Интернет как креативный медиум
Internet as a globalized web not only unites computers around the world but also provides a unique “construction site” for various kinds of communication and interaction, for web creativity as well. An artist has a possibility to make a net-art piece and release it for millions of users. One of Internet’s features is interactivity: a viewer-user can take part in developing a net-art piece becoming an artist’s co-author.
Net art has emerged recently (in comparison to painting for example) however it has already affected the contemporary culture strongly, revealing new types of communication and creative interactions.
The problem of the psychological effectiveness of advertising and interactive advertising as a factor in its psychological effectiveness are discussed in the article. Psychological effectiveness of advertising is seen as a psychological attitude, which appears in the evaluation of advertising message by the consumer, and evaluation of object and source of advertising as credible, interesting, useful, and satisfying the needs. In the course of the empirical studies differences in consumer confidence to the ordinary and interactive advertising were not identified, however, it was found that interactive advertising contributes to actualization of a more active life position of the respondents, to the higher level of reflection and personal involvement in the advertising scene. Thus, the hypothesis about higher psychological effectiveness of interactive advertising was partially confirmed.
Videoart is one of the most vividly evolving phenomenon of mediaart, and its destiny in Russia was far from lucky. In the middle of 1980 one of the first works of videoart were created only by underground artists, the facilities were butleg and illegal. Only 10 years later were launched some of the first exhibitions of videoart, which were supported by the State. During these years the idea of videoart itself developed greatly. In the following interview the Director of «MediaArtLab» Olga Shishko shares her views about the current state and latest trends of screen component of mediaart.
Using video on the Internet has become a common practice, but the television-like ‘passive viewer’ approach misses the benefits of the interactive nature of the Internet. The technological limitations of television can be overridden by the Internet. Having multiple sources of input does not mean they should be merged into one editor-controlled flat output. Treating streams as objects, it is possible to make viewers editors for their screens whenever they want, or let them watch a pre-edited version. Active streams are distributed to viewers to gain control over the scene layout. Recorded scenes can be remastered whenever needed and represented in different views simultaneously. For lectures and conference recordings, inline slide browsing is also possible. This approach was successfully tested in the Viditory.net project for the broadcasting and recording of conferences with multi-camera shots and remote speakers. Despite the Adobe Flash platform becoming obsolete, it is possible to implement similar capabilities on modern platforms and by using modern technologies.
The article addresses a new form of city urban communication, namely, car stickers. By this term I mean non advertising inscriptions and slogans that car owners stick to glasses, doors and bumpers. I regard these stickers as a small speech genre. In the beginning the situation where this genre is used is briefly described. The main properties of communication in the situation of road traffic are interactivity, a wide use of language game, creativity and concurrence. The interaction of participants in this sphere of communication is covered by three main sub-situations: “driver ↔ driver”, “driver ↔ road police officer” and “driver ↔ pedestrian”. The stickers can realize various communicative strategies and functions: information, excuse, warning, self-affirmation, threat, appeal, and so on. Another parameter that distinguishes the stickers is thematic content. It can include the following categories: road traffic in general, personal information about the driver, political and patriotic discourse. A large number of stickers, for instance, expressions of gratitude have only a phatic function. The article also includes a comparison between the stickers and communication in internet chats, which is also to a high extent regulated by the anonymity of participants.
Abstract—This article focuses on media art (and specifically - virtual reality) as a powerful tool which allows transforming social agenda into personal meaning for a participating viewer. VR has recently become an intriguing medium which makes one feel present in the artistic “text”; to maximize the effect of immersion many VR projects give the viewer an opportunity to be not just a witness of a scene, but a participant, a one who takes action influencing the course of the narrative. Thus, we argue that VR should be analyzed as “machine” to gather new experiences and “melt” the boundaries of subjectivity including the illusion of stability of both one’s body and Weltbild. In virtual reality, a user is able to experience the new subjectivity, being-with-the-Other, or – to a certain extent – being the Other. When such “meetings” take place in a safe space of aesthetic experience a spectator can literally take part in these scenarios and experience the affects which would be unimaginable in everyday life, expand his own boundaries of subjectivity and go beyond the limits of an egocentric position.
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
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
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.