Titles of modern interviews are studied on the material of German mass media texts. Leading syntactic structures, communicative signs and pragmatical aspects of titles are analyzed. The most attention is paid to titles in form of questions or exclamation, which have the strongest communicative pragmatical effect. Exclamation and questions in the position of titles lose value of incentive and interrogative, incentive or interrogative remain only formally, which makes them quasi-incentive and quasi-interrogative. Exclamation and question functions go by the (...) wayside, in the first place extends forecasting capabilities for the content of subsequent title text. Besides, in article the titles in the form of question containing the address are analyzed. Illocutionary goal of these titles is an invitation to a discussion of the potential reader, and a joint search for common perspectives in this or that activity, for selected search of the most appropriate of all the possible solutions to a problem. They seem to reproduce the process of reflection of the author and cause to think about the issues raised by recipients. (shrink)

The last technological developments have introduced a huge amount of hardware, communication systems, and information systems into life of human beings. But also has brought a multiplicity of images, objects and sensitive experiences having a direct effect in social life. It can be said that this amount of current elements deserve to be analyzed in order to try to clarify the nature of information technology and its political impact. That means that far over history of scientific developments, it is precise (...) to take into account a critical task of the role of the information techniques in different levels of society (moral, social and economic levels), but after all the role playing in the way we perceive the world. For that, we treat some of the technological developments related to virtual reality; then, we handle the concept of simulation, and finally we establish the distinction between reality and virtuality. (shrink)

This paper is concerned with the role of self-observation in managing complexity in meaning systems. Revising Niklas Luhmann's theory of mass media, we approach the mass media system as a social sub-system functionally specialized in the coupling of psychic systems' self-observation and social systems' self-observation.According to Autopoietic Systems Theory and von Foerster's second order cybernetics, self-observation presupposes a capability for meta-observation that demands a specific distinction between observer and actor. This distinction seems especially relevant in those (...) social contexts where a separation between the action of observation and other social actions is required. However, in those social contexts where the defining action is precisely observation, the border between observer and actor is blurred.We shall consider the significant divergence between the implicit and the explicit epistemologies of the mass media system, which appears to be characterized by the explicit assumption of a classic objectivist epistemology, on one side, and a relativist epistemology on the other, posing a hybrid epistemic status somewhere in between science and arts. (shrink)

Deconstruction and the Visual Arts brings together a series of new essays by scholars of aesthetics, art history and criticism, film, television and architecture. Working with the ideas of French philosopher Jacques Derrida, the essays explore the full range of his analyses. They are modelled on the variety of critical approaches that he has encouraged, from critiques of the foundations of our thinking and disciplinary demarcation, to creative and experimental readings of visual 'texts'. Representing some of the most innovative thinking (...) in the various arts disciplines, these contributions offer important challenges to existing disciplinary orthodoxies. Also included in this volume is a long interview with Derrida, published here for the first time. (shrink)

Since seminal essays like Adorno’s ‘The Culture Industry’ and Benjamin’s ‘The Work of Art in the Age of Mechanical Reproduction,’ the mass media has been of central concern for Critical Theory. Yet Critical Theorists have produced relatively little in the way of systematic analysis of the concrete institutions of mass communication. Early on, Habermas seemed to be headed in this direction, especially with the publication of The Structural Transformation of the Public Sphere. However, in Habermas’s later years, (...) this concern is eclipsed, on the one hand by an ideal theory of communication which says relatively little about non-ideal institutions that “systematically distort” communication, and on the other hand by an increasing focus on properly “political” institutions and the formal structure of law, exemplified by his later work Between Facts and Norms. In this essay, I will show how the colonization of public space by private interests, via technological media, remains sorely under-theorized in Habermas’s work, and that this is not just a peripheral oversight but a central problem that Habermas fails to resolve. I will then give some preliminary suggestions as to how one might expand and develop the critique of systematically distorted communication in more fruitful directions by developing the idea of a politics of meaning. My argument is located within the extensive discussion generated by the relatively recent translation of The Structural Transformation of the Public Sphere into English, which has produced many useful and important criticisms. (shrink)

In company with its sister volume, Arts-Based Research Across Textual Media in Education explores arts-based approaches to research across media, including film and comics-related material, from a variety of geographic locations and across a range of sub-disciplines within the field of education. This first volume takes a textual focus, capturing process, poetic, and dramaturgical approaches. The authors aim to highlight some of the approaches that are not always centered in arts-based research. The contributors represent a variety of arts-based (...) practices and methods, and they weave this marrying of artistic and scientific expertise and experience into the fabric of the chapters themselves. Authors from international contexts speak to the importance of utilizing artistic approaches for research processes. From multimodal field notes to poetic forms to the dramaturgical, chapters in this book represent steps forward in educational inquiry to bringing together both the creative and credible. The book includes multiple images and rich descriptions shared from the field. This first volume covers amongst other topics: co-created narratives; creative fiction in research; analytic portraits; dramatic representation, and critical poetic inquiry. It would be suitable for graduate students and scholars interested in qualitative inquiry and arts-based methods, in Education and the social sciences. (shrink)

Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, (...) and ideology. (shrink)

In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.

