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Journal articles on the topic 'Media arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Brown, Joshua. "Arts and Media." Labor History 44, no. 2 (May 2003): 167–69. http://dx.doi.org/10.1080/00236560306513.

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2

Mcgann, Nadine L. "Media Arts Fund Update." Afterimage 20, no. 5 (December 1, 1992): 2. http://dx.doi.org/10.1525/aft.1992.20.5.2.

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3

Joris, Eric, Mireille Losco-Lena, and Izabella Pluta. "Live arts, live media." Ligeia N° 137-140, no. 1 (2015): 134. http://dx.doi.org/10.3917/lige.137.0134.

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4

Bots, Mascha, and Oswald Nunes. "Uitlatingen arts in media." Zorgvisie 46, no. 4 (April 2016): 15. http://dx.doi.org/10.1007/s41187-016-0045-1.

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5

Morgan, Amy. "Review: Screen Media Arts." Media International Australia 135, no. 1 (May 2010): 157–58. http://dx.doi.org/10.1177/1329878x1013500120.

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6

Goodall, Peter. "Media Representing Visual Arts." Media Information Australia 55, no. 1 (February 1990): 62–64. http://dx.doi.org/10.1177/1329878x9005500115.

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7

Hecht, Leo, Caryl Emerson, and Nicholas Rzhevsky. "Media→←Media Slavic and East European Arts." Slavic and East European Journal 37, no. 2 (1993): 265. http://dx.doi.org/10.2307/309240.

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8

Peppler, Kylie A. "Media Arts: Arts Education for a Digital Age." Teachers College Record: The Voice of Scholarship in Education 112, no. 8 (August 2010): 2118–53. http://dx.doi.org/10.1177/016146811011200806.

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Background/Context New technologies have been largely absent in arts education curriculum even though they offer opportunities to address arts integration, equity, and the technological prerequisites of an increasingly digital age. This paper draws upon the emerging professional field of “media arts” and the ways in which youth use new technologies for communication to design a 21st-century K-12 arts education curriculum. Description of prior research on the subject and/or its intellectual context and/or policy context Building on sociocultural theories of constructionism as well as Dewey's th

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9

McGuire, Andrew. "Media Arts: A Shifting Paradigm?" Arts Education Policy Review 113, no. 3 (July 2012): 119–22. http://dx.doi.org/10.1080/10632913.2012.687342.

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10

Hope, Samuel. "Media and Arts Education Policy." Design For Arts in Education 88, no. 6 (August 1987): 20–28. http://dx.doi.org/10.1080/07320973.1987.9935501.

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Dening, Karen Harrison. "Dementia, media and the arts." British Journal of Neuroscience Nursing 16, no. 1 (February 2, 2020): 5. http://dx.doi.org/10.12968/bjnn.2020.16.1.5.

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12

Desterro, Ilha Do. "Introduction: Corpo, Literatura, Artes e Mídia/Body, Literatura, Arts and Media." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 68, no. 3 (October 3, 2015): 009. http://dx.doi.org/10.5007/2175-8026.2015v68n3p9.

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13

YUGAY, INGA I. "MEDIA-REALITY IN THE VISUAL ARTS." Art and Science of Television 15.2 (2019): 183–205. http://dx.doi.org/10.30628/1994-9529-2019-15.2-183-205.

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14

Hagebolling, Heide. "The Academy of Media Arts Cologne." Leonardo 23, no. 2/3 (1990): 319. http://dx.doi.org/10.2307/1578631.

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15

Wu, Jiayue. "Promoting Contemplative Culture through Media Arts." Multimodal Technologies and Interaction 3, no. 2 (May 21, 2019): 35. http://dx.doi.org/10.3390/mti3020035.

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This paper presents the practice of designing mediation technologies as artistic tools to expand the creative repertoire to promote contemplative cultural practice. Three art–science collaborations—Mandala, Imagining the Universe, and Resonance of the Heart—are elaborated on as proof-of-concept case studies. Scientifically, the empirical research examines the mappings from (bodily) action to (sound/visual) perception in technology-mediated performing art. Theoretically, the author synthesizes media arts practices on a level of defining general design principles and post-human artistic identiti

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16

Kluszczynski, Ryszard W. "Arts, Media, Cultures: Histories of Hybridisation." Convergence: The International Journal of Research into New Media Technologies 11, no. 4 (November 2005): 124–32. http://dx.doi.org/10.1177//1354856505061059.

