Arthur L. Norberg
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780199241057
- eISBN:
- 9780191714290
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199241057.003.0002
- Subject:
- Business and Management, Information Technology
This chapter examines the dominant role of government agencies in providing support for computing during the last four decades. By extending the discussion over three phases, the chapter enlarges the ...
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This chapter examines the dominant role of government agencies in providing support for computing during the last four decades. By extending the discussion over three phases, the chapter enlarges the historical appreciation of the role of government in R&D for computing. This 50-year analysis also illustrates similarities in approach to selecting problems and funding R&D over the three phases. The changes discussed resulted both from sophistication within computing and from altered attitudes and circumstances in the society around the computing enterprise.Less
This chapter examines the dominant role of government agencies in providing support for computing during the last four decades. By extending the discussion over three phases, the chapter enlarges the historical appreciation of the role of government in R&D for computing. This 50-year analysis also illustrates similarities in approach to selecting problems and funding R&D over the three phases. The changes discussed resulted both from sophistication within computing and from altered attitudes and circumstances in the society around the computing enterprise.
JEFF GIDDINGS and JENNIFER LYMAN
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780195381146
- eISBN:
- 9780199869305
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195381146.003.0020
- Subject:
- Law, Public International Law
This chapter examines how clinical legal education, including its curriculum, teachers, teaching-methods, students, and social justice mission, influence legal education generally and connect law ...
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This chapter examines how clinical legal education, including its curriculum, teachers, teaching-methods, students, and social justice mission, influence legal education generally and connect law schools to their surrounding communities. It shows how clinical education introduced the study of lawyering to mainstream legal education and has promoted the use interactive teaching methods, including simulations, supervised case work, and problem-solving exercises, which help foster critical thinking necessary. Clinics also draw client interests, social justice, and professional values into the center of legal education, and have the capacity to promote links among various groups interested in the outcomes of legal education, serving as a bridge to broader community and professional engagement. The chapter argues that clinics have the greatest impact when insights from clinical experiences are incorporated in an integrative model with other teaching to form a developmental progression.Less
This chapter examines how clinical legal education, including its curriculum, teachers, teaching-methods, students, and social justice mission, influence legal education generally and connect law schools to their surrounding communities. It shows how clinical education introduced the study of lawyering to mainstream legal education and has promoted the use interactive teaching methods, including simulations, supervised case work, and problem-solving exercises, which help foster critical thinking necessary. Clinics also draw client interests, social justice, and professional values into the center of legal education, and have the capacity to promote links among various groups interested in the outcomes of legal education, serving as a bridge to broader community and professional engagement. The chapter argues that clinics have the greatest impact when insights from clinical experiences are incorporated in an integrative model with other teaching to form a developmental progression.
Inge Hinterwaldner
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780262035040
- eISBN:
- 9780262335546
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035040.001.0001
- Subject:
- Society and Culture, Technology and Society
In media art history as well as in science studies an intensified reception of cybernetic and system-theoretical concepts can be seen in the last few years. In the book a conceptualization of the ...
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In media art history as well as in science studies an intensified reception of cybernetic and system-theoretical concepts can be seen in the last few years. In the book a conceptualization of the relationship between the systemic and the iconic in interactive real-time simulations is proposed. To this end, the author differentiates between four main strata of form-giving design decisions: perspectivation, modelling, iconization, interaction. The particular images – ephemeral, changeable and open for interventions – fulfill the conditions of all these layers and, as a necessary consequence, they exhibit characteristic aesthetic features. With a close reading of the chosen example works, the variations within the repetitive cycles become evident as does the reason why the narration remains ‘flat’ (with only a few consecutive steps), contributing to the general impression of being confronted with a situation rather than a story. How are the borders of simulations either artificially marked or hidden and extended with images or other models? What role does the sensuous interface play for the degree and mode of user participation in the simulated scenery? The book assembles some basic preconditions and main features of image worlds based on computer simulations.Less
In media art history as well as in science studies an intensified reception of cybernetic and system-theoretical concepts can be seen in the last few years. In the book a conceptualization of the relationship between the systemic and the iconic in interactive real-time simulations is proposed. To this end, the author differentiates between four main strata of form-giving design decisions: perspectivation, modelling, iconization, interaction. The particular images – ephemeral, changeable and open for interventions – fulfill the conditions of all these layers and, as a necessary consequence, they exhibit characteristic aesthetic features. With a close reading of the chosen example works, the variations within the repetitive cycles become evident as does the reason why the narration remains ‘flat’ (with only a few consecutive steps), contributing to the general impression of being confronted with a situation rather than a story. How are the borders of simulations either artificially marked or hidden and extended with images or other models? What role does the sensuous interface play for the degree and mode of user participation in the simulated scenery? The book assembles some basic preconditions and main features of image worlds based on computer simulations.
