Media Art Research Articles

Call for Papers: Media and Moral Understanding

Call for Papers: Media and Moral Understanding

Affectivity of New Media Art Based on the Phenomenology of Aesthetic Experience

With the development of both media and technology, new media technology has cast a significant influence on art creation, creating an aesthetic paradigm different from that of traditional art. Meanwhile, owing to the different aesthetic appeals of the new era, basic components of art, such as content and form, are constantly changing. The ultimate goal of art is to express the artist’s emotions and communicate with the spectator in the same aesthetic flow. Additionally, new media art attempts to convey emotions to the appreciators and provide them a multidimensional aesthetic approach by subverting traditions and innovating in artistic expressions and aesthetic experience. This study aims to explore the aesthetic perception and perception-based emotions in new media art from the perspective of aesthetic experience. Specifically, it applies Dufrenne’s phenomenological aesthetic theory to analyze the aesthetic process. Through the analysis of affectivity in aesethics, the creator’s aprroaches of constructing the emotional aesthetic space, as well as the role of emotions in art creation, is reflected upon to inspire the future affective creation of new media art.

A Study on the Characteristics and Satisfaction of Media Art Exhibitions

This study examined the characteristics used in media art and their effect on viewing satisfaction. Therefore, a survey was conducted on 197 visitors who visited at least one of the following: bunker of light in Jeju Island, the manipulation angle of time at the Nature Labs Museum, and the media art exhibition at the Arte Museum. As a result of analysis through the multiple linear regression analysis model, it was found that the influence of satisfaction was significant in the media art characteristics such as replace, interactivity, and sensory stimulation. The results of this study provide theoretical and practical implications in that they empirically examine the effects of media art characteristics on viewing satisfaction.

Motion Design in the Context of Ukrainian Contemporary Media Art: Content and Perspectives

Research aim is to determine the content of motion design as a popular direction of design activity in Ukraine, its role and prospects in the context of modern Ukrainian graphic trends in general, and media art in particular. Research methods. The research methodology is determined by the topic, based on the complex use of methods of generalization, deduction, comparison, forecasting, analogy, as well as chronological and analytical methods. Scientific novelty. This article demonstrates a new look at some concepts within the scope of the study, which are firmly rooted in modern artistic everyday life and thereby caused the need for an objective assessment relevant to current realities. In particular, the offer to expand the classification of motion design products is important: instead of dividing projects into two types (art objects and commercial objects), the allocation of a third group – information objects – is justified. Such classification makes it possible not only to more accurately specify the genres of numerous works of motion graphics but also to formulate the corresponding algorithms for their design, taking into account a new understanding of the content. Furthermore, during the research, it was proved that Ukrainian motion design is currently at a decisive stage, when, on the one hand, it is possible to state the prospect of rapid advancement of this art form thanks to favorable socio-cultural circumstances, and on the other hand, an undeniable problem on this path, which has become as a result of domestic education lagging behind the active dynamics of digital demand. Therefore, it is obvious that the coming decade can direct the vector of development of motion design in our country to a higher level, provided the necessary transformations of the educational system and, of course, economic stabilization after military actions on the Ukrainian territory. Conclusions. Motion design is a specific and effective method of working with graphic content of different quality, which involves the results synthesis of numerous types of other design activities, such as animation, 3D modeling, video design, illustration, etc. In this regard, a motion designer must be a versatile specialist and possess a significant amount of theoretical and practical knowledge, and skills. Unfortunately, in the field of the Ukrainian motion industry, it is currently possible to state a shortage of masters of a similar level. However, the active popularization of this profession and all related aspects deserves praise, which, without a doubt, gives hope for the rapid advancement of motion design. Moreover, for a long period (more than 30 years), we have been observing the powerful dynamics of this art form in the context of media art in our country – growth from elements of production cinema and television to a separate, full-fledged field of digital marketing.

