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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Media Arts</h1><div class="u-tcGrayDark">17,217 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Media Arts</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Media_Arts">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Media_Arts/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Media_Arts/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Media_Arts/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Media_Arts">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_78855707" data-work_id="78855707" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/78855707/Screen_Bodies_7_1_Lu_Yang_An_Artist_in_Transformation">Screen Bodies 7.1 - Lu Yang: An Artist in Transformation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This Special Issue is the first volume in English to focus entirely on this remarkable artist.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/78855707" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="711d20064bc9b72dde61101a37b586eb" rel="nofollow" data-download="{"attachment_id":85752186,"asset_id":78855707,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/85752186/download_file?st=MTc0MDU0NTIzNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="98940338" href="https://emerson.academia.edu/AndrewBall">Andrew Ball</a><script data-card-contents-for-user="98940338" type="text/json">{"id":98940338,"first_name":"Andrew","last_name":"Ball","domain_name":"emerson","page_name":"AndrewBall","display_name":"Andrew Ball","profile_url":"https://emerson.academia.edu/AndrewBall?f_ri=6098","photo":"https://0.academia-photos.com/98940338/21569696/20923756/s65_andrew.ball.jpg"}</script></span></span></li><li class="js-paper-rank-work_78855707 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="78855707"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 78855707, container: ".js-paper-rank-work_78855707", }); 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","downloadable_attachments":[{"id":85752186,"asset_id":78855707,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":98940338,"first_name":"Andrew","last_name":"Ball","domain_name":"emerson","page_name":"AndrewBall","display_name":"Andrew Ball","profile_url":"https://emerson.academia.edu/AndrewBall?f_ri=6098","photo":"https://0.academia-photos.com/98940338/21569696/20923756/s65_andrew.ball.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6098","nofollow":true},{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=6098","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6098","nofollow":true},{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098"},{"id":3331,"name":"New Media Arts","url":"https://www.academia.edu/Documents/in/New_Media_Arts?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":7216,"name":"The Body","url":"https://www.academia.edu/Documents/in/The_Body?f_ri=6098"},{"id":9031,"name":"Media Arts and Sciences","url":"https://www.academia.edu/Documents/in/Media_Arts_and_Sciences?f_ri=6098"},{"id":130938,"name":"Body studies","url":"https://www.academia.edu/Documents/in/Body_studies?f_ri=6098"},{"id":274093,"name":"Contemporary Performance Art in the Context of Digital Arts and New Media","url":"https://www.academia.edu/Documents/in/Contemporary_Performance_Art_in_the_Context_of_Digital_Arts_and_New_Media?f_ri=6098"},{"id":343363,"name":"Screen Studies","url":"https://www.academia.edu/Documents/in/Screen_Studies?f_ri=6098"},{"id":1032577,"name":"Curatorial Practices In Live Art and Media Arts","url":"https://www.academia.edu/Documents/in/Curatorial_Practices_In_Live_Art_and_Media_Arts?f_ri=6098"},{"id":1294729,"name":"Sinophone Studies","url":"https://www.academia.edu/Documents/in/Sinophone_Studies?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38609668" data-work_id="38609668" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/38609668/L_Art_Biotech_complete_book_">L' Art Biotech (complete book)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Book (in French) published in 2003 at the occasion of the first exhibition staging exclusively biomedia art works at the national art center Le Lieu Unique in Nantes/France. Hauser Jens (ed.): L'Art Biotech. Nantes/Trézélan, 2003. The... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38609668" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Book (in French) published in 2003 at the occasion of the first exhibition staging exclusively biomedia art works at the national art center Le Lieu Unique in Nantes/France. Hauser Jens (ed.): L'Art Biotech. Nantes/Trézélan, 2003. <br /> <br />The publication has not been available anymore since 2008; this PDF is made accessible with the agreement and the kind support of the Filigranes publishing house, until an augmented new edition will be be available. Great thanks to Filigranes and Patrick Le Bescont! <a href="https://www.filigranes.com" rel="nofollow">https://www.filigranes.com</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38609668" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="06b1188d306ffb4739e205970b960738" rel="nofollow" data-download="{"attachment_id":58685388,"asset_id":38609668,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58685388/download_file?st=MTc0MDU0NTIzNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12524523" href="https://ku-dk.academia.edu/JensHauser">Jens Hauser</a><script data-card-contents-for-user="12524523" type="text/json">{"id":12524523,"first_name":"Jens","last_name":"Hauser","domain_name":"ku-dk","page_name":"JensHauser","display_name":"Jens Hauser","profile_url":"https://ku-dk.academia.edu/JensHauser?f_ri=6098","photo":"https://0.academia-photos.com/12524523/21715284/21033816/s65_jens.hauser.jpg"}</script></span></span></li><li class="js-paper-rank-work_38609668 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38609668"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38609668, container: ".js-paper-rank-work_38609668", }); 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Hauser Jens (ed.): L'Art Biotech. Nantes/Trézélan, 2003. \r\n\r\nThe publication has not been available anymore since 2008; this PDF is made accessible with the agreement and the kind support of the Filigranes publishing house, until an augmented new edition will be be available. 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For a Blue Media Studies</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">For a culture defined by pervasive mediation and unceasing circulation of images, the invisibility of climate change, especially as it relates to the dark bed of the oceans, is unnerving. The oceans are persistently screened: as the human... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40869597" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">For a culture defined by pervasive mediation and unceasing circulation of images, the invisibility of climate change, especially as it relates to the dark bed of the oceans, is unnerving. The oceans are persistently screened: as the human inability to envision large-scale geo-logical politics is laid bare, we are surrounded by ever more innovative machinic eyes. While singular disasters related to climate change produce news events, the ongoing pollution of the oceans does not qualify for live coverage. Is it not surprising that visual culture - from mainstream disaster movies to activist artworks - has taken it upon itself to fill this vacant space of attention. Taking as my case study sculptural installations by Jason deCaires Tylor, which can be viewed underwater or on a screen, in this paper, I theorise a ‘blue’ type of mediation, arguing that durational decay is a trait of oceanic media in the climate change era. This temporal decomposition links blue media to drowned histories that underwrite the Anthropocene, particularly the transatlantic slave trade and the Caribbean aesthetics, where the Atlantic figures as an unmarked grave site. Referring to the work of Zylinska and Kember as well as Väliaho, I argue that as the ocean is increasingly defined by death, the mediation of life becomes necessary in the absence of a live climate change event. Blue media perform their disappearance, thus recalling other disappearances of life in the waters, while they also participate in the neoliberal imperative to capture the productive capacities of life. In their aesthetic decomposition, where disappearance could be revelatory of history, blue media simultaneously perpetuate their own image. These attempts to halt death and decomposition by manipulating its digital referent speak to a larger anxiety as to the finitude of the human, which nevertheless cannot evade its own capture within the neoliberal logic of production.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40869597" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c8a498977261d85784c07d8b39c0f90d" rel="nofollow" data-download="{"attachment_id":61156297,"asset_id":40869597,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61156297/download_file?st=MTc0MDU0NTIzNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8298344" href="https://shanghai-nyu.academia.edu/BognaMKonior">Bogna Konior</a><script data-card-contents-for-user="8298344" type="text/json">{"id":8298344,"first_name":"Bogna","last_name":"Konior","domain_name":"shanghai-nyu","page_name":"BognaMKonior","display_name":"Bogna Konior","profile_url":"https://shanghai-nyu.academia.edu/BognaMKonior?f_ri=6098","photo":"https://0.academia-photos.com/8298344/2833305/54145151/s65_bogna.konior.jpg"}</script></span></span></li><li class="js-paper-rank-work_40869597 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40869597"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40869597, container: ".js-paper-rank-work_40869597", }); });</script></li><li class="js-percentile-work_40869597 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40869597; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40869597"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40869597 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40869597"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40869597; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40869597]").text(description); $(".js-view-count-work_40869597").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40869597").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40869597"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a>, <script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12586" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_and_Climate_Change">Art and Climate Change</a>, <script data-card-contents-for-ri="12586" type="text/json">{"id":12586,"name":"Art and Climate Change","url":"https://www.academia.edu/Documents/in/Art_and_Climate_Change?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="21604" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics_of_new_media">Aesthetics of (new) media</a><script data-card-contents-for-ri="21604" type="text/json">{"id":21604,"name":"Aesthetics of (new) media","url":"https://www.academia.edu/Documents/in/Aesthetics_of_new_media?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40869597]'), work: {"id":40869597,"title":"Climate Change Goes Live, or Capturing Life? For a Blue Media Studies","created_at":"2019-11-07T08:55:21.868-08:00","url":"https://www.academia.edu/40869597/Climate_Change_Goes_Live_or_Capturing_Life_For_a_Blue_Media_Studies?f_ri=6098","dom_id":"work_40869597","summary":"For a culture defined by pervasive mediation and unceasing circulation of images, the invisibility of climate change, especially as it relates to the dark bed of the oceans, is unnerving. The oceans are persistently screened: as the human inability to envision large-scale geo-logical politics is laid bare, we are surrounded by ever more innovative machinic eyes. While singular disasters related to climate change produce news events, the ongoing pollution of the oceans does not qualify for live coverage. Is it not surprising that visual culture - from mainstream disaster movies to activist artworks - has taken it upon itself to fill this vacant space of attention. Taking as my case study sculptural installations by Jason deCaires Tylor, which can be viewed underwater or on a screen, in this paper, I theorise a ‘blue’ type of mediation, arguing that durational decay is a trait of oceanic media in the climate change era. This temporal decomposition links blue media to drowned histories that underwrite the Anthropocene, particularly the transatlantic slave trade and the Caribbean aesthetics, where the Atlantic figures as an unmarked grave site. Referring to the work of Zylinska and Kember as well as Väliaho, I argue that as the ocean is increasingly defined by death, the mediation of life becomes necessary in the absence of a live climate change event. Blue media perform their disappearance, thus recalling other disappearances of life in the waters, while they also participate in the neoliberal imperative to capture the productive capacities of life. In their aesthetic decomposition, where disappearance could be revelatory of history, blue media simultaneously perpetuate their own image. These attempts to halt death and decomposition by manipulating its digital referent speak to a larger anxiety as to the finitude of the human, which nevertheless cannot evade its own capture within the neoliberal logic of production.","downloadable_attachments":[{"id":61156297,"asset_id":40869597,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8298344,"first_name":"Bogna","last_name":"Konior","domain_name":"shanghai-nyu","page_name":"BognaMKonior","display_name":"Bogna Konior","profile_url":"https://shanghai-nyu.academia.edu/BognaMKonior?f_ri=6098","photo":"https://0.academia-photos.com/8298344/2833305/54145151/s65_bogna.konior.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":12586,"name":"Art and Climate Change","url":"https://www.academia.edu/Documents/in/Art_and_Climate_Change?f_ri=6098","nofollow":true},{"id":21604,"name":"Aesthetics of (new) media","url":"https://www.academia.edu/Documents/in/Aesthetics_of_new_media?f_ri=6098","nofollow":true},{"id":23193,"name":"Environmental Humanities","url":"https://www.academia.edu/Documents/in/Environmental_Humanities?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28693288" data-work_id="28693288" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28693288/Transitional_Media_Duration_Recursion_and_the_Paradigm_of_Conservation">Transitional Media: Duration, Recursion and the Paradigm of Conservation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Fostering conservation as a discursive and contextual practice, this essay examines transitional media that necessitate new ways of thinking about continuity. It looks at two examples of artworks with the objective of unraveling the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28693288" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Fostering conservation as a discursive and contextual practice, this essay examines transitional media that necessitate new ways of thinking about continuity. It looks at two examples of artworks with the objective of unraveling the varying modes of their transition. An event score, event-performance, object, and film drawn from the artistic legacies of George Brecht and Nam June Paik illustrate that ideas of permanence and impermanence are linked with an understanding of artworks in time and duration. While conservation reveals itself as an intervention in the temporal dimension of artworks, the theories of duration allow us to better understand the reciprocal relations between materials and meanings. In doing so, these theories acknowledge and attempt to make sense of the performative materiality of these works.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28693288" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fb2a363ba2374e851197d4bd139aa03c" rel="nofollow" data-download="{"attachment_id":49084858,"asset_id":28693288,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49084858/download_file?st=MTc0MDU0NTIzNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="246927" href="https://hkb-interpretation.academia.edu/HannaH%C3%B6lling">Hanna B . Hölling</a><script data-card-contents-for-user="246927" type="text/json">{"id":246927,"first_name":"Hanna","last_name":"Hölling","domain_name":"hkb-interpretation","page_name":"HannaHölling","display_name":"Hanna B . Hölling","profile_url":"https://hkb-interpretation.academia.edu/HannaH%C3%B6lling?f_ri=6098","photo":"https://0.academia-photos.com/246927/53398/156250737/s65_hanna.h_lling.png"}</script></span></span></li><li class="js-paper-rank-work_28693288 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28693288"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28693288, container: ".js-paper-rank-work_28693288", }); });</script></li><li class="js-percentile-work_28693288 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 28693288; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_28693288"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_28693288 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="28693288"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 28693288; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=28693288]").text(description); $(".js-view-count-work_28693288").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28693288").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28693288"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5459" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Heritage_Conservation">Cultural Heritage Conservation</a><script data-card-contents-for-ri="5459" type="text/json">{"id":5459,"name":"Cultural Heritage Conservation","url":"https://www.academia.edu/Documents/in/Cultural_Heritage_Conservation?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28693288]'), work: {"id":28693288,"title":"Transitional Media: Duration, Recursion and the Paradigm of Conservation","created_at":"2016-09-24T07:01:22.540-07:00","url":"https://www.academia.edu/28693288/Transitional_Media_Duration_Recursion_and_the_Paradigm_of_Conservation?f_ri=6098","dom_id":"work_28693288","summary":"Fostering conservation as a discursive and contextual practice, this essay examines transitional media that necessitate new ways of thinking about continuity. It looks at two examples of artworks with the objective of unraveling the varying modes of their transition. An event score, event-performance, object, and film drawn from the artistic legacies of George Brecht and Nam June Paik illustrate that ideas of permanence and impermanence are linked with an understanding of artworks in time and duration. While conservation reveals itself as an intervention in the temporal dimension of artworks, the theories of duration allow us to better understand the reciprocal relations between materials and meanings. In doing so, these theories acknowledge and attempt to make sense of the performative materiality of these works.","downloadable_attachments":[{"id":49084858,"asset_id":28693288,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":246927,"first_name":"Hanna","last_name":"Hölling","domain_name":"hkb-interpretation","page_name":"HannaHölling","display_name":"Hanna B . Hölling","profile_url":"https://hkb-interpretation.academia.edu/HannaH%C3%B6lling?f_ri=6098","photo":"https://0.academia-photos.com/246927/53398/156250737/s65_hanna.h_lling.png"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6098","nofollow":true},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=6098","nofollow":true},{"id":5459,"name":"Cultural Heritage Conservation","url":"https://www.academia.edu/Documents/in/Cultural_Heritage_Conservation?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":6735,"name":"Heritage Conservation","url":"https://www.academia.edu/Documents/in/Heritage_Conservation?f_ri=6098"},{"id":9223,"name":"Digital Preservation","url":"https://www.academia.edu/Documents/in/Digital_Preservation?f_ri=6098"},{"id":11987,"name":"Art Conservation","url":"https://www.academia.edu/Documents/in/Art_Conservation?f_ri=6098"},{"id":12701,"name":"Fluxus","url":"https://www.academia.edu/Documents/in/Fluxus?f_ri=6098"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=6098"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098"},{"id":55872,"name":"Science for Conservation and Restoration of Cultural Heritage","url":"https://www.academia.edu/Documents/in/Science_for_Conservation_and_Restoration_of_Cultural_Heritage?f_ri=6098"},{"id":82526,"name":"George Brecht","url":"https://www.academia.edu/Documents/in/George_Brecht?f_ri=6098"},{"id":159037,"name":"Continuity","url":"https://www.academia.edu/Documents/in/Continuity?f_ri=6098"},{"id":160829,"name":"Nam June Paik","url":"https://www.academia.edu/Documents/in/Nam_June_Paik?f_ri=6098"},{"id":412561,"name":"Change and continuity","url":"https://www.academia.edu/Documents/in/Change_and_continuity?f_ri=6098"},{"id":1136619,"name":"Historical Preservation","url":"https://www.academia.edu/Documents/in/Historical_Preservation?f_ri=6098"},{"id":1394731,"name":"Fine Arts Conservation","url":"https://www.academia.edu/Documents/in/Fine_Arts_Conservation?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34967363" data-work_id="34967363" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34967363/transmediale_reader_goriunova_doc">transmediale reader goriunova.doc</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Technology still carries a promise. The spirit that drew media and net artists to the networks, computers, projectors, WWW, databases, sensors, portable devices, and even virtual reality is still alive today as the unique selling point of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34967363" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Technology still carries a promise. The spirit that drew media and net artists to the networks, computers, projectors, WWW, databases, sensors, portable devices, and even virtual reality is still alive today as the unique selling point of the new tech: individual, communal and societal change. Much has been done to critique the libertarian, neoliberal and techno-utopian apparatuses within which this spirit is spotted to nest. But there is more to it than hacker ethics, Silicon Valley entrepreneurialism or freedom of trade and liberty of soul from the state and society. The ability to create immaterial change through engaging with matter, and in this case, technological matter, is a foundation of humanism. As continuous human entrapment with technology starts to produce forms of posthumanity, the question of whose matter is being shaped by whom or what, resurfaces with renewed urgency. By the twentieth century engagement with technological matter is set to coincide with the rise of aesthetic modernism and materialism, in which craftsmanship that knows and respects the recalcitrance and agency of matter, enhanced by a few centuries of formalization of knowledge and infrastructures of the spirit and mind, gets to create new spirits and minds. This is done by setting out the new infrastructures, built in matter of plastic and plywood, fabric print and dress design, reading rooms, evening schools and kindergartens, networks, processes and code repositories, in which new ways of working, living, creating, being and becoming could bud, unfold and set, like fruits. Not only a legacy of Soviet avant-garde, but a staple of today's architecture or design is the idea that by creating an environment, one generates its ways of inhabitation, prescribing or pointing towards an ecology, which is always a political action. There is no point designing a system, be it a data system or a house, if it cannot practically and actively affect things outside of its immediate materiality: human bodies, systems of exchange, common taste. Russian Constructivism advanced new materials and designs as always socio-political. Today reflective work on self and others is carried out by the technology of quantified self or open data systems in the optimizing feedback loop. And this is the promise of technology: you farm and form it to generate material spaces that will farm and form you.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34967363" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f51df4e58e8dfba878a40eff28388770" rel="nofollow" data-download="{"attachment_id":54830070,"asset_id":34967363,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54830070/download_file?st=MTc0MDU0NTIzNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2758806" href="https://royalholloway.academia.edu/OlgaGoriunova">Olga Goriunova</a><script data-card-contents-for-user="2758806" type="text/json">{"id":2758806,"first_name":"Olga","last_name":"Goriunova","domain_name":"royalholloway","page_name":"OlgaGoriunova","display_name":"Olga Goriunova","profile_url":"https://royalholloway.academia.edu/OlgaGoriunova?f_ri=6098","photo":"https://0.academia-photos.com/2758806/896351/1120119/s65_olga.goriunova.jpg"}</script></span></span></li><li class="js-paper-rank-work_34967363 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34967363"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34967363, container: ".js-paper-rank-work_34967363", }); });</script></li><li class="js-percentile-work_34967363 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34967363; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_34967363"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_34967363 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="34967363"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34967363; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34967363]").text(description); $(".js-view-count-work_34967363").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34967363").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34967363"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2000" rel="nofollow" href="https://www.academia.edu/Documents/in/Critical_Theory_of_Technology">Critical Theory of Technology</a>, <script data-card-contents-for-ri="2000" type="text/json">{"id":2000,"name":"Critical Theory of Technology","url":"https://www.academia.edu/Documents/in/Critical_Theory_of_Technology?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a>, <script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18736" rel="nofollow" href="https://www.academia.edu/Documents/in/New_Media_Art">New Media Art</a>, <script data-card-contents-for-ri="18736" type="text/json">{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="22047" rel="nofollow" href="https://www.academia.edu/Documents/in/Digital_Media_Art">Digital Media Art</a><script data-card-contents-for-ri="22047" type="text/json">{"id":22047,"name":"Digital Media Art","url":"https://www.academia.edu/Documents/in/Digital_Media_Art?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34967363]'), work: {"id":34967363,"title":"transmediale reader goriunova.doc","created_at":"2017-10-26T07:42:32.363-07:00","url":"https://www.academia.edu/34967363/transmediale_reader_goriunova_doc?f_ri=6098","dom_id":"work_34967363","summary":"Technology still carries a promise. The spirit that drew media and net artists to the networks, computers, projectors, WWW, databases, sensors, portable devices, and even virtual reality is still alive today as the unique selling point of the new tech: individual, communal and societal change. Much has been done to critique the libertarian, neoliberal and techno-utopian apparatuses within which this spirit is spotted to nest. But there is more to it than hacker ethics, Silicon Valley entrepreneurialism or freedom of trade and liberty of soul from the state and society. The ability to create immaterial change through engaging with matter, and in this case, technological matter, is a foundation of humanism. As continuous human entrapment with technology starts to produce forms of posthumanity, the question of whose matter is being shaped by whom or what, resurfaces with renewed urgency. By the twentieth century engagement with technological matter is set to coincide with the rise of aesthetic modernism and materialism, in which craftsmanship that knows and respects the recalcitrance and agency of matter, enhanced by a few centuries of formalization of knowledge and infrastructures of the spirit and mind, gets to create new spirits and minds. This is done by setting out the new infrastructures, built in matter of plastic and plywood, fabric print and dress design, reading rooms, evening schools and kindergartens, networks, processes and code repositories, in which new ways of working, living, creating, being and becoming could bud, unfold and set, like fruits. Not only a legacy of Soviet avant-garde, but a staple of today's architecture or design is the idea that by creating an environment, one generates its ways of inhabitation, prescribing or pointing towards an ecology, which is always a political action. There is no point designing a system, be it a data system or a house, if it cannot practically and actively affect things outside of its immediate materiality: human bodies, systems of exchange, common taste. Russian Constructivism advanced new materials and designs as always socio-political. Today reflective work on self and others is carried out by the technology of quantified self or open data systems in the optimizing feedback loop. And this is the promise of technology: you farm and form it to generate material spaces that will farm and form you. ","downloadable_attachments":[{"id":54830070,"asset_id":34967363,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2758806,"first_name":"Olga","last_name":"Goriunova","domain_name":"royalholloway","page_name":"OlgaGoriunova","display_name":"Olga Goriunova","profile_url":"https://royalholloway.academia.edu/OlgaGoriunova?f_ri=6098","photo":"https://0.academia-photos.com/2758806/896351/1120119/s65_olga.goriunova.jpg"}],"research_interests":[{"id":2000,"name":"Critical Theory of Technology","url":"https://www.academia.edu/Documents/in/Critical_Theory_of_Technology?