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Journal articles on the topic 'Media art'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Gaižutytė-Filipavičienė, Žilvinė. "Meno muziejai ir medijos." Lietuvos kultūros tyrimai 2 (2012): 47–63. https://doi.org/10.53630/lkt.2012_1.3.

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The article deals with interaction of art museums and media in the context of new museological paradigms. The rapid development of digital media technologies and internet in the end of 20th century has led to the emergence of new methods to create art exhibitions and to the understanding of museum itself as medium. Analysing why and in which ways art museums apply new media technologies, the author has identified few important factors. Firstly, the changes of Western museological paradigm in the 910 decades: the shift from “objects” to “ideas”. It also means a change in the concept of museum f

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2

Kumar, Vinay. "Fine Art Pedagogy in India And Impact of New Media Art." Paripex - Indian Journal Of Research 3, no. 1 (2012): 80–82. http://dx.doi.org/10.15373/22501991/jan2014/23.

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3

King, Kenneth. "Art—Media—Manipulation." PAJ: A Journal of Performance and Art 43, no. 3 (2021): 63–76. http://dx.doi.org/10.1162/pajj_a_00585.

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4

Gere, Charlie. "New Media Art." Art Book 12, no. 2 (2005): 6–8. http://dx.doi.org/10.1111/j.1467-8357.2005.00520.x.

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5

Kushiyama, Kumiko. "Media Art Corridor." Journal of The Institute of Image Information and Television Engineers 65, no. 9 (2011): 1312–16. http://dx.doi.org/10.3169/itej.65.1312.

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6

Cubitt, Sean. "Media art futures." Futures 39, no. 10 (2007): 1149–58. http://dx.doi.org/10.1016/j.futures.2007.05.001.

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7

Albrecht, Ján. "Media of Art." Human Affairs 5, no. 1 (1995): 31–52. http://dx.doi.org/10.1515/humaff-1995-050106.

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8

Bunt, Brogan. "Media Art, Mediality and Art Generally." Leonardo 45, no. 1 (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

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9

Chia, Kok Hwee, and Boon Hock Lim. "Projective drawings between the intersection of diagnosis & dialogics: The birth of a new allied domain - Part 1." Unlimited Human! 2024, Fall (2024): 8–9. https://doi.org/10.5281/zenodo.15236746.

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The field of Art Therapy (AT) is often confused with that of Arts Therapy (AsT). The latter includes other creative therapies (e.g., dance and movement therapy, drama therapy, music therapy, poetry therapy, etc.) and it is a distinct discipline from AT. The AsT incorporates many creative methods of expression through visual art media. The former as a creative arts therapy profession, originated in the fields of art and psychotherapy and may vary in its definition. The AT includes analytic art therapy (AAT), art psychotherapy (APT), and art as therapy (AaT). Then there are also other allied off

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10

Tsereteli, Asmat. "Media as Art and Art as Media (Magazines: “Theatre”, “Aril”, “Art in America”, “ARTFORUM”)." Works of Georgian Technical University, no. 1(531) (March 22, 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 dev

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11

Rinehart, Richard. "The Media Art Notation System: Documenting and Preserving Digital/Media Art." Leonardo 40, no. 2 (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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12

권경용 and Kyu Jung Kim. "The art of tangle : Inter-media art." Korean Journal of Art and Media 10, no. 2 (2011): 163–73. http://dx.doi.org/10.36726/cammp.2011.10.2.163.

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13

Shintani, Joyce. "Art | 40 | Basel: Media Art with Music." Computer Music Journal 34, no. 1 (2010): 97–100. http://dx.doi.org/10.1162/comj.2010.34.1.97.

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14

Fernández Castrillo, Carolina. "Presentación Monográfico Media Art." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 12, no. 2 (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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15

Bastos, Flávia. "New Media Art Education." Art Education 63, no. 1 (2010): 4–5. http://dx.doi.org/10.1080/00043125.2010.11519046.

