzhan Zh Omarov, Saule S. Tapanova i Roza A. Nurtazina. "Storytelling in Media Communication: Media and Art Models". International Journal of Criminology and Sociology 9 (5.04.2022): 3166–74. http://dx.doi.org/10.6000/1929-4409.2020.09.383.

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The article is devoted to study of storytelling models in media communication in the context of globalization and postmodernism of information space. This article is of interest because recently storytelling as a special type of communication has become an object of research in science. Advertising has modified, turning into art of storytelling and brand-image. In this article, the specifics of storytelling are analysed, its definition is provided, functions and types are pointed out. The authors also consider such phenomena as landing and longread inseparable from storytelling in online space. In the article, there is characteristic of each component of technique of transmedia narration in the context of postmodernism information community and globalisation changes. The author analyses how the story in advertising is tool of reflection and experience transfer, value and cultural identification and how affect the audience. Using the example of popular commercials, the author studies how storytelling and myth are connected and how it is implemented within media space.

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28

Yuhe, Peng. "The meaning of space in new media art based on examples of new media artworks". OOO "Zhurnal "Voprosy Istorii" 2023, nr 1-2 (1.01.2023): 132–37. http://dx.doi.org/10.31166/voprosyistorii202301statyi61.

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New media art, bringing together technology and artistry, possesses certain characteristics uncommon for traditional forms of art. This paper takes a number of new Media artworks as examples to explore three dimensions of the use and the meaning of space in new media art.

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k, k. "Contemporary Media Art Performance under the Visual Threshold of Interpretation". Northeast Asian Business and Economics Association 4, nr 2 (30.11.2023): 65–72. http://dx.doi.org/10.51156/jnabe.2023.4.2.65.

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Purpose - Introduce contemporary media art, study the virtual representation forms of contemporary media art, and deeply explore the artistic meanings expressed by their forms of expression. Design/Methodology/Approach - Based on the characteristics of artistic expression such as innovation and interactivity, this article applies the three elements of understanding, interpretation, and application in hermeneutics theory to interpret multimedia art works. Findings - This article analyzes contemporary media art works from three dimensions of hermeneutics: understanding, interpretation, and application. The conclusion is that artists express their desire for balance and wisdom, their perception of the world's spiritual state through multimedia forms, and also enable readers to associate and make independent judgments about the works, thereby exploring their own spiritual world and perceptual experience. At the same time, participants themselves are also creating meaning, interpreting value, completing perception, determining intention, and jointly explaining the humanistic value and responsibility of the work with the artist. Research Implications - The study of cultural communication at the visual level plays an important role in the development of social information. Multimedia image visual art has been integrated into daily aesthetic life in the form of popular culture, becoming the most important carrier for exploring artistic life. This article combines theory and practice, using typical art cases for specific analysis, in order to better apply contemporary multimedia art theory to artistic creation, and provide fresh materials and beneficial attempts for the research of digital media art application theory.

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Kim, DuBeom, Kumar B. N. Pavan i YoungHo Chai. "Media Art with Sensible Interface". TECHART: Journal of Arts and Imaging Science 4, nr 2 (31.05.2017): 13–15. http://dx.doi.org/10.15323/techart.2017.05.4.2.13.

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Angelova, Luchia, i Bozhidar Angelov. "THE MEDIA AND THE ART". Education and Technologies Journal 10, nr 1 (1.08.2019): 43–47. http://dx.doi.org/10.26883/2010.191.1374.

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32

Marchi, Regina. "Chicano Art as Alternative Media". International Journal of the Arts in Society: Annual Review 4, nr 5 (2010): 447–64. http://dx.doi.org/10.18848/1833-1866/cgp/v04i05/35715.

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Frohne, Ursula. "Old Art and New Media". Afterimage 27, nr 2 (wrzesień 1999): 9–11. http://dx.doi.org/10.1525/aft.1999.27.2.9.

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목진요. "Media art and Techno-imagination". Journal of Korea Design Forum ll, nr 33 (listopad 2011): 343–52. http://dx.doi.org/10.21326/ksdt.2011..33.031.

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Richardson, Martin. "Mixed Media: Holography within Art". Leonardo 20, nr 3 (1987): 251. http://dx.doi.org/10.2307/1578168.

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김다희, SeunghoPark i 이명주. "Affordance for Interactive Media Art". Journal of Digital Design 8, nr 2 (kwiecień 2008): 341–48. http://dx.doi.org/10.17280/jdd.2008.8.2.033.

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Chmielnicka-Plaskota, Aleksandra, i Janina Florczykiewicz. "New media in art therapy". Special School LXXXI, nr 1 (29.02.2020): 54–66. http://dx.doi.org/10.5604/01.3001.0013.9510.

