同心学术联合会
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作者:Mark Cypher
来源:[J].The International Journal of New Media, Technology and the Arts, 2015, Vol.9 (2), pp.1-10CGRN
摘要:The evolution of interactivity in the visual arts as beholden to the notion of the participant is well known. The participant provides a neat and historical narrative for the precursors of what we call interactive art. However, the focus on the singular participant, much like a d...
作者:Gabriele Biotti
来源:[J].The International Journal of New Media, Technology and the Arts, 2016, Vol.11 (2), pp.11-19CGRN
摘要:... Everything is linked—a continuous flux of images, visions, information, and memories, is shaping our actual understanding. Are we able to properly read this boundless form giving social and cultural identity to human beings? How do we manage with these fast, confusing ...
作者:Andrea Thoma
来源:[J].The International Journal of New Media, Technology and the Arts, 2015, Vol.10 (3), pp.17-28CGRN
摘要:..." Hence, in his film "Hurlements en faveur de Sade" (1952) there are no images, other than a white screen or a black screen, the former as visual backdrop to an audio track expressing Debord’s "situationist" critique, the silence of the latter to reinforce the perception of (audio-visual) absence thus confronting the audience with its (frustrated) expectations and...
作者:Damian Candusso
来源:[J].The International Journal of New Media, Technology and the Arts, 2015, Vol.10 (3), pp.11-16CGRN
摘要:... Over the past 2 years, parallel to the changes in screen technologies, cinema sound has been attempting to provide a true 3-D aural immersive experience. Some in Hollywood argue that cinema sound has been in 3-D since the initial introduction of surround sound, and it is onl...
作者:Melle Starsen
来源:[J].The International Journal of New Media, Technology and the Arts, 2013, Vol.7 (2), pp.1-20CGRN
摘要:So much has been written about the proven negative effects viewing television violence has on children (Black and Newman, 1995; DeGaetano, 2009; Derksen and Strasburger,1996; Lehman, 2004; and Murray, 2001), and yet there is another kind of “violence” embedded in an unli...
作者:Serenay Sahin
来源:[J].The International Journal of New Media, Technology and the Arts, 2013, Vol.7 (1), pp.39-46CGRN
摘要:In March 2010 a Manifesto of Virtual Art had been prepared by the Australian Center of Virtual Art, and signed by Adam Nash, Justin Clemens, and Christopher Dodds, arguing that “The virtual generation see themselves as ‘users’ not ‘audiences’. Virtual generations are p...
作者:Eveline Boudreau
来源:[J].The International Journal of New Media, Technology and the Arts, 2016, Vol.11 (2), pp.1-9CGRN
摘要:With the accelerating technologies of the digital era many of us are exuberantly immersing ourselves into the social media. As we embrace numerous networking sites, presenting our own version of ourselves to friends, family, and the world, the social media are transforming ou...
作者:Ian Dixon
来源:[J].The International Journal of New Media, Technology and the Arts, 2016, Vol.11 (1), pp.15-28CGRN
摘要:In the 1960s, independent filmmaker, John Cassavetes, challenged cinematic art by incorporating contemporaneous lightweight 16 mm film and sound technology. The iconoclastic Cassavetes ignored classical form, focus and line-crossing rules drawing upon Cinéma Vérité convent...
作者:J.Cecilia Wu
来源:[J].The International Journal of New Media, Technology and the Arts, 2015, Vol.10 (1), pp.11-19CGRN
摘要:... The system is composed of a two-handed magnetic motion sensing controller and a computer program that processes the recorded voice of the operator based on the performer’s body motion. This system is designed for electroacoustic vocal performers who are interested in mult...
作者:Paul Bernstein
来源:[J].The International Journal of New Media, Technology and the Arts, 2014, Vol.8 (2), pp.1-8CGRN
摘要:This paper examines a series of collaborations that sought new ways to ask (and answer) the following questions: How can we create an alternative perspective on new media within the context of living performance, through cutting edge technologies? How can we actively engage post-...

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