scholarly journals Vladan Radovanovic's "syntheѕic art"

Muzikologija ◽  
2003 ◽  
pp. 141-186 ◽  
Author(s):  
Ivana Jankovic
Keyword(s):  
New Media ◽  
Practical Realization ◽  
Media Arts ◽  
Avant Garde ◽  
Theoretical Approaches ◽  
The Arts ◽  
Artistic Vision ◽  
The Media ◽  
Multi Media ◽  
Work Variations

In the course of his artistic career, which has lasted for more than fifty years now, Vladan Radovanovic (b. Belgrade, 1932) has created works in the domains of electroacoustic music, mixed electronics, metamusic, visual arts artifugal projects, tactile art, literature, drawings of dreams, polymedial and vocovisual projects, as well as art theory. Central to his poetics is the theme of synthesic art. Based on a synthesis of the arts and a fusion of media, the flow of his opus disturbs the limitations of art. His synthesis of media-lines is neither a product of rational decision, nor is it inspired by the works of other artists. Its initial form appears in the mind of the artist as a sensation or a representation that emerges from sleep and dream or from his exploration of the mysteries of his inner being. In an attempt to create a classification of the arts that would suit his understanding of the nature of art, Radovanovic has suggested a basic division into single-media and multi-media arts. Single-media arts include music, poetry and painting, whereas the remaining arts belong to the multi-media group. The latter contains works created by an expansion of mixed forms such as theatre, opera and ballet, but in which the media involved accomplish greater integrity - mixedmedia (for example: happening, fluxus etc) multimedia (opera, film, environment) and intermedia (a term which possesses two meanings: a new media that is in-between media, or a new media in which all the elements are equal and integrated). Radovanovic prefers the second meaning, but he uses the term polymedia for such works. This term is analogous to polyphony, because Radovanovic has aimed to create a polymedia form in which separate media lines would be treated in counterpoint, in order to remain complementary and mutually dependant. In 1957, Radovanovic began to sketch his theoretical thesis, initiated by his concrete artistic output. Although he had distinguished his diverse artistic output according to formal and designative characteristics, later he subordinated his work to the term synthesis art. Synthesic art is, according to Radovanovic, one of the models of multi-medial arts. We have analyzed the works of Vladan Radovanovic, which do indeed belong to the category of synthesic art, on many levels. First of all we tried to locate his opus in the context of Serbian and European art. Radovanovic's avant-garde poetics was born in the context of Serbian art in the second half of the 20th century, which was dominated by 'moderate modernism'. His works did not fit into the existing world of art, and therefore were marginalized and underestimated. Despite his innovative spirit, hunger for novelty, and aim to transcend the materiality of materials, which are all characteristics of high-modern avant-garde poetics, Radovanovic claims autonomy. His latest works do not fit into the current world of art either, because he does not want to place his poetics in the domain of contemporary post-modern poetics and theories. His intentional evasion of fashionable currents is a product of his conscience, which asks that he remain faithful to himself and his inner artistic vision. Another theoretical challenge when addressing the works of this artist was to locate his synthesic art within the larger historical and contemporary manifestations of the total world of art, especially where his works compare with Richard Wagner's Gesamtkunstwerk. Radovanovic believes that his concept of synthesic art is similar to Gesamtkunstwerk, but in no way equal. Therefore, we have examined all the controversies about the usage of the term Gesamtkunstwerk, as well as different theoretical approaches to this concept and its evolution; then, we have analyzed it in terms of the theoretical and practical realization of synthesic art. By formulating in detail his theory of synthesic art, Radovanovic has given us a key for the understanding and analysis of his works of art. For example, we have analyzed several of his earlier multi-media works (Dreams, vocovisual works Desert (Pustolina), Polyaedar, Ball, Change and Vocovisual omages, and polymedia projects Electrovideoaudio, Building of Rooms-Signs, The Great Sounding Tactyzone, Polim 2, Polim 3, video-work Variations for TV) as well as one of his latest synthesic works, Constellations, in order to describe the practical realization of his theory, and to demonstrate how his poetic model is equally precise and flexible. Radovanovic both realizes and recognizes his artistic output and theoretical thought as a united product as they were both created in his synthesic mind.

scholarly journals Auditorijos sampratos paradigmų kaita

2012 ◽  
Vol 61 ◽  
pp. 93-112
Author(s):  
Daiva Siudikienė
Keyword(s):  
New Media ◽  
Cultural History ◽  
Research Area ◽  
Social Philosophy ◽  
Theoretical Background ◽  
Communication Process ◽  
Audience Studies ◽  
Theoretical Approaches ◽  
Wide Range ◽  
The Media

