{"title":"A Reflection on One’s Own Work – Ana Pintarić, Luisa Pascu, Katarina Kocijan","authors":"M. Šuvaković","doi":"10.25038/am.v0i29.543","DOIUrl":"https://doi.org/10.25038/am.v0i29.543","url":null,"abstract":"<jats:p>/</jats:p>","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79493916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Digitization and the Internet have enabled traditional radio to gain new formats, new listeners, enrich content and make it available globally. Hybrid radio is the result of digitization and media convergence, enabling the availability of programs and accompanying multimedia content to a larger number of listeners thanks to a combination of FM or DAB+ signals and the Internet. Today, listeners expect a radio station to enable listening to the program non-linearly (on-demand, podcast), they expect to have access to information about weather, traffic conditions, news, and information about a song broadcast in various formats (audio, video, or text) and information about the artist. Also, listeners expect to be able to listen to their favorite radio on the same device, via the same application, even when they are not within the coverage area of the program. From an economic point of view, this is a sustainable, cost-effective system, because most stations, in addition to broadcasting on the FM or DAB+ network, already have a program available online. Also, audience growth increases advertiser interest. Although four and a half billion people have access to the Internet, in this paper I will claim that, thanks to the hybrid model, the future of radio is not exclusively in the online sphere, and that in the coming decades the Internet will be an additional tool for increasing the number of listeners and expanding the commercial market. Article received: May 12, 2022: Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
{"title":"The Perspective of Hybrid Radio in the Process of Media Convergence","authors":"Nataša Raketić","doi":"10.25038/am.v0i29.538","DOIUrl":"https://doi.org/10.25038/am.v0i29.538","url":null,"abstract":"Digitization and the Internet have enabled traditional radio to gain new formats, new listeners, enrich content and make it available globally. Hybrid radio is the result of digitization and media convergence, enabling the availability of programs and accompanying multimedia content to a larger number of listeners thanks to a combination of FM or DAB+ signals and the Internet. Today, listeners expect a radio station to enable listening to the program non-linearly (on-demand, podcast), they expect to have access to information about weather, traffic conditions, news, and information about a song broadcast in various formats (audio, video, or text) and information about the artist. Also, listeners expect to be able to listen to their favorite radio on the same device, via the same application, even when they are not within the coverage area of the program. From an economic point of view, this is a sustainable, cost-effective system, because most stations, in addition to broadcasting on the FM or DAB+ network, already have a program available online. Also, audience growth increases advertiser interest. Although four and a half billion people have access to the Internet, in this paper I will claim that, thanks to the hybrid model, the future of radio is not exclusively in the online sphere, and that in the coming decades the Internet will be an additional tool for increasing the number of listeners and expanding the commercial market. \u0000Article received: May 12, 2022: Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"18 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79960682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, I will deal with transdisciplinary artistic and media practices on the example of a project “Migrations in Art – the Art of Migrations” that was realized by the Gallery of Matica Srpska in Novi Sad, Serbia. This project is a good example of interdisciplinary connection on the topic of migration, a topic that I also deal with in my Ph.D. dissertation. I would especially like to refer to the new theoretical and sociological readings in this example and the way in which certain practices have been applied and linked in this project. I will also show why this approach is very important for understanding the way the issue of migrants and migration are presented in the media and in artistic practice, which significantly implies the presentation of this very important 21st-century issue. I would try to shift the focus toward migrant corridors and new tendencies in art projects that provide “flashbacks” to the past and search for connective tissue with the present. Article received: May 17, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
{"title":"Transdisciplinary Practices on Migration Topic: The Case of “Migrations in Art – the Art of Migrations”","authors":"N. Jovanovic","doi":"10.25038/am.v0i29.540","DOIUrl":"https://doi.org/10.25038/am.v0i29.540","url":null,"abstract":"In this paper, I will deal with transdisciplinary artistic and media practices on the example of a project “Migrations in Art – the Art of Migrations” that was realized by the Gallery of Matica Srpska in Novi Sad, Serbia. This project is a good example of interdisciplinary connection on the topic of migration, a topic that I also deal with in my Ph.D. dissertation. I would especially like to refer to the new theoretical and sociological readings in this example and the way in which certain practices have been applied and linked in this project. I will also show why this approach is very important for understanding the way the issue of migrants and migration are presented in the media and in artistic practice, which significantly implies the presentation of this very important 21st-century issue. I would try to shift the focus toward migrant corridors and new tendencies in art projects that provide “flashbacks” to the past and search for connective tissue with the present. \u0000Article received: May 17, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"10 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86454739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper shows the contribution of screenwriter Ratko Đurović and director Velimir Stojanović to documentaries and short films in general and not only in Montenegrin cinematography; in fact, this duo was unique as they were reformers of Yugoslav film expression. Article received: May 15, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
