Academic literature on the topic 'Lev Manovich'
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Journal articles on the topic "Lev Manovich"
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Waszkiewicz, Alicja. "Lev Manovich (2020). Cultural Analytics." Central European Journal of Communication 14, no. 2(29) (2021): 350–52. http://dx.doi.org/10.51480/1899-5101.14.2(29).9.
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Fong, Byron. "Review: Cultural Analytics, by Lev Manovich." Afterimage 48, no. 1 (2021): 80–85. http://dx.doi.org/10.1525/aft.2021.48.1.80.
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Craft, Brock. "Software Takes Command, by Lev Manovich." Popular Communication 12, no. 3 (2014): 194–97. http://dx.doi.org/10.1080/15405702.2014.929377.
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Tormakhova, Anastasiia. "Lev Manovich's Cultural Analytics: from Theory to Practice." Issues in Cultural Studies, no. 37 (May 28, 2021): 71–79. https://doi.org/10.31866/2410-1311.37.2021.236001.
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The purpose of the article is to study the specifics of cultural analytics as Lev Manovich’s theoretical concept and to determine the possibilities of its practical application for analytical and expert activities in the field of culture. The research methodology is connected with the use of the method of analysis, which aims to determine the features of Lev Manovich’s theoretical concept. The analogy method is used to demonstrate the application of the results of the Cultural Analytics Lab and the practice of analytical activities in the field of culture. The prognostic method is used to highlight the algorithm of culture analysis, which should move in logic from data collection to their expert interpretation. The scientific novelty lies in the description of the possibilities of the practical application of Lev Manovich’s achievements in the field of Cultural Analytics. Conclusions. The cultural sector is a dynamic system that is constantly changing. Modifications and development of the cultural space necessitate its research and the formation of a new methodology. Cultural Analytics Lab Lev Manovich’s developments open up a new tool that can be used to visualize cultural data, including digital and digitized data. Cultural analytics is a comprehensive approach based on the achievements of various disciplines — art studies, history, sociology of computer science and cultural studies. It can be perceived as the initial stage, which will be an expert activity. The implementation of research in culture is inextricably linked to the application of an interdisciplinary approach, when not only objective information is provided, but it is also subject to interpretation by experts and specialists in this humanitarian field.
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De Iulio, Simona. "Lev Manovich, The Language of New Media." Questions de communication, no. 4 (December 1, 2003): 473–75. http://dx.doi.org/10.4000/questionsdecommunication.5947.
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De Iulio, Simona. "Lev Manovich, The Language of New Media." Questions de communication, no. 4 (December 1, 2003): 473–75. http://dx.doi.org/10.4000/questionsdecommunication.5949.
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Vasques, Liliana. "Collect, analyse, visualize data: establishing the field of Cultural Analytics in Digital Humanities." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 9, no. 1 (2021): 273–76. http://dx.doi.org/10.14195/2182-8830_9-1_16.
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Pereira, Catarina Lira, Domingos Loureiro, and Diana Costa. "Estética da IA: “Unreliable Memories” de Lev Manovich." Revista Apotheke 10, no. 2 (2024): 156–73. http://dx.doi.org/10.5965/244712671022024156.
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Este estudo incide na intersecção entre Inteligência Artificial (IA) e arte contemporânea. Centra-se na exposição Unreliable Memories de Lev Manovich como caso de estudo, propondo-se analisar como Manovich utiliza a IA para expandir as fronteiras visuais e conceituais da arte, bem como a confiabilidade das representações sintéticas produzidas por essas tecnologias. O documento está dividido em três partes principais. Inicia com uma contextualização teórica abrangente sobre a estética da IA e os desafios associados à criação artística com ferramentas de geração de imagens. Analisa, em seguida, a exposição em si, descrevendo as diversas séries de obras, desde desenhos manuais dos anos 80 até criações recentes geradas por IA – abrangendo séries específicas como Drawing Rooms e In the Garden – com as peculiaridades visuais e as imperfeições que refletem a natureza efêmera e fragmentada da memória. Discute, por fim, como as imperfeições e peculiaridades das imagens geradas por IA refletem a falibilidade da memória, desafiando normas perceptivas tradicionais. Esta pesquisa fornece informações sobre Estética da IA para a comunidade artística e acadêmica, oferecendo bases para futuras pesquisas acadêmicas e artísticas na área.