Evoliucionuojant medijoms požiūriai į auditorijas nuolat kito. Auditorijos kaip kolektyvinės medijų pranešimų gavėjos savo esme yra itin dinamiškos ir kintančios struktūros. Kiekviena naujai atsirandanti medija darė įtaką auditorijų kaitos procesams ir skatino mokslininkus iš naujo įvertinti auditorijas formuojančius veiksnius bei persvarstyti jų sampratos aktualumą.Straipsnyje nagrinėjama, kaip kito auditorijų samprata per visą studijų laikotarpį, ir klausiama, kokios auditorijos koncepcijos gyvuoja šiandien, kai iškyla medijų auditorijos, veikiančios daugiakanalėje daugialypės terpės erdvėje.Reikšminiai žodžiai: publikos, minia, masės, auditorijos, masinė auditorija, naujosios medijos, konvergencija, medijų naudotojai, medijų auditorijos.Shifts of the audience’s paradigmsDaiva SiudikienėSummaryThis paper reveals the main theoretical approaches which influence the construction and shifts of the audience’s paradigms. The audience studies developed eventually under the influence of contradictory theoretical perspectives. It was stated that the significant processes had started long before the academic discipline formation, but intellectual discussions on the reflections of the massification processes were significant for developing the theoretical background for further audience studies. Contemplations on such concepts as public, crowd, mass, mass society, mass audience are closely related to the traditions of political theory, social philosophy and cultural history of the late 19th and the 20th centuries. Development of the communication sciences measures more than one hundred years, but the audience as an equivalent participator of the communication process had been recognized only at the end of the 20th century. For a long time, the audiences had been approached as unqualified and unable to evaluate the media production properly. Therefore, the conception of audience as the market dominated throught a couple of decades and formed the research traditions of the audience as a quantitatively measured object. The extent remains the most significant indicator in this research area, but the audience studies have generated much more concepts. Side by side with the citizens audience, there emerged the notions of the interpretive communities and lifestyle audiences. The recognition of the fact that the audience members differ in their socio-cultural and national characteristics, knowledge, experience in the use of media and other aspects, clarification of this notion remain a complicated matter. The most important facet should be the point that the individuals realize their role differently as an audience, but all together they are in the process of creating the cognitive schemes and the collective ideals as a certain united community. The rise of the new media has generated unprecedented processes in the post-modern societies and new notions applied for media users. It was stated that, despite the media explosion and the audience fragmentation, this term remains relevant. The new media environment is recasting the notion of audience for covering a wide range and multifaceted activities of media users. Therefore, the new roles of media users are under consideration. According to the author of this paper, as the most meaningful concepts should be recognized those that indicate the creative potential of the audience.

scholarly journals Engaging Street Youth in an Evaluation of a Community-Based Arts Program

2008 ◽  
Vol 3 (1) ◽  
pp. 43-57
Author(s):  
Robin Wright ◽  
Lindsay John ◽  
Julia Sheel ◽  
David Spinner
Keyword(s):  
Problem Solving ◽  
Team Building ◽  
Street Youth ◽  
Reliable Data ◽  
Community Based ◽  
Problem Solving Skills ◽  
Media Arts ◽  
The Arts ◽  
Arts Programs ◽  
Multi Media

Data from the Edmonton Arts & Youth Feasibility Study (EAYFS) was used to ascertain the feasibility of engaging street youth in a structured community-based arts program and an outcome-based evaluation. The study engaged 23 street youth in a ten-week multi-media arts program focused on developing prosocial communication, team-building, and problem-solving skills. Results have shown that street youth are highly interested in artistic endeavors; will participate to the best of their circumstances; and will provide reliable data. The youth and staff reported improved art skills, problem-solving capacity, and prosocial communication as well as a decrease in drug use, depression, loneliness, and a greater sense of enjoyment about life. Strengths of the program included the arts media, the non-judgmental environment, and the support from staff. The study suggests that community-based arts programs for street youth could be subjected to a rigorous outcome-based evaluation.

Relocating the Literary: In Networks, Knowledge Bases, Global Systems, Material, and Mental Environments

CounterText ◽  
2017 ◽  
Vol 3 (1) ◽  
pp. 47-70
Author(s):  
Joseph Tabbi
Keyword(s):  
New Media ◽  
World Literature ◽  
Knowledge Bases ◽  
Media Ecology ◽  
Costs And Benefits ◽  
Avant Garde ◽  
Literary Forms ◽  
The Media ◽  
Global Systems ◽  
Current Potential

The cosmopolitan ideal of a world literature, only partially and occasionally realised in print, can give us terms with which to measure the costs and benefits of moving scholarly works, and our conversations about works, into present media. This essay takes a measuredly optimistic view of our current potential, as literature moves not simply from print to screen, across national borders, or among avant-garde aesthetics. The defining move, I want to argue, is from bounded forms to the database, whose works, while stable, remain open to linkages with all other literary forms available in any number of interoperable databases. The relocation of works in new media is a shift not in degree, but in kind. As our expectations too shift regarding the means of circulation among minds and media, we are more likely to discern what is really new and really global about writing in the media ecology and cognitive economies we currently inhabit.