디지털 아바타와 감정표현 - 에드 앳킨즈의 [더 웜 (The Worm)] (2021)

This paper investigates how human emotions are portrayed through digital avatars created with computer graphics in media art. As overwhelming numbers of images we face in our everyday lives become digital, artists have begun to express not only the physical appearances but also the emotions of human beings via CGI (computer-generated imagery) or with other digital graphic devices. Prominently, the British media artist Ed Atkins uses cutting-edge technologies such as HD graphics and motion capture in his hyper-realistic animation works. One of these, The Worm (2021), casts a hyper-realistic digital avatar purchased from a 3D model creator's website to stand in as the self-image of the artist, showing the avatar making a call to his mother on a phone. Their 12-minute conversation would be a perfect condition to observe the visualization of the emotional expression of the digital avatar, as it involves one of the most advanced techniques to not only graphically realize the image but to capture the facial as well as other physical expressions of a human being. However, the perfected mechanical style of the graphic image seems to work against such identification. Per the artist’s intention, viewers are made to realize how technologically advanced hyper-realism does not immediately guarantee the realistic portrayal of the emotional and sentimental sides of human nature.

Lubang Indah: The pothole installation art

The effects of the epidemic of COVID-19 can be seen in the natural deterioration of the roads. Self-isolation and curfews during the pandemic further exacerbate the mental health problem. Through this project, the researchers hoped to convey the negative impression of the pothole-strewn streets through an art installation. Using an artistic medium is one way to counteract the negative perception people have of potholes. In this project, freshly picked flowers, with only stems and no branches, were placed in the pothole. In this way, actual activity can be recorded based on the design of potholes.

Lumen & Colours: A journey into the world of science

Abstract A metallographer is often rewarded with a beautiful image when looking through the microscope. These images deserve to be made accessible to the general public. Within the project “Lumen & Colours: Faces of a city – a participatory project combining media art and urban design” funded by the German Federal Cultural Foundation (German: Kulturstiftung des Bundes), the opportunity arose to map images recorded via light optical as well as scanning electron microscopy onto different building facades of the city. A selection of images from research and failure analysis conducted at the Institute for Silicon Technology (ISIT), for example, were projected onto the facade of the cleanroom. The appeal lies in the fact that an image is associated with a location, that matter is merged with imagination and natural sciences with art. On the cleanroom building, which is a work of art in itself as its structural design is modelled after a silicon wafer, the image and the facade merge to become one. Art and science are surprisingly close to each other. A new dimension is revealed on the huge 36-meter wide facade of the Fraunhofer ISIT by a giant video projector with a weight of around 100 kg and an output of 30 000 ANSI lumens. [1] Moreover, the images were animated and projected onto different buildings in the city as part of a virtual presentation. This contribution will explain the technical background of the images obtained in battery research and from the analysis of silicon wafers and solder joints and will show the different views offered by microscopic observation and how these images become one with different facades.

Research on Digital Media Art Teaching Mode Based on Maker Education Concept-Taking Shanxi Communication University as an Example

Cultivating college students’ innovation ability is an important task of higher education. Innovation is regarded as the soul of a nation and the basic driving force of a country’s sustainable development. The purpose of the current study is to explore and examine the practical path of maker education mode on the improvement of the innovation ability of Chinese college students majoring in digital media art, as well as through the teaching strategy exploration and teaching method practice on the basis of the five stages of teaching mode of I-E-C-E-E including situational inspiration, architecture design, project creation, maker’s experience and demonstrating evaluation to conduct action research, summarize the practical application of maker teaching mode in the teaching of digital media art, and also to promote the development of the teaching mode of digital media art in application-oriented undergraduate colleges. The results of this study show that the experimental group is more desirable than the control group in creativity, practicability and technical characteristic.