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Nowadays we are faced with an enormous development of digital, information and communication technologies. Together with numerous phenomena, which are the products of activities that belong to the biotechnosphere, these technologies build a complex corpus called cyberculture. In this context art has an important, critical role to play. In particular (multi)media art can serve as an experimental laboratory, not only for new technologies but, especially, for studies of the new social relation(ship)s created or fuelled by those technologies. Media and multimedia information and communication tech

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17

Brown, J. "Introduction to "Arts and Media" Section." Labor Studies in Working-Class History of the Americas 1, no. 1 (March 1, 2004): 21–22. http://dx.doi.org/10.1215/15476715-1-1-21.

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18

Wakimoto, Atsushi. "Introduction of Japan Media Arts Festival." Journal of The Institute of Image Information and Television Engineers 64, no. 7 (2010): 973–76. http://dx.doi.org/10.3169/itej.64.973.

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19

Guerrero, Pia. "Media Arts and Elementary-Age Children." Afterimage 37, no. 2 (September 1, 2009): 49–50. http://dx.doi.org/10.1525/aft.2009.37.2.49.

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20

Antunes, Rui Filipe. "On Computational Ecosystems in Media Arts." Leonardo 49, no. 5 (October 2016): 457. http://dx.doi.org/10.1162/leon_a_01296.

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21

Parikka, Jussi, and Quentin Julien. "Archéologie des media et arts médiaux." Multitudes 59, no. 2 (2015): 206. http://dx.doi.org/10.3917/mult.059.0206.

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22

Devlin, Keith. "Media X: the new liberal arts?" On the Horizon 10, no. 2 (June 2002): 15–17. http://dx.doi.org/10.1108/10748120210697804.

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23

Reas, Casey, and Ben Fry. "Processing: programming for the media arts." AI & SOCIETY 20, no. 4 (May 30, 2006): 526–38. http://dx.doi.org/10.1007/s00146-006-0050-9.

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24

Gupta, Vandana. "FOLK MEDIA IN DEVELOPMENT COMMUNICATION." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3385.

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The human urge to express, communicate, and share something beautiful gave birth to performing arts such as folk and traditional media. Folk performing arts have changed structure continuously over centuries according to the needs of changing situations but without losing their functional relevance to society.

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25

Rusevych, Tetiana, and Hanna Zavadska. "MEDIA ART IN MODERN SYNTHESIS OF ARTS IN ARCHITECTURE." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 26–32. http://dx.doi.org/10.32347/2519-8661.2021.22-23.26-32.

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The article substantiates the problem of synthesis of media art in the modern synthesis of arts in architecture, provides a definition of the term " Media Art" as a higher form of artistic development. Attention is paid to the analysis of recent research and publications devoted to the study of the artistic component of interactive design in the synthesis of the arts of architectural space, the influence of media technologies on the formation of the architectural image of art centers, describing trends in media technology in architecture. The purpose of the article is to consider the forms of

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26

Forbes, Angus Graeme. "Articulating Media Arts Activities in Art-Science Contexts." Leonardo 48, no. 4 (August 2015): 330–37. http://dx.doi.org/10.1162/leon_a_01086.

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This paper discusses the conflicting expectations for media artists taking part in art-science collaborations. Despite the increasing opportunity to participate in these interdisciplinary projects, it can be unclear how media arts activities are best articulated, or even if they need to be defined at all. Additionally, this paper examines a methodological framework widely used in the visualization community for identifying different visualization tasks within research activities. Inspired by its success, this paper proposes a new methodological framework for media arts activities in art-scienc

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27

Bowman, Paul. "Game of text: Bruce Lee’s media legacies." Global Media and China 4, no. 3 (September 2019): 325–38. http://dx.doi.org/10.1177/2059436419869565.

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This article situates Bruce Lee at the heart of the emergence of ‘martial arts’. It argues that the notion ‘martial arts’, as we now know it, is a discursive entity that emerged in the wake of media texts, and that the influence of Bruce Lee films of the early 1970s was both seminal and structuring of ‘martial arts’, in ways that continue to be felt. Using the media theory proposition that a limited range of ‘key visuals’ structure the aesthetic terrain of the discursive entity ‘martial arts’, the article assesses the place, role and status of images of Bruce Lee as they work intertextually ac

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28

Hsieh, Hsiu Ching. "New Media Arts and Human–Computer Interaction." International Journal of the Arts in Society: Annual Review 6, no. 3 (2011): 201–10. http://dx.doi.org/10.18848/1833-1866/cgp/v06i03/36049.

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29

Adeliyi, Wendy. "Caribbean Visual Arts, Social Media and Performance." Caribbean Quilt 5 (May 19, 2020): 76–79. http://dx.doi.org/10.33137/caribbeanquilt.v5i0.34384.

