Suchergebnisse

Introduction : active agents -- No center, no object, just networks : expanded internet art -- Milieux, then and now -- Resistance in the domain of all inputs, all outputs : Jean-François Lyotard and Thierry Chaput's Les immateriaux -- Parsing attention : image circulation and affect -- Conclusion : breaking presence.

"The Internet Unconscious is a book on the poetics of net writing, or more precisely on the subject of writing the net. By 'writing the net', Sandy Baldwin proposes three ways of analysis: 1) an understanding of the net as a loosely linked collocation of inscriptions, of writing practices and materials ranging from fundamental TCP/IP protocols to Facebook; 2) a discursive field that codifies and organizes these practices and materials into text (and into textual practices of reading, archiving, etc.), and into an aesthetic institution of 'electronic literature'; and 3) a project engaged by a subject, a commitment of the writer' body to the work of the net. It theorizes the practices and materials of net writing as extended surfaces of bodily excitation. Bodily absence leads to delirious, frantic, ecstatic writing towards the other beyond the net. By contrast, Sandy Baldwin's book describes the poetics of the net's "becoming-literary," by employing concepts that are both technically-specific and poetically-charged, providing a coherent and persuasive theory. The incorporation and projection of sites and technical protocols produces an uncanny displacement of the writer's body onto diverse part objects, and in turn to an intense and real inhabitation of the net through writing. The fundamental poetic situation of net writing is the phenomenology of "as-if." Net writing involves construal of the world through the imaginary"--

"The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection gathers fourteen individual case studies where intermedial issues—issues concerning that which takes place in between media—are explored in relation to a range of different cultural objects and contexts, different methodological approaches, and different disciplinary perspectives. The cases investigate the intermediality of such manifold objects and phenomena as contemporary installation art, twentieth-century geography books, renaissance sculpture, media theory, and public architecture of the 1970s. They also bring together scholars from the disciplines of art history, comparative literature, theatre studies, musicology, and the history of ideas.
Starting out from an inclusive understanding of intermediality as "relations between media conventionally perceived as different," each author specifies and investigates "intermediality" in their own particular case; that is, each examines how it is inflected by particular objects, methods, and research questions. "Intermediality" thus serves both as a concept employed to cover an inclusive range of cultural objects, cultural contexts, methodological approaches, and so on, and as a concept to be modelled out by the particular cases it is brought to bear on. Rather than merely applying a predefined concept, the objectives are experimental. The authors explore the concept of intermediality as a malleable tool of research.
This volume further makes a point of transgressing the divide between media history and semiotically and/or aesthetically oriented intermedial studies. The former concerns the specificity of media technologies and media interrelations in socially, politically, and epistemologically defined space and time, and the latter targets formal considerations of media objects and its various meaning-making elements. These two conventionally separated fields of research are integrated in order to produce a richer understanding of the analytical and historical, as well as the aesthetic and technological, conditions and possibilities of intermedial phenomena.
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Postproverbials are postmodern proverbs that deconstruct the structural and semantic aspects of the traditional proverbs. They are proverbs coined either from the existing proverbs as anti-proverbs or from those that are created newly as new proverbs. The focus of this paper is to examine the tenets of the postproverbials and postmodernism found in the new media proverbs of Ify Asia Chiemeziem's. About twenty-three proverbs are carefully selected from Chiemeziem's Facebook wall grouped, and critically analysed according to their contents. References are made to some Yoruba, Nupe and Hausa postproverbials subject to further research. It is observed that most of the proverbs are decorated with sexual imageries, which deconstruct the hitherto held sacrilegious nature of human sex organs featuring in African proverbs. The proverbs are created for their humouristic purposes and as a tool for creating traffics on Chiemeziem's Facebook wall. The selected new proverbs have proved that postproverbials give room for innovation and creativity, which engenders the formation of new proverbs. Postproverbials are not ethnic-based, rather, a postmodern phenomenon culturing across cultures and traditions. The paper, thus, concludes that the emerging facts about postproverbials are indications that the theory is viable and will endure the test of time.

