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This essay attempts to demonstrate the principles and application of postmodernity through the use of an example; the example being a product of Multimedia. In this essay, the principles of modernity and how they are addressed by postmodernity will be discussed. Finally the ideas and notion of reality will be discussed with reference to Hart (2004:47-66) and Kando (1996:3-33).
Procedia - Social and Behavioral Sciences
The post-modern paradigm – a framework of today's media impact in cultural space2010 •
International Journal of Creative and Arts Studies
Aesthetic Transformation of Video4Change Project Through Postmodernism Studies2017 •
Related research on community videos commonly limited in the social domain. This may happen because making video community is not classified as work of art, but rather as a tool to convey messages on community organizing method. Video4Change (v4c) project here consist different organizations in four countries; Indonesia, India, America and Israel. The review of videos conducted in textual and visual ethnography. This method used to specify all the things captured in the sense, the visual, the voice (audio) and the symbol on each video. Video as a medium in the postmodernism era considered as an illusion and simulation, now has more authority. Video build new structures and functions that transformed from mere aesthetic imagery into practical media with particular meanings. The video made by common people has been taking control of society to understanding the images by interpret it. This research attempts to trace and shift the study of community video from the perspective of art, v...
disLOCATIONS
Post-media Aesthetics2001 •
On the material level, the shift to digital representation and the common modification/editing tools which can be applied to most media (copy, paste, morph, interpolate, filter, composite, etc.) and which substitute traditional distinct artistic tools erased the differences between photography and painting (in the realm of still image) and between film and animation (in the realm of a moving image). On the level of aesthetics, the Web has established a multimedia document (i.e., something which combines and mixes different media of text, photography, video, graphics, sound) as a new communication standard. Digital technology has also made much easier to implement the already existing cultural practice of making different versions of the same project for different mediums, different distribution networks and different audiences. And if one can make radically different versions of the same art object (for instance, an interactive and non-interactive versions, or 35mm film version and Web version), the traditional strong link between the identity of an art object and its medium becomes broken. On the level of distribution, the Web has dissolved (at least in theory) the difference between mass distribution, previously associated with mass culture, and limited distribution previously reserved for small subcultures and the art system. (The same Web site can be accessed by one person, ten people, ten thousand people, ten million people, etc.)
in Elisa Bricco, Luca Malavasi (eds.), The Future of the Post. New Insights in the Postmodern Debate, Milano, Mimesis International, pp. 165-179
Out of the post. How Media Defined, Un-Defined and Re-Defined Modernity2022 •
This intervention proposes three mutually related arguments (and this neo-modern style yet promises an overcoming of postmodernity…) My first point is that both the definitions of the postmodern trend and the various movements pretending to overcome it are affected by the concurrent transformations of the media system to a greater extent than they usually admit. In other words, to correctly understand the debates on postmodern and post-postmodern tendencies, it is essential to consider the evolution of the media over the last fifty years or so. Second, in more detail, I argue that the spring of the postmodern condition is intimately linked to the last season of electric media, between the 1970s and 1990s of the twentieth century: during this period, the multiplication and ubiquity of media screens lead to the birth of “mediascapes”; these new media environments exasperate the contrast between media experience and real experience, which has already arisen since the end of the 1950s. In turn, the overcoming of the postmodern trend is linked to a complete affirmation of electronic and digital media from the 1990s onwards: the images they carry become part of more general data flow management processes that transcend the medial sphere and expand to various social practices (defense, surveillance, medicine, trade, etc.); the new images that derive from it are operational, that is, they imply not only being observed but instead effectively operating within and on different environments. Finally, my third argument is that the transition from electric media to electronic-digital media is linked to the shift from postmodern to post-post-modern trends because of transformations that take place in the epistemic status of images. Indeed, the last phase of electric media is marked by a tendential scepticism towards images, while digital electronic media introduce a renewed confidence in their ability to render the real and operate on it – yet no longer directly but through the visualization and manipulation of data structures that constitute world models and that can actually oper-ate within and on the world. This renewed trust in the relationship between images and reality, however, does not imply a return to a pre-postmodern situation at all but, rather, the opening of a new phase based on the use of algorithmic models for the control and appropriation of the world.
2020 •
Television, video, digital new media and new technologies of sound and colour have ushered in major shifts in what is traditionally recognised as the "cinematic experience". Several scholars have responded to these technological changes in different ways. Reflect on the writings of the following to stage a discussion about cinema's aesthetic transformations and its future within a powerful media context. Let's try to define how does the "cinematic experience" has been produced from the beginning of cinema history and what are the main difference between old and new? Well, in past production design, performance, recording the video, adding sound, post productions all these jobs need to be maintained to produce the cinematic effect with moving images which we call now cinema apparatus. And today all of these section of works are there, but with the change to time, the old technologies are replaced by new technologies. The uttermost technological breakthrough is shifting from celluloid camera to digital image processor based camera technology. Where the post-production, more specifically the visual effect can be added, the artisans can change the subjects of the recorded data, after recording the sequence. Leaving behind the celluloid-based recording system, the new computerized digital recording system makes a lot of impossible things possible for the motion picture industry. After new computer-based technology, most of these analog cinematography based visual effects, for example, Forced Perspective, Matte, Matte Painting, Persistence of vision, Rear Projection, Shuftan process, split screen techniques are transcended into digital technologies. The computer-based digital technology works with numerical representation, modularity, automation, variability, and transcoding (according to Lev Manovich). And computer-based processing system makes possible to create more accurate, larger and realistic visual effects.
Revista del Centro de Estudios Históricos de Granada y su Reino
José Juan Cobos Rodríguez, Memoria de papel. Las Actas Capitulares de Antequera (1494-1497). Estudio introductorio, transcripción e índices2024 •
Creators of Modern China: 100 Lives - From Empire to Republic, 1796-1912
44. WU CHANGSHI 吳昌碩 (1844–1927) FOUNDER OF CHINA’S ARTISTIC MODERNISM2023 •
Le lingue e i profili sociolinguistici dei neoemigrati italiani nel mondo: tra cervelli, braccia e ipotesi di “innesti”
Le lingue e i profili sociolinguistici dei neoemigrati italiani nel mondo: tra cervelli, braccia e ipotesi di "innesti"British Journal of Cancer
Trastuzumab or lapatinib with standard chemotherapy for HER2-positive breast cancer: results from the GEICAM/2006-14 trial2014 •
Revista Brasileira de Ortopedia
Espondilólise e espondilolistese em atletas2024 •
2018 •
2010 •