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098","nofollow":true},{"id":22047,"name":"Digital Media Art","url":"https://www.academia.edu/Documents/in/Digital_Media_Art?f_ri=6098","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3485054" data-work_id="3485054" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3485054/%EB%AF%B8%EB%94%94%EC%96%B4%EC%95%84%ED%8A%B8%EC%99%80_%ED%98%84%EB%8C%80%EB%AF%B8%EC%88%A0_Media_Art_and_Contemporary_Art_"> 미디어아트와 현대미술 (Media Art and Contemporary Art)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3485054" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="63bf7a9f9714484f29886f279644b3c7" rel="nofollow" data-download="{"attachment_id":31373186,"asset_id":3485054,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31373186/download_file?st=MTc0MDU0NTIzNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="462898" href="https://yonsei.academia.edu/HyunJeanLee">Hyun-Jean Lee</a><script data-card-contents-for-user="462898" type="text/json">{"id":462898,"first_name":"Hyun-Jean","last_name":"Lee","domain_name":"yonsei","page_name":"HyunJeanLee","display_name":"Hyun-Jean Lee","profile_url":"https://yonsei.academia.edu/HyunJeanLee?f_ri=6098","photo":"https://0.academia-photos.com/462898/152969/2041295/s65_hyun-jean.lee.jpg"}</script></span></span></li><li class="js-paper-rank-work_3485054 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3485054"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3485054, container: ".js-paper-rank-work_3485054", }); });</script></li><li class="js-percentile-work_3485054 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3485054; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_3485054"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_3485054 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="3485054"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3485054; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3485054]").text(description); $(".js-view-count-work_3485054").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3485054").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3485054"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a><script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3485054]'), work: {"id":3485054,"title":" 미디어아트와 현대미술 (Media Art and Contemporary Art)","created_at":"2013-05-07T11:13:05.526-07:00","url":"https://www.academia.edu/3485054/%EB%AF%B8%EB%94%94%EC%96%B4%EC%95%84%ED%8A%B8%EC%99%80_%ED%98%84%EB%8C%80%EB%AF%B8%EC%88%A0_Media_Art_and_Contemporary_Art_?f_ri=6098","dom_id":"work_3485054","summary":null,"downloadable_attachments":[{"id":31373186,"asset_id":3485054,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":462898,"first_name":"Hyun-Jean","last_name":"Lee","domain_name":"yonsei","page_name":"HyunJeanLee","display_name":"Hyun-Jean Lee","profile_url":"https://yonsei.academia.edu/HyunJeanLee?f_ri=6098","photo":"https://0.academia-photos.com/462898/152969/2041295/s65_hyun-jean.lee.jpg"}],"research_interests":[{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11908176" data-work_id="11908176" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11908176/Digitalism_The_New_Realism">Digitalism: The New Realism?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Today's society is increasingly digitalised, with mobile smartphones being routinely carried and used by a significant percentage of the population. This provides an augmented experience for the individual that does not depend on their... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11908176" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Today's society is increasingly digitalised, with mobile smartphones being routinely carried and used by a significant percentage of the population. This provides an augmented experience for the individual that does not depend on their geographical separation with respect to their community of friends and other contacts. This changes the nature of relationships between people. Individuals may live in a "digital bubble", close to others physically, but far away from them in their digital world. More specifically, digital images can be generated and shared with ever greater ease. Sometimes the digital image takes on an important part of the individual's experience of reality. This paper explores examples of the phenomenon, within the context of the arts in particular and culture in general. We also consider the assortment of terms used in a variety of ways by researchers in different fields with regard to our ever more digital society, such as digitalism, digitality, digitalisation, digital culture, digital philosophy, etc. We survey these terms, exploring them from alternative viewpoints, including sociological and philosophical aspects, and attempt to pinpoint some of these terms more precisely, especially in a cultural and artistic context.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11908176" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="538d5ed63eae22dbd8e488f8f555c1e5" rel="nofollow" data-download="{"attachment_id":46443911,"asset_id":11908176,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46443911/download_file?st=MTc0MDU0NTIzNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="29464523" href="https://independent.academia.edu/GianniniTula">Tula Giannini</a><script data-card-contents-for-user="29464523" type="text/json">{"id":29464523,"first_name":"Tula","last_name":"Giannini","domain_name":"independent","page_name":"GianniniTula","display_name":"Tula Giannini","profile_url":"https://independent.academia.edu/GianniniTula?f_ri=6098","photo":"https://gravatar.com/avatar/acaf023c93d8002ccc2e746cad497b89?s=65"}</script></span></span></li><li class="js-paper-rank-work_11908176 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11908176"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11908176, container: ".js-paper-rank-work_11908176", }); });</script></li><li class="js-percentile-work_11908176 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11908176; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_11908176"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11908176 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11908176"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11908176; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11908176]").text(description); $(".js-view-count-work_11908176").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11908176").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11908176"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">36</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="184" rel="nofollow" href="https://www.academia.edu/Documents/in/Sociology">Sociology</a>, <script data-card-contents-for-ri="184" type="text/json">{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="199" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Sociology">Media Sociology</a>, <script data-card-contents-for-ri="199" type="text/json">{"id":199,"name":"Media Sociology","url":"https://www.academia.edu/Documents/in/Media_Sociology?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="211" rel="nofollow" href="https://www.academia.edu/Documents/in/Sociology_of_Culture">Sociology of Culture</a><script data-card-contents-for-ri="211" type="text/json">{"id":211,"name":"Sociology of Culture","url":"https://www.academia.edu/Documents/in/Sociology_of_Culture?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11908176]'), work: {"id":11908176,"title":"Digitalism: The New Realism?","created_at":"2015-04-12T06:19:07.447-07:00","url":"https://www.academia.edu/11908176/Digitalism_The_New_Realism?f_ri=6098","dom_id":"work_11908176","summary":"Today's society is increasingly digitalised, with mobile smartphones being routinely carried and used by a significant percentage of the population. This provides an augmented experience for the individual that does not depend on their geographical separation with respect to their community of friends and other contacts. This changes the nature of relationships between people. Individuals may live in a \"digital bubble\", close to others physically, but far away from them in their digital world. More specifically, digital images can be generated and shared with ever greater ease. Sometimes the digital image takes on an important part of the individual's experience of reality. This paper explores examples of the phenomenon, within the context of the arts in particular and culture in general. We also consider the assortment of terms used in a variety of ways by researchers in different fields with regard to our ever more digital society, such as digitalism, digitality, digitalisation, digital culture, digital philosophy, etc. We survey these terms, exploring them from alternative viewpoints, including sociological and philosophical aspects, and attempt to pinpoint some of these terms more precisely, especially in a cultural and artistic context.","downloadable_attachments":[{"id":46443911,"asset_id":11908176,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":29464523,"first_name":"Tula","last_name":"Giannini","domain_name":"independent","page_name":"GianniniTula","display_name":"Tula 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href="https://www.academia.edu/17977462/Erick_Meyenberg_Race_Discourse_in_Present_Continuous">Erick Meyenberg: Race Discourse in Present Continuous</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay discusses two immersive installations by Mexican artist Erick Meyenberg. It argues that both Return to the Present (2011), and Étude taxonomique et comparative entre les castes de la Nouvelle Espagne et celles du Mexique... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_17977462" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay discusses two immersive installations by Mexican artist Erick Meyenberg. It argues that both Return to the Present (2011), and Étude taxonomique et comparative entre les castes de la Nouvelle Espagne et celles du Mexique contemporain (2010) provide critical insights into the historical roots of the racial constructs that still prevail in contemporary societies.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/17977462" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="77f4578a98de05710be89e344968eba8" rel="nofollow" data-download="{"attachment_id":39809817,"asset_id":17977462,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39809817/download_file?st=MTc0MDU0NTIzNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2277645" href="https://mcgill.academia.edu/ErandyVergara">Erandy Vergara</a><script data-card-contents-for-user="2277645" type="text/json">{"id":2277645,"first_name":"Erandy","last_name":"Vergara","domain_name":"mcgill","page_name":"ErandyVergara","display_name":"Erandy Vergara","profile_url":"https://mcgill.academia.edu/ErandyVergara?f_ri=6098","photo":"https://0.academia-photos.com/2277645/724398/7507796/s65_erandy.vergara.jpeg"}</script></span></span></li><li class="js-paper-rank-work_17977462 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="17977462"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 17977462, container: ".js-paper-rank-work_17977462", }); 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It argues that both Return to the Present (2011), and Étude taxonomique et comparative entre les castes de la Nouvelle Espagne et celles du Mexique contemporain (2010) provide critical insights into the historical roots of the racial constructs that still prevail in contemporary societies.\n","downloadable_attachments":[{"id":39809817,"asset_id":17977462,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2277645,"first_name":"Erandy","last_name":"Vergara","domain_name":"mcgill","page_name":"ErandyVergara","display_name":"Erandy Vergara","profile_url":"https://mcgill.academia.edu/ErandyVergara?f_ri=6098","photo":"https://0.academia-photos.com/2277645/724398/7507796/s65_erandy.vergara.jpeg"}],"research_interests":[{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=6098","nofollow":true},{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8156064" data-work_id="8156064" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/8156064/Hypnosis_in_Popular_Media_in_Barrett_D_L_Ed_Hypnosis_and_Hypnotherapy_2_vol_Vol_1_History_theory_and_general_research_NY_NY_Praeger_Greenwood_Nov_2010_p_77_96">Hypnosis in Popular Media in Barrett, D. L. (Ed.) Hypnosis and Hypnotherapy, , (2 vol.): Vol. 1: History, theory and general research, NY, NY: Praeger/Greenwood, Nov. 2010, p. 77-96</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8156064" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0aa144f4fda1e562d5cf83b3fe5e9587" rel="nofollow" data-download="{"attachment_id":34594076,"asset_id":8156064,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34594076/download_file?st=MTc0MDU0NTIzNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="15242108" rel="nofollow" href="https://hms-harvard.academia.edu/DeirdreBarrett">Deirdre Barrett</a><script data-card-contents-for-user="15242108" type="text/json">{"id":15242108,"first_name":"Deirdre","last_name":"Barrett","domain_name":"hms-harvard","page_name":"DeirdreBarrett","display_name":"Deirdre Barrett","profile_url":"https://hms-harvard.academia.edu/DeirdreBarrett?f_ri=6098","photo":"https://0.academia-photos.com/15242108/4111662/5385821/s65_deirdre.barrett.png"}</script></span></span></li><li class="js-paper-rank-work_8156064 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8156064"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8156064, container: ".js-paper-rank-work_8156064", }); 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js-work-link" href="https://www.academia.edu/32875905/Unmaking_5_Anxieties_IXDM_and_RIAT_Transmediale_2016_">Unmaking: 5 Anxieties (IXDM & RIAT, Transmediale 2016)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">As part of the proceedings of the 2016 transmediale (TM) festival, the Research Institute for Arts and Technology together with Critical Media Lab Basel was invited to stage one of the festival’s many “conversation pieces”. The thematic... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32875905" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">As part of the proceedings of the 2016 transmediale (TM) festival, the Research Institute for Arts and Technology together with Critical Media Lab Basel was invited to stage one of the festival’s many “conversation pieces”. The thematic of TM this year revolved around conversation and dialogue, and so Critical Media Lab researchers Moritz Greiner-Petter, Johannes Bruder, Shintaro Miyazaki, Felix Gerloff and Jamie Allen, along with collaborative partners Matthias Tarasiewicz and Sophie Wagner from the Vienna-based Research Institute for Arts and Technology, and researcher Tom Jenkins from the Public Design Workshop at Georgia Tech’s Digital Media program teamed up to frame a discussion session on maker and hacker culture.<br /><br />For the session, entitled Unmaking: 5 Anxieties, we discussed the disappearance of the physical traction and perfidious engagement with materials in creative practice, the ignoring of material resource chains, the homogenisation and functionalization of once-radical grassroots sub-cultures and communities, and the ignoring of difference in the “maker movement.” The discussion was prompted by a set of ‘concept cards’, designed by Moritz Greiner-Petter. The form of this project apes other formats for ‘creative’ divination and process, like Oblique Strategies, IDEO’s method cards or Critical Making Cards.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32875905" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ba69271ad2ebca62da2d23c9d1dfbf68" rel="nofollow" data-download="{"attachment_id":53019527,"asset_id":32875905,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53019527/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3716509" href="https://riat.academia.edu/parasew">Matthias Tarasiewicz</a><script data-card-contents-for-user="3716509" type="text/json">{"id":3716509,"first_name":"Matthias","last_name":"Tarasiewicz","domain_name":"riat","page_name":"parasew","display_name":"Matthias Tarasiewicz","profile_url":"https://riat.academia.edu/parasew?f_ri=6098","photo":"https://gravatar.com/avatar/049a524297f6de179a8193b87d2bb9c0?s=65"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-32875905">+3</span><div class="hidden js-additional-users-32875905"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://riat.academia.edu/SophieCarolinWagner">Sophie-Carolin Wagner</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://fhnw.academia.edu/MoritzGreinerPetter">Moritz Greiner-Petter</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ixdm.academia.edu/FelixGerloff">Felix Gerloff</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-32875905'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-32875905').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_32875905 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="32875905"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32875905; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32875905]").text(description); $(".js-view-count-work_32875905").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32875905").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32875905"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="3189" rel="nofollow" href="https://www.academia.edu/Documents/in/Experimental_Media_Arts">Experimental Media Arts</a>, <script data-card-contents-for-ri="3189" type="text/json">{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a>, <script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14320" rel="nofollow" href="https://www.academia.edu/Documents/in/Digital_Media_And_New_Literacies">Digital Media And New Literacies</a>, <script data-card-contents-for-ri="14320" type="text/json">{"id":14320,"name":"Digital Media And New Literacies","url":"https://www.academia.edu/Documents/in/Digital_Media_And_New_Literacies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18736" rel="nofollow" href="https://www.academia.edu/Documents/in/New_Media_Art">New Media Art</a><script data-card-contents-for-ri="18736" type="text/json">{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32875905]'), work: {"id":32875905,"title":"Unmaking: 5 Anxieties (IXDM \u0026 RIAT, Transmediale 2016)","created_at":"2017-05-06T05:23:42.537-07:00","url":"https://www.academia.edu/32875905/Unmaking_5_Anxieties_IXDM_and_RIAT_Transmediale_2016_?f_ri=6098","dom_id":"work_32875905","summary":"As part of the proceedings of the 2016 transmediale (TM) festival, the Research Institute for Arts and Technology together with Critical Media Lab Basel was invited to stage one of the festival’s many “conversation pieces”. The thematic of TM this year revolved around conversation and dialogue, and so Critical Media Lab researchers Moritz Greiner-Petter, Johannes Bruder, Shintaro Miyazaki, Felix Gerloff and Jamie Allen, along with collaborative partners Matthias Tarasiewicz and Sophie Wagner from the Vienna-based Research Institute for Arts and Technology, and researcher Tom Jenkins from the Public Design Workshop at Georgia Tech’s Digital Media program teamed up to frame a discussion session on maker and hacker culture.\n\nFor the session, entitled Unmaking: 5 Anxieties, we discussed the disappearance of the physical traction and perfidious engagement with materials in creative practice, the ignoring of material resource chains, the homogenisation and functionalization of once-radical grassroots sub-cultures and communities, and the ignoring of difference in the “maker movement.” The discussion was prompted by a set of ‘concept cards’, designed by Moritz Greiner-Petter. The form of this project apes other formats for ‘creative’ divination and process, like Oblique Strategies, IDEO’s method cards or Critical Making Cards.","downloadable_attachments":[{"id":53019527,"asset_id":32875905,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3716509,"first_name":"Matthias","last_name":"Tarasiewicz","domain_name":"riat","page_name":"parasew","display_name":"Matthias Tarasiewicz","profile_url":"https://riat.academia.edu/parasew?f_ri=6098","photo":"https://gravatar.com/avatar/049a524297f6de179a8193b87d2bb9c0?s=65"},{"id":32460208,"first_name":"Sophie-Carolin","last_name":"Wagner","domain_name":"riat","page_name":"SophieCarolinWagner","display_name":"Sophie-Carolin Wagner","profile_url":"https://riat.academia.edu/SophieCarolinWagner?f_ri=6098","photo":"https://0.academia-photos.com/32460208/9892713/17819237/s65_sophie-carolin.wagner.jpg"},{"id":4558032,"first_name":"Moritz","last_name":"Greiner-Petter","domain_name":"fhnw","page_name":"MoritzGreinerPetter","display_name":"Moritz Greiner-Petter","profile_url":"https://fhnw.academia.edu/MoritzGreinerPetter?f_ri=6098","photo":"https://0.academia-photos.com/4558032/24032018/23012858/s65_moritz.greiner-petter.png"},{"id":16734785,"first_name":"Felix","last_name":"Gerloff","domain_name":"ixdm","page_name":"FelixGerloff","display_name":"Felix Gerloff","profile_url":"https://ixdm.academia.edu/FelixGerloff?f_ri=6098","photo":"https://0.academia-photos.com/16734785/8639860/9649327/s65_felix.gerloff.jpg"}],"research_interests":[{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":14320,"name":"Digital Media And New Literacies","url":"https://www.academia.edu/Documents/in/Digital_Media_And_New_Literacies?f_ri=6098","nofollow":true},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098","nofollow":true},{"id":58400,"name":"New Media and Digital Culture","url":"https://www.academia.edu/Documents/in/New_Media_and_Digital_Culture?f_ri=6098"},{"id":100400,"name":"Hacking/Hackerspaces","url":"https://www.academia.edu/Documents/in/Hacking_Hackerspaces?f_ri=6098"},{"id":181923,"name":"Hackerspaces","url":"https://www.academia.edu/Documents/in/Hackerspaces?f_ri=6098"},{"id":185230,"name":"Makers and D.I.Y. technology","url":"https://www.academia.edu/Documents/in/Makers_and_D.I.Y._technology?f_ri=6098"},{"id":375962,"name":"Maker Culture","url":"https://www.academia.edu/Documents/in/Maker_Culture?f_ri=6098"},{"id":764945,"name":"Makerspaces","url":"https://www.academia.edu/Documents/in/Makerspaces?f_ri=6098"},{"id":837042,"name":"Critical Making","url":"https://www.academia.edu/Documents/in/Critical_Making?f_ri=6098"},{"id":1432798,"name":"Makerspaces and Learning Labs","url":"https://www.academia.edu/Documents/in/Makerspaces_and_Learning_Labs?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7069235" data-work_id="7069235" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7069235/UNNATURAL_SELECTION">UNNATURAL SELECTION</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Marking the occasion of the first group exhibition of Australian media art at Ars Electronica (as part of its 25th anniversary festival), a specially edited publication was produced, featuring the works of a group of artists whose... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7069235" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Marking the occasion of the first group exhibition of Australian media art at Ars Electronica (as part of its 25th anniversary festival), a specially edited publication was produced, featuring the works of a group of artists whose innovative practices have broadly influenced and defined the culture of media arts in Australia and internationally. Collectively the artists' statements provide a fascinating index of the complex philosophical, cultural, political and technological confluences that mediate our modern society. The 'Unnatural Selection' curatorial essay introduces key theories, themes, projects and artists.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7069235" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="28dbe485d077ca7a4d3516ffa657a8ec" rel="nofollow" data-download="{"attachment_id":33719496,"asset_id":7069235,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33719496/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2324029" href="https://monash.academia.edu/AnnieIvanova">Annie Ivanova</a><script data-card-contents-for-user="2324029" type="text/json">{"id":2324029,"first_name":"Annie","last_name":"Ivanova","domain_name":"monash","page_name":"AnnieIvanova","display_name":"Annie Ivanova","profile_url":"https://monash.academia.edu/AnnieIvanova?f_ri=6098","photo":"https://0.academia-photos.com/2324029/734780/13785712/s65_annie.ivanova.jpg"}</script></span></span></li><li class="js-paper-rank-work_7069235 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7069235"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7069235, container: ".js-paper-rank-work_7069235", }); });</script></li><li class="js-percentile-work_7069235 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7069235; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_7069235"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_7069235 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="7069235"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7069235; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7069235]").text(description); $(".js-view-count-work_7069235").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_7069235").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="7069235"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a><script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7069235]'), work: {"id":7069235,"title":"UNNATURAL SELECTION","created_at":"2014-05-16T19:09:43.895-07:00","url":"https://www.academia.edu/7069235/UNNATURAL_SELECTION?f_ri=6098","dom_id":"work_7069235","summary":"Marking the occasion of the first group exhibition of Australian media art at Ars Electronica (as part of its 25th anniversary festival), a specially edited publication was produced, featuring the works of a group of artists whose innovative practices have broadly influenced and defined the culture of media arts in Australia and internationally. Collectively the artists' statements provide a fascinating index of the complex philosophical, cultural, political and technological confluences that mediate our modern society. The 'Unnatural Selection' curatorial essay introduces key theories, themes, projects and artists.","downloadable_attachments":[{"id":33719496,"asset_id":7069235,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2324029,"first_name":"Annie","last_name":"Ivanova","domain_name":"monash","page_name":"AnnieIvanova","display_name":"Annie Ivanova","profile_url":"https://monash.academia.edu/AnnieIvanova?f_ri=6098","photo":"https://0.academia-photos.com/2324029/734780/13785712/s65_annie.ivanova.jpg"}],"research_interests":[{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10131748 coauthored" data-work_id="10131748" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10131748/Cinekyd_Exploring_the_Origins_of_Youth_Media_Productin">Cinekyd: Exploring the Origins of Youth Media Productin</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The youth media movement, which now has a place in countless venues, communities, and scholarly discourses, reflects an evolution of practices pioneered in the 1950s and 1960s as amateur filmmaking increasingly became a reality in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10131748" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The youth media movement, which now has a place in countless venues, communities, and scholarly discourses, reflects an evolution of practices pioneered in the 1950s and 1960s as amateur filmmaking increasingly became a reality in American families and schools. In this paper, we examine the films of Robert J. Clark, Jr. as a representative early example of predominant modes of expression within the youth media community. We seek to identify the links between past and present in the continued popularization of youth media practices in schools, after-school learning environments, and camps as an issue of significant importance for archivists and historians., communities, and schools. This paper examines the historical development of a youth media practitioner who worked in both a school and an after-school learning environment for over 25 years, beginning in 1970 and continuing to 2005. We conducted a study of narrative feature-length films created by children ages 9 – 17 from a private archive of youth media work collected by the founder of Cinekyd, a for-profit youth media project developed in Philadelphia by the program’s founder, Robert J. Clark, Jr. In this paper, we track the evolution of four films created between 1976 – 1982 as both historical film objects and as evidence of learning experiences. Though its amateurishness can often be strange, even off-putting, to wider audiences (one reason why much youth media is rarely showcased and often discarded upon completion), youth media and documentation of its creation also offer insights on the relationship between children and their adult mentors and between youth media authors and their presumed and real audiences.