Crossing the textual frame and its transmedial effects

The year 2022 marks the 100th anniversary of Juri Lotman’s birth. On this occasion, I propose to return to one of Lotman’s concepts, namely that of frame. The term was proposed in The structure of the artistic text (1970/1977), in the traditional understanding of a limit that separates a text produced in any kind of medium from extra-textual structures (other texts) or non-text (real-life contexts). This notion of frame comes close to its understanding in literary studies, as well as the theory and philosophy of art and should not be confused with a well-known concept of frame propagated in AI Studies (Minsky 1975; Petöfi 1976) and which refers to a global cognitive pattern of storing common-sense knowledge about particular concepts and situations in memory. Lotman returned to the discussion of the textual frame in Universe of the mind (1990), mainly in application to the fine arts. He also elaborated there a more inclusive concept of boundary (proposed in Lotman 1984/2005) as a demarcation of the semiosphere and of its internal subsystems, which necessitates constant translations between particular codes and languages. Lotman dubbed transgressions of textual borders transcoding, which in contemporary parlance is a clear manifestation of transmediality. Therefore, I propose to analyse the concept of frame in relation to Intermedial Studies (cf. Elleström, 2014). Such crossings of boundaries between different media/modes/modalities are simultaneously creative and potentially confusing, in that they display a semiotic collision of artistic codes and require a heightened processing effort on the part of the addressee. My vantage point is basically semiotic, with the focus of interest going less to verbal texts and more to the issues of frame in the visual arts. Semiotic considerations on the problem of boundaries are complemented with brief phenomenologically-oriented ponderings on aesthetic and cognitive import of framing devices (Crowther, 2009) that emphasize their antithetical function as: a) devices with their own artistic value, even complementing the text vs. b) “defences against the exterior” and hindrances to creative liberty. First, I turn to two areas of interest of Lotman himself: 1) the extension of artistic media in Baroque art and 2) collages, which I treat as transmediality through surface. Lotman perceived collages as a collision of the fictitious with the real, referring to their doubly figurative nature (metonymical and metaphorical). Next, I complement this discussion with examples taken from 20th-century painting and sculpture, e.g. Spatialism, Minimalism, and Hyperrealism. Of particular interest is the situation in which the frame becomes a text commenting on its content or plays a metatextual function. Another game worthy of attention is embedding of frames. The discussion closes with the case of transmedial effects between painting and theatre, illustrated by Polish painter and stage-director Tadeusz Kantor’s theatrical experiments in Cracovian Cricot 2 Theatre: a) Velázquez’s Infanta Margarita entering Kantor’s self-portraits and a photo-portrait frame in the performance Today is my birthday (1990); b) Kantor stepping out of the frame of his own self-portrait on the illusory boundary between real life, painting and theatre. The article posits to treat frame and multiple ways of transgressing it as an integrational phenomenon that opens a path for further interdisciplinary studies across the borders of artistic semiotics, Intermedial Studies, literary theorizing and the theory and philosophy of art.

CHILDHOOD EXPERIENCES IN PAINTINGS: EXPRESSIONS BY CONTEMPORARY INDIAN ARTISTS

The present paper is an attempt to understand the relationship between the childhood experiences and its expression in visual art mediums such as painting, sculptures, and installations. Visual art is an important medium by which the subconscious mind finds its way for expression. In this research, some Indian contemporary artists have been studied on two parameters: first on their artwork and second on their childhood experiences. An attempt is being made to find out how the childhood experiences made an impact on their work. Both positive and negative experiences in childhood lead to creative pathways in an artist. The childhood experiences of these artists range from early demise of mother resulting in missing visage in paintings, to expression of darkness and death due to witnessing riots. The work of some artists who were abandoned ‘pink’ color due to dark complexion resulting in series of artwork titled ‘I hate pink’ or having positive experiences such as time spent with family being expressed in the form of family gathering paintings, are also elaborated in this paper. Psychologists have been finding ways to reach to the core of people’s mind to gain insight about the mental health issues and its causes or origins for an individual. The understanding of an individual’s artwork can be a way of identifying and understanding the expressions and reflections of that individual in drawings, paintings, and other visual art mediums.

Influence of Intermedia in Development of Malaysian Art Scene

Media art has evolved over time. Artists are developing intermedia in their art. It begins in 1950s NYC. The idea of Intermedia has since extended globally. Malaysia's media development is influenced by western Intermedia. Malaysian artists are intermedia experts. This research aims to determine why Malaysian artists use Intermedia and to classify its disciplines. This research was place in studio or online, depending on current conditions. Pandemic, artist demand. This research used library, catalogue, and web sources for data. The data will be analyzed to classify the artists' Intermedia use. Intermedia has diversified into numerous disciplines, and it's still growing.

