Audiovisual Arts

The heritage narrative starts with the Argonauts and is evolving toward the Greek colonization of the Black Sea, the Romans, the Byzantines and the Ottomans until it reaches the Turkish War of Independence in the aftermath of WWI. A local high school community developed a story based on the heritage narrative, which connects ten selected monuments in the wider area of Trabzon with a read thread. The main game idea is not only to promote the local tourism but to engage other schools and stakeholders to replicate the video concept developing new stories based on heritage described in the Pilot Project. A theatrical representation is recorded and included in the εBook. Visitors demonstrate the evidence of the knowledge acquired at the game locations, which is shared through the social media channels. The clues for the Game Play are embedded in the eBook of “Connecting Cultures. A truly Eurasian Story" available at the APPSTORE (https://itunes.apple.com/us/book/connectingcultures/id1265400693).

The term 'spatial presence' refers to the feeling of presence in a mediated space. This subjective experience has been discussed in media theory, sound art, film and performance. It depends on multiple variables, or parameters. This paper presents a parametric model that can be used to analyze those variables and their relationships. It exposes methods to assess interaction, characteristics of sound and image, audiovisual relationship and physical setup. It also exposes methods to assess how these variables intertwine in perceptual experience. The model draws from perception science, interaction design, music and audiovisual theory. It is applicable to the broad diversity of aesthetical options and technical platforms, facilitating the analysis of spatial presence in any performance. One can also discard part of the parameters so as to analyze installations, sound art and film.

The term NIME, acronym of "new interface for musical expression", applies to a great diversity of creative practices. Nevertheless, the meaning of 'expression' is rarely discussed. In this article we formulate an understanding of expression where the reciprocal interaction between performer and instrument is important, as well as the relation between audition, vision and space. Articulating artistic practice and the science of perception, we describe three creative principles and a parametric visualisation model. The model includes parameters for interaction, sonic and visual dynamics, audio-visual relationship, physical setup and semantics. Those parameters are applicable to any technical platform and aesthetic approach. Our proposed visualisation method facilitates the analysis of how their inter-relationship drives the audience’s experience.

Une proposition de relecture du texte de Walter Benjamin "L'oeuvre d'art à l'ère de sa reproductibilité technique" (1936 et 1939) guidée par une question: qu’est-ce que les enseignements de Benjamin sur les changements qu’ont induits le cinéma et la photographie peuvent nous apprendre sur notre perception du vlog comme pratique audiovisuelle ?

Il progetto culturale promosso dalla Facoltà di comunicazione, cultura e società vuole rappresentare un momento di scambio di tutta la comunità USI nelle sue diverse Facoltà con la popolazione e il territorio. Con questa iniziativa, i confini dell’Università si aprono verso il territorio e il territorio entra in Università, attraverso la partecipazione e la co-costruzione di momenti culturali.

Convergenza e distanza: il tema dal 2020 al 2022

Perché questo tema? Nel corso degli ultimi anni, si osserva una intensificazione dei processi di convergenza. Tra questi, la convergenza mediatica e tecnologica, l’avvicinamento, talvolta problematico e problematizzato, tra stili di consumo, la migrazione di miti e il contagio delle idee, il coinvolgimento e il distacco nei dibattiti pubblici, il conflitto e la riparazione attraverso il dialogo e la narrazione, la migrazione e la (mancata?) integrazione tra popoli diversi…

Come sono connessi i movimenti di convergenza e gli stati di distanza? Quali tensioni implicano gli  avvicinamenti e i distanziamenti nel tempo? In che misura, e in quali forme, i processi di convergenza siano sinonimo di avvicinamento e reciproca comprensione tra i mondi che vanno a convergere?
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Miti in migrazione
Come eroi viaggiatori, i miti migrano tra epoche e culture diverse. L’antropologia culturale e la psicologia del profondo ne studiano analogie e differenze; la storia della ricezione ne compara le riscritture. Ma i miti migrano anche da un medium all’altro, come stazioni nelle vicende della loro sopravvivenza. Racconti letterari trasposti in installazioni multimediali, pitture vascolari dinamizzate sulla scena o sulla pellicola, o più spesso in inedite combinazioni intermediali: la storia dei miti è anche, o soprattutto, la storia dei loro transiti intermediali.

Ïðîáëåìè ëþäåé ³ç îñîáëèâèìè ïîòðåáàìè ó â³äîáðàaeåíí³ ñó÷àñíèõ óêðà¿íñüêèõ Ç̲ òà ðåêëàìíèõ ïîâ³äîìëåíü Kovalenko J. Humanization of images of people with disabilities in modern screen: traditions and innovations of reading. Spectacular nature of cinema and television includes the selection of appropriate image objects and means of expression, as well as the use of special methods to attract the audience attention. Among them a special place is occupied by images of people with disabilities, due to their unconventional positioning in society. Having inherited a long tradition of such incarnations of characters in literature and art, creativity screen produces its own way of multilateral humanization of images, their artistic interpretation and creative rehabilitation.

