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Articoli di riviste sul tema "Digital Art and Concrete Poetry"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 11 febbraio 2022

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1

Bachmann, Pauline, and Jasmin Wrobel. "Redes da Poesia Experimental: Arquivos, Sítios, Coleções." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 7, no. 1 (2019): 237–46. http://dx.doi.org/10.14195/2182-8830_7-1_13.

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Apresentação sumária de oito sítios web relacionados com o tema deste número "Redes da Poesia Experimental". Figuram na seleção os seguintes sítios web: Arquivo Digital da PO.EX: Poesia Experimental Portuguesa; poesia concreta: o projeto verbivocovisual; Archivo Guillermo Deisler (1940-1995); Arquivo Centro de Arte Experimental Vigo; Stephanie Strickland Papers, 1955-2016; Documents of 20th-century Latin American and Latino Art; Archiv Sohm e The Sackner Archive of Visual and Concrete Poetry. DOI: https://doi.org/10.14195/2182-8830_7-1_13

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Pawłowska, Aneta Joanna. "Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature." Text and Image: Essential Problems in Art History, no. 1 (2019): 90–101. http://dx.doi.org/10.17721/2519-4801.2019.1.06.

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The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope

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Wingate, Steven. "Watching Textual Screens Then and Now: Text Movies, Electronic Literature, and the Continuum of Countertextual Practice." CounterText 2, no. 2 (2016): 172–90. http://dx.doi.org/10.3366/count.2016.0051.

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Contemporary works of electronic literature that focus on the use of moving text are aesthetically related to the text movies that arose in the experimental film community, particularly in the 1960s, and both share much in common with concrete and visual poetry. Though criticism has traditionally placed a barrier between works of electronic literature and cinematic text movies on the basis of their perceived medium (cinema characterised by emulsion and electronic literature characterised by computer code), textual screen works originating from both media utilise similar techniques in the prese

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Tornatore-Loong, Maria. "Concrete Parallels: Brazilian Concrete Poetry, Concrete Art, and Neoconcretism." International Journal of the Image 11, no. 3 (2020): 1–50. http://dx.doi.org/10.18848/2154-8560/cgp/v11i03/1-50.

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Hilder, Jamie. "Concrete Poetry and Conceptual Art: A Misunderstanding." Contemporary Literature 54, no. 3 (2013): 578–614. http://dx.doi.org/10.1353/cli.2013.0034.

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Smolskaya, E. P., and A. S. Barteneva. "Poetry and its Audience in the Digital Age." Concept: philosophy, religion, culture 5, no. 1 (2021): 157–68. http://dx.doi.org/10.24833/2541-8831-2021-1-17-157-168.

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The study assesses the influence that new technologies, relative to the poetic content and poetry as art, have on the field of public relations. The main trends in the development of modern poetry as an object of online promotion, the ties connecting the digital format as such to this specific genre and the methods of modern media promotion are concerned as the key research areas. Digital technologies have produced profound changes in society and in the sphere of media. The impact of online tools and infrastructure both on poetry itself and for the methods on its promotion is also relevant. On

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Meyer, Marcy. "Concrete Research Poetry: A Visual Representation of Metaphor." Art/Research International: A Transdisciplinary Journal 2, no. 1 (2017): 32. http://dx.doi.org/10.18432/r2ks6f.

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In this paper, the author employs concrete research poetry as a visual representation of a metaphor analysis. Using autoethnographic methods, she explores the experiences of eight single mothers of children and young adults with mental illness. She conducts a metaphor analysis of semi-structured interview data and generates concrete poetic structures from metaphors that emerged from the data. In the process, she transforms data into art.

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Hughes, Janette. "The ‘screen‐size’ art: Using digital media to perform poetry." English in Education 42, no. 2 (2008): 148–64. http://dx.doi.org/10.1111/j.1754-8845.2008.00012.x.

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Doggett, Rob. "Yeats and Digital Pedagogy." International Yeats Studies 4, no. 1 (2020): 45–58. http://dx.doi.org/10.34068/iys.04.01.03.

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As people who love and admire Yeats, we need to reckon with the fact that digital technology is profoundly transforming the ways that readers encounter and thus experience his poetry. I’ll begin on a mostly pessimistic note, arguing that digital media tends to encourage a mode of reading that is oriented toward the acquisition of practical knowledge and, in so doing, works to undercut the type of aesthetic experience that many of us traditionally associate with reading poetry. Next, I’ll briefly mention the lessons that we can learn from Yeats’s own efforts to use a new mass communication tech

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de Oliveira, Marco Alexandre. "Bashō in Brazil, or Zen and the Art of Concrete Poetry." Comparative Literature 68, no. 3 (2016): 332–50. http://dx.doi.org/10.1215/00104124-3631597.

