- New Media, Digital Media, Computer Animation, New Media Arts, Art and technology, Digital Media Art, and 28 moreNew Media & Digital Arts, 3-D Imaging, Media /Digital Arts and Game Art, Digital Media Arts, 3D Computer Animation, Media Arts, Digital Arts, Technology and Society, Surveillance Studies, Information Society, Transmedial Storytelling, Film Production, 3D printing, Gaming, Digital Art, Digital Humanities, New Media Theory and Design, New Media Art, New Media Theory, Mass Communication and New Media, Media and Cultural Studies, Media Studies, Mass Communication, Mass Communications and New Media, Art, Art Theory, Visual Arts, and Contemporary Artedit
- David R. Burns is a digital media artist and publishing scholar who explores the relationships between humans, techno... moreDavid R. Burns is a digital media artist and publishing scholar who explores the relationships between humans, technology, and nature in his creative-research. More specifically, he focuses on the tensions between technology, culture, and nature in the public and private spheres; mediating memory and postmemory; and participatory self-expression through visual music. Burns takes an interdisciplinary approach to creating digital media art by combining computer animation, 3D modeling, 3D printing, sound design, interactive media, and physical computing to push the boundaries of artistic expression. In addition to creating hybrid projects that are both artistic exhibitions and scholarly publications, Burns publishes scholarly essays where he contextualizes his artistic projects and critically analyzes contemporary issues in media arts.
Burns’s digital media artwork has been internationally exhibited and screened at over 130 museums, galleries, theaters, and festivals including the National Media Museum in England, the Musée des impressionnismes in France, the Chelsea Art Museum in New York City, the Red Stick International Animation Festival in Baton Rouge, the Currents International New Media Festival in New Mexico, the Athens Video Art Festival in Greece, the National Center for Contemporary Art in Russia, and the National Film Theater in London.
Burns’s scholarly research has been widely disseminated at international conferences and in peer-reviewed journals, books, and proceedings. He has presented his research at venues including the International Society of Electronic Arts (ISEA) symposiums in Singapore, Ireland, Turkey, and Canada, and the Electronic Visualisation and the Arts (EVA) conference in London. Burns’s publication credits include journal article and book chapter contributions to Leonardo Electronic Almanac (LEA), The Wider Worlds of Jim Henson, and Jim Henson and Philosophy.
Burns, a Fulbright Senior Research Fellow, has received funding and support from public and private institutions including the U.S. Department of State Bureau of Educational and Cultural Affairs, the U.S.-India Educational Foundation South and Central Asia Regional Travel Program, and the Bissaya Barreto Foundation in Portugal.
Burns holds a MFA in Design and Technology from Parsons School of Design in New York City. Presently, Burns is an associate professor at Southern Illinois University where he developed the Digital Media Arts + Animation specialization and teaches courses in 3D computer modeling, animation, and digital media arts studio practice and theory.edit
While there are a variety of approaches to examining the valuation of digital media art, I limit my discussion to its economic valuation within the context of Western capitalist economies. In this paper, I argue that the dematerialized... more
While there are a variety of approaches to examining the valuation of digital media art, I limit my discussion to its economic valuation within the context of Western capitalist economies. In this paper, I argue that the dematerialized and reproducible nature of digital media art requires it to have alternative models of economic valuation because the classical model of economic valuation does not effectively value digital media art. I examine existing economic models of digital media artwork valuation and I explore unique opportunities for alternative and hybrid economic models of digital media artwork valuation.
Research Interests: Art History, Media Studies, New Media, Media and Cultural Studies, Art, and 19 moreArt Theory, Art Economics and Markets, Popular Culture, Digital Media, Contemporary Art, New Media Arts, Mass Communication, Digital Culture, History of Art, New Media Art, Digital Media Art, Visual Arts, Fine Arts, Mass Communication and New Media, New Media Theory, Valuation, Value of Art, Art Markets & Cultural Economics, and Cultural Value of the Arts
This book chapter explores the themes of overconsumption, relationships, and environmentalism in Jim Henson’s Labyrinth. Through both the character development and imagery in Labyrinth, Henson educates audiences about the deleterious... more
This book chapter explores the themes of overconsumption, relationships, and environmentalism in Jim Henson’s Labyrinth. Through both the character development and imagery in Labyrinth, Henson educates audiences about the deleterious effects of overconsumption on interpersonal relationships and the global ecosystem. With the anti- consumerist theme in Labyrinth, Henson encourages viewers to resist mass media and contemporary culture’s messages of conspicuous consumption, embrace the benefits of interpersonal relationships over the accumulation of consumer goods, and think critically about the destructive impact of overconsumption on the global ecosystem.
Research Interests:
In this article, I explore the relationship between the media industry’s representation of important events and our personal and collective memories of these events. Through my investigation of what happens when an important personal and... more
In this article, I explore the relationship between the media industry’s representation of important events and our personal and collective memories of these events. Through my investigation of what happens when an important personal and collective event is recorded to digital and neuronal memory systems, I examine the spaces between an individual’s personal memories of real-time events and the media industry’s influence over an individual’s constructed memories of these events. With digital sequences of images being broadcast in real time across media outlets worldwide at the same time as important events unfold, an international consciousness is informed and influenced by these images both during and after these events. On 9/11, I watched the fall of the World Trade Center in New York City outside my apartment in lower Manhattan while simultaneously watching this tragic event digitally broadcast to my television in real time and, after over a decade of reflection, I examine the effects that the repeated broadcast of lossless, digital imagery has on the individual and collective consciousness. Through my examination of my lossless digital media artwork, Rebirth, as a site of resistance, I argue that digital media art offers alternative perspectives to the hegemonic media industry’s dominance over memory formation.