Pablo J. Boczkowski and Eugenia Mitchelstein
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780262019835
- eISBN:
- 9780262318181
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019835.001.0001
- Subject:
- Society and Culture, Media Studies
The sites of major media organizations—CNN, USA Today, the Guardian, and others—provide the public with much of the online news they consume. But although a large proportion of the top stories these ...
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The sites of major media organizations—CNN, USA Today, the Guardian, and others—provide the public with much of the online news they consume. But although a large proportion of the top stories these sites disseminate cover politics, international relations, and economics, users of these sites show a preference (as evidenced by the most viewed stories) for news about sports, crime, entertainment, and weather. In this book, Pablo Boczkowski and Eugenia Mitchelstein examine this gap and consider the implications for the media industry and democratic life in the digital age. Drawing on analyses of more than 50,000 stories posted on twenty news sites in seven countries in North and South America and Western Europe, Boczkowski and Mitchelstein find that the gap in news preferences exists regardless of ideological orientation or national media culture. They show that it narrows in times of heightened political activity (including presidential elections or government crises) as readers feel compelled to inform themselves about public affairs but remains wide during times of normal political activity. Boczkowski and Mitchelstein also find that the gap is not affected by innovations in Web-native forms of storytelling such as blogs and user-generated content on mainstream news sites. Keeping the account of the news gap up to date, in the book’s coda they extend the analysis through the 2012 U.S. presidential election. Drawing upon these findings, the authors explore the news gap’s troubling consequences for the matrix that connects communication, technology, and politics in the digital age.Less
The sites of major media organizations—CNN, USA Today, the Guardian, and others—provide the public with much of the online news they consume. But although a large proportion of the top stories these sites disseminate cover politics, international relations, and economics, users of these sites show a preference (as evidenced by the most viewed stories) for news about sports, crime, entertainment, and weather. In this book, Pablo Boczkowski and Eugenia Mitchelstein examine this gap and consider the implications for the media industry and democratic life in the digital age. Drawing on analyses of more than 50,000 stories posted on twenty news sites in seven countries in North and South America and Western Europe, Boczkowski and Mitchelstein find that the gap in news preferences exists regardless of ideological orientation or national media culture. They show that it narrows in times of heightened political activity (including presidential elections or government crises) as readers feel compelled to inform themselves about public affairs but remains wide during times of normal political activity. Boczkowski and Mitchelstein also find that the gap is not affected by innovations in Web-native forms of storytelling such as blogs and user-generated content on mainstream news sites. Keeping the account of the news gap up to date, in the book’s coda they extend the analysis through the 2012 U.S. presidential election. Drawing upon these findings, the authors explore the news gap’s troubling consequences for the matrix that connects communication, technology, and politics in the digital age.
Nishida Kitarō
- Published in print:
- 2012
- Published Online:
- January 2012
- ISBN:
- 9780199841172
- eISBN:
- 9780199919543
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199841172.003.0003
- Subject:
- Religion, Philosophy of Religion
This essay from 1936/37 inquires into the prelogical origin of logic. It exemplifies one way in which Nishida’s thinking evolved after the initial articulation of his basho-theory. Here Nishida ...
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This essay from 1936/37 inquires into the prelogical origin of logic. It exemplifies one way in which Nishida’s thinking evolved after the initial articulation of his basho-theory. Here Nishida applies his understanding of basho (place) to the outer world of history, wherein human beings interact and work upon one another and upon things. The origin of logic is traced to our concrete lived interactivity in and with the historical world, an interactivity that Nishida calls “acting-intuition.” Nishida conceives the dynamic whole of this structure, involving not only world and self but also the human body and technē—our manipulation of tools and making of things to reshape the world—as dialectical. The dialectical unfolding of this structure is the world’s historical formation that gives birth to logic. Logic thus proves to be an expression of the world’s self-formation.Less
This essay from 1936/37 inquires into the prelogical origin of logic. It exemplifies one way in which Nishida’s thinking evolved after the initial articulation of his basho-theory. Here Nishida applies his understanding of basho (place) to the outer world of history, wherein human beings interact and work upon one another and upon things. The origin of logic is traced to our concrete lived interactivity in and with the historical world, an interactivity that Nishida calls “acting-intuition.” Nishida conceives the dynamic whole of this structure, involving not only world and self but also the human body and technē—our manipulation of tools and making of things to reshape the world—as dialectical. The dialectical unfolding of this structure is the world’s historical formation that gives birth to logic. Logic thus proves to be an expression of the world’s self-formation.
Yukiko Nishimura
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199795437
- eISBN:
- 9780199919321
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199795437.003.0005
- Subject:
- Linguistics, Sociolinguistics / Anthropological Linguistics
This chapter presents a study of Japanese keitai (mobile phone) novels. Keitai novels have received harsh criticism from literary critics in contemporary Japan. Based on quantitative stylistic and ...
