Augmented Creativity: Using AI Collaborators to Make a Music Video

Music videos are available on more channels, in more formats, and in more countries than ever before. While MTV—the network that introduced music video to most viewers—is moving away from music video programming, other media developments signal the longevity and dynamism of the form. Among these are the proliferation of niche-based cable and satellite channels, the globalization of music video production and programming, and the availability of videos not just on television but also via cell phones, DVDs, enhanced CDs, PDAs, and the Internet. In the context of this transformed media landscape, Medium Cool showcases a new generation of scholarship on music video. Scholars of film, media, and music revisit and revise existing research as they provide historically and theoretically expansive new perspectives on music video as a cultural form. The essays take on a range of topics, including questions of authenticity, the tension between high-art influences and mass-cultural appeal, the prehistory of music video, and the production and dissemination of music videos outside the United States. Among the thirteen essays are a consideration of how the rapper Jay-Z uses music video as the primary site for performing, solidifying, and discarding his various personas; an examination of the recent emergence of indigenous music video production in Papua New Guinea; and an analysis of the cultural issues being negotiated within Finland’s developing music video industry. Contributors explore precursors to contemporary music videos, including 1950s music television programs such as American Bandstand , Elvis’s internationally broadcast 1973 Aloha from Hawaii concert, and different types of short musical films that could be viewed in “musical jukeboxes” of the 1940s and 1960s. Whether theorizing music video in connection to postmodernism or rethinking the relation between sound and the visual image, the essays in Medium Cool reveal music video as rich terrain for further scholarly investigation. Contributors . Roger Beebe, Norma Coates, Kay Dickinson, Cynthia Fuchs, Philip Hayward, Amy Herzog, Antti-Ville Karja, Melissa McCartney, Jason Middleton, Lisa Parks, Kip Pegley, Maureen Turim, Carol Vernallis, Warren Zanes

NOW THAT I have your attention, what on earth does sex have to do with potato chips? Simple answer: sex is often used to sell things. Imagine a television commercial with Britney Spears nibbling a handful of Lay's(r) potato chips. You and I might realize that eating high-fat foods is not synonymous with bodies like Britney's, but many children and youths probably don't. When I first decided to write a column on media literacy, I thought that I would simply be offering a definition, discussing how media literacy could be incorporated into the school curriculum, and suggesting resources that might be useful. After a little research, however, I developed a sense of urgency. needed media literacy 20 years ago, we desperately need it today, and we need to move fast. In the words of UNESCO, We must prepare young people for living in a world of powerful images, words, and sounds.1 If the admonition from UNESCO doesn't convince you of the urgent need for media literacy, consider this from the American Academy of Pediatricians: Matters is a national public education campaign of the American Academy of Pediatrics. It was launched in 1997 to help pediatricians, parents, and children become more aware of the influence that media (television, movies, computer and video games, Internet, advertising, popular music, etc.) have on child and adolescent health. Issues of concern include the use of tobacco, alcohol, and other drugs; aggression and violence; sex and sexual exploitation; obesity and poor nutrition. Matters advocates for media education, or learning how to analyze the media through critical thinking and viewing, as a way to these problems.2 Note the last few words: mitigate these problems. To document its concern, the academy has issued a number of statements that summarize the research and offer specific suggestions on such topics as Adolescents, and Television, Sexuality, Contraception, and the Media, Joint Statement on the of Entertainment Violence on Children, Media Education, Media Violence, Impact of Music Lyrics and Music Videos on Children and Youth, and Adolescents, and Advertising. Here is a short excerpt from the academy's policy statement on music videos. Music video formats are popular among children and adolescents. When music lyrics are illustrated in music videos, their potential impact is magnified. Teenagers who may not or understand rock lyrics cannot avoid the often disturbing images that characterize a growing number of videos. In addition, music videos are self-reinforcing: if viewers hear a song after having seen the video version, they immediately flash back to the visual imagery in the video. Music videos may represent a relatively new art form, but it is one that often contains an excess of sexism, violence, substance abuse, suicides, and inappropriate sexual behavior. With 70% of American households receiving cable television, most teenagers have access to Music Television (MTV) and VH-1 and watch an average of a half hour to two hours of music videos daily. Content analyses indicate that up to 75% of concept music videos (those involving a theme instead of a concert performance) contain sexually suggestive material. More than half contain violence, which often includes acts committed against women. Women are frequently portrayed in a condescending manner. Alcohol and tobacco use are also glamorized in many music videos that teenagers view. As with music lyrics, teenagers' ability to comprehend and interpret music videos may vary widely and may represent an important variable in their potential impact. A handful of experimental studies indicate that music videos may have a significant behavioral impact by desensitizing viewers to violence and by making teenagers more likely to approve of premarital sex. …