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10131748" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d896650cf805134463bfa462cee4a0f8" rel="nofollow" data-download="{"attachment_id":36245088,"asset_id":10131748,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36245088/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="869873" href="https://uri.academia.edu/ReneeHobbs">Renee Hobbs</a><script data-card-contents-for-user="869873" type="text/json">{"id":869873,"first_name":"Renee","last_name":"Hobbs","domain_name":"uri","page_name":"ReneeHobbs","display_name":"Renee Hobbs","profile_url":"https://uri.academia.edu/ReneeHobbs?f_ri=6098","photo":"https://0.academia-photos.com/869873/8316796/9301533/s65_renee.hobbs.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-10131748">+1</span><div class="hidden js-additional-users-10131748"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/DavidCooperMoore">David Cooper Moore</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-10131748'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-10131748').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_10131748 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10131748"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10131748, container: ".js-paper-rank-work_10131748", }); });</script></li><li class="js-percentile-work_10131748 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10131748; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_10131748"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_10131748 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="10131748"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10131748; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10131748]").text(description); $(".js-view-count-work_10131748").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10131748").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10131748"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a>, <script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8264" rel="nofollow" href="https://www.academia.edu/Documents/in/Community_Media">Community Media</a>, <script data-card-contents-for-ri="8264" type="text/json">{"id":8264,"name":"Community Media","url":"https://www.academia.edu/Documents/in/Community_Media?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8280" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Literacy">Media Literacy</a>, <script data-card-contents-for-ri="8280" type="text/json">{"id":8280,"name":"Media Literacy","url":"https://www.academia.edu/Documents/in/Media_Literacy?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="26318" rel="nofollow" href="https://www.academia.edu/Documents/in/Youth_Media">Youth Media</a><script data-card-contents-for-ri="26318" type="text/json">{"id":26318,"name":"Youth Media","url":"https://www.academia.edu/Documents/in/Youth_Media?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10131748]'), work: {"id":10131748,"title":"Cinekyd: Exploring the Origins of Youth Media Productin","created_at":"2015-01-12T13:49:20.970-08:00","url":"https://www.academia.edu/10131748/Cinekyd_Exploring_the_Origins_of_Youth_Media_Productin?f_ri=6098","dom_id":"work_10131748","summary":"\tThe youth media movement, which now has a place in countless venues, communities, and scholarly discourses, reflects an evolution of practices pioneered in the 1950s and 1960s as amateur filmmaking increasingly became a reality in American families and schools. In this paper, we examine the films of Robert J. Clark, Jr. as a representative early example of predominant modes of expression within the youth media community. We seek to identify the links between past and present in the continued popularization of youth media practices in schools, after-school learning environments, and camps as an issue of significant importance for archivists and historians., communities, and schools. This paper examines the historical development of a youth media practitioner who worked in both a school and an after-school learning environment for over 25 years, beginning in 1970 and continuing to 2005. We conducted a study of narrative feature-length films created by children ages 9 – 17 from a private archive of youth media work collected by the founder of Cinekyd, a for-profit youth media project developed in Philadelphia by the program’s founder, Robert J. Clark, Jr. In this paper, we track the evolution of four films created between 1976 – 1982 as both historical film objects and as evidence of learning experiences. Though its amateurishness can often be strange, even off-putting, to wider audiences (one reason why much youth media is rarely showcased and often discarded upon completion), youth media and documentation of its creation also offer insights on the relationship between children and their adult mentors and between youth media authors and their presumed and real audiences. \n","downloadable_attachments":[{"id":36245088,"asset_id":10131748,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":869873,"first_name":"Renee","last_name":"Hobbs","domain_name":"uri","page_name":"ReneeHobbs","display_name":"Renee Hobbs","profile_url":"https://uri.academia.edu/ReneeHobbs?f_ri=6098","photo":"https://0.academia-photos.com/869873/8316796/9301533/s65_renee.hobbs.png"},{"id":24733186,"first_name":"David Cooper","last_name":"Moore","domain_name":"independent","page_name":"DavidCooperMoore","display_name":"David Cooper Moore","profile_url":"https://independent.academia.edu/DavidCooperMoore?f_ri=6098","photo":"https://gravatar.com/avatar/a121a4535190c65657b376ac14d9faea?s=65"}],"research_interests":[{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":8264,"name":"Community Media","url":"https://www.academia.edu/Documents/in/Community_Media?f_ri=6098","nofollow":true},{"id":8280,"name":"Media Literacy","url":"https://www.academia.edu/Documents/in/Media_Literacy?f_ri=6098","nofollow":true},{"id":26318,"name":"Youth Media","url":"https://www.academia.edu/Documents/in/Youth_Media?f_ri=6098","nofollow":true},{"id":32648,"name":"Critical Media Literacy","url":"https://www.academia.edu/Documents/in/Critical_Media_Literacy?f_ri=6098"},{"id":54277,"name":"Media Production","url":"https://www.academia.edu/Documents/in/Media_Production?f_ri=6098"},{"id":55485,"name":"Filmmaking","url":"https://www.academia.edu/Documents/in/Filmmaking?f_ri=6098"},{"id":506303,"name":"History of Communication Research","url":"https://www.academia.edu/Documents/in/History_of_Communication_Research?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39002052" data-work_id="39002052" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39002052/Los_poderes_de_la_imagen_Ensayo_sobre_cuerpo_y_muerte_en_la_cultura_audiovisual">Los poderes de la imagen. Ensayo sobre cuerpo y muerte en la cultura audiovisual</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">¿CUÁL ES LA RELACIÓN entre la circulación desbordante de imágenes y la imagen que construimos de nuestro cuerpo? ¿En qué medida esta relación informa nuestros modos de acercarnos a la muerte? Estas preguntas son los detonantes de las... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39002052" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">¿CUÁL ES LA RELACIÓN entre la circulación desbordante de imágenes y la imagen que construimos de nuestro cuerpo? ¿En qué medida esta relación informa nuestros modos de acercarnos a la muerte? Estas preguntas son los detonantes de las reflexiones reunidas en este libro que, a través de distintos diálogos con escritores, artistas, cineastas y pensadores como Harun Farocki, Cao Guimaraes, Amanda de la Garza, Narciso Contreras, Irene Azuela, Iván Ruiz, entre otros, se sumerge en los modos en que el consumo audiovisual informa nuestra vida cotidiana. Esta obra se asume como una invitación para que cualquiera participe de estos cuestionamientos y se adentre, sin temor, a los laberintos del paisaje audiovisual contemporáneo.<br /><br />AMAZON: <a href="https://www.amazon.com.mx/LOS-PODERES-IMAGEN-cultura-audiovisual-ebook/dp/B07L6NGHRX" rel="nofollow">https://www.amazon.com.mx/LOS-PODERES-IMAGEN-cultura-audiovisual-ebook/dp/B07L6NGHRX</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39002052" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d8a6aaac3fad5199bb5e4528f4bd6920" rel="nofollow" data-download="{"attachment_id":59109595,"asset_id":39002052,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59109595/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33865110" href="https://iberoamericana.academia.edu/PabloMartinezZarate">Pablo Martinez Zarate</a><script data-card-contents-for-user="33865110" type="text/json">{"id":33865110,"first_name":"Pablo","last_name":"Martinez Zarate","domain_name":"iberoamericana","page_name":"PabloMartinezZarate","display_name":"Pablo Martinez Zarate","profile_url":"https://iberoamericana.academia.edu/PabloMartinezZarate?f_ri=6098","photo":"https://0.academia-photos.com/33865110/10006464/11160645/s65_pablo.martinez_zarate.jpg"}</script></span></span></li><li class="js-paper-rank-work_39002052 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39002052"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39002052, container: ".js-paper-rank-work_39002052", }); });</script></li><li class="js-percentile-work_39002052 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39002052; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39002052"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39002052 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39002052"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39002052; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39002052]").text(description); $(".js-view-count-work_39002052").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39002052").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39002052"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8" rel="nofollow" href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3392" rel="nofollow" href="https://www.academia.edu/Documents/in/Critical_Pedagogy">Critical Pedagogy</a><script data-card-contents-for-ri="3392" type="text/json">{"id":3392,"name":"Critical Pedagogy","url":"https://www.academia.edu/Documents/in/Critical_Pedagogy?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39002052]'), work: {"id":39002052,"title":"Los poderes de la imagen. Ensayo sobre cuerpo y muerte en la cultura audiovisual","created_at":"2019-05-02T06:49:36.193-07:00","url":"https://www.academia.edu/39002052/Los_poderes_de_la_imagen_Ensayo_sobre_cuerpo_y_muerte_en_la_cultura_audiovisual?f_ri=6098","dom_id":"work_39002052","summary":"¿CUÁL ES LA RELACIÓN entre la circulación desbordante de imágenes y la imagen que construimos de nuestro cuerpo? ¿En qué medida esta relación informa nuestros modos de acercarnos a la muerte? Estas preguntas son los detonantes de las reflexiones reunidas en este libro que, a través de distintos diálogos con escritores, artistas, cineastas y pensadores como Harun Farocki, Cao Guimaraes, Amanda de la Garza, Narciso Contreras, Irene Azuela, Iván Ruiz, entre otros, se sumerge en los modos en que el consumo audiovisual informa nuestra vida cotidiana. Esta obra se asume como una invitación para que cualquiera participe de estos cuestionamientos y se adentre, sin temor, a los laberintos del paisaje audiovisual contemporáneo.\n\nAMAZON: https://www.amazon.com.mx/LOS-PODERES-IMAGEN-cultura-audiovisual-ebook/dp/B07L6NGHRX","downloadable_attachments":[{"id":59109595,"asset_id":39002052,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33865110,"first_name":"Pablo","last_name":"Martinez Zarate","domain_name":"iberoamericana","page_name":"PabloMartinezZarate","display_name":"Pablo Martinez Zarate","profile_url":"https://iberoamericana.academia.edu/PabloMartinezZarate?f_ri=6098","photo":"https://0.academia-photos.com/33865110/10006464/11160645/s65_pablo.martinez_zarate.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=6098","nofollow":true},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=6098","nofollow":true},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true},{"id":3392,"name":"Critical Pedagogy","url":"https://www.academia.edu/Documents/in/Critical_Pedagogy?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":11452,"name":"Memory Studies","url":"https://www.academia.edu/Documents/in/Memory_Studies?f_ri=6098"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4385746" data-work_id="4385746" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4385746/Maria_Popova_Reality_TV_in_Bulgaria_Sens_Public">Maria Popova-Reality TV in Bulgaria-Sens Public</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Reality TV appearance results from the media content changes, the infotainment development, the media use enlargement, the creation of quality, mass, thematic universal media products, sold at for low costs and for big profits. The... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4385746" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Reality TV appearance results from the media content changes, the infotainment development, the media use enlargement, the creation of quality, mass, thematic universal media products, sold at for low costs and for big profits. The Reality TV significant contribution is the discrepancy between public and private, the viewers' possibility to see themselves and their problems into participants' behavior. Although the Reality TV shows present voyeurism, scandal and conflict, media audience may control the program narrative. These programs are entertainment form, but they engage the society with charity, define the media agenda setting, and present definitive socio-cultural models, national peculiarities, which answer to the media audience needs, which are general as cultural sense and social behavior. There are different Reality TV forms worldwide. Most of them represent local edition for the local media audience. In Bulgaria the Reality TV started in 2004 and it has had significant influence of the media content ever since. The Reality TV places substantial problems at the media sphere, connected with media reliability, media post-colonialism, media manipulation, and media pluralism.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4385746" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2841955a3eba55a94d6cf9ee69eb7563" rel="nofollow" data-download="{"attachment_id":31819477,"asset_id":4385746,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31819477/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5370096" href="https://uni-sofia.academia.edu/MariaPopova">Maria Popova</a><script data-card-contents-for-user="5370096" type="text/json">{"id":5370096,"first_name":"Maria","last_name":"Popova","domain_name":"uni-sofia","page_name":"MariaPopova","display_name":"Maria Popova","profile_url":"https://uni-sofia.academia.edu/MariaPopova?f_ri=6098","photo":"https://0.academia-photos.com/5370096/2357690/2747919/s65_maria.popova.jpg"}</script></span></span></li><li class="js-paper-rank-work_4385746 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4385746"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4385746, container: ".js-paper-rank-work_4385746", }); 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The Reality TV significant contribution is the discrepancy between public and private, the viewers' possibility to see themselves and their problems into participants' behavior. Although the Reality TV shows present voyeurism, scandal and conflict, media audience may control the program narrative. These programs are entertainment form, but they engage the society with charity, define the media agenda setting, and present definitive socio-cultural models, national peculiarities, which answer to the media audience needs, which are general as cultural sense and social behavior. There are different Reality TV forms worldwide. Most of them represent local edition for the local media audience. In Bulgaria the Reality TV started in 2004 and it has had significant influence of the media content ever since. The Reality TV places substantial problems at the media sphere, connected with media reliability, media post-colonialism, media manipulation, and media pluralism.","downloadable_attachments":[{"id":31819477,"asset_id":4385746,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5370096,"first_name":"Maria","last_name":"Popova","domain_name":"uni-sofia","page_name":"MariaPopova","display_name":"Maria Popova","profile_url":"https://uni-sofia.academia.edu/MariaPopova?f_ri=6098","photo":"https://0.academia-photos.com/5370096/2357690/2747919/s65_maria.popova.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true},{"id":994,"name":"Journalism","url":"https://www.academia.edu/Documents/in/Journalism?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":7423,"name":"Media 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href="https://www.academia.edu/Documents/in/Experimental_Media_Arts">Experimental Media Arts</a><script data-card-contents-for-ri="3189" type="text/json">{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=23609749]'), work: {"id":23609749,"title":"在場影像 / Image Present","created_at":"2016-03-23T05:46:21.900-07:00","url":"https://www.academia.edu/23609749/%E5%9C%A8%E5%A0%B4%E5%BD%B1%E5%83%8F_Image_Present?f_ri=6098","dom_id":"work_23609749","summary":null,"downloadable_attachments":[{"id":44027404,"asset_id":23609749,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5270124,"first_name":"Yung Hao Liu","last_name":"劉永晧","domain_name":"shih-hsin","page_name":"YHLiu","display_name":"Yung Hao Liu 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u-pv7x u-mb0x js-work-card work_19607904" data-work_id="19607904" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19607904/Performance_in_Disguise_Notes_on_Gibson_Martelli">Performance in Disguise: Notes on Gibson/Martelli</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Catalogue essay to accompany the exhibition Gibson/Martelli: MAN A, at the Jaffe Fried Gallery, Hopkins Centre for the Arts, Dartmouth College. 22nd September -- 22nd November 2015.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19607904" data-share-source="work_strip" 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Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2080" rel="nofollow" href="https://www.academia.edu/Documents/in/Installation_Art">Installation Art</a>, <script data-card-contents-for-ri="2080" type="text/json">{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2337" rel="nofollow" href="https://www.academia.edu/Documents/in/Performance_Studies">Performance Studies</a>, <script data-card-contents-for-ri="2337" type="text/json">{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script 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","downloadable_attachments":[{"id":40729390,"asset_id":19607904,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":24485,"first_name":"David","last_name":"Surman","domain_name":"independent","page_name":"DavidSurman","display_name":"David Surman","profile_url":"https://independent.academia.edu/DavidSurman?f_ri=6098","photo":"https://0.academia-photos.com/24485/7976/13645557/s65_david.surman.jpg"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=6098","nofollow":true},{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=6098","nofollow":true},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=6098","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6098","nofollow":true},{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098"},{"id":5673,"name":"Augmented Reality","url":"https://www.academia.edu/Documents/in/Augmented_Reality?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":6861,"name":"New Media Performance and Installation","url":"https://www.academia.edu/Documents/in/New_Media_Performance_and_Installation?f_ri=6098"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098"},{"id":26162,"name":"Mobile application development","url":"https://www.academia.edu/Documents/in/Mobile_application_development?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38795447" data-work_id="38795447" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38795447/Art_Games_Interactivity_and_the_Embodied_Gaze">Art Games: Interactivity and the Embodied Gaze</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">One of the most salient differences between fine art and new media art lies in the possibility for interactivity. Interactivity is not simply an inherent quality of new media, it also relates to a crucial ethico-aesthetic premise... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38795447" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">One of the most salient differences between fine art and new media art lies in the possibility for interactivity. Interactivity is not simply an inherent quality of new media, it also relates to a crucial ethico-aesthetic premise informing deconstructive art from Dada and Surrealism through radical art of the 1960s and 1970s and into the present. The ethico-aesthetic premise in question concerns breaking down the barrier between the viewer and the work of art and bringing art into life. More specifically the goal is to bring creativity into everyday life as an antidote to alienation and reification. Whereas new media art finds it relatively easy to devise art games that encourage creative involvement on the part of the viewer, fine art is severely hindered in its attempts in this direction by the traditional focus on the artist-genius and the transformation of the artistic product (whatever its material) into a precious object. It will be shown that creative games exist in fine art but they are for the most part designed by the artist for the artist. This is even the case with the most radical fine artists celebrated at the turn of the millennium such as Rirkrit Tiravanija who Nicolas Bourriaud put forward as a prime instance of so-called relational aesthetics.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38795447" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0a3d5997d3c34f382f56e1005cb93793" rel="nofollow" data-download="{"attachment_id":58886073,"asset_id":38795447,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58886073/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4481719" href="https://trans-techresearch.academia.edu/lizcoultersmith">Liz Coulter-Smith</a><script data-card-contents-for-user="4481719" type="text/json">{"id":4481719,"first_name":"Liz","last_name":"Coulter-Smith","domain_name":"trans-techresearch","page_name":"lizcoultersmith","display_name":"Liz Coulter-Smith","profile_url":"https://trans-techresearch.academia.edu/lizcoultersmith?f_ri=6098","photo":"https://0.academia-photos.com/4481719/3279023/64090380/s65_liz.coulter-smith.jpeg"}</script></span></span></li><li class="js-paper-rank-work_38795447 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38795447"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38795447, container: ".js-paper-rank-work_38795447", }); 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$(".js-view-count[data-work-id=38795447]").text(description); $(".js-view-count-work_38795447").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38795447").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38795447"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="472" rel="nofollow" href="https://www.academia.edu/Documents/in/Human_Computer_Interaction">Human Computer Interaction</a>, <script data-card-contents-for-ri="472" type="text/json">{"id":472,"name":"Human Computer Interaction","url":"https://www.academia.edu/Documents/in/Human_Computer_Interaction?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="933" rel="nofollow" href="https://www.academia.edu/Documents/in/New_Media">New Media</a>, <script data-card-contents-for-ri="933" type="text/json">{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2080" rel="nofollow" href="https://www.academia.edu/Documents/in/Installation_Art">Installation Art</a>, <script data-card-contents-for-ri="2080" type="text/json">{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38795447]'), work: {"id":38795447,"title":"Art Games: Interactivity and the Embodied Gaze","created_at":"2019-04-13T04:27:24.008-07:00","url":"https://www.academia.edu/38795447/Art_Games_Interactivity_and_the_Embodied_Gaze?f_ri=6098","dom_id":"work_38795447","summary":"One of the most salient differences between fine art and new media art lies in the possibility for interactivity. Interactivity is not simply an inherent quality of new media, it also relates to a crucial ethico-aesthetic premise informing deconstructive art from Dada and Surrealism through radical art of the 1960s and 1970s and into the present. The ethico-aesthetic premise in question concerns breaking down the barrier between the viewer and the work of art and bringing art into life. More specifically the goal is to bring creativity into everyday life as an antidote to alienation and reification. Whereas new media art finds it relatively easy to devise art games that encourage creative involvement on the part of the viewer, fine art is severely hindered in its attempts in this direction by the traditional focus on the artist-genius and the transformation of the artistic product (whatever its material) into a precious object. It will be shown that creative games exist in fine art but they are for the most part designed by the artist for the artist. This is even the case with the most radical fine artists celebrated at the turn of the millennium such as Rirkrit Tiravanija who Nicolas Bourriaud put forward as a prime instance of so-called relational aesthetics.","downloadable_attachments":[{"id":58886073,"asset_id":38795447,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4481719,"first_name":"Liz","last_name":"Coulter-Smith","domain_name":"trans-techresearch","page_name":"lizcoultersmith","display_name":"Liz Coulter-Smith","profile_url":"https://trans-techresearch.academia.edu/lizcoultersmith?f_ri=6098","photo":"https://0.academia-photos.com/4481719/3279023/64090380/s65_liz.coulter-smith.jpeg"}],"research_interests":[{"id":472,"name":"Human Computer Interaction","url":"https://www.academia.edu/Documents/in/Human_Computer_Interaction?f_ri=6098","nofollow":true},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6098","nofollow":true},{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=6098","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6098","nofollow":true},{"id":4416,"name":"Interaction Design","url":"https://www.academia.edu/Documents/in/Interaction_Design?f_ri=6098"},{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=6098"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":21548,"name":"Cognitive Neuroscience","url":"https://www.academia.edu/Documents/in/Cognitive_Neuroscience?f_ri=6098"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=6098"},{"id":73768,"name":"Relational aesthetics","url":"https://www.academia.edu/Documents/in/Relational_aesthetics?f_ri=6098"},{"id":516403,"name":"Neuroaestehtics","url":"https://www.academia.edu/Documents/in/Neuroaestehtics?