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The article aims to show possible uses of new media in art therapy. Based on the art therapy process, it describes practical uses of new media in therapy for patients in long-term hospitalization in a daycare ward of a psychiatric hospital. The use of new media in therapy for a woman diagnosed with autism is presented. In the case of interventions for people in long-term hospitalization, a series of workshops included 16 sessions, and in the case of individual art therapy for the person diagnosed with autism - 12 sessions. The introduction of new media to art therapy resulted in the activation of creative powers, a sense of agency and self-control, objectivization of reality, and self-observation.

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Burt, Helene. "Art Therapy as Mixed Media". Canadian Art Therapy Association Journal 17, nr 2 (wrzesień 2004): 1–2. http://dx.doi.org/10.1080/08322473.2004.11432260.

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Nitsche, Michael. "Performance art and digital media". Digital Creativity 24, nr 2 (czerwiec 2013): 93–95. http://dx.doi.org/10.1080/14626268.2013.806333.

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Gordon, Eric, Catherine D'Ignazio, Gabriel Mugar i Paul Mihailidis. "Civic media art and practice". Interactions 24, nr 2 (21.02.2017): 66–69. http://dx.doi.org/10.1145/3041764.

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Lee, Soo-jin, i Kwang-yun Wohn. "The Media-Art Exhibition TenYearsAfter_v4.0_OuterSpace". Leonardo 41, nr 5 (październik 2008): 454–59. http://dx.doi.org/10.1162/leon.2008.41.5.454.

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TenYearsAfter is an annual media art exhibition based in Korea, begun in 2003, organized by Kwang-yun Wohn and curator Mira Kim to facilitate collaboration among engineers, scientists, artists and designers. Unlike other major media-art exhibitions, TenYearsAfter has included artworks by mainstream media artists, independent experiments, and products and research results by artists and non-artists alike. The fourth exhibition in this series, TenYearsAfter_v4.0_OuterSpace, organized by the authors, was held in 2006. This article elaborates on the process of organizing this event and contemplates the implications of annual media art events in the Korean media art context.

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42

Miranda, M. "Fictive art in new media". IEEE Multimedia 10, nr 2 (kwiecień 2003): 4–7. http://dx.doi.org/10.1109/mmul.2003.1195154.

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Baker, Camille, Max Schleser i Kasia Molga. "Aesthetics of mobile media art". Journal of Media Practice 10, nr 2-3 (1.01.2009): 101–22. http://dx.doi.org/10.1386/jmpr.10.2-3.101_1.

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44

Lughi, Giulio. "Digital Media and Contemporary Art". Mimesis Journal, nr 3, 2 (1.12.2014): 43–52. http://dx.doi.org/10.4000/mimesis.686.

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Sorensen, Vibeke. "Art, Life and Media Merge". Lumina 11, nr 2 (30.08.2017): 3–35. http://dx.doi.org/10.34019/1981-4070.2017.v11.21447.

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In this essay, we look at some of the principal issues raised by advancements in digital technology in the light of global issues today, reflecting on our engagement with these issues through a range of artworks, from the 1970s to projects in progress. The works explore the potential of art to catalyze harmonious relations between life on earth and emerging technologies, in diverse fields such as digital multimedia and animation, interactive architectural installation, networked visual-music, plant-human interaction and ecology, social media, health and well-being, and wearable transmedia technologies. In these interactions, the artworks foreground our individual and collective experiences of interconnectedness, in our associations with technology as well as in our common interests and concerns as living species. They are based on an understanding of art as an essential form of mental and physical communication, and arise out of a deep concern — for the future of human and all other forms of life, and for the future of the planet. Through these reflections, the essay argues for and stresses the need for a responsible, ethical, humanistic, compassionate, and environmentally conscious approach to art and life in the Anthropocene.

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Huhtamo, Erkki. "Focus on Media Art Histories". Convergence: The International Journal of Research into New Media Technologies 12, nr 3 (sierpień 2006): 357–60. http://dx.doi.org/10.1177/1354856506067208.

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Tomiyama, Ryoko. "The Best Media for ART". Journal of Mammalian Ova Research 26, nr 4 (październik 2009): 229–31. http://dx.doi.org/10.1274/jmor.26.229.

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Forkert, Kirsten. "Tactical Media and Art Institutions". Third Text 22, nr 5 (wrzesień 2008): 589–98. http://dx.doi.org/10.1080/09528820802440425.

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Bambozzi, Lucas. "Media art, interfaces e interatividade". Sinopse (São Paulo) 3, nr 7 (15.04.2001): 37–39. http://dx.doi.org/10.11606/issn.1807-8907.v3i7p37-39.

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Choi, sun-young. "Research on Scope Setting Issue of Media Art Creation - focused on contemporary media art -". Korean Literature and Arts 20 (30.11.2016): 217. http://dx.doi.org/10.21208/kla.2016.11.20.217.

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Artykuły w czasopismach na temat „Media art”

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