Suchergebnisse

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.

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.

"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.
"

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.

Presuming that the problem of political equality, as it bears on both persons and assemblages, is about being accorded access to the material and symbolic resources needed to manage an effective civic presence, Michael J. Shapiro's critical interventions engage the way a wide variety of aesthetic genres address this problem. In 'Aesthetics of Equality', Shapiro offers a guide to aesthetic methods, focusing on how to conceive equality issues through conceptual engagements with diverse artistic genres.

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.

There is no doubt that we live in exciting times: Ours is the age of many 'silent revolutions' triggered by startups and research labs of big IT companies; revolutions that quietly and profoundly alter the world we live in. Another ten or five years, and self-tracking will be as normal and inevitable as having a Facebook account or a mobile phone. Our bodies, hooked to wearable devices sitting directly at or beneath the skin, will constantly transmit data to the big aggregation in the cloud. Permanent recording and automatic sharing will provide unabridged memory, both shareable and analyzable. The digitization of everything will allow for comprehensive quantification; predictive analytics and algorithmic regulation will prove themselves effective and indispensable ways to govern modern mass society. Given such prospects, it is neither too early to speculate on the possible futures of digital media nor too soon to remember how we expected it to develop ten, or twenty years ago.The observations shared in this book take the form of conversations about digital media and culture centered around four distinct thematic fields: politics and government, algorithm and censorship, art and aesthetics, as well as media literacy and education. Among the keywords discussed are: data mining, algorithmic regulation, sharing culture, filter bubble, distant reading, power browsing, deep attention, transparent reader, interactive art, participatory culture. The interviewees (mostly from the US, but also from France, Brazil, and Denmark) were given a set of common questions as well specific inquiries tailored to their individual areas of interest and expertise. As a result, the book both identifies different takes on the same issues and enables a diversity of perspectives when it comes to the interviewees' particular concerns.Among the questions offered to everybody were: What is your favored neologism of digital media culture? If you could go back in history of new media and digital culture in order to prevent something from happening or somebody from doing something, what or who would it be? If you were a minister of education, what would you do about media literacy? What is the economic and political force of personalization and transparency in digital media and what is its personal and cultural cost? Other recurrent questions address the relationship between cyberspace and government, the Googlization, quantification and customization of everything, and the culture of sharing and transparency. The section on art and aesthetics evaluates the former hopes for hypertext and hyperfiction, the political facet of digital art, the transition from the "passive" to "active" and from "social" to "transparent reading"; the section on media literacy discusses the loss of deep reading, the prospect of "distant reading" and "algorithmic criticism" as well as the response of the university to the upheaval of new media and the expectations or misgivings towards the rise of the Digital Humanities.

Cover -- Copyright information -- Dedication -- Preface: The smoking truck driver -- Acknowledgements -- Contents -- Abstract -- 1. Understanding documentary as a political text: state of the research -- 2. Methodology and context -- 2.1 Methodology -- Dialectical and historical materialism -- Hermeneutics -- 2.2 Context -- Reflections on the political origins of documentary -- Power structures in documentary film -- The political dialectic of content and form in documentary film -- 3. The cinematic means as loci of power structures -- 3.1 Social and political power structures in "Even Though My Land is Burning" and "Not Just Your Picture" -- "Even Though My Land is Burning" -- "Not Just Your Picture" -- 3.2 Documentary characters: choice of protagonists as a political narrative -- The political dialectic of characters and society -- "Hoop Dreams" -- "Welcome to Leith" -- Individualism and the neo-liberal structure -- "King of Kong: A Fistful of Quarters" -- "Man on Wire" -- "Love Me" -- Characters and society in my practical work -- Conclusion -- 3.3 Reflexivity and participatory film -- "I'm harboring a murderer in my film" - Reflexivity and participation as content/form dialectic in the films of Avi Mograbi -- "Once I Entered a Garden" -- "Between Fences" -- "Z32" -- "I am a refugee and a filmmaker, and you ask me to choose which?" - experiences of reflexivity and participation in my practical work -- "Even Though My Land is Burning" -- "Not Just Your Picture" -- "Limbo" -- 3.4 The power structures of the interview -- Historical emergence of the interview form -- Aesthetic and form of the interview -- Talking Head -- Vox Pop -- Conversation, dialogue or pseudo-dialogue -- The Masked Interview -- Theoretical approaches to different interview forms -- "The Fog of War" -- The power relations of interviews -- Interviews in my practical work.