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_50165174" data-work_id="50165174" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/50165174/Screen_Bodies_5_1">Screen Bodies 5.1</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/50165174" data-share-source="work_strip" 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itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="98940338" href="https://emerson.academia.edu/AndrewBall">Andrew Ball</a><script data-card-contents-for-user="98940338" type="text/json">{"id":98940338,"first_name":"Andrew","last_name":"Ball","domain_name":"emerson","page_name":"AndrewBall","display_name":"Andrew Ball","profile_url":"https://emerson.academia.edu/AndrewBall?f_ri=6098","photo":"https://0.academia-photos.com/98940338/21569696/20923756/s65_andrew.ball.jpg"}</script></span></span></li><li class="js-paper-rank-work_50165174 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="50165174"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 50165174, container: ".js-paper-rank-work_50165174", }); });</script></li><li 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var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=50165174]").text(description); $(".js-view-count-work_50165174").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_50165174").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="50165174"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="465" rel="nofollow" href="https://www.academia.edu/Documents/in/Artificial_Intelligence">Artificial Intelligence</a>, <script data-card-contents-for-ri="465" type="text/json">{"id":465,"name":"Artificial Intelligence","url":"https://www.academia.edu/Documents/in/Artificial_Intelligence?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="821" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Science">Philosophy of Science</a>, <script data-card-contents-for-ri="821" type="text/json">{"id":821,"name":"Philosophy of Science","url":"https://www.academia.edu/Documents/in/Philosophy_of_Science?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="855" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Technology">Philosophy of Technology</a>, <script data-card-contents-for-ri="855" type="text/json">{"id":855,"name":"Philosophy of Technology","url":"https://www.academia.edu/Documents/in/Philosophy_of_Technology?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="863" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a><script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=50165174]'), work: {"id":50165174,"title":"Screen Bodies 5.1","created_at":"2021-07-22T11:40:01.430-07:00","url":"https://www.academia.edu/50165174/Screen_Bodies_5_1?f_ri=6098","dom_id":"work_50165174","summary":null,"downloadable_attachments":[{"id":68253802,"asset_id":50165174,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":98940338,"first_name":"Andrew","last_name":"Ball","domain_name":"emerson","page_name":"AndrewBall","display_name":"Andrew Ball","profile_url":"https://emerson.academia.edu/AndrewBall?f_ri=6098","photo":"https://0.academia-photos.com/98940338/21569696/20923756/s65_andrew.ball.jpg"}],"research_interests":[{"id":465,"name":"Artificial Intelligence","url":"https://www.academia.edu/Documents/in/Artificial_Intelligence?f_ri=6098","nofollow":true},{"id":821,"name":"Philosophy of Science","url":"https://www.academia.edu/Documents/in/Philosophy_of_Science?f_ri=6098","nofollow":true},{"id":855,"name":"Philosophy of Technology","url":"https://www.academia.edu/Documents/in/Philosophy_of_Technology?f_ri=6098","nofollow":true},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=6098","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6098"},{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098"},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=6098"},{"id":3331,"name":"New Media Arts","url":"https://www.academia.edu/Documents/in/New_Media_Arts?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":7423,"name":"Media Art","url":"https://www.academia.edu/Documents/in/Media_Art?f_ri=6098"},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=6098"},{"id":9031,"name":"Media Arts and Sciences","url":"https://www.academia.edu/Documents/in/Media_Arts_and_Sciences?f_ri=6098"},{"id":17760,"name":"Digital Arts","url":"https://www.academia.edu/Documents/in/Digital_Arts?f_ri=6098"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=6098"},{"id":22047,"name":"Digital Media Art","url":"https://www.academia.edu/Documents/in/Digital_Media_Art?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44643554" data-work_id="44643554" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44643554/Software_Based_Media_Art_From_the_Artistic_Exhibition_to_the_Conservation_Models">Software-Based Media Art: From the Artistic Exhibition to the Conservation Models</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This chapter illustrates the reaction to the preservation and conservation of software-based media art and summarizes the crucial ideas and questions that involve this emergent area of conservation. The chapter analyzes the role in which... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44643554" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This chapter illustrates the reaction to the preservation and conservation of software-based media art and summarizes the crucial ideas and questions that involve this emergent area of conservation. The chapter analyzes the role in which conservators explore the impact of the method, attitudes to change, technology obsolescence, and the influence of the how the artist imagines and understands their practice on the conservation of these works as they enter the exhibition space. In addressing the conservation of software-based media art, this chapter highlights the variety of knowledge and expertise required: expertise that is personified in the teamwork of those who support these functions. The author completes the chapter by recommending that developing and maintaining these efforts has become a crucial part of the software-based media conservator's role.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44643554" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6339a7be30a7221c49a23dab28f62808" rel="nofollow" data-download="{"attachment_id":65113996,"asset_id":44643554,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65113996/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9167549" href="https://upt-pt.academia.edu/EmiliaSimao">Emilia Simao</a><script data-card-contents-for-user="9167549" type="text/json">{"id":9167549,"first_name":"Emilia","last_name":"Simao","domain_name":"upt-pt","page_name":"EmiliaSimao","display_name":"Emilia Simao","profile_url":"https://upt-pt.academia.edu/EmiliaSimao?f_ri=6098","photo":"https://0.academia-photos.com/9167549/3097580/29473784/s65_emilia.simao.jpg"}</script></span></span></li><li class="js-paper-rank-work_44643554 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44643554"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44643554, container: ".js-paper-rank-work_44643554", }); 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Media Art \u0026 Emerging Practices","url":"https://www.academia.edu/Documents/in/New_Media_Art_and_Emerging_Practices?f_ri=6098","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35947612 coauthored" data-work_id="35947612" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35947612/1970%E5%B9%B4%E4%BB%A3%E6%97%A5%E6%9C%AC%E7%BE%8E%E8%A1%93%E9%96%A2%E9%80%A3%E8%B3%87%E6%96%99%E3%81%AE%E6%95%B4%E5%82%99_VIDEO_INFORMATION_CENTER_Archiving_1970s_Japanese_Arts_Materials_VIDEO_INFORMATION_CENTER_">1970年代日本美術関連資料の整備：VIDEO INFORMATION CENTER（Archiving 1970s Japanese Arts Materials: VIDEO INFORMATION CENTER）</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Video Information Center と 1970年代アートの記録（本間友） Video Information Center 年譜 1972–1977 目録：VICビデオライブラリ資料の概要と利用条件 Video Information Center and the Documentation of Art in the 1970s (Yu Homma) Chronology of Video Information Center, from 1972... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35947612" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Video Information Center と 1970年代アートの記録（本間友）<br />Video Information Center 年譜 1972–1977<br />目録：VICビデオライブラリ<br />資料の概要と利用条件<br /><br />Video Information Center and the Documentation of Art in the 1970s (Yu Homma)<br />Chronology of Video Information Center, from 1972 to 1977<br />VIC Video Library Catalogue<br />Collection Information and Conditions of Use<br /><br />==<br />編集：本間友、久保仁志　翻訳：枝村泰典<br />協力：手塚一郎（VIC）、新井知行（国際舞台芸術交流センター）<br /><br />Editors: Yu Homma, Hitoshi Kubo (Keio University Art Center)<br />Translator: Taisuke Edamura<br />Support: Ichiro Tezuka (VIC), Tomoyuki Arai (PARC)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35947612" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bcedfb64a0d5ec4a451989cfb35cc3a8" rel="nofollow" data-download="{"attachment_id":55830118,"asset_id":35947612,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-35947612">+1</span><div class="hidden js-additional-users-35947612"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://essex.academia.edu/TaisukeEdamura">Taisuke Edamura</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-35947612'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-35947612').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_35947612 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35947612"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35947612, 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Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6100" rel="nofollow" href="https://www.academia.edu/Documents/in/Video_Art">Video Art</a>, <script data-card-contents-for-ri="6100" type="text/json">{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6716" rel="nofollow" href="https://www.academia.edu/Documents/in/Japanese_Art">Japanese Art</a>, <script data-card-contents-for-ri="6716" type="text/json">{"id":6716,"name":"Japanese Art","url":"https://www.academia.edu/Documents/in/Japanese_Art?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7513" rel="nofollow" href="https://www.academia.edu/Documents/in/Archives">Archives</a><script data-card-contents-for-ri="7513" type="text/json">{"id":7513,"name":"Archives","url":"https://www.academia.edu/Documents/in/Archives?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35947612]'), work: {"id":35947612,"title":"1970年代日本美術関連資料の整備：VIDEO INFORMATION CENTER（Archiving 1970s Japanese Arts Materials: VIDEO INFORMATION CENTER）","created_at":"2018-02-17T19:39:29.920-08:00","url":"https://www.academia.edu/35947612/1970%E5%B9%B4%E4%BB%A3%E6%97%A5%E6%9C%AC%E7%BE%8E%E8%A1%93%E9%96%A2%E9%80%A3%E8%B3%87%E6%96%99%E3%81%AE%E6%95%B4%E5%82%99_VIDEO_INFORMATION_CENTER_Archiving_1970s_Japanese_Arts_Materials_VIDEO_INFORMATION_CENTER_?f_ri=6098","dom_id":"work_35947612","summary":"Video Information Center と 1970年代アートの記録（本間友）\nVideo Information Center 年譜 1972–1977\n目録：VICビデオライブラリ\n資料の概要と利用条件\n\nVideo Information Center and the Documentation of Art in the 1970s (Yu Homma)\nChronology of Video Information Center, from 1972 to 1977\nVIC Video Library Catalogue\nCollection Information and Conditions of Use\n\n==\n編集：本間友、久保仁志　翻訳：枝村泰典\n協力：手塚一郎（VIC）、新井知行（国際舞台芸術交流センター）\n\nEditors: Yu Homma, Hitoshi Kubo (Keio University Art Center)\nTranslator: Taisuke Edamura\nSupport: Ichiro Tezuka (VIC), Tomoyuki Arai (PARC)","downloadable_attachments":[{"id":55830118,"asset_id":35947612,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4408578,"first_name":"Yu","last_name":"Homma","domain_name":"keio","page_name":"yuhomma","display_name":"Yu Homma","profile_url":"https://keio.academia.edu/yuhomma?f_ri=6098","photo":"https://0.academia-photos.com/4408578/1790988/2136742/s65_yu.homma.jpg"},{"id":150117,"first_name":"Taisuke","last_name":"Edamura","domain_name":"essex","page_name":"TaisukeEdamura","display_name":"Taisuke 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33971357/_2015_Experiments_in_art_and_value_Burning_Bitcoins_to_buy_Ai_Weiwei">[2015] Experiments in art and value: Burning Bitcoins to buy Ai Weiwei</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Critical new media art is based on research-based art practice. It is both research-and process-oriented, so that the final result is not " completed " works (products) but rather process artifacts. This paper describes the artistic... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33971357" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Critical new media art is based on research-based art practice. It is both research-and process-oriented, so that the final result is not " completed " works (products) but rather process artifacts. This paper describes the artistic research and development of the art-group " Artistic Bokeh " , which is developing new documentation formats, and conducting experiments about the value of artistic practice and labor.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33971357" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7787f698f0c9a485d0a300b7c3ae5d72" rel="nofollow" data-download="{"attachment_id":53925735,"asset_id":33971357,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53925735/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="135346" href="https://riat.academia.edu/AndrewNewman">Andrew Newman</a><script data-card-contents-for-user="135346" type="text/json">{"id":135346,"first_name":"Andrew","last_name":"Newman","domain_name":"riat","page_name":"AndrewNewman","display_name":"Andrew Newman","profile_url":"https://riat.academia.edu/AndrewNewman?f_ri=6098","photo":"https://0.academia-photos.com/135346/35930/17652465/s65_andrew.newman.png"}</script></span></span></li><li class="js-paper-rank-work_33971357 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33971357"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33971357, container: ".js-paper-rank-work_33971357", }); 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It is both research-and process-oriented, so that the final result is not \" completed \" works (products) but rather process artifacts. This paper describes the artistic research and development of the art-group \" Artistic Bokeh \" , which is developing new documentation formats, and conducting experiments about the value of artistic practice and labor.","downloadable_attachments":[{"id":53925735,"asset_id":33971357,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":135346,"first_name":"Andrew","last_name":"Newman","domain_name":"riat","page_name":"AndrewNewman","display_name":"Andrew Newman","profile_url":"https://riat.academia.edu/AndrewNewman?f_ri=6098","photo":"https://0.academia-photos.com/135346/35930/17652465/s65_andrew.newman.png"}],"research_interests":[{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098","nofollow":true},{"id":20168,"name":"Artistic Research","url":"https://www.academia.edu/Documents/in/Artistic_Research?f_ri=6098","nofollow":true},{"id":281112,"name":"Bitcoin","url":"https://www.academia.edu/Documents/in/Bitcoin?f_ri=6098"},{"id":740091,"name":"Cryptocurrency","url":"https://www.academia.edu/Documents/in/Cryptocurrency?f_ri=6098"},{"id":1150104,"name":"Cryptocurrencies","url":"https://www.academia.edu/Documents/in/Cryptocurrencies?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25891678" data-work_id="25891678" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25891678/Art_Error_and_the_Interstices_of_Power">Art, Error, and the Interstices of Power</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The artistic use of error has a long history, and this essay attempts to reconstruct the genealogy of the relationship between artists and error. It then goes on to analyze the characteristics of technological error used in art along with... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25891678" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The artistic use of error has a long history, and this essay attempts to reconstruct the genealogy of the relationship between artists and error. It then goes on to analyze the characteristics of technological error used in art along with the reasons for its appreciation by media artists and media activists. Finally, it contextualizes the practices of media art and media activism taken as exemplars in questions bound to contemporary technological power. The aim of this theoretical trajectory is to understand how error is used, for what purposes, and with what outcomes. Further, its goal is to determine whether and how the current popularity of technological error is bound to a certain relationship with technological power, the characteristics of which are control, regulation, prevention, and normalization.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25891678" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="26ac7eb28f2646321aee4f5d00edb1b3" rel="nofollow" data-download="{"attachment_id":46256995,"asset_id":25891678,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46256995/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2539353" href="https://skidmore.academia.edu/EmilioVavarella">Emilio Vavarella</a><script data-card-contents-for-user="2539353" type="text/json">{"id":2539353,"first_name":"Emilio","last_name":"Vavarella","domain_name":"skidmore","page_name":"EmilioVavarella","display_name":"Emilio Vavarella","profile_url":"https://skidmore.academia.edu/EmilioVavarella?f_ri=6098","photo":"https://0.academia-photos.com/2539353/3727916/131374964/s65_emilio.vavarella.jpeg"}</script></span></span></li><li class="js-paper-rank-work_25891678 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25891678"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25891678, container: ".js-paper-rank-work_25891678", }); 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It then goes on to analyze the characteristics of technological error used in art along with the reasons for its appreciation by media artists and media activists. Finally, it contextualizes the practices of media art and media activism taken as exemplars in questions bound to contemporary technological power. The aim of this theoretical trajectory is to understand how error is used, for what purposes, and with what outcomes. Further, its goal is to determine whether and how the current popularity of technological error is bound to a certain relationship with technological power, the characteristics of which are control, regulation, prevention, and normalization.","downloadable_attachments":[{"id":46256995,"asset_id":25891678,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2539353,"first_name":"Emilio","last_name":"Vavarella","domain_name":"skidmore","page_name":"EmilioVavarella","display_name":"Emilio Vavarella","profile_url":"https://skidmore.academia.edu/EmilioVavarella?f_ri=6098","photo":"https://0.academia-photos.com/2539353/3727916/131374964/s65_emilio.vavarella.jpeg"}],"research_interests":[{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":8281,"name":"Media Activism","url":"https://www.academia.edu/Documents/in/Media_Activism?f_ri=6098","nofollow":true},{"id":144923,"name":"Virality","url":"https://www.academia.edu/Documents/in/Virality?f_ri=6098","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33899727 coauthored" data-work_id="33899727" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33899727/Visualizando_la_ciudad_glocal_Modelos_y_paradigmas_de_una_relaci%C3%B3n_creativa_entre_el_dato_y_su_representaci%C3%B3n_en_el_entorno_arquitect%C3%B3nico">Visualizando la ciudad glocal. Modelos y paradigmas de una relación creativa entre el dato y su representación en el entorno arquitectónico</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Visualizando la ciudad glocal. Modelos y paradigmas de una relación creativa entre el dato y su representación en el entorno arquitectónico Visualizing the glocal city. Models and paradigms of a creative relationship between the data and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33899727" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Visualizando la ciudad glocal. Modelos y paradigmas de una relación creativa entre el dato y su representación en el entorno arquitectónico Visualizing the glocal city. Models and paradigms of a creative relationship between the data and its representation in the architectural environment</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33899727" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="72bcbdeb4699914783460c4687120569" rel="nofollow" data-download="{"attachment_id":53872286,"asset_id":33899727,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53872286/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2403181" href="https://upv-es.academia.edu/moisesmanas">Moises Mañas</a><script data-card-contents-for-user="2403181" type="text/json">{"id":2403181,"first_name":"Moises","last_name":"Mañas","domain_name":"upv-es","page_name":"moisesmanas","display_name":"Moises Mañas","profile_url":"https://upv-es.academia.edu/moisesmanas?f_ri=6098","photo":"https://0.academia-photos.com/2403181/754740/17416665/s65_moises.ma_as.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-33899727">+1</span><div class="hidden js-additional-users-33899727"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/RaquelMartinezCuenca">Raquel Martinez Cuenca</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-33899727'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-33899727').html(); 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They describe electronic visualisation used for such diverse aspects of culture as airborne imagery, computer generated art based on the autoimmune system, motion capture for music and for sign language, the visualisation of time and the long term preservation of these materials. Selected from the EVA London conferences from 2009-2012, held in association with the Computer Arts Society of the British Computer Society, the authors have reviewed, extended and fully updated their work for this state-of-the-art volume. <br />""</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4653554" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c52814981b4170e838a697c158c108c5" rel="nofollow" data-download="{"attachment_id":32184127,"asset_id":4653554,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32184127/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12280" href="https://lsbu.academia.edu/JonathanBowen">Jonathan Bowen</a><script data-card-contents-for-user="12280" type="text/json">{"id":12280,"first_name":"Jonathan","last_name":"Bowen","domain_name":"lsbu","page_name":"JonathanBowen","display_name":"Jonathan Bowen","profile_url":"https://lsbu.academia.edu/JonathanBowen?f_ri=6098","photo":"https://0.academia-photos.com/12280/4094/29052679/s65_jonathan.bowen.jpg"}</script></span></span></li><li class="js-paper-rank-work_4653554 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4653554"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4653554, container: ".js-paper-rank-work_4653554", }); 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K. and A. Jordanoska (2015, forthcoming) 'The Arts of Desistance: Assessing the Role of Arts-based Programmes in Reducing Reoffending', Howard Journal of Criminal Justice.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Revealing a substantial amount of evidence hitherto missed by pertinent literature reviews, this article sets out to offer a critical appraisal of the empirical research literature on the contributions arts-based programmes may make to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1754149" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Revealing a substantial amount of evidence hitherto missed by pertinent literature reviews, this article sets out to offer a critical appraisal of the empirical research literature on the contributions arts-based programmes may make to the process of desistance from crime. The article begins by focusing on evaluations of arts-based programmes run by practitioners inside prisons, and their effects in terms of three sets of developments that are thought to advance desistance: psychological and attitudinal changes; increased learning capacity and motivations; and social skills building. Our appraisal then proceeds to address the effects of arts-based prison programmes after participants’ release into the community; a theme that has received very limited research attention to date, and even less attention in extant literature reviews. In the next section of the article, we briefly discuss our own evaluation of an arts-based programme that is aimed at prolonging and enhancing desistance through providing former prisoners with opportunities to continue engaging with the arts after release. We conclude with a few short remarks as to the lessons that can be drawn from this article for the design of arts-based programmes in the field of criminal justice.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1754149" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a3737a5023e4b332d71198d601817656" rel="nofollow" data-download="{"attachment_id":40181024,"asset_id":1754149,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40181024/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="245754" href="https://lse.academia.edu/LeonidasCheliotis">Leonidas Cheliotis</a><script data-card-contents-for-user="245754" type="text/json">{"id":245754,"first_name":"Leonidas","last_name":"Cheliotis","domain_name":"lse","page_name":"LeonidasCheliotis","display_name":"Leonidas Cheliotis","profile_url":"https://lse.academia.edu/LeonidasCheliotis?f_ri=6098","photo":"https://0.academia-photos.com/245754/334703/15254715/s65_leonidas.cheliotis.png"}</script></span></span></li><li class="js-paper-rank-work_1754149 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1754149"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1754149, container: ".js-paper-rank-work_1754149", }); 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K. and A. Jordanoska (2015, forthcoming) 'The Arts of Desistance: Assessing the Role of Arts-based Programmes in Reducing Reoffending', Howard Journal of Criminal Justice.","created_at":"2012-06-30T05:14:01.969-07:00","url":"https://www.academia.edu/1754149/Cheliotis_L_K_and_A_Jordanoska_2015_forthcoming_The_Arts_of_Desistance_Assessing_the_Role_of_Arts_based_Programmes_in_Reducing_Reoffending_Howard_Journal_of_Criminal_Justice?f_ri=6098","dom_id":"work_1754149","summary":"Revealing a substantial amount of evidence hitherto missed by pertinent literature reviews, this article sets out to offer a critical appraisal of the empirical research literature on the contributions arts-based programmes may make to the process of desistance from crime. 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class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/24953724/Media_Art_Towards_a_New_Definition_of_Arts_In_The_Age_of_Technology_by_Emanuela_Patti">Media Art. Towards a New Definition of Arts In The Age of Technology, by Emanuela Patti</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/24953724" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5e59b99d370b10ddbc9b33f8792bf56a" rel="nofollow" data-download="{"attachment_id":45284591,"asset_id":24953724,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45284591/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="46360120" href="https://bham.academia.edu/InterdisciplinaryItaly">Interdisciplinary Italy</a><script data-card-contents-for-user="46360120" type="text/json">{"id":46360120,"first_name":"Interdisciplinary","last_name":"Italy","domain_name":"bham","page_name":"InterdisciplinaryItaly","display_name":"Interdisciplinary Italy","profile_url":"https://bham.academia.edu/InterdisciplinaryItaly?f_ri=6098","photo":"https://0.academia-photos.com/46360120/12266499/14091744/s65_interdisciplinary.italy.