scholarly journals Infrastructure studies meet platform studies in the age of Google and Facebook

2016 ◽  
Vol 20 (1) ◽  
pp. 293-310 ◽  
Author(s):  
Jean-Christophe Plantin ◽  
Carl Lagoze ◽  
Paul N Edwards ◽  
Christian Sandvig
Keyword(s):  
New Media ◽  
Digital Media ◽  
Case Studies ◽  
Digital Systems ◽  
Use Case ◽  
The Public ◽  
Theoretical Approaches ◽  
The Media ◽  
Digital Objects ◽  
Infrastructure Studies

Two theoretical approaches have recently emerged to characterize new digital objects of study in the media landscape: infrastructure studies and platform studies. Despite their separate origins and different features, we demonstrate in this article how the cross-articulation of these two perspectives improves our understanding of current digital media. We use case studies of the Open Web, Facebook, and Google to demonstrate that infrastructure studies provides a valuable approach to the evolution of shared, widely accessible systems and services of the type often provided or regulated by governments in the public interest. On the other hand, platform studies captures how communication and expression are both enabled and constrained by new digital systems and new media. In these environments, platform-based services acquire characteristics of infrastructure, while both new and existing infrastructures are built or reorganized on the logic of platforms. We conclude by underlining the potential of this combined framework for future case studies.

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.

scholarly journals The Meaning of the Digital Humanities

PMLA ◽  
2013 ◽  
Vol 128 (2) ◽  
pp. 409-423 ◽  
Author(s):  
Alan Liu
Keyword(s):  
New Media ◽  
Media Studies ◽  
Digital Humanities ◽  
Critical Mass ◽  
Humanities Computing ◽  
Media Arts ◽  
Avant Garde ◽  
Disciplinary Identity ◽  
New Media Studies ◽  
Literature History

This question of disciplinary meaning—which I ask from the viewpoint of the humanities generally—is larger than the question of disciplinary identity now preoccupying “DH” itself, as insiders call it. Having reached a critical mass of participants, publications, conferences, grant competitions, institutionalization (centers, programs, and advertised jobs), and general visibility, the field is vigorously forming an identity. Recent debates about whether the digital humanities are a “big tent” (Jockers and Worthey), “who's in and who's out?” (Ramsay), whether “you have to know how to code [or be a builder]” (Ramsay, “On Building”), the need for “more hack, less yack” (Cecire, “When Digital Humanities”; Koh), and “who you calling untheoretical?” (Bauer) witness a dialectics of inclusion and exclusion not unlike that of past emergent fields. An ethnographer of the field, indeed, might take a page from Claude Lévi-Strauss and chart the current digital humanities as something like a grid of affiliations and differences between neighboring tribes. Exaggerating the differences somewhat, as when a tribe boasts its uniqueness, we can thus say that the digital humanities—much of which affiliates with older humanities disciplines such as literature, history, classics, and the languages; with the remediation of older media such as books and libraries; and ultimately with the value of the old itself (history, archives, the curatorial mission)—are not the tribe of “new media studies,” under the sway of the design, visual, and media arts; Continental theory; cultural criticism; and the avant-garde new. Similarly, despite significant trends toward networked and multimodal work spanning social, visual, aural, and haptic media, much of the digital humanities focuses on documents and texts in a way that distinguishes the field's work from digital research in media studies, communication studies, information studies, and sociology. And the digital humanities are exploring new repertoires of interpretive or expressive “algorithmic criticism” (the “second wave” of the digital humanities proclaimed in “The Digital Humanities Manifesto 2.0” [3]) in a way that makes the field not even its earlier self, “humanities computing,” alleged to have had narrower technical and service-oriented aims. Recently, the digital humanities' limited engagement with identity and social-justice issues has also been seen to be a differentiating trait—for example, by the vibrant #transformDH collective, which worries that the digital humanities (unlike some areas of new media studies) are dominantly not concerned with race, gender, alternative sexualities, or disability.

scholarly journals Punctures in the Periphery. Show-Bix and the Media Conscious Practice of Per Højholt.

