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Art is a diverse range of human activities in creating visual, auditory or performing artifacts, expressing the author's imaginative or technical skill, intended to.
Garnet Hertz - conceptlab. Emerging Sites of HCI Innovation: Hackerspaces, Hardware Startups & Incubators (2. Silvia Lindtner, Garnet Hertz & Paul Dourish, CHI 2. In this paper, we discuss how a flourishing scene of "DIY makers" is turning visions of tangible, mobile and ubiquitous computing into products.
Drawing on long- term multi- sited ethnographic research and active participation in DIY maker practice, we will provide insights into the social, material, and economic processes that undergird this transition from prototypes to products. The contribution of this paper is three- fold. First, we will show how DIY maker practice is illustrative of a broader "return to" and interest in physical. This has implications for HCI research that.
Second, we shed light. We argue that we have to take seriously. Finally, we end with. HCI researchers and designers as. DIY making emerges as a site of HCI innovation. We argue. that HCI is positioned to provide critical reflection, paired. Download the paper: Emerging Sites of HCI Innovation: Hackerspaces, Hardware Startups & Incubators, CHI 2.
Zombie Media: Circuit Bending Media Archaeology into an Art Method (2. Garnet Hertz & Jussi Parikka, Leonardo 4. MIT Press)There is always a better camera, laptop, mobile phone on the horizon: new media always becomes old. We approach this phenomenon under the umbrella term of media archaeology and aim to extend the media archaeological interest of knowledge into an art methodology. Hence, media archaeology becomes not only a method for excavation of the repressed, the forgotten, the past, but extends itself into an artistic method close to Do- It- Yourself (DIY) culture, circuit bending, hardware hacking, and other exercises that are closely related to the political economy of information technology, as well as the environment. Media embodies memory, but not only human memory; memory of things, of objects, of chemicals, and circuits that are returned to nature, so to speak, after their cycle. But these can be resurrected.
This embodiment of memory in things is what relates media archaeology to an ecosophic enterprise as well.(Download the paper: Zombie Media: Circuit Bending Media Archaeology into an Art Method, Leonardo 4. MB PDF, 2. 01. 2)Five Principles of Zombie Media (2. Garnet Hertz & Jussi Parikka)Zombie media addresses the living deads of media culture.
As such, it is clearly related. Bruce Sterling and others: to map. And yet, we want to. A discarded piece of media technology is never just discarded. Asia, markets in Nigeria, and so forth - a whole global political. Media kills nature as they remain as living deads.(Download the exhibition catalog essay: Five Principles of Zombie Media 3. K PDF - or the entire exhibition catalog.
De. Funct/Re. Funct Exhibition Catalogue, South Dublin Arts Centre, RUA RED, 1. MB PDF, 2. 01. 1)Arduino Microcontrollers and The Queen's Hamlet: Utilitarian and Hedonized DIY Practices in Contemporary Electronic Culture (2.
ACADIA 2. 01. 1)In this talk, I pull together concepts of utility- driven do- it- yourself (DIY) culture and pleasure- oriented DIY practice to investigate a significant trend in contemporary computing culture, the maker movement, typified by an interest in building personalized and handmade electronic devices with sensors, motors and lights, usually controlled by microcontrollers like the Arduino. My argument is that maker culture has been co- opted by consumer hobby culture, but this is not necessarily detrimental because it provides an important outlet for personal exploration, increases an understanding of how electronic media actually works and assists individuals to be actors in a culture that is increasingly complex, technological and digitized.(Download the paper: Arduino Microcontrollers and The Queen's Hamlet: Utilitarian and Hedonized DIY Practices in Contemporary Electronic Culture, 6. KB PDF, 2. 01. 1)Out. Run: Building the Un- Simulation of a Driving Video Game (2. A description of building the Out.
Run project in Make Magazine for the electronic DIY community.(Download the article: Out. Run: Building the Un- Simulation of a Driving Video Game, 9.
KB PDF, 2. 01. 1)The Seamful and Perversive Roles of Artwork in. Interdisciplinary Research (2. Garnet Hertz launches a discussion into the role of artwork. Like many contemporary art projects, these systems are intentionally. This work will be discussed within.
Several terms related to design theory. Koren, 1. 99. 4), chindogu. Kawakami, 1. 99. 5), perversiveness (Lozano- Hemmer, 1.
Chalmers, 2. 00. 2).(Lecture slides: The Seamful and Perversive Roles of Artwork in. Interdisciplinary Research, 2.
Out. Run: Perversive Games and Designing the De- Simulation of Eight- bit Driving (FDG '1. Proceedings of the Fifth International Conference on the Foundations of Digital Games)This paper outlines the development process of a mixed reality video game prototype that combines a classic arcade driving game with a real world vehicle. In this project the user, or player, maneuvers the car- shaped arcade cabinet through actual physical space using a screen as a navigational guide which renders the real world in the style of an 8- bit video game. This case study is presented as a "perversive game": an attempt to disrupt the everyday by highlighting and inverting conventional behavior through humor and paradox.(Download the paper: Out. Run: Perversive Games and Designing the De- Simulation of Eight- bit Driving (or through ACM Digital Library), 3. MB PDF, 2. 01. 0)Art After New Media: Exploring Black Boxes, Tactics and Archaeologies (In press with Leonardo Electronic Almanac, MIT Press)This paper discusses three methodological themes employed by. Methodologies include the exploration of the.
Reed Ghazala, the tactical use of technologies to bring social. Natalie Jeremijenko, and the archaeological use. Tom. Jennings. These themes are presented as useful tools to construct a.
Gramophones, Films, Typewriters & The Dead Media Handbook: Kittler's paradigm of winners and the secret histories of losers (2. The Dead Media Project is a stockpile of fragmented silences in the archive of media history. This paper begins to tackle this archive, and reveals how The Dead Media Project, as a conceptual theme and distributed research initiative, fits alongside and against contemporary work in media theory and history.
Specifically, this paper pushes two works of Friedrich Kittler - Discourse Networks 1. Gramophone, Film, Typewriter - directly into collision with The Dead Media Project. In the process, the debris reveals potential weaknesses in Kittler's texts and hints at how The Dead Media Handbook could be literally constructed. The Commodore 6. 4: Perspectives from Art History, Cultural Anthropology and Film & Media Studies (2.
Within this document, I try to look at the Commodore 6. I'm not an expert in. This is partially done to look at the disciplines of Art History, Cultural Anthropology, and Film & Media Studies by trying to get inside of the language and methodologies of each. Hopefully this shows some links to the vintage C6. I conclude the document by trying to figure out what this all means, launching a short critique toward "visual studies" and finish with a thought on the concept of "media archaeology".
Remnants of Virtuality: Contemporary Embodiment Beyond Posthumanism (Encountering the Hybrid: Posthumanism, Embodiment and Frissonic Value, Part 1) (2. Although N. Katherine Hayles re- addresses the topic of embodiment within "How We Became Posthuman" her embrace of concrete embodiment is distanced by the influence of virtuality: in particular, a worldview popularized in the 1. Although she mounts a formidable attack against the Moravecian "bodiless exhultation" of human minds being eventually extracted, transported and saved on computer disc, she falls short of envisioning embodiment in its simple, concrete state: it is interpreted through the lens of metaphor. The legacies of virtuality and literature are helpful, of course, to lay foundations for considering embodied reality within the narrative of becoming posthuman.
However, if embodiment is the core of our being, as Hayles argues toward, it would be logical to begin from the visceral body; embodied exegesis as opposed to virtual eisegesis.(Slides from related lecture: On Embodiment: Posthumanism, Computationalism and Definitions of Intelligence, 2.