New Media Art

How are we to understand digital objects? How are we to relate ‘cyberspace’ to physical space? This chapter attempts to provide a set of theoretical tools to understand ‘spaces’ of online interaction and what happens within them without resorting to filamentous constructions of ‘disembodied’ online interaction or to the underlying idealistic Cartesian dualism that pervades many of the theoretical positions that ostensibly refute it. To do so, I make connections between cognitive processes of human subjectivity, the embodied, gestural enactments of physical social spaces, and the social interactions that take place in online environments. The crux of the argument is that like identity, meaning and subjectivity are social phenomena: individual cognition requires social interaction. Similarly, social interaction, mediated or immediate, defines our spaces of subjectivity. This connecting of online ‘spaces’ to embodied cognition may provide a way to understand digital objects and the online interactions they enable through a reconsideration of the concept of space.

Xu Bing's installations are renowned for their production of "nonsense writing," that is, for extracting operations from Chinese characters in a manner that defies conventions for what is sensible and intelligible in writing. Xu Bing, apparently in all seriousness, glosses such "nonsense" with the Chan Buddhist notion of shengyu 生语 or "living word." If the characters in Xu Bing's installations can be said to be living words, it is because they afford an experience of what is nonsensuous in the everyday experience of characters-while we are used to characters being visible and audible, we do not normally experience what happens between seeing and saying the character. In this paper, I look at various installations in which Xu Bing uses techniques of abstract resemblance, such as pictographs (characters that resemble things) and psuedographs (fake characters that resemble actually used characters) in order to provide an experience of nonsensuous similarity or semblance prior to and beyond resemblance. The challenge of his recent installation, Background Story, is that it explores nonsensuous similarity in a new register: calligraphic paintings in which there is brushwork without brushwork, in which actual things appear self-abstracting. Thus his art delivers a profound challenge to received hierarchies for organizing experience, suggesting that things are no less abstract than images or signs, only differently so.

Data Dating is a collection of ten academic essays accompanied by works of media art that provide a comprehensive insight into the construction of love and its practices in the time of digitally mediated relationships. The essays come from recognized researchers in the field of media and cultural studies.

INTRODUCTION
Introduction: Dating (the) Data and Other Intimacies
Ania Malinowska and Valentina Peri

1. WIRED LIMERENCE (feat. Deep Love by Antoine Schmitt)
Technology, Commerce and the Intimacy Revolution
Lauren Rosewarne

2. LOVE INFO-STRUCTURES (feat. Glaciers by Zach Gage)
Romance in a Time of Dark Data
Lee McKinnon

3. MEDIATED MATCHMAKING (feat. A Truly Magical Moment by Adam Basanta)
Fast Love. Temporalities of Digitized Togetherness
Ania Malinowska

4. EMOTIONS WITH THE MACHINE (feat. Ashley Madison Angels at Work by !Mediengruppe Bitnik)
‘Emotoys’: Ethics, Emotions and Empathic Technologies
Andrew McStay and Gilad Rosner

5. SELF-FASHIONING DESIRE (feat. Kill Your Darlings by Jeroen van Loon)
The Greatest Love of All: Recognition, Self-Love and the Imaging of Desire
Derek Conrad Murray

6. DIGITAL ONSCENITIES (feat. Peeping Tom (Porn Version) by Thomas Israel)
The New Onscenity. Navigating Digital Desires in the Twenty First Century Pornoscape
Lynn Comella

7. LIBIDINAL TECHNO-SCAPES (Webcam Venus by Addie Wagenknecht and Pablo Garcia)
The Proxemics of Digital Intimacy
Kyle Machulis

8. TOUCHLESS EMBRACES (feat. VR Hug by Tom Galle and Moises Sanabria)
Virtual Hugs and the Crises of Touch
David Parisi

9. SOUNDS OF FEELING (feat. Digital Synaesthetic E.E.G. Kiss by Karen Lancel and Hermen Maat)
I Can Hear Your Feelings
Andrew Blanton

10. INTERFACES OF EMOTIONAL SURVEILLANCE (feat. Face Messenger by Tom Galle and John Yuyi)
Timestamp Anxieties
Kristin Veel and Nanna Bonde Thylstrup