The growing global audience of Afrobeats, facilitated by digital technology, streaming platforms, and social media, has transformed cultural productions in Nigeria. One development related to the global mainstreaming of Afrobeats is the proliferation of sophisticated, high-quality Nigerian Afrobeats music videos. These high-quality music videos, partly responsible for the global expansion and popularity of Afrobeats, require expensive filming equipment in high demand for music video productions, even when compared to the production of feature films in Nigeria. Through autoethnography and interviews with Nigerian music video directors, this research sought to interrogate and reflect on the production of these high-quality music videos. I use the media economics theory and technological determinism theory to understand why the Nigerian music video sector continuously produces music videos with such high quality, which is expensive. I argue that the high-production value and visual sophistication of these contemporary music videos are direct outcomes of the digital revolution. By leveraging streaming platforms and social media, the Nigerian music video sector has become an environment that demands—and funds—sophisticated and high-quality music videos as a necessity for global reach. Also, the high demand for Afrobeats globally is associated with the increased quality of productions.

본 논문은 '창의적 과학탐구 방법으로 철학의 비판적 사고가 어떤 기능을 하는지'를 신경학적으로 설명하려는 하나의 가설적 제안이다. 지금까지 창의적 과학연구 방법은 주로 포퍼(Popper), 쿤(Kuhn), 헴펠(Hempel), 라카토슈(Lakatos) 등 과학철학자들이 제안한 과학의 논리적 '탐구과정'과 관련된 가설적 주장들이었다. 그러한 주장들은 어떠한 연구과정 또는 접근법이 창의성을 발휘하게 하는지를 모색하게 한다. 본 연구자는 그러한 탐구 경향 혹은 접근법을 "창의성 과정 접근법(Process Approach of Creativity: PAC)"이라 부르겠다. 그러나 본 연구자의 관점에 따르면, PAC를 모색하는 연구자들은 실질적으로 창의적 이론이 어떻게 도출되는지에 관심을 두지 않는다. 반면에 본 논문은 서양에서 새로운 이론을 창안했던 과학자들의 '철학적 사고 능력'에 초점을 맞춘다. 그들은 과학 연구 이외에도 대부분 철학을 공부한 경험이 있으며, 자신의 학문에 대한 비판적 사고를 할줄 아는 학자들이었다. 본 연구자의 관점에 따르면, 철학의 비판적 사고는 자신이 갖는 (낡은) 과학이론에서 핵심적 기초 개념과 원리에 대한 회의와 의문을 제기하게 하여, 새로운 창의적 이론을 얻게 한다. 본 연구는 이것을 신경철학의 관점에서 설명하려 한다. 신경철학의 창시자인 처칠랜드 부부(Paul and Patricia Churchland)의 "상태공간 표상이론(the state space theory of representation)"의 관점에서 전망해보면, "창의적 이론"이란 새로운 포괄적 설명과 예측을 제공하는 새로운 국소 대응도(topographic maps)의 연결망이다. 그 전망에서, 철학의 비판적 질문의 태도는 낡은 국소대응도 연결망의 오류를 역전파(back-propagation) 또는 피드백(feedback)으로 수정하게 할 것이며, 따라서 새로운 대응도 연결망을 탐색하게 만들 원동력이라고 본 연구자는 가정한다. 이 가정에서, 과학자들은 특별히 비범한 창의성(extraordinary creativity)을 위해 자신의 학문적 기초 가정들을 철학적으로 돌아보는 것이 중요하다. 철학의 비판적 태도는 낡은 기초 가정들의 대응도를 흔들어 과학자들이 새로운 개념체계의 국소 대응도를 형성하도록 해주기 때문이다. 이러한 측면에서 본 연구자는 "창의성 비판적 사고 접근법(Critical Thinking Approach of Creativity: CTAC)"을 제안한다. This study is a proposal, which is the trial to explicate, in neurology, on how critical thinking as a creative method of sciences functions. The creative methods of sciences, even at present, are mostly the hypothetical insistences concerning with the logical processes of researches suggested from the philosophers of science; Popper, Kuhn, Hempel, or Lakatos. These insistences do excavate what process or approach can be scoped out of scientists' creativity. I call the tendency or approach of the researches, "Process Approach of Creativity (PAC)". From my view point, any PAC trial does not concern with how creative theories can actually be invented. On the other hand, this study is focused on the philosophical thinking abilities of scientists who invented new great theories. They mostly had some experiences to study philosophy while studying their science fields, thus had critical thinking abilities on their studies. From my point of view, critical thinking in philosophy raised questions as to their fundamental and basic (old) concepts and principles, and thus gave them new creative theories. I will try to explain this from the point of neurophilosophy. From the perspectives coming from "the state space theory of representation" of Paul & Patricia Churchland, the pioneers of neurophilosphy, the "creative theories" are the networks of topographic maps giving new comprehensive explanations and predictions. From these perspectives, I presuppose that the attitude of critical questioning revises the old networks of maps with back-propagation or feedback, and thus, is the generative power of searching new networks of maps. From the presupposition, I can say, it is important that scientists reflect on the basic premises in their academic branches for issuing out extraordinary creativity. The critical attitude of philosophy can make scientists construct the maps of new conceptual scheme by shaking the maps of the old basic premises. From this context, I am able to propose "Critical Thinking Approach of Creativity (CTAC)".

