Archive for publications, 2008

[Previous message][Next message][Back to index]

[ecrea] The Futures of Digital Media Arts and Culture - Issue 11 of the Fibreculture Journal - online now

Wed Feb 27 07:21:25 GMT 2008

>The Futures of Digital Media Arts and Culture - 
>Issue 11 of the Fibreculture Journal
>edited by Andrew Hutchison  and Ingrid Richardson
>Future is User-Led: The Path towards Widespread Produsage - Axel Bruns
>Aesthetics of the Ambient Video Experience - Jim Bizzocchi
>transfer present and futures in the electronic arts - Brian Degger
>Roots for Computing: The Case of African 
>Diasporic Orature and Computational Narrative in 
>the GRIOT System - D. Fox Harrell
>Game of One's Own: Towards a New Gendered 
>Poetics of Digital Space - Tracy Fullerton, Jacquelyn Ford Morie, Celia Pearce
>Continuous Materiality Through a Hierarchy of 
>Computational Codes - Kenneth J. Knoespel and Jichen Zhu
>and (Second) Life: Over the hills and far away? - Caroline McCaw
>and abstraction: the arts and the logic of machines - Simon Penny
>Redux: Elements of Dadaist Practice in 
>Contemporary Electronic Literature - Scott Rettberg
>Past as the Future? Nostalgia and Retrogaming in 
>Digital Culture  - Jaakko Suominen
>against Information: Case Studies in Data Practice - Mitchell Whitelaw
>In the early 1990s, the very term 'digital' was 
>new and novel. Yet over the past several decades 
>it is apparent that applications and innovations 
>in e-mail, the Internet, mobile media, complex 
>data systems and computational practice, video 
>games and networking software have become an 
>essential and dynamic part of contemporary art 
>and culture. Increasingly, research in new media 
>(and 'newer' new media) interprets the arrival 
>of these emergent forms, addressing the 
>sometimes unexpected social, cultural and 
>aesthetic uses and implications of developing 
>digital technologies and interfaces.
>The eleven papers presented here from the 
>perthDAC (Digital Arts and Culture) 2007 
>conference offer a broad spectrum of 
>perspectives on the future of digital media art 
>and culture, speculating on recent trends and 
>developments, presenting research outcomes, 
>describing works in progress, or documenting 
>histories and challenging existing paradigms of 
>digital media use, creation and perception. They 
>range in topic from the participatory culture of 
>Web 2.0, video art and electronic literature, 
>biological art and emerging art practices in 
>online environments, to the compound relation 
>between art, data and computation, the gendered 
>poetics of game space and evolving character of game culture.
>In his paper Axel Bruns identifies a unique type 
>of media experience to emerge from the user-led 
>Web 2.0 environment  that of produsage. As he 
>insightfully notes, the boundaries between media 
>producers and consumers are currently breaking 
>down to enable 'the collaborative and continuous 
>building and extending of existing content in 
>pursuit of further improvement'. Jim Bizzocchi's 
>paper also considers an emergent aesthetic and 
>cultural phenomenon  ambient video  which 
>includes video art works and living video 
>paintings that reside on buildings, the walls of 
>our homes and offices, and in an increasingly 
>array of public spaces. Such artworks, he 
>argues, play 'in the background of our lives', 
>yet paradoxically they must be at-the-ready to 
>reward a glance or more sustained contemplative 
>gaze; Bizzocchi reflects upon the creative and 
>receptive implications of such a phenomenon. The 
>artistic potential of online virtual 
>environments such as Second Life is the topic of 
>Caroline McCaw's paper; she adopts her own 
>Second Life avatar in a deep engagement with the 
>work and ideas of DC Spensley (aka Dancoyote 
>Antonelli in Second Life). In discussing the 
>relation between this new aesthetic space and 
>the values and methods of traditional art 
>practices and histories, McCaw suggests that at 
>the very least emerging art practices in online 
>environments invite us to critically examine 
>'the way we think and talk about art'.
>Simon Penny examines the 'theoretical crisis' 
>that exists at the nexus of computational 
>technologies and artistic endeavour, where the 
>rationalist Cartesian values of the 
>hardware/software binary are antagonistic to the 
>creative aims of the artist. He argues 
>convincingly that such a crisis 'demands the 
>development of a critical technical practice'. 
>The legacy of Cartesian dualism embedded in our 
>understanding and interpretation of language, 
>computer code and the physical world is also the 
>focus of Kenneth Knoespel and Jichen Zhu's 
>paper. They suggest that the notion of 
>'continuous materiality' can effectively capture 
>the complexity of the relation between 
>materiality and immateriality, and they 
>effectively deploy this idea through the 
>diagrammatics and design morphology of 
>architectural practice. On a connected yet 
>divergent theme, D. Fox Harrell makes the case 
>that when computational systems are made to 
>intentionally and critically engage with 
>cultural values and practices  for example, in 
>the representation and manipulation of semantic 
>content  new, invigorated and expressive 
>computing practices can result. In this context 
>he describes the GRIOT platform which implements 
>interactive and generative narratives 'deeply 
>informed by African diasporic traditions'.  In 
>'Art Against Information', Mitchell Whitelaw 
>examines the way in which artistic practice 
>might break away from the representation of 
>information; he suggests that data art can 
>effectively work to separate 'information' and 
>'data', to create 'figures of data as 
>unmediated, immanent, material and 
>underdetermined', and speaks of the importance 
>of critically reflecting on the potential of such practices.
>Scott Rettberg explores the legacy of the 
>Dadaist avant-garde upon contemporary new media 
>artists and digital writers, arguing that there 
>is a close correlation between Dada 'anti-art' 
>practice and the methods deployed by new media 
>artists and digital/electronic writers. Such an 
>association, Rettberg claims, can be used to 
>critically contextualise the properties and 
>artifacts of contemporary new media literature. 
>Brian Degger considers another arena of cutting 
>edge artistic practice, the sometimes 
>controversial arena of mixed reality and 
>biological arts which are deeply enmeshed in 
>technoscientific and biotechnological innovation 
>and experimentation; in his paper he deliberates 
>upon issues of access, affordability and 
>technology transfer through the work of SymbioticA, Blast Theory and FoAM.
>Finally, two of the contributions chosen for 
>this special issue attend to aspects of computer 
>game culture and game space. In 'A Game of One's 
>Own' Tracy Fullerton, Jacquelyn Ford Morie and 
>Celia Pearce critique the predominantly male 
>sensibility of game space in first-person 
>shooters and massively multiplayer games. Via 
>feminist writings and literature, contemporary 
>game studies and Bachelard's theory, they 
>explore the possibility of rethinking and 
>re/degendering the spatial poetics and cognitive 
>models at work within the 'virtual playgrounds' 
>of computer games. In his article Jaakko 
>Suominen turns to an interesting emergent 
>phenomenon in game culture  that of 
>retrogaming. Retrogaming can include the 
>appropriation or remediation of older games, 
>devices and applications into present-day games, 
>or more broadly the nostalgic collection and 
>playing of first and second generation games and 
>consoles. Suominen investigates both the 
>increasing popularity of such practices, and the 
>way in which the culture and content of 
>retrogaming becomes incorporated into the latest game devices and gameplay.
>We hope that you find this to be both a 
>thought-provoking collection and a worthwhile 
>sampling of the perthDAC 2007 conference.
>Andrew Hutchison and Ingrid Richardson
>"Take me to the operator, I want to ask some questions" - Barbara Morgenstern
>"Of course it is always possible to work oneself 
>into a state of complete contentment with an 
>ultimate irrationality" - Alfred North Whitehead
>"I thought I had reached port; but I seemed to 
>be cast back again into the open sea" (Deleuze and Guattari, after Leibniz)
>Andrew Murphie - Associate Professor
>School of English, Media and Performing Arts, 
>University of New South Wales, Sydney, Australia, 2052
>fax:612 93856812 tlf:612 93855548 email: 
><mailto:(a.murphie /at/>(a.murphie /at/
>room 311H, Webster Building