Intro -- Title Page -- Copyright Page -- Contents -- Illustrations -- Acknowledgments -- Introduction -- Part One: Mis‐Theories -- Chapter 1: Affirmative Imperfection Rhetoric and Aesthetics: A Genealogy -- Chapter 2: Post-Communication Theory: The Non-Dialogical -- Chapter 3: Miscommunication and Democratic Membership -- Chapter 4: There Is No "Error" in Techno-logics: A Radically Media-Archaeological Approach -- Part Two: Mis‐Sounds -- Chapter 5: Quiet in the Forest -- Chapter 6: The Guardians of the Possible -- Chapter 7: Communicatiing the Incommunicable: Formalism and Noise in Michel Serres -- Part Three: Mis‐Matters -- Chapter 8: Objects Mis-taken: Towards the Aesthetics of Displaced Materiality -- Chapter 9: Fai(lure): Encounter with the Unstable Medium in the Work of Art -- Chapter 10: A Relational Materialist Approach to Errant Media Systems: The Case of Internet Video Producers -- Chapter 11: Negotiating Two Models of Truth: Miscommunication, Aesthetics, and Democracy in Elle and Laruelle -- Part Four: Mis‐Happenings -- Chapter 12: Disastrous Communication: Walter Benjamin's "The Railway Disaster at the Firth of Tay -- Chapter 13: Accidental Recordings: Unintentional Media Aesthetics -- Chapter 14: Desert Media: Glitches, Breakdowns, and Media Arrhythmia in the Sahara -- Part Five: Mis‐Functions -- Chapter 15: The Error at the End of the Internet -- Chapter 16: From Bugs to Features: An Archaeology of Errors and/in/as Computer Games -- Chapter 17: We Interrupt This Program: On the Cultural Techniques of "Technical Difficulties -- Chapter 18: Glitches as Fictional (Mis)Communication -- Contributors -- Index.

Intro -- Title Page -- Copyright -- Series Page -- Contents -- Foreword -- Editor's Note -- Synopsis -- 1. What Is Communication? -- 1.1. Discourse and Dialogue -- 1.1.1. Theatrical Discourse -- 1.1.2. Pyramidal Discourse -- 1.1.3. Tree Discourse -- 1.1.4. Amphitheatrical Discourse -- 1.1.5. Circular Dialogue -- 1.1.6. Network Dialogue -- 1.2. How These Structures Work -- 1.2.1. Theater and Circle -- 1.2.2. Pyramid and Tree -- 1.2.3. Amphitheater and Network -- 1.3. Some Characteristic Situations -- 1.3.1. Printed Books -- 1.3.2. Manuscripts -- 1.3.3. Technical Images -- 2. What Are Codes? -- 2.1. How Some Codes Emerged -- 2.1.1. Pre-alphabet -- 2.1.2. Alphabet -- 2.1.3. Post-alphabet -- 2.2. How These Codes Work -- 2.2.1. Images -- 2.2.2. Texts -- 2.2.3. Technical Images -- 2.2.3.1. Literary Languages Overcome -- 2.2.3.2. Apparatus-Operator -- 2.2.4. Code Synchronization -- 2.2.4.1. Traditional Image/Text -- 2.2.4.2. Traditional Image/Technical Image -- 2.2.4.3. Text/Technical Image -- 3. What Is Technical Imagination? -- 3.1. Some Technical Images Deciphered -- 3.1.1. Photographs -- 3.1.2. Films -- 3.1.3. Video -- 3.1.4. Television -- 3.1.5. Cinema -- 3.2. How Technical Images Might Work -- 3.2.1. Points of View -- 3.2.2. Time -- 3.2.3. Space -- 3.3. The Present Situation -- Series List.

