... a number of profes-sional organizations that have an important role in coordinating ... Image... more ... a number of profes-sional organizations that have an important role in coordinating ... Image Archivists), ACE (Associa-tion des Cinémathèques Européennes), SEAPAVAA (South East Asia ... a self-conscious discipline, and a few film archives and specialized film festivals (such as ...
Ouring John Sutton's introduction to the Memory and Embodied Cognition Workshop in November ... more Ouring John Sutton's introduction to the Memory and Embodied Cognition Workshop in November 2004 he made a passing and somewhat seasonal reference to "...being on the beach and having random thoughts cross one's mind .... ". The PathScape project which I describe here ...
The contemporary burgeoning usage of digital media videos, audio and photographs and media di... more The contemporary burgeoning usage of digital media videos, audio and photographs and media distribution through networks both electronic and physical, will be considered in the context of a convergence of these media with a contemporary and popular interest in personal ...
Each of the panel are working in related ways in the context of this session, to address the stor... more Each of the panel are working in related ways in the context of this session, to address the storage and retrieval of the stories of a modern oral and visual culture. Four distinct projects will open out the approaches and thinking being pursued and the overlap that exists between them. We have become aware of one another's work over the last nine months, have been working on our separate projects for varying periods with and without budgets, and also have in common development cycles of from 5 - 10 years. These short presentations will each highlight the specific problem encountered or theoretical concept being tested and why the outcome of the project could be of wider social value.
The Swiss artist Pipilotti Rist was honored with a commission to re-open the Museum of Modern Art... more The Swiss artist Pipilotti Rist was honored with a commission to re-open the Museum of Modern Art (MOMA) in New York City in 2004. This project, a large-scale video installation titled Pour Your Body Out, requires visitors to lie on specially prepared carpets and gaze at the projections on the surrounding walls and ceiling. What should we do if people don\u27t want to take their shoes off? asks one of the museum docents. Use some humor, suggests Rist: Tell them, I\u27d like to see the color of your socks
Images of environmental disaster and degradation have become part of our everyday media diet. Thi... more Images of environmental disaster and degradation have become part of our everyday media diet. This visual culture focusing on environmental deterioration represents a wider recognition of the political, economic, and cultural forces that are responsible for our ongoing environmental crisis. And yet efforts to raise awareness about environmental issues through digital and visual media are riddled with irony, because the resource extraction, manufacturing, transportation, and waste associated with digital devices contribute to environmental damage and climate change. Screen Ecologies examines the relationship of media, art, and climate change in the Asia-Pacific region -- a key site of both environmental degradation and the production and consumption of climate-aware screen art and media. Screen Ecologies shows how new media and visual artists provide alternative ways for understanding the entanglements of media and the environment in the Asia-Pacific. It investigates such topics as artists' exploration of alternative ways to represent the environment; regional stories of media innovation and climate change; the tensions between amateur and professional art; the emergence of biennials, triennials, and new arts organizations; the theme of water in regional art; new models for networked collaboration; and social media's move from private to public realms. A generous selection of illustrations shows a range of artist's projects.
