Though publics are often conceived of as bounded by platform, users frequently deploy platforms in conjunction to create trans-platform digitally networked publics. The multi-media and trans-platform nature of such publics provide users with a range of affordances that allow them to oscillate the public between functioning as an enclave or as a counter-public. This
This presentation will explore the unique ethical, creative, and epistemological potentials of explicitly placing art or design in a subservient role to other disciplinary agendas in research-based inquiry. Historical and contemporary examples from within and without the presenter’s experiences will animate this overview and dialogue on intentional asymmetry in arts-integrative collaborative relationships.
At a moment when public media is facing the threat of elimination from lawmakers, this presentation examines the organizational contributions made by noncommercial media research to U.S. informational history. Taking an institutional approach, this presentation looks at the infrastructural origins of public media in archival distribution practices after WWII. In 1948 educational broadcasters were
As racial projects, video games legitimize white masculinity and hegemonic ideology through the ‘othering’ process. This is performed via pixelated minstrelsy by depicting Black and Brown bodies as objects to be destroyed and women as bodies to be dominated. The mediated story of Black characters is limited and situated within buffoonery (comedy) or crime
This talk describes the discovery and significance of Etude (1967), a previously unknown work by media artist Nam June Paik identified by the author in the Smithsonian American Art Museum’s recently-acquired Paik archive. Composed at Bell Labs, in collaboration with engineers, and written in an early version of FORTRAN, Etude stands as one of the earliest works of digital art—although
The study of computational media still has far to go when it comes to contradicting the solo white male inventor myths that are often reified in mainstream culture, although recent work in media archaeology that emphasizes the manual labor of participants with the apparatus is changing the narrative about the rise of software culture. It