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This chapter presents a study of Japanese keitai (mobile phone) novels. Keitai novels have received harsh criticism from literary critics in contemporary Japan. Based on quantitative stylistic and readability analyses, the study finds that keitai novels are not too different from conventional print novels except for their string/line length and a more conversational orientation, extending even to narration. The study illuminates current mainstream ideologies of literacy and literary standards, by which certain styles are deemed “immature.” Evaluations of keitai novels can be traced back to standards in the Japanese literary tradition. It is argued that the popularity of keitai novels may, however, point to the emergence of new literacies and literary sensibilities, which favor interactivity and a more speech-oriented style.Less
This chapter presents a study of Japanese keitai (mobile phone) novels. Keitai novels have received harsh criticism from literary critics in contemporary Japan. Based on quantitative stylistic and readability analyses, the study finds that keitai novels are not too different from conventional print novels except for their string/line length and a more conversational orientation, extending even to narration. The study illuminates current mainstream ideologies of literacy and literary standards, by which certain styles are deemed “immature.” Evaluations of keitai novels can be traced back to standards in the Japanese literary tradition. It is argued that the popularity of keitai novels may, however, point to the emergence of new literacies and literary sensibilities, which favor interactivity and a more speech-oriented style.
Kas Oosterhuis
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474420570
- eISBN:
- 9781474453905
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474420570.003.0004
- Subject:
- Philosophy, Aesthetics
The chapter engages with the idea that nonhuman creativity is fostering a new architecture based on continuous variation both in its theoretical and in its technical and material dimension. The ...
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The chapter engages with the idea that nonhuman creativity is fostering a new architecture based on continuous variation both in its theoretical and in its technical and material dimension. The chapter depicts the trajectory of ONL, the author’s practice, and how with this mission it has moved to the third industrial revolution that has altogether revolutionised architecture as a whole. In this chapter Kas Oosterhuis redefines the fundamentals in three phases; phase A: mass production, phase B: mass customisation - in which phase ONL’s built projects are positioned - and moving into the upbeat of phase C: distributed robotic design, production, assembly and operation, in which phase the achievements of Hyperbody’s interactive architecture are positioned. He concludes by challenging the traditional role of the architect that has shifted, nowadays, to that of an expert.Less
The chapter engages with the idea that nonhuman creativity is fostering a new architecture based on continuous variation both in its theoretical and in its technical and material dimension. The chapter depicts the trajectory of ONL, the author’s practice, and how with this mission it has moved to the third industrial revolution that has altogether revolutionised architecture as a whole. In this chapter Kas Oosterhuis redefines the fundamentals in three phases; phase A: mass production, phase B: mass customisation - in which phase ONL’s built projects are positioned - and moving into the upbeat of phase C: distributed robotic design, production, assembly and operation, in which phase the achievements of Hyperbody’s interactive architecture are positioned. He concludes by challenging the traditional role of the architect that has shifted, nowadays, to that of an expert.
Kiri Miller
- Published in print:
- 2017
- Published Online:
- March 2017
- ISBN:
- 9780190257835
- eISBN:
- 9780190257880
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190257835.001.0001
- Subject:
- Music, Dance, Ethnomusicology, World Music
Playable Bodies investigates what happens when machines teach humans to dance. Dance videogames work as engines of humor, shame, trust, and intimacy, urging players to dance like nobody’s ...
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Playable Bodies investigates what happens when machines teach humans to dance. Dance videogames work as engines of humor, shame, trust, and intimacy, urging players to dance like nobody’s watching—while being tracked by motion-sensing interfaces in their living rooms. The chart-topping dance game franchises Just Dance and Dance Central transform players’ experiences of popular music, invite experimentation with gendered and racialized movement styles, and present new possibilities for teaching, learning, and archiving choreography. The book shows how these games teach players to regard their own bodies as both interfaces and avatars, and how a convergence of choreography and programming code is driving a new wave of full-body virtual-reality media experiences. Drawing on five years of ethnographic research with players, game designers, and choreographers, Playable Bodies situates dance games in a media ecology that includes the larger game industry, viral music videos, reality TV competitions, marketing campaigns, consumer reviews, social media discourse, and emerging surveillance technologies. Miller tracks the circulation of dance gameplay and related “body projects” across media platforms to reveal how dance games function as “intimate media,” configuring new relationships among humans, interfaces, music and dance repertoires, and social media practices.Less
Playable Bodies investigates what happens when machines teach humans to dance. Dance videogames work as engines of humor, shame, trust, and intimacy, urging players to dance like nobody’s watching—while being tracked by motion-sensing interfaces in their living rooms. The chart-topping dance game franchises Just Dance and Dance Central transform players’ experiences of popular music, invite experimentation with gendered and racialized movement styles, and present new possibilities for teaching, learning, and archiving choreography. The book shows how these games teach players to regard their own bodies as both interfaces and avatars, and how a convergence of choreography and programming code is driving a new wave of full-body virtual-reality media experiences. Drawing on five years of ethnographic research with players, game designers, and choreographers, Playable Bodies situates dance games in a media ecology that includes the larger game industry, viral music videos, reality TV competitions, marketing campaigns, consumer reviews, social media discourse, and emerging surveillance technologies. Miller tracks the circulation of dance gameplay and related “body projects” across media platforms to reveal how dance games function as “intimate media,” configuring new relationships among humans, interfaces, music and dance repertoires, and social media practices.