dimensions, from cosmos to mythology, Hüppauf commences and Papastergiadis concludes the volume, ... more dimensions, from cosmos to mythology, Hüppauf commences and Papastergiadis concludes the volume, the thread becoming materialized in a fascinating chapter by Brock and Hasenpusch in describing their work on Australian stick and leaf insects (Phasmida), spectacularly illustrated with contemporary and historical images; even the eggs they lay can be patterned to merge with the vegetation habitat. Other such “masters of camouflage” are noted by Morris: cephalopods, moths, butterflies and owls. Interest in these have led to advanced biotechnology research delivering “adaptive camouflage” and “Quantum Stealth,” work that is itself concealed, “commissioned by the military and hidden from the public under strict classification.” The postmodern debates of yesteryear, appropriation, “the poetics of the copy,” avant-garde modernism (apparently this approach “is one of anti-camouflage or attention seeking”) and originality, are applied by McLean to the photo facsimiles of the American Sherrie Levine and the extraordinary works and projects of the Australian artist Imants Tillers. Hansford pursues further “unstable forms of being” by examining recent developments in gene research and the dressing of cells to deceive viruses or to coax an immune system and leads on to a discussion of the work of artists Armanious, Dwyer and Williams, concluding, “We are cuttlefish or we are nothing.” Camouflage as the aesthetic basis of making two-dimensional artworks is discussed by Tyler, in the context of New Zealand and the Maori, and by Howard and Olubas, “within the changing contexts of inter/national military engagement and artistic collaboration,” a practice that for Howard goes back to the American Vietnam War. More recently, a series of meetings in China has resulted in an artist and a member of the PLA military exchanging work sites, “the material space of collaborative art practice . . . as camoufleurs, Xing Junqin and Ian Howard have exposed their intentions through art, their desire to talk to the other side.” The performative aspect of practice is extended by West Brett in a reflection upon the lengths to which individuals would go to disappear from the radar of East German surveillance and data collection to eventually cross the political dividing line disguised B O O K S
Literary Gaming is a fascinating and detailed scholarly exploration of this fairly new field of a... more Literary Gaming is a fascinating and detailed scholarly exploration of this fairly new field of academic inquiry. The book investigates the rather unique combination of literature, in its broadest sense, and games, especially digital computer games. I was fascinated to learn that the computer games industry has a huge financial turnover: “By the second decade of the twenty-first century, computer games have become a well-established art form represented by a global industry whose turnover exceeds that of both Hollywood and the music industry” (p. 34). Apart from the financial importance of this startling fact, the number of individuals involved in programming, designing, creating and playing all types of computer-based videogames is enormous. This alone justifies the detailed investigation that Ensslin has carried out and presented in Literary Gaming. This book mainly looks at literary video games that combine substantial aspects of both the ludic and the literary. “They employ narrative, dramatic and poetic techniques in order to explore the affordances and limitations of ludic structures and processes” (frontispiece). Ludic, as used by Ensslin, “ranges from the kind of cognitive playfulness exhibited by ludic print literature to ludic mechanics, with the latter operating as an element of a ludic digital ‘book’ . . . or as the technological implementation of the rules of a literary game proper, that is, an artifact that has to be played, first and foremost” (p. 42). These games are different from conventional literary/word games, such as the long-standing and popular “analogue” game Scrabble—and also from a conventional book that has been reset as an eBook, basically a book under glass. In her research, Astrid Ensslin developed what she calls the “L-L” spectrum by which to analyze and categorize the various and numerous literary video games available as both standalone or online, multi-user applications. Some games concentrate more on the literary side of things, others on the ludic; however, to be considered in this study both of these aspects had to form part of the game. The book is very well written and, despite some of the complex theories (communication, meaning, authorship and so on) discussed, remains accessible to the interested general reader. Literary Gaming is divided into two sections. Part I is an introduction and discussion of the theories and methodology involved. Part II, with seven chapters, analyzes the various aspects of literary video games using a number of actual games as case studies. This analysis includes: hypertext literature; ludic hypermedia fiction; anti-ludicity and ludic mechanics; and interactive fiction. Literary Gaming has a smattering of black-and-white images and concludes with excellent notes, references, glossary and index—very important inclusions in scholarly books. Examples of games discussed include The Princess Murderer, Blue Lacuna, The Path and Loss of Grasp. editor-in-chief Michael Punt . managing editor Bryony Dalefield associate editors Martha Blassnigg, Hannah Drayson, Dene Grigar, John Vines A full selection of reviews is published monthly on the LR web site: . leonardo reviews
The study collects, compares and synthesises existing knowledge from specific sources about artis... more The study collects, compares and synthesises existing knowledge from specific sources about artists and creative designers working within research processes. The emphasis is on collaboration, evaluation and reflective practice.