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Mahyudi, Johan, Djoko Saryono, Wahyudi Siswanto, and Yuni Pratiwi. "Construction of Visual Features of Indonesian Digital Poetry." International Journal of Linguistics, Literature and Culture 3, no. 5 (2017): 1. http://dx.doi.org/10.21744/ijllc.v3i5.526.

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In short time, Indonesian digital poetry attracts its audience through a series of visualization features of the digital art. This research uses a short segment analysis on Indonesian videography digital poetry to demonstrate the existence of visual conglomeration practices through the creation of objects, features, a feature of space, measuring distance in feature space, and dimension reduction. These five approaches are proposed by Manovich (2014) in grouping millions of visual artworks based on simple criteria. Of the three common objects are found, Indonesian animators, prefer individual

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Shirkey, Cynthia D. "INTERNET RESOURCES: E-poetry: Digital frontiers for an evolving art form." College & Research Libraries News 64, no. 4 (2003): 249–51. http://dx.doi.org/10.5860/crln.64.4.249.

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Kimmelman, Burt. "Code and Substrate: Reconceiving the Actual in Digital Art and Poetry." Humanities 6, no. 3 (2017): 48. http://dx.doi.org/10.3390/h6030048.

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Strehovec, Janez. "The software word: digital poetry as new media-based language art." Digital Creativity 15, no. 3 (2004): 143–58. http://dx.doi.org/10.1080/14626260408520176.

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Van der Elst, J. "De miskenning van Theo van Doesburg; zijn bijdrage tot de ontwikkeling van de konkrete poëzie." Literator 8, no. 1 (1987): 1–15. http://dx.doi.org/10.4102/lit.v8i1.856.

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More literary critics outside Belgium and the Netherlands have written about Theo van Doesburg than from inside these countries. The first important monograph on him appeared in English - Theo van Doesburg - Propagandist and Practitioner of the Avant-Garde, 1909-1923, by Hannah Hedrick. Van Doesburg’s poetry developed in the direction of concrete poetry - the type of poetry in which the spatial, acoustic and visual characteristics of language are maximally utilized towards the creation of the poem. Word as sound and as image is foregrounded in concrete poetry, while the imaging of persons and

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Philipsen, Lotte. "Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics." A Peer-Reviewed Journal About 3, no. 1 (2014): 120–30. http://dx.doi.org/10.7146/aprja.v3i1.116092.

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This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designat

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Rippeon, Andrew. "“lighght” and “covfefe”." Minnesota review 2020, no. 95 (2020): 57–92. http://dx.doi.org/10.1215/00265667-8623742.

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This article brings together print-material histories (from typesetting and typewriting to Twitter) to consider such seemingly disparate textual practices as concrete poetry, Twitter bots, Insta-poetry, and political tweets. With initial attention to Donald Trump’s infamous “covfefe” tweet and Aram Saroyan’s equally notorious “lighght,” this article explores the inscriptive and interpretive contexts and the social and political consequences of these texts. Exploring the poetics of political tweets and the politics of concrete poetry, the article establishes a framework that is neither purely l

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Avulova Nargiza Toxirovna. "Colors and their artistic image creation features." International Journal on Integrated Education 3, no. 10 (2020): 251–54. http://dx.doi.org/10.31149/ijie.v3i10.747.

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Colors have long been used by artists as a means of depicting unique and beautiful landscapes, to ensure the attractiveness of speech, to create an artistic image in poetry. The colors are used in works of art, mainly in lyrical genres, reveals the appearance of inner experiences, emotions, beauty and creative influence. In poetry, such forms of art as allegory, allegory and irony are expressed through colors.Classical and modern Persian-Tajik poets skillfully used the means of color in their work, creating beautiful and unique images through their artistic potential. Nowadays, in Tajik litera

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Taylor, Claire. "Entre "Born Digital" y herencia literaria: el diálogo entre formatos literarios y tecnología digital en la poética electrónica hispanoamericana." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 27 (January 3, 2017): 79. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017271541.