Barbara Glowczewski
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474450300
- eISBN:
- 9781474476911
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474450300.003.0010
- Subject:
- Philosophy, History of Philosophy
This chapter presents digital forms of anthropological restitution developed in the late 1990’s and early 2000 by Barbara Glowczewski with different Aboriginal peoples for their own use and a larger ...
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This chapter presents digital forms of anthropological restitution developed in the late 1990’s and early 2000 by Barbara Glowczewski with different Aboriginal peoples for their own use and a larger audience. She designed the CD-ROM Dream Trackers (Yapa Art and Knowledge of the Australian Desert published by Unesco) with 51 elders and artists from the Central Australian community of Lajamanu in the Northern Territory. Quest in Aboriginal Land is an interactive DVD based on films by Indigenous filmmaker Wayne Barker, juxtaposing four regions of Australia. Both projects aimed to explore and enhance the cultural foundations of the reticular way in which many Indigenous people in Australia map their knowledge and experience of the world in a geographical virtual web of narratives, images and performances. The relevance of games for anthropological insights is also discussed in the paper. Reticular or network thinking, Glowczewski argues, is a very ancient Indigenous practice but it gains today a striking actuality thanks to the fact that our so-called scientific perception of cognition, virtuality and social performance has changed through the use of new technologies. First published in 2002.Less
This chapter presents digital forms of anthropological restitution developed in the late 1990’s and early 2000 by Barbara Glowczewski with different Aboriginal peoples for their own use and a larger audience. She designed the CD-ROM Dream Trackers (Yapa Art and Knowledge of the Australian Desert published by Unesco) with 51 elders and artists from the Central Australian community of Lajamanu in the Northern Territory. Quest in Aboriginal Land is an interactive DVD based on films by Indigenous filmmaker Wayne Barker, juxtaposing four regions of Australia. Both projects aimed to explore and enhance the cultural foundations of the reticular way in which many Indigenous people in Australia map their knowledge and experience of the world in a geographical virtual web of narratives, images and performances. The relevance of games for anthropological insights is also discussed in the paper. Reticular or network thinking, Glowczewski argues, is a very ancient Indigenous practice but it gains today a striking actuality thanks to the fact that our so-called scientific perception of cognition, virtuality and social performance has changed through the use of new technologies. First published in 2002.
Su Holmes
- Published in print:
- 2008
- Published Online:
- September 2012
- ISBN:
- 9780748627523
- eISBN:
- 9780748671212
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748627523.003.0007
- Subject:
- Film, Television and Radio, Television
Although quiz shows often encourage us to ‘play’ along, and they encode the participation of the audience into their textual form, there have been virtually no audience studies in this sphere. This ...
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Although quiz shows often encourage us to ‘play’ along, and they encode the participation of the audience into their textual form, there have been virtually no audience studies in this sphere. This chapter seeks to address this neglect. Moving from the early broadcast origins of the quiz show up until the advent of ‘interactive’ television, it considers the ways in which the viewer at home has been encouraged to participate. It then moves on to explore how fan cultures on the internet offer insights into audience interaction with the quiz show (and its cultural politics). But as such fans are also often contestants, the chapter returns to the questions of ‘performance’ and ‘authenticity’ examined in Chapter 5.Less
Although quiz shows often encourage us to ‘play’ along, and they encode the participation of the audience into their textual form, there have been virtually no audience studies in this sphere. This chapter seeks to address this neglect. Moving from the early broadcast origins of the quiz show up until the advent of ‘interactive’ television, it considers the ways in which the viewer at home has been encouraged to participate. It then moves on to explore how fan cultures on the internet offer insights into audience interaction with the quiz show (and its cultural politics). But as such fans are also often contestants, the chapter returns to the questions of ‘performance’ and ‘authenticity’ examined in Chapter 5.
Jennifer Stromer-Galley
- Published in print:
- 2019
- Published Online:
- August 2019
- ISBN:
- 9780190694043
- eISBN:
- 9780190694081
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190694043.001.0001
- Subject:
- Political Science, American Politics, Democratization
Presidential candidates and their campaigns in the United States are fully invested in the use of social media. Yet, since 1996 presidential campaigns have been experimenting with ways to use digital ...
