Category: Visual arts

Over the course of the semester it has become quite evident that society’s view of women has had an impact on the careers of women in the film industry, regardless of their ability to “prove” their worth. Because of this many women have left the industry due to frustration and exhaustion.
Imagine a world with gender parity. How would these directors careers’ have looked different? You can either pick a director and rewrite her career or discuss the film industry as a whole. Either way, imagine what it would be like without the obstacles of gender bias.
You may find the advocacy section of Women in Film website helpful.
https://womeninfilm.org/advocacy/
Essays should be around 500-600 words

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Choose a work of art from the textbook or presentations and:
Identify the style of the piece – realistic, representational, abstract, or expressionistic. Explain why you think the piece is this style. Indicate whether or not you think the piece could fall under more than one style. Explain.  You may also choose to explore the style in other ways, such as the style of the artist, or the movement or cultural period to which the artist is attached. 
Identify the subject if applicable.  If not applicable, be more detailed in your description of the following.
Describe the overall composition (layout) of the piece. Be specific.
Identify at least three of the visual elements of art and how these elements work to enhance the piece.
Does the piece contain underlying or symbolic meanings or themes? (Hint: it probably does, so look hard.) Explain.
Discuss the context in which the piece was created. Remember that context can apply to the era or movement in which the piece was created, the artist who created it and his/her beliefs/values/nationality/upbringing/etc., or how the piece was received critically both at the time and now.  For the purposes of this assignment, please discuss the era in which the piece was created, and if known, any pertinent facts about the artist that relate to the context of the piece. 
Using the document “Learning to See”, which you can find in the Reviews module, should help you a great deal.
Use the textbook and presentations only.  You should not need to “research” your chosen work of art other than to, perhaps, look up the subject of the work.   This writing assignment is designed to get you used to using the vocabulary you’ve just learned when you discuss art.
Links provided for this assignment 
https://www.getty.edu/education/teachers/building_lessons/principles_design.pdf
https://www.getty.edu/education/teachers/building_lessons/formal_analysis.html
I have attached all the presentations provided 

Can you give a 2100, word academic essay  on the argument that “AI in surveillance
can lead to more discrimination against marginalized people.” The writing style
should be academic but This
does not always have to mean ‘big words’; the words can be simple but should be
formal.
The essay
will focus on facial recognition and automated decision-making algorithms and
use critical theories such as Critical Race Theory (CRT) and Panopticism as a
theoretical framework. Additionally, the Black Lives Matter (BLM) movement will
be located in the essay to support my arguments. Also, use and cite the work
and findings of Joy Buolamwini, and Cathy Oneil to to give evidence where Necessary
if you also have quotes another piece of info that are relevant use them and
cite them
from the text i attched find relavnt info that supports my essay arugument and that aids to help maker the essay good
give me biblogrpahy of souces annd where you found them

1500 work! 1. First, choose a theme from Gothic, Cyberpunk, Steampunk, Metropolis, Gadget culture, etc. as the theme of the entire portfolio. For details, see the Choose a portfolio theme section in the “Element portfolio instructions” file; 2. From the elements provided on the canvas Select 10 elements from (Gadgets, Bodies, Sound, Moving Image, Text, Images, Algorithms, Artificial Intelligence, Games, Platforms, The Metaverse) to create 10 practice combinations in Microsoft Sway, and write a 150-word combination for each combination, for details, please see the documents “Elements portfolio (50%)” and “Element portfolio instructions”; 3. There is a sample, link: https://sway.cloud.microsoft/FoaX3k4CqEIDdtCNref=Link&loc=play

IN depth analysis of aesthetics and visual elements BTS music videos: “Blood, Sweat and Tears”, ” I Need You” , “Spring day”
1. composition of shots
2. lighting: what speccial about lightning in the music video, what kind of mood it brings
3. semiotcs: what kinds of visual elements are used in music videos that help with the story line, in depth description of elements , its meanings and what kind of atmosphere it gives to music video
4.  framing of shots 
5. what are the visual methods used in the music video
6. the rythm of montage throughout the music video
7. uniquness: what is unique in that specific music video
8. what kind of details they have and for what purpose it’s used in this specific music video

