The Art of Mechanical Reproduction presents a striking new approach to how traditional art mediums—painting, sculpture, and drawing—changed in the twentieth century in response to photography, film, and other technologies. Countering the modernist view that the medium provides advanced art with “resistance” against technological pressures, Tamara Trodd argues that we should view art and its practices as imaginatively responding to the potential that artists glimpsed in mechanical reproduction, putting art into dialogue with the commercial cultures of its time.
The Art of Mechanical Reproduction weaves a rich history of the experimental networks in which artists as diverse as Paul Klee, Hans Bellmer, Ellsworth Kelly, Robert Smithson, Gerhard Richter, Chris Marker, and Tacita Dean have worked, and it shows for the first time how extensively technological innovations of the moment have affected their work. Original and broad-ranging, The Art of Mechanical Reproduction challenges some of the most respected and entrenched criticism of the past several decades—and allows us to think about these artists anew.
The Building as Screen: A History, Theory, and Practice of Massive Media describes, historicizes, theorizes, and creatively deploys massive media -- a set of techno-social assemblages and practices that include large outdoor projections, programmable architectural façades, and urban screens -- in order to better understand their critical and creative potential. Massive media is named as such not only because of the size and subsequent visibility of this phenomenon but also for its characteristic networks and interactive screen and cinema-like qualities. Examples include the programmable lighting of the Empire State Building and the interactive projections of Montreal’s Quartier des spectacles, as well as a number of works created by the author himself. This book argues that massive media enables and necessitates the development of new practices of expanded cinema, public data visualization, and installation art and curation that blend the logics of urban space, monumentality, and the public sphere with the aesthetics and affordances of digital information and the moving image.
Computers and Art provides insightful perspectives on the use of the computer as a tool for artists. The approaches taken vary from its historical, philosophical and practical implications to the use of computer technology in art practice. The contributors include an art critic, an educator, a practising artist and a researcher. Mealing looks at the potential for future developments in the field, looking at both the artistic and the computational aspects of the field.
Erich Hörl, Nelly Y. Pinkrah, and Lotte Warnsholdt gather diverse perspectives on one agreed-upon condition: that the computational power of today’s world has fundamentally transformed all aspects of it. The contributors investigate and question not only the possible sites of critique but also of the concept of critique. If there used to be a critical subject constituted in the cultural techniques of modernity, and if digitality indicates itself as a product of modernity while at the same time somehow being its very ending, what are the ramifications? Digitality severely alters the critical subject and its spatio-temporal relations, and it therefore interferes with its potential to be a critical subject. The contributors of this volume ask what critique in the digital age might look like and offer specific examples of critique and critical practices.
Database Aesthetics examines the database as cultural and aesthetic form, explaining how artists have participated in network culture by creating data art. The essays in this collection look at how an aesthetic emerges when artists use the vast amounts of available information as their medium. Here, the ways information is ordered and organized become artistic choices, and artists have an essential role in influencing and critiquing the digitization of daily life.
Contributors: Sharon Daniel, U of California, Santa Cruz; Steve Deitz, Carleton College; Lynn Hershman Leeson, U of California, Davis; George Legrady, U of California, Santa Barbara; Eduardo Kac, School of the Art Institute of Chicago; Norman Klein, California Institute of the Arts; John Klima; Lev Manovich, U of California, San Diego; Robert F. Nideffer, U of California, Irvine; Nancy Paterson, Ontario College of Art and Design; Christiane Paul, School of Visual Arts in New York; Marko Peljhan, U of California, Santa Barbara; Warren Sack, U of California, Santa Cruz; Bill Seaman, Rhode Island School of Design; Grahame Weinbren, School of Visual Arts, New York.
Victoria Vesna is a media artist, and professor and chair of the Department of Design and Media Arts at the University of California, Los Angeles.
To obtain the full value from instrumentation, users require familiarity with a number of basic concepts and an understanding of how those building blocks relate to one another. In this book, Nihal Kularatna provides an introduction to the main families of instruments for students and professionals who have to carry out practical work in electronics and measurement. For each family he covers internal design, use and applications, highlighting their advantages and limitations from a practical application viewpoint.
