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Thanks to the technological dislocation of the eye of the beholder, the mechanical eye or both of them together, along recent decades the view from above has become a widespread, somehow trivial way to experience the world, imposing a new scopic regime. Deeply enmeshed and dependent upon technologies of surveillance, vertical perspective does not only democratize the point of view of the power: it provides us with an inhuman gaze on the world, liberating images from the constraints of naked human vision and erasing the distinction between images and maps, producing what Peraica has called total images. These topics are explored through a number of case studies from the visual arts.

In the summer of 2007, three artists from Slovenia legally changed their names to 'Janez Janša'. This life event introduced a break in their artistic practice, which evolved into one of the most radical explorations of life in the age of biopolitics. This essay discusses their recent work, a continuum that is sometimes produced by companies and institutions as a reaction to their life, sometimes by isolating and documenting specific moments in their life. ID cards, passports, and bank cards become the means of a research that undermines the very concepts of 'art' and 'artwork', and that challenges the economic system, the legal system, and the art system while actively seeking for their complicity in order to exist. [ABSTRACT FROM AUTHOR]

In this paper, I take the cultural effects of generative artificial intelligence (generative AI) as a context for examining a broader perspective of AI's impact on contemporary art notions. After the introductory overview of generative AI, I summarize the distinct but often confused aspects of art notions and review the principal lines in which AI influences them: the strategic normalization of AI through art, the representation of AI art in the artworld, academia, and AI research, and the mutual permeability of art and kitsch in the digital culture. I connect these notional factors with the conceptual and ideological substrate of the computer science and AI industry, which blends the machinic agency fetishism, the equalization of computers and humans, the sociotechnical blindness, and cyberlibertarianism. The overtones of alienation, sociopathy, and misanthropy in the disparate but somehow coalescing philosophical premises, technical ideas, and political views in this substrate remain underexposed in AI studies so, in the closing discussion, I outline their manifestations in generative AI and introduce several viewpoints for a further critique of AI's cultural zeitgeist. They add a touch of skepticism to pondering how technological trends change our understanding of art and in which directions they stir its social, economic, and political roles. [ABSTRACT FROM AUTHOR]

Clostridiopeptidase A, also called collagenase 1, is a proteolytic enzyme capable of digesting collagen. Preparations containing clostridiopeptidase A are used topically for the debridement of dermal ulcers, burns and other necrotic lesions to facilitate the formation of granulation tissue and subsequent epithelization. We observed 4 patients with a periulcerative eczema after repeated applications of Noruxol® ointment (Smith & Nephew Ltd, L Hull, UK). Patch testing with Noruxol® ointment as is and its excipients (soft paraffin and white petrolatum), as well as scaled dilutions of the main ingredient of this topical preparation, clostridiopeptidase A (Firma, Florence, Italy), showed doubtful reactions to Noruxol® ointment in 3 patients and a positive reactions only in 1 patient. All patients showed positive reactions to clostridiopeptidase A 1% in pet. This study shows the sensitizing capacity of clostridiopeptidase A that should be tested in all patients with suspect sensitization to Noruxol® ointment. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gig work platforms such as Lyft, Uber, Wolt, and Flink undertook intense efforts to make their work more 'fun,' with the aim of motivating their workers and making them more efficient. This paper looks at how platform capitalism intertwines the gamification and precarization of labor, leading to an increased blurring of work and leisure. Employing the video works Delivery Dancer's Sphere (2022) by Ayoung Kim and Platform (2022) by Johannes Bü ttner as case studies, the text examines how the gamification and precarization of labor through delivery platforms are addressed and critiqued in contemporary media art and how both Kim and Büttner utilize gaming aesthetics and mechanisms. [ABSTRACT FROM AUTHOR]

