1,720,963 research outputs found
Hold Up: Mapping the Boundaries between Music Video and Video Art
Get PDFExamines the processes of hybridization between music video, film, and video art by presenting current theoretical discourses and exploring crucial questions of art practice
Queer Pop
Get PDFThis volume considers how feminist, queer and trans* musicians, filmmakers, curators, and performance artists contribute to popular culture. It explores the many ways of relating to difference that their contributions enable. What affects do their works engender? How do they fabricate and circulate provocative messages about new forms of gender, race, class, and desire? What other visions do they inspire
Queer pop : aesthetic interventions in contemporary culture
No full textPopular culture encompasses and draws on a rich history of works by musicians, filmmakers, writers, photographers, and performers who question the contours of traditional sexual and gender identities, including but not limited to members of LGBTQIA* communities. When encountered on the stage or screen, for instance, in the guise of drag performances, forms of sexual ambiguity often spark fascination. Yet in everyday life in various socio-cultural contexts, sexual and bodily difference in all its forms is still met with hostility, rendering vulnerable those human beings that deviate from the white, male, straight, able-bodied norm. Queer artists today respond to social stigma in multiple creative ways, for example, by transforming negative affect, fostering a politics of care, and rewriting history.This volume considers how feminist, queer, and trans* musicians, filmmakers, curators, and performance artists contribute to popular culture. It explores the many ways of relating to difference, however this is conceived, that their contributions enable. What affects do their works engender? How do they rouse their audience, and to what ends? How do they fabricate and circulate provocative messages about new forms of gender, race, class, and desire? What other visions do they inspire
Facing the lens of the camera: bodies, self-portraiture, portraiture and identity in women artists' video.
Get PDFSince its commercial inception and availability in the late 60s and 70s, video has acted as a powerful tool for women artists to explore feminist issues and debunk stereotypes re-perpetrated over the centuries by patriarchal society. In resonance with the fights carried on by the feminist movement, many women artists have engaged with the recurring theme of identity and representation of the self, from an intimate or a public perspective. Over the decades, women artists' approach and these themes have developed with the medium, echoing current battles for civil rights and recognition. These developments have been stimulated and inspired by the legacy of pioneers from the 60s and 70s. This chapter explores how identity as a theme has evolved and how it has innovated the genre of self-portrait, questioning its tropes and topoi. The chapter does this through the analysis of three case studies: Pipilotti Rist, Pilar Albarracín and Elisabetta di Sopra
Camp and Pop: David Bowie, Oskar Schlemmer, Madonna and Janelle Monáe
Get PDFWhile contemporary pop culture is nowadays considered part of the cultural mainstream, its practices of codification and its use and circulation of signifiers are still shaped by its roots in counterculture. This leads to a second order esthetic that reflects upon mass culture and subverts it by means of transgression and rearrangement. This essay argues that this subversive logic of reference is closely linked to what Susan Sontag has described as “camp.” While doing so it not only sheds light on the aspect of subversion and identity building, but also on the aspect of performance and staging that plays an important role for camp, as well as pop culture and its play with artificiality and authenticity. As a consequence the concept of camp is used to examine the practice and performance of artists like David Bowie, Madonna, Christina Aguilera and Janelle Monáe, and finding structural similarity in their practice and production, which uncovers a tendency towards apersonal self-historization which is typical for pop and is closely linked to its ability to generate new meanings out of materials that stem from other contexts originally
Dialogical Aesthetics – Reconfiguring Theatrical Spaces Through Digital Technology
No full textTheatrical design has mostly been determined by conceptual approaches that leverage technology in monological ways – significantly impacting on the scope of theatrical staging. For example, the con-ventional ‘Bauprobe’ approach sees a set designer’s vision translated into a full-scale 3D physical mock-up that enables an embodied experience of a design’s spatial qualities. While constituting an in-dispensable step in the design process, current use of technology significantly delimits creative scope: Many designers use interactive digital design suites for early ideation and development, leveraging their iterative and dialogical capabilities to expand creative scope; yet, the Bauprobe phase currently brings an end to this fluid work: The costly physical extrusion process requires commitment to a design con-cept before having been able to verify its experiential qualities at one-to-one scale. Meaning that, after Bauprobe, a designer focuses mainly on improving disruptive aspects of the draft not anticipated in small-scale sketches as opposed to continuing to leverage the productive iterative dialogical process of the previous stages.