In a world increasingly dominated by the digital, the critical response to digital art generally ranges from hype to counterhype. Popular writing about specific artworks seldom goes beyond promoting a given piece and explaining how it operates, while scholars and critics remain unsure about how to interpret and evaluate them. This is where Roberto Simanowski intervenes, demonstrating how such critical work can be done.
Digital Art and Meaning offers close readings of varied examples from genres of digital art such as kinetic concrete poetry, computer-generated text, interactive installation, mapping art, and information sculpture. For instance, Simanowski deciphers the complex meaning of words that not only form an image on a screen but also react to the viewer’s behavior; images that are progressively destroyed by the human gaze; text machines generating nonsense sentences out of a Kafka story; and a light show above Mexico City’s historic square, created by Internet users all over the world.
Simanowski combines these illuminating explanations with a theoretical discussion that employs art philosophy and history to achieve a deeper understanding of each particular example of digital art and, ultimately, of the genre as a whole.
Prince, Stephen Rutgers University Press, 2019 Library of Congress TR860.P78 2018 | Dewey Decimal 777
Digital Cinema considers how new technologies have revolutionized the medium, while investigating the continuities that might remain from filmmaking’s analog era. In the process, it raises provocative questions about the status of realism in a pixel-generated digital medium whose scenes often defy the laws of physics. It also considers what these changes might bode for the future of cinema. How will digital works be preserved and shared? And will the emergence of virtual reality finally consign cinema to obsolescence?
Stephen Prince offers a clear, concise account of how digital cinema both extends longstanding traditions of filmmaking and challenges some fundamental assumptions about film. It is essential reading for anyone interested in understanding how movies are shot, produced, distributed, and consumed in the twenty-first century.
The philosophy of technology suggests that rather than technologies being simply useful tools, they also have an often relatively unnoticed or subconscious impact upon the way we live our lives - our interactions with the world, and the way we think. Seen in this way, all media technologies might affect our metaphysical sense of time, space and force through their relative ability to represent these concepts. In The Digital Image and Reality, digital visual technologies are examined through their radically different capacities for representation and simulation and the challenges that they pose to our understanding of the world. I analyse how digital images are well suited to graphical imagination and speculation about the nature of material reality. What is suggested throughout the book is that digital visual technologies offer a new sensual image of the world, subtly impacting not simply our subjective perception or consciousness of reality, but perhaps objective actuality itself.
One of the most far-reaching transformations in our era is the wave of digital technologies rolling over—and upending—nearly every aspect of life. Work and leisure, family and friendship, community and citizenship have all been modified by now-ubiquitous digital tools and platforms. Digital Technology and Democratic Theory looks closely at one significant facet of our rapidly evolving digital lives: how technology is radically changing our lives as citizens and participants in democratic governments.
To understand these transformations, this book brings together contributions by scholars from multiple disciplines to wrestle with the question of how digital technologies shape, reshape, and affect fundamental questions about democracy and democratic theory. As expectations have whiplashed—from Twitter optimism in the wake of the Arab Spring to Facebook pessimism in the wake of the 2016 US election—the time is ripe for a more sober and long-term assessment. How should we take stock of digital technologies and their promise and peril for reshaping democratic societies and institutions? To answer, this volume broaches the most pressing technological changes and issues facing democracy as a philosophy and an institution.
D-Passage: The Digital Way
Trinh T. Minh-ha Duke University Press, 2013 Library of Congress PN1998.3.T76A5 2013 | Dewey Decimal 777
D-Passage is a unique book by the world-renowned filmmaker, artist, and critical theorist Trinh T. Minh-ha. Taking as grounding forces her feature film Night Passage and installation L'Autre marche (The Other Walk), both co-created with Jean-Paul Bourdier, she discusses the impact of new technology on cinema culture and explores its effects on creative practice. Less a medium than a "way," the digital is here featured in its mobile, transformative passages. Trinh's reflections shed light on several of her major themes: temporality; transitions; transcultural encounters; ways of seeing and knowing; and the implications of the media used, the artistic practices engaged in, and the representations created. In D-Passage, form and structure, rhythm and movement, and language and imagery are inseparable. The book integrates essays, artistic statements, in-depth conversations, the script of Night Passage, movie stills, photos, and sketches.
Exploring the Roots of Digital and Media Literacy through Personal Narrative provides a wide-ranging look at the origins, concepts, theories, and practices of the field. This unique, exciting collection of essays by a range of distinguished scholars and practitioners offers insights into the scholars and thinkers who fertilized the minds of those who helped shape the theory and practice of digital and media literacy education.