There is no doubt that we live in exciting times: Ours is the age of many 'silent revolutions' triggered by startups and research labs of big IT companies; revolutions that quietly and profoundly alter the world we live in. Another ten or five years, and self-tracking will be as normal and inevitable as having a Facebook account or a mobile phone. Our bodies, hooked to wearable devices sitting directly at or beneath the skin, will constantly transmit data to the big aggregation in the cloud. Permanent recording and automatic sharing will provide unabridged memory, both shareable and analyzable. The digitization of everything will allow for comprehensive quantification; predictive analytics and algorithmic regulation will prove themselves effective and indispensable ways to govern modern mass society. Given such prospects, it is neither too early to speculate on the possible futures of digital media nor too soon to remember how we expected it to develop ten, or twenty years ago. The observations shared in this book take the form of conversations about digital media and culture centered around four distinct thematic fields: politics and government, algorithm and censorship, art and aesthetics, as well as media literacy and education. Among the keywords discussed are: data mining, algorithmic regulation, sharing culture, filter bubble, distant reading, power browsing, deep attention, transparent reader, interactive art, participatory culture. The interviewees (mostly from the US, but also from France, Brazil, and Denmark) were given a set of common questions as well specific inquiries tailored to their individual areas of interest and expertise. As a result, the book both identifies different takes on the same issues and enables a diversity of perspectives when it comes to the interviewees' particular concerns.

Among the questions offered to everybody were: What is your favored neologism of digital media culture? If you could go back in history of new media and digital culture in order to prevent something from happening or somebody from doing something, what or who would it be? If you were a minister of education, what would you do about media literacy? What is the economic and political force of personalization and transparency in digital media and what is its personal and cultural cost? Other recurrent questions address the relationship between cyberspace and government, the Googlization, quantification and customization of everything, and the culture of sharing and transparency. The section on art and aesthetics evaluates the former hopes for hypertext and hyperfiction, the political facet of digital art, the transition from the "passive" to "active" and from "social" to "transparent reading"; the section on media literacy discusses the loss of deep reading, the prospect of "distant reading" and "algorithmic criticism" as well as the response of the university to the upheaval of new media and the expectations or misgivings towards the rise of the Digital Humanities.

There is no doubt that we live in exciting times: Ours is the age of many 'silent revolutions' triggered by startups and research labs of big IT companies; revolutions that quietly and profoundly alter the world we live in. Another ten or five years, and self-tracking will be as normal and inevitable as having a Facebook account or a mobile phone. Our bodies, hooked to wearable devices sitting directly at or beneath the skin, will constantly transmit data to the big aggregation in the cloud. Permanent recording and automatic sharing will provide unabridged memory, both shareable and analyzable. The digitization of everything will allow for comprehensive quantification; predictive analytics and algorithmic regulation will prove themselves effective and indispensable ways to govern modern mass society. Given such prospects, it is neither too early to speculate on the possible futures of digital media nor too soon to remember how we expected it to develop ten, or twenty years ago. The observations shared in this book take the form of conversations about digital media and culture centered around four distinct thematic fields: politics and government, algorithm and censorship, art and aesthetics, as well as media literacy and education. Among the keywords discussed are: data mining, algorithmic regulation, sharing culture, filter bubble, distant reading, power browsing, deep attention, transparent reader, interactive art, participatory culture. The interviewees (mostly from the US, but also from France, Brazil, and Denmark) were given a set of common questions as well specific inquiries tailored to their individual areas of interest and expertise. As a result, the book both identifies different takes on the same issues and enables a diversity of perspectives when it comes to the interviewees' particular concerns. Among the questions offered to everybody were: What is your favored neologism of digital media culture? If you could go back in history of new media and digital culture in order to prevent something from happening or somebody from doing something, what or who would it be? If you were a minister of education, what would you do about media literacy? What is the economic and political force of personalization and transparency in digital media and what is its personal and cultural cost? Other recurrent questions address the relationship between cyberspace and government, the Googlization, quantification and customization of everything, and the culture of sharing and transparency. The section on art and aesthetics evaluates the former hopes for hypertext and hyperfiction, the political facet of digital art, the transition from the "passive" to "active" and from "social" to "transparent reading"; the section on media literacy discusses the loss of deep reading, the prospect of "distant reading" and "algorithmic criticism" as well as the response of the university to the upheaval of new media and the expectations or misgivings towards the rise of the Digital Humanities.

Contemporary socio-economic reality is like a robbery, where the wealthy people have all the money, and the workers live from hand to mouth. These systematic inequalities are happening through capitalist consumerism and creating a growing economic contrast globally. Rather than considering imitative freedom promoted by the mainstream media that drives us to power, greed, or ego-centric mentality, I believe human rights can direct us to real freedom. In current society, basic rights are being taken away from many, while a great number of us are trapped in our utopian reality without recognizing the truth. We are stimulated by our socio-economic status; without questioning it. These defective conditions are aware of the errors in the system but do not certainly clarify the reasons behind them. From our collective experience, we understand that a larger population around us and the world is suffering, and the reasons are merely economics, besides any other factor. From there we can connect the web that takes us to power and politics. In the current global economy, we see an extreme division, where 80% of the wealth is reserved by a small circle of people. Through my work, I am confronting this situation to address that. Our focus on this contemporary crisis is too narrow; where I am exploring the consequences of these issues to gain a new perspective on our shared situation.