The document discusses the concept of "transmedia art", which refers to art that crosses or brings together different media in order to create various interaction scenarios and experiences for audiences. This differs from "multimedia art", which focuses more on synchronizing different media, rather than having them interact or dialogue with each other. Transmedia art allows the artwork to exist independently of any single medium and materialize in various ways through different mediums.
The document discusses the concept of "transmedia art", which refers to art that crosses or brings together different media in order to create various interaction scenarios and experiences for audiences. This differs from "multimedia art", which focuses more on synchronizing different media, rather than having them interact or dialogue with each other. Transmedia art allows the artwork to exist independently of any single medium and materialize in various ways through different mediums.
The document discusses the concept of "transmedia art", which refers to art that crosses or brings together different media in order to create various interaction scenarios and experiences for audiences. This differs from "multimedia art", which focuses more on synchronizing different media, rather than having them interact or dialogue with each other. Transmedia art allows the artwork to exist independently of any single medium and materialize in various ways through different mediums.
The document discusses the concept of "transmedia art", which refers to art that crosses or brings together different media in order to create various interaction scenarios and experiences for audiences. This differs from "multimedia art", which focuses more on synchronizing different media, rather than having them interact or dialogue with each other. Transmedia art allows the artwork to exist independently of any single medium and materialize in various ways through different mediums.
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Transmedia Art
Traditionally the term “art” has been closely associated with the media in which it is realised. Take for example painting or sculpture. It seems that something made in painting or sculpture should be considered art simply by virtue of the media involved. But what happens when we find artists that work in other media? For example, sometimes the artist mixes, in the course of his work process, painting with some computer-generated material, or includes layers of music and film in order to achieve a certain atmosphere. Further, we also find artists deconstructing installations built up of a mix of various different materials and devices. Should we think of this as art, too?
The notion of “transmedia art” opens up the possibility to free the artwork from the media: from then on the artwork is understood as an immaterial process that can assume manifold ways of materializing and mediating itself in the world. Similarly, “transmedia art” points to new meanings of the artwork, which is posited as something that crosses and brings together different media in order to effect various kinds of interaction scenarios and experiences with its users, audiences and art institutions as well.
At any rate we should differentiate this notion of “transmedia from other notions like “multimedia art”. The latter is more closely related with questions related to the synchronization of media, rather than the crossing of or agonistic dialogue amongst and between different media than is the former. Instead, the notion of “multimedia” has as a constituent part of its function its explicit connection with the tradition of “Gesamtkunstwerk” – a total work of art.
http://www.discoveringart.eu/en/terms-adults/43/transmedia-art/ New Sincerity (post-postmodernism) is a trend in music, aesthetics, literary fiction, film criticism, poetry, literary criticism and philosophy. It generally describes creative works that expand upon and break away from concepts of postmodernist irony and cynicism, representing a partial return to modernism. Its usage dates back to the mid-1980s; however, it was popularized in the 1990s by American author David Foster Wallace.
In film criticism: Other critics have suggested "new sincerity" as a descriptive term for work by American filmmakers such as Wes Anderson, Paul Thomas Anderson, Sofia Coppola and Charlie Kaufman, and filmmakers from other countries such as Michel Gondry, Lars von Trier, the Dogme 95 movement, Aki Kaurismäki, and Pedro Almodóvar. The "aesthetics of new sincerity" have also been connected to other art forms including "reality television, Internet blogs, diary style 'chicklit' literature, and personal videos on You-Tube.
In literary fiction and criticism: In response to the hegemony of metafictional and self- conscious irony in contemporary fiction, writer David Foster Wallace predicted, in his 1993 essay "E Unibus Pluram: Television and U.S. Fiction "a new literary movement which would espouse something like the New Sincerity ethos:
The next real literary "rebels" in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. Who treat of plain old untrendy human troubles and emotions in U.S. life with reverence and conviction. Who eschew self-consciousness and hip fatigue. These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that'll be the point. Maybe that's why they'll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today's risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the "Oh how banal". To risk accusations of sentimentality, melodrama. Of overcredulity. Of softness. Of willingness to be suckered by a world of lurkers and starers who fear gaze and ridicule above imprisonment without law. Who knows.
The theory is this: Infinite Jest is Wallace's attempt to both manifest and dramatize a revolutionary fiction style that he called for in his essay "E Unibus Pluram: Television and U.S. Fiction." The style is one in which a new sincerity will overturn the ironic detachment that hollowed out contemporary fiction towards the end of the 20th century. Wallace was trying to write an antidote to the cynicism that had pervaded and saddened so much of American culture in his lifetime. He was trying to create an entertainment that would get us talking again.
In his 2010 essay "David Foster Wallace and the New Sincerity in American Fiction", Adam Kelly argues that Wallace's fiction, and that of his generation, is marked by a revival and theoretical reconception of sincerity, challenging the emphasis on authenticity that dominated twentieth- century literature and conceptions of the self. Additionally, numerous authors have been described as contributors to the New Sincerity movement, including Jonathan Franzen, Zadie Smith, Dave Eggers, Stephen Graham Jones, and Michael Chabon.