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences — as we eat, have sex, and engage in other everyday activities - have aesthetic qualities. The body, whether depicted or actively performing, features centrally in aesthetic experiences of visual art, theatre, dance and sports. 0Body aesthetics can be a source of delight for both the subject and the object of the gaze. But aesthetic consideration of bodies also raises acute ethical questions: the body is deeply intertwined with one's identity and sense of self, and aesthetic assessment of bodies can perpetuate oppression based on race, gender identity, sexual orientation, age, size, and disability. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays by contributors in philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. Contributors take on bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence

Explores the use of images, sounds and videos in Jihadi media and how people engage with them Fosters theoretical approaches to audiovisuality in the context of 'propagandistic' imagery Points to strategies and logics of appropriation within and around Jihadi audiovisuality, such as humour, re-enactments and memetic forms of cultural resistance Considers cultural and aesthetic expressions that evolve in response to Jihadi media output Presents empirically grounded research, combined with historical, multi-modal, rhetorical, ethnomusicological and digital audio-visual analysis and interpretations Case studies include: an exploration of: staged violence in IS productions; the appropriation of IS's nashīd Ṣalīl al-Ṣawārim in digital contexts; the responses by social workers and former supporters of jihadi groups and movements; and how researchers themselves are part of the entanglements caused by politicisation and securitisation of Islam ISIS is often described as a terrorist organisation that uses social media to empower its supporters and reinforce its message. Through 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts. Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and popular cultural expressions and show how, in turn, political activists appropriate extremist media to oppose and resist the propaganda. By conceptualising militant Islamist audiovisual productions as part of global media aesthetics and practices, the authors shed light on how religious actors, artists, civil society activists, global youth, political forces, security agencies and researchers engage with mediated manifestations of Jihadi ideology to deconstruct, reinforce, defy or oppose the messages.

For more information about the board, please click on Editorial Team and Art Style Magazine's Scientific Committee Art Style, Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, literature, sculpture, architecture and design—are discussed in their visual significance as well as in synchronization with music in daily interactions. Moreover, this magazine handles images and sounds concerning the meaning in culture due to the influence of ideologies, trends, or functions for informational purposes as forms of communication beyond the significance of art and its issues related to the socio-cultural and political context. However, the significance of art and all kinds of aesthetic experiences represent a transformation for our nature as human beings. In general, questions concerning the meaning of art are frequently linked to the process of perception and imagination. This process can be understood as an aesthetic experience in art, media, and fields such as motion pictures, music, and many other creative works and events that contribute to one's knowledge, opinions, or skills. Accordingly, examining the ...

Due to computers' ability to combine different semiotic modes, texts are no longer exclusively comprised of static images and mute words. How have digital media changed the way we write and read? What methods of textual and data analysis have emerged? How do we rescue digital artifacts from obsolescence? And how can digital media be used or taught inside classrooms?These and other questions are addressed in this volume that assembles contributions by artists, writers, scholars and editors such as Dene Grigar, Sandy Baldwin, Carlos Reis, and Frieder Nake. They offer a multiperspectival view on the way digital media have changed our notion of textuality.

Explores the use of images, sounds and videos in Jihadi media and how people engage with themFosters theoretical approaches to audiovisuality in the context of 'propagandistic' imageryPoints to strategies and logics of appropriation within and around Jihadi audiovisuality, such as humour, re-enactments and memetic forms of cultural resistanceConsiders cultural and aesthetic expressions that evolve in response to Jihadi media output Presents empirically grounded research, combined with historical, multi-modal, rhetorical, ethnomusicological and digital audio-visual analysis and interpretationsCase studies include: an exploration of: staged violence in IS productions; the appropriation of IS's nashīd Ṣalīl al-Ṣawārim in digital contexts; the responses by social workers and former supporters of jihadi groups and movements; and how researchers themselves are part of the entanglements caused by politicisation and securitisation of IslamISIS is often described as a terrorist organisation that uses social media to empower its supporters and reinforce its message. Through 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts.Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and popular cultural expressions and show how, in turn, political activists appropriate extremist media to oppose and resist the propaganda. By conceptualising militant Islamist audiovisual productions as part of global media aesthetics and practices, the authors shed light on how religious actors, artists, civil society activists, global youth, political forces, security agencies and researchers engage with mediated manifestations of Jihadi ideology to deconstruct, reinforce, defy or oppose the messages