The Problem With The Influence Of The Moving Image In Society Today The Alter Modern And The Disappearance Of A Focus On The Internal

Scientific Essay from the year 2016 in the subject Communications - Media History, , course: N/A, language: English, abstract: Since the early twentieth century, civilization’s obsession with the moving image has helped it to go backwards instead of forwards. Because of the nature of the way moving images are proliferated especially during our present age of digital expansion, the past and the history of the past produce a cultural amnesia which creates a misperception that we are greatly ahead of our past. Much of this is because our continuous fascination with the moving image has undermined and effaced a Modernist reasoning which had been more concerned with searching for an internal depth in objects and things which were reflected in the human being. As a result of our visual thirst for the moving image which takes us away from this, we now live in a situation void of causal reasoning which makes it very easy for very little reason, or difficult, for well-justified reasoning to exist since our thirst and addiction to the moving image has seen a spiritual shift away from the search of internal value and meaning that has been tied to our culture and cultural perceptions. By tracing civilization’s obsession with the Classical which it had once used as a ‘steadying metaphor’ the paper attempts to explain some of the influences that have made us lose our focus on the importance of the internal and offers to explain why we are now more than ever before bereft of a focus for searching for the internal depth that exists within people, objects and things.

Document from the year 2019 in the subject Art - Art Theory, General, The University of Western Australia, course: Philosophy, language: English, abstract: In this philosophical lecture I discuss how and why the art of today is not a real art and how there are no standards anymore at all. I chose to give this lecture because I feel that if we understand why art today is not a real art, we will be able to change it and our conceptions for the future. This paper is an elaboration of the lecture and discusses how the heroic artists in Modernism were mistakenly taken as the examples and leaders for creating that which is seen as art in and after the post-modern era today.

Essay from the year 2019 in the subject Sociology - Individual, Groups, Society, grade: N/A. professional essay, University of Rome "La Sapienza" (CORIS), course: Journalism, Media and English, language: English, abstract: This essay argues that the British music group The Beatles were crucial for influencing our way of life today. The essay does this by discussing how they were responsible in the 60s for much of the spirit and many of the ideas that took place at the start of the postmodern era of the 90s in which we still live in and use today. It also argues that The Beatles' group spirit helped to cancel the spirit of the individualistic individual in society which had prevailed before the 60s and instead usher in a tribalist culture which much of us live in today.

Seminar paper from the year 2012 in the subject Psychology - Media Psychology, Liverpool John Moores University (Art and Design Academy), course: Academic Conference, language: English, abstract: Beauty takes our breath away. We come to rest, are silenced, and in awe. When beauty opens our hearts, our capacity to care for what is just and true enlarges. The triumvirate of western values — truth, beauty, and goodness — has long served as the foundation for positive human development. The experience of beauty takes us deep within ourselves to the most intimate sense of who we are and what we have endured. Beauty is the ultimate attractor and healer. It transcends us by pulling us out of ourselves and generates us to heal, repair, and move forward. Beauty in its many forms has profound neurological and psychological impact upon us. Artistic expression, and flow stimulate the growth of new brain cells in the cerebral cortex. Such experiences raise physiological levels in the immune, the endocrine, and the nervous systems. “Emotions play out in the theatre of the body. Feelings play out in the theatre of the mind.” As a significant psychologically transcendent experience, this arousal increases well-being, optimism, and resilience. Optimism is directly correlated with improved health. Drama, music, and art have the capacity to build and sustain resilience because creative engagement and participation is directly correlated with an overall positive impact on health, morale, and loneliness. This essays draws on some theoretical perspectives and research as they inform an understanding of the power of beauty and its transformational affect on the human psyche and development.