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The photographic installation created by María Magdalena Campos-Pons in De las dos Aguas (Between Two Waters), Campos-Pons takes the viewer on a historical journey of the two bodies of ocean water that separate Africa and the Americas Many dualities are seen in the photo, starting with the two women standing on either side of the photograph holding opposites ends of a boat.

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30

Shao-Jian, Li. "Food Arts Teaching Under New Media Environment." Advance Journal of Food Science and Technology 12, no. 1 (September 5, 2016): 42–44. http://dx.doi.org/10.19026/ajfst.12.2833.

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31

Carroll, Noël, and Noel Carroll. "The Specificity of Media in the Arts." Journal of Aesthetic Education 19, no. 4 (1985): 5. http://dx.doi.org/10.2307/3332295.

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32

Nigianni, Panagiota (Betty). "Historical time in Tony Oursler's media arts." Journal of Visual Art Practice 14, no. 2 (May 4, 2015): 132–45. http://dx.doi.org/10.1080/14702029.2015.1041731.

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33

Rumbo, Joseph D., Diana Crane, Nobuko Kawashima, and Ken'ichi Kawasaki. "Global Culture: Media, Arts, Policy, and Globalization." Contemporary Sociology 32, no. 6 (November 2003): 722. http://dx.doi.org/10.2307/1556657.

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34

Cong, Jicheng, and Buqu Zeng. "Animation Arts Teaching Under New Media Environment." International Journal of Multimedia and Ubiquitous Engineering 9, no. 9 (September 30, 2016): 101–8. http://dx.doi.org/10.14257/ijmue.2016.11.9.11.

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35

Cubitt, Sean. "Catching the History of the Media Arts." Leonardo 40, no. 5 (October 2007): 460–62. http://dx.doi.org/10.1162/leon.2007.40.5.460.

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36

Damásio, Manuel José, and Joana Bicacro. "Entrepreneurship education for film and media arts." Industry and Higher Education 31, no. 4 (June 8, 2017): 253–66. http://dx.doi.org/10.1177/0950422217713110.

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Entrepreneurship education is a complex topic that can be discussed from a variety of perspectives. One key question in the discussion concerns how one can adapt the general core principles of entrepreneurship education, many of which are closely linked to business education, to other academic areas that currently lack this type of education. This article discusses the challenges of developing a model of entrepreneurship education for the creative industries sector. Focusing specifically on film and media arts education, the authors examine the results of a qualitative and quantitative study o

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37

Heyer, Paul. "Media ecology and the performing arts – Virtually." Explorations in Media Ecology 16, no. 2 (September 1, 2017): 119–25. http://dx.doi.org/10.1386/eme.16.2-3.119_1.

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38

McLaughlin, John. "Interesting the Media in Serious Arts Education." Design For Arts in Education 88, no. 6 (August 1987): 6–9. http://dx.doi.org/10.1080/07320973.1987.9935496.

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39

Yaffe, Michael. "Equality for the Arts in the Media." Design For Arts in Education 88, no. 6 (August 1987): 17–19. http://dx.doi.org/10.1080/07320973.1987.9935500.

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40

Nie, Sen, and Yan Liu. "Analysis of Application of Digital Media Arts." Advanced Materials Research 989-994 (July 2014): 4223–25. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.4223.

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In 21st century, with the leaping advances in science and technology, computers and the rapid development of science and technology industry, formed by combining human intelligence and high-tech digital content industry that corresponds to the rapid development, and developing at an astonishing speed into a pillar industry of the knowledge economy in the new century. It is well known that digital media are based on digitized text, sound, images, Graphics, animation and video images as information carriers, through means of dissemination and development of science and technology. Basic characte

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41

Webb, Jen. "Eating dust: Electronic media and regional arts." Journal of Australian Studies 22, no. 58 (January 1998): 148–53. http://dx.doi.org/10.1080/14443059809387411.

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42

Reas, Casey. "Media Literacy: twenty-first century arts education." AI & SOCIETY 20, no. 4 (March 31, 2006): 444–45. http://dx.doi.org/10.1007/s00146-006-0035-8.

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43

Swalwell, Melanie, Helen Stuckey, Denise de Vries, Cynde Moya, Candice Cranmer, Sharon Frost, Angela Goddard, Steven Miller, Carolyn Murphy, and Nick Richardson. "Archiving Australian Media Arts: A Project Overview." Preservation, Digital Technology & Culture 51, no. 4 (December 1, 2022): 155–66. http://dx.doi.org/10.1515/pdtc-2022-0026.

