1,419 research outputs found

    Neue ErzÀhlformen in dynamischen Bildtechnologien - Formprobleme zwischen PopulÀrkommunikation und autonomer Kunst

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    Jeder Fortschritt, jede Neuerung grĂ¶ĂŸeren Ausmaßes in verschiedenen Medien provoziert nach einer kurzen Phase spielerischen Experiments eine erneute Konsolidierung wie deren Ă€sthetische Reflexion: Diese DualitĂ€t kennen wir spĂ€testens seit den Tagen industrieller Kommunikation als eine Trennung zwischen Massenkommunikation und Kunst. Dies lĂ€sst sich gleichermaßen bei der Entwicklung des zentralperspektivischen Bildes, der frĂŒhen Fotografie oder ganz besonders der Kinematografie beobachten. Nach einer ersten Phase des Kinos der Attraktionen entwickelte sich eine neue und einzigartige Formensprache des Classical Style als konventionalisierte Gestaltungsregel des Films, die zugleich und teilweise in scharfer Opposition verschiedene Gegenbewegungen auslöste oder als deren explizite Reflexion durch individuelle kĂŒnstlerische Formensprachen ĂŒberformt wurde. Aktuell stehen wir vor einer Ă€hnlichen Situation, der Erfindung und Verbreitung dreidimensionaler dynamischer Techniken mit Datenbrille und anderen Technologien, die neue Formen der Virtual Production und damit des ErzĂ€hlens ermöglichen - sogenanntes 'spatial' oder 'environmental storytelling'. Der Band widmet sich diesem neuen ErzĂ€hlen auf drei Ebenen: Raumbild und -ton (Film), Bewegung im Raum (Computerspiel und VR) und Raum als Kontext (AR)

    Digitalization and Development

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    This book examines the diffusion of digitalization and Industry 4.0 technologies in Malaysia by focusing on the ecosystem critical for its expansion. The chapters examine the digital proliferation in major sectors of agriculture, manufacturing, e-commerce and services, as well as the intermediary organizations essential for the orderly performance of socioeconomic agents. The book incisively reviews policy instruments critical for the effective and orderly development of the embedding organizations, and the regulatory framework needed to quicken the appropriation of socioeconomic synergies from digitalization and Industry 4.0 technologies. It highlights the importance of collaboration between government, academic and industry partners, as well as makes key recommendations on how to encourage adoption of IR4.0 technologies in the short- and long-term. This book bridges the concepts and applications of digitalization and Industry 4.0 and will be a must-read for policy makers seeking to quicken the adoption of its technologies

    2023-2024 Catalog

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    The 2023-2024 Governors State University Undergraduate and Graduate Catalog is a comprehensive listing of current information regarding:Degree RequirementsCourse OfferingsUndergraduate and Graduate Rules and Regulation

    NEMISA Digital Skills Conference (Colloquium) 2023

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    The purpose of the colloquium and events centred around the central role that data plays today as a desirable commodity that must become an important part of massifying digital skilling efforts. Governments amass even more critical data that, if leveraged, could change the way public services are delivered, and even change the social and economic fortunes of any country. Therefore, smart governments and organisations increasingly require data skills to gain insights and foresight, to secure themselves, and for improved decision making and efficiency. However, data skills are scarce, and even more challenging is the inconsistency of the associated training programs with most curated for the Science, Technology, Engineering, and Mathematics (STEM) disciplines. Nonetheless, the interdisciplinary yet agnostic nature of data means that there is opportunity to expand data skills into the non-STEM disciplines as well.College of Engineering, Science and Technolog

    Second-Person Surveillance: Politics of User Implication in Digital Documentaries