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Presidential candidates and their campaigns in the United States are fully invested in the use of social media. Yet, since 1996 presidential campaigns have been experimenting with ways to use digital communication technologies on the Internet to their advantage. This book tells the stories of the practices of campaigning online between 1996 and 2016, looking at winners and also-rans. The stories provide rich details of the factors that contribute to the success or failure of candidates, including the influence of digital media. The stories also show how political campaigns over six election cycles transitioned from the paradigm of mass media campaigning, to networked campaigning, and finally to mass-targeted campaigning. Campaigns shifted from efforts at mass persuasion to networked persuasion by identifying and communicating with super-supporters to give them the right digital tools and messages to take to their social network. Campaigns learned over time how to use the Internet’s interactive affordances to communicate with the public in ways that structures what supporters do for the campaign that maximizes strategic benefit—what I call “controlled interactivity.” By the 2016 campaign, technology companies made it easier and more effective to engage in mass-targeted campaigning—using large-scale data analytics by campaigns and tech companies to identify target audiences for campaigns to advertise to online.Less
Presidential candidates and their campaigns in the United States are fully invested in the use of social media. Yet, since 1996 presidential campaigns have been experimenting with ways to use digital communication technologies on the Internet to their advantage. This book tells the stories of the practices of campaigning online between 1996 and 2016, looking at winners and also-rans. The stories provide rich details of the factors that contribute to the success or failure of candidates, including the influence of digital media. The stories also show how political campaigns over six election cycles transitioned from the paradigm of mass media campaigning, to networked campaigning, and finally to mass-targeted campaigning. Campaigns shifted from efforts at mass persuasion to networked persuasion by identifying and communicating with super-supporters to give them the right digital tools and messages to take to their social network. Campaigns learned over time how to use the Internet’s interactive affordances to communicate with the public in ways that structures what supporters do for the campaign that maximizes strategic benefit—what I call “controlled interactivity.” By the 2016 campaign, technology companies made it easier and more effective to engage in mass-targeted campaigning—using large-scale data analytics by campaigns and tech companies to identify target audiences for campaigns to advertise to online.
Ran Wei and Ven-hwei Lo
- Published in print:
- 2021
- Published Online:
- March 2021
- ISBN:
- 9780197523728
- eISBN:
- 9780197523766
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780197523728.003.0005
- Subject:
- Political Science, Comparative Politics
How do Asian college students keep track of and interact with news on their phone? Using data from the two waves of surveys, this chapter examines the behavior and patterns of engagement with mobile ...
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How do Asian college students keep track of and interact with news on their phone? Using data from the two waves of surveys, this chapter examines the behavior and patterns of engagement with mobile news by virtue of following and sharing. It also explores the differences in news engagement attributed to demographics, motivation, and city of residence. Findings show that following and sharing mobile news are prevalent, especially in the 4G era, making consuming news on the smartphone different from that of traditional news media. The chapter concludes that engagement with mobile news results from both user motivation and the empowering tools afforded by the Internet-enabled smartphone.Less
How do Asian college students keep track of and interact with news on their phone? Using data from the two waves of surveys, this chapter examines the behavior and patterns of engagement with mobile news by virtue of following and sharing. It also explores the differences in news engagement attributed to demographics, motivation, and city of residence. Findings show that following and sharing mobile news are prevalent, especially in the 4G era, making consuming news on the smartphone different from that of traditional news media. The chapter concludes that engagement with mobile news results from both user motivation and the empowering tools afforded by the Internet-enabled smartphone.
Jamie Sexton
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748625338
- eISBN:
- 9780748671038
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625338.003.0006
- Subject:
- Society and Culture, Media Studies
This chapter explores the theme of sonic art, in which sound objects are often presented within gallery spaces or as site-specific installations. It explains how digital technologies impact upon ...
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This chapter explores the theme of sonic art, in which sound objects are often presented within gallery spaces or as site-specific installations. It explains how digital technologies impact upon sonic art, particularly through interactive networks and the emergence of virtual sound objects. It also reviews the roots of sound art within particular reflections on sound and music. It is noted that the electronic sound is more noticeable late at night, when the traffic becomes less frantic. The growth of digital technologies has often been associated with increasing interactivity. The Internet opens up fresh opportunities for sound art praxis. Sound art's strength rests in its exploration of the aural worlds. Sonic art is often planned so that one may speculate upon the sounds one filter out of the immediate perception, attuning aural sensation, encouraging speculation or perhaps a more active exploration of the sonorous flow that continually surrounds the human.Less
This chapter explores the theme of sonic art, in which sound objects are often presented within gallery spaces or as site-specific installations. It explains how digital technologies impact upon sonic art, particularly through interactive networks and the emergence of virtual sound objects. It also reviews the roots of sound art within particular reflections on sound and music. It is noted that the electronic sound is more noticeable late at night, when the traffic becomes less frantic. The growth of digital technologies has often been associated with increasing interactivity. The Internet opens up fresh opportunities for sound art praxis. Sound art's strength rests in its exploration of the aural worlds. Sonic art is often planned so that one may speculate upon the sounds one filter out of the immediate perception, attuning aural sensation, encouraging speculation or perhaps a more active exploration of the sonorous flow that continually surrounds the human.
Alan G. Gross and Joseph E. Harmon
- Published in print:
- 2016
- Published Online:
- November 2020
- ISBN:
- 9780190465926
- eISBN:
- 9780197559635
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190465926.003.0010
- Subject:
- Education, Educational Equipment and Technology
In the midst of the controversy over the Nemesis affair—over whether a hidden star was the cause of periodic extinctions on Earth—David Raup and Jack Sepkoski were ...