İletişim olgusu, toplumsal bir varlık olan insan için her dönem önemli bir konuma sahip olmuştur. Tarihin ilk dönemlerinden itibaren doğa ile iç içe yaşayan insan beslenme, barınma ve korunma gibi temel ihtiyaçlarını giderirken iletişim kurmaya çabalamıştır. İletişim her dönem insanların hayatlarını biçimlendirmiş, yaşayışlarına yön vermiştir. Toplumsal dönüşümü hızlandıran ve sosyalleşmeyi biçimlendiren iletişim olgusu, medyanın etkisiyle birlikte daha zengin bir yapıya kavuşmuştur. Geleneksel medyadan yeni medyaya dönüşüm sürecinde iletişim teknolojileri etkisini derinden hissettirmiş ve içinde yaşadığımız dönem “medya çağı” olarak ifade edilmeye başlamıştır. İletişim bugün gerek sokakta, gerek evde izlediğimiz televizyonlarda, gerek sanal ortamda ve gerekse de reel hayatımızda vazgeçemediğimiz olgular arasında yer almaktadır. 23 farklı çalışmadan oluşan bu kitap, altı farklı kategoride bulunan bilimsel çalışmaları kapsamaktadır. Bu kategoriler sırasıyla; “Halkla İlişkiler ve Medya”, “Bilişim ve Medya”, “Sinema ve Medya”, “Sanat ve Medya”, “Kültür ve Medya”, “Siyasal İletişim ve Medya”dır.

“Beyond New Media Art” is the revised, updated version of a book first published in Italian with the title “Media, New Media, Postmedia” (Postmedia Books, Milan 2010). Through the circulation of excerpts, reviews and interviews, the book produced some debate outside of Italy, which persuaded the author to release, three years later, this English translation.
“Beyond New Media Art” is an attempt to analyze the current positioning of so-called New Media Art in the wider field of contemporary arts, and to explore the historical, sociological and conceptual reasons for its marginal position and under-recognition in recent art history. On the other hand, this book is also an attempt to suggest new critical and curatorial strategies to turn this marginalization into a thing of the past, and to stress the topicality of art addressing the media and the issues of the information age.
From the book’s preface: “So what is New Media Art? What does this term really describe? And what has occasioned the schism between this term and the art scene it is supposed to describe? And lastly, what accounts for the limited presence in critical debate of an artistic practice that appears to have all the credentials for representing an era in which digital media are powerfully reshaping the political, economic, social and cultural organization of the world we live in?”

Domenico Quaranta, Beyond New Media Art, Link Editions, Brescia 2013. Soft cover, 290 pp., ISBN 9781291376975

Matt Haffner's cut and pasted paper wall murals and videos present film noir inspired narrative fragments, and mine art history, popular culture and contemporary life, in the Museum of Contemporary Art of Georgia's 2008-2009 Working Artists Project Series.

Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierenden Schnittstelle als Interaktionsmechanismus, wobei die Interaktion von maschinellen Komponenten (Hardware, Software) sowie die vielfältigen Interaktionen zwischen UserIn und Maschine zur Geltung gebracht werden.

This book of electronic literature (e-lit) brings together pioneering and emerging women whose work has earned international impact and scholarly recognition. It extends a historical critical overview of the state of the field from the diverse perspectives of twenty-eight worldwide contributors. It illustrates the authors’ scholarly interests through discussion of creative practice as research, historical accounts documenting collections of women’s new media art and literary works, and art collectives. It also covers theoretical approaches and critical overviews, from feminist discourses to close readings and “close-distant-located readings” of pertinent works in the field. #WomenTechLit includes authors from Latin America, Russia, Austria, Ireland, Spain, France, Italy, Portugal, Slovakia, Czech Republic, Poland, United Kingdom, Australia, Canada, and the US.

This volume will be a useful reference for educators, practice-based researchers, and scholars, not only of electronic literature but also in the adjacent areas of language art, new media art practices, digital humanities, and feminist studies.

