Steven Tötösy de Zepetnek discusses in his paper “New Media Technology, Interculturalism, and Intermediality” the importance of new media technology and the concept of intermediality with regard to the relevance of interculturalism in today's society. Intermediality refers to the blurring of generic and formal boundaries among different forms of cultural practices and in the field of pedagogy. The trajectories of intermedial spaces, actions, and processes of types of new media including the world wide web, hypertextuality, (...) online publishing, blogs, interactive media, etc., suggest possibilities and potentials to work toward interculturalism. Interculturalism is understood as a practice of social life including government at all levels, education and pedagogy, as well as all instances of every-day life towards active recognition and inclusion of the Other and a commitment against essentialisms. In this process, the potential roles of new mediasuggest as of yet un-tapped resources and possibilities. (shrink)

The times are progressing and the demand for opera performance talents is gradually increasing. In the new media environment as well as the technological environment, the teaching of opera performance in colleges and universities has ushered in the challenges of the new era, and the teaching staff of colleges and universities need to continuously improve their abilities. This paper explores the use of intelligent devices to explore the professional curriculum and teaching research in the new media environment.

Steven Tötösy de Zepetnek discusses in his paper “New Media Technology, Interculturalism, and Intermediality” the importance of new media technology and the concept of intermediality with regard to the relevance of interculturalism in today's society. Intermediality refers to the blurring of generic and formal boundaries among different forms of cultural practices and in the field of pedagogy. The trajectories of intermedial spaces, actions, and processes of types of new media including the world wide web, hypertextuality, (...) online publishing, blogs, interactive media, etc., suggest possibilities and potentials to work toward interculturalism. Interculturalism is understood as a practice of social life including government at all levels, education and pedagogy, as well as all instances of every-day life towards active recognition and inclusion of the Other and a commitment against essentialisms. In this process, the potential roles of new mediasuggest as of yet un-tapped resources and possibilities. (shrink)

The proliferation of cable television in Israel through independent infrastructures has provided a unique opportunity for a quasi-experimental study on audience response, and Israeli families in particular, to a new media technology. Cable television subscription in Israel differs from non-cable households in the sense that cable television provides more individual viewing situations and encourages solitary TV viewing, and therefore should be considered a new media technology. This study examines various family characteristics and their ability to predict (...) the extent to which families use the new technology for socialization. Data concerning family characteristics, duration of cable TV subscription and the extent families use television for instrumental, integrative and educational purposes, were collected from 254 urban families in 11 neighborhoods in the main cities of Israel. The results support the structural functional theory of communication as opposed to the technological, deterministic theory of communication. Subscription to cable television did not prove to be a significant predictor of the extent to which Israeli urban families use television to fulfill major socialization purposes. Family characteristics were found to influence the socializing role of cable television. The study reveals associations between certain family characteristics and the kind of socialization role that television plays in the family. Cable television, by now a well-established feature in many households, may be considered a test case, and its current uses in the family an indication of the implications regarding the introduction of newer media technologies such as the PC and the Internet, and their potential socialization purposes within families. (shrink)

With the rapid development of the Internet and smart phone technology, a large number of short videos are shared through social platforms. Therefore, video content analysis is a very important and popular work in machine learning and artificial intelligence currently. However, it is very difficult to analyze all aspects of video content originally produced by large-scale users. How to screen out bad and illegal content from short videos published by a large number of users, select high-quality videos to share (...) with other users, and improve the quality of video on the distribution platform of the entire user is a top priority. Based on this background, this paper focuses on optimizing video auditing to provide basic features for algorithm judgment, supporting original content and increasing the distribution of new content, and strengthening manual intervention combining algorithm recommendation with manual recommendation. Four major aspects of the artificial training algorithm model discuss the optimization effect of artificial intelligence on the algorithm in order to provide some guidance for the sustainable and healthy development of mobile short video. (shrink)