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    This dissertation analyzes digital documentaries that utilize second-person address and roleplay to make users feel implicated in contemporary refugee crises, mass incarceration in the U.S., and state and corporate surveillances. Digital documentaries are seemingly more interactive and participatory than linear film and video documentary as they are comprised of a variety of auditory, visual, and written media, utilize networked technologies, and turn the documentary audience into a documentary user. I draw on scholarship from documentary, game, new media, and surveillance studies to analyze how second-person address in digital documentaries is configured through user positioning and direct address within the works themselves, in how organizations and creators frame their productions, and in how users and players respond in reviews, discussion forums, and Let’s Plays. I build on Michael Rothberg’s theorization of the implicated subject to explore how these digital documentaries bring the user into complicated relationality with national and international crises. Visually and experientially implying that users bear responsibility to the subjects and subject matter, these works can, on the one hand, replicate modes of liberal empathy for suffering, distant “others” and, on the other, simulate one’s own surveillant modes of observation or behavior to mirror it back to users and open up one’s offline thoughts and actions as a site of critique. This dissertation charts how second-person address shapes and limits the political potentialities of documentary projects and connects them to a lineage of direct address from educational and propaganda films, museum exhibits, and serious games. By centralizing the user’s individual experience, the interventions that second-person digital documentaries can make into social discourse change from public, institution-based education to more privatized forms of sentimental education geared toward personal edification and self-realization. Unless tied to larger initiatives or movements, I argue that digital documentaries reaffirm a neoliberal politics of individual self-regulation and governance instead of public education or collective, social intervention. Chapter one focuses on 360-degree virtual reality (VR) documentaries that utilize the feeling of presence to position users as if among refugees and as witnesses to refugee experiences in camps outside of Europe and various dwellings in European cities. My analysis of Clouds Over Sidra (Gabo Arora and Chris Milk 2015) and The Displaced (Imraan Ismail and Ben C. Solomon 2015) shows how these VR documentaries utilize observational realism to make believable and immersive their representations of already empathetic refugees. The empathetic refugee is often young, vulnerable, depoliticized and dehistoricized and is a well-known trope in other forms of humanitarian media that continues into VR documentaries. Forced to Flee (Zahra Rasool 2017), I am Rohingya (Zahra Rasool 2017), So Leben FlĂŒchtlinge in Berlin (Berliner Morgenpost 2017), and Limbo: A Virtual Experience of Waiting for Asylum (Shehani Fernando 2017) disrupt easy immersions into realistic-looking VR experiences of stereotyped representations and user identifications and, instead, can reflect back the user’s political inaction and surveillant modes of looking. Chapter two analyzes web- and social media messenger-based documentaries that position users as outsiders to U.S. mass incarceration. Users are noir-style co-investigators into the crime of the prison-industrial complex in Fremont County, Colorado in Prison Valley: The Prison Industry (David Dufresne and Philippe Brault 2009) and co-riders on a bus transporting prison inmates’ loved ones for visitations to correctional facilities in Upstate New York in A Temporary Contact (Nirit Peled and Sara Kolster 2017). Both projects construct an experience of carceral constraint for users to reinscribe seeming “outside” places, people, and experiences as within the continuation of the racialized and classed politics of state control through mass incarceration. These projects utilize interfaces that create a tension between replicating an exploitative hierarchy between non-incarcerated users and those subject to mass incarceration while also de-immersing users in these experiences to mirror back the user’s supposed distance from this mode of state regulation. Chapter three investigates a type of digital game I term dataveillance simulation games, which position users as surveillance agents in ambiguously dystopian nation-states and force users to use their own critical thinking and judgment to construct the criminality of state-sanctioned surveillance targets. Project Perfect Citizen (Bad Cop Studios 2016), Orwell: Keeping an Eye on You (Osmotic Studios 2016), and Papers, Please (Lucas Pope 2013) all create a dual empathy: players empathize with bureaucratic surveillance agents while empathizing with surveillance targets whose emails, text messages, documents, and social media profiles reveal them to be “normal” people. I argue that while these games show criminality to be a construct, they also utilize a racialized fear of the loss of one’s individual privacy to make players feel like they too could be surveillance targets. Chapter four examines personalized digital documentaries that turn users and their data into the subject matter. Do Not Track (Brett Gaylor 2015), A Week with Wanda (Joe Derry Hall 2019), Stealing Ur Feelings (Noah Levenson 2019), Alfred Premium (JoĂ«l Ronez, Pierre Corbinais, and Émilie F. Grenier 2019), How They Watch You (Nick Briz 2021), and Fairly Intelligentℱ (A.M. Darke 2021) track, monitor, and confront users with their own online behavior to reflect back a corporate surveillance that collects, analyzes, and exploits user data for profit. These digital documentaries utilize emotional fear- and humor-based appeals to persuade users that these technologies are controlling them, shaping their desires and needs, and dehumanizing them through algorithmic surveillance

