Audiovisual Art Research Articles

The International Dark Matter Day in Argentina

The International Dark Matter Day is celebrated worldwide on October 31 every year since 2017. In Argentina, it was organised for the first time in 2019 in an outreach effort coordinated by the ANDES deep underground laboratory. In 2019, we started a call for art students to propose an audiovisual piece on Dark Matter, asked about whether basic science was important for Argentina and coordinated the projection of the full dome “Phantom of the Universe” video in 4 digital planetariums in Argentina. In 2020, with no possibility of public event due to the pandemic, we repeated the audiovisual art call and organised a call for drawings and questions about Dark Matter for kids, reaching kids from Brazil and Mexico in addition to Argentina, among other activities. We describe here some of the answers obtained to the calls and how these answers can be used to understand better the preconceptions permeating society and therefore communicate better abstract topics such as Dark Matter.

Audiovisual practices of new media and their communicative nature

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.

Culture meets immersive environments: a new media landscape across Europe

The traditional media landscape is in the middle of a monumental shift: the new prosumer profile, the need for faster and more efficient communication, and the search for more user-driven and accessible multimedia experiences. New technologies (and more specifically, immersive environments) can provide great opportunities in the entertainment sector, and also in communication, learning, arts and culture. These technologies are gaining popularity due to the COVID-19 crisis as they enable interactive, hyper-personalised and engaging experiences anytime and anywhere. The EU-funded projects TRACTION (870610) and MEDIAVERSE (957252) are embracing new technologies in order to establish an effective participatory production workflow and are exploring novel audio-visual art representation formats. TRACTION will provide a bridge between opera professionals and specific communities at risk of exclusion based on trials, understood as experimental attempts at fostering an effective community dialogue between diverse individuals at risk of exclusion in three different situations, across three countries: Ireland, Portugal and Spain. MEDIAVERSE will enable the creation of a decentralised network of intelligent, automated, and accessible services, tools, and authoring platforms for digital asset management; legal and monetisable discovery and distribution of verified content, and barrier-free usage and integration in target media and platforms.

ULOGA IGRANOG FILMA U PROMOVISANJU OSEĆAJA NACIONALNOG IDENTITETA

The study is based on the recreation of issues of national identity, multiple social identities and memories, which are in complex interactions and constant change, touching on the relationship between audio-visual art and ideological mythomania. The starting point is in the McLuhan’s hypothesis (Marshall Mc Luhan, Understanding the Media) that every form of media incorporates itself into the message it conveys and influences the way the message is interpreted, but also that the multiple functions of the message indicate something in order to establish psychological contact with the recipient. Reference examples are focused on the reception and perception of chronologically determined films made in the former Yugoslavia, from the constitution of Yugoslav cinematography to more recent films made in the region, which confirm that conflicts have penetrated everywhere, into the themes of films also, and that every new generation of directors has the right to recycle the forgotten memory, read and interpret the past and its mythical patterns. The approach to the analysis of the work is based on the observation of films as media presentations and interpretations of national contents by genre conventions on which they are based and with which the authors play or violate them. Considering war as a pattern, state or consequence, the films continued the war by other means after which tensions are raised or are an attempt at dialogue between different layers of individual and collective memory that the film suggestively provides. Inevitably, the film must communicate with the audience and it is questionable whether a film in which ideology is dominant and that reflects propaganda, forms an ecstatic understanding of reality and ideas about ourselves and our lives, has the power to become a social event, to have artistic value and its inherent esthetic experience.

Discursive Identities in Media Culture

The polysemantic nature of the identity concept predetermines the fact that the entity in question cannot be limited to a specific scientific field. Thus, it has to be considered from various research perspectives as philosophy, psychology, sociology, anthropology, communication, social psychology, etc. A multitude of factors influence the current context related to shaping cultural identity and, first of all, the complexity of the post-modernistic world, in which there has been an obvious fragmentation of the public environment. Thus, the research of Discourse identities (a concept coined by the French linguist Patrick Charaudeau and widely used in the international scientific framework) and of the identity representations from the media culture must indispensably be associated with the phenomenology of intercultural communication. Media culture is a technological, industrial, sociological, cultural and trade phenomenon, therefore its productions must be permanently related to the sociocultural context in which they were or are created. And since the present analytical approach is focused on the identity aspect of the audiovisual arts or, in a broader context, of media culture, it is natural that the “talking subjects”, as creators of symbolic goods, be in the forefront of this scientific discourse alongside with their past and present day productions.