Each chapter describes an individual whom the author considers to be a type of “grandparent.” By weaving together two sets of personal stories—that of the contributing author and that of the key ideas and life history of the historical figure under their scrutiny—major concepts of digital media and learning emerge.
Exploiting our boundless desire to access everything all the time, digital technology is breaking down whatever boundaries still exist between the state, the market, and the private realm. Bernard Harcourt offers a powerful critique of what he calls the expository society, revealing just how unfree we are becoming and how little we seem to care.
#exstrange: a curatorial intervention on eBay presents the #exstrange exhibition project, which transformed one of the largest marketplaces on the web — eBay — into a site of artistic production. This book documents artworks, reveals the aftermath of auctions and correspondences between artists and bidders, and features essays by lead curators Marialaura Ghidini and Rebekah Modrak, cultural critic Mark Dery, journalist Rob Walker, media and material culture scholar Padma Chirumamilla, guest curator Gaia Tedone, and artist and writer Renee Carmichael.
Over 80 contemporary artists and designers created “artworks as auctions” for #exstrange between January 15 and April 15, 2017, each using the elements of the auction listing—descriptive text, images, pricing, and categories—as tools of production.
Works include artist Lucy Pawlak’s collaboration with the Beat Officer to sell a series of clay objects as missing evidence from unexplained events in Mexico; IOCOSE’s sale of instant protests in the category “Specialty Services” where buyers chose the protest mantras, and outsourced performers demonstrated; and Susanne Cockrell & Ted Purves’ offering of a stick-gun with the memory of their son’s play in “Entertainment Memorabilia.”
10.000 • Lanfranco Aceti • AILADI • Aysha Al Moayyed • Nasser Alzayani • Mary Ayling • Georgia Banks • Ann Bartges • Yogesh Barve • Kim Beck • Ajit Bhadoriya • Natalie Boterman • Sophia Brueckner • Carmel Buckley • Renee Carmichael • Alessio Chierico • Mia Cinelli • Susanne Cockrell • ConnX • Da Burn Gallery • Julia del Río • Tyler Denmead • César Escudero • Nihaal Faizal • FICTILIS • Eryn Foster • John D. Freyer • Elisa Giardina Papa • Angela Glanzmann • Maximilian Goldfarb • Archana Hande • Abhishek Hazra • Adam Hewins • Megan Hildebrandt • Joey Holder • Masimba Hwati • Regin Igloria • IOCOSE • JODI • Geraldine Juárez • KairUs Art+Research • Katerina Kamprani • Kamilia Kard • Tara Kelton • Matt Kenyon • Stephanie LaFreniere • Eno Laget • Nicolás Lamas • Martin Lang • Taekyeom Lee • LEXX Exhibitor Space • Lloyd Corporation • Silvio Lorusso • Breda Lynch • Garrett Lynch • Eva and Franco Mattes • Kembrew McLeod • Kathleen Meaney • Maria Miranda • Crisia Miroiu • Joana Moll • Martín Nadal • Norie Neumark • Xi Jie Ng • Maeve O'Neill • Chiara Passa • Lucy Pawlak • Sreshta Rit Premnath • Niko Princen • Ted Purves • Renuka Rajiv • Luis Romero • Armando Rosales • Robert Sakrowski • Alessandro Sambini • Sarah Ancelle Schönfeld • Anke Schüttler • Guido Segni • Chinar Shah • Jenine Sharabi • Yastika Prakash Shetty • Anupam Singh • Gagan Singh • Ishan Srivstava • Isabella Streffen • Surabhi Vaya • Wang Yue • Wu Jiaru • Yashaswini • Laura Yuile • Carlo Zanni • Huaqian Zhang
Latifa Al Khalifa • Bani Brusadin • Peter Dykhuis • Fred Feinberg & Lu Zhang • Harrell Fletcher • Tamara Ibarra • João Laia • Nora O Murchú • Domenico Quaranta • Gaia Tedone • TSAO Yidi
Winner of the 2015 Anne Friedberg Innovative Scholarship Award from the Society for Cinema and Media Studies Finding Augusta breaks new ground, revising how media studies interpret the relationship between our bodies and technology. This is a challenging exploration of how, for both good and ill, the sudden ubiquity of mobile devices, GPS systems, haptic technologies, and other forms of media alter individuals’ experience of their bodies and shape the social collective. The author succeeds in problematizing the most salient fact of contemporary mobile media technologies, namely, that they have become, like highways and plumbing, an infrastructure that regulates habit. Audacious in its originality, Finding Augusta will be of great interest to art and media scholars alike.