Music videos (MVs) have become a medium for artists to effectively convey their stories and emotions, especially when animation is used in music video production. Although there are just a few music videos in Malaysia that employ animation to provide artistic creativity. This study aims to identify the key elements that comprise a music video and how animation enhances its visual appeal. To achieve these objectives, a critical examination of the literature is conducted to identify the key characteristics of the visual elements in a music video. Apart from that, there was a case study on an animated music video by Malaysian artist Yonnyboii, titled “Tak Sangka.” Based on an analysis of this video, this study explores how animation can enhance the appearance and character to make them more attractive, emotionally appealing, and offer a more engaging experience for viewers. The conclusions reveal that the use of animation principles in the production of music videos helps create visually appealing and emotionally stimulating content, making the video more memorable. Lastly, the study demonstrates how animation is an excellent asset that can be used to enhance music videos and foster a deeper emotional connection with viewers.

Video is an information delivery media that plays a big role in human life nowadays. The emergence of new media such as the use of applications has further increased the role of video especially in the entertainment industry. The goal of a music video is to present video content visually accompanied by music, which combines sound and visual media. The advantage of music videos is that they are able to attract the audience. Viewers can visually watch video content such as a singer's performance. The impact of music videos on the audience is huge, whether it is following the fashion style and personality of the singer or actor performance in the video. In other words, it can attract the audience to follow popular music culture trends. In Malaysia, music videos are growing rapidly. Many music fans today use music videos as a platform to enjoy entertainment, but in the context of the music video industry, it receives less attention than abroad. However, music videos can contribute a large amount of income to industry players including artists in addition to boosting the country's entertainment industry. Thus, this study aims to examine the importance of music videos and identify the factors that are considered before designing a music video. This study uses data collection methods such as interviews with industry players, especially directors and individuals who have been involved in the entertainment industry. Observation methods on music videos are also done to identify the factors that are considered to produce a good music video. This study is expected to provide knowledge and benefits to entertainment industry researchers, those involved in video production, musicians and music industry activists. suggestions for further research on the next researcher can study how to produce quality music videos that are accepted by the audience.

This research is motivated by the demands of the 21st century which requires students to have skills such as communication, collaboration, critical thinking and problem solving and creativity and innovation. These skills are in the stage of higher order thinking or what we usually call HOTS. Like critical thinking skills, creativity is equally important in learning at school. Therefore, educators can find appropriate learning models to develop the creativity of students. The purpose of this study was to determine the effectiveness of the steps of the HOTS-based Project Learning model and to analyze students' critical thinking skills and creativity through the HOTS-based Project Learning model in learning . The Project Learning model which is a combination of PBL and PjBL is an answer to a model that can be used to develop critical and creative thinking skills of elementary school students. The method used for this research is research and development (Research and Development) . This R&D method is intended to produce a product. The research stages can be detailed as follows: (1) pre-field stage or preparation stage, (2) advanced stage, Development of HOTS-based Project Learning Learning Models, (3) post-field stage where the research team prepares reports. The research activity begins with basic research on the learning model that has been used by teachers at SD Lahan Basah, Banjar Regency, then to the stage of developing the Project Learning learning model which is a solution to stimulate students' critical and creative thinking skills . Based on the results obtained in learning using the Project Learning model, it is concluded that learning using this model can improve students' critical thinking skills and creativity in learning, the average student also shows an increase and achieves N gain in the high category. The results of the research will be followed up in the form of scientific publications which are implemented in community service programs and further research and research outputs include publications in reputable international journals.

