School of Culture and Communication - Research Publications
Permanent URI for this collection
Search Results
1 - 10 of 11
-
ItemObservations on the history and uses of animation occasioned by the exhibition Eyes Lies and Illusions selected from works in the Werner Nekes Collection( 2008)The exhibition Eyes, Lies and Illusions held at the Australian Centre for the Moving Image (ACMI) in Melbourne and the Hayward gallery in London was a selection from the 20,000 optical toys, scientific instruments, antiquarian books and visual entertainments in the collection of Werner Nekes, the German experimental film maker. This essay begins with a consideration of the historical trajectory of belief in the afterlife in relation to ‘animation’, the imputation of a soul to anything that appeared to move itself. The second section suggests that animation techniques bear witness to the persistence of atavistic beliefs in modernity. The third addresses the proximity of technology and magic in animation, and proposes a more extended use of the term ‘animation’.
-
ItemFor a history of black( 2008)In 'For a History of Black' Sean Cubitt investigates the physiological, technological and cultural problems associated with the (non-) colour black. As the complete absence of colour, black is an ideal that is never actualised, says Cubitt. The representation of black operates differently in different media. In many contexts, such as low-light cinema, early television and new media art, artists have made creative use of the limitations and artefacts of how production technologies handle black. Cubitt's detailed media history connects questions of aesthetics with the physiology of perception and industrial changes.
-
ItemTV news titles: picturing the planet( 2006)The structures of globalization are insanely complex. The world's news media must at least try to make some sense of these structures visible. That is, the news must gratify the needs of an audience which requires an understanding of what causal systems are responsible for such felt effects as oil prices, currency fluctuations, and the migration of employment. Media professionals' ethics, peer pressure and pride in their craft impel them to make some effort towards educating the citizenry in the terms and conditions of participation in the global economy. And, in light of popular movements like the Live8 concerts in support of Bob Geldoff's "Make Poverty History" campaign, the news touches on the possibilities and challenges of global governance.
-
ItemMedia Art Futures(Elsevier, 2007)
-
ItemLibrary(SAGE Journal, 2006)The modern library derives from a vision of public service developed in the 19th century. At various times in the past a commercial service, an educational resource, a religious domain and a political institution, the library today exists in various forms, including all these but in addition the professional libraries held by law firms and scientific or technological associations, multimedia lending libraries and certain areas of the world-wide web.
-
ItemAnalogue and Digital(SAGE Journal, 2006)In the brief fifty years of its history, computer arts have given rise to a number of schools. Early practitioners like Jordan Belson were interested in machinic contributions to the spiritual aspects of abstraction noted in the early 20th century by Malevich, Kandinsky and Mondrian. Certain artists insist that only engineering in software and hardware constitutes digital art, while the use of existing programmes and machines is dilettantism. Other schools have focused on interactivity, immersion or networking as constitutive factors of a distinctively digital art. And some artists (Young Hae Cheung, Vuk Cosic) renounce all high-level programming and interaction. While some commentators, especially in the 1990s, sought to distinguish the digital aesthetic from all previous aesthetic modes, increasingly scholars and critics have come round to a disputed and various but common belief in continuities between digital and previous arts.
-
ItemDistribution and Media Flows(Duke University Press, 2005)While production, text and audience have been extensively covered by media and cultural studies scholars, the study of distribution is in its infancy. This essay argues that the distributive moment of the media cycle - incorporating delivery to audience, business-to-business distribution and the redistribution of profits and information derived from audiences - is critical to an understanding of twenty-first-century cultural politics. It offers an analysis of distribution, and considerations on the politics of alternative modes of distribution.
-
ItemNo Preview AvailableThe Cinema of Attractions(SAGE Journals, 2007)
-
ItemNo Preview AvailableVisual and Audiovisual: from image to moving image(SAGE Journals, 2002)The apparently arcane question of whether an image can move reveals key difficulties concerning the tasks facing visual culture. Among them are the lack of attention to graphic and animated images, to cartography, spreadsheets and databases and other workplace media, and to the relations between image and sound, and image and text. The step from still image to moving image concerns especially the temporal dimension of human communication, a focus too often missing from poststructural analyses. This article argues for the uses of visual cultural analysis in the emergence of new visual practices.
-
ItemGrayscale video and the shift to color(Taylor & Francis (Routledge), 2006-12-01)As Paul Simon once sang, “Everything looks worse in black and white.” Metaphorically speaking, at least, I have to agree. When we begin the process of working through a significant artistic change like the movement from grayscale to color in artists’ video works, there is an overambitious temptation to speak in terms of the relations among technology, art practice, institutional policies, and critical discourse for a period of more than a decade. There, in black and white, is the problem. There is simply too much data We also believe that the significant change was the move from analogue to digital video cameras and editing. But as Marshall McLuhan skips over the shift from volumen to codex in the rush to printing, so media-art historians risk missing an essential step in the race to computer generated imaging. The solution in black and white: monochrome, and the arrival of color.