The text elaborates on the relations of objectivity and materiality fiction and those of virtuality produced by new media and digital technologies. It presents and elaborates a critique of the two most relevant debates in contemporary philosophy and theory, the relation of materialism to what is termed the “new materialism,” which is proposed as a substitute for what in the modernist era formed the relation between objectivity, materialism and realism, and then proceeds to expose the difference between thanatopolitics and (...) necropolitics. (shrink)

A major part of our lives is now entangled with new media devices – mobile phones, laptops, iPods, blogs, twitters, SMS, e-mails, TV screens, etc. Our daily life happens in a cultural context where television, video, advertisement and computer images are more real to us than the non-media physical reality that surrounds us. In this article, within an ontological setting marked by Heidegger’s notions of being-inthe- world and Ge-stell, we argue that information and communication technologies (ICT) would only (...) essentially show up as what they are as long as they are experienced in-the-world where they are what they already have been for us. In this light, we submit that new media are essentially and paradoxically linked to instrumentality. On the one hand, within Ge-stell, the essence of ICT is shown to be far removed from its obvious toolness; yet, on the other, we submit that it is this very instrumentality that bounds new media that cannot be stripped out of what they most essentially are. At this point our article brings together earlier and later Heidegger, in a manner not done up to now, and that we claim is epistemologically consistent. The in-the-worldness of ICT, of its many devices but fundamentally of its revealing, that is, of the conditions of possibility for contemporary life for being what it is – is achieved in the decisive entering of Ge-stell into language. Thus, we aim to show that new media essentially unfold as a background of action. We conclude the article by pointing out that this ontologically background is in full swing, letting beings be in accordance to what might be its deepest ontological hallmark, a human being capable of substituting backgrounds. (shrink)

In the current digital environment, people can visit every corner of the world without leaving their homes. New media technology compresses distance and time, but it also subverts the traditional mode of audience presence. Many traditional, offline content expression modes are also moving toward the digital field, and digital art is among them. Digital new media is a new art form that requires its audience to have a new media literacy; this literacy is necessary for esthetic (...) experience and for audience participation. At present, the relatively lack of objective methodology for scientific research on aesthetic and media literacy has limited our current understanding. Therefore, we need to develop a new model and conduct empirical research with college students as the audience. Empirical research was conducted with an audience of college students. The study had the following purposes: to add a new dimension to the esthetic model, namely new media literacy, to align the model with the current digital environment, and to test the moderating effect of new media literacy on esthetic emotion as represented by interest and confusion. The experiment verified the study’s hypothesis that higher new media literacy was associated with higher esthetic interest and lower confusion. By contrast, has a substantial influence on the cognitive processes in humans, lower new media literacy was associated with lower esthetic interest and higher confusion. New media literacy is an essential quality for contemporary audiences. This knowledge may be useful for effective design. It provides a traditional and favorable learning environment and empirical reference for the subsequent improvement of digital aesthetics and media literacy. (shrink)

New media theorist Mark Hansen, in Feed-Forward: On the Future of Twenty-first Century Media and a series of articles, argues that the most sophisticated forms of media technology today have the capacity to broaden and enrich human experience and consciousness. Refusing the popular discourses of nonhuman and posthuman, while acknowledging yet turning away from the dystopian, he insists, using the figure of the Pharmakon and the philosophy of Alfred North Whitehead, that while the balance of benefits (...) and costs to human being is tipped toward toxicity, the human, through its imbrication with these media, can be ‘reformed’. In this essay I review Hansen’s argument, his use and critique of Whitehead, the central place of what he calls worldly sensibility in this vision, and consider his attempt to illustrate what this ‘new human’ of new media might be. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and (...) telecommunications technology, and cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and (...) telecommunications technology, and cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

