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In this article, the early critique of intermedia aesthetics and border-crossing in the arts is reassessed against the background of the contemporary dissolution not only of media boundaries but also of disciplinary, categorical, social boundaries. In 1974, the art critic Rosalind Krauss warned against a trivialization of the dissolution of art’s boundaries in the “post-media condition”. With recourse to Frederic Jameson, she argued that “this leeching of the aesthetic out into the social field in general” ran the risk of mimicking the boundlessness of capitalism. In the same year, Allan Kaprow, the pioneer of happenings, criticized the dissolution of boundaries between video art and entertainment for a broad audience: “Like so much Art Tech of recent years, video environments resemble world’s fair ‘futurama’ displays with their familiar nineteenth-century push-buPon optimism and didacticism. They are part fun house, part psychology lab.” Today, it is worth reconsidering these statements against the backdrop of paradigmatic trends in the post-media condition and the post-modern “explosion of aesthetics” (Gianni Vattimo): inter- and transdisciplinarity, socially engaged arts, artivism, artistic research, critique of the autonomy of art, creative industries... Regardless of their differences, these trends reinforce each other and, particularly in the course of institutionalization and professionalization, may (unintentionally) jeopardize the critical role of the arts at a time when the freedom and autonomy of the arts are under pressure not only from economic capitalization but also from illiberalism, authoritarianism, totalitarianism. In what Belting and Buddensieg have called the art world of the “the global present”, border shifting and border crossing usually have positive connotations, while border formation has negative ones. The autonomy of art implies boundaries that are viewed with suspicion. Yet also for the authoritarian and instrumental mind, the autonomy of the arts is a taboo. There must be no boundary between art and society, or art and politics, or art and economy. With that said, I argue that in order to secure the critical role of the arts in democracies, it is salient to secure their autonomy and to exchange anew ideas about the meaningfulness of not absolute but relative boundaries between categories, disciplines, social systems. This means leaving behind the self-referential rhetoric of dissolving boundaries as something inherently good and re-evaluating the critique of the 1970s in light of the socio-political and economic trends of the present.

Yüzyıllara uzanan bir aşk hikâyesi olan Leyla ile Mecnun, hem sözlü edebiyatta hem de yazılı kaynaklarda pek çok kültürde ve birçok dilde anlatılagelmiştir. Üzerine şiir ve hikâyeler yazılmış; filmler çekilmiştir. Bu aşk öyküsü, diğer kültürler gibi Türk anlatı geleneğinde de yerini almış; Türk sineması yanında Leyla ile Mecnun adı verilen bir Türk dizisine de konu olmuştur. Leyla ile Mecnun’un 13. bölümü; aynı dönemde farklı bir televizyon kanalında yayımlanan ve başka bir yapım şirketine ait Behzat Ç. dizisinin 32. bölümü ile ortak çekilir. Her iki dizide aynı olay örgüsü, iki dizinin kendine mahsus kurmaca evreninde birleştirilerek aynı karede yer alır. Böylece farklı yapım şirketleri tarafından çekilen ve ayrı televizyon kanallarında yayımlanan, biri polisiye diğeri absürt komedi türündeki iki dizinin, aynı konuyu ortak çekip farklı kanallarda yayınlamaları, medyalararasılık bağlamında Türk dizi tarihinde bir ilk olma özelliğine sahiptir. Bu çerçevede iki farklı dizi evreninin ve iki farklı kültürel atmosferin tek bir bölümde bir arada sunulması, postmodern anlatıdaki çok sesliliğe de örnek oluşturmaktadır. Bu çalışmada öncelikle postmodernizm ve postmodern anlatının özellikleri, metinlerarasılık ve metinlerarası ilişki kurma biçimleri; medyalararasılık ile ilgili kısa bir değerlendirme yapılmış; ardından Leyla ile Mecnun dizisinin 1, 11, 12, ve 13. bölümleri metinlerarası ilişkiler ve medyalararasılık bağlamında ele alınmıştır.