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-24953724">+1</span><div class="hidden js-additional-users-24953724"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://edinburgh.academia.edu/EmanuelaPatti">Emanuela Patti</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-24953724'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-24953724').html(); 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The goal of TQW is to find the “quietest place”. An interface on the mobile device directs the user to avoid noisy areas of the city,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1820772" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper presents The Quiet Walk, an interactive mobile artwork for sonic explorations of urban space. The goal of TQW is to find the “quietest place”. An interface on the mobile device directs the user to avoid noisy areas of the city, giving directions to find quiet zones. Data collected by the system generates a geo-acoustic map of the city that facilitates the personal recollection of sonic memories. The system is comprised of 3 components: a smartphone running a custom application based on libpd and openFrameworks, a web server collecting the GPS and acoustical data, and computer in an exhibition space displaying a visualisation of the sound map. This open- ended platform opens up possibilities of mobile digital signal processing, not only for sound art related artworks but also as a platform for data-soundscape compositions and mobile, digital explorations in acoustic ecology studies.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1820772" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="304294133a2177d89f7c0b741933e097" rel="nofollow" data-download="{"attachment_id":25252104,"asset_id":1820772,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/25252104/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1879222" href="https://goldsmiths.academia.edu/AlessandroAltavilla">Alessandro Altavilla</a><script data-card-contents-for-user="1879222" type="text/json">{"id":1879222,"first_name":"Alessandro","last_name":"Altavilla","domain_name":"goldsmiths","page_name":"AlessandroAltavilla","display_name":"Alessandro Altavilla","profile_url":"https://goldsmiths.academia.edu/AlessandroAltavilla?f_ri=6098","photo":"https://0.academia-photos.com/1879222/3405901/4005282/s65_alessandro.altavilla.jpg"}</script></span></span></li><li class="js-paper-rank-work_1820772 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1820772"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1820772, container: ".js-paper-rank-work_1820772", }); 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$(".js-view-count[data-work-id=1820772]").text(description); $(".js-view-count-work_1820772").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1820772").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="1820772"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">23</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="922" rel="nofollow" href="https://www.academia.edu/Documents/in/Education">Education</a>, <script data-card-contents-for-ri="922" type="text/json">{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1018" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Technology">Music Technology</a>, <script data-card-contents-for-ri="1018" type="text/json">{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4198" rel="nofollow" href="https://www.academia.edu/Documents/in/Mobile_Technology">Mobile Technology</a>, <script data-card-contents-for-ri="4198" type="text/json">{"id":4198,"name":"Mobile Technology","url":"https://www.academia.edu/Documents/in/Mobile_Technology?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4930" rel="nofollow" href="https://www.academia.edu/Documents/in/Sound_and_Music_Computing">Sound and Music Computing</a><script data-card-contents-for-ri="4930" type="text/json">{"id":4930,"name":"Sound and Music Computing","url":"https://www.academia.edu/Documents/in/Sound_and_Music_Computing?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1820772]'), work: {"id":1820772,"title":"The Quiet Walk: Sonic Memories and Mobile Cartography","created_at":"2012-07-29T21:39:51.425-07:00","url":"https://www.academia.edu/1820772/The_Quiet_Walk_Sonic_Memories_and_Mobile_Cartography?f_ri=6098","dom_id":"work_1820772","summary":"This paper presents The Quiet Walk, an interactive mobile artwork for sonic explorations of urban space. The goal of TQW is to find the “quietest place”. An interface on the mobile device directs the user to avoid noisy areas of the city, giving directions to find quiet zones. Data collected by the system generates a geo-acoustic map of the city that facilitates the personal recollection of sonic memories. The system is comprised of 3 components: a smartphone running a custom application based on libpd and openFrameworks, a web server collecting the GPS and acoustical data, and computer in an exhibition space displaying a visualisation of the sound map. This open- ended platform opens up possibilities of mobile digital signal processing, not only for sound art related artworks but also as a platform for data-soundscape compositions and mobile, digital explorations in acoustic ecology studies.","downloadable_attachments":[{"id":25252104,"asset_id":1820772,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1879222,"first_name":"Alessandro","last_name":"Altavilla","domain_name":"goldsmiths","page_name":"AlessandroAltavilla","display_name":"Alessandro Altavilla","profile_url":"https://goldsmiths.academia.edu/AlessandroAltavilla?f_ri=6098","photo":"https://0.academia-photos.com/1879222/3405901/4005282/s65_alessandro.altavilla.jpg"}],"research_interests":[{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=6098","nofollow":true},{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=6098","nofollow":true},{"id":4198,"name":"Mobile Technology","url":"https://www.academia.edu/Documents/in/Mobile_Technology?f_ri=6098","nofollow":true},{"id":4930,"name":"Sound and Music Computing","url":"https://www.academia.edu/Documents/in/Sound_and_Music_Computing?f_ri=6098","nofollow":true},{"id":5181,"name":"Psychogeography","url":"https://www.academia.edu/Documents/in/Psychogeography?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":6634,"name":"Soundscape Studies","url":"https://www.academia.edu/Documents/in/Soundscape_Studies?f_ri=6098"},{"id":9246,"name":"Social Media","url":"https://www.academia.edu/Documents/in/Social_Media?f_ri=6098"},{"id":11080,"name":"Sonification","url":"https://www.academia.edu/Documents/in/Sonification?f_ri=6098"},{"id":12007,"name":"Interactive Arts","url":"https://www.academia.edu/Documents/in/Interactive_Arts?f_ri=6098"},{"id":12699,"name":"Mobile and Locative Art","url":"https://www.academia.edu/Documents/in/Mobile_and_Locative_Art?f_ri=6098"},{"id":13647,"name":"Physical Computing","url":"https://www.academia.edu/Documents/in/Physical_Computing?f_ri=6098"},{"id":15688,"name":"Acoustic Ecology","url":"https://www.academia.edu/Documents/in/Acoustic_Ecology?f_ri=6098"},{"id":16009,"name":"Sonic Interaction Design","url":"https://www.academia.edu/Documents/in/Sonic_Interaction_Design?f_ri=6098"},{"id":16987,"name":"Sound Design","url":"https://www.academia.edu/Documents/in/Sound_Design?f_ri=6098"},{"id":31793,"name":"Sound Art","url":"https://www.academia.edu/Documents/in/Sound_Art?f_ri=6098"},{"id":74880,"name":"Digital design","url":"https://www.academia.edu/Documents/in/Digital_design?f_ri=6098"},{"id":120186,"name":"OpenFrameworks","url":"https://www.academia.edu/Documents/in/OpenFrameworks?f_ri=6098"},{"id":158734,"name":"Puredata","url":"https://www.academia.edu/Documents/in/Puredata?f_ri=6098"},{"id":191625,"name":"(History of) Western Classical Music","url":"https://www.academia.edu/Documents/in/_History_of_Western_Classical_Music?f_ri=6098"},{"id":1008608,"name":"Haptic Audio","url":"https://www.academia.edu/Documents/in/Haptic_Audio?f_ri=6098"},{"id":1008611,"name":"Museum Exhibits","url":"https://www.academia.edu/Documents/in/Museum_Exhibits?f_ri=6098"},{"id":1008613,"name":"Digital Dataforms","url":"https://www.academia.edu/Documents/in/Digital_Dataforms?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12910361" data-work_id="12910361" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12910361/The_Arts_and_Design_in_21st_Century_Education_Towards_a_New_Synthesis">The Arts and Design in 21st Century Education: Towards a New Synthesis</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Examination of competing and complementary relationships of Visual Arts and Design in 21st century K12 arts education, with consideration of "Media Arts" as a potential, new synthesizing "nexus" discipline.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12910361" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0e83e38a92b85a86856c9cc8756e0c78" rel="nofollow" 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workId = 12910361; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_12910361"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_12910361 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="12910361"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12910361; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12910361]").text(description); $(".js-view-count-work_12910361").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12910361").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12910361"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">26</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="922" rel="nofollow" href="https://www.academia.edu/Documents/in/Education">Education</a>, <script data-card-contents-for-ri="922" type="text/json">{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="934" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_and_Cultural_Studies">Media and Cultural Studies</a>, <script data-card-contents-for-ri="934" type="text/json">{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="988" rel="nofollow" href="https://www.academia.edu/Documents/in/Design">Design</a><script data-card-contents-for-ri="988" type="text/json">{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12910361]'), work: {"id":12910361,"title":"The Arts and Design in 21st Century 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","downloadable_attachments":[{"id":37877206,"asset_id":12910361,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1179398,"first_name":"Dain","last_name":"Olsen","domain_name":"otis","page_name":"DainOlsen","display_name":"Dain Olsen","profile_url":"https://otis.academia.edu/DainOlsen?f_ri=6098","photo":"https://0.academia-photos.com/1179398/419857/10656578/s65_dain.olsen.jpg"}],"research_interests":[{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=6098","nofollow":true},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true},{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=6098","nofollow":true},{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=6098","nofollow":true},{"id":1003,"name":"Educational Technology","url":"https://www.academia.edu/Documents/in/Educational_Technology?f_ri=6098"},{"id":1197,"name":"Digital Humanities","url":"https://www.academia.edu/Documents/in/Digital_Humanities?f_ri=6098"},{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=6098"},{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098"},{"id":3952,"name":"Industrial Design","url":"https://www.academia.edu/Documents/in/Industrial_Design?f_ri=6098"},{"id":4052,"name":"Arts Education","url":"https://www.academia.edu/Documents/in/Arts_Education?f_ri=6098"},{"id":5079,"name":"Graphic Design","url":"https://www.academia.edu/Documents/in/Graphic_Design?f_ri=6098"},{"id":5282,"name":"Design Research","url":"https://www.academia.edu/Documents/in/Design_Research?f_ri=6098"},{"id":5806,"name":"Sustainable Building Design","url":"https://www.academia.edu/Documents/in/Sustainable_Building_Design?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":6514,"name":"Product Design","url":"https://www.academia.edu/Documents/in/Product_Design?f_ri=6098"},{"id":6865,"name":"Digital Culture","url":"https://www.academia.edu/Documents/in/Digital_Culture?f_ri=6098"},{"id":7423,"name":"Media Art","url":"https://www.academia.edu/Documents/in/Media_Art?f_ri=6098"},{"id":9031,"name":"Media Arts and Sciences","url":"https://www.academia.edu/Documents/in/Media_Arts_and_Sciences?f_ri=6098"},{"id":10165,"name":"Interactive and Digital Media","url":"https://www.academia.edu/Documents/in/Interactive_and_Digital_Media?f_ri=6098"},{"id":12696,"name":"New Media Art \u0026 Emerging Practices","url":"https://www.academia.edu/Documents/in/New_Media_Art_and_Emerging_Practices?f_ri=6098"},{"id":13958,"name":"Media","url":"https://www.academia.edu/Documents/in/Media?f_ri=6098"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=6098"},{"id":61835,"name":"Urban Design","url":"https://www.academia.edu/Documents/in/Urban_Design?f_ri=6098"},{"id":256667,"name":"Arts and Humanities","url":"https://www.academia.edu/Documents/in/Arts_and_Humanities?f_ri=6098"},{"id":406955,"name":"21st Century Skills","url":"https://www.academia.edu/Documents/in/21st_Century_Skills?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20444016" data-work_id="20444016" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20444016/Hudba_v_kontextu_multim%C3%A9di%C3%AD">Hudba v kontextu multimédií</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Multimédia můžeme v historii umění chápat buď jako rekurzivní koncept nebo souvislou linii vývoje složených forem, která se v určitých historických obdobích střídavě vynořuje a zase mizí z dominantního diskurzu. Vzorovým příkladem... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20444016" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Multimédia můžeme v historii umění chápat buď jako rekurzivní koncept nebo souvislou linii vývoje složených forem, která se v určitých historických obdobích střídavě vynořuje a zase mizí z dominantního diskurzu. Vzorovým příkladem multimédia je např. koncept antického dramatu. Tento koncept se vynoří v pozdní renesanci, aby pomohl vzniknout barokní opeře, a o dvě stě padesát let později se objevuje v argumentaci Richarda Wagnera, kterým jím zdůvodňuje ideu Gesamtkunstwerku (souborného, resp. totálního uměleckého díla). O dalších zhruba sto padesát let později dochází ke vzkříšení myšlenky multimédií v oblasti nových (digitálních) médií a autoři vlivné publikace o této problematice odvíjí historii multimédií právě od R. Wagnera.  V souvislosti s ideou multimédií v umění se objevuje celá skupina otázek, na které bychom se měli pokusit nalézt odpovědi. Například jak složená forma zpětně působí na své jednotlivé konstitutivní složky? Dochází skrze celek k zesílení nebo oslabení účinku jednotlivých složek?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20444016" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7903bb1bdb0ab4aafa3059293e2e0029" rel="nofollow" data-download="{"attachment_id":41376231,"asset_id":20444016,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41376231/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="34555972" href="https://muni.academia.edu/MartinFla%C5%A1ar">Martin Flašar</a><script data-card-contents-for-user="34555972" type="text/json">{"id":34555972,"first_name":"Martin","last_name":"Flašar","domain_name":"muni","page_name":"MartinFlašar","display_name":"Martin Flašar","profile_url":"https://muni.academia.edu/MartinFla%C5%A1ar?f_ri=6098","photo":"https://0.academia-photos.com/34555972/10111485/18880965/s65_martin.fla_ar.jpg"}</script></span></span></li><li class="js-paper-rank-work_20444016 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20444016"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20444016, container: ".js-paper-rank-work_20444016", }); });</script></li><li class="js-percentile-work_20444016 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 20444016; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_20444016"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_20444016 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="20444016"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20444016; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=20444016]").text(description); $(".js-view-count-work_20444016").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_20444016").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="20444016"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3419" rel="nofollow" href="https://www.academia.edu/Documents/in/Multimedia">Multimedia</a>, <script data-card-contents-for-ri="3419" type="text/json">{"id":3419,"name":"Multimedia","url":"https://www.academia.edu/Documents/in/Multimedia?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a>, <script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18736" rel="nofollow" href="https://www.academia.edu/Documents/in/New_Media_Art">New Media Art</a><script data-card-contents-for-ri="18736" type="text/json">{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20444016]'), work: {"id":20444016,"title":"Hudba v kontextu multimédií","created_at":"2016-01-21T13:20:12.182-08:00","url":"https://www.academia.edu/20444016/Hudba_v_kontextu_multim%C3%A9di%C3%AD?f_ri=6098","dom_id":"work_20444016","summary":"Multimédia můžeme v historii umění chápat buď jako rekurzivní koncept nebo souvislou linii vývoje složených forem, která se v určitých historických obdobích střídavě vynořuje a zase mizí z dominantního diskurzu. Vzorovým příkladem multimédia je např. koncept antického dramatu. Tento koncept se vynoří v pozdní renesanci, aby pomohl vzniknout barokní opeře, a o dvě stě padesát let později se objevuje v argumentaci Richarda Wagnera, kterým jím zdůvodňuje ideu Gesamtkunstwerku (souborného, resp. totálního uměleckého díla). O dalších zhruba sto padesát let později dochází ke vzkříšení myšlenky multimédií v oblasti nových (digitálních) médií a autoři vlivné publikace o této problematice odvíjí historii multimédií právě od R. Wagnera. V souvislosti s ideou multimédií v umění se objevuje celá skupina otázek, na které bychom se měli pokusit nalézt odpovědi. Například jak složená forma zpětně působí na své jednotlivé konstitutivní složky? Dochází skrze celek k zesílení nebo oslabení účinku jednotlivých složek? ","downloadable_attachments":[{"id":41376231,"asset_id":20444016,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34555972,"first_name":"Martin","last_name":"Flašar","domain_name":"muni","page_name":"MartinFlašar","display_name":"Martin Flašar","profile_url":"https://muni.academia.edu/MartinFla%C5%A1ar?f_ri=6098","photo":"https://0.academia-photos.com/34555972/10111485/18880965/s65_martin.fla_ar.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=6098","nofollow":true},{"id":3419,"name":"Multimedia","url":"https://www.academia.edu/Documents/in/Multimedia?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_71395131" data-work_id="71395131" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/71395131/Screen_Bodies_6_2">Screen Bodies 6.2</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">It examines how bodies engage with and are engaged by screens, as well as the representation of bodies and embodiment on screens and in virtual spaces.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/71395131" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2417538/Shades_of_Synchresis_A_Proposed_Framework_for_the_Classification_of_Audiovisual_Relations_in_Sound_and_Light_Media_Installations">Shades of Synchresis: A Proposed Framework for the Classification of Audiovisual Relations in Sound-and-Light Media Installations</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">While existing analytical frameworks (Chion 1994, Coulter 2009) provide basic classification tools for experimental audiovisual works, they fall short in elaborating the variety of compositional possibilities falling within the notion of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2417538" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">While existing analytical frameworks (Chion 1994, Coulter 2009) provide basic classification tools for experimental audiovisual works, they fall short in elaborating the variety of compositional possibilities falling within the notion of “synchresis” (Chion 1994). I propose to delineate the various shades of synchresis through a case study analysis of the somewhat simpler relations between light and sound in media installation works using luminosonic objects: objects which appear to emit both sound and light in an integrated manner. <br />I will suggest a graphical framework for the analysis and composition of audiovisual relations between sound media and self-illuminating light objects, detailing various forms of integrated audiovisual dynamics. The framework will relate the compositional concepts of vertical harmonicity and horizontal counterpoint (Chion 1994) to the perceptual notion of “cross- modal binding” (Whitelaw 2008), thus linking compositional dynamics to perceptual effects and affects.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2417538" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cde862987c5de7fc075897bc9cfe787e" rel="nofollow" data-download="{"attachment_id":30445603,"asset_id":2417538,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30445603/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="302803" href="https://concordia.academia.edu/AdamBasanta">Adam Basanta</a><script data-card-contents-for-user="302803" type="text/json">{"id":302803,"first_name":"Adam","last_name":"Basanta","domain_name":"concordia","page_name":"AdamBasanta","display_name":"Adam Basanta","profile_url":"https://concordia.academia.edu/AdamBasanta?f_ri=6098","photo":"https://0.academia-photos.com/302803/61088/65255/s65_adam.basanta.jpg"}</script></span></span></li><li class="js-paper-rank-work_2417538 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2417538"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2417538, container: ".js-paper-rank-work_2417538", }); 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I propose to delineate the various shades of synchresis through a case study analysis of the somewhat simpler relations between light and sound in media installation works using luminosonic objects: objects which appear to emit both sound and light in an integrated manner.\r\nI will suggest a graphical framework for the analysis and composition of audiovisual relations between sound media and self-illuminating light objects, detailing various forms of integrated audiovisual dynamics. The framework will relate the compositional concepts of vertical harmonicity and horizontal counterpoint (Chion 1994) to the perceptual notion of “cross- modal binding” (Whitelaw 2008), thus linking compositional dynamics to perceptual effects and affects.","downloadable_attachments":[{"id":30445603,"asset_id":2417538,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":302803,"first_name":"Adam","last_name":"Basanta","domain_name":"concordia","page_name":"AdamBasanta","display_name":"Adam Basanta","profile_url":"https://concordia.academia.edu/AdamBasanta?f_ri=6098","photo":"https://0.academia-photos.com/302803/61088/65255/s65_adam.basanta.jpg"}],"research_interests":[{"id":188,"name":"Cultural 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/17548812/IP%E6%9E%B6%E6%9E%84%E4%B8%8B%E7%9A%84%E7%BD%91%E7%BB%9C%E9%9F%B3%E9%A2%91%E6%8A%80%E6%9C%AF%E5%8F%91%E5%B1%95%E4%B8%8EAES_67%E5%9F%BA%E6%9C%AC%E5%8D%8F%E8%AE%AE">IP架构下的网络音频技术发展与AES 67基本协议</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/17548812" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ab976436bbe389f9ee06dd89d319790b" rel="nofollow" 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Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":26610,"name":"Chinese Media Studies","url":"https://www.academia.edu/Documents/in/Chinese_Media_Studies?f_ri=6098","nofollow":true},{"id":27906,"name":"Media technology","url":"https://www.academia.edu/Documents/in/Media_technology?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_357752" data-work_id="357752" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/357752/Radio_Art_An_Acoustic_Media_Art_Form">Radio Art: An Acoustic Media Art Form</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Perhaps it’s obvious; if we take radio out of radio art then we usually have a sound based art work that is not broadcasted, unicasted and/or multicasted; conversely if we take the ‘art’ out of radio art then we have radio (in all of its... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_357752" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Perhaps it’s obvious; if we take radio out of radio art then we usually have a sound based art work that is not broadcasted, unicasted and/or multicasted; conversely if we take the ‘art’ out of radio art then we have radio (in all of its conventional formats) ... but do we have radio art if we simply combine radio and art?<br /><br />This paper explores the idea of radio art as a media based acoustic art form and argues that the Australian works Journal (1969) by David Ahern and Quadrophonic Cocktail (1986) by Chris Mann are forms of acoustic media art.<br /><br />Further to this, it asks is there a role for radio art in education?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/357752" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a91ef19b5ded18bc54d800be073459b6" rel="nofollow" data-download="{"attachment_id":2817573,"asset_id":357752,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button 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Studies","url":"https://www.academia.edu/Documents/in/Radio_And_Sound_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3189" rel="nofollow" href="https://www.academia.edu/Documents/in/Experimental_Media_Arts">Experimental Media Arts</a>, <script data-card-contents-for-ri="3189" type="text/json">{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4520" rel="nofollow" href="https://www.academia.edu/Documents/in/Auditory_Culture">Auditory Culture</a><script data-card-contents-for-ri="4520" type="text/json">{"id":4520,"name":"Auditory Culture","url":"https://www.academia.edu/Documents/in/Auditory_Culture?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=357752]'), work: {"id":357752,"title":"Radio Art: An Acoustic Media Art Form","created_at":"2010-10-31T20:40:40.628-07:00","url":"https://www.academia.edu/357752/Radio_Art_An_Acoustic_Media_Art_Form?f_ri=6098","dom_id":"work_357752","summary":"Perhaps it’s obvious; if we take radio out of radio art then we usually have a sound based art work that is not broadcasted, unicasted and/or multicasted; conversely if we take the ‘art’ out of radio art then we have radio (in all of its conventional formats) ... but do we have radio art if we simply combine radio and art?\n\nThis paper explores the idea of radio art as a media based acoustic art form and argues that the Australian works Journal (1969) by David Ahern and Quadrophonic Cocktail (1986) by Chris Mann are forms of acoustic media art.\n\nFurther to this, it asks is there a role for radio art in education?","downloadable_attachments":[{"id":2817573,"asset_id":357752,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":274646,"first_name":"Colin","last_name":"Black","domain_name":"scu-au","page_name":"ColinBlack","display_name":"Colin Black","profile_url":"https://scu-au.academia.edu/ColinBlack?f_ri=6098","photo":"https://0.academia-photos.com/274646/56851/35220892/s65_colin.black.jpg"}],"research_interests":[{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=6098","nofollow":true},{"id":2557,"name":"Radio And Sound Studies","url":"https://www.academia.edu/Documents/in/Radio_And_Sound_Studies?f_ri=6098","nofollow":true},{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true},{"id":4520,"name":"Auditory Culture","url":"https://www.academia.edu/Documents/in/Auditory_Culture?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":7212,"name":"Sound studies","url":"https://www.academia.edu/Documents/in/Sound_studies?f_ri=6098"},{"id":7423,"name":"Media Art","url":"https://www.academia.edu/Documents/in/Media_Art?f_ri=6098"},{"id":17246,"name":"Audio Arts","url":"https://www.academia.edu/Documents/in/Audio_Arts?f_ri=6098"},{"id":17247,"name":"Audio And Radio Arts","url":"https://www.academia.edu/Documents/in/Audio_And_Radio_Arts?f_ri=6098"},{"id":31793,"name":"Sound Art","url":"https://www.academia.edu/Documents/in/Sound_Art?