Radio and television arts

Ensayo sobre Nuevos Medios encargado por el Insituto en Artes de la Facultad de Bellas Artes de la Universidad Nacional de La Plata. Este ensayo forma parte del libro de complilación Arte y Medios (María de los Ángeles de Rueda Comp., 2014) https://arteymediosunlp.wordpress.com/2014/08/03/presentacion-libro-arte-y-medios-entre-la-cultura-de-masas-y-la-cultura-de-redes/

Aborda formas de aproximación a los nuevos medios buscando desde la Ciudad de La Plata y su Universidad Nacional como Centro.

I programmi televisivi dedicati all'arte dal 1953 al 2000. Una particolare attenzione è data dal 1990 ai giorni nostri, ossia il periodo in cui nascono i canali tematici come Rai 5 e Sky Arte. Per finire, vengono analizzati e confrontati due programmi: "Passpartout", famoso per il suo conduttore Philippe Daverio; e "Viaggio nella Bellezza", un programma che mette in risalto il patrimonio artistico italiano.

Nobel laureate Niko Tinbergen coined the term ‘supernormal stimulus’ after discovering that birds who lay small, pale blue eggs speckled with grey prefer to sit on larger, bright blue eggs with black polka-dots. He found that he could exaggerate the key qualities of any natural stimulus to produce a stronger reaction yet--be it nurturance, courtship, fear or aggression.
    Animals encounter supernormal stimuli mostly when experimenters build them.  Humans can generate their own and media are awash with them: friendly smiling faces more consistently welcoming than ones own friends, animated cartoon characters with wider eyes than any real child’s, seductive bodies exceeding any proportions found in nature, and a huge array of supernatural menaces.
    This chapter examines film, television, spectator sports, video games, and social websites as well as more traditional media such as print and musical performance in terms of the concept of supernormal stimuli.

Form in sound art is the crucial aspect for both analysis and per- ception. The theoretical basis includes, among others, the theory of ‘Pure Form’ devised by Stanisław Ignacy Witkiewicz and Susan Sontag’s theory of interpretation. Later in the text, issues of aesthetics and anti-aesthetic are mentioned. The research questions dealt with in this text were: What is the position of form in sound art and how is it related to content? What kinds of means of expression can be applied? The employed methods in- clude literary analysis and criticism as well as some elements of structural analysis. The examples analyzed in this article were broadcasts by Gregory Whitehead, Eugeniusz Rudnik, Tomasz Plata, and Antye Greie. The per- ception of the art can be disturbed by certain means of expression such as formal chaos or noise which is also considered in the text.

In the UK there has never been much scope for radio art within the realm of public service broadcasting, leading artists to seek funding for their own independent projects, predominantly from the Arts Council of England (ACE) and other state funding bodies and charitable trusts. In this article, I will consider this recent avenue of practice, because its results - in terms of audience composition, artistic output and the wider cultural context of the form - shed light on both the particular context of radio art practice in the UK, and also have implications for the wider struggle for sustainable independent media networks against the diminished imaginative horizons of a public broadcast culture endlessly inured to 'unavoidable' cuts and the free market enclosure of the digital commons.

In the wake of 2020's unprecedented protests for racial justice, electroacoustic composer Yvette Janine Jackson released Freedom, a collection of two experimental radio operas exploring the Middle Passage and its wake. Inspired in part by the mid-century radio plays produced by Richard Durham, Johnson’s work offers a counterpoint to his affirming narratives of Black achievement and contributions to American history. By contrast, Jackson explores the hidden and murky depths of Black freedom struggles, collapsing the past and the present into melancholic and mysterious compositions that push the limits of genre.

Cet article constitue une synthèse inédite sur les rapports existant entre le genre poétique et le medium télévisuel : j’y analyse à la fois leurs rapports médiologiques, les rêveries tissées (notamment dans les années soixante) autour des possibilités poétiques de la télévision, et leurs rapports effectifs observables au travers des récitals poétiques télévisuels qui font florès dans la période des années cinquante-soixante-dix. J’interroge enfin la présence des poètes à l’écran dans sa possibilité de faire oeuvre.

«Тверде телебачення»наскрізна фундаментальна мистецька і філософська концепція Василя Цаголова, у рамках якої художник працював передусім у 1990-х роках. Цю свою ідею Цаголов сформулював у програмному тексті «Твердое телевидение» (1993) як «припущення нематеріальності світу та уявлення про нього як про тверду біологічну фікцію» [1]. Уперше художник утілив ідеї «твердого телебачення» в проектах «Світ без ідей», «Карла Маркса-Пер Лашез» та «Мімікрія і мімікричні досвіди» у 1992-1993 роках, коли мешкав у сквоті на вулиці Паризької Комуни (нині-Михайлівська) в Києві.

La trasmissione "Italia: Viaggio nella bellezza" del 10 settembre 2018 tratta dei tesori museali nascosti a Milano e a Roma. Fra questi, il Museo Nazionale di Arte Orientale che Tucci ha fondato nel 1957. Enrica Garzilli parla di Giuseppe Tucci.