The post-digital phenomenon of circulationism (Hito Steyerl), the wandering of images and data across media and through global networks, marks a decisive change compared to prior practices of visual culture. In today’s ...

The speaker’s 1999 report Pathways to Innovation in Digital Culture, commissioned by the Rockefeller Foundation, observed a rising density of interconnections between the worlds of art, technology and science. Designating ...

Where does failure sit within the history of research creation and its contemporary elaboration? While the ‘object’, the ‘work’, and even the ‘accident’ have been explored and critiqued as significant concepts for producing ...

The coming together of human engineering, experimental psychology, ethnography, communication and learning theory in the work of two artists, the Chilean Juan Downey and the American Paul Ryan (1960­80s), serve as a departing ...

Media archaeology has not been confined to theoretical and archival excavations to old media and media art history. Increasingly we have witnessed the emergence of media archaeological labs where analysis of media objects ...

The lecture begins with a brief summary of works starting in 1968 to 1976 to establish the ideas that echo throughout her career, then concentrates on her recent work from 2002 to now. There is consideration of how the ...

Cette communication repose sur la proposition d’un modèle de recherche­création émergeant de l’étude du processus de recherche qui a mené Pierre Schaeffer à l’invention de la musique concrète. Les fameuses expériences ...

This paper examines the implications of intersectionality theory and critical race studies on the politics of representation of people of colour and Indigenous people in new media art. Specifically it proposes an ...

During the late 1960’s and early 70’s chilean artist Juan Downey, biologists Humberto Maturana and Francisco Varela, and Allende’s Economy Minister, engineer Fernando Flores, worked under the conceptual framework of second ...

When video art emerged in the late 1960s, video became a boundary object facilitating interaction between artists and scientists, particularly psychotherapists interesting in the effects of watching oneself on tape. Both ...