Роль зрителя в экранных искусствах
This research is devoted to spectator's role in the system of screen culture: in cinema, television, video art and computer games especially those designed for the virtual reality. Special attention is paid to the variety of unspoken rules and conventions in such spaces as cinema-hall and contemporary art gallery due to the way such differences affect spectator's behaviour and perception as well as the measure of his activeness in the communication process. The field of virtual reality is perceived as emerging and aesthetically dubious.
The novelty of the research is caused by problematisation of spectator's figure in post-classic screen culture. Meanwhile the role of cinemagoer is analysed in numerous issues by culture theorists and psychologists who depicted the communicative mechanics of cinema, the role of video and new media art spectator has not been explored yet. The author argues that moving images on contemporary art scene calls for viewer's activeness, critical perception and co-experiencing while the "hot" media are designed for passive audience.
In the early 1990s, a small group of individuals recognized how virtual reality (VR) could transform medicine by immersing physicians, students and patients in data more completely. Technical obstacles delayed progress but VR is now enjoying a renaissance, with breakthrough applications available for healthcare.
This book presents papers from the Medicine Meets Virtual Reality 22 conference, held in Los Angeles, California, USA, in April 2016. Engineers, physicians, scientists, educators, students, industry, military, and futurists participated in its creative mix of unorthodox thinking and validated investigation. The topics covered include medical simulation and modeling, imaging and visualization, robotics, haptics, sensors, physical and mental rehabilitation tools, and more.
Providing an overview of the state-of-the-art, this book will interest all those involved in medical VR and in innovative healthcare, generally.
In the public discourse, cinematic views on the analysis of movies traditionally prevail. The author suggests another approach: in the course of the experiment aimed to reveal the audience's perception of the film „Welcome to Zombieland the author discovers an atypical interpretation of this horror film as an instrument of educating the young generation, those features of the ideological message of the film that can transform any genre into, it would seem, its complete opposite - a collection of contemporary society norms and behavior patterns. The main conclusion of the article is that the perception of a film is a complex social action which always goes beyond any cinematic interpretations.
Human communication is basically the exchange of information. How can this be realized? Each communicant proceeds from a subjective perception of an objective reality; however in order to exchange information relating to this reality communicants are obliged to coordinate their perceptions. Each of us entertains personal experiences based on individual impressions and associations. But communication presupposes the presence of a common experience and the possibility of the coordination of subjective perceptions. It is presumed that communicants share common experiences: this seems to be the natural premise of communication.
How is this possible? How can I be certain, for example, that my interlocutor understands the words in the same way I do? How can we correlate our understanding? It seems obvious that the necessary condition of communication is an agreement between the communicants. But how can this agreement be reached? Where is the initial point of the coordination of individual experience of different persons?
The present book deals with this and related questions. Special attention is given to the role of deixis in the process of communication and to the mechanisms of linguistic comprehension.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.