"The goal of Feminist art was to influence cultural attitudes and transform stereotypes " Suzanne Lacy As a conceptual approach; Female body is one of our cultural barriers over history, also it was always a source of inspiration through art history. Using female body as an art theme was practiced in different movements, with different concepts, and approaches. Women have struggled historically against certain paradigms of inferiority till nowadays, women in different societies have their own cultural identity, which differs according to their own believes and their own customs. Many of this culture and its customs, are based on a patriarchal past where men wield more power than women. As a result Women worldwide experience subjugation in the fields of jobs, education, sexuality and reproductive choice. Female body in middle east societies, is red line, that artist are not allowed to surpass, although many of middle east civilizations was dealing freely with female body, as we see in paintings and statues of ancient Egyptian, but many social, religious factors made female body a taboo. Looking closely to modern art history in Middle East and Islamic countries, we found brilliant wild female artists really succeeded to break the rules, they chose to express their own art in a freedom way, they chose to use their own body as an art medium which make them a pioneer in their own countries, who had been followed by many female artist after them. Media art had been flourished in Arab countries, especially in Egypt in the nineties of 20 th century. Many female artist had prove themselves as pioneers, trying to identify themselves by new form, and challenging the regular stereotype about female artists in that time. This way for expressing and identifying themselves had developed over time, and takes more advanced approaches in 21 st century This paper as a general approach discusses; how Middle Eastern female media artists struggled to transform stereotypes of women, by using their own body as an element, and how they express freedom concept through self body image.

The Digital Boundaries exhibition includes works that use multimedia to address issues of multiculturalism, identity, and awareness. By placing technology in new contexts to explore multimedia's impact on culture (and vice versa) we create a space for the discussion of new ideas and create an interdisciplinary impact by reinforcing a dialogue between the arts and multimedia communities. We discuss our motivation, the exhibition theme, the works selected, and their potential technical impact.

Selon la perspective suivie dans cet ouvrage, le spectateur est actuellement en train d'acquérir de nouvelles capacités de suivi et d'absorption de l'image en mouvement. Depuis une quinzaine d'années, les créateurs de l'iconosphère avancent sur le chemin de la complexification et de la multiplication des moyens narratifs visuels. Cette démarche est préparée non seulement par des expérimentations artistiques historiques mais avant tout par l'accoutumance des populations urbanisées à l'immersion dans l'iconographie dynamique, par la prolifération des sources d'information imagée, par les pratiques interactives tels le zapping télévisuel, la consultation d'Internet, l'imagerie de la téléphonie mobile, ainsi que par la médiatisation iconique de la conduite de véhicules et d'engins. Ces nouvelles manières de consommer l'image et le son dynamisent les nouvelles créations multi-supports et feront bientôt disparaître la salle obscure à projection plate et unique ainsi que les appareils monoécraniques. Nous proposons dans cet ouvrage une étude bilingue franco-anglaise quasi-exhaustive du phénomène, ancrée dans l'épistémologie des sciences cognitives, apportant des éclaircissements théoriques conjugués aux analyses des oeuvres récentes et anciennes, et étayée par les considérations et les témoignages d'artistes.

In 1948 the American mathematician and MIT professor, Claude E. Shannon, published "A Mathematical Theory of Communication," laying the groundwork for the nascent field of information theory. With Warren Weaver, Shannon posited a generic and mathematically defined model of communication comprising distinct components: the information source, destination, transmitter, noise source, message, and feedback.

Since the early 2000s, an increasing number of artists with a focus on desktop-based practices decided, where possible, to leave the technologies at home when they were invited to exhibitions. Software was converted into prints, videos, installations; performative media hacks were documented and presented in set-ups inspired by the ways in which conceptual and performance art manifest themselves in physical space; and the early adopters of the “post-internet” label, whose practice mainly consisted in appropriating and reframing internet content and playing with the defaults of desktop-based tools, naturally looked at video, print and installation as media to operate in physical space.

This text has been commissioned for and first published in Megarave - Metarave, exhibition catalogue, Kunsthaus Langenthal / WallRiss Friburg 2014, pp. 37 - 46. Re-published in Domenico Quaranta, AFK, Link Editions, Brescia 2016, pp. 8 - 22

This thesis focuses on my dance and new media project, "There", which was shown in 2014. I want to unveil my creative process and propose possibilities for intermedia in art. First, to grasp the meaning of moving images in a dance performance, I will submit as an example the experiment within, and analysis of, the "There" production process. The reason is to investigate the value of the combination of body expression and moving images. The street dance drama, "There" looks back at life from a place between this world and the afterlife. In this place, the various stories of a diverse crowd of people unfold as a dance drama through laughter, tears, and an overflow of dancing. Profound questions about life and death are universal. I want to try to expand the expression of these concepts through the intermedia art of dance work and new media.