In this fiercely ambitious study, Meredith Anne Hoy seeks to reestablish the very definitions of digital art and aesthetics in art history. She begins by problematizing the notion of digital aesthetics, tracing the nineteenth- and twentieth-century movements that sought to break art down into its constituent elements, which in many ways predicted and paved the way for our acceptance of digital art. Through a series of case studies, Hoy questions the separation between analog and digital art and finds that while there may be sensual and experiential differences, they fall within the same technological categories. She also discusses computational art, in which the sole act of creation is the building of a self-generating algorithm. The medium isn’t the message—what really matters is the degree to which the viewer can sense a creative hand in the art.
In The Future of Art in a Postdigital Age, artist and educator Mel Alexenberg offers a vision of a postdigital future that reveals a paradigm shift from the Hellenistic to the Hebraic roots of Western culture. He ventures beyond the digital to explore postdigital perspectives rising from creative encounters among art, science, technology, and human consciousness. The interrelationships between these perspectives demonstrate the confluence between postdigital art and the dynamic, Jewish structure of consciousness. Alexenberg’s pioneering artwork––a fusion of spiritual and technological realms––exemplifies the theoretical thesis of this investigation into interactive and collaborative forms that imaginatively envisages the vast potential of art in a postdigital future.
You are girlish, our images tell us. You are plastic. Girlhood and the Plastic Image explains how, revealing the increasing girlishness of contemporary media. The figure of the girl has long been prized for its mutability, for the assumed instability and flexibility of the not-yet-woman. The plasticity of girlish identity has met its match in the plastic world of digital art and cinema. A richly satisfying interdisciplinary study showing girlish transformation to be a widespread condition of mediation, Girlhood and the Plastic Image explores how and why our images promise us the adaptability of youth. This original and engaging study will appeal to a broad interdisciplinary audience including scholars of media studies, film studies, art history, and women’s studies.
In Hypertext and the Female Imaginary, Jaishree K. Odin reveals how media that use hypertextual strategies of narrative fragmentation provocatively engage questions of gender or cultural difference. Odin addresses hypertext on two levels: as an artistic technique in electronic or film narratives and as a metaphor for describing the complexity of postmodernism in which different cultures, discourses, and media are in continual interaction with one another.
Investigating the work of Trinh T. Minh-ha, Judy Malloy, Shelley Jackson, Stephanie Strickland, and M. D. Coverly, Odin demonstrates how these writers apply hypertextual strategies to subversively convey difference. Through her readings of various transformative hypertext narratives by women writers/artists, she pursues the question of what constitutes empowering descriptions of the world in a technology-mediated culture where the dominant discourse is turning everything into the same.
Using feminist as well as postcolonial perspectives, she explores the embodied state of the human as reflected in critically aware contemporary narratives and examines how these works consider what it means to be human in the twenty-first century.
When it comes to personal collections, we live in exciting times. Individuals are living their lives in ways that are increasingly mediated by digital technologies — digital photos and video footage, music, the social web, e-mail,and other day-to-day interactions. Although this mediation presents many technical challenges for long-term preservation, it also provides unprecedented opportunities for documenting the lives of individuals.
Ten authors — Robert Capra, Adrian Cunningham, Tom Hyry, Leslie Johnston, Christopher (Cal) Lee, Sue McKemmish, Cathy Marshall, Rachel Onuf, Kristina Spurgin, and Susan Thomas — share their expertise on the various aspects of the management of digital information in I, Digital: Personal Collections in the Digital Era.
The volume is divided in three parts:
Part 1 is devoted to conceptual foundations and motivations.
Part 2 focuses on particular types, genres, and forms of personal traces; areas of further study; and new opportunities for appraisal and collection.
Part 3 addresses strategies and practices of professionals who work in memory institutions.
Chapters explore issues,challenges, and opportunities in the management of personal digital collections, focusing primarily on born-digital materials generated and kept by individuals.
