Geert Lovink interviews an international group of artists, critics, and theorists on aesthetic, cultural, and political aspects of new media. For Geert Lovink, interviews are imaginative texts that can help to create global, networked discourses not only among different professions but also among different cultures and social groups. Conducting interviews online, over a period of weeks or months, allows the participants to compose documents of depth and breadth, rather than simply snapshots of timely references.The interviews collected in this book are with artists, critics, and theorists who are intimately involved in building the content, interfaces, and architectures of new media. The topics discussed include digital aesthetics, sound art, navigating deep audio space, European media philosophy, the Internet in Eastern Europe, the mixing of old and new in India, critical media studies in the Asia-Pacific region, Japanese techno tribes, hybrid identities, the storage of social movements, theory of the virtual class, virtual and urban spaces, corporate takeover of the Internet, and the role of cyberspace in the rise of nongovernmental organizations. Interviewees included Norbert Bolz, Paulina Borsook, Luchezar Boyadjiev, Kuan-Hsing Chen, Cã¬(c)n Dan, Mike Davis, Mark Dery, Kodwo Eshun, Susan George, Boris Groys, Frank Hartmann, Michael Heim, Dietmar Kamper, Zina Kaye, Tom Keenan, Arthur Kroker, Bruno Latour, Marita Liulia, Rafael Lozano-Hemmer, Peter Lunenfeld, Lev Manovich, Mongrel, Edi Muka, Jonathan Peizer, Saskia Sassen, Herbert Schiller, Gayatri Spivak, Já(R) ̄s Sugá2¬ Ravi Sundaram, Toshiya Ueno, Tjebbe van Tijen, McKenzie Wark, Hartmut Winkler, and Slavoj Zizek.
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It historicizes the contemporary discussion of urbanism, highlighting the local and global breadth of the city landscape. This interdisciplinary collection examines how the city develops in the interactions of space and imagination. The essays focus on issues such as street design in Vienna, the motion picture industry in Los Angeles, architecture in Marseilles and Algiers, and the kaleidoscopic paradox of post-apartheid Johannesburg. They explore the nature of spatial politics, examining the disparate worlds of eighteenth-century Baghdad, nineteenth-century Morelia. They also show the meaning of everyday spaces to urban life, illuminating issues such as crime in metropolitan London, youth culture in Dakar, "memory projects" in Tokyo, and Bombay cinema.
This ambitious multidisciplinary volume assembles diverse critical-theory approaches to the current and future states of networked learning. Expert contributors expand upon the existing literature by analyzing the ethical aspects of networked learning and the ongoing need for more open, inclusive, and socially engaged educational practice. Chapters explore in depth evolving concepts of real and virtual, the processes of learning in, against, and beyond the internet, and the role of critical pedagogy in improving social conditions. In all, coverage is both realistic and positive about the potential of digital technologies in higher education as well as social and academic challenges on the horizon. Included among the topics: Counting on use of technology to enhance learning. Decentralized networked learning through online pre-publication. The reality of the online teacher. Moving from urban to virtual spaces and back. The project of a virtual emancipatory pedagogy. Using information technologies in the service of humanity. It is no longer a question of "Can technology enhance learning" it's a given that it does. Critical Learning in Digital Networks offers education researchers, teacher educators, instructional technologists, and instructional designers tools and methods for strengthening this increasingly vital interconnection.
On Sunday, September 9, 1739, twenty Kongolese slaves armed themselves by breaking into a storehouse near the Stono River south of Charleston, South Carolina. They killed twenty-three white colonists, joined forces with other slaves, and marched toward Spanish Florida. There they expected to find freedom. One report claims the rebels were overheard shouting, "Liberty!" Before the day ended, however, the rebellion was crushed, and afterwards many surviving rebels were executed. South Carolina rapidly responded with a comprehensive slave code. The Negro Act reinforced white power through laws meant to control the ability of slaves to communicate and congregate. It was an important model for many slaveholding colonies and states, and its tenets greatly inhibited African American access to the public sphere for years to come. The Stono Rebellion serves as a touchstone for Calling Out Liberty, an exploration of human rights in early America. Expanding upon historical analyses of this rebellion, Jack Shuler suggests a relationship between the Stono rebels and human rights discourse in early American literature. Though human rights scholars and policy makers usually offer the European Enlightenment as the source of contemporary ideas about human rights, this book repositions the sources of these important and often challenged American ideals.