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Este artículo propone analizar la poética electrónica en un contexto latinoamericano y dentro de una tradición literaria hispánica. El artículo parte de la hipótesis de que los nuevos géneros ciberliterarios existen en constante diálogo con una tradición arraigada de experimentación literaria en América Latina: varios de los géneros ciberliterarios emergentes, tales como la poesía-twitter, la novela-hipertexto, o el blog literario, dialogan con movimientos literarios precursores como la poesía concretista, los caligramas, el testimonio, la crónica, y muchos otros. El artículo ofrece un análisi

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Freire, Mela Dávila, and Pamela Sepúlveda Arancibia. "Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)." Art Libraries Journal 37, no. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.

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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well a

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21

Lee, Louisa. "‘A sculpture that has never been seen before’: the Advanced Sculpture Course, group crit and Silâns magazine at St Martin’s College of Art1." Sculpture Journal 30, no. 1 (2021): 71–85. http://dx.doi.org/10.3828/sj.2021.30.1.5.

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Focusing on the magazine Silâns, produced by students and tutors Barry Flanagan, Rudy Leenders and Alistair Jackson on the Advanced Sculpture Course at St Martin’s College of Art between 1964 and 1965, this article explores the magazine as a collaborative space for students and tutors alike. Arguing that while the ‘group crit’ or discussion forum at St Martin’s offered students a verbal platform to describe, defend or critique their work (which increasingly relied on concepts and ideas over formal properties), it was the format of the art school magazine that offered a space for discourse and

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Angello, Aaron. "To Archive or Not to Archive: The Resistant Potential of Digital Poetry." Text Matters, no. 5 (November 17, 2015): 13–27. http://dx.doi.org/10.1515/texmat-2015-0002.

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This essay addresses the much discussed problem of archiving digital poetry. Digital media are labile, and several writers of digital poetry are incorporating the media’s ephemerality into their poetics. Rather than rehash arguments that have been taking place within the field of digital media and digital poetics for years, I turn to the field of contemporary art curation and preservation, a field in which curators and archivists are struggling with the very immediate concerns, ethical and otherwise, related to archiving works that are made from ephemeral media. One particular digital poem tha

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23

Chen, Chih Ho, and Sheng-Min Hsieh. "The Research of Aesthetics of Type as Image in Motion-Targeting Video Poetics at Type Motion: Type as Image in Motion Exhibition in Taiwan." Advances in Social Sciences Research Journal 7, no. 6 (2020): 190–207. http://dx.doi.org/10.14738/assrj.76.8387.

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Characters are signs and symbols that record our thoughts and feelings and allow the documentation of events and history. Later, the appearance of motion images marked a new milestone in the use and application of characters. Not only were the original function of characters improved and enhanced, text that integrate sound and images are also able to communicate much more diverse and abundant information. This technique is commonly found in cinema, television, advertisement, and animation. Thanks to technological advances, the combination of characters, texts, or types and images once again ch

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Hetherington, Paul, and Anita Fitton. "Spectral Resemblances and Elusive Connections: A Practice-led Research Dialogue between Poetry and Digital Imagery." American, British and Canadian Studies Journal 20, no. 1 (2013): 17–38. http://dx.doi.org/10.2478/abcsj-2013-0011.

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Abstract In the early 20th century the function of poetic imagery was given international attention through the Imagist movement in London and, ever since, many poets have self-consciously employed and exploited imagist techniques. At the same time poets and visual artists have frequently explored connections between each other’s works considering, as Art Berman writes, that “the visual can provide direct and even prelinguistic knowledge since the psyche presumably has operations that precede or take logical precedence over […] language” (49). Interart comparisons suggest that poetry and the v

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Borgen, Maibritt. "Fundamental Feedback: Öyvind Fahlström's Kisses Sweeter than Wine." ARTMargins 4, no. 3 (2015): 17–39. http://dx.doi.org/10.1162/artm_a_00121.

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The article analyzes Öyvind Fahlström's (1928–1976) performance Kisses Sweeter Than Wine, which took place as part of the festival 9 Evenings: art&engineering in New York (1966). It situates the performance's use of multimedia material as continuations of earlier investigations into manipulating language that played a central part in the artist's practice of both visual art and concrete poetry. It further argues that in Kisses Sweeter Than Wine such manipulations form a series of ruptures into the wider circulation of mass-media images, ruptures that locate Fahlström's use of media images

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Hirsch, Sara, and Vicky Macleroy. "The art of belonging: exploring the effects on the English classroom when poetry meets multilingual digital storytelling." English in Education 54, no. 1 (2019): 41–57. http://dx.doi.org/10.1080/04250494.2019.1690394.