... a number of profes-sional organizations that have an important role in coordinating ... Image... more ... a number of profes-sional organizations that have an important role in coordinating ... Image Archivists), ACE (Associa-tion des Cinémathèques Européennes), SEAPAVAA (South East Asia ... a self-conscious discipline, and a few film archives and specialized film festivals (such as ...
Ouring John Sutton's introduction to the Memory and Embodied Cognition Workshop in November ... more Ouring John Sutton's introduction to the Memory and Embodied Cognition Workshop in November 2004 he made a passing and somewhat seasonal reference to "...being on the beach and having random thoughts cross one's mind .... ". The PathScape project which I describe here ...
The contemporary burgeoning usage of digital media videos, audio and photographs and media di... more The contemporary burgeoning usage of digital media videos, audio and photographs and media distribution through networks both electronic and physical, will be considered in the context of a convergence of these media with a contemporary and popular interest in personal ...
Each of the panel are working in related ways in the context of this session, to address the stor... more Each of the panel are working in related ways in the context of this session, to address the storage and retrieval of the stories of a modern oral and visual culture. Four distinct projects will open out the approaches and thinking being pursued and the overlap that exists between them. We have become aware of one another's work over the last nine months, have been working on our separate projects for varying periods with and without budgets, and also have in common development cycles of from 5 - 10 years. These short presentations will each highlight the specific problem encountered or theoretical concept being tested and why the outcome of the project could be of wider social value.
The Swiss artist Pipilotti Rist was honored with a commission to re-open the Museum of Modern Art... more The Swiss artist Pipilotti Rist was honored with a commission to re-open the Museum of Modern Art (MOMA) in New York City in 2004. This project, a large-scale video installation titled Pour Your Body Out, requires visitors to lie on specially prepared carpets and gaze at the projections on the surrounding walls and ceiling. What should we do if people don\u27t want to take their shoes off? asks one of the museum docents. Use some humor, suggests Rist: Tell them, I\u27d like to see the color of your socks
Images of environmental disaster and degradation have become part of our everyday media diet. Thi... more Images of environmental disaster and degradation have become part of our everyday media diet. This visual culture focusing on environmental deterioration represents a wider recognition of the political, economic, and cultural forces that are responsible for our ongoing environmental crisis. And yet efforts to raise awareness about environmental issues through digital and visual media are riddled with irony, because the resource extraction, manufacturing, transportation, and waste associated with digital devices contribute to environmental damage and climate change. Screen Ecologies examines the relationship of media, art, and climate change in the Asia-Pacific region -- a key site of both environmental degradation and the production and consumption of climate-aware screen art and media. Screen Ecologies shows how new media and visual artists provide alternative ways for understanding the entanglements of media and the environment in the Asia-Pacific. It investigates such topics as artists' exploration of alternative ways to represent the environment; regional stories of media innovation and climate change; the tensions between amateur and professional art; the emergence of biennials, triennials, and new arts organizations; the theme of water in regional art; new models for networked collaboration; and social media's move from private to public realms. A generous selection of illustrations shows a range of artist's projects.