It is to an over-all situation based upon the complex play of political, social, economic and scientific factors, along with technological and mass media factors unique to our own era, that we owe the general trend toward multi-pluri-inter-trans-disciplinary questions so generally prevalent in our world today.

The article focuses on the possibility of reconsidering the relationship existing between monstrosity and sublime in the light of Jean-François Lyotard’s interpretation of the Kantian sublime. Sublime and monstrosity unveil a system of analogies and differences, which can depict the aesthetic experience mediated by mass media, rather than by art. The lack of form and the sometimes obscene drift, which are typical of media experience, configure indeed a sensibility that oscillates between the ascension to sublime heights and (...) the emergence of monsters. (shrink)

Provides guiding principles and values for practising responsible global media ethics.

Thirty years on from the publication of Chaosmosis, Guattari’s words invite an evaluation: ‘The aesthetic power of feeling seems on the verge of occupying a privileged position within the collective Assemblages of enunciation of our era.’ While this privilege can be seen today in the realms of social networks, mass media and populist politics, its place in contemporary artistic practices is more ambiguous. Guattari is careful to separate ‘aesthetic power‘ from ‘institutional art’, but the ontology of Chaosmosis nevertheless (...) seems to find its model in the artistic avant-garde, and artistic affects and percepts are its privileged and recurring examples. Tracing the path of Guattari’s prophecy through the last thirty years of contemporary art involves two distinct approaches: first, to analyse Guattari’s reading of Duchamp, and to follow its trajectory through a generation of thinkers who utilised Guattari’s approach to art, most notably Nicolas Bourriaud, Franco Berardi (Bifo), Maurizio Lazzarato and Eric Alliez; second, to confront Guattari’s prophecy with the post-conceptual modes of art that now appear hegemonic, and that would seem to deny its efficacy. This we might say, is to approach our problem twice – once philosophically, and again from the point of view of contemporary art. As we shall see, these approaches lead in quite different directions. (shrink)

Against Transmission introduces the technical history and phenomenology of media, a field of study that explains the characteristics of contemporary life by looking to the technical properties of machines. By studying the engineering of signal processing, the book interrogates how the understanding of media-as-machine exposes us to a particular phenomenological relationship to the world, asking: what can the hardware of machines that segment information into very small elements tell us about experiences of time, memory and history? This book (...) offers both a detailed and radical investigation of the technical architecture of media such as television, computers, cameras, and cinematography. It achieves this through in-depth archive research into the history of the development of media technology, combined with innovative readings of key concepts from philosophers of media such as Harold A. Innis, Marshall McLuhan, Friedrich Kittler, Siegfried Zielinski and Wolfgang Ernst. Teaming philosophical inquiry with thorough technical and historical analysis, in a broad range of international case studies, from early experimental cinema and television to contemporary media art and innovative hardware developments, Barker shows how the technical discoveries made in these contexts have engineered the experiences of time in contemporary media culture. (shrink)

In _Reading the Figural, or, Philosophy after the New Media_ D. N. Rodowick applies the concept of “the figural” to a variety of philosophical and aesthetic issues. Inspired by the aesthetic philosophy of Jean-François Lyotard, the figural defines a semiotic regime where the distinction between linguistic and plastic representation breaks down. This opposition, which has been the philosophical foundation of aesthetics since the eighteenth century, has been explicitly challenged by the new electronic, televisual, and digital media. Rodowick—one of the (...) foremost film theorists writing today—contemplates this challenge, describing and critiquing the new regime of signs and new ways of thinking that such media have inaugurated. To fully comprehend the emergence of the figural requires a genealogical critique of the aesthetic, Rodowick claims. Seeking allies in this effort to deconstruct the opposition of word and image and to create new concepts for comprehending the figural, he journeys through a range of philosophical writings: Thierry Kuntzel and Marie-Claire Ropars-Wuilleumier on film theory; Jacques Derrida on the deconstruction of the aesthetic; Siegfried Kracauer and Walter Benjamin on the historical image as a utopian force in photography and film; and Gilles Deleuze and Michel Foucault on the emergence of the figural as both a semiotic regime and a new stratagem of power coincident with the appearance of digital phenomena and of societies of control. Scholars of philosophy, film theory, cultural criticism, new media, and art history will be interested in the original and sophisticated insights found in this book. _ _. (shrink)

The mass media of communications have often been charged with making our life more vulgar than need be. The assumption which underlies what I have to say is that the influence of unique artistic sensitivities on society has also been increased by the mass media of communications. This is good news and I am aware of the risk I am courting when I attach importance to a promising kind of social change: the academic respectability of pursuing (...) optimistic lines of thought is strictly limited in sociological circles. (shrink)

The mass media of communications have often been charged with making our life more vulgar than need be. The assumption which underlies what I have to say is that the influence of unique artistic sensitivities on society has also been increased by the mass media of communications. This is good news and I am aware of the risk I am courting when I attach importance to a promising kind of social change: the academic respectability of pursuing (...) optimistic lines of thought is strictly limited in sociological circles. (shrink)

Analyzes twentieth-century media and cultural theories as they relate to changes in political economy, communication technology, popular culture and collective consciousness in the United States. It argues that much of contemporary media environment is operating as Western capitalist media have for more than a century, making these theories more relevant than ever.