An explosion of creative practices in music, film and video production followed the liberalization of the Tanzanian media in the early 1990s. Concerned about cultural imperialism, Tanzania's first president Julius Nyerere had resisted allowing television in mainland Tanzania and consequently the first licence was only granted in 1994. Following the establishment of the first TV station there has been a proliferation of TV station and online platforms circulating the new genre of popular music videos. During the last decade, new media spaces, including continent-wide TV channels such as Channel O and MTV Africa (both based in South Africa), have created new circuits for the circulation of Tanzanian music videos. New media spaces enabled by liberalization have become sites for negotiating gendered, moral and sociopolitical value. They also serve as imaginative sites of desire and fantasy. Music videos set in the cinematic space of Dar es Salaam's new high-rise buildings and 'exclusive' clubs have become something of a trope in Tanzania. These videos display fantasies of enjoyment and consumption. In so doing, they reflect neo-liberal and individual modes of wealth accumulation which challenge accepted social norms about consumption and wealth. Examining these new contemporary cinematic representations of the city as spaces of fantasy and desire, this article will explore the modes of spectatorship audiences bring to these videos. It will examine how audiences, largely excluded from these exclusive city spaces of consumption and excess, read cityscapes in music videos. This article ultimately sets out the multiplicity, ambiguity and indeterminacy of the desires (both creative and destructive) evoked in audiences by contemporary music video.

Kris P. (formerly Puszkiewicz) Taylor moved to New York from London in 1980. She was working at Island Records in the Publicity and Artist Development department when MTV was launched in 1981. The department quickly expanded to include Music Videos and she was soon promoted to Director of Music Video Promotion and Production. She left in 1985 to work as Executive Producer at Zbig Vision in New York after commissioning Zbigniew Rybczyński’s first music video, the MTV-award-winning Close to the Edit (1985) by Art of Noise. After successfully working together on fourteen videos over two years Kris moved briefly to work at MCA Records in Los Angeles and then in 1988 became Director of Music Video Production at Columbia Records (West Coast), working with artists such as Bob Dylan, The Rolling Stones, Michael Bolton, The Bangles, Alice In Chains, Billy Joel, Carlos Santana and Mariah Carey. In all she commissioned or was involved in the production of over three hundred music videos.

Media are teaching resources that help teachers transmit messages and learning material to students effectively and efficiently. Music video making is one example of how educational media is used in anatomy training. The aim of this article is to elaborate the stages of hand music video development. The three main stages of film and video production are pre-production, production, and postproduction. Identifying the type of music video, script writing, song composition, music and vocal recording, and storyboard production are all parts of the pre-production stage. Shooting and selecting the music video’s mood, with a few adjustments, are part of the production stage. Finally, editing is included in the post-production stage. Hand music videos were found to aid in the teaching of anatomy, with the music video containing visual, auditory, and kinaesthetic elements. Therefore, music videos can be used as an alternative teaching approach, particularly in difficult subject areas that demand extensive memorisation.

Music video emerged as the object of academic writing shortly after the introduction in the United States of MTV (Music Television) in 1981. From the beginning, music video was claimed as the focus of academic study by different disciplines or subfields, leading to evident tensions and territorial disputes in early scholarship. For television scholars in the 1980s, music television networks (such as MTV) were seen to confirm the sense that television, with its fragmentary forms and repetitive structures, was the quintessentially postmodern medium. Scholars of popular music, less drawn to claims about music video’s postmodern character, were more concerned with the fate of music within a cultural form that bound it to moving images. This emphasis on image, some argued, threatened the autonomy of music and facilitated its commodification and co-optation. As academic writing on music video developed in the 1980s and 1990s, it followed a range of directions corresponding to different disciplines and specializations. Scholars of media economics and institutions studied the ways in which music video production had come to be integrated within the functioning of the music industries. At the same time, and amid widespread public outcry over the sexual and violent content of music video, numerous studies examined the treatment of women or racial minorities within music videos. Some of this work was interpretive or qualitative in character, drawing on the increasingly popular methodologies and political impulses of cultural studies, which spread across the humanities during this period. Other academic studies of music video content were quantitative, involving content analyses of selected samples of music videos or statistical measurements of the responses of viewers to particular kinds of content in controlled situations. As the novelty of music videos declined in the late 1990s and their distribution came to favor the Internet more than specialty television networks, the popularity of music video as a distinct object of study likewise seemed diminished. This decline in the influence or novelty of music video networks was hastened as well by the move of networks such as MTV toward “long-form” programming (such as reality programs or documentary series), which reduced the time devoted to video clips. Within scholarship on music video, the most notable trend since 2000 has been to situate music videos within broader contexts involving the audiovisual treatment of music and the changing nature of music video in the digital era. A range of works have placed music videos within a broader history of encounters between music and audiovisual entertainment media such as cinema or television. Among the most important of these studies have been those that study the audiovisual media systems outside the Western world, most notably in different regions of Asia. The studies of music video in the digital age have explored the many formal and institutional changes that have occurred following the transition of music video from television to online distribution, from MTV to YouTube.