Beyond Needle and Thread

Beyond Needle and Thread

‘The word’s challenging opposite’: the visual language of Lorcan Walshe’s The Artefacts Project and Museum Pieces

The work of Dublin-based painter Lorcan Walshe is particularly concerned with the relationship between inscription in its broadest sense and the visual image. His two related series, The Artefacts Project (2007) and Museum Pieces (2008), engage with Ireland’s precolonial past in search of personal artistic, as well as broader cultural, roots during a period when national narratives were being challenged and reconfigured as a result of an increasingly diverse Irish society. The Artefacts Project and Museum Pieces reflect on whether the art of the precolonial past can still be read in a meaningful way in a postcolonial present in which Ireland finds itself part of a globalized world. Reaching across the chasm of history, Walshe’s works emphasize that our reading of the past must always involve an act of translation in order to retain significance in the present: the meaning of the artefact is created anew as it is translated not only from one historical moment into another, but also from one artistic medium into another. This article argues that Walshe’s The Artefacts Project and Museum Pieces question the hierarchical division between writing and the visual image by reading the artefacts of Ireland’s past as visual texts. In this context, drawing and painting themselves emerge as forms of inscription that are part of the process of reading and acts of translation. As a result, the artefact becomes a palimpsest of translations and inscriptions.

Exploring intimate partner violence survivors’ experiences with group art therapy

ABSTRACT Background Intimate partner violence (IPV) is one of the major health and human rights issues of our time, affecting one in three women worldwide. Despite IPV’s prevalence, limited research investigates the healing process for survivors or the efficacy of group art therapy (GAT). This study is grounded by a person-centred approach to art therapy and an interpretive method, highlighting the contextualised nature of reality and experience of social phenomena. Aims The aims of this community-based, qualitative study were to explore women IPV survivors’ experiences of GAT and better understand what aspects of GAT contribute to healing. Methods During 2018–2019, six women were interviewed about their experiences of participating in a 12-week GAT program within a Canadian domestic violence prevention agency. The transcribed interviews were analyzed with the method of thematic analysis. Results Four themes emerged from the analysis, and an overarching theme/pattern was identified through interpretation of these themes. The overarching theme was transformative healing, which women appeared to experience by creating connections in a safe space, using visual metaphors in their art-pieces, reclaiming an empowered self, and building resilience. Conclusion This study found that GAT was experienced as providing a relational component to healing and as fostering self-expression, inner and interpersonal growth, and confidence. Implications Art therapists and other mental health practitioners who support survivors may want to consider the unique contributions of art making when designing interventions. Future research should examine which arts-based interventions delivered in a group therapy context can promote IPV survivors’ mental health and wellness. Plain-language summary This article shares information from a qualitative study about group art therapy (GAT) for women survivors of intimate partner violence (IPV). IPV affects one in three women worldwide, including 6–8% of married/cohabiting women in Canada. Despite IPV’s prevalence, limited research investigates the healing process for survivors or the benefits of GAT services and approaches. This study was conducted in partnership with a non-profit organisation serving women survivors in a small Southwestern Ontario municipality. The aims of this study were to explore women IPV survivors’ experiences of GAT within a domestic violence prevention agency, and better understand what aspects of the GAT process, if any, contribute to healing. The study involved interviews and an arts-based research component with six participants who completed the organisation’s 12-week GAT program. Researchers utilised thematic analysis, a method of uncovering key themes across the interviews, to learn how participants experienced the GAT program. Through the process of thematic analysis, the study found that participants appeared to experience transformative healing by creating connections with the therapists, peers, and art media in a safe space; using visual metaphors in their art-pieces to symbolise their emotions and future possibilities; reclaiming an empowered self, which was creative, playful, and hopeful; and building strength and resilience through the group process. This study found that art therapy in a group context was experienced as providing a relational component to healing and as fostering self-expression, inner and interpersonal growth, and increased confidence. Art therapists and other mental health practitioners who support survivors may, therefore, want to consider the unique contributions of art and art making when designing interventions. Future research should examine which specific arts-based interventions delivered in a formal group therapy context can promote mental health and wellness in individuals who have experienced IPV.