ЕКСПЛІКАЦІЯ АРХЕТИПІВ І СИМВОЛІВ У СУЧАСНИХ УКРАЇНСЬКИХ ХУДОЖНІХ ФІЛЬМАХ

<p><strong><em>The purpose</em></strong><em> of the article is to explicate archetypes and symbols in modern Ukrainian historical films those were made during 2015–2021 term. As an object of research, we selected precisely those modern films of the historical genre, the titles of those are identical to the main character or characters names in the films. At the same time, the fact how real or pseudo-real the prototypes of the main characters of the films selected for analysis were, was not taken to consideration.</em></p><p><strong><em>Research methodology.</em></strong><em> The main general scientific methods that are used in this article are the analysis of literature on the issue under study (on the explication of archetypes and symbols and their use in modern Ukrainian feature films of the historical genre), description (of selected films according to the main criteria – release date, director’s name, screened work), comparative analysis (to clarify the similarities and differences between the archetype and the symbol and types of national archetypes), the method of explication (to clarify the essence of national types of archetypes). In addition, the article uses the following empirical methods: rolling sample (for the selection of relevant films) and content analysis with elements of qualitative analysis (to clarify the use of predominant national archetypes and symbols in the film as means of their implementation).</em></p><p><strong><em>Results.</em></strong><em> It is being explicated that the archetype and symbol are the key concepts of research, although they belong to different fields of study – subconscious, intangible and conscious, material, but complement to each other, expressing the archetypal-symbolic meaning of the message. Therefore, these concepts are not identical or interchangeable, but are closely related. It has also been suggested that national archetypes are based on universal human archetypes.</em></p><p><em>In modern Ukrainian feature films with the main character – a historical or pseudo-historical person</em><em> </em><em>– the following archetypes are clearly expressed: first, the archetype of the earth, which begins to form with the help of shots from the Ukrainian landscape proper and to generalize about Ukraine as a state as a whole; secondly, the archetype of a strong knight, which is overwhelmingly the main character of the film; thirdly, the archetype of freedom, which is created in the process of a knight's struggle for his native land.</em></p><p><strong><em>Novelty.</em></strong><em> It has been identified that in selected modern Ukrainian feature films of the historical genre, three national Ukrainian archetypes prevail – the archetype of the earth, the strong knight and freedom they are closely related.</em></p><p><strong><em>Practical significance.</em></strong><em> The results of the research can be used in writing screenplays and staging them, reviewing films, as well as in the educational process of specialty 021 </em><em>«</em><em>Audiovisual art and production</em><em>»</em><em> students.</em></p><p><strong><em>Key words:</em></strong><em> archetype, ethnocultural and national archetypes, symbol, explication, modern Ukrainian feature film, historical genre, archetype of earth, freedom and a strong knight.</em></p>

Modern Audiovisual Art within the Space of Internet Network: New Aspects of Interaction

The purpose of the research is to review all types of modern audiovisual art, understand its components and novelty, which it offers. The article also analyzes the interactions of an audiovisual artist with the audience together with the new aspects of the interaction of the consumer with the artistic content. Moreover, it is important to understand the influence of this type of art on human consciousness as well as the changes it brings with it into long known forms such as films and video games. The methodology of the research consists in using the following methods: theoretical (regarding the scientific articles, which conduct the discussion concerning audiovisual art within theoretical plain) and empirical (consideration and analysis of various media materials to receive information on the latest audiovisual art products). Scientific novelty. Considering that audiovisual art appeared fairly recently, there is not a big quantity of researches, which would analyze the components of audiovisual art in-depth as well as the elements of novelty, which the said type of art offers. It has to be noted that the scientific novelty abroad is present to a lesser extent, however, within the space of Ukrainian scientific thought, this type of art is still not being researched thoroughly. Conclusions. Throughout the research, we have established the primary traits of audiovisual art, regarded in detail the relationships and interactions of the audiovisual artist with his audience and the degree of control available to the consumer over the artistic idea. The article also established the possibility of using audiovisual art as a therapeutic method for healing mental traumas.