Contributions to I, Digital represent the depth in thinking about how cultural institutions can grapple with new forms of documentation, and how individuals manage--and could better manage--digital information that is part of contemporary life.
Metadata provides a means of indexing, accessing, preserving, and discovering digital resources. The volume of digital information available over electronic networks has created a pressing need for standards that ensure correct and proper use and interpretation of the data by its owners and users. Well-crafted metadata is needed more now than ever before and helps users to locate, retrieve, and manage information in this vast and complex universe.
The third edition of Introduction to Metadata, first published in 1998, provides an overview of metadata, including its types, roles, and characteristics; a discussion of metadata as it relates to Web resources; and a description of methods, tools, standards, and protocols for publishing and disseminating digital collections. This revised edition is an indispensable resource in the field, addressing advances in standards such as Linked Open Data, changes in intellectual property law, and new computing technologies, and offering an expanded glossary of essential terms.
A spidery network of mobile online media has supposedly changed people, places, time, and their meanings. A prime case is the news. Digital webs seem to have trapped "legacy media," killing off newspapers and journalists' jobs. Did news businesses and careers fall prey to the digital "Spider"?
To solve the mystery, Kevin Barnhurst spent thirty years studying news going back to the realism of the 1800s. The usual suspects--technology, business competition, and the pursuit of scoops--are only partly to blame for the fate of news. The main culprit is modernism from the "Mister Pulitzer" era, which transformed news into an ideology called "journalism." News is no longer what audiences or experts imagine. Stories have grown much longer over the past century and now include fewer events, locations, and human beings. Background and context rule instead.
News producers adopted modernism to explain the world without recognizing how modernist ideas influence the knowledge they produce. When webs of networked connectivity sparked a resurgence in realist stories, legacy news stuck to big-picture analysis that can alienate audience members accustomed to digital briefs.
This book argues for a theory of mobile mapping, a situated and spatial approach towards researching how everyday digital mobile media practices are bound up in global systems of knowledge and power. Drawing from literature in media studies and geography - and the work of Michel Foucault and Doreen Massey - it examines how geographical and historical material, social, and cultural conditions are embedded in the way in which contemporary (digital) cartographies are read, deployed, and engaged. This is explored through seventeen walking interviews in Hong Kong and Sydney, as potent discourses like cartographic reason continue to transform and weave through the world in ways that haunt mobile mapping and bring old conflicts into new media. In doing so, Mobile Mapping offers an interdisciplinary rethinking about how multiple translations of spatial knowledges between rational digital epistemologies and tacit ways of understanding space and experience might be conceptualized and researched.
The experience of engaging with art and history has been utterly transformed by information and communications technology in recent decades. We now have virtual, mediated access to countless heritage collections and assemblages of artworks, which we intuitively browse and navigate in a way that wasn't possible until very recently. This collection of essays takes up the question of the cultural meaning of the information and communications technology that makes these new engagements possible, asking questions like: How should we theorise the sensory experience of art and heritage? What does information technology mean for the authority and ownership of heritage?
Computer-based technologies for the production and analysis of data have been an integral part of biological research since the 1990s at the latest. This not only applies to genomics and its offshoots but also to less conspicuous subsections such as ecology. But little consideration has been given to how this new technology has changed research practically. How and when do data become questionable? To what extent does necessary infrastructure influence the research process? What status is given to software and algorithms in the production and analysis of data? These questions are discussed by the biologists Philipp Fischer and Hans Hofmann, the philosopher Gabriele Gramelsberger, the historian of science and biology Hans-Jörg Rheinberger, the science theorist Christoph Hoffmann, and the artist Hannes Rickli. The conditions of experimentation in the digital sphere are examined in four chapters—“Data,” “Software,” “Infrastructure,” and “in silico”—in which the different perspectives of the discussion partners complement one another. Rather than confirming any particular point of view, Natures of Data deepens understanding of the contemporary basis of biological research.