본 논문은 본인이 2014년에 발표한 무용과 영상 미디어를 융합한 작품 "저곳-There"을 중심으로 구성하였다. 영상과 무용을 융합한 이 작품의 제작 과정을 공개하고 향후 융합예술의 가능성을 제시해 보려는 것이다. 먼저, 무용공연에 있어서의 영상의 의미를 파악하기 위하여 “저곳-There”의 작품제작에서 실행된 실험과 분석은 어떠한 것이었는지 사례를 들어 보려한다. 그것은 신체표현과 영상의 융합적 가치 및 본 제작에 있어서 영상미디어의 역할을 고찰하기 위함이다. 거리무용극 "저곳-There"은 이승과 저승 사이 그 어디쯤 자리한 곳에서 삶을 돌아보는 작품이다. 그것은 우리가 살아가는 오늘의 이야기다. 저곳에서 잡다한 인간 군상들의 갖가지 사연들이 웃고 울며 춤을 추듯 넘실거리며 한판 춤극으로 펼쳐진다. 본 연구를 통하여 삶과 죽음이라는 인간의 보편성을, 첨단 미디어와 무용의 융합을 이용하여 표현하고 영역의 확장을 시도하려는 것이다.

The paper explores the recent growth in critical gameplay, an application of critical design to the production of computer games. This paper outlines play pedagogy and game rhetoric, relating critical design practices to the creation of computer games. It attempts to explain the art practice of critical game design, providing a brief digital game history and identifying prominent creative works in this relatively new space.

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.

Time-based media such as video and film often depict visual images one after another: the same visual space is erased continuously. Alternative ways of interacting with the same sequence of frames have already been explored: as a grid of frames; as a flattened image averaging a set of frames based on a particular visual feature (e.g., maximum or minimum brightness); and more recently 3D explorations. In this contribution, we introduce an experimental approach to explore and interact with time-based media. We aim at studying spatial-temporal transformations represented as a 3D object and at contributing to the ongoing research on 3D forms and shapes. We present three recent productions created from video artworks. In the end, we reflect on potential uses of our productions.

Since 1960s, artistic narrative began to occur in an intermediated manner and under the scrutiny of a critical episteme. The pictorial representation has been discarded and the artwork process began to juxtapose up various media and subjects. Galleries began to refuse the specific and filled their spaces with mixtures of video and embodied installations, which lead to a language called  “performance-for-the-monitor”, mostly  recognizable in a ‘gendered’ mediated artistic iconography...

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.

Through demonstration of cutting-edge explorations in world and domestic art and science as well as related academic discussions, the 3rd Art and Science International Exhibition and Symposium (Tsinghua University, Beijing, 2012) aimed to reveal the inherent relationship between art and science, broadening research and enhancing levels of innovation. In the information era, the changing fields of science and technology propel human society forward, while ecological innovators point toward a sustainable evolution of human lifestyles and human intelligence carries out grand humanistic ideals with innovative values. From the perspectives of information science, life science and ecological science, the exhibition and symposium, integrated with existing diverse ideas and art forms and carried by artistic esthetics, bio-information technology and ecological intelligence, focused on the ultimate ideals and spirit of human beings, exploring the unknown and creating the future with new thoughts and methods.

La preocupación por la identidad cultural en el diálogoentre lo vernáculo y lo extranjerizante, lejos de seruna cuestión clausurada en los programas artísticose historiográficos del siglo XX, plantea desafíos quese renuevan en la agenda multiculturalista del arteglobal. El presente trabajo retoma esta problemáticapara el terreno, aún poco indagado, del arte low-tech.Como parte de una etapa de investigación todavíaexploratoria, se ensaya una estrategia de lecturaheterocrónica del campo, con el fin de rescataralgunas fibras temporales (vinculadas a un imaginariotécnico-científico local de larga data) que tienen elpotencial de organizar una perspectiva localizadadel fenómeno. El objetivo es ampliar el horizontedesviacional con el que generalmente se caracterizanlas estrategias estéticas low-tech, para descubrir enellas la presencia de memorias descentradas.

Cette treizième édition du Cahier Louis-Lumière nous invite à interroger les formes audiovisuelles complexes, induites par les technologies dites « immersives » – réalité virtuelle, réalité augmentée, réalité mixte – et les modalités de réception qu’elles impliquent. Il s’agit d’en explorer les différents enjeux (techniques, esthétiques, idéologiques, théoriques...), tout en analysant les discours produits à leur sujet.
Nous rendons compte ici des travaux du colloque international qui s’est tenu en avril 2019 à Montpellier et dans nos murs à Saint-Denis, avec le soutien du RIRRA 21 de l’Université Paul-Valéry Montpellier 3.