The mass media promotes terrorism by stressing fear and an uncertain future. Major changes in US foreign and domestic policy essentially went unreported and unchallenged by the dominant news organizations. Notwithstanding the long relationship in the United States between fear and crime, the role of the mass media in promoting fear has become more pronounced since the United States `discovered' international terrorism on 11 September 2001. Extensive qualitative media analysis shows that political decision-makers quickly adjusted (...) propaganda passages, prepared as part of the Project for the New American Century, to emphasize domestic support for the new US role in leading the world. These messages were folded into the previous crime-related discourse of fear, which may be defined as the pervasive communication, symbolic awareness, and expectation that danger and risk are a central feature of everyday life. Politicians marshaled critical symbols and icons joining terrorism with Iraq, the Muslim faith, and a vast number of non-western nations to strategically promote fear and use of audience beliefs and assumptions about danger, risk and fear in order to achieve certain goals, including expanding domestic social control. (shrink)

The aim of this article is to examine the potential influence of mass-media on public’s opinions and attitudes towards economic liberalism. It shows that, without relying to the assumption that journalists pursue such a purpose, the nature of the media system leads them to give a rather negative image of how the market economy works and doesn’t give the same place to liberal thesis with respect to others. Our argument is founded on a critique of the economic (...) model of spatial competition currently used in this field, on the crucial role that norms inherent to the profession of journalist play and the characteristics of the demand which media face. L’objet de cet article est d’examiner la question de l’influence éventuelle des médias de masse sur les opinions et attitudes du public à l’égard du libéralisme économique. On y montre que, sans recourir à l’hypothèse que les journalistes poursuivent consciemment un tel objectif, la nature du système médiatique les conduit à donner une image plutôt négative du fonctionnement de l’économie de marché et à ne pas donner une place équilibrée à l’exposé des thèses libérales par rapport aux autres. L’argumentation suivie repose sur la critique du modèle économique de la concurrence spatiale habituellement utilisé à ce sujet, sur le rôle déterminant que jouent les normes propres à la profession de journaliste et les caractéristiques de la demande s’adressant aux médias. (shrink)

David Berry and Michael Dieter: Introduction -- Florian Cramer: What is post-digital? -- Malcolm Levy and Christine Paul: Genealogies of the new aesthetic -- David Berry: The post-digital constellation -- Lukacs Mirocha: Communication models, aesthetics and ontology of the computational age revealed -- Katja Kwastek: How to be theorized: a f*** academic essay on the new aesthetic -- Daniel Pinkas: A hyperbolic new aesthetic -- Stamatia Portanova: The genius and the algorithm: reflections on the new aesthetic as a computer's vision (...) -- Lev Manovich and Alise Tifentale: Selfiecity: exploring photography and self-fashioning in social media -- David Golumbia: Judging like a machine -- Caroline bassett: Not now? : feminism, technology, postdigital -- Geoff Cox: Postscript on the problem of temporality in the post-digital -- Michael Dieterdark: Patterns: interface design, augmentation and crisis -- Sean Cubitt: Data visualisation and the subject of political aesthetics -- Mercedes Bunz: School will never end: on infantilization in digital environments: amplifying empowerment or propagating stupidity? -- Jussi Parikkathe : City and the city: London 2012 visual (un)commons -- Shintaro Miyazaki: Going beyond the visible: new aesthetic as an aesthetic of blindness? -- Thomas Apperley: Glitch sorting: minecraft, curation and the postdigital -- Marc Tuters: Through glass darkly: Google's gnostic governance -- Vito Campanelli: New aesthetic in the perspective of social photography -- Søren Bro Pold and Christian Ulrik Andersen: Aesthetics of the banal: "new aesthetics" in an era of diverted digital revolutions -- Wendy Chunnet: Works now: belated too early. (shrink)

This is not the first time the title ‘Art and Technology’ has been used, but to distinguish what I have to say from Walter Gropius's Bauhaus exhibition of 1923, I am subtitling my paper ‘an old tension’, where the architect spoke of ‘a new unity’. In a way, Gropius has been proved right; the structures of the future avoiding all romantic embellishment and whimsy, the cathedrals of socialism, the corporate planning of comprehensive Utopian designs have all gone up and some (...) come down. We have a mass media culture also largely made possible by technology. Corporatist architecture, whether statist ‘social housing’ or freemarket inspired, films, videos, modern recording and musical techniques are all due to technological advances made mostly this century. Only in a very puritanical sense could what has happened be thought of as inevitably bringing with it enslavement. All kinds of possibilities are now open to artists and architects, which would have been imaginable a few decades ago. No one is forced to use these possibilities in any specific way. (shrink)

Adorno’s extended conception of ‘culture industry’ renders the usual criticism of his views as ‘elitist’ meaningless. The same expansion creates, however, logical strains and contradictions in his analysis of the character and function of the culture industry: a strain in its ‘psychosocial’ and ‘status compulsion’ interpretation. In his late work Adorno attempts to solve this contradiction, but at a heavy price, by creating a conceptual barrier between pleasure and happiness.