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In the midst of the controversy over the Nemesis affair—over whether a hidden star was the cause of periodic extinctions on Earth—David Raup and Jack Sepkoski were faced with a dilemma peer review had deliberately created: . . . The Tremaine analysis was technically hearsay, because it did not exist in the conventional sense of a scientific publication. To be sure, he sent us a copy of the manuscript shortly before submitting it for publication in a special volume based on the Tucson meeting. We were working on a response but could not say anything substantive about it publically, for fear of having our own paper on the subject disqualified by prior publication in the press. Besides, we had nothing to rebut until Tremaine’s paper was reviewed, revised, and finally published. . . . Precisely: Only peer review followed by publication gave them something to rebut. A survivor after a half-century of criticism concerning its efficacy, peer review remains the best guarantee that published manuscripts and funded grant proposals conform closely to community standards. Moreover, in both the sciences and the humanities, the review criteria are the same: originality, significance to the discipline, argumentative competence, and clarity of expression. When we examine the ways the Internet is transforming peer review, we will see that the transparency and interactivity of the new medium make possible sounder judgments according to these criteria. Interactivity gives practitioners a firmer sense of the disciplinary-specific meanings of the standards on which their judgments are based; transparency broadcasts this firmer sense to the discipline as a whole. Under any form of peer review, knowledge is what it has always been, an agonistic system in flux, the site of a constant struggle for survival in the realm of ideas. But it is a system that cannot function properly unless each component—each bundle of claims, evidence, and argument—exhibits provisional stability. To confer this stability is the task of peer review.
Less
In the midst of the controversy over the Nemesis affair—over whether a hidden star was the cause of periodic extinctions on Earth—David Raup and Jack Sepkoski were faced with a dilemma peer review had deliberately created: . . . The Tremaine analysis was technically hearsay, because it did not exist in the conventional sense of a scientific publication. To be sure, he sent us a copy of the manuscript shortly before submitting it for publication in a special volume based on the Tucson meeting. We were working on a response but could not say anything substantive about it publically, for fear of having our own paper on the subject disqualified by prior publication in the press. Besides, we had nothing to rebut until Tremaine’s paper was reviewed, revised, and finally published. . . . Precisely: Only peer review followed by publication gave them something to rebut. A survivor after a half-century of criticism concerning its efficacy, peer review remains the best guarantee that published manuscripts and funded grant proposals conform closely to community standards. Moreover, in both the sciences and the humanities, the review criteria are the same: originality, significance to the discipline, argumentative competence, and clarity of expression. When we examine the ways the Internet is transforming peer review, we will see that the transparency and interactivity of the new medium make possible sounder judgments according to these criteria. Interactivity gives practitioners a firmer sense of the disciplinary-specific meanings of the standards on which their judgments are based; transparency broadcasts this firmer sense to the discipline as a whole. Under any form of peer review, knowledge is what it has always been, an agonistic system in flux, the site of a constant struggle for survival in the realm of ideas. But it is a system that cannot function properly unless each component—each bundle of claims, evidence, and argument—exhibits provisional stability. To confer this stability is the task of peer review.
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226469140
- eISBN:
- 9780226469287
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226469287.003.0008
- Subject:
- History, History of Ideas
This chapter is an examination of printed images. For much of the period between 1600 and 1900, intaglio engraving was a dominant mode of image transmission. Engraving, in fact, played a role in ...
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This chapter is an examination of printed images. For much of the period between 1600 and 1900, intaglio engraving was a dominant mode of image transmission. Engraving, in fact, played a role in producing commercial identities, consolidating scientific discourse, and structuring debates about artistic hierarchies. It was also vital to creating and circulating national identities, whose uneven development illuminates the stakes of interactions with print in broader processes of social and historical change. This chapter investigates connections between engraving and nation building in three very different cosmopolitan cities, to show how crucial practices of interactivity were to both. First, state-sponsored engraving in Vienna provides a model for thinking about the mobilization of the reproduced image in the interests of a powerful state. Second, the example of John Boydell's gallery in London demonstrates that nation building could be developed in concert with commercial interests. However, linking patriotism with art and print exposed tensions among the competing interests of painters, engravers, letterpress printers, and their financial backers. Finally, with particular reference to Paris, this chapter considers how responses to engraving were inseparable from the technological transformations that shaped the media landscape of the period. In each case, the chapter shows that engravers were hardly passive participants in top-down ideological schema.Less
This chapter is an examination of printed images. For much of the period between 1600 and 1900, intaglio engraving was a dominant mode of image transmission. Engraving, in fact, played a role in producing commercial identities, consolidating scientific discourse, and structuring debates about artistic hierarchies. It was also vital to creating and circulating national identities, whose uneven development illuminates the stakes of interactions with print in broader processes of social and historical change. This chapter investigates connections between engraving and nation building in three very different cosmopolitan cities, to show how crucial practices of interactivity were to both. First, state-sponsored engraving in Vienna provides a model for thinking about the mobilization of the reproduced image in the interests of a powerful state. Second, the example of John Boydell's gallery in London demonstrates that nation building could be developed in concert with commercial interests. However, linking patriotism with art and print exposed tensions among the competing interests of painters, engravers, letterpress printers, and their financial backers. Finally, with particular reference to Paris, this chapter considers how responses to engraving were inseparable from the technological transformations that shaped the media landscape of the period. In each case, the chapter shows that engravers were hardly passive participants in top-down ideological schema.