Modern information technologies, beginning with the fax and audiocassettes but now exemplified in satellite television and the Internet, have opened the public discourse of Islam to new voices and, more subtlely, to new practices. While media-savvy militants draw the attention of outside observers, a quieter drama is unfolding. Pious middle classes are extending conventional patterns of seeking out religious guidance into new channels, particularly the Internet; the continuous search for role models and reference groups is meeting increasingly modern ways (...) of providing those - namely, media and increasingly media that target specific needs of growing middle classes. These range from religious instructional material for children to be used by parents to religious advice columnists, both conventional and contemporary to sermons to selections of news. Once 'private' discourses are on public display, and this public world of Islam is decidedly intimate. Where scholars of print note an officialization of discourse that moves into that medium, and programmatic 'islamizers' of knowledge, politics, etc. generally pursue entextualization strategies, electronic communication is moving Islam into the marketplace and aligning its practices, both metaphorically in the sense that the range of public choice and alternatives expands and literally in the rise of businesses to service these demands. (shrink)

This is the first monograph to develop a hermeneutic approach to the digital--as both a technological milieu and a cultural phenomenon. While philosophical in its orientation, the book covers a wide body of literature across science and technology studies, media studies, digital humanities, digital sociology, cognitive science, and the study of artificial intelligence. In the first part of the book, the author formulates an epistemological thesis according to which the "virtual never ended." Although the frontiers between the real (...) and the virtual are certainly more porous today, they still exist and endure. In the book's second part, the author offers an ontological reflection on emerging digital technologies as "imaginative machines." He introduces the concept of emagination, arguing that human schematizations are always externalized into technologies, and that human imagination has its analog in the digital dynamics of articulation between databases and algorithms. The author takes an ethical and political stance in the concluding chapter. He resorts to the notion of "digital habitus" for claiming that within the digital we are repeatedly being reconducted to an oversimplified image and understanding of ourselves. Digital Hermeneutics will be of interest to scholars across a wide range of disciplines, including those working on philosophy of technology, hermeneutics, science and technology studies, media studies, and the digital humanities. (shrink)

In New Philosophy for New Media, Mark Hansen defines the image in digital art in terms that go beyond the merely visual. Arguing that the "digital image" encompasses the entire process by which information is made perceivable, he places the body in a privileged position -- as the agent that filters information in order to create images. By doing so, he counters prevailing notions of technological transcendence and argues for the indispensability of the human in the digital era.Hansen examines (...) new media art and theory in light of Henri Bergson's argument that affection and memory render perception impure -- that we select only those images precisely relevant to our singular form of embodiment. Hansen updates this argument for the digital age, arguing that we filter the information we receive to create images rather than simply receiving images as preexisting technical forms. This framing function yields what Hansen calls the "digital image." He argues that this new "embodied" status of the frame corresponds directly to the digital revolution: a digitized image is not a fixed representation of reality, but is defined by its complete flexibility and accessibility. It is not just that the interactivity of new media turns viewers into users; the image itself has become the body's process of perceiving it.To illustrate his account of how the body filters information in order to create images, Hansen focuses on new media artists who follow a "Bergsonist vocation"; through concrete engagement with the work of artists like Jeffrey Shaw, Douglas Gordon, and Bill Viola, Hansen explores the contemporary aesthetic investment in the affective, bodily basis of vision. The book includes over 70 illustrations from the works of these and many other new media artists. (shrink)

Name der Zeitschrift: Jahrbuch für Wissenschaft und Ethik Jahrgang: 20 Heft: 1 Seiten: 293-302.