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_714228" data-work_id="714228" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/714228/Caleb_Kelly_Cracked_Media_The_Sound_of_Malfunction_Cambridge_Mass_MIT_Press_2009_">Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge, Mass, MIT Press, 2009)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">From the mid-twentieth century into the twenty-first, artists and musicians manipulated, cracked, and broke audio media technologies to produce novel sounds and performances. Artists and musicians, including John Cage, Nam June Paik,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_714228" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">From the mid-twentieth century into the twenty-first, artists and musicians manipulated, cracked, and broke audio media technologies to produce novel sounds and performances. Artists and musicians, including John Cage, Nam June Paik, Yasunao Tone, and Oval, pulled apart both playback devices (phonographs and compact disc players) and the recorded media (vinyl records and compact discs) to create an extended sound palette. In Cracked Media, Caleb Kelly explores how the deliberate utilization of the normally undesirable (a crack, a break) has become the site of productive creation. Cracked media, Kelly writes, slides across disciplines, through music, sound, and noise. Cracked media encompasses everything from Cage's silences and indeterminacies, to Paik's often humorous tape works, to the cold and clean sounds of digital glitch in the work of Tone and Oval. Kelly offers a detailed historical account of these practices, arguing that they can be read as precursors to contemporary new media. <br /> <br />Kelly looks at the nature of recording technology and the music industry in relation to the crack and the break, and discusses the various manifestations of noise, concluding that neither theories of recording nor theories of noise offer an adequate framework for understanding cracked media. Connecting the historical avant-garde to modern-day turntablism, and predigital destructive techniques to the digital ticks, pops, and clicks of the glitch, Kelly proposes new media theorizations of cracked media that focus on materiality and the everyday.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/714228" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="61ddf6d9f60050f018377361104ff076" rel="nofollow" data-download="{"attachment_id":34744990,"asset_id":714228,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34744990/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="145479" href="https://unsw.academia.edu/CalebKelly">Caleb Kelly</a><script data-card-contents-for-user="145479" type="text/json">{"id":145479,"first_name":"Caleb","last_name":"Kelly","domain_name":"unsw","page_name":"CalebKelly","display_name":"Caleb Kelly","profile_url":"https://unsw.academia.edu/CalebKelly?f_ri=6098","photo":"https://gravatar.com/avatar/ce836613afb283ee41bd82cd67dbc7a8?s=65"}</script></span></span></li><li class="js-paper-rank-work_714228 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="714228"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 714228, container: ".js-paper-rank-work_714228", }); 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Artists and musicians, including John Cage, Nam June Paik, Yasunao Tone, and Oval, pulled apart both playback devices (phonographs and compact disc players) and the recorded media (vinyl records and compact discs) to create an extended sound palette. In Cracked Media, Caleb Kelly explores how the deliberate utilization of the normally undesirable (a crack, a break) has become the site of productive creation. Cracked media, Kelly writes, slides across disciplines, through music, sound, and noise. Cracked media encompasses everything from Cage's silences and indeterminacies, to Paik's often humorous tape works, to the cold and clean sounds of digital glitch in the work of Tone and Oval. Kelly offers a detailed historical account of these practices, arguing that they can be read as precursors to contemporary new media.\r\n\r\nKelly looks at the nature of recording technology and the music industry in relation to the crack and the break, and discusses the various manifestations of noise, concluding that neither theories of recording nor theories of noise offer an adequate framework for understanding cracked media. Connecting the historical avant-garde to modern-day turntablism, and predigital destructive techniques to the digital ticks, pops, and clicks of the glitch, Kelly proposes new media theorizations of cracked media that focus on materiality and the everyday.","downloadable_attachments":[{"id":34744990,"asset_id":714228,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":145479,"first_name":"Caleb","last_name":"Kelly","domain_name":"unsw","page_name":"CalebKelly","display_name":"Caleb Kelly","profile_url":"https://unsw.academia.edu/CalebKelly?f_ri=6098","photo":"https://gravatar.com/avatar/ce836613afb283ee41bd82cd67dbc7a8?s=65"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=6098","nofollow":true},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true},{"id":933,"name":"New 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Tone","url":"https://www.academia.edu/Documents/in/Yasunao_Tone?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39763309" data-work_id="39763309" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39763309/GLOBAL_DOLPHIN_DEFENSE_Global_Dolphin_Defense">GLOBAL DOLPHIN DEFENSE Global Dolphin Defense</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Abstract: In this Global Research Report, we focus on Global Dolphin Defense. Our research is original, especially because it includes data from qualitative interviews with those on the front-lines of this issue conducted by the author,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39763309" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Abstract: In this Global Research Report, we focus on Global Dolphin Defense. Our research is original, especially because it includes data from qualitative interviews with those on the front-lines of this issue conducted by the author, Aleta Neilson, as well as other interviews and even ongoing interactive project creations. Besides speaking to first hand to witnesses, Ms. Neilson reviews existing data, literature, and evidence on the sentience, intelligence, and behavior of dolphins from scientific experts as well as presenting and addressing some of the common arguments of dolphin-killers, as they hunt and slaughter cetaceans, such as wild dolphins. We explore the physiological, and psycho-social implications for these hunted cetaceans and their populations. The dolphin defense topic addresses an international and intercultural issue of global significance. We ask; Dolphins are highly intelligent and self-aware; should they be protected from hunters through international agreements and laws for cetacean rights? We go beyond this, by creating awareness for giving readers and viewers some easy ways to take instant actions to be a part of standing up for international laws and treaties advocating for humane treatment for dolphins and other cetaceans, should they so choose. With this global learning engagement capstone project, we intend to inspire and provide an experience geared toward creating awareness for exploring and solving problems of practical importance to the field. <br /> <br />Additional Note: Ms. A. A. Neilson's mentor for this FIU research is the brilliant FIU: Professor Katherine Lineberger PhD. <br /> <br />Keywords: dolphin, non-human persons, global dolphin-defense, dolphin-hunters, poachers, cetaceans, cetacean rights, animal rights, animal welfare, whale, activism, advocacy, FIU global learning, FIU peace corps prep, dolphin defense report, global engagement project (PDF) GLOBAL DOLPHIN DEFENSE REPORT. Also available from: <a href="https://www.researchgate.net/publication/333879549_GLOBAL_DOLPHIN_DEFENSE_Global_Dolphin_Defense" rel="nofollow">https://www.researchgate.net/publication/333879549_GLOBAL_DOLPHIN_DEFENSE_Global_Dolphin_Defense</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39763309" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e912ed032f4e649a3d42cc0b7f256f2c" rel="nofollow" data-download="{"attachment_id":59944908,"asset_id":39763309,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59944908/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="102999964" href="https://fiu.academia.edu/Neilson">A. Neilson</a><script data-card-contents-for-user="102999964" type="text/json">{"id":102999964,"first_name":"A.","last_name":"Neilson","domain_name":"fiu","page_name":"Neilson","display_name":"A. Neilson","profile_url":"https://fiu.academia.edu/Neilson?f_ri=6098","photo":"https://0.academia-photos.com/102999964/28567068/26703480/s65_a.neilson.jpg"}</script></span></span></li><li class="js-paper-rank-work_39763309 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39763309"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39763309, container: ".js-paper-rank-work_39763309", }); });</script></li><li class="js-percentile-work_39763309 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39763309; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39763309"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39763309 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39763309"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39763309; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39763309]").text(description); $(".js-view-count-work_39763309").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39763309").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39763309"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="248" rel="nofollow" href="https://www.academia.edu/Documents/in/Social_Psychology">Social Psychology</a>, <script data-card-contents-for-ri="248" type="text/json">{"id":248,"name":"Social Psychology","url":"https://www.academia.edu/Documents/in/Social_Psychology?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1237" rel="nofollow" href="https://www.academia.edu/Documents/in/Social_Sciences">Social Sciences</a>, <script data-card-contents-for-ri="1237" type="text/json">{"id":1237,"name":"Social Sciences","url":"https://www.academia.edu/Documents/in/Social_Sciences?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2575" rel="nofollow" href="https://www.academia.edu/Documents/in/International_Law">International Law</a>, <script data-card-contents-for-ri="2575" type="text/json">{"id":2575,"name":"International Law","url":"https://www.academia.edu/Documents/in/International_Law?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a><script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39763309]'), work: {"id":39763309,"title":"GLOBAL DOLPHIN DEFENSE Global Dolphin Defense","created_at":"2019-07-06T05:21:33.762-07:00","url":"https://www.academia.edu/39763309/GLOBAL_DOLPHIN_DEFENSE_Global_Dolphin_Defense?f_ri=6098","dom_id":"work_39763309","summary":"Abstract: In this Global Research Report, we focus on Global Dolphin Defense. Our research is original, especially because it includes data from qualitative interviews with those on the front-lines of this issue conducted by the author, Aleta Neilson, as well as other interviews and even ongoing interactive project creations. Besides speaking to first hand to witnesses, Ms. Neilson reviews existing data, literature, and evidence on the sentience, intelligence, and behavior of dolphins from scientific experts as well as presenting and addressing some of the common arguments of dolphin-killers, as they hunt and slaughter cetaceans, such as wild dolphins. We explore the physiological, and psycho-social implications for these hunted cetaceans and their populations. The dolphin defense topic addresses an international and intercultural issue of global significance. We ask; Dolphins are highly intelligent and self-aware; should they be protected from hunters through international agreements and laws for cetacean rights? We go beyond this, by creating awareness for giving readers and viewers some easy ways to take instant actions to be a part of standing up for international laws and treaties advocating for humane treatment for dolphins and other cetaceans, should they so choose. With this global learning engagement capstone project, we intend to inspire and provide an experience geared toward creating awareness for exploring and solving problems of practical importance to the field. \r\n\r\nAdditional Note: Ms. A. A. Neilson's mentor for this FIU research is the brilliant FIU: Professor Katherine Lineberger PhD. \r\n\r\nKeywords: dolphin, non-human persons, global dolphin-defense, dolphin-hunters, poachers, cetaceans, cetacean rights, animal rights, animal welfare, whale, activism, advocacy, FIU global learning, FIU peace corps prep, dolphin defense report, global engagement project (PDF) GLOBAL DOLPHIN DEFENSE REPORT. Also available from: https://www.researchgate.net/publication/333879549_GLOBAL_DOLPHIN_DEFENSE_Global_Dolphin_Defense","downloadable_attachments":[{"id":59944908,"asset_id":39763309,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":102999964,"first_name":"A.","last_name":"Neilson","domain_name":"fiu","page_name":"Neilson","display_name":"A. Neilson","profile_url":"https://fiu.academia.edu/Neilson?f_ri=6098","photo":"https://0.academia-photos.com/102999964/28567068/26703480/s65_a.neilson.jpg"}],"research_interests":[{"id":248,"name":"Social Psychology","url":"https://www.academia.edu/Documents/in/Social_Psychology?f_ri=6098","nofollow":true},{"id":1237,"name":"Social Sciences","url":"https://www.academia.edu/Documents/in/Social_Sciences?f_ri=6098","nofollow":true},{"id":2575,"name":"International Law","url":"https://www.academia.edu/Documents/in/International_Law?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":11847,"name":"Quantitative Research","url":"https://www.academia.edu/Documents/in/Quantitative_Research?f_ri=6098"},{"id":12135,"name":"Qualitative Research","url":"https://www.academia.edu/Documents/in/Qualitative_Research?f_ri=6098"},{"id":170376,"name":"International Treaties","url":"https://www.academia.edu/Documents/in/International_Treaties?f_ri=6098"},{"id":255225,"name":"Marine Biology and Oceanography, Marine Ecology \u0026 Conservation","url":"https://www.academia.edu/Documents/in/Marine_Biology_and_Oceanography_Marine_Ecology_and_Conservation?f_ri=6098"},{"id":620237,"name":"Communications and New Media","url":"https://www.academia.edu/Documents/in/Communications_and_New_Media?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34591414" data-work_id="34591414" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34591414/Manual_para_Emprendedores_Culturales">Manual para Emprendedores Culturales</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">El Manual para Emprendedores Culturales presenta de manera sencilla algunos principios básicos de gestión estratégica requeridos para manejar con éxito proyectos pertenecientes a las industrias creativas. Esta publicación fue creada en el... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34591414" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El Manual para Emprendedores Culturales presenta de manera sencilla algunos principios básicos de gestión estratégica requeridos para manejar con éxito proyectos pertenecientes a las industrias creativas. Esta publicación fue creada en el marco del proyecto ¨Crea y Emprende¨ del Ministerio de la Producción del Perú en alianza con el Ministerio de Cultura. Presenta cerca de veinte proyectos culturales y está dirigido a artistas, emprendedores culturales, consultores, educadores e investigadores que deseen empezar su propio proyecto o aprender sobre estrategias de desarrollo de audiencias, marketing, comunicaciones, producción, presupuesto y recursos de financiamiento para proyectos artísticos y culturales. <br /> <br />This practical handbook aims to present in a very easy way the basic  principles of strategic management needed to run a successful project in the creative industries. This publication was created within the project "Crea y Emprende" of the Ministry of Production of Peru in alliance with the Ministry of Culture of this country. It presents the experiences of nearly twenty cultural projects and it is addressed to artists, cultural entrepreneurs, consultants, educators and researchers willing to start their own project or getting to learn about audience development strategies, marketing, communications, production, budgeting and funding resources for arts projects.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34591414" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1d18fb350ec8b75da2abc78163db550c" rel="nofollow" data-download="{"attachment_id":54457018,"asset_id":34591414,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54457018/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="15618139" href="https://upedu.academia.edu/VivianaQueaAcosta">Viviana Quea Acosta</a><script data-card-contents-for-user="15618139" type="text/json">{"id":15618139,"first_name":"Viviana","last_name":"Quea Acosta","domain_name":"upedu","page_name":"VivianaQueaAcosta","display_name":"Viviana Quea Acosta","profile_url":"https://upedu.academia.edu/VivianaQueaAcosta?f_ri=6098","photo":"https://0.academia-photos.com/15618139/17379668/17475213/s65_viviana.quea.jpg"}</script></span></span></li><li class="js-paper-rank-work_34591414 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34591414"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34591414, container: ".js-paper-rank-work_34591414", }); });</script></li><li class="js-percentile-work_34591414 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 34591414; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_34591414"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_34591414 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="34591414"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34591414; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34591414]").text(description); $(".js-view-count-work_34591414").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34591414").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34591414"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a>, <script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17287" rel="nofollow" href="https://www.academia.edu/Documents/in/Arts_Management">Arts Management</a>, <script data-card-contents-for-ri="17287" type="text/json">{"id":17287,"name":"Arts Management","url":"https://www.academia.edu/Documents/in/Arts_Management?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="54931" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Entrepreneurship">Cultural Entrepreneurship</a>, <script data-card-contents-for-ri="54931" type="text/json">{"id":54931,"name":"Cultural Entrepreneurship","url":"https://www.academia.edu/Documents/in/Cultural_Entrepreneurship?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="68674" rel="nofollow" href="https://www.academia.edu/Documents/in/Emprendimiento">Emprendimiento</a><script data-card-contents-for-ri="68674" type="text/json">{"id":68674,"name":"Emprendimiento","url":"https://www.academia.edu/Documents/in/Emprendimiento?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34591414]'), work: {"id":34591414,"title":"Manual para Emprendedores Culturales","created_at":"2017-09-17T12:29:06.179-07:00","url":"https://www.academia.edu/34591414/Manual_para_Emprendedores_Culturales?f_ri=6098","dom_id":"work_34591414","summary":"El Manual para Emprendedores Culturales presenta de manera sencilla algunos principios básicos de gestión estratégica requeridos para manejar con éxito proyectos pertenecientes a las industrias creativas. Esta publicación fue creada en el marco del proyecto ¨Crea y Emprende¨ del Ministerio de la Producción del Perú en alianza con el Ministerio de Cultura. Presenta cerca de veinte proyectos culturales y está dirigido a artistas, emprendedores culturales, consultores, educadores e investigadores que deseen empezar su propio proyecto o aprender sobre estrategias de desarrollo de audiencias, marketing, comunicaciones, producción, presupuesto y recursos de financiamiento para proyectos artísticos y culturales. \r\n\r\nThis practical handbook aims to present in a very easy way the basic principles of strategic management needed to run a successful project in the creative industries. This publication was created within the project \"Crea y Emprende\" of the Ministry of Production of Peru in alliance with the Ministry of Culture of this country. It presents the experiences of nearly twenty cultural projects and it is addressed to artists, cultural entrepreneurs, consultants, educators and researchers willing to start their own project or getting to learn about audience development strategies, marketing, communications, production, budgeting and funding resources for arts projects.","downloadable_attachments":[{"id":54457018,"asset_id":34591414,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":15618139,"first_name":"Viviana","last_name":"Quea Acosta","domain_name":"upedu","page_name":"VivianaQueaAcosta","display_name":"Viviana Quea Acosta","profile_url":"https://upedu.academia.edu/VivianaQueaAcosta?f_ri=6098","photo":"https://0.academia-photos.com/15618139/17379668/17475213/s65_viviana.quea.jpg"}],"research_interests":[{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":17287,"name":"Arts Management","url":"https://www.academia.edu/Documents/in/Arts_Management?f_ri=6098","nofollow":true},{"id":54931,"name":"Cultural Entrepreneurship","url":"https://www.academia.edu/Documents/in/Cultural_Entrepreneurship?f_ri=6098","nofollow":true},{"id":68674,"name":"Emprendimiento","url":"https://www.academia.edu/Documents/in/Emprendimiento?f_ri=6098","nofollow":true},{"id":95223,"name":"Gestión Cultural","url":"https://www.academia.edu/Documents/in/Gesti%C3%B3n_Cultural?f_ri=6098"},{"id":145255,"name":"Gestion Cultural","url":"https://www.academia.edu/Documents/in/Gestion_Cultural?f_ri=6098"},{"id":229210,"name":"Industrias Culturales","url":"https://www.academia.edu/Documents/in/Industrias_Culturales?f_ri=6098"},{"id":787489,"name":"Independent Artistic and Cultural Projects","url":"https://www.academia.edu/Documents/in/Independent_Artistic_and_Cultural_Projects?f_ri=6098"},{"id":1013140,"name":"Music and Performing Arts","url":"https://www.academia.edu/Documents/in/Music_and_Performing_Arts?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40793999" data-work_id="40793999" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40793999/The_Auditory_Setting_Environmental_Sounds_in_Film_and_Media_Arts">The Auditory Setting: Environmental Sounds in Film and Media Arts</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40793999" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and production. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40793999" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="58fc35046e0261ec420f7e2bf0e9372b" rel="nofollow" data-download="{"attachment_id":100021469,"asset_id":40793999,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/100021469/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5664301" href="https://digitallernen.academia.edu/BudhadityaChattopadhyay">Budhaditya Chattopadhyay</a><script data-card-contents-for-user="5664301" type="text/json">{"id":5664301,"first_name":"Budhaditya","last_name":"Chattopadhyay","domain_name":"digitallernen","page_name":"BudhadityaChattopadhyay","display_name":"Budhaditya Chattopadhyay","profile_url":"https://digitallernen.academia.edu/BudhadityaChattopadhyay?f_ri=6098","photo":"https://0.academia-photos.com/5664301/2462679/10091882/s65_budhaditya.chattopadhyay.jpg"}</script></span></span></li><li class="js-paper-rank-work_40793999 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40793999"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40793999, container: ".js-paper-rank-work_40793999", }); });</script></li><li class="js-percentile-work_40793999 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40793999; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40793999"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40793999 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40793999"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40793999; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40793999]").text(description); $(".js-view-count-work_40793999").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40793999").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40793999"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1169" rel="nofollow" href="https://www.academia.edu/Documents/in/Sound_and_Image">Sound and Image</a>, <script data-card-contents-for-ri="1169" type="text/json">{"id":1169,"name":"Sound and Image","url":"https://www.academia.edu/Documents/in/Sound_and_Image?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a><script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40793999]'), work: {"id":40793999,"title":"The Auditory Setting: Environmental Sounds in Film and Media Arts","created_at":"2019-10-31T00:00:37.431-07:00","url":"https://www.academia.edu/40793999/The_Auditory_Setting_Environmental_Sounds_in_Film_and_Media_Arts?f_ri=6098","dom_id":"work_40793999","summary":"The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and production. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.","downloadable_attachments":[{"id":100021469,"asset_id":40793999,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5664301,"first_name":"Budhaditya","last_name":"Chattopadhyay","domain_name":"digitallernen","page_name":"BudhadityaChattopadhyay","display_name":"Budhaditya Chattopadhyay","profile_url":"https://digitallernen.academia.edu/BudhadityaChattopadhyay?f_ri=6098","photo":"https://0.academia-photos.com/5664301/2462679/10091882/s65_budhaditya.chattopadhyay.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true},{"id":1169,"name":"Sound and Image","url":"https://www.academia.edu/Documents/in/Sound_and_Image?f_ri=6098","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6098","nofollow":true},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=6098","nofollow":true},{"id":2106,"name":"Film Sound","url":"https://www.academia.edu/Documents/in/Film_Sound?f_ri=6098"},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":6634,"name":"Soundscape Studies","url":"https://www.academia.edu/Documents/in/Soundscape_Studies?f_ri=6098"},{"id":7212,"name":"Sound studies","url":"https://www.academia.edu/Documents/in/Sound_studies?f_ri=6098"},{"id":7423,"name":"Media Art","url":"https://www.academia.edu/Documents/in/Media_Art?f_ri=6098"},{"id":8088,"name":"Sound","url":"https://www.academia.edu/Documents/in/Sound?f_ri=6098"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=6098"},{"id":16987,"name":"Sound Design","url":"https://www.academia.edu/Documents/in/Sound_Design?f_ri=6098"},{"id":17114,"name":"Sound Aesthetics","url":"https://www.academia.edu/Documents/in/Sound_Aesthetics?f_ri=6098"},{"id":25594,"name":"Sensory Ethnography","url":"https://www.academia.edu/Documents/in/Sensory_Ethnography?f_ri=6098"},{"id":31793,"name":"Sound Art","url":"https://www.academia.edu/Documents/in/Sound_Art?f_ri=6098"},{"id":54333,"name":"Soundscape","url":"https://www.academia.edu/Documents/in/Soundscape?f_ri=6098"},{"id":58521,"name":"Sound Recording","url":"https://www.academia.edu/Documents/in/Sound_Recording?f_ri=6098"},{"id":58652,"name":"Sound Arts","url":"https://www.academia.edu/Documents/in/Sound_Arts?f_ri=6098"},{"id":465977,"name":"Film Sound Theory","url":"https://www.academia.edu/Documents/in/Film_Sound_Theory?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38517439" data-work_id="38517439" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38517439/Ryan_Trecartin_Metaphorical_Puke">Ryan Trecartin - Metaphorical Puke</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This was an essay I wrote about Ryan Trecartin for an assignment in my Masters degree.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38517439" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0f63ce8c3268644f9ebdaf9738526a5e" rel="nofollow" data-download="{"attachment_id":58585788,"asset_id":38517439,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58585788/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="18113303" href="https://unswad.academia.edu/BethSorensen">Beth Sorensen</a><script data-card-contents-for-user="18113303" type="text/json">{"id":18113303,"first_name":"Beth","last_name":"Sorensen","domain_name":"unswad","page_name":"BethSorensen","display_name":"Beth Sorensen","profile_url":"https://unswad.academia.edu/BethSorensen?f_ri=6098","photo":"https://0.academia-photos.com/18113303/5051552/16071025/s65_beth.sorensen.jpg"}</script></span></span></li><li class="js-paper-rank-work_38517439 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38517439"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38517439, container: ".js-paper-rank-work_38517439", }); });</script></li><li class="js-percentile-work_38517439 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38517439; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38517439"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38517439 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38517439"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38517439; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38517439]").text(description); $(".js-view-count-work_38517439").