Remediated Sites: The Lumen Prize Virtual Gallery as Site of Memory and Digital Assemblage

Abstract During the COVID-19 pandemic, new spaces for archives, creative representation, and display created novel ways of accessing, experiencing, and cataloging media art. Leonardo’s Lumen Prize 2020 exhibition offers a third space between virtual exhibition as a site of memory and an archive of knowledge and artistic production—a place of digital assemblage. Bolter and Grusin’s remediation theory sheds light on the many visual strategies employed by the artists and designers of The Lumen Prize 2020 exhibition. The authors discuss pertinent questions of immediacy and hypermediacy coexperience, and accessibility in generating this site of memory.

Review: Rubens in Repeat: The Logic of the Copy in Colonial Latin America, by Aaron M. Hyman; Clothing the New World Church: Liturgical Textiles of Spanish America, 1520–1820, by Maya Stanfield-Mazzi

Review: <i>Rubens in Repeat: The Logic of the Copy in Colonial Latin America</i>, by Aaron M. Hyman; <i>Clothing the New World Church: Liturgical Textiles of Spanish America, 1520–1820</i>, by Maya Stanfield-Mazzi

매체 융합 시대의 미술 - 디지털 미디어를 기반으로 하는 멀티미디어 미술에서 참여자 몰입 경험을 중심으로 -

Recently, technology media based on digital media, which artists are paying attention to, not only changes in the formal and content of art works, but also changes the environment surrounding art, such as the way works are produced, exhibition, writer-work-viewer relationships, artist roles, and social functions. Digital media is multimedia with interconnectivity and interactivity. These characteristics stimulate the viewer's sense of versatility and provide an environment in which participants can experience immersion. This induces viewers to focus physically and mentally on the work, encouraging viewers to participate in the work. In the process of actively interacting with the work by the viewer, the artist puts down his authority as an absolute work creator and emphasizes the role of content creator. In addition, there is a phenomenon of collaborating with experts or seeking various exhibition methods for professional expression of content. This study is meaningful in examining the change caused by the acceptance of new media in art according to technological development by paying attention to the phenomenon of digital media-based multimedia being applied to art and examining the effect of viewers' viewing methods. Analyzing the phenomenon of new technology being used as a medium in art and the internal and external changes in art will be an opportunity for artists and others to understand the current new media art and discuss how it will change in the future.

포스트휴먼 논의에서 정체성과 예술에 관한 연구

The purpose of this paper is to examine the relationship between identity and art in the posthuman discussion. In particular, the discussion was developed under the assumption that surrealist thinking and digital media art had a major influence on the transition of human identity to posthuman. We dealt with semiotics and philosophical theories related to identity. What I noticed in this part is that human identity is formed through contact with others outside of oneself. In this paper, we put this other as a text and pay attention to the fact that the identity of a post-human is built through the detour of this text. In this regard, we have described Ricoeur's theories related to identity. In addition, the fact that human perception toward objects continues to fluctuate was examined through surrealism. Surrealism is a movement and a way of thinking that rejects fixed orders and ideas, and prevents identity from being hardened into ideas. The works of Nam June Paik and Stellac show one aspect of the posthuman world perception and identity expansion process.

Art therapy and technology in secondary education

This study focused on how professionals and students of art therapy perceived their level of readiness to comprehend and cope with technology as an art medium and a tool for the job. Students and teachers in secondary schools place a high value on technology. Teams in charge of managing the school make it a priority to guarantee that students in high school have access to computers. Surveys were issued to current art therapy students and working art therapists with a 40% response rate in order to assess the need for technological training. The Art Therapy Association (ATA) members who were either current students or working art therapists were the target audience for the study. Students and qualified professionals were chosen at random from the ATA membership database. The questions covered the present and prior training in technology use, the quality of that training, opinions about future training needs, and demographic information. Technology was defined as the use of computers, related equipment, the internet, and digital-based tools in art therapy practice. The results of the survey revealed that although people who replied had no formal training, they generally incorporated technology into their daily routines.

Genetic Engineering and the exhibition “Cell Vitality”

On the occasion of the exhibition Cell Vitality, Hubert Mayer first gives an introduction to genetic engineering and then discusses a project of art-related science: three researchers, with the help of artistic media, explain the findings of their discipline in order to convey these to a wider general public.