This book argues that we have moved into a new cultural period, automodernity, which represents a social, psychological, and technological reaction to postmodernity. In fact, by showing how individual autonomy is now being generated through technological and cultural automation, Samuels posits that we must rethink modernity and postmodernity. Part of this rethinking entails stressing how the progressive political aspects of postmodernism need to be separated from the aesthetic consumption of differences in automoderntiy. Choosing culturally relevant studies of The Matrix, Grand (...) Theft Auto, Eminem and Jurassic Park, he interprets these medias through the lens of eminent theorists like Slavoj Zizek, Frederic Jameson, and Henry Jenkins. Ultimately, he argues that what defines postmodernity is the stress on social construction, secular humanism, and progressive social movements that challenge the universality and neutrality of modern reason"--Provided by publisher. (shrink)

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and (...) activities. I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

It may strike some as incongruous to discuss both new media and Heidegger in a single article. Heidegger died in 1976, so he can hardly be considered as having first-hand experience with so-called new media. He is best known for his endeavour of destructing traditional Western metaphysics, and for an organic extension of this destruction, his philosophy of technology. He explicitly touches upon two communications-oriented technological inventions: the radio and the typewriter. In both cases, his criticism is (...) quite obvious. Despite all this, some of his considerations make it worthwhile to further investigating his criticism. I will start with an overview of the longstanding critical attitude toward any new media, and I will attempt to define some key terms with regard to old and new media. Then I will outline the philosophical background of the Heideggerian criticism, and investigate the lessons we can learn from Heidegger. (shrink)

This article explores the impact of the new communications technologies on the generation born in the 1980s, the first to grow up under the dominance of the computer. It considers some of the parameters for discussing the close of one era and the beginning of another and draws on the writings of major civilizationist historians and futurologists, including Jacques Ellul, Samuel Huntington, and Romano Guardini.

In this paper, I wish to show how new technologies come to alter one’s initial enjoyment and comportment towards a hobby. What I show is that new technologies serve to transform leisurely activities into a technique, in the Ellulian sense of the term. I begin from the outside in, as it were, by first articulating what I take a hobby to be. Secondly, I then examine the time-honoured pastime of fishing to show that new technologies, if utilized, either cause the (...) hobby to take on aspects of traditional work or in other cases, causes the hobbyist to quit the activity because the hobby is now deemed undesirable; the technological advancement makes the hobby too easy. Thirdly and finally, I turn my attention to another kind of hobby or leisurely activity, which some have called “Facebooking.” Looking at Facebook through an Ellulian lens, there are, to be sure, some rather unsettling aspects of the activity, but despite this, all is not lost; Facebook may be used as a tool to practice the Ellulian virtue of non-selectivity. (shrink)

New media and technologies such as social media and online platforms are disrupting the way businesses are run and how society functions. This article advises that scholars consider the morality of new media as an area of investigation. While prior literature has given much attention to how social media provides benefits, how it affects society generally, and how it can be used efficiently, research on the ethical aspects of new media has received relatively less attention. (...) In an age where matters such as violence, hate crimes, fake news, etc. are increasingly pervasive, we need to address the role of online technology in aiding or limiting such negative acts. In this regard, this article uses the canvas of a terror attack that was facilitated by online technology to bring to light pressing social and ethical issues in the use of new media. I draw upon 264 news articles focusing on the 2019 Christchurch terrorist attacks to piece together how the attack was orchestrated and focus on technology-enabled facets of the event. I stir discussion on the ethical aspects of technology with regard to online discrimination and highlight business and other stakeholder responsibilities and challenges as technology continues to evolve and pervade our social lives. (shrink)

This article provides an international perspective on how new media technologies are shifting the parameters of debates about journalism ethics. It argues that new, mixed media help create an ?open media ethics? and offers an exploration of how these developments encourage a transition from a closed professional ethics to an ethics that is the concern of all citizens. The relation between an open media ethics and the idea of a global fifth estate, facilitated by global online (...) media, is explored. The article concludes by providing suggestions for key normative conditions that could guide media ethics in this new media world. (shrink)