At once provocative and inspiring_, Against the Flow_ is a work of polemic from an internationally respected writer and thinker on arts education. Peter Abbs argues that contemporary education ignores the aesthetic and ethical as a result of being in thrall to such forces as the market economy and managerial and functional dictates. He identifies the present education system as being inimical to creativity and authentic learning and instead, narrowly focused on the quantitative measuring of results. This absence of a (...) creative and ethical dimension in education has implications for art making in wider society. Art is shown as emerging from, and appealing to, the ironic postmodernist sensibility and mass media-led culture, while being devoid of philosophical significance. This book opens up a fresh and timely debate about the vital power of creativity in modern education. Drawing on examples from modern poetry, literature and visual art, it is an eloquent and passionate argument for the need to develop ethical and aesthetic energies to confront the growing vacuity of contemporary culture. (shrink)

The main thesis of my article is that the viability of the European Union does not depend so much on its political structure as on its being anchored in a culture-based public sphere and on the establishment of a cultural European citizenship. The public sphere could be defined as an unique world, characterized by consensus and cooperation, in which only public goods can be sought and acquired, or as an unique world, characterized by rivalry and competition, in which everyone could (...) pursue their private interests, but only if there is a consensus regarding an objective and fair procedure. In any way, we cannot speak of a pluralism of public spheres - like the black public sphere, the LGBT public sphere, etc. - but (at the most) a plurality of interests represented in the public sphere, under the reserve of respecting a fair procedure, which allows the expression of axiological judgments. The EU needs a progressive citizenship, from civil citizenship to cultural citizenship, depending on the acquired skills, behavior and virtues. One deserves cultural citizenship and have the right (or, perhaps the privilege) to manifest - in the public sphere - a way of life and a cultural identity only if promote authentic values: virtues, rationality, free will etc. The problematic aspects of the European media sphere are obstacles on the way to establishing an authentic European cultural citizenship. They can be kept under control by assuming a healthy reactionary attitude and associating every element of change and contingent progress (speed, reductive simplicity, user's solitude, pictoriality, lateralness, data overload, immediacy, segmentation, social amnesia, etc.) with an element of moderation and equilibrium. Only thus can the media contribute in the making of a viable union of the European peoples, grounded on a well articulated European cultural citizenship. (shrink)

The purpose of this article is to examine the features of media linguistics as an actual scientific field. The concepts of mass communication and mass media are distinguished. On the example of magazine interview an attempt is made to reveal the possibilities of studying this type of text from a position of media linguistics.

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an unprecedented (...) mapping of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)

The language specificity of modern media texts and the aspects of studying it in the courses ‘Language and style of modern mass media‘ and ‘Modern mediatext‘ are considered in the article. The language specificity of contemporary media texts is connected, on the one hand, with the subjectivization of the text, enforcement of personality, democratization and with the increase of proportion of a foreign word, intertexuality, intellectualization of the text on the other hand. Subjectivization of the text (...) is connected with the personality enforcement, is determined by the influence of social processes - freedom of speech declaration - and demonstrates itself in the actualization of the author, in a high level of evaluation, emotionality, abundance of metatextual means. Democratization in the modern mass media texts shows itself in the joint functioning of means of different styles: bookish, substandard, jargon. Intertextuality is opposed to the excessive subjectivization of the text and demonstrates itself in the increased usage of foreign words, it is realized with the help of precedent phenomena. Intellectualization shows itself in the active usage of the means of indirect communication by the journalists: tropes, wordplay. Unnecessarily liberal usage of language means for the expressive-evaluating and wordplay on purposes is often contiguous to speech aggression. Consequently studying modern media texts allows students to not only detect and characterize the main features of the modern mass media language and style, structural-semantic peculiarities of a modern mediatext, but also to give its socio-ethical evaluation. (shrink)

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, and the digital (...) image -- Foundational sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)

