scholarly journals Old and New Media: On the Construction of Media History

2018 ◽  
pp. 375-406
Author(s):  
Christer Johansson ◽  
Keyword(s):  
New Media ◽  
Media History

scholarly journals Creative Tools: How Education and Arts Connect?

Proceedings ◽  
2018 ◽  
Vol 2 (21) ◽  
pp. 1338
Author(s):  
Ana Catarina Pereira
Keyword(s):  
New Media ◽  
Evaluation Criteria ◽  
Media History ◽  
Cultural Education ◽  
University Professors ◽  
College Professor ◽  
Good College ◽  
Development Of Students

It is a question with which surely many university professors debate: what turns a Cinema professor into a good College Professor? Obliterating the subjectivity of the adjectivation, I believe that this is the ultimate goal of every academic or professional who has embraced the career of specialized art and cultural education. Nevertheless, the undefinition or constant debate around concepts such as Art, New Media, History, Canon, Experimentalism, Utopia or even Freedom, often associated with film schools, raise the question. How to properly define the programs of the curricular units? How to establish evaluation criteria? How to meet the expectations of a whole faculty that considers an immense variety of issues fundamental for the knowledge and development of students of the first degree in universities?

Dead media: Obsolescence and redundancy in media history

First Monday ◽  
2013 ◽  
Author(s):  
Tara Brabazon
Keyword(s):  
Cultural Studies ◽  
New Media ◽  
Media History ◽  
Bruce Sterling

Adjectives attend the new: fresh, clean, exciting, dynamic, innovative and productive. Oppositional binaries cling to the old: tired, worn, redundant, sick, slow and useless. While anti-discrimination policies can address these connotations when applied to people, the consequences of such ideologies on ‘old media’ are under-researched. While media and cultural studies departments teach ‘New Media’ courses, ‘Old Media’ courses remain invisible and unpopular. This article extends these adjectives and narratives by following a challenge Bruce Sterling posed to researchers: to understand ‘Dead Media.’ I explore the origins of this term and how and why an interest in Dead Media has – in itself – died.

Digital Art and Experimental Color Systems at Bell Laboratories, 1965–1984: Restoring Interdisciplinary Innovations to Media History

Leonardo ◽  
2010 ◽  
Vol 43 (1) ◽  
pp. 53-58 ◽  
Author(s):  
Carolyn L. Kane
Keyword(s):  
New Media ◽  
Media History ◽  
Digital Art ◽  
Computing Technology ◽  
Media Arts ◽  
The Public ◽  
Experimental Art ◽  
Time Period ◽  
History Of ◽  
The Media

AT&T's Bell Laboratories produced a prolific number of innovative digital art and experimental color systems between 1965 and 1984. However, due to repressive regulation, this work was hidden from the public. Almost two decades later, when Bell lifted its restrictions on creative work not related to telephone technologies, the atmosphere had changed so dramatically that despite a relaxation of regulation, cutting-edge projects were abandoned. This paper discusses the struggles encountered in interdisciplinary collaborations and the challenge to use new media computing technology to make experimental art at Bell Labs during this unique time period, now largely lost to the history of the media arts.

Lesbian Cinephilia and Digital Affordances

2021 ◽  
pp. 72-90
Author(s):  
Patricia White
Keyword(s):  
New Media ◽  
Media History ◽  
Film Adaptation ◽  
The Internet ◽  
Queer Women ◽  
Media Technologies ◽  
Hollywood Films ◽  
Digital Era ◽  
Todd Haynes ◽  
Classical Hollywood

This chapter revisits critical work on the challenges and promises of lesbian cinema spectatorship in light of new media technologies that allow for citation of audiovisual images. Analog videos made by lesbians in the 1990s about the homoerotic pleasures of watching classical Hollywood films are compared with contemporary queer fan videos and community practices on the internet as well as with scholarly video essays. Close readings of these works speculate on the connections between the datedness of cinema as a medium in the digital era and uneasiness with the connotations of the term lesbian on the part of contemporary queer women. Carol, the 2016 film adaptation, by Phyllis Nagy and Todd Haynes, of the 1950s lesbian romance by Patricia Highsmith is an example of a work that appeals to contemporary viewers by engaging both lesbian and media history.

“TO LOOK LIKE AN (EARTH) SCIENTIST”: SCIENCE POPULARIZATION AND PROFESSIONALIZATION BASED ON THE EXAMPLE OF A PHOTO ALBUM DEDICATED TO THE VIENNESE GEOLOGIST EDUARD SUESS (1901)

2020 ◽  
Vol 39 (2) ◽  
pp. 336-362
Author(s):  
JOHANNES MATTES
Keyword(s):  
New Media ◽  
Media History ◽  
Theoretical Concepts ◽  
The Public ◽  
Discipline Formation ◽  
Photo Album ◽  
Scientific Disciplines ◽  
Science Popularization ◽  
History Of ◽  
The University

ABSTRACT Self-visualizations and portraits of scholars play a crucial role for the identity and understanding of scientific disciplines. According to sociological thoughts on visualization, reproduction and modern governance, the new media of photography policed and controlled specific ways of self-imaging, defining and behaving as a scientist. In addition, photography can also be understood as a powerful tool for scholarly self-profiling, image cultivation and the promotion of science to the public. An impressive example of the visual representation of scholarship is a richly decorated photo album dedicated to the geologist Eduard Suess (1831–1914) on the occasion of his 70th birthday and retirement as a professor from the University of Vienna in 1901. As a collection of 332 photos of his students, colleagues and other earth scientists, the album served as a personal gift to Suess, but also as a visualization of how scholarly collaboration, hierarchy and the interdependence between students and academic teachers were practiced. Linking Suess’ photo album to theoretical concepts on scientific self-depiction and media history, the paper examines how rhetorics of display may be invoked and challenged in the context of professionalization, discipline formation and science popularization, and suggests renewed analytical attention to the role of portrait imagery in the history of science.

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