Relation of Artworks.docx

Banksy, Girl with Balloon (co-production of meaning): The artwork was shredded moments after being sold at an auction. This act of self-destruction by the artist added another layer of meaning to the artwork, questioning the value and commodification of art. John Cage, «4’33» (co-production of meani...

Banksy, Girl with Balloon (co-production of meaning): The artwork was shredded moments after being sold at an auction. This act of self-destruction by the artist added another layer of meaning to the artwork, questioning the value and commodification of art. John Cage, «4’33» (co-production of meaning):  The performer sits at a piano for a total of 4 minutes and 33 seconds without playing any notes. The intention behind this silence is to shift the audience's attention to the ambient sounds that occur naturally in the environment, essentially making the surrounding sounds the "music" of the piece. This composition highlights the idea of the audience as co-producers of the artwork, as their perception and interpretation of the surrounding sounds become an integral part of the performance. The Carters, Apeshit (intermediality): Apeshit by The Carters is an example of an audiovisual artwork that demonstrates intermediality. the music video combines music, visuals, and performance to create a multisensory experience for the audience. Hamilton, My Shot (media convergences): Hamilton is a prime example of the intersection of different media forms. The musical incorporates hip-hop music, traditional theater performances, and cinematic elements to tell the story of Alexander Hamilton. This blending of different media forms allows for a unique and engaging experience for the audience. Through media convergence, "My Shot" utilizes the power of music, lyrics, choreography, and visual elements to create a dynamic and immersive performance. Labrinth & Zendaya, All For Us (transmedialoty): In Labrinth and Zendaya's song "All For Us" , transmediation can be observed. Transmediation refers to the process of transferring or adapting a story or content from one medium to another, while adding new elements or expanding the narrative. Through transmediation, the song extends the narrative and allows for a deeper exploration of the characters' emotions and experiences. By incorporating music as a transmedia element, Euphoria demonstrates the power of combining different mediums to create a more comprehensive and engaging narrative. Melanie Wilson’s Autobiographer (techno-sublime): In Autobiographer, Wilson explores the intersection of technology and the human body, creating a disorienting and immersive experience for the audience. Autobiographer exemplifies the Technosublime by harnessing the power of technology to create a sensory experience that is both captivating and thought-provoking. Alash, TEDx (vocal technique as technology): Alash is a performing group known for their Tuvan throat singing. Tuvan throat singing is a vocal technique that can be considered as a technology. This technique involves producing multiple pitches simultaneously by manipulating the vocal folds, throat muscles, and resonating cavities. Bing Cosby’s «Learn to Croon» (crooning): Bing Crosby's "Learn to Croon" is a recording that showcases the vocal technique of crooning. Crooning was a style of singing popular during the analog era, characterized by its smooth and intimate delivery. Out Innerspace Dance Theatre, «Bygones» (LED, digitalization, and lighting design for theatre): Out Innerspace Dance Theatre's production, "Bygones," showcases the use of LED, digitalization, and lighting design for theatre. The choreographers have incorporated these technologies to enhance the visual and immersive experience of the performance. LED lights are utilized to create dynamic and vibrant lighting effects, adding depth and atmosphere to the stage. The digitalization aspect of the production allows for manipulation of live vocal production practices, such as autotune, and also introduces digitally represented voices within the performance space. Hatsune Miku’s «When First Love Ends», Live Party (vocaloid software): Hatsune Miku's performance of "When First Love Ends" at the Hatsune Miku Live Party showcased the use of Vocaloid software and its incorporation of digitized voices. This virtual concert demonstrates the ability of digitalization to manipulate live vocal production practices and to create "live voices" within public performance spaces where performers' bodies are sometimes only digitally represented. Max Steiner’s King Kong (themes and letimotifs): Max Steiner's sound production for the film "King Kong" is considered groundbreaking and influential in the history of cinema. "King Kong" was one of the first films to incorporate a fully orchestrated film score. Max Steiner’s score utilized a combination of traditional orchestral elements and innovative techniques to enhance the dramatic impact of the