Trailblazing women working in digital arts media and education established the Midwest as an international center for the artistic and digital revolution in the 1980s and beyond. Foundational events at the University of Illinois and the School of the Art Institute of Chicago created an authentic, community-driven atmosphere of creative expression, innovation, and interdisciplinary collaboration that crossed gender lines and introduced artistically informed approaches to advanced research. Interweaving historical research with interviews and full-color illustrations, New Media Futures captures the spirit and contributions of twenty-two women working within emergent media as diverse as digital games, virtual reality, medicine, supercomputing visualization, and browser-based art. The editors and contributors give voice as creators integral to the development of these new media and place their works at the forefront of social change and artistic inquiry. What emerges is the dramatic story of how these Midwestern explorations in the digital arts produced a web of fascinating relationships. These fruitful collaborations helped usher in the digital age that propelled social media. Contributors: Carolina Cruz-Niera, Colleen Bushell, Nan Goggin, Mary Rasmussen, Dana Plepys, Maxine Brown, Martyl Langsdorf, Joan Truckenbrod, Barbara Sykes, Abina Manning, Annette Barbier, Margaret Dolinsky, Tiffany Holmes, Claudia Hart, Brenda Laurel, Copper Giloth, Jane Veeder, Sally Rosenthal, Lucy Petrovic, Donna J. Cox, Ellen Sandor, and Janine Fron.
To err is human; to err in digital culture is design. In the glitches, inefficiencies, and errors that ergonomics and usability engineering strive to surmount, Peter Krapp identifies creative reservoirs of computer-mediated interaction. Throughout new media cultures, he traces a resistance to the heritage of motion studies, ergonomics, and efficiency; in doing so, he shows how creativity is stirred within the networks of digital culture.
Noise Channels offers a fresh look at hypertext and tactical media, tunes into laptop music, and situates the emergent forms of computer gaming and machinima in media history. Krapp analyzes text, image, sound, virtual spaces, and gestures in noisy channels of computer-mediated communication that seek to embrace—rather than overcome—the limitations and misfires of computing. Equally at home with online literature, the visual tactics of hacktivism, the recuperation of glitches in sound art, electronica, and videogames, or machinima as an emerging media practice, he explores distinctions between noise and information, and how games pivot on errors at the human–computer interface.
Grounding the digital humanities in the conditions of possibility of computing culture, Krapp puts forth his insight on the critical role of information in the creative process.
You can hardly pass through customs at an airport today without having your picture taken and your fingertips scanned, that information then stored in an archive you’ll never see. Nor can you use your home’s smart technology without wondering what, exactly, that technology might do with all you’ve shared with it: shopping habits, security decisions, media choices. Every day, Americans surrender their private information to entities that claim to have their best interests in mind, in exchange for a promise of safety or convenience. This trade-off has long been taken for granted, but the extent of its nefariousness has recently become much clearer. As Lawrence Cappello’s None of Your Damn Business reveals, the problem is not so much that data will be used in ways we don’t want, but rather how willing we have been to have our information used, abused, and sold right back to us.
In this startling book, Cappello shows that this state of affairs was not the inevitable by-product of technological progress. He targets key moments from the past 130 years of US history when privacy was central to battles over journalistic freedom, national security, surveillance, big data, and reproductive rights. As he makes dismayingly clear, Americans have had numerous opportunities to protect the public good while simultaneously safeguarding our information, and we’ve squandered them every time. The wide range of the debates and incidents presented here shows that, despite America’s endless rhetoric of individual freedom, we actually have some of the weakest privacy protections in the developed world. None of Your Damn Business is a rich and provocative survey of an alarming topic that grows only more relevant with each fresh outrage of trust betrayed.
A necessary, rich new examination of how the wired world affects our humanity
Our tech-fueled economy is often touted as a boon for the development of our fullest human potential. But as our interactions are increasingly turned into mountains of data sifted by algorithms, what impact does this infinite accumulation and circulation of information really have on us? What are the hidden mechanisms that drive our continuous engagement with the digital?
In The Other Side of the Digital, Andrea Righi argues that the Other of the digital acts as a new secular God, exerting its power through endless accountability that forces us to sacrifice ourselves for the digital. Righi deconstructs the contradictions inherent in our digital world, examining how ideas of knowledge, desire, writing, temporality, and the woman are being reconfigured by our sacrificial economy. His analyses include how both our self-image and our perception of reality are skewed by technologies like fitness bands, matchmaking apps, and search engines, among others.