Коваленко Ю. Б. Атрактивно-гносеологічні чин-ники репрезентації людей з особливими потре-бами на сучасному екрані. Статтю присвячено розгляду образів людей з особливими потребами у сучасних екранних творах на прикладі кінофільмів та телевізійних програм. Простежено основні на-прямки вивчення дослідниками традиції представ-лення людей з ментальними вадами в культурі і мистецтві. Визначено головні змістові мотиви та особливості інтерпретації «особливих» персона-жів, їхні функції в сюжеті екранного твору, зв'язок із загальносвітовими та національно-ментальними культурними традиціями. Досліджено специфіку відображення та причини інтересу до персонажів з обмеженнями збоку авторів екранних творів, об-ґрунтовано видовищний характер інтерпретації з точки зору теорії атракціонів як засобів впливу на глядацьку увагу. Підкреслено гносеологічний підхід до тлумачення героїв з вадами як носіїв загально-людських культурних цінностей. За підсумками до-слідження зазначено еволюційність відображення людей з особливими потребами в напрямку демо-кратичності підходу та творчої реабілітації у су-часному мистецтві. Ключові слова: атракціон, змістовий мотив, кіно-інтерпретація, гуманізація, персонажі з вадами, тлумачення. Коваленко Ю. Б. Аттрактивно-гносеологиче-ские факторы репрезентации людей с особыми потребностями на современном экране. В ста-тье рассматриваются образы людей с особыми потребностями в современных экранных произве-дениях на примере кинофильмов и телевизионных программ. Прослеживаются основные направ-ления изучения исследователями традиции пред-ставления людей с ментальными ограничениями в культуре и искусстве. Определяются основные смысловые мотивы и особенности интерпретации данных персонажей, их функции в сюжете экран-ного произведения, связь с общемировыми и наци-онально-ментальными культурными традициями. Исследуется специфика отображения и причины интереса к персонажам с ограничениями со сто-роны авторов экранных произведений, обосновыва-ется зрелищный характер интерпретации с точки зрения теории аттракционов как средств воздей-ствия на зрительское внимание. Подчеркивается гносеологический подход к истолкованию героев с ограничениями как носителей общечеловеческих культурных ценностей. По результатам исследо-вания отмечена эволюционность отображения людей с особыми потребностями в направлении демократизации и реабилитации в современном ис-кусстве. Ключевые слова: аттракцион, смысловой мотив, киноинтерпретация, гуманизация, персонажи с ограничениями, истолкование. Kovalenko J. Attractive and epistemological factors of representation disabled people on the modern screen. Background. In recent years, there has been an increasing interest in disabled people. They also permanently present on the screen. In part, this is because they stand out from the rest members of society and draw attention. Screen works have a special way of interpreting these characters. It is due with spectacular nature of the  lms and the tendency to show unusual. Creative interest of art practice causes the research this phenomenon to determine the features and evolution. Theme of disabled people is re ected in philosophical, cultural and sociological research. Art Criticism covers the issues of interpretation of these images in creative works. National and mental peculiarities do not receive research attention. Images of people with special needs as a method of attracting attention have not been studied enough. This paper deals with semantic elements of disabled people images in today's screen works on the example of movies and television programme. The novelty of the article is in generalization attractive means of expression, which are used in images of disabled people. Objectives. The aim of this article is to explain a cause of the interest in disabled people from the artists, as well as to describe features of these characters in movie subject and to  nd out perspectives of a semantic interpretation. Paper examines the origins of national images of disabled people in modern movies. Methods. So far this method is used to analyzing images of disabled people in American and Ukrainian movies and television programme. This study uses historical and comparative analysis research methodology. Results. The study revealed the special role the characters of people with disabilities in the television and movie art, which can be explained by spectacular nature and by the use of attractions. Interest in people with special needs from birth accompanies cinema. The difference in the interpretation associated with the genre, story-line and national traditions. The results indicate that means of surprise is the most stable in today's creative practice. Disabled people are direct carriers of surprising. In other words they represent the attractive tool. These traditions originated in silent movies. People with special needs were subject to ridicule in comedies and in tragedies they caused sympathy. Movies about disabled heroes and ex-soldiers actualize compassion and tell us about their adaptation in a peaceful environment. Modern TV talk shows are discussing similar problems. Heroes with special needs often become their participants. Their stories are about overcoming dif culties and achieving personal bests. So compassion , overcoming, courage and incredible ability have

Розглянуто основні ознаки та виразні елементи телевізійного репортажу. Здійснено спробу впорядкувати особливості жанру, ви-значити методологічні засади й умови його створення. Ключові слова: репортаж, подія, телебачення, оперативний жанр, новина, трансляція, публіцистичний образ, інформаційний матеріал. Рассмотрены телевизионный репортаж, его основные признаки и выразительные средства. Осуществлена попытка систематизи-ровать особенности жанра, методологические основы и условия его создания. Ключевые слова: репортаж, событие, телевидение, оператив-ный жанр, новость, трансляция, публицистический образ, инфор-мационный материал. The TV report in its basic features and distinctive properties is considering. An attempt was made ordering the natural features of the genre, methodological principles and the conditions of its creation.