Copyright of Journal of Selcuk University Social Sciences Institute / Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi is the property of Journal of Selcuk University Social Sciences Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract Background Thalassemia is a commonly occurring genetic hemoglobinopathy worldwide. Periodic and routine blood transfusions, iron chelation therapy and splenectomy procedures are all required for the treatment of thalassemia. Numerous organs and bodily systems could be impacted by thalassemia, particularly the nervous system, which could impede cognitive performance. The study aimed to assess cognitive abilities of pediatric patients diagnosed with beta thalassemia major and intermedia. Patients and methods A total of 168 participants [54 β-thalassemic major children, 51 with β-thalassemia intermedia and 63 age-matched healthy controls from both genders (85 girls and 83 boys)] with age ranging from 8 to 16 years were participated in a cross-sectional study. Cognitive function was evaluated for all children by using the Wechsler Intelligence Scale For Children 4th edition. Results Compared with control group, a significant decline was found in all Wechsler Intelligence Scale subtests as well as in verbal comprehension index, perceptual reasoning index, working memory index, processing speed index and full scale index scores of thalassemia major and intermedia patients (p

This article analyses musicians’ performances on film, using the iconic Beatles film Help! (Richard Lester 1965) as a foundational case study. The study investigates distinctions between film acting and musical performance while exploring the defining characteristics of musicians’ performances within the context of cinema. Building upon established concepts of persona (Auslander 2021), metafiction and metareference (Waugh 1984; Wolf 2009), the author introduces novel conceptual frameworks of “metaperformance” and “intramedial transmediality”. “Metaperformance” refers to the doubling of the act of performance, whereas “intramedial transmediality” describes the coexistence of diverse media texts within a single media text. Due to their off-screen musical persona, musical stars in films often provoke a pronounced transtextual and transmedial network and convey an implicit claim to reality. Compared to film actors, musical stars on film frequently provide metaperformances, embodying not only (fictional) characters but also performing their (“real”) musical persona within them. Additional case studies of Ed Sheeran’s performance in Danny Boyle’s Yesterday (2019) and the Spice Girls’ performance in Bob Spiers’s Spice World (1997) further clarify these theoretical insights. Working deductively, these films serve as contemporary illustrations of the theoretical concepts under examination. The findings of this essay contribute to an enriched understanding of the intricacies in musicians’ performances on film and shed light on the interplay between music, cinema, and artists’ on-screen personas.

In this article, the early critique of intermedia aesthetics and border-crossing in the arts is reassessed against the background of the contemporary dissolution not only of media boundaries but also of disciplinary, categorical, social boundaries. In 1974, the art critic Rosalind Krauss warned against a trivialization of the dissolution of art’s boundaries in the “post-media condition”. With recourse to Frederic Jameson, she argued that “this leeching of the aesthetic out into the social field in general” ran the risk of mimicking the boundlessness of capitalism. In the same year, Allan Kaprow, the pioneer of happenings, criticized the dissolution of boundaries between video art and entertainment for a broad audience: “Like so much Art Tech of recent years, video environments resemble world’s fair ‘futurama’ displays with their familiar nineteenth-century push-buPon optimism and didacticism. They are part fun house, part psychology lab.” Today, it is worth reconsidering these statements against the backdrop of paradigmatic trends in the post-media condition and the post-modern “explosion of aesthetics” (Gianni Vattimo): inter- and transdisciplinarity, socially engaged arts, artivism, artistic research, critique of the autonomy of art, creative industries... Regardless of their differences, these trends reinforce each other and, particularly in the course of institutionalization and professionalization, may (unintentionally) jeopardize the critical role of the arts at a time when the freedom and autonomy of the arts are under pressure not only from economic capitalization but also from illiberalism, authoritarianism, totalitarianism. In what Belting and Buddensieg have called the art world of the “the global present”, border shifting and border crossing usually have positive connotations, while border formation has negative ones. The autonomy of art implies boundaries that are viewed with suspicion. Yet also for the authoritarian and instrumental mind, the autonomy of the arts is a taboo. There must be no boundary between art and society, or art and politics, or art and economy. With that said, I argue that in order to secure the critical role of the arts in democracies, it is salient to secure their autonomy and to exchange anew ideas about the meaningfulness of not absolute but relative boundaries between categories, disciplines, social systems. This means leaving behind the self-referential rhetoric of dissolving boundaries as something inherently good and re-evaluating the critique of the 1970s in light of the socio-political and economic trends of the present. [ABSTRACT FROM AUTHOR]