The Other Side of the Digital provides a necessary, in-depth cultural analysis of how the political theology of the new media functions under neoliberalism. Drawing on the work of well-known thinkers like Jacques Derrida, Jacques Lacan, and Ludwig Wittgenstein, as well as Carla Lonzi, Luisa Muraro, and Luciano Parinetto, Righi creates novel appraisals of popular digital tools that we now use routinely to process life experiences. Asking why we must sign up for this sort of regime, The Other Side of the Digital is an important wake-up call to a world deeply entangled with the digital.
In Out of Time, Todd McGowan takes as his starting point the emergence of a temporal aesthetic in cinema that arose in response to the digital era. Linking developments in cinema to current debates within philosophy, McGowan claims that films that change the viewer’s relation to time constitute a new cinematic mode: atemporal cinema.
In atemporal cinema, formal distortions of time introduce spectators to an alternative way of experiencing existence in time—or, more exactly, a way of experiencing existence out of time. McGowan draws on contemporary psychoanalysis, particularly Jacques Lacan, to argue that atemporal cinema unfolds according to the logic of the psychoanalytic notion of the drive rather than that of desire, which has conventionally been the guiding concept of psychoanalytic film studies.
Despite their thematic diversity, these films distort chronological time with a shared motivation: to reveal the logic of repetition. Like psychoanalysis, McGowan contends, the atemporal mode locates enjoyment in the embrace of repetition rather than in the search for the new and different.
Defining the Chief Executive via flash powder and selfie sticks
Lincoln’s somber portraits. Lyndon Johnson’s swearing in. George W. Bush’s reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama’s selfies to tell the stories of how presidents have participated in the medium’s transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs—as representations of leaders who symbolized the nation—sparked public debate on these values and their implications.
An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it.
A new theoretical perspective on place in photography.
Drawing on theoretical insights from geography and philosophy, Ali Shobeiri examines how six fundamentals of photography—the photographer, camera, photograph, image, spectator, and genre—manifest unique, contingent notions of “place.” The geophilosophy that emerges offers a new language for understanding how “place” encapsulates everything that invites and resists location, identity, story, function, and meaning.
In Poetic Operations artist and theorist micha cárdenas considers contemporary digital media, artwork, and poetry in order to articulate trans of color strategies of safety and survival. Drawing on decolonial theory, women of color feminism, media theory, and queer of color critique, cárdenas develops a method she calls algorithmic analysis. Understanding algorithms as sets of instructions designed to perform specific tasks (like a recipe), she breaks them into their component parts, called operations. By focusing on these operations, cárdenas identifies how trans and gender nonconforming artists, especially artists of color, rewrite algorithms to counter violence and develop strategies for liberation. In her analyses of Giuseppe Campuzano's holographic art, Esdras Parra's and Kai Cheng Thom's poetry, Mattie Brice's digital games, Janelle Monáe's music videos, and her own artistic practice, cárdenas shows how algorithmic analysis provides new modes of understanding the complex processes of identity and oppression and the intersection of gender, sexuality, and race.
Although digitalization or smart manufacturing might be considered a driving factor behind Procurement 4.0—the latest conceptualization of how modern companies procure goods and services—it is far too shortsighted to view Procurement 4.0 as simply a digitalized function. In Procurement 4.0, four leading experts on this revolutionary concept offer the first comprehensive framework to identify the interrelated opportunities and challenges it provides.
As the authors show, dynamic, interconnected value chains are key factors of sustainable business success, with procurement managed and steered by strategic purchasers in their new role as value chain managers. This evolving environment will be influenced by a variety of digitalization forces, including Industry 4.0, the Internet of Things, smart data and clouds, Enterprise 2.0, social media, and mobile computing. Integrating all network levels of procurement—from intra-company and inter-company relationships to global connectivity along value chains—and drawing on interviews with corporate heads of BMW, Lufthansa, Maersk, BP, and Allianz, the authors explore four dimensions of procurement that will address the business needs of the future: competing value chains, co-creation, leadership, and digital transformation.
The essays in Small Tech investigate the cultural impact of digital tools and provide fresh perspectives on mobile technologies such as iPods, digital cameras, and PDAs and software functions like cut, copy, and paste and WYSIWYG. Together they advance new thinking about digital environments.