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38517439").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38517439"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a>, <script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="477348" rel="nofollow" href="https://www.academia.edu/Documents/in/Ryan_Trecartin">Ryan Trecartin</a><script data-card-contents-for-ri="477348" type="text/json">{"id":477348,"name":"Ryan Trecartin","url":"https://www.academia.edu/Documents/in/Ryan_Trecartin?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38517439]'), work: {"id":38517439,"title":"Ryan Trecartin - Metaphorical Puke","created_at":"2019-03-08T22:10:57.368-08:00","url":"https://www.academia.edu/38517439/Ryan_Trecartin_Metaphorical_Puke?f_ri=6098","dom_id":"work_38517439","summary":"This was an essay I wrote about Ryan Trecartin for an assignment in my Masters degree.","downloadable_attachments":[{"id":58585788,"asset_id":38517439,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":18113303,"first_name":"Beth","last_name":"Sorensen","domain_name":"unswad","page_name":"BethSorensen","display_name":"Beth Sorensen","profile_url":"https://unswad.academia.edu/BethSorensen?f_ri=6098","photo":"https://0.academia-photos.com/18113303/5051552/16071025/s65_beth.sorensen.jpg"}],"research_interests":[{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":477348,"name":"Ryan Trecartin","url":"https://www.academia.edu/Documents/in/Ryan_Trecartin?f_ri=6098","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10377720" data-work_id="10377720" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10377720/From_the_Bleeding_Edge_of_the_Network_Augmented_Reality_and_the_software_assemblage">From the Bleeding Edge of the Network: Augmented Reality and the 'software assemblage'</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Art deployed using the augmented reality medium is doing so from a micropolitics that distances itself from the uses of these same technologies elsewhere, such as in gaming, advertising, or entertainment paradigms. However, the current... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10377720" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Art deployed using the augmented reality medium is doing so from a micropolitics that distances itself from the uses of these same technologies elsewhere, such as in gaming, advertising, or entertainment paradigms. However, the current terms used to describe this type of artwork do not adequately engage the relational and material specificities of the AR medium as it collides with an emergent thread of interventionist, activist and/or narrative art practice. To describe this emergent hybrid situational artwork, this paper proposes the term software assemblage. The augmented reality artworks I will describe as software assemblages, mobilise experimental processes to examine the relational intensities emerging between the AR medium, the ubiquitous devices with which we have become intimate, and our human social assemblages, specifically in this early 21st century capitalist milieu.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10377720" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2ce412c52287633915a08416ac833efe" rel="nofollow" data-download="{"attachment_id":36444112,"asset_id":10377720,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36444112/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2166301" href="https://qut.academia.edu/RewaWright">Rewa Wright</a><script data-card-contents-for-user="2166301" type="text/json">{"id":2166301,"first_name":"Rewa","last_name":"Wright","domain_name":"qut","page_name":"RewaWright","display_name":"Rewa Wright","profile_url":"https://qut.academia.edu/RewaWright?f_ri=6098","photo":"https://0.academia-photos.com/2166301/699191/78729315/s65_rewa.wright.jpeg"}</script></span></span></li><li class="js-paper-rank-work_10377720 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10377720"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10377720, container: ".js-paper-rank-work_10377720", }); });</script></li><li class="js-percentile-work_10377720 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10377720; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_10377720"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_10377720 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="10377720"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10377720; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10377720]").text(description); $(".js-view-count-work_10377720").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10377720").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10377720"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3189" rel="nofollow" href="https://www.academia.edu/Documents/in/Experimental_Media_Arts">Experimental Media Arts</a>, <script data-card-contents-for-ri="3189" type="text/json">{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5181" rel="nofollow" href="https://www.academia.edu/Documents/in/Psychogeography">Psychogeography</a>, <script data-card-contents-for-ri="5181" type="text/json">{"id":5181,"name":"Psychogeography","url":"https://www.academia.edu/Documents/in/Psychogeography?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a>, <script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12696" rel="nofollow" href="https://www.academia.edu/Documents/in/New_Media_Art_and_Emerging_Practices">New Media Art & Emerging Practices</a><script data-card-contents-for-ri="12696" type="text/json">{"id":12696,"name":"New Media Art \u0026 Emerging Practices","url":"https://www.academia.edu/Documents/in/New_Media_Art_and_Emerging_Practices?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10377720]'), work: {"id":10377720,"title":"From the Bleeding Edge of the Network: Augmented Reality and the 'software assemblage'","created_at":"2015-01-29T16:37:01.619-08:00","url":"https://www.academia.edu/10377720/From_the_Bleeding_Edge_of_the_Network_Augmented_Reality_and_the_software_assemblage?f_ri=6098","dom_id":"work_10377720","summary":"Art deployed using the augmented reality medium is doing so from a micropolitics that distances itself from the uses of these same technologies elsewhere, such as in gaming, advertising, or entertainment paradigms. However, the current terms used to describe this type of artwork do not adequately engage the relational and material specificities of the AR medium as it collides with an emergent thread of interventionist, activist and/or narrative art practice. To describe this emergent hybrid situational artwork, this paper proposes the term software assemblage. The augmented reality artworks I will describe as software assemblages, mobilise experimental processes to examine the relational intensities emerging between the AR medium, the ubiquitous devices with which we have become intimate, and our human social assemblages, specifically in this early 21st century capitalist milieu.","downloadable_attachments":[{"id":36444112,"asset_id":10377720,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2166301,"first_name":"Rewa","last_name":"Wright","domain_name":"qut","page_name":"RewaWright","display_name":"Rewa Wright","profile_url":"https://qut.academia.edu/RewaWright?f_ri=6098","photo":"https://0.academia-photos.com/2166301/699191/78729315/s65_rewa.wright.jpeg"}],"research_interests":[{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true},{"id":5181,"name":"Psychogeography","url":"https://www.academia.edu/Documents/in/Psychogeography?f_ri=6098","nofollow":true},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true},{"id":12696,"name":"New Media Art \u0026 Emerging Practices","url":"https://www.academia.edu/Documents/in/New_Media_Art_and_Emerging_Practices?f_ri=6098","nofollow":true},{"id":12698,"name":"Augmented Reality Art","url":"https://www.academia.edu/Documents/in/Augmented_Reality_Art?f_ri=6098"},{"id":16320,"name":"Site-Specific Art","url":"https://www.academia.edu/Documents/in/Site-Specific_Art?f_ri=6098"},{"id":17760,"name":"Digital Arts","url":"https://www.academia.edu/Documents/in/Digital_Arts?f_ri=6098"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098"},{"id":41030,"name":"Mobile Augmented Reality","url":"https://www.academia.edu/Documents/in/Mobile_Augmented_Reality?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1501698" data-work_id="1501698" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1501698/From_Poetic_Imagination_to_Imaging_Contemporary_Notions_of_Poetic_Imagination_in_Poetry">From Poetic Imagination to Imaging: Contemporary Notions of Poetic Imagination in Poetry</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"When we consider what constitutes the essence of poetry, we are confronted with a variety of questions none of which may be answered with final satisfaction. One feature that seems to emerge repeatedly through time is the notion of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1501698" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"When we consider what constitutes the essence of poetry, we are confronted with a variety of questions none of which may be answered with final satisfaction. One feature that seems to emerge repeatedly through time is the notion of imagination and the term ‘poetic imagination’ to depict the emotional, imaginative, intellectual and the expressive language used to reflect the writer’s consciousness. This paper primarily discusses the core finding of my research in the concepts, theories and ideas of poetic imagination. The research characterizes a series of modes of imagination in contemporary poetry. These modes have been drawn from the existing notions and concepts of poetic imagination. The research identifies that imagination in contemporary poetry moves more towards imaging rather than poetic imagination. In other words, imagination shows greater affinity to imaging in contemporary poetry. This paper aims to present the significant contribution of the overall research which is the conceptualization of a paradigm of various modes of imagination in contemporary poetry, with imaging and poetic imagination as its two ends. Other modes of creative imagination reside between imaging and poetic imagination. <br /> <br />[Keywords: contemporary notions of poetic imagination, modes of imagination, imaging, creative imagination, poetry, theories of imagination]"</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1501698" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d2c1e67db82d9bcca0efbd1341532381" rel="nofollow" data-download="{"attachment_id":13150637,"asset_id":1501698,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/13150637/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="214603" href="https://aut.academia.edu/ArezouZalipour">Arezou Zalipour</a><script data-card-contents-for-user="214603" type="text/json">{"id":214603,"first_name":"Arezou","last_name":"Zalipour","domain_name":"aut","page_name":"ArezouZalipour","display_name":"Arezou Zalipour","profile_url":"https://aut.academia.edu/ArezouZalipour?f_ri=6098","photo":"https://0.academia-photos.com/214603/49107/3045668/s65_arezou.zalipour.jpg"}</script></span></span></li><li class="js-paper-rank-work_1501698 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1501698"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1501698, container: ".js-paper-rank-work_1501698", }); });</script></li><li class="js-percentile-work_1501698 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1501698; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_1501698"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_1501698 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="1501698"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1501698; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1501698]").text(description); $(".js-view-count-work_1501698").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1501698").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="1501698"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">28</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="6" rel="nofollow" href="https://www.academia.edu/Documents/in/Poetry_Composition">Poetry Composition</a>, <script data-card-contents-for-ri="6" type="text/json">{"id":6,"name":"Poetry Composition","url":"https://www.academia.edu/Documents/in/Poetry_Composition?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="658" rel="nofollow" href="https://www.academia.edu/Documents/in/World_Literatures">World Literatures</a>, <script data-card-contents-for-ri="658" type="text/json">{"id":658,"name":"World Literatures","url":"https://www.academia.edu/Documents/in/World_Literatures?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="659" rel="nofollow" href="https://www.academia.edu/Documents/in/Comparative_Literature">Comparative Literature</a>, <script data-card-contents-for-ri="659" type="text/json">{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="859" rel="nofollow" href="https://www.academia.edu/Documents/in/Communication">Communication</a><script data-card-contents-for-ri="859" type="text/json">{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1501698]'), work: {"id":1501698,"title":"From Poetic Imagination to Imaging: Contemporary Notions of Poetic Imagination in Poetry","created_at":"2012-04-07T18:22:50.005-07:00","url":"https://www.academia.edu/1501698/From_Poetic_Imagination_to_Imaging_Contemporary_Notions_of_Poetic_Imagination_in_Poetry?f_ri=6098","dom_id":"work_1501698","summary":"\"When we consider what constitutes the essence of poetry, we are confronted with a variety of questions none of which may be answered with final satisfaction. One feature that seems to emerge repeatedly through time is the notion of imagination and the term ‘poetic imagination’ to depict the emotional, imaginative, intellectual and the expressive language used to reflect the writer’s consciousness. This paper primarily discusses the core finding of my research in the concepts, theories and ideas of poetic imagination. The research characterizes a series of modes of imagination in contemporary poetry. These modes have been drawn from the existing notions and concepts of poetic imagination. The research identifies that imagination in contemporary poetry moves more towards imaging rather than poetic imagination. In other words, imagination shows greater affinity to imaging in contemporary poetry. This paper aims to present the significant contribution of the overall research which is the conceptualization of a paradigm of various modes of imagination in contemporary poetry, with imaging and poetic imagination as its two ends. Other modes of creative imagination reside between imaging and poetic imagination. \r\n \r\n[Keywords: contemporary notions of poetic imagination, modes of imagination, imaging, creative imagination, poetry, theories of imagination]\"","downloadable_attachments":[{"id":13150637,"asset_id":1501698,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":214603,"first_name":"Arezou","last_name":"Zalipour","domain_name":"aut","page_name":"ArezouZalipour","display_name":"Arezou Zalipour","profile_url":"https://aut.academia.edu/ArezouZalipour?f_ri=6098","photo":"https://0.academia-photos.com/214603/49107/3045668/s65_arezou.zalipour.jpg"}],"research_interests":[{"id":6,"name":"Poetry Composition","url":"https://www.academia.edu/Documents/in/Poetry_Composition?f_ri=6098","nofollow":true},{"id":658,"name":"World Literatures","url":"https://www.academia.edu/Documents/in/World_Literatures?f_ri=6098","nofollow":true},{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=6098","nofollow":true},{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=6098","nofollow":true},{"id":885,"name":"English Literature","url":"https://www.academia.edu/Documents/in/English_Literature?f_ri=6098"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098"},{"id":994,"name":"Journalism","url":"https://www.academia.edu/Documents/in/Journalism?f_ri=6098"},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=6098"},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=6098"},{"id":3145,"name":"Literature and cinema","url":"https://www.academia.edu/Documents/in/Literature_and_cinema?f_ri=6098"},{"id":3581,"name":"Poetry","url":"https://www.academia.edu/Documents/in/Poetry?f_ri=6098"},{"id":3773,"name":"Literary Criticism","url":"https://www.academia.edu/Documents/in/Literary_Criticism?f_ri=6098"},{"id":4032,"name":"Development communication","url":"https://www.academia.edu/Documents/in/Development_communication?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":6423,"name":"Media Education","url":"https://www.academia.edu/Documents/in/Media_Education?f_ri=6098"},{"id":6922,"name":"Poetics","url":"https://www.academia.edu/Documents/in/Poetics?f_ri=6098"},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=6098"},{"id":8280,"name":"Media Literacy","url":"https://www.academia.edu/Documents/in/Media_Literacy?f_ri=6098"},{"id":8444,"name":"Modernist Literature (Literary Modernism)","url":"https://www.academia.edu/Documents/in/Modernist_Literature_Literary_Modernism_?f_ri=6098"},{"id":12091,"name":"Twentieth-Century and Contemporary Poetry","url":"https://www.academia.edu/Documents/in/Twentieth-Century_and_Contemporary_Poetry?f_ri=6098"},{"id":13958,"name":"Media","url":"https://www.academia.edu/Documents/in/Media?f_ri=6098"},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=6098"},{"id":15838,"name":"Imagination","url":"https://www.academia.edu/Documents/in/Imagination?f_ri=6098"},{"id":38631,"name":"Poetry and Poetics","url":"https://www.academia.edu/Documents/in/Poetry_and_Poetics?f_ri=6098"},{"id":54734,"name":"Media Research","url":"https://www.academia.edu/Documents/in/Media_Research?f_ri=6098"},{"id":117139,"name":"Social Communication","url":"https://www.academia.edu/Documents/in/Social_Communication-2?f_ri=6098"},{"id":252238,"name":"Media Impact and Effects and Usages","url":"https://www.academia.edu/Documents/in/Media_Impact_and_Effects_and_Usages?f_ri=6098"},{"id":610822,"name":"Alternate Media","url":"https://www.academia.edu/Documents/in/Alternate_Media?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3855139" data-work_id="3855139" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3855139/The_Ephemeral_Body_Aesthetics_of_the_Body_in_the_New_Media_Arts_of_Continental_Southeast_Asia">The Ephemeral Body: Aesthetics of the Body in the New Media Arts of Continental Southeast Asia </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A budding of research and experimentation in the field of contemporary art is currently encountered in many of the countries of Southeast Asia. This is all the more noticeable in those countries that are seeing economic and cultural... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3855139" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A budding of research and experimentation in the field of contemporary art is currently encountered in many of the countries of Southeast Asia. This is all the more noticeable in those countries that are seeing economic and cultural growth ineluctably leading them to meet and interact with forms of communication and stylistic elements of expression belonging to a globalized universe. <br /> <br />In Thailand, Vietnam, Cambodia and Myanmar, highly ancient artistic traditions are meeting new forms of expression. <br /> <br />In looking at the influences that nourish Southeast Asian art, we should note the primal role of a religious and philosophical legacy. The efforts of many experimental visual artists aim, indeed, at developing a conceptual language that revitalises traditional cultural resources in a new context. This motivates the rediscovering of concepts belonging to the Buddhist philosophy and the employing of traditional aesthetics patterns to represent the individual and social identities of contemporary man. <br /> <br />These artists are making their own statement with regard to the problems arising from geopolitical changes and places, traditions, and memories that have disappeared or have been transformed by rapid growth. <br /> <br />This paper focuses mainly on the transformation of body representation and perception in the new media arts of continental Southeast Asia, in a transcultural perspective. <br /> <br />From the very beginning of Southeast Asian civilization, the body has played a central role, as a coherent and living expression of codified aesthetic, artistic and philosophic values. Use of the body - in visual and performing arts - and the dynamics of gesture are the emblem or symbol of the transformation of socially shared meanings. <br /> <br />Digital, video and performing art - due to their specific ephemeral and transitory status - can be considered as some of the best media for representing this “changing body”, faithfully reflecting the dynamics of contemporary Southeast Asian metropolitan culture. <br /> <br />In such a context, media arts are especially interesting because they are still young - due to their history of only a few decades - and at the experimental stage, polarized by a strong and well-defined poetic and figurative universe linked both to ancestral indigenous heritage and to the pursuit of a universal language. <br /> <br />Considering some of the most important contexts of the new media arts in continental Southeast Asia, the paper will offer an original view of the transformation of that visual culture, paying special attention to contemporary Thai reality, which can in fact be considered as one of the most representative centres of new media arts and artistic avant-garde in the whole region. <br /> <br />A study thus directed opens an extremely wide field of investigation, involving the desire for communication between international and distant visual realities, while, at the same time, providing a glance at realities that, though still very fresh from an artistic point of view, are steadily becoming established on the artistic scenario worldwide.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3855139" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2e975c6c76d5b090a48490b7630efce4" rel="nofollow" data-download="{"attachment_id":31497517,"asset_id":3855139,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31497517/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="405920" href="https://open.academia.edu/AlessandraCampoli">Alessandra Campoli</a><script data-card-contents-for-user="405920" type="text/json">{"id":405920,"first_name":"Alessandra","last_name":"Campoli","domain_name":"open","page_name":"AlessandraCampoli","display_name":"Alessandra Campoli","profile_url":"https://open.academia.edu/AlessandraCampoli?f_ri=6098","photo":"https://0.academia-photos.com/405920/2010682/39586255/s65_alessandra.campoli.jpeg"}</script></span></span></li><li class="js-paper-rank-work_3855139 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3855139"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3855139, container: ".js-paper-rank-work_3855139", }); 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$(".js-view-count[data-work-id=3855139]").text(description); $(".js-view-count-work_3855139").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3855139").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3855139"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="113" rel="nofollow" href="https://www.academia.edu/Documents/in/Buddhism">Buddhism</a>, <script data-card-contents-for-ri="113" type="text/json">{"id":113,"name":"Buddhism","url":"https://www.academia.edu/Documents/in/Buddhism?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6098" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Arts">Media Arts</a>, <script data-card-contents-for-ri="6098" type="text/json">{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6746" rel="nofollow" href="https://www.academia.edu/Documents/in/Southeast_Asia">Southeast Asia</a><script data-card-contents-for-ri="6746" type="text/json">{"id":6746,"name":"Southeast Asia","url":"https://www.academia.edu/Documents/in/Southeast_Asia?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3855139]'), work: {"id":3855139,"title":"The Ephemeral Body: Aesthetics of the Body in the New Media Arts of Continental Southeast Asia ","created_at":"2013-07-04T07:04:57.243-07:00","url":"https://www.academia.edu/3855139/The_Ephemeral_Body_Aesthetics_of_the_Body_in_the_New_Media_Arts_of_Continental_Southeast_Asia?f_ri=6098","dom_id":"work_3855139","summary":"A budding of research and experimentation in the field of contemporary art is currently encountered in many of the countries of Southeast Asia. This is all the more noticeable in those countries that are seeing economic and cultural growth ineluctably leading them to meet and interact with forms of communication and stylistic elements of expression belonging to a globalized universe. \r\n\r\nIn Thailand, Vietnam, Cambodia and Myanmar, highly ancient artistic traditions are meeting new forms of expression. \r\n\r\nIn looking at the influences that nourish Southeast Asian art, we should note the primal role of a religious and philosophical legacy. The efforts of many experimental visual artists aim, indeed, at developing a conceptual language that revitalises traditional cultural resources in a new context. This motivates the rediscovering of concepts belonging to the Buddhist philosophy and the employing of traditional aesthetics patterns to represent the individual and social identities of contemporary man.\r\n\r\nThese artists are making their own statement with regard to the problems arising from geopolitical changes and places, traditions, and memories that have disappeared or have been transformed by rapid growth.\r\n\r\nThis paper focuses mainly on the transformation of body representation and perception in the new media arts of continental Southeast Asia, in a transcultural perspective.\r\n\r\nFrom the very beginning of Southeast Asian civilization, the body has played a central role, as a coherent and living expression of codified aesthetic, artistic and philosophic values. Use of the body - in visual and performing arts - and the dynamics of gesture are the emblem or symbol of the transformation of socially shared meanings.\r\n\r\nDigital, video and performing art - due to their specific ephemeral and transitory status - can be considered as some of the best media for representing this “changing body”, faithfully reflecting the dynamics of contemporary Southeast Asian metropolitan culture.\r\n\r\nIn such a context, media arts are especially interesting because they are still young - due to their history of only a few decades - and at the experimental stage, polarized by a strong and well-defined poetic and figurative universe linked both to ancestral indigenous heritage and to the pursuit of a universal language. \r\n\r\nConsidering some of the most important contexts of the new media arts in continental Southeast Asia, the paper will offer an original view of the transformation of that visual culture, paying special attention to contemporary Thai reality, which can in fact be considered as one of the most representative centres of new media arts and artistic avant-garde in the whole region.\r\n\r\nA study thus directed opens an extremely wide field of investigation, involving the desire for communication between international and distant visual realities, while, at the same time, providing a glance at realities that, though still very fresh from an artistic point of view, are steadily becoming established on the artistic scenario worldwide. \r\n","downloadable_attachments":[{"id":31497517,"asset_id":3855139,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":405920,"first_name":"Alessandra","last_name":"Campoli","domain_name":"open","page_name":"AlessandraCampoli","display_name":"Alessandra 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26348232/POSTINTERNET_Art_After_the_Internet">POSTINTERNET: Art After the Internet</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Defining postinternet art and aesthetics.