This book grew out of Yvonne Spielmann's 2005–2006 and 2009 visits to Japan, where she explored the technological and aesthetic origins of Japanese new-media art―which was known for pioneering interactive and virtual media applications in the 1990s.
Despite Manovich’s claim that there is ‘no space in cyberspace’ (Manovich, 2001), spatial metaphors and representations are omnipresent in digital technology. Blessed with unreliable machinery, unfocussed theoretical discourses and unprecedented opportunities, twentieth century media art struggled with a coherent concept of space for a post-industrialised, post-modern modernity.
The time period of the late twentieth and early twenty-first centuries has brought significant changes and tough challenges to post-war Yugoslav countries (i.e. Wachtel 1998; Dragićević Šešić and Dragojević 2006; Švob-Ðokić 2011; Brkić 2014). Forced and willing migrations, intensified ethnic distances, destroyed industries, and the combined consequences of globalisation, the economic crisis, and the process of European integration have changed not only the ingrained way(s) of life but also the appearance and perception of life in urban environments in former Yugoslav countries.
This book chapter studies arts higher education in postcolonial Singapore. Since the tail end of the twentieth century, Singapore has seen an astonishing investment, development, and growth in the cultural and creative industries aimed at creating a renaissance city-state. Singapore with a world-class transport, public housing, financial, and industrial systems also boasts a world-class educational system placing it at pole position above most developed economies in the Western world for its quality education and high literacy rate amongst its citizens.
As industries are increasingly globalized, our students’ future workplaces require facility with cross-cultural collaboration, yet curricula often remain situated within the home culture. This chapter presents a qualitative case study on a collaborative project between students in London, Hong Kong, and Singapore. An overview of the process is given drawing on the experiences of the teachers and students involved, informing a discussion around the issues inherent in the internationalization of the curriculum.
On Game Structures is an interdisciplinary platform for querying the logic of artistic, epistemological and economic moves and strategies. In art, science and philosophy, as in social praxis, every position is always an intersection of past moves. And every new move, in turn, alters the existing structure by altering the relationship between the structure’s constituent elements: time, space, rules, goals, and modes of interaction.
There is no history of poetry without love poetry, and there is no history of media without pornography. After his first collection of poems received a starred review from Quill & Quire, Darryl Whetter turned his attention from evolution in the natural world to the co-evolution of love, sex and media. Urging readers to "fill the tiny / unmade bed of the search box," these alluring poems build on radically changing communication technologies to explore a new sexuality that does (and does not) dare to tweet its name. Here, finally, is the language of digital love.
These entries discuss three recent Thai films centered on the legendary Thai ghost Mae Nak, the spirit of a woman who died in childbirth, but returns to the world of the living to be with her husband. Nang Nak (1999), Nak (2008), and Pee Mak (2013) are each described with reference to their thematic resonances and their importance to Thai film history. Thai Cinema: The Complete Guide is the first English-language book to be devoted solely to the topic of Thai cinema, which has revived and gained new world-wide recognition since the late 1990s.
Frida Kahlo (1907-1954), as an artist and a woman, has a unique international appeal. Her instantly recognizable work draws extensively on her life and her extraordinarily personal reflections upon it. On Kahlo's death, her husband, Diego Rivera (1886-1957), ordered that her most private possessions be locked away until 15 years after his death. The bathroom in which her belongings were stored in fact remained unopened until 2004. Through this incredible archive, Frida Kahlo: Making Her Self Up gives readers a unique window into Kahlo's life.
In this paper, we discuss the potential of ordinary objects acting as human computer interfaces with an Inertial Measurement Unit, the Twiz, to capture a body’s orientation and acceleration. The motivation behind this research is to develop a toolkit that enables end users to quickly prototype custom interfaces for artistic expressions through movement. Through an iterative design process, we have enhanced existing technical implementations such as wireless data transfer, battery lifespan, two-way communication and data analysis including machine-learning techniques.