    Literature Review on Intermedial Studies: From Analogue to Digital

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    This chapter traces an overview of the evolution of the research on Intermedial Studies in the last two decades. It expands the research presented in the InTech volume Comparative Literature. Interdisciplinary Considerations, in a chapter entitled ‘Intermedial Comparative Literature: from the Sister-Arts Debate to the twentieth century Avant-gardes’. The literature review offers a description of the major interdisciplinary contributions that have shaped the field of Intermedial Studies, with areas such as media and communication studies, art history, and the visual arts, including theater, dance and performance, sequential art (comics, graphic novels), photography, radio, film studies, electronic literature, videogames and Artificial Intelligence

    Capacious Feminism: Intimacy and Otherness in Mina Loy\u27s Poetry

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    This dissertation explores Loy’s interest in the “woman’s cause” to interrogate how the poet was recaptured as an early feminist figure by the academy. After Virginia Kouidis “rediscovered” Loy’s work in the 1980s, the poet has been consistently drafted as a central feminist figure despite her lack of commitment to organized feminist movements of her time. This retrospective lens offers a catachrestic view of Loy’s feminism. I use “catachresis” to refer to the slightly inaccurate use of “feminism,” tinted by current perceptions of the term, but also to hint at Loy’s capacious feminine poetics. While the rise of feminist theories in modernist studies has deplored the period’s rejection of the female Other, Loy’s poems define women’s identity through the liberating dialogue with otherness. I draw on Judith Butler’s theory of gender performativity and textual studies to engage with how Loy’s conception of the page as the space of feminine intimacy and otherness cements her as a multifaceted woman modernist and a model for contemporary modernist studies. I open my analysis with Loy’s contentious “Feminist Manifesto” to understand the framework the poet associates with feminism. I discuss the manifesto as an aesthetic document that seemingly only performs vague demands for political and social reforms but rhetorically asserts women’s marginal status as the ideal artistic identity. Her resistance to traditional reading patterns and gender topoi disturbs the poetic fabric and predicates textual creation on alienation. This leads me to the question of Loy’s publication history and editing practices: the field of Loy’s studies is mostly developed by women yet Loy’s voice has been consistently mediated by men. This dissertation scrutinizes Loy’s archives to propose editing techniques that foster Loy’s feminist resistance. The last chapter takes stock of the modernist anxieties with gender Loy seems to use to draw parallels between Loy’s feminist intentions and that of instapoets. Such a comparison sheds light on the situated nature of Loy’s feminism and her engagement with modernist notions of authorship