and Technology, CyberArts, or New Media, collaborations have been a highly visible avenue of
production. Within the greater New Media genre, there are numerous collectives, such as
Jodi.org, Entropy8Zuper, Etoy, Sito.org, Beige, RTMark, Institute for Distributed Culture, Institute
for Applied Autonomy, Critical Art Ensemble, The Yes Men, LEMUR, and many others. And
although it’s quantitatively hard to prove, one may even be led to consider whether New Media’s
origins in technology and computation, and cooevolution with digital networks such as ARPANet,
have created a native culture from which collaborative artworks are a natural extension.
Can one say that the collaborative impulse in New Media is a direct reflection of its cultural
underpinnings and technical evolution? Surely, the collective or networked culture was forecast
at least forty years ago by McLuhan, with his pronouncements of the Global Village, which
presciently sounds like forms of 21st Century Social Media. But is New Media, and its native
culture, specifically conducive to collaborations? In this essay, we will examine the cultural
conditions of New Media, its necessities, its problems and benefits. In addition, we will examine
some models of collaboration that the author has participated in with various groups in order to
compare different ways in which New Media artists create together.

I compare the collaging technique in contemporary digital art and in alt-right videos. It is curious that these two forms, while standing for different political options, have a similarly relaxed attitude towards truth. I identify three regimes of "post-truth" possibly at work here: lies, bullshit and simulacra. I argue that a fourth regime, the sacrifice of truth, better captures what is going on in new alt-right propaganda.
This short catalogue essay was published in the catalogue of "Reality Machines: An Art Exhibition on Post-Truth", organized by Mara Polgovsky-Ezcurra at the University of Cambridge in 2018

Primer capítulo de introducción de la publicación “Traducir un bosque”, editada y coordinada por Santiago Morilla y publicada por la Diputación de Granada (2021): Los estudios y experimentos sobre comunicación entre plantas nos indican que todos los seres vivos nos relacionamos dentro de un complejo tejido de interdependencias que nos afectan de manera simbiótica, más allá de lo que los humanos podemos ver u oír, o siquiera creemos saber sobre ellas. Es más, pese a que la biomasa planetaria está esencialmente por plantas, siguen siendo las grandes desconocidas en nuestra cotidianeidad antropocéntrica. Desde este planteamiento, el proyecto “Traducir un bosque” pretende, con ayuda de la mediación tecnológica, hacer perceptible aquello que no vemos ni oímos, que ni siquiera sabemos o creemos saber sobre las plantas. “Traducir un bosque” despliega un sistema experimental de interacción simbólica entre humanos y plantas; una red que nos invita a considerar que no somos únicamente espectadores, sino cocreadores de la realidad que compartimos con el ecosistema vegetal, pero cuyos datos necesitan ser traducidos y acotados para ser –de nuevo– reobservados y reinterrogados desde otro lugar para la convivencia multiespecie.

El uso y la comprensión del tiempo ha sido un tema capital para el estudio de las sociedades, el arte, la ciencia o la filosofía. Y lo es hoy también para la creación audiovisual en la era de los new media e Internet. Temporalidades Digitales analiza las nuevas configuraciones temporales del audiovisual interactivo desde dos perspectivas: por un lado, la de la estructuración narrativa digital, sus usos, componentes y mecanismos de tratamiento temporal; y por el otro, la de su vivencia y percepción subjetiva. El resultado es una aproximación interdisciplinar que cubre ámbitos de estudio tan diversos como la narratología, los media studies o la filosofía a través del análisis de obras del cibertexto, el arte digital, los documentales interactivos o los videojuegos. Se trata de una de la primeras investigaciones que adoptan esta aproximación. Una contribución con análisis y modelos de comprensión para futuros estudios y diseños de obras interactivas.

Web users and producers, especially in the commercial sector, have focused much attention on “broadband” media, a term widely used to describe the ability to access “television quality” video over the Internet. But what will happen when this goal is met and the current TV look is recreated on the Web? What becomes the next frontier in the evolution of media? Below I explore one scenario: that media will move from “broadband” to macro-media.
Media technologies seem typically to move in one direction: toward “more.” More resolution, better color, better visual fidelity, more bandwidth, more immersion. Do digital media technologies simply mimic this pattern? After examining macro-media, I look at another important trajectory in media development: minimalist media or micro-media.