story. Steiner's use of leitmotifs, recurring musical themes associated with specific characters or events, added depth and emotional resonance to the film. The sound production in "King Kong", played a crucial role in immersing the audience in the fantastical world of the film and contributed to its enduring legacy in the realm of audiovisual storytelling. Apocalypse Now (leitmotif): In film "Apocalypse Now", leitmotif is utilized to enhance the storytelling and create a cohesive musical narrative. The film's score incorporates various leitmotifs to represent different characters and themes throughout the movie. The use of leitmotif in "Apocalypse Now" adds depth and meaning to the storytelling, allowing the music to serve as a narrative tool and enhance the emotional impact of the film. Ramin Djawadi’s Westworld’s themes (themes): Djawadi's music seamlessly blends orchestral arrangements with electronic elements, creating a unique and captivating sound that complements the futuristic setting of the show. The film-based film music in Westworld incorporates subtle references to iconic film scores, paying homage to various genres and creating a sense of familiarity for the audience. Rhapsody Rivet (classical music in cartoons): Classical music has often been featured in cartoons to enhance storytelling and create a comedic or dramatic effect. These cartoons use classical music to accompany the actions and movements of the characters, adding depth and emotion to the storytelling. Classical music in cartoons can serve as a bridge between generations, introducing younger audiences to timeless compositions in a fun and accessible way. A Tale of Two Sisters (foley artists): A Tale of Two Sisters is a film that showcases the artistry and creativity of foley artists. In this particular film, the foley artists played a crucial role in enhancing the auditory experience by meticulously crafting and synchronizing sound effects to match the on-screen actions and movements of the characters. Their work brings life to the visuals and immerses the audience in the story by adding depth and realism to every sound. HER (privatization of the public sphere): In the movie HER, the concept of the privatization of the public sphere is explored. The film depicts a near-future society where a man forms an emotional relationship with his smartphone’s AI operating system. The use of sound in the film emphasizes the personal and intimate nature of these relationships, as the protagonist engages in private conversations with his AI companion through earpieces. The film raises questions about the impact of these technologies on human connection and the potential isolation that can arise from atomized sound bubbles. This privatization of the public sphere is a critical theme in the film, as it explores the potential consequences of relying on technology for emotional fulfillment and social interaction. Herbie Hancock’s «Watermelon Man» (schizophonic mimesis): Herbie Hancock's "Watermelon Man" exemplifies the concept of schizophonic mimesis by capturing the sonic split between the live performance and its reproduced form. The recording technology used in the composition allows for the transformation and dissemination of sound, shaping the sonic environment and contributing to the broader soundscape. Madonna's «Sanctuary» (schizophonic mimesis): Madonna's "Sanctuary" is a notable example of how soundscapes and music can be influenced by schizophonic mimesis. The sound is mediated through recording technologies and playback devices, allowing for the separation of the sound from its original source. Leah Barclay’s «Deciduous» (acoustic ecology): Leah Barclay's "Deciduous" is a project that showcases her work in the field of acoustic ecology and it is an installation that stimulates active listening and climate action by allowing participants to engage with the sonic environment. Through this project, Barclay aims to evoke profound interconnection and empathetic responses that inspire climate action. The use of the hydrophone is integral to her work, allowing for a deeper understanding of the acoustic environment and its impact on our values and power within society. Barbie, the movie (the body and beauty myth): In the Barbie movie exemplify the influence of body and beauty standards. Barbie has long been associated with the portrayal of an idealized and unrealistic feminine beauty. This portrayal often includes specific physical attributes, such as slender figures, long legs, and perfectly proportioned features. The scene in Barbie's film that focuses on her feet could be seen as a reflection of the emphasis placed on physical appearance and the perpetuation of unrealistic beauty standards. This scene could serve as a commentary on the pressure that individuals, especially women, face to conform to societal beauty standards, even in seemingly insignificant aspects of their appearance. Selena Gomez’s online star persona (digital