STRATEGI PEMASARAN DIGITAL KERAJINAN TANGAN CEREK DAN CANGKIR DARI TEMPURUNG KELAPA DI DESA GELITING

Marketing unique and artistic cups and kettles made of coconut shells has not been effective. The problem is that marketing activities still need to be more conventional and have limited marketing reach. One alternative marketing method for promotional media, information dissemination, and communication of handicraft products is digital marketing through online media such as Instagram, Facebook, and YouTube. This community outreach program aims to assist partners in developing digital marketing strategies using online media for the handicraft products they produce. The implementation of this community outreach program uses four methods, namely, observation, interviews, documentation studies, and assistance in making branding videos and online posts. The program is successful in introducing the use of online media to develop partners’ marketing strategies.  ---  Pemasaran produk kerajinan tangan berupa cangkir dan cerek dari tempurung kelapa dengan tampilan yang unik dan bentuk yang artistik belum berjalan secara efektif. Permasalahannya adalah kegiatan pemasaran masih bersifat konvensional sehingga memiliki keterbatasan jangkauan pemasaran. Salah satu alternatif metode pemasaran sebagai media promosi, penyebaran informasi serta komunikasi produk kerajinan tangan adalah berupa pemasaran digital melalui pemanfaatan media daring seperti, Instagram, Facebook, dan YouTube. Kegiatan pengabdian kepada masyarakat ini bertujuan untuk membantu mitra mengembangkan metode pemasaran digital menggunakan media daring atas produk kerajinan tangan yang dihasilkannya. Pelaksanaan kegiatan pengabdian kepada masyarakat ini menggunakan empat metode yaitu, observasi, wawancara, studi dokumentasi, dan pendam-pingan pembuatan video branding dan postingan daring. Capaian dari kegiatan ini adalah mitra mampu memanfaatkan media daring untuk mengembangkan strategi pemasarannya

New Media Art/ New Funding Models

Investigates the current state of funding for new media artists, with an emphasis on the support structures for innovative creative work that utilizes advanced technologies as the main vehicle for artistic practice

Responsible research and innovation in science education: insights from evaluating the impact of using digital media and arts-based methods on RRI values

The European Commission policy approach of Responsible Research and Innovation (RRI) is gaining momentum in European research planning and development as a strategy to align scientific and technological progress with socially desirable and acceptable ends. One of the RRI agendas is science education, aiming to foster future generations' acquisition of skills and values needed to engage in society responsibly. To this end, it is argued that RRI-based science education can benefit from more interdisciplinary methods such as those based on arts and digital technologies. However, the evidence existing on the impact of science education activities using digital media and arts-based methods on RRI values remains underexplored. This article comparatively reviews previous evidence on the evaluation of these activities, from primary to higher education, to examine whether and how RRI-related learning outcomes are evaluated and how these activities impact on students' learning. Forty academic publications were selected and its content analysed according to five RRI values: creative and critical thinking, engagement, inclusiveness, gender equality and integration of ethical issues. When evaluating the impact of digital and arts-based methods in science education activities, creative and critical thinking, engagement and partly inclusiveness are the RRI values mainly addressed. In contrast, gender equality and ethics integration are neglected. Digital-based methods seem to be more focused on students' questioning and inquiry skills, whereas those using arts often examine imagination, curiosity and autonomy. Differences in the evaluation focus between studies on digital media and those on arts partly explain differences in their impact on RRI values, but also result in non-documented outcomes and undermine their potential. Further developments in interdisciplinary approaches to science education following the RRI policy agenda should reinforce the design of the activities as well as procedural aspects of the evaluation research

Accented Body and Beyond: a Model for Practice-Led Research with Multiple Theory/Practice Outcomes

Dance has always been a collaborative or interdisciplinary practice normally associated with music or sound and visual arts/design. Recent developments with technology have introduced additional layers of interdisciplinary work to include live and virtual forms in the expansion of what Fraleigh (1999:11) terms ‘the dancer oriented in time/space, somatically alive to the experience of moving’. This already multi-sensory experience and knowledge of the dancer is now layered with other kinds of space/time and kinetic awarenesses, both present and distant, through telematic presence, generative systems and/or sensors. In this world of altered perceptions and ways of being, the field of dance research is further opened up to alternative processes of inquiry, both theoretically and in practice, and importantly in the spaces between the two