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Avellaneda, Nicolás. "Reseña de Manovich, Lev. The Science of Culture? Social Computing, Digital Humanities and Cultural Analytics, Journal of Cultural Analytics, 1(1), 1-15. 2016." Publicaciones de la Asociación Argentina de Humanidades Digitales 2 (December 15, 2021): e032. http://dx.doi.org/10.24215/27187470e032.
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(#ir!), Coletivo Intervalos &. Ritmos, and Lev Manovich. "Visualizing Vertov." Revista Vazantes 4, no. 1 (2020): 228–66. http://dx.doi.org/10.36517/vazppgartesufc2020.1.24.
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 Este ensaio, escrito por Lev Manovich, debate dois filmes de Dziga Vertov através de técnicas para visualização de dados. Manovich argumenta que aquele desejo de Vertov por uma “linguagem gráfica” antecipou o trabalho recente de artistas visuais e designers que utilizam a análise computacional e a computação gráfica para visualizar padrões em obras artísticas. Ainda, como uma resposta digital ao que Vertov teorizou como Cine-Olho, o trabalho de Manovich explora como as novas técnicas de visualização podem nos auxiliar a compreendermos diferentemente o cinema, revelando padrões e dimensões que são impossíveis ou difíceis de se estudar através dos métodos estabelecidos nas análises cinematográficas. Manovich então revela toda uma nova ciência e estéti- ca do cinema através de conjuntos de dados, mapas, padrões e gráficos que se encontra latente na imagem da película.
 
 
Dissertations / Theses on the topic "Lev Manovich"
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Magnuson, Markus Amalthea. "The Dig : De grafiska äventyrsspelen som flyktigt medium." Thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-179044.
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Eklöf, Åsa. "Den upplysta projektorn : Analog film i förändring." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-35600.
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As we speak, analogue film is being phased out of the international film industry. The medium that once reigned in capturing and projecting our world's light and the flow of time, has now been rendered obsolete and replaced by digital media technology. However, analogue film remains, and has come to be increasingly used and investigated in contemporary art. In my essay, I examine how our aesthetic perception of analogue film is changing with this shift to digital film technology. How do we experience analogue film – now that it is both on the verge of disappearing from society and is put in contrast to its digital successor? My investigation is based on the thesis that analogue film is now in a state of change. By analyzing three contemporary artists I attempt to discern how this change is aesthetically articulated, and trace alternative forms of continued existence for analogue film. The British artist Tacita Dean, the Italian artist Rosa Barba and the Swedish artist Alexander Gutke all work with film in their own way, and also in the context of the changed status of analogue film today. Furthermore, I examine the possibility that these artists form an active part of a continuous reshaping of analogue film, which is taking place in the fracture created in this shift to digital media technologies.
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Vieira, Ana Rita 1991. "A imagem depois da imagem : simulacros da paisagem." Master's thesis, 2015. http://hdl.handle.net/10451/18404.
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“A Imagem depois da Imagem: Simulacros da Paisagem” is a theoretical and practical essay that reflects on the rules and conventions of photography. When we apply a new context to an image we are giving it a new chance to live, by creating a new interpretation. Considering that the landscape is not a physical space but rather a set of ideas and emotions that we create from a place, I consider this artistic project as a simulacrum of the representation of landscape. Since the very concept of landscape is fiction, one of it's forms of representation is the possibility that the viewer can travel without being attached to something that identifies or references. Through a method of selecting and editing images that already exist in the world, I open a path for the construction of poetic systems and new perceptions of territories and sensibilities
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Gonçalves, Carlos Miguel Ricardo. "ALT + R - HOTKEY: e a subversão do espaço público na Web 2.0." Master's thesis, 2020. http://hdl.handle.net/10451/46983.