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16

Mix, E. K. "Art and New Media." Choice Reviews Online 47, no. 08 (2010): 1411–23. http://dx.doi.org/10.5860/choice.47.08.1411.

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17

Kuwakubo, Ryota. "Media Art for Bootstrapping." Journal of The Institute of Image Information and Television Engineers 65, no. 1 (2011): 59–63. http://dx.doi.org/10.3169/itej.65.59.

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18

Li, Zhenhua. "Media Art in Beijing." Leonardo 40, no. 3 (2007): 222–23. http://dx.doi.org/10.1162/leon.2007.40.3.222.

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19

King, Kenneth. "Art and Media Symbiosis." PAJ: A Journal of Performance and Art 46, no. 3 (2024): 143–51. http://dx.doi.org/10.1162/pajj_a_00740.

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20

Marie-Pascale-Huglo and J. Villeneuve. "Introduction: Memory, Media, Art." SubStance 34, no. 1 (2005): 78–80. http://dx.doi.org/10.1353/sub.2005.0006.

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21

Radojicic, Dragana. "Culinary art in media." Glasnik Etnografskog instituta 57, no. 1 (2009): 93–106. http://dx.doi.org/10.2298/gei0901093r.

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22

Bishop, Ryan, and John W.P. Phillips. "Media Art at UMAT." Theory, Culture & Society 24, no. 7-8 (2007): 359–69. http://dx.doi.org/10.1177/0263276407086406.

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23

Kawakita, Makiko, and Yasushi Sonobe. "Art Place as Media:." Japan Marketing Journal 42, no. 4 (2023): 27–38. http://dx.doi.org/10.7222/marketing.2023.019.

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24

Almási, Zsolt. "AI? Predictive Media. Art." Disegno 7, no. 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 term

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25

Kwon, Soojin. "Media Archaeology and Junk Media as Post-Media Art." Journal of Literature and Film 24, no. 1 (2023): 7–27. http://dx.doi.org/10.36114/jlf.2023.4.24.1.7.

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26

Šapoka, Kęstutis. "(Šiuolaikinio) meno institucija kaip ideologinė medija." Lietuvos kultūros tyrimai 10 (2018): 111–24. https://doi.org/10.53630/lkt.2018.8.

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The article analyses (contemporary) art system and institutions as ideological media. The author uses the concepts of repressive state apparatus and ideological state apparatuses formulated by philosopher Louis Althusser, according to which the essence of military, religious, educational, as well as cultural institutions is the spread of ideological propaganda, ensuring ideological subjectivation. This means that each individual adopts the ideology of dominant social class as its own model of thinking. Both totalitarian states and those that promote liberal capitalism use ideological interpell

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27

LI, Wenyi, and Hyung-gi Kim. "The Art of Shadows in New Media Art." TECHART: Journal of Arts and Imaging Science 7, no. 1 (2020): 10–13. http://dx.doi.org/10.15323/techart.2020.2.7.1.10.

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28

Kim, Min Ji. "Interactivity of Media Art and Art as Software." KOREA SCIENCE & ART FORUM 17 (September 30, 2014): 57. http://dx.doi.org/10.17548/ksaf.2014.09.17.57.

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29

Soreanu, Cătălin. "New Media Art: Aligning Artistic Creativity And Technological Media." Review of Artistic Education 22, no. 1 (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 environ

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30

Soreanu, Catalin. "New media art: aligning artistic creativity and technological media." Review of Artistic Education, no. 22 (June 1, 2021): 206–16. https://doi.org/10.2478/rae-2021-0026.

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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 become

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31

신은주. "The business of commercializing media art -Focusing on commercialized, hardware-based media art-." Journal of Korea Design Knowledge ll, no. 27 (2013): 323–32. http://dx.doi.org/10.17246/jkdk.2013..27.030.

