Social Formations of Global Media Art

Mariátegui, José‐Carlos; Cubitt, Seán; Nadarajan, Gunalan

doi:10.1080/09528820902954853

Cited by 3 publications

(2 citation statements)

References 1 publication

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“…Some of the Chinese media houses dispute these claims and believe that the global West criticisms levelled against the Chinese media are baseless and lack merit [17]. For instance, ""foreign forces"" are accused of being behind a typical internal issue like the Hong Kong protest without advancing any concrete evidence to that effect [22].…”

Section: The Chinese Media System Journalism and Issues Of Credibilitymentioning

confidence: 99%

Effective regulatory frameworks for constructive journalism: a study of China’s media systems

Ditlhokwa,

Kisakye,

Demuyakor

et al. 2023

IJCS

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Journalism practice in China is unique and different from the rest of the other countries in the world. Many scholars have attributed this to the effective regulatory systems and the structure of the media system thus the six forces controlling media space in China. This study adopted a qualitative condensed thematic analysis technique through in-depth interviews to examine how the regulatory framework in China affects the media ecosystem and constructive journalism practice. Through the snowball technique of sampling, the researchers collected data from fifteen (N=15) senior media professionals working within private and state-owned news outlets in China, to find answers to the nature of the media system in China and how this system has influenced and shaped constructive journalism practice during the COVID-19 pandemic between November and December 2021. One of the key findings of this study indicates that the robust media regulatory system practice in China has resulted in effective interactions among stakeholders, media houses, and journalists within the Chinese media system, which has significantly contributed to attaining effective constructive journalism practices. Again, our findings suggest that the effectiveness and constant interactions of the six forces of the Chinese media system have also helped enforce professionalism, dedication to duty, and patriotism among journalists and different media outlets in China. Finally, our study reveals that the Chinese Media giants such as China Global Television Network (CGTN), China Central Television (CCTV), and China Radio International (CRI) which serve millions of global audiences are very factual in their reportage. To avoid fake news in their reportage, CGTN and China Radio International, for instance, have designed specialized fact-checking programs for their news stories before airing them for public consumption.

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Section: The Chinese Media System Journalism and Issues Of Credibilitymentioning

confidence: 99%

Effective regulatory frameworks for constructive journalism: a study of China’s media systems

Ditlhokwa,

Kisakye,

Demuyakor

et al. 2023

IJCS

View full text Add to dashboard Cite

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“…See (Fernández 1999). For additional information on the history of art and technology in Latin America, see (Fernández 2018;Mariátegui et al 2009). on the other, advances the concept of Andean technology as an alternative approach to world making that is central to producing the very possibility of the future.…”

Section: While Scholars Of Science and Technology Studies Such As Warmentioning

confidence: 99%

Manuel Amaru Cholango: Decolonizing Technologies and the Construction of Indigenous Futures

Garzón

2019

Arts

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Recent art history studies have delved into notions of futurity as it relates to indigenous approaches to environmental destruction in the face of ongoing colonial oppression. Building on the concept of indigenous futures, the present investigation focuses on the Kichwa artist Manuel Amaru Cholango’s decolonial critique of technology. Since the 1990s and in response to the quincentennial celebration of the “discovery” of America in 1992, Cholango has developed an oeuvre that criticizes the instrumentalization of modern technology for the exploitation of the earth and the perpetuation of colonialism. By advancing the notion of Andean technology, Cholango brings to bear other ways of relating to the environment that can help create, once again, the possibility of the future.

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New Media Art, Participation, Social Engagement and Public Funding

Chatzichristodoulou

2013

Visual Culture in Britain

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This article investigates the current condition of new media art in Britain, examining how cuts to arts funding have affected the art form's infrastructure and capacity for survival and growth. It considers media art in relation to other contemporary art practices, particularly in relation to its inherent capacity for enhanced and sustained user participation, and asks why it is that, though government agendas favour participatory art as 'socially useful', media art appears to have been hit harder than other art forms. The article puts forward four reasons that could explain this paradox, and argues the importance of the survival of new media art, not as isolated practices invited to exist within mainstream contexts, but as a distinct art form. KeywordsMedia art died but nobody noticed. 1 One: an art pronounced deadIn a review of the Transmediale 2006 Festival, Armin Medosch described how 'media art died but nobody noticed' when the festival that year decided to 'silently' drop the term 'media art' from its title. 'For the diligent observer of the field of media art this does not really come as a surprise', Medosch argued, 'but merely represents the ongoing confusion and blatant opportunism which marks contemporary production in the digital culture industry.' 2 Medosch was proven right in identifying and highlighting a continuous trend that was still to deliver severe blows in this field of practice internationally, and in the United Kingdom most notably. This 'silent drop' of a distinct term by a festival distinguished in this very practice was followed by the considerably more vocal closure of the Live and Media Arts Department at London's Institute of Contemporary Art (ICA) at the end of November 2008. Its then Artistic Director, Ekow Eshun, generated heated debate among the press, numerous mailing lists and communities of practice when he declared as the reason for this closure that, 'in the main, the art form lacks depth and cultural urgency'. 3 In offering his damning report for a whole range of practices, Eshun did not distinguish between live and media arts, which he conflated as a single art form, nor did he articulate his reasons for pronouncing both forms superficial and culturally irrelevant at the same time.'New media art' -a field also known as 'media art(s)' and 'digital art(s)', among other denominationshas long been contested not only as a term, but also as a distinct genre of artistic practice. In 2001 Stefanie Syman, in an article about the exhibition Bitstreams at the Whitney Museum (New York, 2001), suggested that '[j]ust as dot.com was always a fatuous category, lumping together media, corporate services, and infrastructure companies into one "industry," digital art is a category of convenience that should be retired'. 4 And so, it seems, it

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Social Formations of Global Media Art

Cited by 3 publications

References 1 publication

Effective regulatory frameworks for constructive journalism: a study of China’s media systems

Effective regulatory frameworks for constructive journalism: a study of China’s media systems

Manuel Amaru Cholango: Decolonizing Technologies and the Construction of Indigenous Futures

New Media Art, Participation, Social Engagement and Public Funding

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