This written assignment of 1250 to 1500 words requires you to watch Bong Joon-Ho’s 2019 film Parasite and propose its candidacy for an international film preservation project. Your proposal must make the case for the organization devoting its limited resources to preserve the film. The board consists of academics from various media and humanities subdisciplines, librarians and archivists, art patrons, and other stakeholders with varying investments in preserving films. Therefore, you must make a claim in the form of a thesis statement that asserts the film’s historical and theoretical importance.
NOTE: USE THE FOLLOWING SECTION HEADING! The section in which you present your Historical Analysis, for example, should be preceded by a heading that says “Historical Analysis.”
Summary (20% of your grade) 250-300 words
Here, provide a brief summary of your argument for the film’s importance. Imagine that for the first round of evaluations, the committee will be deciding whether to advance these applications to the next round solely upon the strength of these summaries. You must be convincing and concise in order to get them to read the rest of the proposal.
Historical Analysis (40% of your grade) 500-600 words
What industrial and historical factors influenced the production, distribution, and exhibition of the film? Where and how was it produced? How does it speak to then-current historical events and/or the industrial conditions that produced it? How have audiences received the film and has this varied by time and place?
Theoretical Analysis (40% of your grade) approximately 500-600 words
Lastly, what methods have theorists and critics used to analyze the film? What theoretical approaches are most useful in analyzing it? What does understanding the film through a specific theoretical paradigm or aspect of media and cinema studies allow us to see/argue? Are there particular approaches that are underutilized in the existing literature on this film?

I have to create a TV pitch for my class. I have already started most of it but it is not great so my friend made an outline for me on the bottom of the document. If you could go through and rewrite it based on the outline at the bottom that would be great. I need proof that it is not AI or plagiarized so i I need a document explaining that.