The crisis of contemporary art is a paradigmatic example of the crisis of spiritual values in today's world. The main cause of this crisis, it is argued, lies in the spirit of modern sciences. These do not find their object as a ready given, but rather determine it themselves, from their own standpoint, and thus basically produce it. Due to enormous technological development, modern civilization has turned the whole world into the Eleatic One. In materializing the uniform spirit of technology (...) in our world the role of the new audio-visual media: cinema, radio, television, video and the internet, has been crucial. Technology has become a powerful instrument of modern power: it has enabled a concentration of power in the hands of technical, cultural and political administration, as well as automatically expanding mass production and consumption, and finally subordination of people to methodic education, control and manipulation. These are main features of the spirit of the contemporary technical civilization where technology is not understood as something technical but rather as a mode of existence, connected with science and industry. By changing the way in which human life is lived, and the way in which human community is ordered, the purpose and perception of the work of art has also changed. Beauty is not taken to be a result of subjective experience and something belonging to the object as such. The sphere of the aesthetic has become the ground for manifesting relativism and subjectivism in various forms. With the development of knowledge and human power, the contemporary world has begun to sink into nihilism, losing a sense for anything bearing the stamp of individuality. In such a world, everything, including the sphere of spiritual values, is reduced merely to what is useful and efficient.. Kriza savremene umetnosti predstavlja paradigmatican primer krize duhovnih vrednosti u savremenom svetu. Glavni uzrok te krize autor vidi u duhu modernih nauka za koje je karakteristicno da svoj predmet ne nalaze kao gotovu datost, vec ga same odredjuju sa svog stanovista i tako ga iz osnova proizvode. Zahvaljujuci ogromnom razvitku tehnike moderna civilizacija je ceo svet pretvorila u elejsko jedno. Kljucnu ulogu u realizaciji uniformnog duha tehnike u nasoj savremenosti imali su novi audio vizuelni mediji: film, radio, televizija, video i Internet. Tehnika je postala mocan instrument moderne vlasti: ona je omogucila koncentraciju moci u rukama tehnicke, kulturne i politicke uprave, masovnu proizvodnju i potrosnju koje se automatski sire, podcinjavanje ljudi metodskom skolovanju, kontroli i manipulaciji. To su najvaznija obelezja duha savremene tehnicke civilizacije u kojoj se tehnika ne shvata kao nesto tehnicko vec kao jedan nacin egzistencije povezan s naukom i industrijom. Promenom nacina vodjenja ljudskog zivota, nacina uredjenja ljudske zajednice, promenjena je svrha i percepcija umetnickog dela. Lepota se shvata kao plod subjektivnog dozivljaja i ne pripada predmetu kao takvom. Sfera estetskog postala je najsire podrucje za razlicite vrste ispoljavanja relativizma i subjektivizma. Razvojem saznanja i ljudske moci, savremeni svet poceo je da tone u no? nihilizma i da gubi smisao za sve sto ima pecat individualnosti. U takvom svetu sve se, pa i sfera duhovnih vrednosti, svodi samo na ono sto je korisno i delotvorno. (shrink)

Modern tendencies of genre formatting in printed media in Russia are analyzed in the article. A number of printed periodicals are investigated, namely “Ekonomika i zhizn’”, “Vedomosti”, “Schastlivye roditeli” (more than 1200 texts) and 5 regional Moscow newspapers (“Kolomenskaya Pravda”, “Zarya”, “Orekhovo-Zuevskaya Pravda”, “Serebryanoprudsky Vestnik”, “Khimkinskie Novosti”) comprising more than 400 texts. The author states that formatting of modern printed media and formatting of the used genres occur within the main tendencies of journalism development. They are PR, Westernization, (...) glamorization and usage of Western journalism patterns. It leads to distribution of new text types, such as an advertising article, an ordered article, an image and supporting articles. Some changes in the process of genre formatting in Russia are determined: traditional genre forms characteristic for Russia are reduced and hybrid genres appear instead whereas journalism genres mutate and Western ones are widely applied. This results in news reports as the most popular genres whereas high quality analytical and art-journalistic genres are reduced. (shrink)