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Individuals are more and more connected with the online world in order to find informations about
social life and follow artistical developments; therefore it is of crucial importance that this new public “spaces” should consider the empirical discoveries of the scientifical investigation towards the public, considering this space has become common. After looking deep into a special notion from the point of view of web 2.0 within the actual panorama, this study project analyses those that are considered the main search results of private and public within the online environment and its implications in the XXI century society. Special emphasis is given to the subversion introduced by the navigational mechanisms of the web 2.0, to the storage nature of its contents produced by cybernauts and the potential impact of the web 2.0 in the public space and citizen´s rights towards their own privacity. Web 2.0 is to innovate its notion of public space if it wants to keep its characteristics of common asset as software of the public Internet network. ALT+R+Hotkey has in itself the power to configured as an artistical practice that analyses the subversion of the public space on WEB 2.0. In 1990 the Internet Protocol Suite appears capable of reducing geographical, political, economic and artistical distances; a public space as a publically shaped place. ALT+R+Hotkey has the potential to bring in to the publical debate on web 2.0, establishing comparisons through its own network of concepts and connections: Umwelt em Jakob von Uexküll, The New Public Space in Daniel Innerarity, Low Fidelity space in Jaron Lanier and Ethnoscape in Arjun Appadurai, comparing to Alt+R+hotkey and crossing it with Public Dominion in Richard Sennett, Camuflage in Abbott Thayer as a means of a strategy of special subversion. Finally Alt+R+Hotkey is confronted with the aforementioned concepts, hence the artistical practice of this study
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Van, Heerden Carel Jacobus. "Interactive digital media displacement : digital imagery contextualised within deep remixability and remediation." Diss., 2020. http://hdl.handle.net/10500/27131.
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Text in English, with abstracts and keywords in English, Zulu and Xhosa<br>Link to the dataset (catalogue): https://doi.org/10.25399/UnisaData.14101913.v1<br>Digital image editing is rooted in the analog practices of photographic retouching from the late nineteenth century. This study interrogated how novel contributions of new media practice can inform understanding of the relationship between digital and analog media. The study also sought to explore new conceptual avenues in the creation of digital art that incorporates key aspects of both new and traditional media.
This study employed a literature review of selected discourses related to new media studies.
Specifically, the work of scholars Lev Manovich, Jay David Bolter, Richard Grusin, and Filipe Pais on the interplay between traditional and new media formed the cornerstone of the analysis. These discourses contextualise an analysis of several contemporary case studies
of digital artists, with a particular focus on John Craig Freeman and the Oddviz collective.
These works were selected for the way in which they destabilise conventional notions of digital photography in new media and the way digital content can be ‘displaced’ into a physical space. From this analysis several concepts arise that serve as distinguishing
markers for media displacement. These themes include embodiment, memory, identity formation, autotopography, and intermediality.
The dissertation concludes with an overview of my work that incorporates the concepts derived from my analysis of the case studies. It discusses how my exhibition Digital Tourist,
a mixed media installation, makes use of photogrammetry and AR to displace the private connections of an individual life into the public space of the gallery.<br>Ukuhlelwa kwezithombe zezindaba zedijithali kususelwe emikhubeni ye-analokhu yokuthwebula kabusha izithombe kusukela ngasekupheleni kwekhulu leshumi nesishiyagalolunye leminyaka.. Lolu cwaningo luphenye ukuthi iminikelo yenoveli emisha yokwenziwa kwezezindaba ezintsha zingakwazisa kanjani ukuqonda kobudlelwano phakathi kwezindaba zedijithali ne-analokhu. Ucwaningo luphinde lwafuna ukubheka izindlela ezintsha zomqondo ekwakhiweni kobuciko bedijithali obufaka izinndaba ezibalulekile kokubili
kwezokuxhumana nezendabuko ezintsha.
Izinkulumo ezikhethiwe ezihlobene nezifundo zezindaba ezintsha zibuyekeziwe.