Nico Carpentier (Phd)
Vrije Universiteit Brussel - Free University of Brussels
Centre for Studies on Media and Culture (CeMeSO)
Pleinlaan 2 - B-1050 Brussels - Belgium
T: ++ 32 (0)2-629.18.56
F: ++ 32 (0)2-629.36.84
Office: 5B.401a
Katholieke Universiteit Brussel - Catholic University of Brussels
Vrijheidslaan 17 - B-1081 Brussel - Belgium
Facultés Universitaires Saint-Louis
Boulevard du Jardin Botanique 43  - B-1000 Brussel - Belgium
Sponsored links ;)
Understanding Alternative Media
by Olga Bailey, Bart Cammaerts, Nico Carpentier
(December 2007)
Participation and Media Production. Critical Reflections on Content Creation.
Edited by Nico Carpentier and Benjamin De Cleen
(January 2008)

European Communication Research and Education Association
ECREA's Second European Communication Conference
Barcelona, 25-28 November 2008
E-mail: (Nico.Carpentier /at/

ECREA-Mailing list
This mailing list is a free service from ECREA.
To unsubscribe, send an email message to (majordomo /at/
with in the body of the message (NOT in the subject): unsubscribe ecrea
ECREA - European Communication Research and Education Association
Postal address:
Université Libre de Bruxelles
c/o Dept. of Information and Communication Sciences
CP123, avenue F.D. Roosevelt 50, b-1050 Bruxelles, Belgium
Email: (ecrea /at/

[Previous message][Next message][Back to index]