Nursing has evolved, yet media representation has arguably failed to keep up. This work explores why representation has been slow in accurately depicting nurses' responsibilities, impacts on public perceptions and professional identity. A critical realist review was employed as this method enables in-depth exploration into why something exists. A multidisciplinary approach was adopted, drawing from feminist, psychological and sociological theories to provide insightful understanding and recommendations. One main feminist lens has been implemented, using Laura Mulvey’s ‘Male-Gaze’ framework for content (...) analysis of three nurse-related advertisements to explore how the profession's female status influences representation, public perception and how this might impact nursing. Nurse representation has important real-world consequences. It is essential to improve unnecessary negative portrayals and contest ingrained stereotypes as there are costs to public opinion and nursing's self-identity. Nursing's female status has an impact within a male-dominated media industry, with a leisurely approach adopted toward changing representation. Media images become societally ingrained, this reiterates the significance of accurate/positive depictions. Social media is an instant method of communication with the public to combat stereotypes and maintain engagement to provide better understanding of what nurses do. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 89-93 [Access article in PDF] Richard Shusterman, Performing Live: Aesthetic Alternatives for the Ends of Art (New York: Cornell University Press, 2000) Performing Live can be ascribed to post-modern American pragmatism in its widest expression. The author's intention is to revalue aesthetic experience, as well as to expand its realm to the extent where such experience also encompasses areas alien to traditional (...) aesthetics (for example, popular art or the somatic arts of self-improvement), reaching "the art of living" and reclaiming life itself as performance.After the introduction, titled "Aesthetic Renewal for the Ends of Art: An Overture," the text is organized in two main parts: "Aesthetic Experience and Popular Art" and "Soma, Self, and Society." Along with its ambitious title, the book's organization and structure promise a consistency of approach and narrative that somewhat dissolves during the reading. Shusterman recognizes that the stylistic problems that arise from a compilation of articles spanning ten years, mixing newly written and revised articles, but appeals to the reader's appreciation of the "quality of the mix" (11). Despite this feature, he is a lucid and thoughtful communicator and his writing style is excellent.In order to propose new or revitalized alternatives for the ends of art, Shusterman [End Page 89] explores the crisis in traditional visions of art, pointing to the compartmentalization and lack of credibility in current artistic thought and practice. Hegel, Walter Benjamin, Gianni Vattimo, and Arthur Danto provide him with the philosophical arguments accounting for the modern "exhaustion" of art. He supports a dialectical approach, both naturalistic and historicist, and builds a solid case for the possibility of alternatives in aesthetic thought and experience. He proposes two alternatives in his introduction: The two most prominent sites for today's aesthetic alternatives are clearly the mass-media popular arts and the complex cluster of disciplines devoted to bodily beauty and the art of living as expressed in today's preoccupation with aesthetic lifestyles. (7) It is unclear why these alternatives are "clearly" "the two most prominent." The author does not build a case for this assumption or for the "newness" of these alternatives. The "compilation style" mentioned above and this lack of justification for one of the most original elements in the book make this text often read as a philosophical drafting board. Keeping these characteristics in mind and also critically pondering the degrees of success in the enterprise, the reader must give Shusterman credit for taking risks while suggesting concrete examples for an experiential, holistic philosophy. In this sense, he mentions (in a different context) that "all of us [are caught] between conceptual history and futuristic speculation" (145), and he takes to heart this situation and its challenges.The first chapter in Performing Live aims to redeem or revalue the concept of aesthetic experience. For Shusterman, the loss of "felt experience" in art makes the interest in this concept utterly relevant for art's survival. He traces the lineage of this aesthetic philosophy to John Dewey, Monroe Beardsley, Nelson Goodman, and Arthur Danto. Besides focusing on these authors, his analysis revisits some of the main currents of thought in Western philosophy on the topic (for example, Plato, Hume, Kant, Dickie, Adorno, Benjamin, Gadamer). He concludes that a pragmatic approach to aesthetics, applying the concept of aesthetic experience directionally (as a means towards the actual experience rather than as a definable concept), can provide new paths for revitalizing art. Throughout the text this concept is also used expansively. The post-modern justification of the proposed aesthetics, by allowing the extension of aesthetic experience to embrace "the art of living," can leave the reader wondering if Shusterman has not simply turned Kierkegaard's existentialist stages to self-realization upside down.The second chapter is an open defense of popular art, carried out by contesting the main complaints found in current art criticism. Shusterman's defense is not directed to the products of popular art, but against the claim that popular art is aesthetically "worthless." His definition of "popular art... (shrink)

Theoretical substantiations and practical recommendations on media educational contain against gender stereotypes in the Ukrainian mass media are given in the work. Attention is paid to the pathogenic factor of the use of gender-sensitive content. The work is based on propedeutic theoretic studies of cultural and psychosocial background of Ukraine. We also used a content analysis of news and advertising materials of heterogenic media; sociologic methods ; modelling of educational situations and forecasting of expected results. That (...) was an end-to-end method of generalization that covered theoretical and practical stages of the study. It is proved that despite the weakening of gender divisions in the socio-cultural sphere in the world, in developing countries gender stereotypes remain a powerful tool for affective approach of media and advertising to the consumer. Author's ways to increase the level of media literacy and critical thinking with the help of gender-sensitive experiments, mini-projects, filling the media space with "mirror" about sexist content and creating a personal media field are proposed. (shrink)