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Juhasz, Alexandra. "Radical Digital Media Literacy in a Post-Truth Anti-Trump Era." Radical Teacher 111 (July 27, 2018): 23–29. http://dx.doi.org/10.5195/rt.2018.524.

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I have engaged in a series of linked pedagogical experiments—one woman’s pedagogic resistance, aligned with many others through making poetry together, by way of digital media literacy—over the duration of the Trump administration. These have been acts of engaged, enraged intellectual citizenship in three parts: 1. an online digital media primer about fakenews, #100hardtruths-#fakenews, produced over the first 100 days of the administration; 2. nine Fake News Poetry Workshops held over the spring semester of 2018, these making use of that online primer and co-facilitated by poets in different

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Jäger, Gottfried. "Concrete Photography: (In-Between) Light Image and Data Image." Leonardo 51, no. 2 (2018): 146–54. http://dx.doi.org/10.1162/leon_a_01350.

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The author discusses his works of concrete photography contributed to the Peter C. Ruppert Collection, Concrete Art in Europe after 1945, in the Museum im Kulturspeicher Würzburg. He discusses Concrete Photography as a form of nonrepresentational photography in which the medium itself moves away from its classical role of representing the external world to take on a strict self-referential role, in between both traditional light-images and images of the digital world.

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Carter, Richard A. "Tweeting the cosmos: On the bot poetry of The Ephemerides." Convergence: The International Journal of Research into New Media Technologies 26, no. 4 (2019): 990–1006. http://dx.doi.org/10.1177/1354856519837796.

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This article discusses Twitter bots that generate textual outputs for aesthetic effect. It considers in-detail a specific instance, The Ephemerides ( @the_ephemerides ) by Allison Parrish, and presents a critical assessment of how its functional and thematic attributes meditate self-reflexively upon their operational contexts within digital infrastructure. This mode of reading is then presented as having value for analysing generative Twitter bots more widely. The initial balance of this article will concern the broader question of how generative digital writing can be assessed critically, deb

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Wang, Na. "A Teaching Mode for Art Anatomy Based on Digital Virtual Technology." International Journal of Emerging Technologies in Learning (iJET) 13, no. 08 (2018): 225. http://dx.doi.org/10.3991/ijet.v13i08.9053.

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Art anatomy is a morphological science characterized with the use of many terms and descriptions that are difficult to remember. The traditional art anatomy teaching mode pays attention to explanation of theoretical knowledge in the classroom using simple teaching methods, so that the teaching is boring. Consequently, students have low interest in learning, which affects the quality of teaching. With this regard, an Art Anatomy teaching mode was proposed in this study based on digital virtual technology. It uses digital virtual technology to build 3D models and database of art anatomy teaching

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Ritter, Julia M. "Fandom and Punchdrunk’s Sleep No More: Audience Ethnography of Immersive Dance." TDR/The Drama Review 61, no. 4 (2017): 59–77. http://dx.doi.org/10.1162/dram_a_00692.

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Fan blogs devoted to Punchdrunk’s long-running immersive production of Sleep No More reveal the impact of dance and immersion on spectatorship. Positioned as participant observers within the SNM world — with its own rules, codes of behavior, values, social dynamics, and environments — fans channel their postperformance perceptions into visual ethnographies that include poetry, digital painting, illustration, collage, sculpture, and other forms of fan art.

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Onuoha, Onyekachi Peter. "Literary Heredity and Variation in Selected Facebook Poems of Veralyn Chinenye And Her Collaborative Authors." International Journal of Pedagogy, Innovation and New Technologies 5, no. 1 (2018): 58–68. http://dx.doi.org/10.5604/01.3001.0012.2140.

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Facebook has become one of the mediums of creativity and criticism of works of art as a result of the nature of its blended writing. At the “completion” of a composition, Facebook poems maintain a certain degree of the static form, which is a characteristic of print literature. Facebook poetry coalesces the oral and print into a “new” form of poetry and extends the boundaries of oral and print literature. Using Bolter and Grusin concept of Remediation as a theoretical framework, this paper examines literary heredity and variation in selected Facebook poems of Veralyn Chinenye and her collabora

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Hong, Liang, Wenjun Hou, Zonghui Wu, and Huijie Han. "A cooperative crowdsourcing framework for knowledge extraction in digital humanities – cases on Tang poetry." Aslib Journal of Information Management 72, no. 2 (2020): 243–61. http://dx.doi.org/10.1108/ajim-07-2019-0192.

