scholarly journals Exploring the Factors of Cooperation between Artists and Technologists in Creating New Media Art Works: Based on AHP

2020 ◽  
Vol 12 (19) ◽  
pp. 8049
Author(s):  
Min Li ◽  
Tsung-Chih Hsiao ◽  
Chih-Cheng Chen
Keyword(s):  
New Media ◽  
Media Art ◽  
New Media Art ◽  
Expert Opinions ◽  
Art And Technology ◽  
Art Form ◽  
Art Works ◽  
Collaboration Process ◽  
Influence Degree ◽  
Hierarchy Process

The deeper the combination of art and technology, the more extensive the cooperation between artists and technologists. In many cases, the creation of New Media Art requires the cooperation of artists and technologists. However, since New Media Art is an emerging art form, the process of cocreating New Media Art between the two is at the exploration stage. Especially in areas with underdeveloped New Media Art and underdeveloped technology, there exist many problems in the cooperation between the two, such as a lack of complete understanding of the factors involved in the cooperation process and a lack of reasonable planning for the cooperation process. Therefore, this study analyzes the factors that affect the collaboration process between the two creating New Media Art. Common factors are collected from the literature and then added or deleted after expert opinions. Then, analytical hierarchy process (AHP) method is applied to get the weight of each factor and understand the influence degree of the factor. The research results show that there are relatively fixed factors influencing the collaboration process between artists and technologists in creating New Media Art, and various factors have different degrees of influence on cooperation. Therefore, in the process of cooperation between the two parties, more emphasis should be placed on the factors of cooperation, which makes the cooperation more scientific.

Art and Design Criticism in Art Production and Instruction

2014 ◽  
pp. 99-120
Keyword(s):  
New Media ◽  
Information Technologies ◽  
Art Criticism ◽  
Portable Devices ◽  
Media Art ◽  
New Media Art ◽  
Teaching Objectives ◽  
Art Works ◽  
Web Social ◽  
Part Model

This chapter examines some of the changes in views about art, criticism of art works, and art-related teaching objectives, as they evolve with the developments in the new media art, works created through the Web, social networking, art created on portable devices, as well as information technologies. First, this chapter examines the changing meaning of the aesthetics notion in mathematics, science, information art, and information technology, as well as changes in the views about instruction in art criticism. Examination of these approaches is then contrasted with the models adopted in education. The four-part model used in instructional design, based on audience, outcome, environment, and usability, is adapted to suit the needs of art criticism. Materials based on a literature review provide the rationale for a four-part model to facilitate art critique. The next part is about the changing dimensions of criticism in the new media art and product design in respect to the product semantics analysis.

scholarly journals New Media Art: Aligning Artistic Creativity And Technological Media

2021 ◽  
Vol 22 (1) ◽  
pp. 206-216
Author(s):  
Cătălin Soreanu
Keyword(s):  
New Media ◽  
The Internet ◽  
Media Art ◽  
Technological Environment ◽  
New Media Art ◽  
Technological Culture ◽  
Art And Technology ◽  
Internet Art ◽  
The Media ◽  
The Relationship

Abstract This article investigates the relationship between art and technology, pointing the constants of a process of cultural digestion which is mediated by the very sovereign technological environment – the Internet. Relying on the multiplicity and hybridization of the content formats, and also on the user involved interactivity as constructive vector-relationships, new media art and the internet art are natural consequences of the artistic practices of creative appropriation of contemporary technological media. As the complexity of the relationship between art and the technological environment becomes richer than ever, we assist to the creation of a contemporary ultra-technological culture, structurally dependent on the media and responsible for relativizing the critical positioning of the art consumer. Defining the premises of the interaction with a technologically interfaced world of art, the user (reader) of the Internet as a medium of expression is – equally – a consumer, and a producer of information (content).

scholarly journals Experimental and Creative Approaches to Collecting and Distributing New Media Art within Regional Arts Organisations

Arts ◽  
2019 ◽  
Vol 8 (3) ◽  
pp. 85
Author(s):  
Georgia Smithson
Keyword(s):  
New Media ◽  
Future Generations ◽  
Media Art ◽  
Collections Management ◽  
Art Galleries ◽  
New Media Art ◽  
Art Form ◽  
Uncertain Future ◽  
Management Approaches ◽  
The 1960S

This article is an overview of preliminary research undertaken for the creation of a framework for collecting and distributing new media art within regional art galleries in the U.K. From the 1960s, artists have experimented using computers and software as production tools to create artworks ranging from static, algorithmic drawings on paper to installations with complex, interactive and process-oriented behaviours. The art-form has evolved into multiple strands of production, presentation and distribution. But are we, as collectors, researchers, artists and enthusiasts facing an uncertain future concerning the integration of new media art into institutional cultural organisations? Recently, concerns have been raised by curators regarding the importance of learning how to collect new media art if there is to be any hope of preserving the artworks as well as their histories. Traditional collections management approaches must evolve to take into account the variable characteristics of new media artworks. As I will discuss in this article, although regarded as a barrier to collecting new media artworks, artists and curators at individual institutions have recently taken steps to tackle curatorial and collections management activities concerning the often unpredictable and unstable behaviours of new media artworks by collaboration and experimentation. This method has proved successful with some mainstream, university and municipal galleries prior to acquiring or commissioning new artworks into their collections. This paper purports that by collaboration, experimentation and the sharing of knowledge and resources, these concerns may be conquered to preserve and make new media art accessible for future generations to enjoy and not to lament over its disappearance.

Beyond the cinematic: Reinventing Chinese martial arts through new media art practices

2019 ◽  
Vol 6 (2) ◽  
pp. 367-391
Author(s):  
Wayne Wong
Keyword(s):  
New Media ◽  
Martial Arts ◽  
Media Art ◽  
Kung Fu ◽  
New Media Art ◽  
Martial Art ◽  
Art Form ◽  
Art Practices ◽  
The 1960S ◽  
Martial Arts Cinema

Abstract This article argues that the reinvention of Chinese martial arts through new media art practices reveals new aesthetic potentialities not readily available in the conventional cinematic medium. While martial arts cinema has captivated the global audience with visual and visceral excitements, most notably through the new-style wuxia films of the 1960s and the kung fu craze of the 1970s, it focuses on representational strategies characteristic of imaginative irreversibility and passive immersivity. The former refers to the rigid segregation of reality and fantasy that discourages the possibility of reversal, whereas the latter describes the immersive wuxia and kung fu spectacles as a disembodied experience, contrary to the core of martial arts learning and practice. To address the above issues, martial arts-inspired new media artworks, such as susuan pui san lok's RoCH Fans & Legends (2015) and Jeffery Shaw, Sarah Kenderdine and Hing Chao's Lingnan Hung Kuen Across the Century (2017), look for alternative approaches to represent martial arts imaginations for the goals of preserving an intangible cultural heritage and promoting an intellectual reflexivity. In so doing, not only do the new media artworks help to reposition Chinese martial arts as an everyday art form via conventional art spaces worldwide through the transnational and transregional flow of cinema, but they also establish the subtle connection between traditional martial art and contemporary art in the context of globalization.

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