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32

Yuhe, Peng. "The meaning of space in new media art based on examples of new media artworks." OOO "Zhurnal "Voprosy Istorii" 2023, no. 1-2 (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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33

Amangeldiyeva, Gulmira S., Muratbek B. Toktagazin, Bauyrzhan Zh Omarov, Saule S. Tapanova, and Roza A. Nurtazina. "Storytelling in Media Communication: Media and Art Models." International Journal of Criminology and Sociology 9 (April 5, 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

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34

k, k. "Contemporary Media Art Performance under the Visual Threshold of Interpretation." Northeast Asian Business and Economics Association 4, no. 2 (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, interpretatio

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35

Kim, DuBeom, Kumar B. N. Pavan, and YoungHo Chai. "Media Art with Sensible Interface." TECHART: Journal of Arts and Imaging Science 4, no. 2 (2017): 13–15. http://dx.doi.org/10.15323/techart.2017.05.4.2.13.

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36

Angelova, Luchia, and Bozhidar Angelov. "THE MEDIA AND THE ART." Education and Technologies Journal 10, no. 1 (2019): 43–47. http://dx.doi.org/10.26883/2010.191.1374.

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37

Marchi, Regina. "Chicano Art as Alternative Media." International Journal of the Arts in Society: Annual Review 4, no. 5 (2010): 447–64. http://dx.doi.org/10.18848/1833-1866/cgp/v04i05/35715.

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38

Frohne, Ursula. "Old Art and New Media." Afterimage 27, no. 2 (1999): 9–11. http://dx.doi.org/10.1525/aft.1999.27.2.9.

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39

목진요. "Media art and Techno-imagination." Journal of Korea Design Forum ll, no. 33 (2011): 343–52. http://dx.doi.org/10.21326/ksdt.2011..33.031.

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40

Richardson, Martin. "Mixed Media: Holography within Art." Leonardo 20, no. 3 (1987): 251. http://dx.doi.org/10.2307/1578168.

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41

김다희, SeunghoPark, and 이명주. "Affordance for Interactive Media Art." Journal of Digital Design 8, no. 2 (2008): 341–48. http://dx.doi.org/10.17280/jdd.2008.8.2.033.

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42

Chmielnicka-Plaskota, Aleksandra, and Janina Florczykiewicz. "New media in art therapy." Special School LXXXI, no. 1 (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

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43

Burt, Helene. "Art Therapy as Mixed Media." Canadian Art Therapy Association Journal 17, no. 2 (2004): 1–2. http://dx.doi.org/10.1080/08322473.2004.11432260.

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44

Nitsche, Michael. "Performance art and digital media." Digital Creativity 24, no. 2 (2013): 93–95. http://dx.doi.org/10.1080/14626268.2013.806333.

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45

Gordon, Eric, Catherine D'Ignazio, Gabriel Mugar, and Paul Mihailidis. "Civic media art and practice." Interactions 24, no. 2 (2017): 66–69. http://dx.doi.org/10.1145/3041764.

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46

Lee, Soo-jin, and Kwang-yun Wohn. "The Media-Art Exhibition TenYearsAfter_v4.0_OuterSpace." Leonardo 41, no. 5 (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 contemplate

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47

Miranda, M. "Fictive art in new media." IEEE Multimedia 10, no. 2 (2003): 4–7. http://dx.doi.org/10.1109/mmul.2003.1195154.

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48

Baker, Camille, Max Schleser, and Kasia Molga. "Aesthetics of mobile media art." Journal of Media Practice 10, no. 2-3 (2009): 101–22. http://dx.doi.org/10.1386/jmpr.10.2-3.101_1.

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49

Lughi, Giulio. "Digital Media and Contemporary Art." Mimesis Journal, no. 3, 2 (December 1, 2014): 43–52. http://dx.doi.org/10.4000/mimesis.686.

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50

Sorensen, Vibeke. "Art, Life and Media Merge." Lumina 11, no. 2 (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 tech

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