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PurposeThe purpose of this paper is to propose a knowledge extraction framework to extract knowledge, including entities and relationships between them, from unstructured texts in digital humanities (DH).Design/methodology/approachThe proposed cooperative crowdsourcing framework (CCF) uses both human–computer cooperation and crowdsourcing to achieve high-quality and scalable knowledge extraction. CCF integrates active learning with a novel category-based crowdsourcing mechanism to facilitate domain experts labeling and verifying extracted knowledge.FindingsThe case study shows that CCF can eff

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López Gabrielidis, Alejandra, and Toni Navarro. "The Digital Sublime: Orientation Strategies for a Vertiginous World." Temes de Disseny, no. 37 (July 22, 2021): 226–43. http://dx.doi.org/10.46467/tdd37.2021.226-243.

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This article addresses the increasing levels of complexity and abstraction that digital technologies produce, which generate a feeling of amazement nowadays similar to what the philosophy of art and aesthetics deemed the experience of the sublime. Through the idea of the “digital sublime”, we aim to find ways to find direction in this vertiginous world. Our intention is to research the extent to which art and design can function as mediators of scales that translate the digital sublime into concrete images that are more digestible, as well as easy to understand and perceive. We believe this is

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Wisnicki, Adrian S. "DIGITAL VICTORIAN STUDIES TODAY." Victorian Literature and Culture 44, no. 4 (2016): 975–92. http://dx.doi.org/10.1017/s1060150316000322.

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Digital Victorian studies, as thefield might be called, has entered a new generation of endeavor. Of course, many older digital Victorian projects remain online and continue to be important resources for scholars working in a variety of areas. In the pantheon of the older projects we might include: The Victorian Web (Landow; 1987–2012), a long-standing project that presents an array of images and texts linked to the Victorian era as nodes in a complex network; the Rossetti Archive (McGann; 1993–2008), a comprehensive digital collection of Dante Gabriel Rossetti's poetry, prose, and visual art

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Moens, Bart G. "Aesthetic Experience in Virtual Museums: A Postphenomenological Perspective." Studies in Digital Heritage 2, no. 1 (2018): 68–79. http://dx.doi.org/10.14434/sdh.v2i1.24468.

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 This article explores the impact of the digitization of traditional works of art on the aesthetic experience from a philosophical point of view. Presenting and making use of a recent approach in the philosophy of technology, initiated by the American philosopher Don Ihde, called postphenomenology. This hybrid form of phenomenology builds on traditional phenomenology and combines it with a pragmatic approach in order to focus on the mediating roles of technology. Concrete technologies and applications such as screens and virtual museums are the starting point for our examination of the s

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Чигарёва, Евгения. "On the Musicality of Fiction (the Case of Nikolay Leskov's Story “Islanders”)." Музыкальная академия, no. 1(774) (June 24, 2021): 190–97. http://dx.doi.org/10.34690/158.

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Статья посвящена проблеме музыкальности литературы, в частности художественной прозы. Автор, опираясь на работы Е. В. Назайкинского, рассматривает это явление на разных уровнях (фоническом, синтаксическом, композиционном). Ссылаясь на исследование крупного филолога Е. Г. Эткинда «Материя стиха», Чигарёва критически оценивает наличие в музыковедении и литературоведении (стиховедении) общих терминов, имеющих разные значения, - терминов-омонимов. Наиболее продуктивным для аналогий литературы и музыки автор считает ритм - явление, общее для двух видов искусства. В методе анализа конкретных примеро

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Nemchenko, Lilia M. "Theatrical Dialogue in the Digital Age: From Director’s Theatre to the Theatre Onscreen." Changing Societies & Personalities 4, no. 4 (2020): 457. http://dx.doi.org/10.15826/csp.2020.4.4.111.

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Thanks to its inherent nature, theatre has been better able than other artforms to resist the challenges presented by information and digital culture, which are based on the principle of reproduction. Since a theatrical text is created anew each time, an audience can enter into a real-time dialogue with a concrete group of players recreating an authorial concept. This is true even when, as in director’s theatre, a director’s interpretation is performed by different acting companies.Today, however, the hubris of theatre critics and enthusiasts, who value unmediated dialogue as a pre-condition o

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Foster, J. Ashley, Sarah M. Horowitz, and Laurie Allen. "Changing the Subject: Archives, Technology, and Radical Counter-Narratives of Peace." Radical Teacher 105 (July 7, 2016): 11–22. http://dx.doi.org/10.5195/rt.2016.280.