Dance in Indian culture: A cosmic manifestation of divine creation and a path to liberation

Dance is a human cultural activity aimed at non-verbal emotional communication, mentioned for the first time in the circle of European culture by Homer in the Iliad (8th/7th century BC). In Indian culture — the most extensive one of four contemporary civilizations of antiquity (next to Egyptian, Mesopotamian, and Chinese), whose cradle is the Indus Valley Civilization — the first material evidence of the presence of dance is dated between 2300–1750 BC. It is a bronze statuette of a dancing girl, making us aware of the fact that this type of activity has accompanied people since the dawn of time, regardless of their origin and cultural affiliation. India and its oldest religion, Hinduism, have made this art highly prized because of its original, pure spiritual character.
 The first treatise entirely devoted to dance, entitled Natyashastra (Treatise on Performing Arts), was written according to tradition between the 2nd century BC and the 2nd century AD, although many premises indicate that its beginnings date back to the 5th century BC, and the final version — to around 5th century AD. Its author was Bharata Muni, an ancient sage, theatrologist and musicologist who allegedly received knowledge of arts from the god Brahma himself to create a symbolic representation of the world which, by showing good and evil, would persuade both the viewers and the performers to act ethically. From Natyashastra it appears that dance was created by the gods for their worship. In its most original form, dance grew out of the sacrificial ritual, hence the knowledge of it was secret, highly codified and communicated in strict confidentiality. The patron of the dance and its divine performer par excellence is the god Shiva in the aspect of Nataraja (Lord of the Dance), who in one image combines god as the creator, protector and destroyer of the universe, while simultaneously containing the Indian concept of an endless time cycle. Accurate recreation of the mythical dance initiated by Shiva guarantees that the faithful achieve salvation by overcoming sin, ignorance, and laziness represented by the demon Apasmara, on whom the god treads in a dancing trance.
 For the Indian Hindu culture dance has a highly important ritualistic and mystical meaning, hence it is also present along with music and singing, which is a melodic recitation of sacred verses, in all literature, from the Vedas (sacred books of Hinduism), through encyclopedic Puranas, to epics such as Mahabharata and Ramayana. Dance is indispensable to the theater as well as visual and audiovisual arts, brings relief to those in mourning and sorrow, leads to liberation from samsara (the wheel of incarnations), and is a reflection of divinity in its purest, most dynamic manifestation: movement. Thanks to dance being a rejection of oneself, entering a mystical trance, one can connect with the Absolute here on Earth and experience divinity.

Experience and sexuality education in creation of audiovisual installation

Experience and education on sexuality is a unity of things / events experienced by individuals / groups regarding sex and sexuality which are then reduced to an informal educational structure. The purpose of this research is to explain the concept of artwork that underlies the creation of the audiovisual installation and the process of visualization of artwork on the creation of audiovisual installation. The media for creating works that are applied is an audiovisual installation art. Inspired by the previous works of Julian Rosefeldt (Manifesto), Gerda Wegener (Solitaire), Mella Jaarsma (Potong Waktu) and Halsey (Album Manic). The method of creation is based on Laura H. Chapman's theory with three stages, namely Inception of Idea, Elaboration and Refinement, and Execution in a Medium.

