Metaverse Creativity (new title: Virtual Creativity) - Volume 5, Issue 2, 2015

This article will argue that experimental filmmaking is the essential element that provided women to integrate alternative forms and manipulate the techniques of filming and editing in order to create a counter cinema, which represents an alternative model to traditional Hollywood filmmaking. The methodology used during the creation of this article presents results of an extensive research of publications related to the topic, and an analysis of the cinematic work by female experimental filmmakers. For an aspiring female filmmaker, it is important to know the components of the new visual language these filmmakers created, and how these changes are reflected in their work. This research references feminist film theories on spectator’s gaze and woman as an image, in order to determine just what it is that so strictly shaped conventional narrative cinema, and how experimental filmmaking allowed women to explore and break the conventions of a coded visual language and narration that were rooted within the viewer. Further analysis of experimental films directed by women, as well as feminist film theories, will serve as an indicator of how women used the medium of experimental filmmaking to explore many issues that could not have been represented in a classical narrative film. On the other hand, I will analyse the presence of leading female characters in Hollywood narrative films, and aspects of feminist film theories that can be applied in these examples, in order to examine the argument and verify if feminist film theories are exclusive for experimental film or not.

This article analyses various writing and structuring methods for developing short movies, using the author’s experience in developing a short film called Terminal Memory as a case study. The article begins with an overview of storytelling philosophy, continues with story development structures, focusing on concepts of the hero’s journey and ritual occasion. The core of the article describes the writing process of the screenplay for Terminal Memory, gives detailed explanations on the script development techniques used and evaluates their suitability for this and other projects. The article concludes with the author’s personal assessment on the successfulness of the project while giving suggestions on future development.

My body of work consisted of paintings that had the figure turning its back on the viewer, its head removed from the painting or the eyes obscured. My realization that the human body as a subject matter was coming to the fore more than the formal qualities of the work led me to a literature review where I read Julia Kristeva and Georges Bataille. This article focuses on how the visual aspects of my paintings relate to the aesthetics of fetishism and how the way I prioritize the disorderly power of the body in my paintings relate to the concepts of abjection and inter-repulsion. This will be framed by examining my own paintings in that context and also looking at my visual influences, the anatomical drawings of Vesalius and Eraserhead by David Lynch.

This article discusses the false/distorted perception over everyday moments and its relation to stillness and dreams. The subject takes its inspiration from the movie 3 Women by Robert Altman (1977), which is filled with still scenes that provide a dream-like tone. The plot connections in the film, which sometimes make little literal sense, do seem to connect emotionally, viscerally, as all things do in dreams. This article will investigate how the term ‘stillness’ can be transformed into an act of lucid dreaming on canvas in which one can find the chance to use awareness to gain control over distortions and illusive perceptions. It will finally examine the subject’s interpretation on my own paintings.

This article wishes to explore the interactivity of photographic images through the author’s installation t, which combines traditional photographic processes along with interactive digital artwork. For this purpose, various works of visual art, such as painting, sculpture, performance art, etc., will be studied in order to reveal their creators’ intentions towards interactivity of visuals. This research aims to serve as a comparative framework for the further investigation of interactivity within the digital art realm. Methods of interaction will be examined in order to reveal the changes in photographic representation that digital art has brought about. Acquired knowledge will be the base for examining t in terms of its interface design, production process, and its relationship with the audience. Thus, this article hopes to promote thinking at the crossroads of photography and digital art to discover possibilities of photographic representation in its correlation with the audience.

In the last decade pervasive mobile computing devices have become key determiners in transforming cultural industries by increasing the number of experiences users are engaged in. Not only have simultaneous interactions between user, medium and content been key determinants in the perception of media, but also they have been creating a new set of aesthetic properties for cultural products. This article claims that multitasking behaviour patterns has led to a ‘glance culture’ in which new condensed forms of media such as one-minute media, interactive media and transmedia products are emerging rapidly. Furthermore, within this glance culture, consumer attitudes, expectations and values are transformed towards new conventions. Throughout this article, correlations between concurrent hypermedia consumption patterns and their relation to new generation media products and customer behaviours will be examined based on a literature survey.

This text is based upon a university course that has been designed to help graduate art/design students formulate the theoretical component of the practice-based work that they have generated over the course of their studies; given that this output is expected to be accompanied by a written thesis expounding upon the ideational aspects of their studio productions. To facilitate a transition from studio practice to academic writing a friendly, adaptable strategy has been devised. A description of this approach, situated within a broader framework of concepts such as Critical Reflection, Associative Thinking and Bisociation, constitutes the main thrust of this document.