This article analyses musicians' performances on film, using the iconic Beatles film Help! (Richard Lester 1965) as a foundational case study. The study investigates distinctions between film acting and musical performance while exploring the defining characteristics of musicians' performances within the context of cinema. Building upon established concepts of persona (Auslander 2021), metafiction and metareference (Waugh 1984; Wolf 2009), the author introduces novel conceptual frameworks of "metaperformance" and "intramedial transmediality". "Metaperformance" refers to the doubling of the act of performance, whereas "intramedial transmediality" describes the coexistence of diverse media texts within a single media text. Due to their off-screen musical persona, musical stars in films often provoke a pronounced transtextual and transmedial network and convey an implicit claim to reality. Compared to film actors, musical stars on film frequently provide metaperformances, embodying not only (fictional) characters but also performing their ("real") musical persona within them. Additional case studies of Ed Sheeran's performance in Danny Boyle's Yesterday (2019) and the Spice Girls' performance in Bob Spiers's Spice World (1997) further clarify these theoretical insights. Working deductively, these films serve as contemporary illustrations of the theoretical concepts under examination. The findings of this essay contribute to an enriched understanding of the intricacies in musicians' performances on film and shed light on the interplay between music, cinema, and artists' on-screen personas. [ABSTRACT FROM AUTHOR]

El artículo analiza una práctica performativa llevada a cabo en el edificio Rialto de la ciudad de Valencia, en España, el 26 de noviembre de 2022. Dentro del Rialto, la sala 7 acoge artistas visuales, músicos y bailarines para producir un acontecimiento analizado desde una concepción intermedial. Las condiciones improvisadas de la performance; con sonoridades producidas por un piano, una guitarra, un bajo, una flauta travesera, y sonidos sintetizados y sampleados junto a videos procesados en tiempo real y proyectados en cenital sobre el suelo y una pantalla vertical; generan unos razonamientos sobre el esquema espacial en el que se llevó a cabo la acción performativa. La interdependencia de los cuerpos danzantes — espacio, sonido e imágenes proyectadas— lleva a estudiar el movimiento de la danza, prestando atención a la ocupación del espacio, que se articula claramente desde el centro de la sala. La argumentación de la performance nos lleva a vincularla con la ciudad, en el sentido diferencial entre el centro y periferia. El objetivo es investigar su sentido según ciertas conexiones entre la sala y la urbe. El trabajo concluye sobre la necesidad de redefinir el espacio de la performance y la importancia del análisis para su caracterización.

In light of Irina Rajewsky’s intermedia concepts of transposition (adaptation of literary text or word art to audiovisual text or visual art) and reference (a work whose reference to another work is reflected in its structure) (2012), our purpose is to present some aspects of literary, filmic and television narratives, from Robert Bloch’s novel Psycho, originally published in 1959 (1961), to Hitchcock’s film adaptation (1960), to Bates Motel (2013-2017) TV show, produced by A&E. Our remarks show how the intermedia/intersemiotic transit was built, its interference with some narrative elements, and its contribution to the story. We adopted a psychoanalytic interpretation based on Lacan, which allows us to discuss some elements of the three pieces. We also examine some aspects related to psychoanalysis that can be productive for new readings.

Extensive research in film and media studies on film music and sound has delved into various aspects of their role in cinema, recognizing their significance. However, a crucial element in film production – the screenplay – has often been overlooked in the exploration of sound and music integration. Concurrently, studies on screenwriting have displayed limited interest in the acoustic dimensions of film, creating a research gap where film music studies intersect with screenwriting studies. This Special Issue aims to address this gap by emphasizing the screenplay's importance in comprehending the role of sound and music in film. This introduction showcases the diverse ways in which music and sound are integrated into screenplays. The ongoing exploration of screenplays for the analysis of sound and music sets the stage for future research endeavours. The editors and authors of this Special Issue advocate for the screenplay as a valuable resource in film music studies, providing innovative insights into the film production process. [ABSTRACT FROM AUTHOR]