PurposeThe purpose of this paper is to look at some of the issues surrounding access to and the use of new media technologies by Indigenous people in Australia and question why this is an area of study that receives a marginal focus in academic work.Design/methodology/approachDrawing on previous literature in the area of information and communications technology (ICT) adoption and social exclusion, this paper combines the methodological frameworks adopted by hegemony research and more general studies of new media.FindingsThe (...) paper discusses the impacts of new media use by Indigenous communities, within the framework of discussions about a “global Digital Age”. The paper also briefly looks at the social implications of new media adoption.Originality/valueIt questions the assumption that adoption and use of new media is for the “good” or “benefit” of all. It will be of value to researchers of ICT adoption by Indigenous communities. (shrink)

In this paper I evaluate the implications of contemporary information and communication media for the quality of life, including both the new media from the digital revolution and the older media that remain in use. My evaluation of contemporary media proceeds in three parts. First I discuss the benefits of contemporary media, with special emphasis given to their immediate functional benefits. I then discuss four potential threats posed by contemporary media. In a final section (...) I examine the future of digital media and the possibilities available to us in shaping that future. (shrink)

Name der Zeitschrift: Jahrbuch für Wissenschaft und Ethik Jahrgang: 20 Heft: 1 Seiten: 237-240.

It has become essential to create and apply new media in visual communication design due to social media existence. This study aims to investigate the role of innovative applications of new media in visual communication design in educational institutions. Traditional media design in visual communication lacks to disseminate information more effectively, which requires innovative change. Therefore, this study attempts to highlight the role of innovative application of new media in visual communication by considering visual expression (...) design with information technology, flexible layout, diversified modes of transmission, and interactivity of integration. For this purpose, this study adopted a quantitative research approach in which a cross-sectional research design is followed. A questionnaire survey is carried out to collect data from educational institutions in China. Partial Least Square-Structural Equation Modeling is used for data analysis. Results of the study indicated that innovative applications of new media have central importance in visual communication. However, resistance to innovative change has a negative role in the relationship between innovative applications of new media and visual communication design. Results of the study highlighted that visual expression design with IT, flexible layout, diversified modes of transmission, and interactivity of integration have a positive effect on visual communication design. Therefore, among the educational intuitions of China, implementing innovative applications related to the new media can lead to visual communication design. The results of this study provided several insights for the practitioners to promote communication methods among educational institutions. (shrink)

With the advancement of digital technology in contemporary art, new hybrid forms of interaction emerge that invite viewers to make images present in physical space as events that claim a life of their own. In breaking away from representational and performance art theories that have dominated the critique of new media artwork since the 1980s, this article analyses an iconic vision of mobile touchscreens based on the medieval Byzantine chorographic inscription of the sacred in profane spaces. As defined (...) in recent art historical studies on Byzantine icons, chorography builds on a multisensory spatial interaction between the beholders of icons that results in feeling the presence of a divine, invisible image. In light of postmodern critique of digital images’ capacity to manipulate notions of reality, new media aesthetic theory hardly addresses this Byzantine iconic vision that is fundamental to western visual culture. Jeffrey Shaw’s installation, The Golden Calf, is discussed to offer an alternative in understanding how digital and physical spaces function together to evoke something essentially real. (shrink)

Portrayals of female scientists in science fiction tend to be rare and often distorted. Our research investigates the social media discourse related to public perceptions of the portrayals of scientists in science fiction. We explore the following questions: How does audience discourse about a female scientist protagonist in a science fiction film compare with that about a male scientist in a comparable movie? And, what fraction of discourse in each case is dedicated to (a) comments on physical appearance and (...) (b) incredulity that the character is a scientist? Using automated nonparametric sentiment analysis software that employs an intelligent algorithm informed by human coding, we analyze Twitter discourse around the release of two summer 2011 science fiction blockbusters with scientists in lead roles: Thor and Rise of the Planet of the Apes. Although scholars have pointed to sexualized portrayals of women scientists in popular media, we found relatively few mentions of the attractiveness of an admittedly attractive female scientist. Additionally, audience discourse was not centered on the implausibility of the female scientist. This is particularly meaningful when combined with previous research showing that strong women in lead roles do not decrease profitability of science fiction films. (shrink)