New communication practices on the radio and in the audiosphere

For the past decade or so, internet radio, podcasts, mobile sound apps, and digital libraries of audio content have enjoyed increasing popularity among researchers and receivers of culture. Radio, similarly to other traditional media, often experiments with the opportunities offered by the new media technologies enabling the emergence of new communicational practices. As a starting point, I consider the contemporary audiosphere, which constitutes the auditory part of the audio-visual culture, and the influence of technological changes on radio communications, artists, and receivers. I attempt to answer the question, what happens at genre fringes? What are the characteristic features of the emerging forms? How, when one is faced with new technology, the multimedia world, and virtual reality, can one reach a reflection on the fiction and non-fiction genres on the radio? The expansive character of new technologies is often the source of inspiration for that which is traditional, thus renewing the object of its study. The inclusion of new phenomena within the widely understood auditoriness has a rescuing nature for traditional forms, and, at the same time, offers new opportunities for creators, and thus an area of research for literary scientists, media scientists and literary critics

Zones of Intensity Invested with Desire

Based on the conference talk given at the Centre for Culture and Cultural Studies Conference, 'Media: Theory and Practice', Skopje, Macedonia, 4-6 September 2014. Abstract: This paper explores the meaning-making potential of cultural sites of historical importance within the current framework of human communication that now seamlessly intertwines digital, electronic and organic forms of contact. The paper argues that the computer-guided communication prevalent now favours the systematic and programmed and that has repercussions in terms of our sense of identity as organic beings living in a physical world. A response is to reinforce a sense of place via direct experience in cultural sites that are invested with a strong sense of place, referred to as “zones of intensity invested with desire” (this term was coined by Russell West-Pavlov and referenced by Darko Radovic to address the visual bias of urban planning). The argument follows that there needs to be a conscious reconnection with all the senses, overcoming the current visual bias encouraged by communication via the printed word. Art as alternative modality of relations has a strong role to play to reconnect us to the meaning-making elements in physical sites and reinforce the sense of place so crucial in our existence as organic beings

Creating Digital Art History: Library, Student, and Faculty Collaboration

Over the last two decades, teaching, learning, and research in higher education have developed a growing digital presence. Digital development in the humanities has been slow relative to most other areas in academia, and with some exceptions, art and art history have enjoyed slow digital growth within the humanities. Within this environment, the article here presents one collaborative model for digital art history, rare in its exclusive focus on undergraduate “junior scholars”. Undergraduate senior-level art history and studio art students at Providence College collaborate annually with art history and studio art faculty to publish their senior theses in print format as the Art Journal. In the last few years, students, faculty, and digital library staff have enhanced this collaboration to include the publishing from process to product of the Art Journal as a complementary digital Art Journal. They collaborate in creating digital art history and digital studio art in order to bring exponentially greater meaning, significance and visibility to the students’ senior culminating works through real-world digital publishing, including quality control, copyright issues, and ideas related to persistent access and ongoing global visibility for the scholarly and creative works, and for the student scholars. These students function as real-world collaborative scholarly partners in publishing their culminating academic and artistic work globally, and persistently accessible in Providence College’s digital repositories. This case study evidences engagement in meaningful digital knowledge creation focused on the intellectual and creative output of student-scholars and student-artists (art historians and studio artists) as a model for other student-faculty-digital library professional collaborations. Note: Full text document is a pre-print version of article due to publisher rights. Publisher\u27s version available at the following citation: Bailey, D. Russell. Creating Digital Art History: Library, Student and Faculty Collaboration . The International Journal of New Media, Technology, and the Arts. Volume 10. Issue 2. 2015. pp. 1-10. Ninth International Conference on the Arts in Society website: http://artsinsociety.com/the-conference-201

The game jam movement:disruption, performance and artwork

This paper explores the current conventions and intentions of the game jam - contemporary events that encourage the rapid, collaborative creation of game design prototypes. Game jams are often renowned for their capacity to encourage creativity and the development of alternative, innovative game designs. However, there is a growing necessity for game jams to continue to challenge traditional development practices through evolving new formats and perspectives to maintain the game jam as a disruptive, refreshing aspect of game development culture. As in other creative jam style events, a game jam is not only a process but also, an outcome. Through a discussion of the literature this paper establishes a theoretical basis with which to analyse game jams as disruptive, performative processes that result in original creative artefacts. In support of this, case study analysis of Development Cultures: a series of workshops that centred on innovation and new forms of practice through play, chance, and experimentation, is presented. The findings indicate that game jams can be considered as processes that inspire creativity within a community and that the resulting performances can be considered as a form of creative artefact, thus parallels can be drawn between game jams and performative and interactive art