Bachelor Thesis from the year 2000 in the subject Film Science, grade: 2.1, University of Reading (Dept. of Film/Architecture), course: BA Hons. Film and Drama/ Art and Architecture, language: English, abstract: Architectural space and form in Science Fiction Cinema often mirrors the identity of the individual occupying that space on the screen. However, in such films, it does more than just create certain ways of delineating (and connoting) an environment which parallels the characters’ position within an area guaranteeing and legitimizing their need to be there. Architectural space in Science Fiction cinema is also a space that the audience is invited and allowed to travel through – to participate, to partake in. The audience finds their way through the space, and therefore, are forced to relate and identify with the space created by the architecture during the viewing of the film. This identification process by the audience is central to a proper and legitimate understanding of the film. In this dissertation, I have chosen to analyse three films – all of them Science Fiction. My reason for choosing them was that I was intent upon finding some of the most interesting, thought provoking and effective ways architecture has been used to activate a response within viewers of film: a response, which is entirely justifiable, and extends to an unquestionable belief in the validity of the story taking place on the screen. All three of the films chosen within this study raise specific issues in relation to the significance of ‘architectural space and form in Science Fiction cinema’.

Scientific Essay from the year 2011 in the subject Film Science, grade: N/A: Professional Lecture, University of Technology, Sydney (School of Design), course: MA Animation, language: English, abstract: This lecture ‘Revising Animation Genres: Jan Svankmajer, Tim Burton and James Cameron and the Study of Myth’ addresses the idea or concept of today’s classification of genres for animation feature films and interrogates why this concept needs to be revised today. The lecture is also about what makes it possible to tell a story successfully within films that use animation visual effects today. To do this, it discusses why the concept of the animation genre needs to be revised and suggests how today we need to look at the idea of genres in animation differently than we did in the past. By contrast with the modernism of the past (when fixed styles in art and culture had existed, making it possible to create certain strong recognisable frameworks for art which had helped us categorise different styles and genres and types of film and types of stories), today, a lot more art and art making is made up from a lot of pastiche, which now sees the appropriating of a mixture of ideas from other contexts, genres and themes. This appropriation of ideas previously not normally grouped together within an artwork or film or piece of animation is now being combined into an overall fraternizing of codes and references in films that often would employ animation visual effects.

Polemic Paper from the year 2016 in the subject Theater Studies, Dance, , language: English, abstract: Right from its first performance Ibsen’s play has been misunderstood. From early on, "A Doll’s House" until recently, (when it began to be used mostly as a vehicle for feminism and what had been called the ‘woman question’), has not always been popular and a number of criticisms and misunderstandings have plagued it. Many had commented on the fact that within the society, during the time the play was set, that women were made to stay home and take care of the children and support their husbands and that it would be a travesty if they left all of this in order to pursue self-fulfillment. Yet more recently, its popularity has seemed to have steadily increased. Today, copiously commensurate with Roland Barthes’s 1967 dictum and theory that the author is dead,—(heralding the fact that real fixed ‘meaning’ itself is dead and that texts are constructed out of precariously grouped citations which therefore allow unlimited and arbitrary open-ended interpretations to proliferate in spite of the author of the work’s original intent), today’s unfitting feminism has taken this up in further attempts to achieve greater power and freedom. The problem is that although Ibsen stated that he wrote the play to reflect humanist issues, in much of today’s culture, unfitting feminist interpretations which aim to rewrite the meaning of the play still abound.

Essay from the year 2008 in the subject Museum Studies, language: English, abstract: The essay discusses the German philologist, archaeologist and historian J.J. Winckelmann's theoretical influence on the conception of the Classical museum model as defined and established by the Louvre within the nineteenth-century in Paris. From its initiation, the Louvre would furnish an example for the Metropolitan and for scores of galleries around the world to replicate. This would include the Egyptian Museum in Cairo, the National Archaeological Museum of Athens and the Ancient Iran Museum in Tehran. Winckelmann's historicism would encourage the implementation of new ideas and practices related to the meaning and connoisseurship of art and aesthetics in Western Europe within nineteenth-century gallery systems as they began to develop new practices for displaying art in which the singling out of specific cultures within an historic hierarchical context would become prominent. The essay discusses how Winckelmann's ideas would inspire a curatorial system and condition of representation of art for the Louvre as the Classical museum paradigm established in the nineteenth-century.