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This article argues that performing the recovery of pacifist art and actions through archival research of the modernist era encourages students to engage in radical ethical inquiry. Based on four sections of a writing class at Haverford College, this article walks the reader through the construction of a student digital humanities and special collections exhibition, Testimonies in Art & Action: Igniting Pacifism in the Face of Total War, which ran from October 6 to December 11, 2015 in Haverford College’s Magill Library. The exhibition placed archival materials in conversation with the maj

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Bomfim, Monalisa Medrado. "Multiálogo e arco tenso: poemas intermídia de Décio Pignatari." Revista Criação & Crítica, no. 28 (December 22, 2020): 169–87. http://dx.doi.org/10.11606/issn.1984-1124.i28p169-187.

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Décio Pignatari (1927-2012) era o mais irreverente do trio de poetas concretos que compunha junto com os irmãos Haroldo e Augusto de Campos. A ousadia de Pignatari está na sátira, mas também no multiálogo das mídias, que ele experimenta por meio de diferentes suportes nos poemas intermídia. O objetivo do trabalho foi trazer a poesia de Décio Pignatari para o campo de análise do suporte de inscrição, sugerindo um diálogo ativo com o contemporâneo digital. Observa-se que existe algum dado tecnomoderno nos poemas intermídia um movimento (1956), hombre hambre hambra (1957) e caviar (1959), que tra

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Kraidy, Marwan M., and Marina R. Krikorian. "The revolutionary public sphere: The case of the Arab uprisings." Communication and the Public 2, no. 2 (2017): 111–19. http://dx.doi.org/10.1177/2057047317717499.

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The popular rebellions that swept Arab countries starting with Tunisia in December 2010 spawned an active sphere of dissenting cultural production. Although media harnessed by revolutionaries include public space, graffiti, street art, puppet shows, poetry, songs, cartoons, digital art, and music videos, many analyses have focused on social media as digital platforms. Social media and mobile telephones introduced a new element to political activism, but the focus on technology provides a partial understanding of activist communication. A more comprehensive picture of dissent in the Arab uprisi

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Gorelov, Oleg S. "Media as a desire in contemporary poetic production." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2020): 62–69. http://dx.doi.org/10.20339/phs.5-20.062.

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The article analyzes the principles of surrealism shown in the modern media environment and contemporary poetry: the discovery or production of the paradoxality of the surrounding reality; the overcoming the binary nature of subject-object relationships (this may concern the boundary between intimate and social); as well as the working with the concept of desire and its specific realizations. With the example of V. Bannikov’s poetic project, options for representing the media as desires are considered. In particular, digital media, like the art world itself, are not sterile, but bodily, emitti

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Yuzmukhametova, L. N., V. R. Amineva, and R. R. Nurmieva. "Genre and Stylistic Search of Vanguard Lyrics." Journal of Educational and Social Research 9, no. 3 (2019): 139–44. http://dx.doi.org/10.2478/jesr-2019-0031.

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Abstract In works of the Tatar poet R. Gatash the leading trends of national historical-literary process of the 1960-1980th were shown. The poet uses within one work mythopoetic language, tracks and an esthetics of “simple” [not stylistic] word which enter among themselves the dialogical relations. In this regard there is a need to consider various options of mutual illumination of different stage languages and the related ways of art completeness on the example of concrete works. The topicality of the conducted research is defined by need of theoretical judgment of the art and esthetic nature

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Panchenko, Daria V. "Visual metaphors as a vector of the poetic text analysis." Literature at School, no. 2, 2020 (2020): 98–108. http://dx.doi.org/10.31862/0130-3414-2020-2-98-108.

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Digital technologies continue to change the modern human’s perception, especially intensively affecting the younger generation. The most serious manifestation of the ongoing processes was the cultural request for effects, not meanings, formed at the turn of the XX–XXI centuries. In this regard, literature as an art that generates and conveys meanings is rapidly losing its relevance and value among young people. However, digital art, a modern computer graphic that fascinates the Internet users and especially adolescents with its emphasized effect, is quite capable of serving literature as a kin

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Drikker, Alexander S., and Eugene A. Makovetsky. "MUSEUM AURA IN A DIGITAL FORMAT." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 49–58. http://dx.doi.org/10.17223/22220836/40/4.