In an essay for the catalog of Collect the WWWorld: The Artist as Archivist in the Internet Age, an exhibition installed most recently at 319 Scholes in Brooklyn, Josephine Bosma announces that the wilderness is back. Though modernity provided the means for humans to sequester themselves safely in comfortable houses, sheltered from nature's seasons and its bad moods, Bosma points out that the boundaries between the indoors and outdoors, between the private and the public, have been broken down by digital technologies. As data slips into our most intimate spaces, the way rain and wind once ripped through primitive shelters like caves and huts, we return to "a rather basic form of humanity"-an uncanny "21st century version of ancient cultures and traditions." Sorting through an "erratic, uneven mess" of information, human beings are once again hunters and gatherers. Yet if hunting and gathering are back in digital form, the foraging is not taking place in a scarce economy. We are not looking across vast space for some edible calories, stalking after evasive prey. Instead, we are flooded with resources in an official archive that grows at almost unfathomable speeds. In his catalog essay, curator of Collect the WWWorld, Domenico Quaranta writes, "Every time we access a web page… the browser memorizes certain data on our computer… whatever we don't deliberately delete, we keep. In the cache era, Nadir / Furtherfield Review 2 / 6 accumulating data is like breathing: involuntary and mechanical. We don't choose what to keep… but what to delete." [2] My Generation, Eva & Franco Mattes, 2010

We are experiencing an unprecedented era in the history of urbanization. Some of the defining challenges of the 21st century dictate the pace of urban growth, create new approaches in architecture, increase the quality of living spaces, and control the environmental quality. At the same time, they also present an opportunity to create living spaces that are smarter, more efficient, more sustainable, more equal and safer. Design in the scale from micro to macro is the key for improvement and quality of urban and living space.

What is “technology”? Why do we need to study it? How is it related to and involved with a wide-range of socio-cultural and political issues? Technology: A Reader for Writers gives students the opportunity to explore, learn, and write about information and communication technologies and the many issues and institutions related to them, including education, public policy, healthcare, social ethics, literacy practices, social activism, and global economics, in a unique, purpose-based, and hands-on manner.

Developed for the freshman composition course, Technology: A Reader for Writers includes an interdisciplinary mix of public, academic, and scientific reading selections, providing students with the rhetorical knowledge and compositional skills required to participate effectively in discussions about technology, science, and society.

To request an examination copy, please click here:

https://global.oup.com/ushe/product/technology-9780199340736?cc=us&lang=en&

In a process of cultural reconceptualization it is extremely important to identify the fundamental categories on which this historical change is based. Following the transition from industrial mass society to individualized post-industrial society, the author contextualizes basic principles of so called new visual media. The goal is the definition of differential features making it possible for readers to better understand the language and the logic of new (digital) media in contrast with old (analogue) ones.

Bacteria are getting 'big'. They are attracting attention in art, philosophy, the natural and health sciences, and they are becoming ubiquitous in both art-based research and research-based art. As a result, bacteria are rediscovered in contemporary, specifically bio in medial art practice as the oldest, smallest, structurally simplest, but ubiquitous organisms. While bacteria were still ontological blind spots in earlier biomedical art - cells, tissue and gene sequences were considered more suitable biological entities for the microscopic 'embodiment' or 'coding' of the individual organisms for which they stood pars pro toto - bacteria and the associated metaphors serve currently as epistemological indicators.
Bakterien sind groß im Kommen.1 Sie finden zunehmend Beachtung in der Kunst, der Philosophie, den Natur- und Gesundheitswissenschaften und sie erlangen Omnipräsenz in der kunstbasierten Forschung ebenso wie in der forschungsbasierten Kunst. In der Folge werden Bakterien in der zeitgenössischen konkret ausgerichteten biomedialen Kunstpraxis als älteste, kleinste, strukturell einfachste, aber ubiquitäre Organismen mit lebenswichtiger Funktion für andere Lebensformen wiederentdeckt und erhalten eine herausgehobene Rolle sowohl im künstlerischen Diskurs als auch in ästhetischen Settings. Waren Bakterien in der früheren Biomedienkunst noch ontologische blinde Flecken – Zellen, Gewebe und Gensequenzen galten als geeignetere biologische Entitäten für die mikroskopische ›Verkörperung‹ oder ›Codierung‹ der Einzelorganismen, für die sie pars pro toto standen –, so dienen Bakterien und die zugehörigen Metaphern derzeit als erkenntnistheoretische Indikatoren.

Online version of the whole journal:
https://www.universi.uni-siegen.de/katalog/zeitschriften/navigationen/940027.html