Management Priorities of Audiovisual Student Projects during the COVID-crisis

COVID-crisis has made significant changes in the educational process of many coun-tries, including the need for new management decisions that would solve the complex problem of accelerating the development of online resources for distance learning. Management, particularly in education, is valuable when it is able to combine both general and specific goals. Especially when it comes to a specific educational process for training future TV and radio journalists, advertisers and PR-managers, screenwrit-ers and directors, sound directors, TV presenters, film and cameramen. The peculiarity of these professions is the combination of both creative and technological components of production and placement of professional audio-video content, i.e. content pro-duced by TV and radio companies, film or TV studios, advertising agencies, and aimed at a mass audience. One of the basic priorities in training such specialists is, first of all, the practice, which is based on the planned implementation of educational audiovisual projects and the ability to put them into effect in certain circumstances, including COVID-crisis caused by COVID-19 virus. Therefore, the aim of the article is to hypothesize how to build a productive distance educational strategy in the condi-tions of COVID-crisis, which specifically affected the quality of practical training of specialists in the field of audiovisual media and arts in Ukraine.

Problems of Intertextuality in Audio-Visual Arts

Abstract At the present stage, the visualisation process covers all areas of life that come into contact with information and its presentation. Specialists and researchers in the relevant fields of activity are increasingly using the concepts that have been formed on the basis of printed text in the audio-visual arts. Such an example is the use of intertextuality, which is currently one of the promising areas for research on the example of audio and visual material (film, video, music, photography). The aim of the study was to identify the main current problems of the use of intertextuality in the audio-visual arts on the example of the two most common forms – film and music. The main methods used in this work are intertextual analysis, as well as discourse analysis, because for this method the area of interest is the study of discourse changes associated with intertextuality. As a result of the analysis, it was found that one of the problems of intertextuality is the uncertainty and lack of unity in its understanding between the followers of different approaches to the doctrine of intertext; several problems were identified. The authors propose solutions to the identified problems of the theory of intertextuality in the audio-visual arts, which confirms the practical significance of the study.

Specifics of Modern Video Installations: Projection Mapping as a Form of Digital Art

The specifics of the development of projection mapping in historical retrospect and at the present stage are studied. The peculiarities of video mapping as a unique direction of audiovisual art of the end of the XX - the beginning of the XXI century are revealed. It is emphasized that as a phenomenon of digital art in which technology is organically combined with architecture, sculpture, theater, choreography, fashion or design, video mapping provides information about content, combining audiovisual elements and representing them with a projector. These elements emphasize the concept of the work of art, which builds the relationship between images, perception and space.

Signal and Video Processing: Developing the Noise Music Trend in Digital Edugaming

In digital educational gaming, there are presently no games devoted to the trends of contemporary music. Also, there are no studies of noise-related sound in contemporary gaming discourse, yet noise is presently one of the most current trends in the arthouse world. The author of this study is carrying out a post-doctoral research into contemporary audio-visual art and digital game theory. Next to the other trends of modern gaming, the study incorporates analysis of noise-related artefacts that are of particular interest to the author taking into account her musicological education. The author intends to transfer knowledge gathered in the research process to the general public with an aim to facilitate the comprehension of noise music. Noise-related sound does not belong to the traditional system of musical expression thereof it requires an explanation and justification in order to be well apprehended. It has been explained in the literature of musicology, but serious gaming would help to disseminate these results and thus support intellectual education. The new experimental game Art Space explores the noise effect in order to deepen the understanding of this fuzzy area of contemporary culture. The game incorporates the historical background of noise music and its contemporary examples in the academic and alternative genres. The methods used in this study are literature analysis (theory of gaming and musicology), analyses of game sound scores and music examples. The mission of the research project and the innovative game Art Space is to pave the way to a new type of edugame that supports the documentation and analysis of aesthetical trends today.

La metodología Ludocrearte y su impacto en la creatividad de estudiantes de quinto de secundaria

The purpose of this research was to evaluate the effect of the educational methodology of an audiovisual production workshop on the creativity of fifth year secondary school students in a parish school for girls in Lima metropolitan area. The study presents a mixed quasi-experimental design with a descriptive - explanatory scope. The sample was made up of twenty students, half of whom were in the control group and the other half in the experimental group. LUDOCREARTE educational methodology consists of involving play as the main tool for learning and has three fundamental pillars: audiovisual technique and its application; the student’s apprehension through play and experience; and the enjoyment of doing. The students’ creativity was measured with the Multifactorial Evaluation of Creativity test (EMUC). It is concluded that the application of the LUDOCREARTE methodology accomplishes a significant increase in creativity and succeeds in  transmitting the expected knowledge. Therefore, we suggest the development of educational methodologies that involve creativity, playfulness and audiovisual art as part of the teaching-learning process.

