[eccr] CFP - Distributed Aesthetics

>Distributed Aesthetics  Call for Papers for fibreculture journal, issue 
>to be published May 2005
>
>It has been widely argued by sociologists, cultural and media theorists 
>such as Manuel Castells, Arjun Appardurai and Geert Lovink that we now 
>live in a landscape shaped by the flows and traffic of globally networked 
>information.  We have become, in Castells words, a networked society and 
>our cultural, social and economic practices must operate within this 
>global space of flows. The geography of place and history in which 
>association through physical proximity and tradition such as 
>neighbourhood, or through identification based upon race, class or sex, 
>recedes to give way to information space. Artists have responded to this 
>shifting cultural landscape by taking up the net itself as a medium for 
>practice, by forming their own artistic networks facilitated by net 
>infrastructure and functionality, and by critically responding to what 
>distributed spatio-temporalities might mean for the art object itself, for 
>art production and for audience interaction. Beyond the identification of 
>an historical art movement  net.art  distributed aesthetics names ways 
>of artistically operating in a time and space of information flows, and of 
>engendering modes of perception specific to these flows.
>
>In this issue of fibreculture journal, we are seeking contributions to the 
>aesthetic and artistic theorisation, use and development of networked 
>spaces, times and technologies. How, in short, has the network considered 
>in its broadest sense contributed technically and culturally to 
>contemporary modes of perception? Writers may approach this from the 
>perspective of speculative, empirical, historical and/or critical 
>theories. Specific case studies of online artistic practice, the use of 
>ICTs in artistic community and collaboration, politics and networked 
>aesthetics, and analyses of networked art projects are encouraged.
>
>Topics specifically sought for inclusion are:
>
>-The differences between and relationship of new media aesthetics to 
>networked aesthetics
>-The geopolitics of online artistic communities.
>-Activism and online art/practice
>-Theories of distributed time and space as they relate to the production 
>and management of perception.
>-Artistic projects that operate in mixed  online/offline  modes.
>-Online aesthetics after net.art, including wireless, mobile, p2p and 
>opens source models.
>Distributed Aesthetics will be guest edited by Lisa Gye, Anna Munster and 
>Ingrid Richardson
>
>Submission Dates:
>Please submit a 250 word abstract outlining the principal argument of your 
>paper, its scope and major methodologies to Anna Munster, guest editor of 
>Distributed Aesthetics
>No later than December 20, 2004
>(A.Munster /at/ unsw.edu.au)
>
>Completed papers due: February 28, 2005
>
>
>Dr. Anna Munster
>Senior Lecturer
>Post-Graduate Coordinator
>School of Art History and Theory,
>College of Fine Arts
>University of NSW
>P.O Box 259
>Paddington, 2021
>NSW
>Australia
>ph: 612 9385 0741
>fx: 612 9385 0615
>--

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Carpentier Nico (Phd)
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Katholieke Universiteit Brussel - Catholic University of Brussels
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Office: 4/0/18
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Vrije Universiteit Brussel - Free University of Brussels
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F: ++ 32 (0)2-629.28.61
Office: 5B.454
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European Consortium for Communication Research
Web: http://www.eccr.info
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E-mail: (Nico.Carpentier /at/ kubrussel.ac.be)
Web: http://homepages.vub.ac.be/~ncarpent/
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