All students must complete a mini proposal of a speculative and imaginary new media artwork. The work proposed should reflect on at least one of the topics that we have covered in class. It should be richly illustrated, have an abstract, historical background, visual/sonic references, timeline, the venue of the project research section. The project seeks work which demonstrates imagination, work ethic, and an ability to assemble the course materials into a meaningful and profound set of possibilities of what might be.
Submit your final PDF file to Canvas
There will be no final exam in the form of project presentations. Students who fail to submit the final project on time will not receive the final grade.
Download # Final Project Template:
Word
Actions
PDF
Actions
FORMAT:
The final proposal must be turned in as a single PDF file. (No separate Pages.)
Label It (LastNameFirstIntial_FinalProposal) example (SmithJ_FinalProposal)
Avenir Next (or similar) 11pt
1” Margins
Double line spacing
Grading rubric (100 points in total, please review more detailed rubric below)
Creativity: 20 points
Technique + completeness: 20 points
Aesthetics: 20 points
Concept: 20 points
Documentation: 20 points
Bibliography
A
Roy Ascott, Behaviourist Art and The Cybernetic Vision (2002)
Roy Ascott, The Cybernetic Stance: My Process and Purpose (1968)Links to an external site.
Roy Ascott, The Shamantic Web: art and mind in emergence
B
Lawrence S. Bale, Gregory Bateson’ s Theory of Mind: Practical Applications to Pedagogy (1992)
Edwina Bartlem, Immersive Artificial Life (A-Life) Art (2005)
Jean Baudrillard, Simulacra and Simulation (1981)Links to an external site.
Jean Baudrillard, Simulations (1983)Links to an external site.
Bell, Loader, Pleace and Schuler, Cyberculture: The Key Concepts (2004)Links to an external site.
Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction (1936)
Jorge Luis Borges, The Garden of Forking Paths (1941)Links to an external site.
Nicolas Bourriaud, Relational Aesthetics (1998)Download Nicolas Bourriaud, Relational Aesthetics (1998)
Jack Burnham, Systems Esthetics (1968)
Jack Burnham, The Future of Responsive Systems in Art (1968)Download Jack Burnham, The Future of Responsive Systems in Art (1968)
C
John Cage, The Future of Music: Credo (1937) Links to an external site.
Dani Cavalaro, Cyberpunk and Cyberculture (2000)Links to an external site.
Joel Chadabe, The History of Electronic Music as a Reflection of Structural Paradigms (1995)Download Joel Chadabe, The History of Electronic Music as a Reflection of Structural Paradigms (1995)
D
Steve Dixon,Links to an external site. Digital performance a history of new media in theater, dance, performance art, and installationLinks to an external site. (2007)Links to an external site.
Frances Dyson, Sounding New Media: Immersion and Embodiment in the Arts and Culture (2009)Links to an external site.
E
Umberto Eco, The Poetics of the Open Work (1989)Links to an external site.
F
Vilém Flusser, Towards a Philosophy of Photography (1983)Links to an external site.
G
Rachel Greene, Web Work: A History of Internet Art (2000)
Charlie Gere, Digital Culture, 2nd edition (2008)Download Charlie Gere, Digital Culture, 2nd edition (2008)
H
Donna Haraway, A Cyborg Manifesto (1985)
Donna Haraway, Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge (1991)
N. Katherine Hayles, How We Became Posthuman (1999)
Andrew Hugill, The Origin of Electronic Music (2007) Download Andrew Hugill, The Origin of Electronic Music (2007)
I
J
K
Douglas Kahn, John Cage: Silence and Silencing  from NOISE WATER MEAT (1999) pages 161 – 199Links to an external site.
Douglas Kahn, Impossible Inaudible (1999)
Thomas S. Kuhn, The Structure of Scientific Revolution (1962)Download Thomas S. Kuhn, The Structure of Scientific Revolution (1962)
L
George Landow, Hypertext: the convergence of contemporary critical theory and technology (1992)
Wolf Lieser, The World of Digital Art (2010) Links to an external site.
Margot Lovejoy, Digital Currents: Art in the Electronic Age (2004)Links to an external site.
M
Lev Manovich, The Language of New Media (2001)
Milner and Browitt, Contemporary Cultural Theory, 3rd Edition (2002)Links to an external site.
Moholy-Nagy, L., The New Vision and Abstract of an Artist (1928) [1947]Download Moholy-Nagy, L., The New Vision and Abstract of an Artist (1928) [1947]
Moser and MacLeod, Immersed in Technology: Art and Virtual Environments (1996)Links to an external site.
N
Nicholas Negroponte, Being Digital (1995)
O
P
Sadie Plant, Zeros + Ones: Digital Women and the New Technoculture (1997)
Frank Popper, From Technological to Virtual Art (2007)Links to an external site.
Q
R
A. L. Rees, A History of Experimental Film and Video (1999)Links to an external site.
Jasia Reichardt, Cybernetic Serendipity: The Computer and the Arts (1968)
David Rokeby, Transforming Mirrors: Subjectivity and Control in Interactive Media (1995)
Michael Rush, New Media in Art (1999 and 2005)Links to an external site.
Luigi Russolo, The Art of Noise (1913)Links to an external site.
S
Edward Shanken, Art and Electronic Media : Survey part (2009)
Susan Sontag, In Plato’s Cave (1977)
Ivan E. Sutherland, The Ultimate Display (1965)
T
Alan Turing, A Computing Machinery and Intelligence (1950)
U
V
Paul Virilio, The Third Interval: A Critical Transition (1993)Links to an external site.
W
Richard Wagner, The Artwork of the Future (1848)
Mitchell Whitelaw, Metacreation: Art and Artificial Life (2004)
X
Y