Ngokuqondile, umsebenzi wezazi uLev Manovich, Jay David Bolter, Richard Grusin noFilipe Pais ekusebenzisaneni phakathi kwabezindaba bendabuko nabasha kwakha okuzobhekwa
ngqo uma kuhlaziywa. Lezi zinkulumo zigxila ekuhlaziyweni kwezifundo zamanje zamaciko edijithali, kugxilwe kakhulu kuJohn Craig Freeman kanye neqoqo le-Oddviz. Le misebenzi yakhethwa ngendlela yokuthi ingazinzisi imiqondo ejwayelekile yokuthwebula izithombe
zedijithali emithonjeni emisha kanye nokuthi okuqukethwe kwedijithali "kungahanjiswa kanjani" endaweni ebonakalayo. Ukusuka kulokhu kuhlaziywa kuvela imiqondo eminingana esebenza njengezimpawu ezihlukanisayo zokufuduswa kwabezindaba. Lezi zingqikithi
zifaka phakathi ukwakheka, inkumbulo, ukwakheka kobunikazi, ukuziphendulela kanye nokuzibandakanya.
Idezetheyishini iphetha ngokubuka konke ngomsebenzi wami ohlanganisa imiqondo esuselwe ekuhlaziyweni kwami kwezifundo zocwaningo. Ingxoxo ihlanganisa ukuthi umbukiso wami we-Zivakashi zeDijithali, ukufakwa kwabezindaba okuxubile, isebenzisa
uhlelo lokuthwebula olusebenzisa ulimi noma ifothogrametri ne-AR ukukhipha ukuxhumana kwangasese kwempilo yomuntu ngamunye endaweni yomphakathi yegalari.<br>Ukuhlela imifanekiso yedijithali yinkqubo eyendeleyo, nowaqalwa kwiminyaka yokugqibela yenkulungwane yeshumi elinethoba, kwimisebenzi yezifaniso/yeanalogu ekuhlaziyweni kweefoto. Esi sifundo siphonononga ukuba igalelo elikhethekileyo leendlela ezintsha
zonxibelelwano lwemiboniso/imidiya lingenza njani ukuqinisa ukuqonda unxulumano phakathi kwemiboniso yedijithali neyeanalogu. Kwakhona, esi sifundo sizama ukuphanda iindlela ezintsha ezisetyenziswa kubugcisa bedijithali neziquka imiba ephambili yemiboniso
yale mihla neyakudala.
From this analysis several concepts arise that serve as distinguishing markers for media displacement. These themes include embodiment, memory, identity formation, autotopography and intermediality. Kuphononongwe iingxoxo ezithile ezimalunga nezifundo
zemiboniso yale mihla. Kuqwalaselwe ngakumbi imisebenzi yeengcali ooLev Manovich, Jay David Bolter, Richard Grusin kunye noFilipe Pais malunga nonxulumano phakathi kwemiboniso yakudala neyale mihla njengesiseko solu hlalutyo. Ezi ngxoxo zifaka emxholweni uhlalutyo lwezifundo zokuzekelisa zale mihla malunga nabazobi bale mihla,
kugxininiswa kwindibanisela ka John Craig Freeman nekaOddviz. Le misebenzi ikhethwe ngenxa yokuba iyazichitha iingcinga eziqhelekileyo malunga nokufota ngedijithali kwimiboniso yale mihla nangendlela iziqulatho zedijithali “zinokushenxiswa” zisiwe kwindawo
ebambekayo. Olu hlalutyo luveze iingcinga eziliqela nezisebenza njengeempawu zoshenxiso lwemiboniso. Imixholo iquka imifuziselo, ukukhumbula, ukwenziwa kwesazisi, ukuzazisa ngezinto onazo, unxulumano phakathi kwemiboniso eyahlukeneyo Le ngxelo yophando igqibela ngokushwankathela umsebenzi wam ohlanganisa iingcinga
ezivele ekuhlalutyeni kwam izifundo ezingumzekelo. Ingxoxo ibonisa ukuba umboniso wengqokelela yemisebenzi yam owaziwa ngokuba yiDigital Tourist, ubusebenzise njani ubuchwepheshe ekuthiwa yifotogrametri (obokufumana ulwazi ngokuhlalutya imifanekiso)
ekushenxiseni unxulumano lwabucala lobomi bomntu ibubeke kwindawo ebonwa nguwonkewonke apho kubukwa imifanekiso neefoto (igalari).<br>https://doi.org/10.25399/UnisaData.14101913.v1<br>Arts and Music<br>M.A. (Visual Arts)
Books on the topic "Lev Manovich"
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North, Dan, Bob Rehak, and Michael S. Duffy, eds. Special Effects. 2nd ed. Palgrave, 2015. https://doi.org/10.5040/9781838711283.