The proposed presentation surveys recent cutting-edge digital technologies for the theatre sector that seek to extend dialogical iterative aesthetics to all stages of the design process. While briefly touching on Head-Mounted-Display solutions as trialled for example by the National Theatre (UK), the central focus will be placed on UNSW and Sydney Theatre Company’s experimentation with the 360° iDESIGN visualisation platform that allows comprehensive AI-supported set design (and potentially performance) in virtual space, fully immersing the creative team in an infinitely malleable datascape that can represent and adapt set designs at one-to-one scale in real-time
"Familienaufstellung"
No full textUnternehmenskulturen sind Kulturen, in denen sich über eine Zeit gemeinsamen Arbeitens Kommunikationsstrukturen ausbilden, die den Einzelnen mit den anderen verbinden. Es entsteht so in der Regel ein kohärentes Gewebe, das Mitarbeitern Orientierung gibt. Dies wird dann besonders bedeutend, wenn vor dem Hintergrund der zunehmenden „Stückhaftigkeit unserer Welt“ (Clifford Geertz) Diskussionen über grundlegende gemeinsame Vorstellungen, gemeinsame Gefühle und gemeinsame Werte auch in der Arbeitswelt nicht immer einfach zu lösen sind. Innerhalb von Unternehmenskulturen bilden in der Regel narratologisch aufgebaute Firmengeschichten einen wichtigen Faktor, wenn es um die Herstellung von Identität im Unternehmen geht. Schlagwortartig werden solche Konzepte auf Internetseiten präsentiert und als Leitbegriffe verwendet, um das firmeneigene Narrativ plakativ nach außen zu kommunizieren. Begriffe wie Innovation, Tradition und Zukunftsorientiertheit sind dabei häufig verwendete Vokabeln. Sie sind abstrakte und positiv besetzte Bezugsgrößen eines ökonomischen Diskurses, der gerade von KMUs erwartet, den Betrieb so aufzustellen, dass er zeitgemäß und im Bewusstsein seiner eigenen Geschichte solide auch Kommendes überstehen mag.
Von diesem Geflecht ökonomischer Anforderungen sind auch die Erzählungen über ein Unternehmen geprägt. Davon kann die Verwendung derartiger Vokabeln innerhalb von Unternehmen unterschieden werden. Somit wird angenommen, dass es eine Differenz zwischen Signifikaten werbender Internetdarstellungen und der Signifikantenlogik wirtschaftlicher Rationalitätsparadigmen gibt und die Frage nach der Unternehmenskultur in Unternehmen nicht auch die Fragen nach den eigenen
Narrativen in Unternehmen offenlegt. Welche Rolle die Kommunikation in der Struktur der Organisation kleinerer und mittlerer Unternehmen spielt, die bestrebt sind, sich zwischen Traditionalität, Zukunftsorientiertheit und Marktzwängen zu positionieren, soll im Folgenden näher erörtert werden. Dabei sollen besonders Unternehmen in den Blick genommen werden, deren Organisationsstruktur sich – vor allem innerhalb ökonomischer Handlungskontexte – verändert hat. Wenn nämlich beispielsweise Unternehmensstrukturen (z.B. durch Fusion und Umstrukturierungen) dynamisiert und rationalisiert wurden, wird unter Umständen die Vergangenheit aus der Perspektive der Gegenwart beleuchtet und das Narrativ überdacht, weil solche Umstrukturierungen von den Mitarbeitern als Traditions- und Vertrauensbruch erlebt werden könnten. Genau an diesen Bruchstellen bekommen tradierte und neu formulierte Unternehmensnarrative eine erhebliche Bedeutung.
Aus kultur- und kommunikationswissenschaftlicher Perspektive soll in diesem Beitrag das Wechselverhältnis zwischen organisatorischen, ökonomischen und kommunikativen Prozessen in Unternehmen behandelt werden, die ihre Betriebsstruktur und Leitkultur verändert haben
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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