This book brings together a carefully selected range of contemporary disciplinary approaches to new areas of Gothic inquiry. Moving beyond the representational and historically based aspects of literature and film that have dominated Gothic studies, this volume both acknowledges the contemporary diversification of Gothic scholarship and maps its changing and mutating incarnations. Drawing strength from their fascinating diversity, and points of correlation, the varied perspectives and subject areas cohere around a number of core themes — of re-evaluation, discovery, and convergence — to reveal emerging trends and new directions in Gothic scholarship. Visiting fascinating areas including the Gothic and digital realities, uncanny food experiences, representations of death and the public media, Gothic creatures and their popular legacies, new approaches to contemporary Gothic literature, and re-evaluations of the Gothic mode through regional narratives, essays reveal many patterns and intersecting approaches, forcefully testifying to the multifaceted, although lucidly coherent, nature of Gothic studies in the 21st Century. The multiple disciplines represented — from digital inquiry to food studies, from fine art to dramaturgy — engage with the Gothic in order to offer new definitions and methodological approaches to Gothic scholarship. The interdisciplinary, transnational focus of this volume provides exciting new insights into, and expanded and revitalised definitions of, the Gothic and its related fields.
ICTs and Indian Social Change: Diffusion, Poverty, Governance is the first book of its kind that puts together the optimistic voices of techno-idealists, critical social science perspectives on technology and a range of empirical material on the impact of Information and Communication Technologies (ICTs) on the lives of people. The book traces these processes across urban and rural spaces of work, consumption, e-governance, and highlights the new kinds of social identities they are fostering in India. It opens up an arena for dialogue between activists, technologists, policy makers and academia on using ICTs for development. The book is a logical sequel to ICTs and Indian Economic Change: Economy, Work, Regulation that addressed the implications of the growth of ICT-based sectors in India for macro-economic development and industrial efficiency. This volume views the diffusion of ICTs in India primarily in the socio cultural realm. In responding to the pioneering voices of innovators in ICTs, it provides empirical and theoretical assessments and critiques of some of the important though often latent, premises that underlie these powerful initiatives.
The theory and practice of networked art and activism, including mail art, sound art, telematic art, fax art, Fluxus, and assemblings. Networked collaborations of artists did not begin on the Internet. In this multidisciplinary look at the practice of art that takes place across a distance--geographical, temporal, or emotional--theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s. By providing a context for this work--showing that it was shaped by varying mixes of social relations, cultural strategies, and political and aesthetic concerns-- At a Distance effectively refutes the widely accepted idea that networked art is technologically determined. Doing so, it provides the historical grounding needed for a more complete understanding of today's practices of Internet art and activism and suggests the possibilities inherent in networked practice. At a Distance traces the history and theory of such experimental art projects as Mail Art, sound and radio art, telematic art, assemblings, and Fluxus. Although the projects differed, a conceptual questioning of the "art object," combined with a political undermining of dominant art institutional practices, animated most distance art. After a section that sets this work in historical and critical perspective, the book presents artists and others involved in this art "re-viewing" their work--including experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive book construction. Finally, the book recasts the history of networks from the perspectives of politics, aesthetics, economics, and cross-cultural analysis.
A critical analysis of the protocols that control theInternet and the resistance to them.
How global biotechnology is redefining "life itself." In the age of global biotechnology, DNA can exist as biological material in a test tube, as a sequence in a computer database, and as economically valuable information in a patent. In The Global Genome, Eugene Thacker asks us to consider the relationship of these three entities and argues that—by their existence and their interrelationships—they are fundamentally redefining the notion of biological life itself. Biological science and the biotech industry are increasingly organized at a global level, in large part because of the use of the Internet in exchanging biological data. International genome sequencing efforts, genomic databases, the development of World Intellectual Property policies, and the "borderless" business of biotech are all evidence of the global intersections of biology and informatics—of genetic codes and computer codes. Thacker points out the internal tension in the very concept of biotechnology: the products are more "tech" than "bio," but the technology itself is fully biological, composed of the biomaterial labor of genes, proteins, cells, and tissues. Is biotechnology a technology at all, he asks, or is it a notion of "life itself" that is inseparable from its use in the biotech industry? The three sections of the book cover the three primary activities of biotechnology today: the encoding of biological materials into digital form—as in bioinformatics and genomics; its recoding in various ways—including the "biocolonialism" of mapping genetically isolated ethnic populations and the newly pervasive concern over "biological security"; and its decoding back into biological materiality—as in tissue engineering and regenerative medicine. Thacker moves easily from science to philosophy to political economics, enlivening his account with ideas from such thinkers as Georges Bataille, Georges Canguilhem, Michel Foucault, Antonio Negri, and Paul Virilio. The "global genome," says Thacker, makes it impossible to consider biotechnology without the context of globalism.
A "dirty materialist" ride through the media cultures of pirate radio, photography, the Internet, media art, cultural evolution, and surveillance.