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As blockbusters employ ever greater numbers of dazzling visual effects and digital illusions, this book explores the material roots and stylistic practices of special effects and their makers. Gathering leading voices in cinema and new media studies, this comprehensive anthology moves beyond questions of spectacle to examine special effects from the earliest years of cinema, via experimental film and the Golden Age of Hollywood, to our contemporary transmedia landscape. Wide-ranging and accessible, this book illuminates and interrogates the vast array of techniques film has used throughout its history to conjure spectacular images, mediate bodies, map worlds and make meanings. Foreword by Scott Bukatman, with an Afterword by Lev Manovich.
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Dundjerović, Aleksandar Sasha, and María José Martínez Sánchez. Placeness and the Performative Production of Space. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350349841.
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How can performance create and transform places of urban renewal and regeneration? What does performance contribute to the creation of community? These are some of the questions addressed in this study of the relationship of performance to urban space. Marrying theory with a series of international case studies of performance practice and interviews with practitioners, this interdisciplinary study examines how space is performatively produced to create a sense of ‘placeness’. Offering multiple perspectives on space and place, this book investigates the connections between space and the construction of social and cultural narratives. It focuses on the multiple ways performative actions produce space, including theatre, installations, site-specific work, visual arts and digital performance. Combining interdisciplinary approaches to contemporary performance, architecture and digital media studies, this study builds on a clear theoretical framework that draws on the work of Walter Benjamin, Michel Foucault, Henri Lefevre, Richard Schechner, Hans-Thies Lehmann, Lev Manovich and Slavoj Žižek. It offers themed sections comprising theory, studies of practice and interviews with practitioners. Case studies include site-specific work by Catalan collective La Fura Dels Baus, Barcelona, Spain, the Prague Quadrennial, community engagement in Praça Roosevelt in Sao Paulo, Brazil, the Portland Inn Project in Stoke-on-Trent, UK, Campo de la Cebada in Madrid, Spain, and digital spaces created by artists in India and Bosnia and Herzegovina.
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Oliva Abarca, Jesús Eduardo. Cultura y Big Data. Métodos y técnicas para el análisis cultural en una sociedad datificada. Ediciones Comunicación Científica, 2021. http://dx.doi.org/10.52501/cc.014.
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El propósito de este libro es ejemplificar los conceptos, métodos y aplicaciones de la analítica cultural, propuesta formulada por Lev Manovich, y que consiste en el empleo sistemático de herramientas y técnicas de la ciencia de datos para el análisis de datos masivos de fenómenos culturales. Con tal objetivo, se presentan tres estudios que ejemplifican diferentes flujos de trabajo desde este enfoque. El primero consiste en un análisis del micromecenazgo cultural y creativo en México y América Latina, así como en la elaboración de dos sistemas de recomendación a partir de la recolección automatizada de datos mediante “raspado de red” (web scraping), todo ello con la finalidad de brindar información relevante para la financiación de proyectos de artistas y creativos independientes. El segundo estudio es la aplicación de técnicas de procesamiento de lenguaje natural (natural language processing) a un corpus conformado por diversos tweets, a partir de los cuales se elabora un modelo de clasificación automática de textos. A partir del examen automatizado de atributos sintácticos y semánticos, se perciben las diferencias estructurales entre tweets clasificados como noticias, frases o reflexiones, y ficciones. En el tercer estudio se abordan las posibilidades y usos de la visión computacional para el análisis y modelado de sistemas de clasificación de imágenes de obras plásticas; para ello, se parte del método iconográfico-iconológico, así como del procesamiento automatizado de atributos visuales de piezas artísticas. Del desarrollo de estas investigaciones se ratifica la necesidad de fomentar abordajes interdisciplinarios para el análisis de la cultura.