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Digital technology has transformed the way that we visualise the natural world, the art we create and the stories we tell about our environments. Exploring contemporary digital art and literature through an ecocritical lens, Digital Vision and the Ecological Aesthetic (1968-2018) demonstrates the many ways in which critical ideas of the sublime, the pastoral and the picturesque have been renewed and shaped in (...) digital media, from electronic literature to music and the visual arts. The book goes on to explore the ecological implications of these new forms of cultural representation in the digital age and in so doing makes a profound contribution to our understanding of digital art practice in the 21st century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Symposium: The Future of the Art Museum: Curatorial and Educational Perspectives:IntroductionDaniel A. SiedellIntroductionThere are few futures pondered more often than the art museum's. The new millennium has spawned a veritable cottage industry of such prognostication. Most of it has occurred from the perspectives of building expansion, audience growth, and collection development. These are not, by any means, unimportant considerations. However, such sustained attention to them by directors, marketers, board (...) members, collectors, and the mass media tend to obscure the fact that these areas of concern are not ends in themselves. A new museum wing, higher attendance, and more gifts of art to the collection mean little unless they serve to facilitate specific curatorial and educational ends, which themselves are in the service of expanding and deepening their capacity to enhance the experience of art. The future of the art museum rests on the ability of curators and educators to develop new and more robust curatorial and educational work that is responsive to both the larger culture and to the vocational standards of their respective professions. Curators and educators need, then, to be more self-critical of their practices.This symposium brings together a few of these professionals to reflect on the future of the art museum from the perspective of those involved in the day-to-day production, presentation, and interpretation of works of art. It is occasioned by the publication of David Carrier's book, Museum Skepticism: A History of the Display of Art in Public Galleries, recently published by Duke University Press, and more specifically, Carrier's conclusion, which offers its own reflection on the future of the art museum. A frequent contributor to the Journal of Aesthetic Education, Carrier is a philosopher and art critic whose interests range widely from the art criticism of John Ruskin and Adrian Stokes to the writing of art history and the paintings of Sean Scully.1 Carrier's book, written while a scholar in residence at the Getty Center for the History of Art and the Humanities, explores the history and philosophy of art museums from the point of view of the narratives on which they rely as well as produce. And it is narratives that art educators and curators produce, affirm, and expand when they curate exhibitions and do educational programming.Because they are "public" institutions (even when they are private organizations) and serve many competing audience constituencies, art museums [End Page 1] often suffer from an acute identity crisis, even while they build large expansions, engage in aggressive campaigns to court collectors, placate increasingly more powerful governing boards, and expand their programming to the point that it ceases to be education. The business of the art museum often masks these deep crises, which eventually become a neurosis that plagues curatorial and educational practice. A symptom of this illness can be seen in the misplaced tension between curators and educators as a battle between the "scholars" and the "popularizers," the "elites" and the "community."In 1946 Alfred H. Barr Jr. of the Museum of Modern Art presented a paper called "Research and Publication in Art Museums."2 In it Barr not only recognizes the importance of museum scholarship; he argues that such scholarship, unlike that of the academic art historian, must engage and interact with "the man off the street." Indeed, Barr passionately believed that museum scholarship not only could but should engage a broader and more diverse public all the while remaining committed to scholarly ideals. Barr acknowledges the tensions between museums as "popular community centers" and museums as places of "research and publication." But, he continues, "Both can be done provided we have enough faith to believe in the values of both and enough skill to persuade others to agree with us."3 Barr's expansive definition of scholarship is instructive and a challenge. "By publication I mean not only the scholarly treatise but also the popular article or book, the classroom or public lecture, the gallery talk, publicity releases."4 For Barr, scholarship is not merely a curator's or educator's opportunity to address her professional colleagues and strengthen guild rank; it is a value that is infused throughout all work... (shrink)

The aim of this article is to adapt Peirce’s semiotics to the study of media and arts. While some Peircean notions are criticized and rejected, constructive ways of understanding Peirce’s ideas are suggested, and a number of new notions, which are intended to highlight crucial aspects of semiosis, are then introduced. All these ideas and notions are systematically related to one another within the frames of a consistent terminology. The article starts with an investigation of Peirce’s three sign constituents (...) and their interrelations: the representamen, the object, and the interpretant. A new approach to the interrelations of these three sign constituents is then suggested and manifested in a distinction between representation and neopresentation. This is followed by a critical discussion of Peirce’s three types of representation—iconicity, indexicality, and symbolicity—and their interrelations, which sets the stage for a presentation of what is referred to as the material and mental representation model. This model aims to illuminate the problematic relation between material and mental facets of signification triggered by media and art products, and other material things and phenomena. (shrink)