{"title":"The Documentaries and Short Films of Ratko Đurović and Velimir Stojanović","authors":"Radoslav T. Stanišić","doi":"10.25038/am.v0i29.542","DOIUrl":"https://doi.org/10.25038/am.v0i29.542","url":null,"abstract":"This paper shows the contribution of screenwriter Ratko Đurović and director Velimir Stojanović to documentaries and short films in general and not only in Montenegrin cinematography; in fact, this duo was unique as they were reformers of Yugoslav film expression. \u0000Article received: May 15, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"59 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86021344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book Review: José Duarte, Filipa Rosário (ed.), ReFOCUS: The Films of João Pedro Rodrigues and João Rui Guerra da Mata, Edinburgh: Edinburgh University Press, 2022, 232 pp., ISBN: 978-1-4744-6080-4","authors":"H. Sol","doi":"10.25038/am.v0i29.541","DOIUrl":"https://doi.org/10.25038/am.v0i29.541","url":null,"abstract":"<jats:p>/</jats:p>","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"9 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81912099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his proposal for a new methodological approach to the history of art, neuroarthistory, art historian John Onians based his argument in philosophy and art theory ranging from Aristotle to Leonardo, and from Reynolds to Zeki, and neuroaesthetics. However, he omitted from his overview the late Renaissance and Baroque traditions in which one can easily find writings on human cognitive ability (on intellect, senses, and imagination) and its bearings on art. In this preliminary note, we point to several 16th-century humanists, such as Gianfrancesco Pico della Mirandola, Baldassare Castiglione, Benedetto Varchi, and artist and theorist Federico Zuccari, in whose treatments of human cognitive ability we find the application of Aristotelian tradition. Their writings further illuminate the rich and exciting insights into the nature, workings, and results of human cognition. Article received: May 21, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
在他提出的一种新的艺术史方法论——神经艺术史的建议中，艺术史学家John Onians将他的论点建立在哲学和艺术理论的基础上，这些理论从亚里士多德到达芬奇，从雷诺兹到泽克，以及神经美学。然而，在他的概述中，他忽略了文艺复兴晚期和巴洛克传统，在这些传统中，人们很容易找到关于人类认知能力(智力、感官和想象力)及其与艺术的关系的著作。在这篇初步的笔记中，我们指出了几位16世纪的人文主义者，如Gianfrancesco Pico della Mirandola, Baldassare Castiglione, Benedetto Varchi和艺术家兼理论家Federico Zuccari，在他们对人类认知能力的治疗中，我们发现了亚里士多德传统的应用。他们的著作进一步阐明了对人类认知的本质、运作和结果的丰富而令人兴奋的见解。收稿日期:2022年5月21日;录用日期:2022年7月15日;在线发布:2022年10月15日;原创学术论文
{"title":"Neuroarthistory: Several Notes on Historical Sources","authors":"A. Milosavljević","doi":"10.25038/am.v0i29.539","DOIUrl":"https://doi.org/10.25038/am.v0i29.539","url":null,"abstract":"In his proposal for a new methodological approach to the history of art, neuroarthistory, art historian John Onians based his argument in philosophy and art theory ranging from Aristotle to Leonardo, and from Reynolds to Zeki, and neuroaesthetics. However, he omitted from his overview the late Renaissance and Baroque traditions in which one can easily find writings on human cognitive ability (on intellect, senses, and imagination) and its bearings on art. In this preliminary note, we point to several 16th-century humanists, such as Gianfrancesco Pico della Mirandola, Baldassare Castiglione, Benedetto Varchi, and artist and theorist Federico Zuccari, in whose treatments of human cognitive ability we find the application of Aristotelian tradition. Their writings further illuminate the rich and exciting insights into the nature, workings, and results of human cognition.\u0000Article received: May 21, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"88 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73424243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Expo Dubai 2020 is clear evidence of a 21st-century radical switch regarding the reception of art exhibitions. As Virtual Reality, Augmented Reality, and Artificial Intelligence technologies have already developed enough to show significant influences on art, the following topic considers the merging of architecture and digital art, which are building immersive experiences together. The aim of this paper is to establish the level of inseparability and the type of connection between spatial and digital aspects that cooperatively stimulate and define the movement of visitors. As the creative capacity of architecture and digital art is unlimited in production, three country pavilions, Brazilian, South Korean, and Italian at Expo Dubai 2020, with distinct concepts are analyzed. Selected pavilions were showing diverse approaches to the application of digital technologies within the space, which makes new possible categories to be explored. A strongly emphasized multisensory aspect of spatial experience can be discovered through simple architectural technology in the Brazilian pavilion combined with the symbolic element of water, sounds, and vapors together with digital projections. Symbiosis of digital and architectural components of space is reached in the Italian pavilion by the double shifting of both digital and physical parts of the rope façade. The apparent combination of digital and analog surfaces on the kinetic facade in the Korean pavilion completes the basis for discussion about methods of hybridization of architecture and digital art. Although architecture is, according to Peter Sloterdijk, the original form of immersion, the selected pavilions demonstrate that participants of the state-of-the-art symbiosis of architecture and digital art can experience new types of immersive reception, simultaneously showcasing the application of the concept of mimesis. Article received: May 12, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