SUMMARY Sexual content in music videos has long been the focus of attention within communication research, although few communication scholars have illuminated the relationship between sex in a music video, viewer enjoyment, and actual product purchase intention. This article examines the presence of sexual content in music videos as well as the relationship between sexual content and enjoyment. The paper challenges scholars from communication, advertising, and marketing to establish links among their disciplines to develop a thorough understanding of how sex in music videos may increase liking of a video and subsequent purchase intention.

Since the nascent stage of French hip-hop music, Gangsta-style rappers have emphasised their toughness and hypermasculinity by producing videos in disenfranchised areas in France. These types of self-characterisations in French rap play a vital role in reinforcing an artist’s reputational strength and are a method for establishing their personally styled brand. The interplay that connects a community with hip-hop constitutes two essential frameworks that shape and facilitate the Alpha Male viewpoint of many global rap artists. In recent years, several of the most popular French hardcore rappers are abandoning their longstanding rubric of filming in socio-economically challenged areas of France by travelling to locations overseas where they can create new narratives of auto-fortitude. By choosing to produce videos in faraway global locales, French hip-hop artists are realising the visual power that these foreign locations enable them in terms of re-branding their reputations. This is particularly true when rap consumers can associate or stereotype certain international locations with crime and deviance. In this sense, Brazil and Colombia have become favoured destinations for the production of music videos. Videoclips filmed in these two countries feature thematic cynosures of vice where rappers can position themselves as kingpins. These presentations are intentionally produced in zones that viewers might recognise from newsclips, programmes, or popular films. Socio-economically challenged places like the comunas of Medellín and Rio de Janeiro’s favelas give French hip-hop artists new stylistic techniques to bolster their self-narratives. This enables them to exude toughness in manners not available to them at home, such as cosplaying real-life gangsters and flaunting firearms in videos. This study deconstructs hypermasculine demonstrations as exhibited in several commercially popular music French hip-hop videos that were produced in Brazil and Colombia by examining the reasonings and contrasts of these narratives. For the hardcore rappers who produce content overseas, the choice to create videoclips in disenfranchised areas in those countries is fully intentional. The more an artist embraces a stereotypically provocative visual image with which viewers can identity based on these locations, the more fortuitous they seem, even when these same filmic destinations are negatively fetishised or misrepresented in the process. As hypermasculinity and male posturing continue to be an important components in hip-hop, it is likely that rappers from France will increasingly choose global locations where they will have the ability to bolster their self-narratives of virility in outrageously fictitious manners.

RETRACTED: Steal like an artist: Connection between critical thinking and creativity of a future musician in a digital environment

Music has always been a significant part of life. This is probably the reason why humanity has invented and innovated ways of how music could always be present wherever and whenever it wants to be heard. In the Philippines one of the most underrated music genres is the country music produced in the local regions. One of the regions that produce this kind of music is the Cordillera Administrative Region which is also one of the most dominated regions during the American colonization period in the Philippines. It is located at the northern part of Luzon, and is known as the home of the Igorots, or the “people from the mountains”. Due to the colonial influence, the CAR, including the local songs and music videos produced in this region were seen as highly influenced by the American cowboy culture. The production and consumption of this music and these music videos are representations of the Cordilleran or Igorot’s representation and portrayal of the way they view their culture, society, and selves. The main focus of this research is the way the Igorot perceive the female body. The music videos were analyzed through their lyrics, mise-en-scene, the roles given to women, and the interrelation of these three elements within the representation process. Through the lens of Laura Mulvey’s Male Gaze Theory, it was seen that the portrayal of female body in the music videos was objectified by both voyeuristic and fetishistic gaze. This study also claims that the ideologies of the people working behind the production of the music videos affect the domestication of women in the Cordillera. Keywords: female body, indigenous people, male gaze