Meanings of Concepts.docx

Artworks are material objects that involve processes of mediation and remediation, their meaning is co-produced through interaction and interpretation of artists and audiences. Art events are temporary interactions between artwork and audience, taking various forms and blurring mediums, involving au...

Artworks are material objects that involve processes of mediation and remediation, their meaning is co-produced through interaction and interpretation of artists and audiences. Art events are temporary interactions between artwork and audience, taking various forms and blurring mediums, involving audience interpretation and participation. The External Work refers to the compositional forms of an artwork that can be objectively observed, including its material and medial properties Aesthetic Objects refer to the understanding and interpretation of the external work of art Mediality refers to the characteristics and properties of a specific medium or media Intermediality refers to the interaction, combination, and convergence of different media within a single artistic or cultural work. Meta-mediality a medial mode, where one medial mode has added new context in the same medial mode it is in (a book, having a sequel itself) Mediation refers to a narrative being put in a media (book) Remediation refers to a medial mode being put in another kind of media (book to film) Transmediation refers to a media mode in which new media has added new context (a film, based on a book, having a sequel) Performances are ephemeral events that involve the interaction between performers and a specific audience. Performativity refers to the communicative event of a performance, where media transformations are integral to the aesthetic affordances of experiencing artworks. The body is a means of artistic expression and communication in performances, creating a physical presence that engages the audience by conveying emotions and concepts without relying on speaking language. The techno-sublime refers to the concept of experiencing a sense of awe and wonder through a defamiliarized sensory experience of technology. Vocal technique can be considered as a form of technology, since there are various methods and techniques that can be employed to condition and enhance vocal performance and these techniques can be seen as technological advancements in the way the voice is utilized and controlled. The theatre can be seen as a technological medium of display, since prior to the invention of microphones and speakers, the main technologies affecting the sound/space relationship in a theatre were the building materials and design. The proscenium is a type of stage and it is characterized by a large arch or frame, which separates the stage from the audience and allows for a controlled and framed viewing experience. The theatraphone was a device and an early example of remediation, which allowed for the transmission of audio from a live performance to a distant location, enabling people to listen to theatrical performances remotely. A phonograph is a device that was invented by Thomas Edison and it was the first device that could both record and reproduce sound. The Kinetoscope was an early motion picture exhibition device that allowed individuals to view short films by looking through a small window, they could only be viewed by one person at a time and they played a crucial role in the film industry. Crooning refers to a vocal technique that is characterized by a smooth and intimate singing style, often associated with romantic ballads. Vocaloid software is a technology that is extensively used in virtual concerts and it incorporates digitized voices, allowing for the creation of synthesized vocal performances. Cue sheets are documents issued by studios to silent film accompanists in order to exercise more control over the music and sound in films. Themes refer to musical cues or motifs that are associated with specific characters, scenes, or plot developments. Leitmotif is a recurring musical theme or motif that is associated with a particular character, location, or concept. The "Classic Hollywood" soundtrack refers to the style of film music which predominantly featured music from the Romantic period of Western Art Music, and its aim was to enhance cinematic experience. Max Steiner was a renowned composer in the film industry, whose work in film music pioneered the use of themes and orchestration techniques from silent films, which became a standard practice in early sound films. Diegetic sound refers to sound that comes from within the filmic world and which the characters themselves can also hear. Non-diegetic sound refers to sound that is not visible and not in the soundscape of the characters, but the audience can hear. Onscreen sound refers to diegetic sound that is made within the audience’s view Offscreen sound refers to non-diegetic sound that is made outside of the audience’s view Foley artists are professionals who experiment with different material to create specific sounds that cannot be made naturally. Their work creates a richer sound environment. Mickey Mousing refers to a technique used to insert sound as an action that has been choreographed into the film and it is normally used in cartoons. Pure, cultural, and cinematic codes are different types of codes used in film music analysis to understand the relationship between sound and image. Pure codes refer to listening to music independently of any other activity Cultural codes refer to establishing the cultural background of the scene or character Cinematic codes refer to music in a film that refers to the film itself and adds to the effect and emotions of it Empathetic effects refer to sounds/music that go along with the emotions of the scene Anempathetic effects refer to sounds/music that contradicts the emotions of the scene. Acoustic ecology refers to the study of the relationship between sound and the environment. It explores how our ability to impact our sonic environment influence not only the surrounding soundscape but also our values and power within society. A soundscape refers to the combination of all the acoustic resources within a given area as modified by the environment. Schizophonia refers to the disconnection between the source of a sound and its reproduction or transmission. Schizophonic mimesis refers to the idea that the separation of a sound from its original context can lead to a loss of meaning or authenticity. Acoustemology refers to the study of how sound is used as a distinctive medium for understanding