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Abstract This article presents an overview of the ARC Linkage Project “Archiving Australian Media Arts: Towards a method and a national collection,” which addresses the challenges of preserving digital media artworks that are stored on obsolete media and that require legacy computer environments to access. It lays out the challenges facing digital media arts, articulates the significance of the deposit of local media art organisation archives into the custody of major, jurisdictionally-appropriate cultural institutions, and details the selection of case studies for research from these organisa

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44

Legrady, George. "Perspectives on Collaborative Research and Education in Media Arts." Leonardo 39, no. 3 (June 2006): 215–18. http://dx.doi.org/10.1162/leon.2006.39.3.215.

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Digital arts is by nature a hybrid practice, integrating the poetics, aesthetics and conceptual strategies of art with the logical, systematic methods of technological processes from engineering and the sciences. This article reviews the development of interdisciplinary, collaborative arts-engineering research and education at the University of California at Santa Barbara, focusing on the Media Arts & Technology graduate program from a visual/spatial arts perspective.

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45

Cardwell, Sarah. "Television Amongst Friends: Medium, Art, Media." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (September 1, 2014): 6–21. http://dx.doi.org/10.7227/cst.9.3.2.

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From the perspective of analytic philosophical aesthetics, this paper disputes the commonplace practice of referring to television as a ‘medium’. It proposes instead that television be regarded as an art composed of many media. Individual works employ various media available to television and also to other arts. The paper evaluates the usefulness of these distinctions for our conceptual understanding of television, appraisal of television works and appreciation of television in relation to other arts. Via its reconfiguration of ‘medium/media’, it challenges narrowly contemporary notions of the

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46

Zhao, Pei, and Xiaojun Li. "Arts Teachers' Media and Digital Literacy in Kindergarten." International Journal of Digital Literacy and Digital Competence 6, no. 1 (January 2015): 1–17. http://dx.doi.org/10.4018/ijdldc.2015010101.

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Children live in a media oriented world, and media skills need to be taught already starting from the early years. Practicing media production can be seen as a core activity for media education in early childhood. The idea is linked to the 21st century definition of media: instead of thinking of media and digital culture as a simple, one-to-one way communication, it is better to consider media as parts of systems of actions and activities. In other words, it should be seen as a form of social processes. In this case study, the authors investigated children's shared blogging in a kindergarten i

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47

Thayne, Martyn, and Andrew West. "‘Doing’ media studies: The media lab as entangled media praxis." Convergence: The International Journal of Research into New Media Technologies 25, no. 2 (March 7, 2019): 186–208. http://dx.doi.org/10.1177/1354856519834960.

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Typically understood in relation to innovations in new media and modes of peer-production, the ‘media lab’ has emerged as a contemporary phenomenon encompassing a variety of ‘maker-spaces’, ‘fablabs’ and ‘hackathons’. This article seeks to resituate the ‘media lab’ in the context of media research and education, drawing inspiration from the recent ‘nonrepresentational’ and ‘nonhuman’ turns in media and cultural theory that examine our entanglement with media on a social, cultural and biological level (Grusin, 2015b; Thrift, 2007; Vannini, 2015; Zylinska, 2012). This article contributes to such

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48

Raditya, Michael HB. "Selﬁ e dan Media Sosial pada Seni sebagai Wujud Eksistensi". Jurnal Ilmu Sosial dan Ilmu Politik 18, № 1 (21 вересня 2016): 26. http://dx.doi.org/10.22146/jsp.13096.

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This article discusses the existence of individuals that are constructed based arts events. Selﬁ e and socialmedia in arts as a form of existance is the right word to respons upon the development of society. There isa issues would be discuss in this article; discuss about elements of arts existence, commodiﬁ cation of arts,and patterns of consumption. Literature review and ethnography is the method to solve the problem, withqualitative research. The restult of this article are; selﬁ e is the new practice of arts consumption, socialmedia as a ﬁ eld of existence, arts became a major commodity in

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49

Jocson, Korina M. "Remix Revisited: Critical Solidarity in Youth Media Arts." E-Learning and Digital Media 10, no. 1 (February 2013): 68–82. http://dx.doi.org/10.2304/elea.2013.10.1.68.

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50

Craddock, Patrick. "REVIEW: Climate change, media, culture and the arts." Pacific Journalism Review 18, no. 2 (October 31, 2012): 190. http://dx.doi.org/10.24135/pjr.v18i2.274.

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I approached this special edition of Dreadlocks with caution and apprehension. I saw two interpretations for the title: did it mean embracing science with creative political decisions for change, or did it mean using creativity through the arts as a symbol for approaching climate change? There is little hard science in these published papers, although there is a view from Richard Dawkins that makes an iconic appearance in a paper by Briar Wood from London Metropolitan University. This emphasises the Dawkins view that scientists must reach out to ‘…for want of a better word, poets’ and that the

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