In the 1960s, there were efforts to move broadcast television in the direction of the experimental video art by altering television's conventional format. Fred Barzyk, in his role as a producer and director at WGBH-TV in Boston, was uniquely positioned to act as a link between television and experimental video artists who normally would not have had access to the technology available at a major broadcast facility. As the leading innovator in the beginnings of video art, the Korean American Nam (...) June Paik (1932-2006) deserves special mention. His work bridges the worlds of art, video technology, and television. The video works of Nan June Paik, Amy Greenfield, Peter Campus, Feng Meng Bo, Elizabeth Sussman and other video artists are considered in this essay as key contributors to the development of video art. The selection is based on my experience with the artists cited. Despite video art's growing popularity among contemporary artists in the 1970s and beyond, the museums were slow to acknowledge this development. One of the problems was deciding where, among the existing museum collections, to locate video art. In its 50 some years of history, video art has enjoyed a remarkable success in its artistic innovations while undergoing changes in formats virtually at the speed of rapid advances in electronic visual technology. Ironically, the legacy of creative television set in motion by Barzyk and his generation has been largely coopted by the television broadcasting industry, which mainly serves as a platform for mass media advertising. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 41-50 [Access article in PDF] Encounter Between Hyper-Media and Art Education:A Retrospection of Jean-Jacques Rousseau or Memories of Art and EducationToday both art and education are experiencing profound change as a result of emerging technologies. This essay attempts to redefine art education by considering the latest media art as the culmination of change in art. Statements about art education are (...) only viable in the meta-context of art, as art education must start with the work to objectify, as well as structure, "art." Atthe same time, these meta-statements can cast light on the "foundation" of art.Attempts to view the totality of art up to the present time from the "end" of history (meta) and questioning of the "beginning" of art and mankind (foundation) are two sides of the same phenomenon.Media art is an example of this phenomenon which reflects both the meta-context and foundation of art. For example, the work of Jean-Louis Boissier boasts both a radical as well as refined image. 1 His exhibition, "Salle Rousseau" further extends the scale of his conventional work based on the texts of Jean-Jacques Rousseau. 2 This essay revises the text written for the catalogue for the exhibition and aims at analyzing the close relationship between media art and art education, sketching the phases of [End Page 41] meta-statements and foundations which emerge as a result of the interaction of art, media, and education. A Place for Retrospection Boissier's work is well-known for its references to Rousseau. Having been involved in art education, it was natural for me to develop a strong interest in Rousseau, whom I consider to be a founder of modern art and education. The fact that the Boissier's exhibition was held at the "Kyoto Art Centre" in Muromachi, Kyoto supports this belief. Kyoto was the first place in Japan where primary schools based on the school district system were introduced. The Kyoto Art Centre is located at the former Meirin Primary School which was founded at the dawn of modern Japanese education. In its turn, Meirin Primary School succeeded Shingaku-juku. 3 Thus, the location for the BoissierExhibition, dating back to the very beginning of education in Japan, is a place that encourages reflection on the past.While Boissier recollects Rousseau with his unique interactive texts, Rousseau recollects his own past. We, the spectators, are immersed in multiple layers of memories and recollections. Sometimes, however, Rousseau's recollections break through the intricacy and multiple layers and appear to achieve a rapport with the people and flowers which once existed. I have long been attracted by the fresh literal expressions particularly evident in "The Confessions" and other works. The beauty of such expressions must have been born from his affectionate view of nature as illustrated by his hobby of plant collection. View of Nature I cannot help recalling Rousseau whenever I think about the relationship between nature and mankind. Rousseau was a person who could talk beautifully about the direct relationship between nature and mankind. In his writings of "Les riveries du promeneur solitaire" and "Quoted Passage," Rousseau recollects his peaceful life on St. Pierre Island in Lake Bieler in Switzerland where he spent nearly one and a half months after being deported from France as well as his hometown, Geneva because of problems caused by the publication of The Social Contract and Emile. For me, this text is inseparable from the looped image of shallow water which forms the background of the work entitled Flora petrinsularis (1993 and 1994) by Boissier.The beautiful text by Rousseau captivates us without any external help and, at the same time, shows what nature meant to him. The relationship with nature described here is the food as well as foundation of his life. This attitude of accepting nature in the deepest part of his mind is pure agreement with nature as pointed out by Jean Starobinski and represents an experience of fusion... (shrink)

The appearance of mass media and a versatile medium of videos can serve the convenience and instructive information for children; on the other hand, it could abet them in implicit image consumption. Now is the time for kids' to be in need of thinking power which enables them to make a choice, applications andcriticism of information within such visual cultures. In spite of these social changes, the realities are that our curriculum still doesn't meet a learner's demand properly. (...) This research, in this context, is aimed at looking out on the currently implemented art appreciation learning process in a critical fashion, and also aimed at suggesting a plan for visual culture learning by applying the philosophy program for kids as a new alternative. The purpose of such education is toenhance the capability to solve a variety of problems they are facing in the course of daily life by reflecting their matter of concern in a curriculum. What we have to pay attention to in visual culture learning is 'visual literacy.' Such an interpretative faculty of a critical reading of images is a must especially when kids should make a judgment of value hidden in images in their daily events, make an analysis of an ideological message and make an information-oriented decision. Therefore, learners have to enrich their higher-order thinking power as well as critical thinking faculty in modern society. If there is no objection to these social surroundings, it is quite natural that philosophy education, which forms a base of a higher-order thinking for children should be handled significantly at school. (shrink)

Apparitions takes a new look at the critical legacy of one of the 20th century's most important and influential thinkers about music, Theodor W. Adorno. Bringing together an international group of scholars, the book offers new historical and critical insights into Adorno's theories of music and how these theories, in turn, have affected the study of contemporary art music, popular music, and jazz. The essays review the impact of Philosophy of New Music a fter World War II, examine Adorno's struggle (...) to adapt his aging philosophy to the new music of the 1950s and 1960s, and trace his influence on recent composers. Several essays in this volume also re-evaluate Adorno's controversial contribution to the study of popular music and jazz, as well as his theories of mass media and mass culture in the context of an increasing consolidation of corporate and political power in the entertainment industry. This volume will be indispensable for both scholars and students of Adorno, who seek a historical context and a critical assessment of some of his most influential as well as most contested writings on music. (shrink)