Synesthetic individuals have the ability to literally hear colours, taste shapes and see sounds. When scientists first came across this particular disorder, they considered it to be simply an intense kind of metaphor. This essay explores the possible correlation between synaesthesia and creative audiovisual experiences.

Τhe present project deals with the incorporation of the digital audiovisual
interactive media into the design of the strategic visual communication of a
store. More precisely, it focuses on the practical processes and the theoretical
framework of the development of a window display. Furthermore, it studies the
formation of the image of a store, which is achieved by the combination of
audiovisual arts and modern technology.

The intense competition existing in trade is constantly imposing new
methods for the effective increase of sales. The presentation and the display of
the product to the customer is the most important way of increasing sales and it
is becoming more and more popular as an advertising tool.4 The exposure
techniques and visual enforcement of the products, both inside the store and on
the shop windows, in the most original and attractive way, which aim at
attracting the customer and at arising interest for buying and selling, are included
in a wider framework of design, communication and selling called "Visual
Merchandising".

Despite the fact that at that sector there are specific rules of design, both
the new technologies available to us and the interest for pictorial originality,
innovation and attraction call for the expansion of its trends.
For this purpose, a composite audiovisual application was designed, in the
form of an interactive video-installation in order to be used on a window display.
The project is called "SPRING Explosion" and it was presented on the 25th of May
2012 at the Mezzo Mezzo boutique, in the town of Corfu, introducing the Mary
Katrantzou Spring/Summer 2012 collection, for the Audiovisual Arts Festival of
the Audiovisual Arts Department of the Ionian University.

Η παρούσα εργασία μελετά την ενσωμάτωση των ψηφιακών οπτικοακουστικών
διαδραστικών μέσων στο σχεδιασμό της στρατηγικής οπτικής επικοινωνίας ενός
καταστήματος και συγκεκριμένα εστιάζει στις πρακτικές διαδικασίες και το
θεωρητικό πλαίσιο ανάπτυξης μιας βιτρίνας. Επίσης, διερευνά τη διαμόρφωση της
εικόνας του προϊόντος και του καταστήματος, που επιτυγχάνεται με το συνδυασμό
οπτικοακουστικών τεχνών και σύγχρονης τεχνολογίας.
Ο έντονος ανταγωνισμός που επικρατεί στο εμπόριο επιβάλλει συνεχώς
νέες μεθόδους για την αποτελεσματική αύξηση των πωλήσεων. Η παρουσίαση και
η έκθεση του προϊόντος στον πελάτη αποτελεί το σημαντικότερο τρόπο αύξησης
των πωλήσεων και αποκτά όλο και μεγαλύτερη αξία ως εργαλείο της διαφήμισης.

Οι τεχνικές προβολής και οπτικής ενδυνάμωσης των προϊόντων στους χώρους του
καταστήματος και των βιτρινών με τον πιο πρωτότυπο και ελκυστικό τρόπο, με
σκοπό την προσέλκυση πελατών, την δημιουργία ενδιαφέροντος για αγορά και
πώληση εντάσσονται σε ένα γενικότερο πλαίσιο σχεδιασμού, επικοινωνίας και
πώλησης που ονομάζεται «Visual Merchandising».

Παρόλο που στον τομέα αυτό υπάρχουν συγκεκριμένοι κανόνες σχεδίασης,
τόσο οι νέες διαθέσιμες τεχνολογίες, όσο και το ενδιαφέρον για εικαστική
πρωτοτυπία, καινοτομία και ελκυστικότητα επιβάλλει τη διερεύνηση των τάσεων
του.Για το σκοπό αυτό σχεδιάστηκε μια σύνθετη οπτικοακουστική εφαρμογή με
τη μορφή διαδραστικής βίντεο-εγκατάστασης για βιτρίνα καταστήματος. Το έργο
ονομάζεται «SPRING Explosion» και παρουσιάστηκε στις 25 Μαΐου 2012 στο
κατάστημα ρούχων Mezzo Mezzo της πόλης της Κέρκυρας για τη συλλογή ρούχων
Άνοιξη/Καλοκαίρι 2012 της Μαίρης Κατράντζου, στα πλαίσια του φεστιβάλ
οπτικοακουστικών τεχνών του Τμήματος Τεχνών Ήχου και Εικόνας του Ιονίου
Πανεπιστημίου.