| dc.description | Biography: Nina Sosna, PhD, is a philosopher and media theorist, associate professor at the Higher School of Economics (Moscow), senior researcher at the Institute of Philosophy, Russian Academy of Sciences. She is the author of The Visual, The Opaque, The Spectral. Image and Photography (Moscow, 2011), co-editor of Media between Magic and Technology (Мoscow, Ekaterinburg, 2014), and author of articles in Moscow Art Magazine, Art Journal, Criticism, Philosophy Journal, Studia Culturae, Siniy Divan and others.
Ksenia Fedorova is a media art researcher and curator, Ph.D in Philosophy/Aesthetics (Russia), PhD candidate in Cultural Studies, University of California Davis. She is the co-editor of Media: Between Magic and Technology (2014, in Russian, short-listed for the national Innovation and Kandinsky awards, 2014) and has published in Leonardo Electronic Almanac, Media & Culture Journal, Acoustic Space, among others. She has been an initiator and curator of the “Art. Science. Technology” program at the Ural branch of the National Center for Contemporary Art, Ekaterinburg, Russia. | |
| dc.description.abstract | Works of media art redefine seemingly stated borders between newly developed disciplines, as well as change the glossary they can operate. That is, witness diaries read in new programs in literature studies, alternative visions of particular place in different periods of time compared in memory studies, routes in space elaborated by urban studies hint on the use of media as we know it. Media art history shows the growing ability to combine many of these features quite literally and in a direct manner. Steve Mann's augmented reality glasses, «applied» right on the eyes, implies the declining difference between natural and artificial, as well as the direct vision exchange between different viewers. "Unfolded Space" by Elena Koptiaeva opens simultaneously several night-day views, "Fractured Visions" by Tamiko Thiel guided by palinopsia vision with its cascading or interferenced images literally gives an opportunity to see the world otherwise. "Border Memorial" by John Craig Freeman combines «natural» border view with figures of those whom we otherwise are not able to see, thus teaching us how to see what cannot enter the field of vision. These media experiences directly show what previously could be characterized only as imagery, fictitious and metaphoric. Do they fit the notion of McLuhan's sensory extension? Is this only augmented time experience proposed by Mark Hansen? We would suggest that the classical media theoretical discourse should be updated today by the perspective that the processes of mutual effects and co-constitution between the human and the technological are more subtle and more serious, thus directing the way to media anthropological explorations. | |