Book chapters on the topic "Lev Manovich"
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Jakobsson, Peter. "Lev Manovich (2001) The Language of New Media." In Classics in Media Theory. Routledge, 2024. http://dx.doi.org/10.4324/9781003432272-29.
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"How Media Became New, Lev Manovich." In Communication in History. Routledge, 2015. http://dx.doi.org/10.4324/9781315664538-51.
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Michelis, Daniel. "Kapitel 2 Die Sprache der Neuen Medien (Lev Manovich)." In Social Media Handbuch. Nomos Verlagsgesellschaft mbH & Co. KG, 2010. http://dx.doi.org/10.5771/9783845227245-42.
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Michelis, Daniel. "Kapitel 4 Die Sprache der Neuen Medien (Lev Manovich)." In Social Media Handbuch. Nomos, 2015. http://dx.doi.org/10.5771/9783845263823-70.
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Michelis, Daniel, and Stefan Stumpp. "Kapitel 6 Die Sprache der Neuen Medien (Lev Manovich)." In Social Media Handbuch. Nomos Verlagsgesellschaft mbH & Co. KG, 2021. http://dx.doi.org/10.5771/9783748907466-107.
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Michelis, Daniel. "Kapitel 4 Die Sprache der Neuen Medien (Lev Manovich)." In Social Media Handbuch. Nomos Verlagsgesellschaft mbH & Co. KG, 2012. http://dx.doi.org/10.5771/9783845246222-56.
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Durão, Guilherme Marandino, and Luiza Novaes. "Uma discussão sobre design de mídia interativa." In Anais do XV Congresso Brasileiro de Pesquisa e Desenvolvimento em Design - P&D Design. Edua, 2024. https://doi.org/10.29327/5457226.1-434.
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Essa pesquisa propõe uma discussão sobre uma vertente expressiva do campo do Design de Interação, aqui denominada de Design de Mídia Interativa, com foco em sua prática e seu ensino. O estudo busca contextualizar e definir o campo a partir de uma abordagem teórica e histórica da arte computacional, explorando conceitos-chave definidos pelos autores Lev Manovich (2000) e Vilém Flusser (2009) apoiados no contexto de Ubiquidade Computacional definido por Marc Weiser (1991). Palavras Chave: Design de Interação; Design de Mídia Interativa; Arte de Novas Mídias
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Kozak, Selma. "The Dialectics of Cyber-Aesthetics and Graphic Design in the 21st Century." In Present and Future Paradigms of Cyberculture in the 21st Century. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-5225-8024-9.ch009.
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We live in a digital culture and cyber era. Cyberculture is an extensive concept including information and communication technologies, media and new media, theories, ideas, literature, art, design, and cultural studies. On the other hand, Lev Manovich updates new media and it reflects the characteristics of new avant-garde because of new digital hardware and software technology. New media has a new aesthetic potential, so does cyberculture. The rise of cyber culture has made it necessary to underline the relationship between graphic design and cyber culture and made it necessary to show key design elements of cyber-aesthetics. In this context, by using descriptive method, the chapter focuses on some components of aesthetics and cyber-aesthetics in the frame of relationship between graphic design and cyber-culture. Now, there is a global pandemic (COVID-19). Some graphic design examples came out during this global pandemic. These examples will be evaluated in terms of cyber-graphic design, cyber-aesthetics, and cyber-culture.
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Taylor, Pamela G. "What Does Learning Look Like?" In Big Data. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9840-6.ch087.
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Drawing upon the data visualization work of Lev Manovich and Manuel Lima, in this chapter the author discusses ways for envisioning and representing the complex teaching and learning that is associated with the visual arts. Experiences and examples are shared that use new and old technologies to create and make connections among critically reflective collections of student learning artifacts such as research, journals, preliminary sketches, work in other classes, and realms of experience outside of school. Instead of relying on one final art product, the author explores embedded data mining and visualization as a viable approach to gauging student learning. Following the lead education notables Elliot Eisner (2002, 2004), John Dewey (1934), and Howard Gardner (1985), this research positions the visual arts as a common thread throughout disciplines. Such inherent and fundamental visual arts practices as portfolios, project-based instruction, and exhibition continue to expand instruction and learning in such classes as English, math, science, and history. The implications include the possibility that art education will lead the way to implementing authentic embedded assessment processes across education disciplines and grade levels.