This essay considers the work of John Cage and Dom Sylvester Houédard (dsh) as both concrete poetry and non- or anti-art, paying special attention to their statements of poetics from the early Fifties through to the early Seventies. Although their contribution to the various manifestations of mid-century concrete poetics is well recognised, this recognition has served to obscure their concurrent commitment to anti-art and 'Neo-Dada'. The inclusion of concrete poetry among the movements of poetic modernism is much debated, and I argue that the accompanying anti-art gestures of these two writers further troubles that designation; for them, concrete poetry as non-art intimated a rejection of their modernist inheritance. [ABSTRACT FROM AUTHOR]

Chess played an important role in the life and art of both Marcel Duchamp and John Cage, it became a "becoming-chess" in the generative sense of an immanent transformation onto the being of a qualitatively new kind or with qualitatively new functions, in the sense of how Gilles Deleuze and Félix Guattari understood their concept of "becoming". The following paper reveals the chess realizations, appropriations and inspirations of two influential artists in the context of their large and intense work as well as in the broader interdisciplinary context of the art, philosophy, and aesthetics they helped form in the 20th century. [ABSTRACT FROM AUTHOR]

We describe a new β-globin mutation causing silent β-thalassemia (β-thal). The proband was a 5-year-old boy who presented with the phenotype of thalassemia intermedia. Molecular diagnoses revealed a genomic alteration at position 1606 of the HBB gene (HBB:c.*132C>G) in combination with a common β0-thal mutation (HBB:c.126_129delCTTT). The 3′-untranslated region (UTR) mutation was inherited from his father who showed a normal mean corpuscular volume (MCV) and Hb A2 level. The discovery of rare mutations provides important information related to both genetic counseling for families involved. [ABSTRACT FROM AUTHOR]

In this essay I propose to open the concept of radio art in order to enrich it and to approach the different aesthetic styles of electroacústic music and sound art, because the radiophonic institutions and their protagonists have limited the definitions of radio art genres, limiting in this way the expressive possibilities of this interesting electric space. It is necessary to do a comparative analysis of the languages of these three fields (radio art, sound art and electroacoustic music) in order to find their convergences. From there, I am inviting radio artists to get closer to electroacoustic and conceptual art aesthetics to include in their works, and musicians and all kind of artists to make radio art. Finally, I do an historical analysis of the radiophonic and cultural institutions in Mexico in an international context, acknowledging their protagonist role in Latin America, and proposing an increased support for the creation and diffusion of sound works for the radio. [ABSTRACT FROM AUTHOR]

This article raises the possibility of studying authorial Latin American and Brazilian popular music of the late twentieth century as a great unity, due to the existence of networks, collaborations, circuits, and common influences. By authorial popular music we mean music in which the artist is aware of and has control over the material in which he works, to the point of straining the very musical genre in which he operates. It is not about a single author but a multiple one, arising from the intermedial character of this music, formed by lyrics, music, vocality, and recording, to which are added video clip, cover art and associated discourses. This intermedia dialogues with the historical moment in which it unfolds, questioning the listener from its multiple materiality. [ABSTRACT FROM AUTHOR]

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'Hearing Heat: An Anthropocene acoustemology' is an intermedia composition that meditates on the climate of history, listening to histories of listening from the Papua New Guinea rainforest to nuclear Japan to ancient and contemporary Greece. It proceeds through continual recombinations of visual and sonic media, with photographs, graphics, animation, and cinema dialoguing with ethnographic field recording of Indigenous song, ambient environmental sound, cinema soundtracks, electroacoustic and radio composition, and vocally performed text. [ABSTRACT FROM AUTHOR]

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This essay engages with Armand's texts as well as paintings, portraying their author as a compositor, a composer, a compiler, and a collagist capable of drawing multiple creative impulses and contexts into his dense vortex. Reading Armand's poetry as well as painting, for D.J. Huppatz the fundamental question remains, "What happens when we mash two materials-- or media--together?" This intermedial dialogue is found opposed to a confessional tendency in contemporary literature marked by a coherent author-subject who recalls significant events, people, places, in a clear, communicative language. [ABSTRACT FROM AUTHOR]