Throughout art history, numerous artists have explored connections to science. In the society of today, the relationship between art and biology has been acquiring special visibility. Moreover, the current importance given to science and technology by today’s public opinion directly drives an increased awareness about the relationship between art and science. The public has been eagerly following breakthroughs in scientific research, albeit with mixed feelings: simultaneously awe, hope and fear for its potential misuse. Such awareness about biological sciences and (...) biotechnology has been having an increasing influence over artists, where the artist is no longer a mere observer of the scientific research and not quite a science researcher, but rather an art researcher. This particular position has led to the development of strategies to promote the exploration of possibilities deriving from a cross-talk between artists and scientists. This is a new art practice, based on a ‘risk-based’ situation; a timeless research strategy to develop new methods of practice, new media and new ways to manipulate materials for artistic expression. This is art research. During the twentieth century, the key scientific advances – such as the discovery of the DNA structure, in vitro fertilization, transgenesis or the sequencing of the human genome (in the twenty-first century) – were perceived by society in diverse ways. The progressive incorporation of those concepts by society itself led to a point where biology and the medical sciences became the most promising areas of science. It is therefore not surprising that those same scientific disciplines have marked the development of the artistic discourse in a tremendous fashion, as well as also influencing all other areas of the contemporary society. Furthermore, these artworks explore new media, described as ‘moist’ in that they integrate dry in silico computer components with wet living biological systems. (shrink)

Virilio's work as commentator and critic of new media forms takes its inspiration from the urgent need for an ethical dimension to our accommodation of these media in already complex social formations. Although Virilio relies upon a Catholic humanist liberalism and, it is argued here, a very specific mode of philosophical individualism and although these premises govern and constrain the grounding of his ethical critique in a simplistic conceptualization of representation, the article argues that certain facets of his (...) thesis are still worthy of serious contemplation. Virilio's scenarios of disempowernment and indifferentiation can be re-read in the light of media theoretical concepts, specifically those concerned with suture, apparatus, dialogue, communication and mediation to provide an ethical aesthetics of the technologization of community. (shrink)

Aesthetics is thought of as not only a theory of art or beauty, but also includes sensibility, experience, judgment, and relationships. This paper is a study of Bernard Stiegler’s notion of Aesthetic War (stasis) and symbolic misery. Symbolic violence is ensued through a loss of individuation and participation in the creation of symbols. As a struggle between market values against spirit values human life and consciousness within neoliberal hyperindustrial society has become calculable, which prevents people from creating affective and meaningful (...) attachments to symbols in relation to our retentional apparatuses, technology and memory. Such tension can be thought of as a dissonance between overlapping domains of social life, private and public. New Media is a reflection of aesthetic dissonance, an experience such as being bored and entertained at the same time, between antagonistic experiences, values, and behavior. Moreover, new media is at once a medium of customizing aesthetic experience individually as well as the threat and practice of prioritizing calculability and modeling of consumer behavior in favor of capitalistic effectiveness, which results in the simultaneous categorization of an individual as a data point, putting those who do not fit an algorithm’s premises at a disadvantage. (shrink)

In this book, McStay draws on an array of philosophers to offer a novel approach to privacy matters. Against the backdrop and scrutiny of Arendt, Aristotle, Bentham, Brentano, Deleuze, Engels, Heidegger, Hume, Husserl, James, Kant, Latour, Locke, Marx, Mill, Plato, Rorty, Ryle, Sartre, Skinner, among others, McStay advances a wealth of new ideas and terminology, from affective breaches to zombie media.

This article analyzes the role of key visual technologies in contemporary media activism in Brazil. Drawing on a range of media formats and sources, it examines how the aesthetic politics of activists in protests that took place in 2013 opened the way for wider sociopolitical change. The forms and practices of the media activists, it is argued, aimed explicitly at producing transformative politics. New media technologies were remediated as a kind of equipment that could generate new (...) relationships and subjectivities, and thereby access to intentionally undetermined futures. (shrink)

In this book, an international team of authors explore themes of depth and surface, of real and conceptual space and of human/machine interaction.