    Alone Together - Convergence Culture and the Slender Man Phenomenon

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    This project engages in a close examination of the Slender Man phenomenon, an online practice in which a community of pseudonymous enthusiasts share scary stories featuring a faceless, long-limbed, humanoid monster in a black business suit. The stories take various forms, including text-based narrative, amateur video, doctored images, and games. They are presented with an affectation of folklore, and treat the accounts as true testimonies of encounters they, or others they know, have allegedly had with Slender Man. This is a self-conscious effort on the part of its creators to manifest Slender Man as a real-life legend. Resulting from this effort, several individuals have carried out acts of real-world violence in the name of Slender Man, or with some connection to him. In response to these acts, and the ensuing moral panic, members of the community defensively stated that it was the responsibility of their readers to be able to know the difference between fantasy and reality. Yet, as this dissertation demonstrates, the Slender Man phenomenon itself is predicated on using digital media to blur this distinction. Through readings of Slender Man in various media forms, this dissertation shows how it blends horror aesthetics with the online cultures of trolling—in which individuals intentionally misrepresent themselves in order to mislead and antagonize others, allegedly for the lulz—that is, for the laughs, pranking or joking. Trolling has however produced many serious consequences, from individuals targeted for harassment to bad-faith political movements that disrupt existing institutional functions more broadly. In its origins, trolling began as apocryphal storytelling designed to mislead others into believing they were true and expose the ignorance of newbies. Notably, the sites in which this occurred evolved to become the fora from which the similarly apocryphal stories in the Slender Man text community originate, such as 4Chan. These same pseudonymous fora have acted as safe havens for bad actors that have gone on to become notorious for their promotion of real-world violence, from Erik Minassian’s violence in the name of the incel community to Elliot Rodger’s misogynistic manifesto posed to 4Chan. In short, this dissertation argues that Slender Man texts act as a canary in a coal mine, and that the mechanics of online horror communities lay bare the underlying strategies of trolling or post-truth internet culture more broadly. I undertake a close aesthetic and ideological examination of Slender Man in image, text, video and game, to offer a portrait of the community that shares them. The stories offer a glimpse into the anxieties, tensions, and alienation experienced in life online as a result of hypermediacy, premediacy, and anonymity. While much has been written regarding the potential for collaboration online and the possibilities for grassroots organization and community-building, the positive ends this convergence culture offers are offset to some extent by the kinds of anxieties emerging from a disaffected and alienated community. Ultimately, this project offers an account of the evolving relationship between interactive fiction, trolling, and political disaffection, a media ecology that is becoming ever more urgent to understand in twenty-first century society

    The Contemporary Malaysian Fantastic Film: Imagining an Alternative Modernity

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    The thesis posits that contemporary Malaysian fantastic films possess critical characteristics: they offer an alternative version of an imagined community and undermine the status quo. These films deploy elements of fantasy to negotiate the dominant notions of cultural and national identity in Malaysia. However, my study notes that the degree of resistance in such films is contingent on how well the filmmakers navigate the censorship guidelines, and negotiate with the authorities, and highlight the ongoing tension between artistic freedom and state control in film production. Most filmmakers of the fantastic genre do not produce films that are explicitly critical as such. As I will demonstrate, they need to navigate the productive dimension of censorship. My key aim is to overcome the limitation of Malaysian cinema scholarship that focuses exclusively on censorship as prohibitive. This thesis aims to broaden the scope of research on Malaysian cinema by examining the role of censorship in shaping the emergence and development of the fantastic film as a genre. Rather than simply viewing censorship as a hindrance to creative expression, this thesis argues that censorship can also be productive and lead to new forms of artistic expression. Alongside textual analysis, I interview filmmakers and study the history and recent change in censorship practices to gain a deeper understanding of current fantastic film practices in Malaysia. By doing so, the study hopes to contribute to a more nuanced understanding of how Malaysian national and ethnic identity is constructed in film. My thesis proposes a definition of the fantastic film that identifies several stylistic features constructing an alternative national identity, thereby promoting diverse notions of belonging. The Malaysian fantastic films are intertextual. They deploy Computer Graphic Imagery (CGI), and their representation of religious and racial identities explore interaction between official and unofficial definitions of nationhood. In 2003 the Malaysian censorship policy was revised, thus, allowing the production of fantastic films which had been banned for decades. This shift came with new censorship guidelines that aimed to impose control influenced by the rise of Islamisation and the emphasis on Malay paramountcy. In times of political and ideological crisis the stylistic strategies invoked in these films become crucial in negotiating with the authority and offering relief when other institutions fail. This thesis argues that fantastic films have the tendency to perform criticism with such films serving to present an alternative version of an imagined community and questioning the status quo. The thesis delineates several types of Malaysian fantastic films in terms of stylistic features that construct an alternative national identity and promote different notions of belonging, which are often facilitated by religious influences, racial identity and technological advancement in presenting the conflict of interests between the public and private definitions of nationhood
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