I'm a writer and researcher interested in digital humanities, as well as cultural commentaries on data and network theory. History of art graduate currently working as Content Curator for 3D Printshow.
London.
I also really love travel and skiing, and on the weekends I'm a florist.
The unmistakable interdisciplinary nature of contemporary art continues to provoke investigations... more The unmistakable interdisciplinary nature of contemporary art continues to provoke investigations of categorisation. Use of the term ‘new media’ as a way of defining an area of creative practice is in itself problematic; it refers to a huge variety of art-making techniques without clarifying their differences. Although the incorporation of technology into new media works is significant, there are various ways in which such integration is achieved. The development of distributive networks of information, as well as earlier developments within the industrial realm of mechanical reproduction, has affected attitudes towards art-making and its procedures of production; in so doing, new creative practices have emerged. The recent combination of scientific innovation and artistic production into works like Rafael Lozano-Hemmer’s Subtitled Public marks a new form of art-making that is separate from the past in many ways. Yet whilst such collaboration is materially innovative, the concepts driving new media works often operate as a development of more established art historical discourse, theories and practice. This dissertation investigates the often overlooked connections between new media art and its history in Minimalist and dematerialised practice (from the 1960s to present day). And in so doing, the networks on which both social and artistic form are produced can also be recognised.
A fascination with the integration of technology into contemporary visual art led me towards rese... more A fascination with the integration of technology into contemporary visual art led me towards researching new media work, and the critical theory behind it. However, my research process, as well as the curation of that research, became more interesting to me than the project itself. Frustrated by the restrictive nature of a linear essay format, I began thinking about alternative options for a distributive method of presenting my work – a method that I felt better matched the online, virtual, distributed context of my research process and the resources I use.
Society has changed as a result of the instant access that the Internet (and other technologies) ... more Society has changed as a result of the instant access that the Internet (and other technologies) has allowed, and the art that we make has changed too. Yet all too often, the system by which we access this art (via various museums and galleries, which I always endeavour to regularly attend) doesn’t operate in the best way to exhibit it. In the same way that I found the centralised format of an essay irrelevant, the GLAM sector (as well as contemporary education systems) so often keeps its resources restricted and closed, rather than opening up their collections for people to share, engage with and distribute. I’d like to talk about my experience of this necessary change in approach. Modern day online and informational networks have produced developments in contemporary society’s creative and educational processes – and recognising these changes is critical to the development of Digital Humanities.
The unmistakable interdisciplinary nature of contemporary art continues to provoke investigations... more The unmistakable interdisciplinary nature of contemporary art continues to provoke investigations of categorisation. Use of the term ‘new media’ as a way of defining an area of creative practice is in itself problematic; it refers to a huge variety of art-making techniques without clarifying their differences. Although the incorporation of technology into new media works is significant, there are various ways in which such integration is achieved. The development of distributive networks of information, as well as earlier developments within the industrial realm of mechanical reproduction, has affected attitudes towards art-making and its procedures of production; in so doing, new creative practices have emerged. The recent combination of scientific innovation and artistic production into works like Rafael Lozano-Hemmer’s Subtitled Public marks a new form of art-making that is separate from the past in many ways. Yet whilst such collaboration is materially innovative, the concepts driving new media works often operate as a development of more established art historical discourse, theories and practice. This dissertation investigates the often overlooked connections between new media art and its history in Minimalist and dematerialised practice (from the 1960s to present day). And in so doing, the networks on which both social and artistic form are produced can also be recognised.
A fascination with the integration of technology into contemporary visual art led me towards rese... more A fascination with the integration of technology into contemporary visual art led me towards researching new media work, and the critical theory behind it. However, my research process, as well as the curation of that research, became more interesting to me than the project itself. Frustrated by the restrictive nature of a linear essay format, I began thinking about alternative options for a distributive method of presenting my work – a method that I felt better matched the online, virtual, distributed context of my research process and the resources I use.
Society has changed as a result of the instant access that the Internet (and other technologies) ... more Society has changed as a result of the instant access that the Internet (and other technologies) has allowed, and the art that we make has changed too. Yet all too often, the system by which we access this art (via various museums and galleries, which I always endeavour to regularly attend) doesn’t operate in the best way to exhibit it. In the same way that I found the centralised format of an essay irrelevant, the GLAM sector (as well as contemporary education systems) so often keeps its resources restricted and closed, rather than opening up their collections for people to share, engage with and distribute. I’d like to talk about my experience of this necessary change in approach. Modern day online and informational networks have produced developments in contemporary society’s creative and educational processes – and recognising these changes is critical to the development of Digital Humanities.
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