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Taylor, Pamela G. "What Does Learning Look Like?" In Handbook of Research on Maximizing Cognitive Learning through Knowledge Visualization. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8142-2.ch018.
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Drawing upon the data visualization work of Lev Manovich and Manuel Lima, in this chapter the author discusses ways for envisioning and representing the complex teaching and learning that is associated with the visual arts. Experiences and examples are shared that use new and old technologies to create and make connections among critically reflective collections of student learning artifacts such as research, journals, preliminary sketches, work in other classes, and realms of experience outside of school. Instead of relying on one final art product, the author explores embedded data mining and visualization as a viable approach to gauging student learning. Following the lead education notables Elliot Eisner (2002, 2004), John Dewey (1934), and Howard Gardner (1985), this research positions the visual arts as a common thread throughout disciplines. Such inherent and fundamental visual arts practices as portfolios, project-based instruction, and exhibition continue to expand instruction and learning in such classes as English, math, science, and history. The implications include the possibility that art education will lead the way to implementing authentic embedded assessment processes across education disciplines and grade levels.
Conference papers on the topic "Lev Manovich"
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Szalwa, Anna. "POTENTIAL, RISKS, AND FUTURE OF NEW MEDIA IN URBAN PUBLIC SPACES." In 11th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscss.2024/s14/87.
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New media play a role transforming public spaces into interactive platforms for communication, advertising, art, and social integration (Manuel Castells, 2009) [1]. Technologies such as LED displays and digital interactive installations aim to enhance the functionality of urban spaces, broaden the experience of a place, and attract users� attention. According to Lev Manovich (2001) [2], such technologies not only change the aesthetics of urban spaces but also the way in which people interact with them. Examples of media facades onto shopping malls or audiovisual installations at courtyards of cultural institutions illustrate these trends. Despite their potential, new media are associated with costs and electrical energy consumption. The technical complexity of their carriers may lead to malfunctions and the generation of electronic waste over time. These challenges result in additional costs and complex recycling, which may exacerbate ecological problems. This article constitutes a case study analysis of various applications of new media in urban public spaces worldwide after 2000, differing in context. The analysis focuses on the potential impact of new media in the economy and the environment. One of the conclusions of the analysis is that understanding the implications of new media�s carriers is crucial for urban planners and designers who aim to shape public spaces minimizing negative effects.
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Menezes, André Araujo de, and Celina Figueiredo Lage. "Arte Digital, NFTs, Inteligência Artificial e a (r)evolução da expressão artística em obras de Damien Hirst e Lev Manovich." In 33º Encontro Nacional da ANPAP - Vidas. Even3, 2024. http://dx.doi.org/10.29327/33-encontro-nacional-da-anpap-vidas-421945.838565.
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Blasco Cubas, María. "Permeado, el mundo se expande." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4864.