Contributors: Wendy Warren Austin, Edinboro U; Jim Bizzocchi, Simon Fraser U; Collin Gifford Brooke, Syracuse U; Paul Cesarini, Bowling Green State U; Veronique Chance, U of London; Johanna Drucker, U of Virginia; Jenny Edbauer, Penn State U; Robert A. Emmons Jr., Rutgers U; Johndan Johnson-Eilola, Clarkson U; Richard Kahn, UCLA; Douglas Kellner, UCLA; Karla Saari Kitalong, U of Central Florida; Steve Mann, U of Toronto; Lev Manovich, U of California, San Diego; Adrian Miles, RMIT U; Jason Nolan, Ryerson U; Julian Oliver; Mark Paterson, U of the West of England, Bristol; Isabel Pedersen, Ryerson U; Michael Pennell, U of Rhode Island; Joanna Castner Post, U of Central Arkansas; Teri Rueb, Rhode Island School of Design; James J. Sosnoski; Lance State, Fordham U; Jason Swarts, North Carolina State U; Barry Wellman, U of Toronto; Sean D. Williams, Clemson U; Jeremy Yuille, RMIT U.
Byron Hawk is assistant professor of English at George Mason University.
David M. Rieder is assistant professor of English at North Carolina State University.
Ollie Oviedo is associate professor of English at Eastern New Mexico University.
Eschewing the traditional focus on object/viewer spatial relationships, Timothy Scott Barker’s Time and the Digital stresses the role of the temporal in digital art and media. The connectivity of contemporary digital interfaces has not only expanded the relationships between once separate spaces but has increased the complexity of the temporal in nearly unimagined ways. Invoking the process philosophy of Whitehead and Deleuze, Barker strives for nothing less than a new philosophy of time in digital encounters, aesthetics, and interactivity. Of interest to scholars in the fields of art and media theory and philosophy of technology, as well as new media artists, this study contributes to an understanding of the new temporal experiences emergent in our interactions with digital technologies.
This applied engineering reference covers a wide range of wireless communication design techniques; including link budgets, error detection and correction, adaptive and cognitive techniques, and system analysis of receivers and transmitters. Digital modulation and demodulation techniques using phase-shift keyed and frequency hopped spread spectrum systems are addressed. The title includes sections on broadband communications and home networking, satellite communications, and global positioning systems (GPS). Various techniques and designs are evaluated for modulating and sending digital signals, and the book offers an intuitive approach to probability plus jammer reduction methods using various adaptive processes. This title assists readers in gaining a firm understanding of the processes needed to effectively design wireless digital communication systems.
In Virtual Memory, Homay King traces the concept of the virtual through the philosophical works of Henri Bergson, Gilles Deleuze, and Giorgio Agamben to offer a new framework for thinking about film, video, and time-based contemporary art. Detaching the virtual from its contemporary associations with digitality, technology, simulation, and speed, King shows that using its original meaning—which denotes a potential on the cusp of becoming—provides the means to reveal the "analog" elements in contemporary digital art. Through a queer reading of the life and work of mathematician Alan Turing, and analyses of artists who use digital technologies such as Christian Marclay, Agnès Varda, and Victor Burgin, King destabilizes the analog/digital binary. By treating the virtual as the expression of powers of potential and change and of historical contingency, King explains how these artists transcend distinctions between disembodiment and materiality, abstraction and tangibility, and the unworldly and the earth-bound. In so doing, she shows how their art speaks to durational and limit-bound experience more than contemporary understandings of the virtual and digital would suggest.
The importance of testing integrated circuits (ICs) has escalated with the increasing complexity of circuits fabricated on a single IC chip. No longer is it possible to design a new IC and then think about testing: such considerations must be part of the initial design activity, and testing strategies should be part of every circuit and system designer's education. This book is a comprehensive introduction and reference for all aspects of IC testing. It includes all of the basic concepts and theories necessary for advanced students, from practical test strategies and industrial practice, to the economic and managerial aspects of testing. In addition to detailed coverage of digital network testing, VLSI testing also considers in depth the growing area of testing analogue and mixed analogue/digital ICs, used particularly in signal processing.
All the world’s a stage - literally so, given the ubiquitous presence of webcams recording daily life in cities. This footage, allegedlydocumentary, recreates cities as cinematic environments as people interact with the multitudes of cameras and screens aroundthem. Paula Albuquerque’s original research and experimental films, presented in this groundbreaking book, expose fictionalising elements in archival webcams and explore video surveillance as an urban condition that influences both perceptions of the past and visions of the future.