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In conditions of rough social changes and of ICT of development a museum-temple gives way to modern post-museum. Whether the museum-temple era came to end, or its potential can be demanded? In search of the answer, combining the social-analitical view (Benjamin) with a psychological analysis (Vygotsky), we will address a question of aura which traditionally defined emotional influence of museum exposition. Since moment when Benjamin noted that technical reproduction washes away aura, a scales of high-quality reproduction in network environment grew in thousands times and decisively devaluated

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Kuchumova, Galina V. "MODERN POETIC DISCOURSE: THE LINGUISTIC NATURE OF HERMETICISM." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 99–108. http://dx.doi.org/10.17072/2073-6681-2021-1-99-108.

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The paper provides review of the monograph by Ekaterina Evgrashkina The Semiotic Nature of Semantic Uncertainty in Modern Poetic Discourse (based on German and Russian poetry), published in the Russian language as part of the series NEUERE LYRIK. Interkulturelle und interdisziplinäre Studien. Herausgegeben von Henrieke Stahl, Dmitrij Bak, Hermann Korte, Hiroko Masumoto und Stephanie Sandler. BAND 5. Berlin: Peter Lang, Internationaler Verlag der Wissenschaften, 2019. 173 s. ISBN 978- 3-631-78193-7. The monograph deals with the main trends of German and Russian poetry of the last decades. The f

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Gusev, Dmitriy, Elena Zhestkova, Nataliya Kudakova, Ludmila Filippova, and Faina Podshednaya. "PEDAGOGICAL POTENTIAL OF APPLIED CREATIVITY MEANS OF INFORMATION AND COMMUNICATION TECHNOLOGIES IN THE PROCESS OF TEACHING AND INFORMATIVE INTEREST OF YOUNGER SCHOOLCHILDREN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 26, 2017): 93. http://dx.doi.org/10.17770/sie2017vol2.2368.

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At the present stage to find new ways and opportunities for the development of educational - cognitive interest of the student. In the course of this search is rather difficult to overestimate the positive impact of modern information technologies in the development of the child. Digital technology is increasingly penetrating our everyday lives and are a powerful tool for development and training. However, the student is increasingly in a virtual world, and eventually the younger generation lost its national identity. Folk art in our multinational country holds a special place. It reflects the

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Barber, John F. "MATLIT v.5." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 5, no. 1 (2017): 84. http://dx.doi.org/10.14195/2182-8830_5-1_14.

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To demonstrate through listening the aesthetic concept and practices described in my text essay, "Vox Media: Sound, 'under language,' and 'narrative archaeology' in/as Literature" also submitted for this special issue*. Recombining / reconceptualizing sound artifacts promotes broader opportunities for conceptualizing and creating literary artifacts characterized by audibility of text, sound as text and meaning, and heightened awareness of the author's/speaker's voice(s) in the text. Tensions produced by these combinations may help foreground conceptualizations and practices regarding sound-bas

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Carter, Richard. "Waves to Waveforms: Performing the Thresholds of Sensors and Sense-Making in the Anthropocene." Arts 7, no. 4 (2018): 70. http://dx.doi.org/10.3390/arts7040070.

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This paper details the technical and conceptual background for the developing art project Waveform. This project is a creative-critical meditation on the role of digital sensors in monitoring and representing environmental change. It explores the origins and functioning of the global sensory architectures used to detect and assess these changes, deconstructing the connotations of omniscience, abstraction, and control associated with the ‘top-down’, data-driven mappings they generate. In so doing, Waveform enacts a speculative instance of how digital sensors can highlight the ambiguities and te

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Kahn, Douglas. "Prelude to Live Cinema." Journal of Visual Culture 10, no. 2 (2011): 255–65. http://dx.doi.org/10.1177/1470412911402913.

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This article investigates the increasingly prevalent discourse of ‘live cinema’ as the name of a concrete practice and conceptual aspiration within contemporary media aesthetics. The author argues that this oxymoronic conjunction encapsulates certain fundamental questions recurring throughout the history of 20th-century art in its increasingly important intersection with both media technology and performance. Contrasting contemporary digital ‘interfaces’ with classical musical instruments, he asks how traditional forms of embodiment and virtuosity have been transformed within contemporary audi

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