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La situación a partir del desarrollo de las tecnologías de la información e Internet, la telemática y la electrónica, se ha convertido en una verdadera ventaja para el arte. Tanto la realidad como el sentido de lo público se han transformado, y muchos artistas y pensadores actuales, consideran que se necesita una nueva perspectiva que abarque una realidad ambigua, inestable, pero, sin embargo, cada vez más asimilada; en vez de recrear de manera simbólica objetos sociales y culturales, desarrollar y producir percepciones lo más cercanas posibles a la realidad que nos acontece. ¿Cómo? En la presente comunicación lo haremos pensando sobre el futuro del espacio público interconectado, incluyendo la manera de desarrollarnos y entendernos con él, e incluso resistirnos, albergando elementos antes invisibles, en otras palabras, desbordar la pantalla para inundar físicamente el espacio público y proponer nuevas narrativas híbridas del espacio habitado. Desde este enfoque, la imagen ha salido del interfaz; el mundo entero se ha vuelto interfaz, y muchas prácticas artísticas cuestionan dicha situación. De de la mano de teóricos y artistas como Lev Manovich, Nicolás Bourriaud, Hito Steyerl, Aram Bartholl, intentaremos dar cuenta de ello. Las relaciones entre humanos producen, transforman y acondicionan continuamente espacios heterogéneos y entrelazados. Por ello, no sólo nos colocamos ante espacio público en actitud de espectadores contemplativos, pues pasamos mucho tiempo modificando y adecuando los espacios en que vivimos conectando, articulando e introduciendo otros objetos. La segunda parte del libro de Pierre Lévy, “El Espacio del Conocimiento” (2004) nos sirve para comprender cómo el estado de movilidad es fundamental para entablar una reflexión sobre el espacio urbano (permeado por lo virtual/digital). Desde esta perspectiva, la movilidad hoy en día, tanto en sus dimensiones físicas como informacionales, crean interesantes sinergias que reflejan nuestro acontecer: tradicional, territorial, globalizado y ahora con las redes telemáticas y electrónicas, la virtual/digital, suscitan un modo de relación a la inversa, de lo total al espacio-contexto concreto.http://dx.doi.org/10.4995/ANIAV.2017.4864
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San Cornelio Esquerdo, Gemma. "Imágenes post-matern en instagram: el selfie como narrativa personal." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6883.
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La investigación académica sobre selfies se ha desarrollado ampliamente en los últimos años. Si bien la cobertura en medios de comunicación tiende a vincularlos con el narcisismo y la superficialidad, los selfies pueden darse en las situaciones más variadas, de lo mundano a lo socialmente significativo. Algunos estudios sobre el tema han adoptado una perspectiva cuantitativa, creando datasets o corpus de Big Data para recoger este tipo de imágenes y facilitar el análisis de sus aspectos formales, como los colores predominantes, el uso de filtros (Zarrella, 2014) o las conexiones a las convenciones del retrato profesional (Bruno et al., 2014). A este respecto, una contribución destacada es Selfiecity (2014), proyecto dirigido por Lev Manovich, que utiliza técnicas de cultural analytics para analizar un gran número de fotografías (120.000 selfies) publicadas en la plataforma Instagram y localizadas en cuatro ciudades. Sin embargo, su principal limitación es considerar el selfie como un objeto de investigación autocontenido, y frecuentemente desvinculado de otros tipos de prácticas de publicación de contenidos personales en las redes sociales. Dicho de otro modo, los selfies que circulan por las redes y plataformas de Internet pertenecen a sus usuarios, los cuales producen diferentes tipos de mensajes que tienen sentido en su globalidad. Nuestra sugerencia es analizar los selfies en este continuo, y entender qué papel juegan en tanto que historias, dentro de una narrativa personal. (Vivien y Burgess, 2013). No se trata, pues, de imágenes aisladas, sino de objetos comunicativos que circulan por las redes sociales. Constituyen algo más que una representación (Gómez y Thornham, 2015), incorporando elementos sociales y conversacionales. De este modo, el contexto del selfie constituye una parte esencial del mismo, entendido tanto en términos tecnológicos como discursivos.En la presente comunicación presentaré un estudio de caso, desarrollado en el marco del proyecto de investigación financiado Selfiestories y personal data (BBVA, 2014-2017). Durante dos años he realizado una etnografía digital de varias usuarias de instagram, mujeres que habían publicado selfies poco después de haber dado a luz. Estas acciones compartían la reivindicación del cuerpo natural -en oposición a las imágenes de cuerpos perfectos- que a menudo muestran determinadas celebrities, incluso después del parto. ¿Qué narrativas generan estas acciones?Para esta presentación elegiré dos ejemplos, que, a pesar de ser distintos entre sí, tienen en común que el selfie por el cual las empecé a seguir no es una imagen aislada, -por muy significante que ésta pueda ser- sino que cobra sentido dentro de una narrativa personal. De hecho, lo que revelan estos perfiles y sus dinámicas de publicación va mucho más allá y proponen matices muy distintos en lo que se refiere a formas de entender la maternidad y el cuerpo. En esta comunicación presentaré datos cuantitativos y cualitativos sobre los tipos de imágenes, interacciones y controversias generadas en el seno de sus narrativas personales.