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226469140
- eISBN:
- 9780226469287
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226469287.003.0015
- Subject:
- History, History of Ideas
This chapter captures the types of interactions that individuals have historically undertaken with paper. The question here is not what paper did to people, but the other way around: what did people ...
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This chapter captures the types of interactions that individuals have historically undertaken with paper. The question here is not what paper did to people, but the other way around: what did people do with paper? With this in mind, the chapter takes advantage of the recent turn that attends to questions of embodiedness when it comes to reading, the way our gestural interactions with media affect the meaning of what is mediated. If paper was an important material paratext that helped construct new kinds of coherent reading communities in the eighteenth and nineteenth centuries, it also conditioned new kinds of interactions with printed and nonprint material. With its “openness to alliances and ability to insert itself into a multitude of routines,” paper supported, shaped, and inspired a wide range of routines and techniques of culture, ranging from the pedagogical and scientific to the sociable and artistic. Accordingly, the focus here is on three principal forms of interactivity—folding, cutting, and pasting—and the ways these interactions served different kinds of purposes across different social groups, including child readers, domestic collectors, scholarly editors, and devotional communities.Less
This chapter captures the types of interactions that individuals have historically undertaken with paper. The question here is not what paper did to people, but the other way around: what did people do with paper? With this in mind, the chapter takes advantage of the recent turn that attends to questions of embodiedness when it comes to reading, the way our gestural interactions with media affect the meaning of what is mediated. If paper was an important material paratext that helped construct new kinds of coherent reading communities in the eighteenth and nineteenth centuries, it also conditioned new kinds of interactions with printed and nonprint material. With its “openness to alliances and ability to insert itself into a multitude of routines,” paper supported, shaped, and inspired a wide range of routines and techniques of culture, ranging from the pedagogical and scientific to the sociable and artistic. Accordingly, the focus here is on three principal forms of interactivity—folding, cutting, and pasting—and the ways these interactions served different kinds of purposes across different social groups, including child readers, domestic collectors, scholarly editors, and devotional communities.
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226469140
- eISBN:
- 9780226469287
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226469287.003.0018
- Subject:
- History, History of Ideas
This chapter explores the complex interactivity found in eighteenth- to nineteenth-century stages. Theaters in those days were well-lit, noisy, and boisterous spaces, illuminated by hundreds of ...
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This chapter explores the complex interactivity found in eighteenth- to nineteenth-century stages. Theaters in those days were well-lit, noisy, and boisterous spaces, illuminated by hundreds of candles so that performers and audience members were equally visible to one another. In this sense, they present a truly social form of media in which audience members came to cheer favorite performers and ogle each other, and where their contributions, for good or for ill, were frequently constitutive of an evening's performance. This interactivity, however, extended well beyond performers and audience members to the printed page itself. Plays of the eighteenth and nineteenth centuries may often have entered the world first as performances, but that did not stop them from being accompanied by a host of printed texts, including newspaper advertisements, playbills, broadsides, and short pamphlets containing favorite speeches, songs, and choruses. Performances were advertised and reviewed, and actors' memoirs and behind-the-scenes accounts of various green rooms retain their popularity to the present day. In addition, once a play was well into its initial run, the playwright frequently published its script to achieve still greater profits. Herein lies yet another kind of interactivity—an intermedial one—in which the transitory nature of performance comes into dialogue, if not conflict, with the more permanent nature of print.Less
This chapter explores the complex interactivity found in eighteenth- to nineteenth-century stages. Theaters in those days were well-lit, noisy, and boisterous spaces, illuminated by hundreds of candles so that performers and audience members were equally visible to one another. In this sense, they present a truly social form of media in which audience members came to cheer favorite performers and ogle each other, and where their contributions, for good or for ill, were frequently constitutive of an evening's performance. This interactivity, however, extended well beyond performers and audience members to the printed page itself. Plays of the eighteenth and nineteenth centuries may often have entered the world first as performances, but that did not stop them from being accompanied by a host of printed texts, including newspaper advertisements, playbills, broadsides, and short pamphlets containing favorite speeches, songs, and choruses. Performances were advertised and reviewed, and actors' memoirs and behind-the-scenes accounts of various green rooms retain their popularity to the present day. In addition, once a play was well into its initial run, the playwright frequently published its script to achieve still greater profits. Herein lies yet another kind of interactivity—an intermedial one—in which the transitory nature of performance comes into dialogue, if not conflict, with the more permanent nature of print.