dimensions, from cosmos to mythology, Hüppauf commences and Papastergiadis concludes the volume, ... more dimensions, from cosmos to mythology, Hüppauf commences and Papastergiadis concludes the volume, the thread becoming materialized in a fascinating chapter by Brock and Hasenpusch in describing their work on Australian stick and leaf insects (Phasmida), spectacularly illustrated with contemporary and historical images; even the eggs they lay can be patterned to merge with the vegetation habitat. Other such “masters of camouflage” are noted by Morris: cephalopods, moths, butterflies and owls. Interest in these have led to advanced biotechnology research delivering “adaptive camouflage” and “Quantum Stealth,” work that is itself concealed, “commissioned by the military and hidden from the public under strict classification.” The postmodern debates of yesteryear, appropriation, “the poetics of the copy,” avant-garde modernism (apparently this approach “is one of anti-camouflage or attention seeking”) and originality, are applied by McLean to the photo facsimiles of the American Sherrie Levine and the extraordinary works and projects of the Australian artist Imants Tillers. Hansford pursues further “unstable forms of being” by examining recent developments in gene research and the dressing of cells to deceive viruses or to coax an immune system and leads on to a discussion of the work of artists Armanious, Dwyer and Williams, concluding, “We are cuttlefish or we are nothing.” Camouflage as the aesthetic basis of making two-dimensional artworks is discussed by Tyler, in the context of New Zealand and the Maori, and by Howard and Olubas, “within the changing contexts of inter/national military engagement and artistic collaboration,” a practice that for Howard goes back to the American Vietnam War. More recently, a series of meetings in China has resulted in an artist and a member of the PLA military exchanging work sites, “the material space of collaborative art practice . . . as camoufleurs, Xing Junqin and Ian Howard have exposed their intentions through art, their desire to talk to the other side.” The performative aspect of practice is extended by West Brett in a reflection upon the lengths to which individuals would go to disappear from the radar of East German surveillance and data collection to eventually cross the political dividing line disguised B O O K S
Literary Gaming is a fascinating and detailed scholarly exploration of this fairly new field of a... more Literary Gaming is a fascinating and detailed scholarly exploration of this fairly new field of academic inquiry. The book investigates the rather unique combination of literature, in its broadest sense, and games, especially digital computer games. I was fascinated to learn that the computer games industry has a huge financial turnover: “By the second decade of the twenty-first century, computer games have become a well-established art form represented by a global industry whose turnover exceeds that of both Hollywood and the music industry” (p. 34). Apart from the financial importance of this startling fact, the number of individuals involved in programming, designing, creating and playing all types of computer-based videogames is enormous. This alone justifies the detailed investigation that Ensslin has carried out and presented in Literary Gaming. This book mainly looks at literary video games that combine substantial aspects of both the ludic and the literary. “They employ narrative, dramatic and poetic techniques in order to explore the affordances and limitations of ludic structures and processes” (frontispiece). Ludic, as used by Ensslin, “ranges from the kind of cognitive playfulness exhibited by ludic print literature to ludic mechanics, with the latter operating as an element of a ludic digital ‘book’ . . . or as the technological implementation of the rules of a literary game proper, that is, an artifact that has to be played, first and foremost” (p. 42). These games are different from conventional literary/word games, such as the long-standing and popular “analogue” game Scrabble—and also from a conventional book that has been reset as an eBook, basically a book under glass. In her research, Astrid Ensslin developed what she calls the “L-L” spectrum by which to analyze and categorize the various and numerous literary video games available as both standalone or online, multi-user applications. Some games concentrate more on the literary side of things, others on the ludic; however, to be considered in this study both of these aspects had to form part of the game. The book is very well written and, despite some of the complex theories (communication, meaning, authorship and so on) discussed, remains accessible to the interested general reader. Literary Gaming is divided into two sections. Part I is an introduction and discussion of the theories and methodology involved. Part II, with seven chapters, analyzes the various aspects of literary video games using a number of actual games as case studies. This analysis includes: hypertext literature; ludic hypermedia fiction; anti-ludicity and ludic mechanics; and interactive fiction. Literary Gaming has a smattering of black-and-white images and concludes with excellent notes, references, glossary and index—very important inclusions in scholarly books. Examples of games discussed include The Princess Murderer, Blue Lacuna, The Path and Loss of Grasp. editor-in-chief Michael Punt . managing editor Bryony Dalefield associate editors Martha Blassnigg, Hannah Drayson, Dene Grigar, John Vines A full selection of reviews is published monthly on the LR web site: . leonardo reviews
The study collects, compares and synthesises existing knowledge from specific sources about artis... more The study collects, compares and synthesises existing knowledge from specific sources about artists and creative designers working within research processes. The emphasis is on collaboration, evaluation and reflective practice.
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