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 115
Author(s):  
Morten Søndergaard
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Artistic Practice ◽  
Avant Garde ◽  
Art Scene ◽  
Art Forms ◽  
Visual Artist ◽  
The Media ◽  
Paradigmatic Change ◽  
Definition Of

Around 1967 and onwards, Per Højholt (1923-2004) performs a series of punctures in the periphery of a small and self-conscious avant-garde in Denmark - experiments that combine most of the known art forms and genres in a still more active dialogue with new media and technology.One of the first things Højholt engaged himself in at the time was Show-Bix, which is best described as an artist group consisting of the photographer and visual artist Poul Ib Henriksen, composer Gunner Møller Pedersen, and Per Højholt (at the time described largely as a poet). The group was operative from 1968 and until 1971, a period during which it conducted a series of complex experiments involving an audience as well as a media consciousness which is quite unique in Denmark - perhaps even more so today. In fact, I claim that Show-Bix is the visible proof of a paradigmatic change in Per Højholt's artistic practice, as well as in the overall definition of the contemporary art scene.

Phenomenological Ethics of Contemporary Media Theories

Glimpse ◽  
2021 ◽  
Vol 22 (1) ◽  
pp. 87-94
Author(s):  
Dragan Prole ◽  
Keyword(s):  
New Media ◽  
Social Role ◽  
The State ◽  
Artistic Practice ◽  
Media Technology ◽  
Avant Garde ◽  
The Social ◽  
The Media ◽  
Contemporary Media

This article discusses fundamental contradictions regarding the social role of the new media. Avantgarde identifies the emergence of the new media with the possibilities of liberating the man and achieving true individuality, while dystopia qualifies it as the suffocation of individuality, as ballast that levels out and averages a man, as a threat to human freedom. The media technology is for the avant-garde the embodiment of the enriched self and expanded capacities of selfhood, while for dystopia, the media technology is directed against selfhood, since its effects start and end with the creation of alienation, with the distortion of selfhood directed against the fundamental attributes of humanity. On the contrary, for the avant-garde, the breach of media background awareness of the artistic expression has marked the definite parting with the age of alienated artistic practice. According to their most profound beliefs, staggering in the chains of figurative and narrative expressions, art has always served a different purpose, religion, pedagogy, politics, and ideology. Hence, the turn towards the demands and logic of the self-serving media marked the rise from the state of alienation to the state of true achievement, to the emancipation of artists and the art.

The Eames Office, the Cold War and the Avant-Garde: Making the Lab of Tomorrow

2020 ◽  
Vol 37 (7-8) ◽  
pp. 71-94
Author(s):  
Ryan Bishop
Keyword(s):  
Cold War ◽  
New Media ◽  
World's Fair ◽  
Corporate Sector ◽  
Media Arts ◽  
Avant Garde ◽  
Design Office ◽  
The Us ◽  
The Many ◽  
The Cold War

The design office of Charles and Ray Eames was a collaborative, interdisciplinary, multimedia affair linking Hollywood, the State Department, universities, the corporate sector and international fairs during the height of the Cold War. Bringing together design, furniture, cutting-edge technology and experimental, avant-garde informed-multiscreen projections, the Eames Office operated as a humanities/IT/media/arts lab. For the 1964 World’s Fair, the Eameses created ‘The Information Machine’ for IBM. The techniques of display and experimental juxtaposition of images, sound and new media capacities later migrated to the many ‘happenings’ following in the wake of Allan Kaprow’s medial and performative experiments. The Eames Office crafted for the 1964 World’s Fair a vision of global change and possibility grounded in avant-garde visual techniques and aesthetics that continue to constitute a specific globe crafted by the US Cold War military-industrial-university-entertainment complex that remains the grounds for our current collective nomos.

scholarly journals PMI (Public Media Institution Radio Television of Vojvodina the New Media Organization

2016 ◽  
Vol 6 (1) ◽  
pp. 14
Author(s):  
Sonja Kokotović ◽  
Miodrag Koprivica
Keyword(s):  
New Media ◽  
Corporate Communication ◽  
Corporate Communications ◽  
Media Environment ◽  
The Public ◽  
Social Trends ◽  
Public Media ◽  
Level Of Satisfaction ◽  
The Media ◽  
Multi Media

The basis of the effective functioning of the media along with the changes in the environment is in a constant development of management within the media, and therefore the corporate communication as a basic tool of development. Management JMU RTV broadcasting in the new (multi) media environment should establish a system of effective management of the technical, organizational, as well as innovation in the design and distribution of media content, aiming to find a balance between the needs of the market and the insatiable appetite of the media to the public, changes in technology, media legislation and general social trends. If the organization said that "the organism", then the communication is "bloodstream" of the organism. Corporate communication is a newer discipline which is used in all business segments worldwide. Top management creates, defines and improves corporate reputation through corporate communications and image management that created it. The image of a good and successful organization begins within. The level of satisfaction and motivation of our employees is a measurable and constant process that can be influenced, eg. how often and in which way to communicate with employees, how they transmit important messages and direct them towards achieving business goals.Corporate communication includes all communication and information activities among the members of the organization, it is targeted and oriented according to the success. Because the image of the organization can be understood as the reflection of its identity created corporate communication between different public - internal and external.

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