Research Interests: Media Studies, New Media, Media and Cultural Studies, Animation, Animation Theory, and 22 moreDigital Media, Computer Animation, Computer-Mediated Communication, Interactive and Digital Media, Media Theory, New Media Art & Emerging Practices, Media, Arts, Digital Arts, New Media Art, Digital Media Art, Digital Art, 3D animation, Memory, Images, 9/11, Postmemory, Transgenerational Memory, Media theory and Research, Analogue Media, Communications, Lossless, and Mediated Memories
This book chapter explores the anti-consumerist theme in Jim Henson’s Labyrinth. Through Sarah’s education in the bildungsroman film, Labyrinth, Henson reveals the uncomfortable truth that consumer goods fail to provide the fulfillment... more
This book chapter explores the anti-consumerist theme in Jim Henson’s Labyrinth. Through Sarah’s education in the bildungsroman film, Labyrinth, Henson reveals the uncomfortable truth that consumer goods fail to provide the fulfillment of genuine human relationships and have negative effects on the environment. In Labyrinth, Henson encourages viewers to resist mass media and contemporary culture’s messages of overconsumption and value the fulfillment of human relationships.
Research Interests:
Research Interests: Cultural Studies, Art History, Media Studies, Media and Cultural Studies, Digital Media, and 10 moreMemory Studies, Cultural Memory, New Media Art, Digital Media Art, Film and Media Studies, Postmemory, Media Impact and Effects and Usages, DEMATERIALIZATION, Media theory and Research, and Media Arts(Interactive Art, Video Art, Game, and Etc.) and Digital Media and Contemporary Visual Art Theories and Practices Interaction Interface and Application Research on Tangible Media, Sensing Technology Through Digital Media Devices
The proliferation of artists, audiences, and participants who have the ability to create mirror copies of original digital media arts work challenges us to re-examine how value is assigned to digital media arts work. Historically, space... more
The proliferation of artists, audiences, and participants who have the ability to create mirror copies of original digital media arts work challenges us to re-examine how value is assigned to digital media arts work. Historically, space and capital limitations restricted the public’s accessibility to artwork, but the growth of mass digital reproduction and alternative forms of art exhibition spaces is having a profound effect on the experience and valuation of digital media arts work. For example, the online distribution of digital media arts work across networks facilitates the circumvention of traditional valuation models. In this paper, I explore the background and challenges to assigning value to digital media arts work and investigate alternative models of exhibition and valuation of digital media arts work in the institutional, private, and public spheres.
Research Interests: Art History, Media Studies, Media and Cultural Studies, Art, Art Theory, and 35 moreDigital Media, Contemporary Art, Reproduction, Mass Communication, Media Arts, Interactive and Digital Media, Media, Art Criticism, Arts, Visual Arts, Space, DISTRIBUTION, Copies, Institution, Mass Communication and New Media, Digital, Public, Work, Exhibition, Net, Private, New, Capital, Value, Valuation, Fine, Curator, Collector, Collectors, Theories of Mass Communication, Emerging, Artwork, Internet, Communications, and Lossless
Borders, surveillance, and control in the digital age explores the way in which public and private institutions leverage electronic surveillance technologies to monitor and control individuals’ personal communications, information, and... more
Borders, surveillance, and control in the digital age explores the way in which public and private institutions leverage electronic surveillance technologies to monitor and control individuals’ personal communications, information, and movement across physical and virtual borders. Public and private institutions’ transition from an emphasis on using physical border controls to an emphasis on using virtual border controls reflects a paradigm shift from a disciplinary society to a controlled society. Whereas in the past, visas and passports offered only a limited amount of individuals’ personal data at physical borders, electronic surveillance technologies allow nations and institutions to instantaneously collect, monitor and control a vast amount of personal data from decentralized virtual access points. These decentralized virtual access points add a digital dimension to Foucauldian panopticism and expand the ways in which nations and institutions can continually monitor and control individuals within, across, and outside their borders. In this paper, I investigate three major apparatuses of physical and virtual border control: global communications monitoring, ubiquitous tracking technologies, and biometrics and electronic databases.
Research Interests: Media Studies, New Media, Design, Art, Animation, and 44 moreCross-Media Studies, Design and Emotion, Animation Theory, Privacy, Ubiquitous Computing, Design for Social Innovation, Computer Animation, Cultural Theory, Mass Communication, Computer-Mediated Communication, Media Arts, Surveillance Studies, Biometrics, Communication Theory, Technology and Society, PERSONAL DATA PROTECTION, Digital Games, Comparative Media Studies, Digital Arts, Design thinking, Virtual Worlds, Biometrics And Identity, Digital Media Art, Surveillance, Visual Arts, Surveillance and Control, 3D animation, Mass Communication and New Media, Mass Communications, Surveillance, personal data, social sorting, privacy, camera surveillance, identification systems, internet surveillance, biometrics, Video Surveillance, Big Data, A novel comprehensive method for real time Video Motion Detection Surveillance, 3D 2D animation vfx maya 3dsMax zbrush vue photoshop motion graphics photorealism painting fantasy Graphic design acting wildlife forest sea, Borders and Borderlands, Animism, Animation, Animation Theory, Social Sorting, Automated Video Surveillance Alarm System, Theories of Mass Communication, Security and Privacy Issues In Ubiquitous Computing, Internet Surveillance, Camera Surveillance, Identification Systems, and Surveillanceersonal Data
Over the last several years, there have been many developments concerning technology and humankind that have influenced my research. There are three major tiers of developments that have inspired me to write this piece: global monitoring,... more
Over the last several years, there have been many developments concerning technology and humankind that have influenced my research. There are three major tiers of developments that have inspired me to write this piece: global monitoring, ubiquitous computing technology and the pervasive use of biometrics, and the creation of virtual borders.