star making): Selena Gomez's online star persona exemplifies the digital star making and showcases the power of social media and the ability for individuals to shape their own celebrity status through direct interaction with their audience. Gomez has successfully utilized social media platforms to engage with her fans, promote her work and raise awareness about important social issues. Nicole Kidman’s Chanel N. 5 commercial/film (stars as brands): Nicole Kidman's Chanel N. 5 commercial/film exemplifies the concept of stars as brands. The commercial/film features Kidman in a glamorous and seductive portrayal, embodying the ideals of beauty, elegance, and sophistication associated with the Chanel brand. By associating herself with the prestigious and luxurious Chanel brand, Kidman enhances her own personal brand and reinforces her status as a highly sought-after celebrity. Ben Russell - TRYPPS #3 (audience experience): Ben Russell - TRYPPS #3 is a film that is related to the feeling of being in the audience. The film captures the reactions and emotions of the audience members, creating a sense of solidarity and connection among them. It, also, highlights the importance of the audience in shaping and enhancing the overall experience of a film or performance. The Crowd (mass audiences): "The Crowd" presents a critical view of the mass audience, highlighting their lack of agency and individuality. It serves as a commentary on the societal conditions of the time and raises questions about the influence and manipulation of the mass audience in the media and consumer culture. Fan, directed by Maneesh Sharma (fans and fandom): Fan, directed by Maneesh Sharma, explores the concept of being a fan in a captivating and thought-provoking manner. The film delves into the life of an ardent fan and highlights the intense emotional involvement and consumption of popular narratives or texts that define fandom. Fan provides meaningful insights into the world of fandom and its significance in understanding audiences. Kotte Animation’s «Pro Squid Game Players be like: » (configurable arts culture): Kotte Animation's "Pro Squid Game Players be like" is an example of a configurable arts culture. Kotte Animation explores the phenomenon of Squid Game players and their behaviors in a digital participatory culture. The animation exhibits its own aesthetic, showcasing the creativity and engagement of non-professional or non-institutional participants. This highlights the democratized engagement with configurable culture, where digital platforms enable greater participation and collaboration among artists and audiences. DJ Danger Mouse’s «Dirt off your Shoulder» (configurable arts culture): DJ Danger Mouse's "Dirt off your Shoulder" is a prime example of how configurable culture operates within the music industry. Through remixing and blending different songs, this mashup embodies the democratized and participatory nature of configurable culture, showcasing the power of digital tools and platforms in creating new artistic experiences. Harry Potter with Guns (participatory/configurable arts culture): Harry Potter with Guns is a fan-created artwork that exemplifies participatory/configurable culture. In this video, scenes from the Harry Potter film series are reimagined with the addition of guns and action-packed sequences. The creator engages in participatory culture by actively reworking and reconfiguring the original content. This type of configurable culture challenges the traditional boundaries between artists and audiences, allowing for a more fluid and collaborative relationship between makers and users. Gary Glitter (RSR Rajan), «THE JOKER DANCE - Tribute to the Joker - Joker Stairs Dancing Scene» (participatory arts culture): "THE JOKER" is an artwork that exemplifies participatory culture. In this video, individuals engage in a participatory act by recreating the iconic Joker stairs dancing scene from the movie "Joker." This form of cultural participation reflects the processes and notions applicable to the affordances of digital culture. Lizzy MacAlpine’s «You Ruined the 1975» Tik Tok Compilation (participatory arts culture): Lizzy MacAlpine's "You Ruined the 1975" Tik Tok Compilation exemplifies the concept of participatory culture within the digital arts. Tik Tok users have taken MacAlpine's song and created their own videos, remixing and reinterpreting the original material. This participation expands the cultural experience beyond the passive consumption of the original artwork, turning it into a collaborative and interactive process. Through the "You Ruined the 1975" Tik Tok Compilation, users have the opportunity to showcase their own creativity, express themselves, and contribute to the larger participatory culture. This example highlights the democratized nature of configurable culture, where non-professional or non-institutional participants can actively engage with and shape artistic content.