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26348232" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="018c1b98db817137982fb041df0d2f2b" rel="nofollow" data-download="{"attachment_id":46656341,"asset_id":26348232,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46656341/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31879146" href="https://independent.academia.edu/MarisaOlson">Marisa Olson</a><script data-card-contents-for-user="31879146" 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Media</a>, <script data-card-contents-for-ri="933" type="text/json">{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3189" rel="nofollow" href="https://www.academia.edu/Documents/in/Experimental_Media_Arts">Experimental Media Arts</a><script data-card-contents-for-ri="3189" type="text/json">{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ 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Arts","url":"https://www.academia.edu/Documents/in/Contemporary_Arts?f_ri=6098"},{"id":9031,"name":"Media Arts and Sciences","url":"https://www.academia.edu/Documents/in/Media_Arts_and_Sciences?f_ri=6098"},{"id":12696,"name":"New Media Art \u0026 Emerging Practices","url":"https://www.academia.edu/Documents/in/New_Media_Art_and_Emerging_Practices?f_ri=6098"},{"id":12705,"name":"Internet Art","url":"https://www.academia.edu/Documents/in/Internet_Art?f_ri=6098"},{"id":14320,"name":"Digital Media And New Literacies","url":"https://www.academia.edu/Documents/in/Digital_Media_And_New_Literacies?f_ri=6098"},{"id":18503,"name":"Net Art","url":"https://www.academia.edu/Documents/in/Net_Art?f_ri=6098"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098"},{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=6098"},{"id":21604,"name":"Aesthetics of (new) 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Art","url":"https://www.academia.edu/Documents/in/Post_Internet_Art?f_ri=6098"},{"id":1807660,"name":"Post Internet","url":"https://www.academia.edu/Documents/in/Post_Internet?f_ri=6098"},{"id":2081009,"name":"Post-Internet Aesthetics","url":"https://www.academia.edu/Documents/in/Post-Internet_Aesthetics?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36516151 coauthored" data-work_id="36516151" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36516151/Michele_Sambin_Performance_tra_musica_pittura_e_video">Michele Sambin. Performance tra musica, pittura e video</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Questa è la prima monografia su Michele Sambin: un ineludibile pioniere della performance nel suo dialogo con le arti, fino al video e al digitale. Musica, teatro, pittura, uso creativo della luce sono esplorati da questo artista nel loro... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36516151" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Questa è la prima monografia su Michele Sambin: un ineludibile pioniere della performance nel suo dialogo con le arti, fino al video e al digitale. Musica, teatro, pittura, uso creativo della luce sono esplorati da questo artista nel loro essere 'dal vivo', nell'unicità della dimensione del tempo reale, indagato in modi del tutto originali nella dialettica che esso instaura con i mezzi di riproducibilità tecnica, in un fecondo dialogo fra tempo e sua fissazione su un supporto, corpo che agisce e corpo rappresentato, strumenti classici ed elettronica. Il volume raccoglie testi di studiose e studiosi che indagano i territori dell'arte di Sambin: il teatro multimediale, il cinema sperimentale, il disegno e la pittura, la dimensione performativa nel rapporto col video, la ricerca sulle relazioni suono-immagine, la vividezza dell'uso creativo del digitale e della luce. Un pensiero e un'attività che ne volume vengono esplorati nel contesto di una stagione culturalmente e artisticamente importante, da Padova al panorama italiano a quello interniizonale. Il viaggio che l'arte di Sambin da vari decenni ci propone, qui fittamente intrecciato con uno straordinario corpus d'immagini e di suggestioni grafiche, è corredato anche da un apparato informativo accurato ed ampio, inserito in una riflessione sull'uso delle fonti, la catalogazione e gli archivi di Media Art.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36516151" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3a101a67da8c669cd067516fa7420842" rel="nofollow" data-download="{"attachment_id":56437205,"asset_id":36516151,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56437205/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5549176" href="https://independentresearcher.academia.edu/LisaParolo">Lisa Parolo</a><script data-card-contents-for-user="5549176" type="text/json">{"id":5549176,"first_name":"Lisa","last_name":"Parolo","domain_name":"independentresearcher","page_name":"LisaParolo","display_name":"Lisa Parolo","profile_url":"https://independentresearcher.academia.edu/LisaParolo?f_ri=6098","photo":"https://0.academia-photos.com/5549176/4297484/19520798/s65_lisa.parolo.jpeg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-36516151">+2</span><div class="hidden js-additional-users-36516151"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/sbordini">silvia bordini</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://pisa.academia.edu/AndreinaBrino">Andreina Di Brino</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-36516151'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-36516151').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_36516151 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="36516151"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36516151; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36516151]").text(description); $(".js-view-count-work_36516151").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36516151").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36516151"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="863" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="945" rel="nofollow" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a><script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36516151]'), work: {"id":36516151,"title":"Michele Sambin. Performance tra musica, pittura e video","created_at":"2018-04-27T08:56:52.762-07:00","url":"https://www.academia.edu/36516151/Michele_Sambin_Performance_tra_musica_pittura_e_video?f_ri=6098","dom_id":"work_36516151","summary":"Questa è la prima monografia su Michele Sambin: un ineludibile pioniere della performance nel suo dialogo con le arti, fino al video e al digitale. Musica, teatro, pittura, uso creativo della luce sono esplorati da questo artista nel loro essere 'dal vivo', nell'unicità della dimensione del tempo reale, indagato in modi del tutto originali nella dialettica che esso instaura con i mezzi di riproducibilità tecnica, in un fecondo dialogo fra tempo e sua fissazione su un supporto, corpo che agisce e corpo rappresentato, strumenti classici ed elettronica. Il volume raccoglie testi di studiose e studiosi che indagano i territori dell'arte di Sambin: il teatro multimediale, il cinema sperimentale, il disegno e la pittura, la dimensione performativa nel rapporto col video, la ricerca sulle relazioni suono-immagine, la vividezza dell'uso creativo del digitale e della luce. Un pensiero e un'attività che ne volume vengono esplorati nel contesto di una stagione culturalmente e artisticamente importante, da Padova al panorama italiano a quello interniizonale. Il viaggio che l'arte di Sambin da vari decenni ci propone, qui fittamente intrecciato con uno straordinario corpus d'immagini e di suggestioni grafiche, è corredato anche da un apparato informativo accurato ed ampio, inserito in una riflessione sull'uso delle fonti, la catalogazione e gli archivi di Media Art.","downloadable_attachments":[{"id":56437205,"asset_id":36516151,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5549176,"first_name":"Lisa","last_name":"Parolo","domain_name":"independentresearcher","page_name":"LisaParolo","display_name":"Lisa Parolo","profile_url":"https://independentresearcher.academia.edu/LisaParolo?f_ri=6098","photo":"https://0.academia-photos.com/5549176/4297484/19520798/s65_lisa.parolo.jpeg"},{"id":13646969,"first_name":"silvia","last_name":"bordini","domain_name":"independent","page_name":"sbordini","display_name":"silvia bordini","profile_url":"https://independent.academia.edu/sbordini?f_ri=6098","photo":"https://0.academia-photos.com/13646969/6103360/6920140/s65_silvia.bordini.jpg"},{"id":3641864,"first_name":"Andreina","last_name":"Di Brino","domain_name":"pisa","page_name":"AndreinaBrino","display_name":"Andreina Di Brino","profile_url":"https://pisa.academia.edu/AndreinaBrino?f_ri=6098","photo":"https://0.academia-photos.com/3641864/1280709/1593857/s65_andreina.brino.jpg"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=6098","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=6098","nofollow":true},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=6098","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=6098"},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=6098"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6098"},{"id":5459,"name":"Cultural Heritage Conservation","url":"https://www.academia.edu/Documents/in/Cultural_Heritage_Conservation?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":6100,"name":"Video Art","url":"https://www.academia.edu/Documents/in/Video_Art?f_ri=6098"},{"id":6735,"name":"Heritage Conservation","url":"https://www.academia.edu/Documents/in/Heritage_Conservation?f_ri=6098"},{"id":7423,"name":"Media Art","url":"https://www.academia.edu/Documents/in/Media_Art?f_ri=6098"},{"id":9043,"name":"Performance","url":"https://www.academia.edu/Documents/in/Performance?f_ri=6098"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=6098"},{"id":95791,"name":"Conservation of contemporary art, Materiality in art, Conservation of time-based media works of art","url":"https://www.academia.edu/Documents/in/Conservation_of_contemporary_art_Materiality_in_art_Conservation_of_time-based_media_works_of_art?f_ri=6098"},{"id":232176,"name":"Experimental Film and Video","url":"https://www.academia.edu/Documents/in/Experimental_Film_and_Video?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_23895638" data-work_id="23895638" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/23895638/Digital_Totem_Poles_Experimental_Computer_Graphics_By_Rick_Doble">Digital Totem Poles: Experimental Computer Graphics By Rick Doble</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Very tall narrow digital pictures inspired by the art and craft of both modern and traditional totem poles. The pictures cannot be viewed all at one time, but are interactive and must be scrolled. The patterns on these poles were derived... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23895638" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Very tall narrow digital pictures inspired by the art and craft of both modern and traditional totem poles. The pictures cannot be viewed all at one time, but are interactive and must be scrolled. The patterns on these poles were derived from natural and man made patterns. With each totem pole you must scroll down its page. You will only be able to see a portion at one time.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23895638" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="98551b9c869f77f78f121798bafcff88" rel="nofollow" data-download="{"attachment_id":44285055,"asset_id":23895638,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44285055/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4134558" href="https://unc.academia.edu/RickDoble">Rick Doble</a><script data-card-contents-for-user="4134558" type="text/json">{"id":4134558,"first_name":"Rick","last_name":"Doble","domain_name":"unc","page_name":"RickDoble","display_name":"Rick Doble","profile_url":"https://unc.academia.edu/RickDoble?f_ri=6098","photo":"https://0.academia-photos.com/4134558/1605082/1939252/s65_rick.doble.jpg"}</script></span></span></li><li class="js-paper-rank-work_23895638 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23895638"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23895638, container: ".js-paper-rank-work_23895638", }); });</script></li><li class="js-percentile-work_23895638 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 23895638; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_23895638"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_23895638 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="23895638"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23895638; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=23895638]").text(description); $(".js-view-count-work_23895638").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_23895638").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="23895638"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1236" rel="nofollow" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3189" rel="nofollow" href="https://www.academia.edu/Documents/in/Experimental_Media_Arts">Experimental Media Arts</a><script data-card-contents-for-ri="3189" type="text/json">{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=23895638]'), work: {"id":23895638,"title":"Digital Totem Poles: Experimental Computer Graphics By Rick Doble","created_at":"2016-04-01T00:19:21.898-07:00","url":"https://www.academia.edu/23895638/Digital_Totem_Poles_Experimental_Computer_Graphics_By_Rick_Doble?f_ri=6098","dom_id":"work_23895638","summary":"Very tall narrow digital pictures inspired by the art and craft of both modern and traditional totem poles. The pictures cannot be viewed all at one time, but are interactive and must be scrolled. The patterns on these poles were derived from natural and man made patterns. With each totem pole you must scroll down its page. You will only be able to see a portion at one time.","downloadable_attachments":[{"id":44285055,"asset_id":23895638,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4134558,"first_name":"Rick","last_name":"Doble","domain_name":"unc","page_name":"RickDoble","display_name":"Rick Doble","profile_url":"https://unc.academia.edu/RickDoble?f_ri=6098","photo":"https://0.academia-photos.com/4134558/1605082/1939252/s65_rick.doble.jpg"}],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=6098","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=6098","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6098","nofollow":true},{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1314232" data-work_id="1314232" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1314232/Art_After_New_Media_Exploring_Black_Boxes_Tactics_and_Archaeologies_LEA_">Art After New Media: Exploring Black Boxes, Tactics and Archaeologies (LEA)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper discusses three methodological themes employed by contemporary media artists who reuse obsolete information technology hardware in their work. Methodologies include the exploration of the hidden “blackboxed” layer of technology... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1314232" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper discusses three methodological themes employed by contemporary media artists who reuse obsolete information technology hardware in their work. Methodologies include the exploration of the hidden “blackboxed” layer of technology by circuit bending artists like Reed Ghazala, the tactical use of technologies to bring social change by artists like Natalie Jeremijenko, and the archaeological use of outdated technologies to intervene in history by artists like Tom Jennings. These themes are presented as useful tools to construct a language of reuse which serves a valuable function in a culture increasingly confronted by electronic waste and assists in critiquing assumptions of obsolescence, technological progress and understanding digital culture primarily within the framework of “new media.”</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1314232" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8264409ae6a416bd77b189e84096cc1e" rel="nofollow" data-download="{"attachment_id":8099623,"asset_id":1314232,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/8099623/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1094869" href="https://ecuad.academia.edu/hertz">Garnet Hertz</a><script data-card-contents-for-user="1094869" type="text/json">{"id":1094869,"first_name":"Garnet","last_name":"Hertz","domain_name":"ecuad","page_name":"hertz","display_name":"Garnet Hertz","profile_url":"https://ecuad.academia.edu/hertz?f_ri=6098","photo":"https://0.academia-photos.com/1094869/380431/8616129/s65_garnet.hertz.jpg"}</script></span></span></li><li class="js-paper-rank-work_1314232 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1314232"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1314232, container: ".js-paper-rank-work_1314232", }); 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$(".js-view-count[data-work-id=1314232]").text(description); $(".js-view-count-work_1314232").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1314232").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="1314232"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">22</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="863" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="933" rel="nofollow" href="https://www.academia.edu/Documents/in/New_Media">New Media</a>, <script data-card-contents-for-ri="933" type="text/json">{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="939" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Archaeology">Media Archaeology</a><script data-card-contents-for-ri="939" type="text/json">{"id":939,"name":"Media Archaeology","url":"https://www.academia.edu/Documents/in/Media_Archaeology?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1314232]'), work: {"id":1314232,"title":"Art After New Media: Exploring Black Boxes, Tactics and Archaeologies (LEA)","created_at":"2012-01-30T02:52:37.452-08:00","url":"https://www.academia.edu/1314232/Art_After_New_Media_Exploring_Black_Boxes_Tactics_and_Archaeologies_LEA_?f_ri=6098","dom_id":"work_1314232","summary":"This paper discusses three methodological themes employed by contemporary media artists who reuse obsolete information technology hardware in their work. Methodologies include the exploration of the hidden “blackboxed” layer of technology by circuit bending artists like Reed Ghazala, the tactical use of technologies to bring social change by artists like Natalie Jeremijenko, and the archaeological use of outdated technologies to intervene in history by artists like Tom Jennings. These themes are presented as useful tools to construct a language of reuse which serves a valuable function in a culture increasingly confronted by electronic waste and assists in critiquing assumptions of obsolescence, technological progress and understanding digital culture primarily within the framework of “new media.”","downloadable_attachments":[{"id":8099623,"asset_id":1314232,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1094869,"first_name":"Garnet","last_name":"Hertz","domain_name":"ecuad","page_name":"hertz","display_name":"Garnet Hertz","profile_url":"https://ecuad.academia.edu/hertz?f_ri=6098","photo":"https://0.academia-photos.com/1094869/380431/8616129/s65_garnet.hertz.jpg"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=6098","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=6098","nofollow":true},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=6098","nofollow":true},{"id":939,"name":"Media Archaeology","url":"https://www.academia.edu/Documents/in/Media_Archaeology?f_ri=6098","nofollow":true},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=6098"},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=6098"},{"id":2879,"name":"Ubiquitous Computing","url":"https://www.academia.edu/Documents/in/Ubiquitous_Computing?f_ri=6098"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=6098"},{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098"},{"id":4758,"name":"Electronics","url":"https://www.academia.edu/Documents/in/Electronics?f_ri=6098"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=6098"},{"id":7602,"name":"Waste recycling","url":"https://www.academia.edu/Documents/in/Waste_recycling?f_ri=6098"},{"id":10642,"name":"Circuit Bending","url":"https://www.academia.edu/Documents/in/Circuit_Bending?f_ri=6098"},{"id":12672,"name":"Electronic Music","url":"https://www.academia.edu/Documents/in/Electronic_Music?f_ri=6098"},{"id":12696,"name":"New Media Art \u0026 Emerging Practices","url":"https://www.academia.edu/Documents/in/New_Media_Art_and_Emerging_Practices?f_ri=6098"},{"id":17760,"name":"Digital Arts","url":"https://www.academia.edu/Documents/in/Digital_Arts?f_ri=6098"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=6098"},{"id":61347,"name":"DIY culture","url":"https://www.academia.edu/Documents/in/DIY_culture?f_ri=6098"},{"id":93172,"name":"Tactical media","url":"https://www.academia.edu/Documents/in/Tactical_media?f_ri=6098"},{"id":110587,"name":"Electronic Art","url":"https://www.academia.edu/Documents/in/Electronic_Art?f_ri=6098"},{"id":118213,"name":"Electronic waste","url":"https://www.academia.edu/Documents/in/Electronic_waste?f_ri=6098"},{"id":160103,"name":"DIY","url":"https://www.academia.edu/Documents/in/DIY?f_ri=6098"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39001993" data-work_id="39001993" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39001993/Hacia_una_cr%C3%ADtica_pr%C3%A1ctica_de_la_comunicaci%C3%B3n_ideas_desde_el_arte_medi%C3%A1tico_la_arqueolog%C3%ADa_de_los_medios_y_la_filosof%C3%ADa_de_m%C3%A1quinas">Hacia una crítica práctica de la comunicación: ideas desde el arte mediático, la arqueología de los medios y la filosofía de máquinas</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Resumen Este artículo esboza los componentes centrales de una crítica práctica de la comunicación, entendida ésta como un camino metodológico para abordar el estudio de los medios de comunicación y su apropiación crítica. Parte de la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39001993" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumen<br />Este artículo esboza los componentes centrales de una crítica práctica de la<br />comunicación, entendida ésta como un camino metodológico para abordar<br />el estudio de los medios de comunicación y su apropiación crítica. Parte<br />de la discusión del concepto de comunicación desde la óptica de Vilém<br />Flusser para después ponerlo en diálogo con una teoría de la comunicación<br />basada en el estudio de la memoria. La crítica práctica de la comunicación<br />se desenvuelve, por lo tanto, sobre el territorio del archivo y se fundamenta<br />en una arqueología de los medios y un arte mediático para su<br />operación. Finalmente, a partir de delinear la crítica práctica de la comunicación,<br />este texto defiende el lugar del artista y del arqueólogo en medios<br />como una pieza clave dentro de las facultades de la comunicación.<br />Palabras clave: crítica práctica de la comunicación, comunicación,<br />memoria, arqueología de los medios, arte mediático, máquinas de guerra.<br />Abstract<br />This article outlines the key components of a practical critique of<br />communication, understood as a methodological path to address the<br />study of media and its critical appropriation. It starts with the discussion<br />of the concept of communication from the lens of Vilém Flusser in order<br />to articulate a theory of communication based on the study of memory.<br />Consequently, the practical critique of communication unravels along<br />the territory of the archive and it is based on media archaeology and<br />media art for its operation. Finally, by delineating the practical critique<br />of communication, this text defends the place of the media artist and the<br />media archaeologist as a key figure within the schools of communication<br />and media.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39001993" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e6b835e717c695235fffc0ee202ca84f" rel="nofollow" data-download="{"attachment_id":59109531,"asset_id":39001993,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59109531/download_file?st=MTc0MDU0NTIzNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33865110" href="https://iberoamericana.academia.edu/PabloMartinezZarate">Pablo Martinez Zarate</a><script data-card-contents-for-user="33865110" type="text/json">{"id":33865110,"first_name":"Pablo","last_name":"Martinez Zarate","domain_name":"iberoamericana","page_name":"PabloMartinezZarate","display_name":"Pablo Martinez Zarate","profile_url":"https://iberoamericana.academia.edu/PabloMartinezZarate?f_ri=6098","photo":"https://0.academia-photos.com/33865110/10006464/11160645/s65_pablo.martinez_zarate.jpg"}</script></span></span></li><li class="js-paper-rank-work_39001993 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39001993"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39001993, container: ".js-paper-rank-work_39001993", }); 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$(".js-view-count[data-work-id=39001993]").text(description); $(".js-view-count-work_39001993").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39001993").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39001993"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="395" rel="nofollow" href="https://www.academia.edu/Documents/in/Experimental_Archaeology">Experimental Archaeology</a>, <script data-card-contents-for-ri="395" type="text/json">{"id":395,"name":"Experimental Archaeology","url":"https://www.academia.edu/Documents/in/Experimental_Archaeology?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="939" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Archaeology">Media Archaeology</a>, <script data-card-contents-for-ri="939" type="text/json">{"id":939,"name":"Media Archaeology","url":"https://www.academia.edu/Documents/in/Media_Archaeology?f_ri=6098","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3189" rel="nofollow" href="https://www.academia.edu/Documents/in/Experimental_Media_Arts">Experimental Media Arts</a><script data-card-contents-for-ri="3189" type="text/json">{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=6098","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39001993]'), work: {"id":39001993,"title":"Hacia una crítica práctica de la comunicación: ideas desde el arte mediático, la arqueología de los medios y la filosofía de máquinas","created_at":"2019-05-02T06:43:42.210-07:00","url":"https://www.academia.edu/39001993/Hacia_una_cr%C3%ADtica_pr%C3%A1ctica_de_la_comunicaci%C3%B3n_ideas_desde_el_arte_medi%C3%A1tico_la_arqueolog%C3%ADa_de_los_medios_y_la_filosof%C3%ADa_de_m%C3%A1quinas?f_ri=6098","dom_id":"work_39001993","summary":"Resumen\nEste artículo esboza los componentes centrales de una crítica práctica de la\ncomunicación, entendida ésta como un camino metodológico para abordar\nel estudio de los medios de comunicación y su apropiación crítica. Parte\nde la discusión del concepto de comunicación desde la óptica de Vilém\nFlusser para después ponerlo en diálogo con una teoría de la comunicación\nbasada en el estudio de la memoria. La crítica práctica de la comunicación\nse desenvuelve, por lo tanto, sobre el territorio del archivo y se fundamenta\nen una arqueología de los medios y un arte mediático para su\noperación. Finalmente, a partir de delinear la crítica práctica de la comunicación,\neste texto defiende el lugar del artista y del arqueólogo en medios\ncomo una pieza clave dentro de las facultades de la comunicación.\nPalabras clave: crítica práctica de la comunicación, comunicación,\nmemoria, arqueología de los medios, arte mediático, máquinas de guerra.\nAbstract\nThis article outlines the key components of a practical critique of\ncommunication, understood as a methodological path to address the\nstudy of media and its critical appropriation. It starts with the discussion\nof the concept of communication from the lens of Vilém Flusser in order\nto articulate a theory of communication based on the study of memory.\nConsequently, the practical critique of communication unravels along\nthe territory of the archive and it is based on media archaeology and\nmedia art for its operation. Finally, by delineating the practical critique\nof communication, this text defends the place of the media artist and the\nmedia archaeologist as a key figure within the schools of communication\nand media.","downloadable_attachments":[{"id":59109531,"asset_id":39001993,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33865110,"first_name":"Pablo","last_name":"Martinez Zarate","domain_name":"iberoamericana","page_name":"PabloMartinezZarate","display_name":"Pablo Martinez Zarate","profile_url":"https://iberoamericana.academia.edu/PabloMartinezZarate?f_ri=6098","photo":"https://0.academia-photos.com/33865110/10006464/11160645/s65_pablo.martinez_zarate.jpg"}],"research_interests":[{"id":395,"name":"Experimental Archaeology","url":"https://www.academia.edu/Documents/in/Experimental_Archaeology?f_ri=6098","nofollow":true},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=6098","nofollow":true},{"id":939,"name":"Media 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