Andy Miah
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780262035477
- eISBN:
- 9780262343114
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035477.003.0006
- Subject:
- Sociology, Sport and Leisure
This chapter examines how spectator encounter digital technology in sport, which reveals a blurring of participation and spectating. It also proposes that spectating is changing through the ...
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This chapter examines how spectator encounter digital technology in sport, which reveals a blurring of participation and spectating. It also proposes that spectating is changing through the development of digital interactive experiences, such as urban screens, TV on demand, mobile technology, and social media, creating a new form of remote participation. The chapter also asks considers that the concept of spectator no longer makes sense in the context of an immersive viewing experience, where the witness is brought into the space of the activity, rather than simply occupying a third person perspective.Less
This chapter examines how spectator encounter digital technology in sport, which reveals a blurring of participation and spectating. It also proposes that spectating is changing through the development of digital interactive experiences, such as urban screens, TV on demand, mobile technology, and social media, creating a new form of remote participation. The chapter also asks considers that the concept of spectator no longer makes sense in the context of an immersive viewing experience, where the witness is brought into the space of the activity, rather than simply occupying a third person perspective.
Andreas Broeckmann
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780262035064
- eISBN:
- 9780262336109
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035064.003.0004
- Subject:
- Art, Art History
This chapter discusses the ways in which twentieth-century artists have engaged with the aesthetic dimensions of algorithms and machine autonomy. It extends the narrative on the history of machine ...
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This chapter discusses the ways in which twentieth-century artists have engaged with the aesthetic dimensions of algorithms and machine autonomy. It extends the narrative on the history of machine art from the previous chapter, beyond the program of Hultén’s 1968 “Machine” exhibition. It explains how the dialogue between art and cybernetics has evolved from the 1950s cybernetic artworks of Nicolas Schöffer, through the 1968 exhibition “Cybernetic Serendipity” and Jack Burnham’s concept of Systems Aesthetics, to the more contemporary software and robotic artworks of Max Dean, Seiko Mikami, and others. A focus is placed on the work of Canadian artist David Rokeby who has explored the aesthetics of the human encounter and interaction with technical systems since the 1980s. The analysis aims at adding two further aspects of the aesthetics of machines to the list of five such aspects developed in the previous chapter: one is the aspect of “interactivity”, which adds the dimension of a charged dialogue and exchange between human and machine; and the other is the aspect of “machine autonomy”, which becomes a determining factor in the human experience of increasingly independent and self-referential technical systems.Less
This chapter discusses the ways in which twentieth-century artists have engaged with the aesthetic dimensions of algorithms and machine autonomy. It extends the narrative on the history of machine art from the previous chapter, beyond the program of Hultén’s 1968 “Machine” exhibition. It explains how the dialogue between art and cybernetics has evolved from the 1950s cybernetic artworks of Nicolas Schöffer, through the 1968 exhibition “Cybernetic Serendipity” and Jack Burnham’s concept of Systems Aesthetics, to the more contemporary software and robotic artworks of Max Dean, Seiko Mikami, and others. A focus is placed on the work of Canadian artist David Rokeby who has explored the aesthetics of the human encounter and interaction with technical systems since the 1980s. The analysis aims at adding two further aspects of the aesthetics of machines to the list of five such aspects developed in the previous chapter: one is the aspect of “interactivity”, which adds the dimension of a charged dialogue and exchange between human and machine; and the other is the aspect of “machine autonomy”, which becomes a determining factor in the human experience of increasingly independent and self-referential technical systems.
Holly Rogers
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199861408
- eISBN:
- 9780199332731
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199861408.001.0001
- Subject:
- Music, History, Western, Popular
This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available ...
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This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video became integral to the experimentalism of New York City’s music and art scenes. The medium was able to record image and sound at the same time, allowing composers to visualize their music and artists to sound their images in a quick and easy manner. Video also enabled the creation of interactive spaces that questioned conventional habits of music and art consumption. The medium’s audiovisual synergy could be projected, manipulated and processed live and the closed-circuit video feed drew audience members into the heart of the experience. Such activated spectatorship resulted in improvisatory and performative events, in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial environment. Many believed that audiovisual video signalled a brand-new art form that only began in 1965. This book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatialising their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late 1960s.Less
This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video became integral to the experimentalism of New York City’s music and art scenes. The medium was able to record image and sound at the same time, allowing composers to visualize their music and artists to sound their images in a quick and easy manner. Video also enabled the creation of interactive spaces that questioned conventional habits of music and art consumption. The medium’s audiovisual synergy could be projected, manipulated and processed live and the closed-circuit video feed drew audience members into the heart of the experience. Such activated spectatorship resulted in improvisatory and performative events, in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial environment. Many believed that audiovisual video signalled a brand-new art form that only began in 1965. This book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatialising their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late 1960s.
