scholarly journals A Study on the Movement Production Method of Media-art with Immaterial Objects; Focusing on Media Art Practices

2016 ◽  
Vol 19 (3) ◽  
pp. 673-679
Author(s):  
Sangguk Lim ◽  
Cheeyong Kim
Keyword(s):  
Production Method ◽  
Media Art ◽  
Art Practices

Materiality of visuality. About relationships and transformations of visuality and politics

2020 ◽  
Vol 32 (4) ◽  
Author(s):  
Maria Lompe ◽  
Cezary Wicher
Keyword(s):  
Manufacturing Process ◽  
New Materialism ◽  
Media Art ◽  
Discursive Practices ◽  
Art Practices ◽  
Political Statement ◽  
Climate Crisis ◽  
Final Effect

In the hazy anthropocene era, which M. Chaberski (2019) understood as a serious epistemological crisis, even wider than the climate crisis, visuality plays a very important role -it becomes a vector for visibility and invisibility of discursive and non-discursive practices. The spirit of new materialism has developed a number of concepts, which emphasized non-linguistic ways of shaping meanings and interpretations of reality, and at the same time appreciated non-humans agencies. The article is constructed around the thesis “visual is material,” because in the end every representation refers to the materials, on which our world is build. We can treat this thesis as a political statement, following J. Ranciere observations, that the thought is material (2007). We would like to analyze the significance of materiality by taking a look at media art practices. We can sink into the thicket of connections between materials and track the journey of things, not focusing on the final effect (manufactured item), but rather on manufacturing process (Ingold 2019; Deleuze, Guattari 2015).

From Vertical Roll to .MOV File

2020 ◽  
Vol 47 (3) ◽  
pp. 22-42
Author(s):  
Annie Dell'Aria
Keyword(s):  
Single Channel ◽  
Video Art ◽  
Media Art ◽  
Video Installation ◽  
Cultural Engagement ◽  
Screen Media ◽  
Art Practices ◽  
History Of ◽  
Contemporary Media ◽  
Bruce Nauman

In this article, I examine artworks from two periods in the history of media art—the 1970s and the 2010s—to demonstrate how changes in our haptic relationship to screen media shift the site of criticality in contemporary media art from disruption of electronic feedback toward an intensification and embrace of image flows that actively seek the viewer's touch and gesture. I situate video art within the shifting concept of flow in everyday media consumption, reading video art practices within a larger matrix of bodily and cultural engagement with screens. I locate touch and gesture as both themes in the content of single-channel works and components of the structure of video installation. Artists discussed include Camille Henrot, Joan Jonas, Rafael Lozano-Hemmer, Bruce Nauman, and Hito Steyerl. My analysis bridges media theory and art history with close readings of salient works of art, connecting the structure of artworks employing haptic input to shifts in the broader media ecology and the dynamic interplay of touch, image, and power under our fingertips.

scholarly journals Earth Forces: Contemporary Land Arts, Technology and New Materialist Aesthetics

2015 ◽  
Vol 21 (2) ◽  
Author(s):  
Jussi Parikka
Keyword(s):  
The Body ◽  
Land Art ◽  
Media Art ◽  
Robert Smithson ◽  
Art Practices ◽  
David Gauthier ◽  
Contemporary Artists

This article addresses recent art projects that are discussed under the notion of new materialist aesthetics. This term is used to elaborate connections between these projects and their methods and recent discussions of the nonhuman and posthuman philosophy.  The article also elaborates some positions in technological or 'media art' practices that work on hardware and infrastructure but also on the geophysical underpinnings of media. It expands on more geocentric perspectives in art and aesthetics through connecting a range of such projects by a contemporary artists including Martin Howse, Jonathan Kemp, Ryan Jordan, Terike Haapoja, Jamie Allen and David Gauthier to the body of land art (as represented by Robert Smithson) and current new materialist discussions.

Audiovisual Materialism

2020 ◽  
Vol 25 (3) ◽  
pp. 362-371
Author(s):  
Mo H. Zareei
Keyword(s):  
Creative Work ◽  
Media Art ◽  
Art Exhibitions ◽  
Music Festivals ◽  
Art Practices

This article looks at the emergence of physical material in a growing number of contemporary sound-based art practices. From academic symposia to music festivals and media art exhibitions, the material presence of physical artefacts is notable in a variety of sound-based disciplines and scenarios. Considering the significance of the visual aspect of these works, this article proposes a reassessment of what audiovisual entails. I argue that our understanding of audiovisual status needs to be expanded beyond the scope of screen-based applications and move into the physical realm of objects and material. Further to this, I outline how the dominant discussions around materiality in sound-based art do not speak sufficiently to the physical materiality manifested in a growing wave within the field. Using an example of my own creative work, I will then suggest audiovisual materialism as an alternative lens through which such practices can be better examined, understood and built upon.

scholarly journals Media art practices as factors for creating creative spaces

2019 ◽  
Vol 0 (19) ◽  
pp. 202-207
Author(s):  
Олександра Халепа
Keyword(s):  
Media Art ◽  
Art Practices

scholarly journals Audiovisual practices of new media and their communicative nature

2021 ◽  
Author(s):  
Anastasiia Tormakhova
Keyword(s):  
New Media ◽  
Comparative Approach ◽  
Media Art ◽  
Common Features ◽  
Software Applications ◽  
The Arts ◽  
Wide Range ◽  
Art Practices ◽  
Digital Objects ◽  
Basic Characteristics

The purpose of the article is to analyze the specifics of audiovisual practices of new media and reveal their communicative nature. The methodology of the work is to involve an analytical approach to highlight the features of new media and their components. A comparative approach was used to highlight the features of audiovisual practices and media art. Scientific Novelty. The specifics of audiovisual practices of new media, which are characterized by interactivity, are revealed. Their role in communication through audiovisual content is emphasized. Simplifying the mechanisms for creating an audiovisual product in software applications makes it easy to distribute messages. In contrast to media art, which has a clear aesthetic function, in audiovisual practices prevail communicatively. Conclusions. New media occupy a significant place in the modern cultural space. A wide range of phenomena that can be attributed to new media is characterized by certain common features. These include their communicative nature and existence on the Internet. Audiovisual practices of new media are extremely diverse. They include both media art and practices that contain an aesthetic component but cannot be fully attributed to the arts. The art practices of new media are evolving through a combination of birth digital and became digital objects. Communication and interactivity are the basic characteristics of new media audiovisual practices.

scholarly journals Forking Paths in New Media Art Practices: Investigating Remix

Media-N ◽  
2021 ◽  
Vol 17 (1) ◽  
Author(s):  
Xtine Burrough ◽  
Owen Gallagher ◽  
Eduardo Navas
Keyword(s):  
New Media ◽  
Short Story ◽  
Emerging Technology ◽  
Digital Art ◽  
Media Culture ◽  
Media Art ◽  
Special Issue ◽  
New Media Art ◽  
Art Practices ◽  
Point Of Reference

This special issue of Media-N on contemporary approaches to remix was inspired by Jorge Luis Borges’s short story, “The Garden of Forking Paths,” a recurring point of reference in the development of media culture. Prior to terms such as new media, digital art, media art, and remix, Borges’s narrative exploration of bifurcation as a means of reflecting on the possibility of multiple simultaneous realities with no clear beginning or end has offered a literary and philosophical model for creative uses of emerging technology throughout the twentieth century. The essays included in this special issue provide a glimpse into the relation of Borgesian multiplicity and remix as an interdisciplinary methodology. 

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