Browsing 3. Re:live 2009 by Title
Now showing items 12-31 of 36
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Early Video Art as Private Performance
The adoption of video by artists responded to the affordance of immediacy and portability for the making of a motion picture recording. In the early 1970s in England, the potential of this facility was as novel as it was ... -
Earth Pulse: vibrational data as artistic inspiration
The use of scientific data to create artworks has always played an important part in the arts, and music has been no exception. The impact of developments such as electricity, the phonograph, the cassette recorder and the ... -
Erewhon: framing media utopia in the antipodes
Erewhon is a geographical location, a novel, and a fragment of our technological imaginary. Described by Samuel Butler as somewhere between nowhere and elsewhere, Erewhon provides a framework for understanding antipodean ... -
Executable Cinema: demos, screensavers and videogames as audiovisual formats
The digitisation of the multilayered cinematographic apparatus turns the cinematographic image into an extension of the projecting system, making the movie impossible to be separated from the rendering mechanism in both ... -
Haunted profiles; social networking sites and the crisis of death
How do perceptions of death shift or alter in relation to newly emerging technologies? In this paper I look at examples of mourning rituals, namely online memorials using social networking sites, through the looking-glass ... -
Histories of live meetings - case study: five conferences on computer-generated art and related theories in Zagreb, 1968 – 1978
Five international meetings of more than hundred artist and theoreticians of computer-based arts were held within the exhibition projects Tendencies 4 (1968 - 1969), Tendencies 5 (1973) and Tendencies 6 (1978) in Zagreb. ... -
Immediacy of Image – Image of Immediacy. Live Media Art in Japan between Tradition and Hypermodernity. An historical and contemporary View
In 1970, French philosopher Roland Barthes declared Japan as a model for a kind of system liberated from any (Western) signification-overload, at an important moment in time when art in the West as well as in the East began ... -
Lifebox Immortality & How We Got There
A paper in two parts. After a brief introduction from an art historian from the far future, a contemporary (2009) author discusses a near-future exosomatic technology called the lifebox. Unlike the dreams of the “hard” AI ... -
Nanoart: First Steps Beyond the Columns of Hercules
As in the last century, with all the “-isms” and other nouns and adjectives with which various artistic movements were described, both contemporaneously by the participants, and later by historians and critics, the term ... -
postvinyl
The history of audio-records, record players and DJs had its ups and downs during the last 6 decades. Vinyl records had their first appearances in the 1940ies, seemed to have gone in the 80ies and reappeared gloriously in ... -
RE:COPYing-IT-RIGHT AGAIN
RE:COPYing-IT-RIGHT AGAIN addresses art-science-technology connections in Media Art from Chicago during the late 1960’s and early 1970’s. Artists, including Phil Morton (founder of the Video Area at The School of the Art ... -
Relationship of art and technology: Edward Ihnatowicz’s philosophical investigation on the problem of perception
At the earliest stage of computer’s history more and more scientists as well as artists were vividly interested in the usage of advanced technology which was available that time. I would like to show that Ihnatowicz’s ... -
Relive the Virtual: An Analysis of Unplugged Performance-Installations
Can retro media make us relive the virtual from digital media? Following McLuhan’s thesis that the proper characteristics of a medium are revealed through remediation, it could well be that retro media re-enacting digital ... -
Telematic Practice and Research Discourses: Three practice-based research project case studies
This Paper focuses on the production, documentation and preservation of the authors telematic practicebased research in the interactive media arts. This reflects a timely practice review with significant implications on ... -
The Art of being novel: rethinking cartographies of personalisation
In a global period whereby the “personal” is no longer associated with people but with affective technologies (Shirky 2008; Lasén 2004), the old feminist adage of the “personal as political” takes on new dimensions of ... -
The Black Box
In societies where industrial conditions of production prevail, the artist’s equipment tends to become a black box. The photographic camera and the computer, for instance, are essentially black boxes. The contemporary ... -
The City as a Projection Space
Contemporary viewers’ reception of moving image based performances is undoubtedly affected by traditional cinematic experience [which refers to a dark, sound insulated room with fixed seats and a rectangular screen]. Since ... -
The Forgotten Pioneers of Creative Hacking and Social Networking– Introducing the Demoscene
During mid 1980s evolved a networked culture that brought together tens of thousands of teenagers within the computerized world: the demoscene. This culture revolved around the production, dissemination, and competition ... -
The Relocation of Theatre: Making UNMAKEABLELOVE
This paper addresses the histories of liveness and performance and of the life of machines by articulating theoretical positions on Samuel Beckett’s prose work The Lost Ones in relation to a recent new media work UNMAKEABLELOVE ... -
The Sonic Commons
The Sonic Commons is an examination of the formation of the contemporary urban soundscape, or the Sonic Commons and the social, economic and technological pressures that are transforming our shared aural spaces. The paper ...