What is Duncan’s allusion to John Cage’s “open scales” doing at the end of “Passages 17”? Roughly contemporaneous with Jack Spicer’s “Poetry as Magic” workshop, Charles Olson’s west coast delivery of the Special View of History lectures and Duncan’s staging of Medea at Colchis were Cage’s classes on experimental composition at the New School for Social Research. While the Fluxus and Happenings movements that emerged from Cage’s New School course rejected many premises Duncan retained as a “derivative poet” both the west and east coast variants of the post-Black Mountain vanguard were working through problems traceable to the institution’s final phase under Olson’s rectorship in 1952-53. I examine the postwar avant-garde as a cultural formation in which Duncan’s serial open-form compositions and Cagean event-based work constitute branches of a single sensibility whose root can be intimated in the watchword “theatre” that haunts this period’s work.

This article explores the iterative ways in which artists’ voices are recorded and revisited in British video art. Examining dialogic speech acts, this multimedia contribution analyses two very different artworks: In Two Minds (made from 1978 onwards) by Kevin Atherton and Kensington Gore (1982) by Catherine Elwes. It discusses the recording and replay of the spoken voice in these works, referring to discourses on sound (Connor, 2000; Dolar, 2006), to re-examine approaches to modernism in the late 1970s and early 1980s, and the archiving (Schneider, 2001; 2005) of such works thereafter.

Peter Greenaway’s The Pillow Book (1996) demonstrates the director’s recurring interest in images of dismemberment. These images represent an uncanny and grotesque literalisation of key metaphors. The climactic image of a book made from the flayed skin of a central character is a literalisation of the film’s metaphorical presentation of text as a slicing up of the world, the page, and the body. The film’s form extends this concern, in line with Eisenstein’s theories of filmmaking as a cutting up (through filming) and reconstituting (through editing) of the world. Specifically, the film’s form plays with both structure and meaning through a sustained use of layered frames: multiple frames coincide and compete, some eclipsing others. These complex mosaics—which make use of digital technologies to create intermedial collisions between images, texts, and sounds—transform the familiar sequential and sutured structures of narrative film editing into collages that are defined, instead, by complex simultaneity. Aspects of film structure typically made invisible by continuity editing (including strained causal chains, temporal and spatial ellipses, and the privileging or excluding of points of view) are brought into sight within these multi-frame collages, creating an uncanny frame that performs a recognisable set of functions in an unfamiliar way and demands a new kind of reading. Stripped of the conventional supports offered by causation, linearity, spatial and temporal continuity, and three-dimensional characterisation, The Pillow Book calls into question techniques of interpretation.

The article discusses interactivity and intermediality in the output of the Polish avant-garde artists Franciszka and Stefan Themerson. The author claims that their two-dimensional works created in the 1930s and addressed at children are early examples of interactive strategies activating young readers in search for understanding of the modern world. Non-traditional illustrations, experimental typography and texts far from ‘classical’ literature for children form inseparable verbo-visual entities (named ‘wordgraphy’) where words and images are of equal importance. What happens between the engaged media proves most interesting and most innovative.

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Nowadays, with the development of technology, the fields of media have increased and now there is no space left by any media. In the intermedia, which are used in different ways in different fields, important developments have taken place in the literature media and these developments have created a different starting point for literature studies. The mutual interaction of different media with different characteristics can be considered as a definition of the concept of Intermedia. In this study, the first edition, which was built in 1973 and Turkey's first postmodern novel is considered one of the authors Oğuz Atay's Tehlikeli Oyunlar published weekly on national television between the years of 2015-2017 in Turkey with the novels, screenplays Ethem Özışık and his team, while directing call it aims to show the intermedial relationships between the Poyraz Karayel series undertaken by the Çağrı Vila Lostuvalı (Chapters 1-62) and Osman Tasçı (Chapters 63-82). It also aims to make more understandable the concept of intermediality one step further from the concept of intertextuality, which has been discussed frequently in recent years, with its own methods. [ABSTRACT FROM AUTHOR]

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Paraguayan filmmaking, LGBTQ+ cinema, Gabriel Cassacia, Intermedia, Todd Haynes, Luchino Visconti. [Extracted from the article]