and knowing the world. It emphasizes the importance of engaging with the acoustic environment as a means of deepening our connection with the world around us. Mobile soundscapes refer to the engagement of aesthetic, artistic, and cultural subjectivities of urban communities through artistic enactments of sounds and technologies. Sound system culture refers to the practice of using mobile sound systems to play music at outdoor gatherings and events and it is characterized by the cultural significance of the sound system as a symbol of community and identity. Aesthetic individualization refers to the process of personalizing one's aesthetic experiences and preferences, facilitated by digital platforms and technologically mediated modes of sociality. Sound bubbles refer to the individualized and personalized soundscapes created through the use of mobile sound carriers and digital sound devices. The star system refers to the process of creating and promoting film actors as stars through careful branding, image management, and public appearances. Pseudo individuality, according to Adorno and Horkheimer, is a commodity that is determined by society and falsely represented as natural. It is a way for the culture industry to maintain control over the masses by giving them the illusion of choice and individuality. Stars in relation to the body/beauty myth refers to how the film industry perpetuates certain beauty standards and objectifies the female body. These standards and objectifications are reinforced through ideologies, technologies of representation, and the male gaze. Stars as brands refer to the modern phenomenon of celebrities operating as personal brands, and strategically navigate between their on-screen appearances and their off-screen presence to achieve maximum publicity and recognition. Paratext refers to the elements that surround a text or artwork, but are not part of the primary content or other supplementary materials related to a star or their work. The drama of celebrity refers to the interactions between publics, media producers, and the stars themselves which play a significant role in assigning value and meaning to celebrities and those who show an interest in them. Audience experience refers to the collective and individual experiences of a group of people, which encompasses the emotional, sensory, and intellectual responses that individuals have while engaging with the material and interacting with other members of the audience. Audience behavior refers to the actions, reactions, and attitudes displayed by individuals or groups within an audience while engaging with a particular form of media or attending an event. Audience performance refers to the behavior and actions of an audience during a performance or event. Audience reception refers to the way in which the audience receives and interprets a performance or text. The public refers to a community of citizens who are characterized by rationality, deliberation, tolerance, and a focus on decision-making. It represents an ideal audience as a "citizen audience." Mass audience refers to a large group of individuals who consume media and cultural products and it is characterized by its lack of individuality. A fandom refers to a community of individuals who emotionally engage with a particular popular narrative or text. Fandoms are characterized by close-knit communities that challenge traditional cultural hierarchies and engage in participatory culture, emphasizing sharing and creating. Fans within a fandom may participate in activities such as fan fiction, fanzines, and other forms of cultural production, and they promote consumer activism. Textual poaching refers to the practice of fans appropriating and reinterpreting existing texts. It allows fans to actively participate in the construction and circulation of textual meanings, challenging traditional notions of authorship and ownership. It reconceptualizes fandom from a passive consumer to an active producer. Participatory arts cultures refer to artistic practices and cultural activities that involve active participation and engagement from the audience or participants. This type of culture emphasizes inclusivity, accessibility, and democratic engagement, allowing individuals to actively contribute to the creation and experience of art. Bedroom producers are individuals who create and produce music from the comfort of their own homes, showcasing the democratization of music production made possible by technology. The art/craft binary refers to the distinction between art and craft, which suggests that art is often associated with high culture, creativity, and originality, while craft is associated with skilled manual labor, tradition, and functionality. RW culture stands for Read Write culture, in which individuals have the ability to create and contribute their own content, and it emphasizes the idea of co-production and encourages users to be active participants in shaping the culture. RO culture stands for Read Only culture, in which there is a clear distinction between the creators and the audience, with limited opportunities for active participation or contribution. The artist/participant binary refers to the traditional distinction between artists and participants or audiences in the creation and consumption of art, in which artists are seen as the creators or producers of art, while participants or audiences are seen as passive recipients or consumers of that art. With the rise of participatory arts cultures and configurable culture, this binary has been challenged. The erosion of the artist/participant binary suggests that both aesthetic production and consumption are fragmenting, allowing for new roles and behaviors to emerge and for greater communication, collaboration, and fluidity between artists and participants. Configurable culture refers to a cultural phenomenon that revolves around the digitalization of arts practices and their various forms of mediation and reception online and it is characterized by the democratized engagement with non-professional or non-institutional participants, allowing for a digitally engaged participatory arts culture. A prosumer refers to a hybrid role that combines the characteristics of a consumer and a producer, who actively engages in the creation and consumption of artistic content. The hybrid economy refers to the convergence of different artistic forms and practices, blurring the boundaries between them and this integration of diverse elements creates new opportunities for artistic expression, collaboration, and innovation.