On the artistic function of film music based on narratology

Film is a comprehensive art. After entering the film, music broke through the space-time structure of the film, making the film a real audio-visual art with unique forms of expression. It has also become a kind of movie music combining audio and video. Become an indispensable part of film art. No music. The authenticity of the film cannot be fully expressed [1]. The role of music in movies is mainly manifested in the artistry of music itself, the rendering and contrast of music in movie narrative, and the construction of music in movie narrative. In the creation of film works, music art is one of the indispensable means to create suspense and express emotions in movies. Music with the right atmosphere and appropriate lens pictures can arouse the audience's desire to watch movies and attract the audience to watch the whole movie. Good music can not only reveal the theme of the film, but also lay the tone of the film's style. It can also help the film set the plot suspense [2].

Juri Lotman, Gilles Deleuze and their approaches to cinema: Points of intersection

Engaging with the methods of studying contemporary digital audiovisual art is a dominant topic in contemporary theories of art. Against this background, the article offers a view onto some aspects of Juri Lotman’s and Gilles Deleuze’s studies on the cinema.
 As a rule, contemporary studies of digital audiovisual art take place in the context of interdisciplinary studies. One of the methodological principles of such studies consists in adopting a structural and semiotic approach. As of today, this methodological approach to studying audio-visual art is most developed in semiotics of the cinema, which is why in this article visual semiotics in general is viewed through semiotics of the cinema (proceeding from the approach of Juri Lotman). Also, the philosophical understanding of the nature of the cinema offered by Gilles Deleuze has proven fundamental for the study of contemporary audio-visual art.
 The two authors were contemporaries, but represented different scholarly paradigms: while Juri Lotman was an adherent of structuralism, Gilles Deleuze was a poststructuralist who criticized the structuralist approach. Yet despite this principal difference, both scholars still arrived at similar conclusions as concerns several questions regarding the understanding of the cinema and its very nature. In the present paper I focus on the features of these authors’ approach to spatial and temporal relations in the cinema, audiovisual relations in film as a heterogeneous form of the work of art, virtuality and mythologism in the viewer’s perception of cinema.
 The differences and similarities in academic approaches to cinema, developed by Lotman and Deleuze, indicate a common direction in the development of the cinema and visual arts theory, which seems relevant for the study of contemporary audio-visual arts.

АКТУАЛЬНІ ПРОБЛЕМИ ВИЩОЇ МИСТЕЦЬКОЇ ОСВІТИ

The purpose of the article is to determine the special features of the formation of higher art education in Ukraine at the present stage and identify the main ways of their implementation. Research methodology. The article, along with general scientific methods – analysis, synthesis, induction, deduction, generalization, applies cross-cultural and systematic analyses, which makes it possible to characterize the ongoing challenges of higher art education. The scientific novelty of the research lies in the following priorities: peculiarities and current state of higher art education are described, distance education as one of the forms of translation of knowledge and skills and a methodological challenge to teachers of art educational institutions are investigated, ways of introducing the educational and creative degree of Doctor of Arts and accreditation of the academic councils (specialized councils for awarding the degree of Doctor of Arts) are outlined in three areas of creative artistic activity: 1) the music sphere, 2) the visual, decorative and applied, design and restoration, 3) stage and audio-visual arts. The regulations by the National Agency for Higher Education Quality Assurance sets out the requirements for the competence of members of the specialized councils for awarding the degree of Doctor of Arts. Conclusions. Today’s art and education market is characterized by a tendency when the provision of educational art services is forced to take place in conditions of fluctuations in state educational strategies, reinforced by some uncertainty of work in the conditions of global quarantine. But if the conditions of quarantine have external force majeure circumstances and cannot continue indefinitely, the lack of a clear state strategy in the field of higher art education remains an obstacle to the formation of its overall structure. However, the steps that have been taken in the recent years thanks to the collective efforts of the National Agency’s specialists allow us to see the prospects for moving towards the creation of such a structure.