This article highlights how Internet and new media are experienced by Romanian Seventh-Day Adventist pastors in their ministry. What is the acceptance of Web 2.0 services for neo-Protestant pastors of the Seventh-Day Adventist Church, what uses of these technologies they make in their work, what is their mobilization for the appropriation of an innovative culture in the daily pastoral work, how these uses allow them to manage their religious activity, these are the main questions of a survey we conducted (...) in 2016 to shed light on uses of digital technologies by Romanian Seventh-Day Adventist pastors. (shrink)

Walter Benjamin’s 1936 essay, ‘The Work of Art in the Age of Mechanical Reproduction’, constitutes one of the earliest reflections on the way in which the cultural experience and interpretation is transformed by the advent of what were then the ‘new’ media technologies of photography and film. Benjamin directs attention to the way in which these technologies release cultural objects from their unique presence in a place and make them uniformly available irrespective of spatial location. The way in which (...) old media technologies apparently obliterate the place of cultural objects is also a feature of new media. However, the apparent obliteration of place that occurs in this way is itself problematic, in giving rise to a loss of the sense of spatial and temporal distance, and so of the relative locatedness of both experiencing subject and interpreted object. The loss of a sense of the place of the object threatens a loss of the sense of place of the subject, and with it, a loss of a proper sense of heritage as such. (shrink)

In Sensations of History, James J. Hodge argues that animation in new media art transforms historical experience in the digital age. Combining close textual analysis of experimental new media artworks with discussion of key phenomenological texts, Sensations of History argues for the broad critical significance of animation as we shift from analog to digital technologies. Hodge looks closely at animation aesthetics, which allow for a clear grasp of the ways digital technologies transform our sense of historical experience.

Why are the fundamentals of education apparently so little changed in our era of digital technology? Is their obstinate persistence evidence of resilience or obsolescence? Such questions can best be answered not by imagining an uncertain high-tech future, but by examining a well-documented past--a history of instruction and media that extends from Gilgamesh to Google. Norm Friesen looks to the combination and reconfiguration of oral, textual, and more recent media forms to understand the longevity of so many (...) educational arrangements and practices. Friesen examines the interrelationship of reading, writing, and pedagogy in the case of the lecture and the textbook--from their premodern to their postmodern incarnations. Over hundreds of years, these two forms have integrated textual, oral, and (more recently) digital media and connected them with changing pedagogical and cultural priorities. The Textbook and the Lecture opens new possibilities for understanding not only mediated pedagogical practices and their reform but also gradual changes in our conceptions of the knowing subject and of knowledge itself. Drawing on wide-ranging scholarship in fields as diverse as media ecology and German-language media studies, Foucauldian historiography, and even archaeological research, The Textbook and the Lecture is a fascinating investigation of educational media. (shrink)

Brand design is an important part for enterprises to improve brand awareness and attract consumers. If a company wants to develop for a long time, it must have a good brand image. Good brand design can make a deep impression on consumers, thereby promoting purchase intention. With the advancement of technology and the development of the times, traditional brand design can no longer meet the needs of consumers, and the design of brand experience has gradually become a trend. Incorporating (...) emotional experience into brand design can influence consumers’ brand decisions, and can also make consumers resonate with the brand, which in turn generates purchase behavior. New media is a media state produced within the framework of new technologies and technological development systems. In the context of the 5g new media era, this paper studies and analyzes brand design and its impact on consumers’ emotional experience, aiming to change the traditional brand design method and provide new ideas for brand design. In addition, combined with new media technology and mathematical relational model, the brand design method based on consumer emotion is discussed. The results show that the brand design method proposed in this paper can increase the emotional experience of consumers and improve the brand praise by 7.3%. (shrink)