{"title":"The Intersection of Digital and Spatial Immersion: Architecture of Pavilions at Expo Dubai 2020","authors":"Sanja Gogić, Duška Prodanović","doi":"10.25038/am.v0i29.535","DOIUrl":"https://doi.org/10.25038/am.v0i29.535","url":null,"abstract":"Expo Dubai 2020 is clear evidence of a 21st-century radical switch regarding the reception of art exhibitions. As Virtual Reality, Augmented Reality, and Artificial Intelligence technologies have already developed enough to show significant influences on art, the following topic considers the merging of architecture and digital art, which are building immersive experiences together. The aim of this paper is to establish the level of inseparability and the type of connection between spatial and digital aspects that cooperatively stimulate and define the movement of visitors. As the creative capacity of architecture and digital art is unlimited in production, three country pavilions, Brazilian, South Korean, and Italian at Expo Dubai 2020, with distinct concepts are analyzed. Selected pavilions were showing diverse approaches to the application of digital technologies within the space, which makes new possible categories to be explored. A strongly emphasized multisensory aspect of spatial experience can be discovered through simple architectural technology in the Brazilian pavilion combined with the symbolic element of water, sounds, and vapors together with digital projections. Symbiosis of digital and architectural components of space is reached in the Italian pavilion by the double shifting of both digital and physical parts of the rope façade. The apparent combination of digital and analog surfaces on the kinetic facade in the Korean pavilion completes the basis for discussion about methods of hybridization of architecture and digital art. Although architecture is, according to Peter Sloterdijk, the original form of immersion, the selected pavilions demonstrate that participants of the state-of-the-art symbiosis of architecture and digital art can experience new types of immersive reception, simultaneously showcasing the application of the concept of mimesis.\u0000Article received: May 12, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"23 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77806653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-22DOI: 10.52547/ami.2022.1201.1107
Narges Oskouie
{"title":"Qajar Period Literature and Critical Point of View on the Problem of Opioid Addiction; (Case Study: Sang-o-Sabo Talk Book)","authors":"Narges Oskouie","doi":"10.52547/ami.2022.1201.1107","DOIUrl":"https://doi.org/10.52547/ami.2022.1201.1107","url":null,"abstract":"","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78810677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-22DOI: 10.52547/ami.2022.1298.1121
Fatemeh Ghafoorifar, Farnoosh Shamili, M. Mohammadzadeh
The symbols of the verses were used for the chapter of the poems from the very beginning of the revelation of the Qur’an. These signs were arranged in the form of every five or ten revealed verses, known as the signs of Khums and Ashar, which were organized in separate visual forms in each period. The purpose of the present study is to describe the visual features of the verses of the Qur’an of the Timurid religion of the Holy Threshold Museum of Qom and also to classify the verses. The present article has been done in a descriptive-analytical manner, and the materials have been collect ed concerning documents and library materials. Therefore, this research is organized around two main questions: What are the visual components of the religious verses of the mentioned Qur’ans? How is the dominant visual form and structure in the sign of the chapter of the verses arranged? The achievements of this research show that the symptoms of Khums-Ashar mean five and ten poems, which in addition to indicating the gradual revelation of poetry, also makes it easier for readers to read. The signs of the verses are single verses, decorative, khums, and tithes. These symbols are engraved in the form of sun and bergamot, and decorations such as Islamic and Khatai motifs are used. Verses are marked in the form of “visual-decorative” signs and “letters and phrases.”
{"title":"A Study of the Visual Features of the Signs of Quranic Illumination of the Timurid Era Preserved in the Holy Threshold Museum of Qom","authors":"Fatemeh Ghafoorifar, Farnoosh Shamili, M. Mohammadzadeh","doi":"10.52547/ami.2022.1298.1121","DOIUrl":"https://doi.org/10.52547/ami.2022.1298.1121","url":null,"abstract":"The symbols of the verses were used for the chapter of the poems from the very beginning of the revelation of the Qur’an. These signs were arranged in the form of every five or ten revealed verses, known as the signs of Khums and Ashar, which were organized in separate visual forms in each period. The purpose of the present study is to describe the visual features of the verses of the Qur’an of the Timurid religion of the Holy Threshold Museum of Qom and also to classify the verses. The present article has been done in a descriptive-analytical manner, and the materials have been collect ed concerning documents and library materials. Therefore, this research is organized around two main questions: What are the visual components of the religious verses of the mentioned Qur’ans? How is the dominant visual form and structure in the sign of the chapter of the verses arranged? The achievements of this research show that the symptoms of Khums-Ashar mean five and ten poems, which in addition to indicating the gradual revelation of poetry, also makes it easier for readers to read. The signs of the verses are single verses, decorative, khums, and tithes. These symbols are engraved in the form of sun and bergamot, and decorations such as Islamic and Khatai motifs are used. Verses are marked in the form of “visual-decorative” signs and “letters and phrases.”","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"24 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74044164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-22DOI: 10.52547/ami.2022.1289.1120
Morteza Sedighifard, Mehdi Moghimnejad
{"title":"Investigating the Concept of Style in Photography with Emphasis on the Pictorialism Movement","authors":"Morteza Sedighifard, Mehdi Moghimnejad","doi":"10.52547/ami.2022.1289.1120","DOIUrl":"https://doi.org/10.52547/ami.2022.1289.1120","url":null,"abstract":"","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"133 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85803421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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