3d-mapping as a synthesis of technology and art: genesis, evolution, and relevance in the modern world

The purpose of the article is to identify the features of the formation of projection mapping as a synthesis of technology and art; consider the specifics of development and trends in the use of 3D-mapping technology in historical retrospective. Methodology. To achieve this goal and solve the problems caused by it, an integrated approach to studying the genesis of video mapping, as well as methods of modern art history, in particular, the historical method (to study the features of using video projections in the space of social art in retrospect) was applied; evolutionary method (to consider the dynamics of the development of video mapping as a synthesis of art and technology); typological method (to identify the features of using 3D-mapping, in accordance with the specifics of modern multimedia technologies) and other. Scientific novelty. The formation and development of 3D Video Mapping, as a unique direction in audiovisual art, is investigated; The features of the use of media technologies in the second half of the XX - beginning of the XXI century are revealed and characterized; the evolution of video mapping at the present stage and the specifics of the use of projection mapping in innovative multimedia technologies of the present, in particular the augmented reality space, are examined. Conclusions. The history of world art shows that innovative artists have always relied on innovative methods, tools, and materials, in order to express their creative vision. At the present stage, 3D Video Mapping operates in accordance with the specifics of the modern space of social art and media landscape. However, digital culture and new media are only typical for the end of the XX - beginning of the XXI century. the background of this art form, which actually has a long cultural tradition. At the present stage, video art can be created and displayed on the screen by adding various interfaces and instruments as part of the production or installations. Video installations of the beginning of the XXI century form the relationship between space (external or internal walls of buildings, stage space, etc.) and materials that are video-louvered and displayed on a specific surface. In accordance with the specifics, space plays an active role in the process of demonstration and recognition of innovative art forms in public space.

Imagens digitais e seus paradoxos tecnoestéticos na reinvenção do cinema

Resumo
 Investiga a morfogênese das imagens virtuais, bem como seus meios de veiculação; almejando entender sua força e influência no cinema e nas mídias audiovisuais, à medida que as imagens numéricas lhes propiciam recursos inéditos. Partimos da premissa que a emergência de uma arte audiovisual inovadora decorre da iconografia informatizada que explora novas formas e efeitos sinestésicos, abrangendo o imaginário em aberto das virtualidades. Pretendemos desenvolver algumas reflexões sobre as produções cinematográficas em sua aliança com as tecnologias da imagem que lhe propiciam novos paradigmas, novas denominações e, até mesmo, a problematização de suas supostas “mortes”. Metodologicamente, partimos da exposição dos pressupostos teóricos ligados ao conceito e à criação das imagens tecnológicas; para, num segundo momento, debruçar-nos sobre a linguagem cinematográfica atual; objetivando discutir questões tecnoestéticas que viabilizam uma reinvenção do cinema; com ênfase em determinadas designações mais recentes que lhe têm sido atribuídas, por força da digitalização.
 Palavras-chave: Imagens virtuais. Iconografia informatizada. Cinema digital.

“New” Ukrainian Cinema in the Context of Contemporary Audiovisual Art

The purpose of the research is to understand the contextual existence of the “new” Ukrainian cinema in the morphology of contemporary audiovisual art in Ukraine. The research methodology is based on the use of the method of morphological analysis, art history monitoring of modern problems of fiction, documentary and animation cinematography in Ukraine. The scientific novelty consists in a certain morphological systematization of the development of the “new” Ukrainian cinema and the identification of its place in the context of audiovisual art. Conclusions. As of today, the “new” Ukrainian cinema actively presents the main painful topics of Ukrainian society. At the same time, the animation cinema of Ukraine has a greater morphological potential, since it uses themes and expressive artistic means that are more adapted to the requirements of the modern world audiovisual market.