In the autumn of 1974, the Canadian artist Vera Frenkel staged String Games: Improvisations for Inter-City Video. Two groups of participants – five each in Toronto and Montreal – engaged in a remote version of the classic string game cat's cradle. String Games is the first piece of telematic art. However, art historical attention to the artwork has been insufficient. String Games emerged from a watershed moment for network technologies, specifically within a context of telecommunications development in the Canadian nation state. Telecommunications-based art has a long legacy in Canada, the country that exactly a century before Frenkel's artwork saw Alexander Graham Bell's patent for the telephone in 1874. His namesake company launched the Bell Canada Conference TV System in the early 1970s. In its day, the System was one of only four organizations worldwide that provided conferencing technology that engaged video, audio and computer networks. Decades before studies alerted us to the cognitive overload of Zoom fatigue, the effects of 'continuous partial attention' and to the importance of non-verbal, bodily signals in digital media, Frenkel and her collaborators used telematics to consider new ways of being together with and through embodying new communications tools. This article provides a historical analysis of String Games, situates its role within the history of networked art, and explores the artwork's co-operative realization of live connection and a feeling of co-presence in the context of technological development in the Canadian nation state. Within the context of early interactive video work, String Games was a notable innovator. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Worldwide interest in understanding art and creative practices as valid forms of knowledge production has led to the establishment of research-creation as an interdisciplinary academic field in the last twenty years in Canada as elsewhere. Its establishment relates to a growing interest in critical making and technological innovation and to the legacies of feminism(s) and its critique of the power dynamics of knowledge production within academia. This article outlines a series of interactive projects that bring visibility to Latin American women in art, science and technology and speculates on the legacies of feminism(s) in the emergence of research-creation. The four projects discussed build on each other and explore re-mediation, re-activation and re-enactment as part of a collaborative feminist research-creation methodology. I theorize their potential to activate political memory by highlighting how these three approaches to creation share a preoccupation for revisiting the past through repetition, iteration and the facilitation of intergenerational encounters among humans, non-humans and across media and technologies. While discussing the feminist orientation of these approaches, I suggest a critique of dominant modes of knowledge production that have obscured the contributions of Latin American women and offer four research-creation interventions in the media arts archive. [ABSTRACT FROM AUTHOR]

Copyright of Zeszyty Artystyczne - Uniwersytet Artystyczny im. Magdaleny Abakanowicz w Poznaniu / Abakanowicz University of the Arts in Poznan is the property of Wydawnictwo PWSSP and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article considers the relationship between John Gibson's neoclassical sculpture The Sleeping Shepherd Boy and Oliver Laric's installations for the 2016 Liverpool Biennial using 3D models and prints of the Shepherd. These bodies of work allow us to think about their similarities in attitude towards imitation, the significance of the "neoclassical" across different historic moments, and the cultures of copying or reproduction. It looks at the reproductive technologies of 3D scanning, printing, CNC milling, and digital remixing alongside historical reproductions such as casts and copies. These offer new potentially disruptive--but not destructive--opportunities within the legacy of neoclassical practices. The intellectual and artistic inheritance of neoclassical sculpture as an imitative practice after Greek and Roman antiquity informs Laric's sculptural work. I draw on Alexander Nagel and Christopher Wood's Anachronic Renaissance (2010) and George Kubler's The Shape of Time (1968) to discuss Laric's modular, large-scale 3D prints, which point towards issues of replacement, imitation, and wholeness. The opensource 3D models he produces as part of his practice are then used by other artists, including Zachary Eastwood-Bloom in his Divine Principles series, and the author, for making research objects. [ABSTRACT FROM AUTHOR]

The aim of this essay is an examination of the idea of the artist as curator in the contemporary phenomenon called post-internet art. First of all I will focus on the conditions in which postinternet art reverses the concept of creativity with that of selection, as it also alters the role of the gallery, which becomes 'a point of departure, not a destination' (D. Quaranta). Secondly, I will turn to a conceptual analysis and a comparative analysis of the objects of post-internet art and Duchamp's ready mades. The idea of the artist as curator is relevant in the context of contemporary art because it causes a chasm between the traditional approaches of the artist and of the objects that fall into the category of the term art. [ABSTRACT FROM AUTHOR]

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gallerists and collectors have often looked sceptically at works in electronic media for quite different reasons: their novelty and highly experimental approach; their technical aspects; their virtual and ephemeral nature; and the difficulties of preservation and maintenance. In an effort to change this Ars Electronica (Linz, Austria) initiated the Gallery Spaces Program in 2017. Using the example of Ars Electronica, this article discusses the important role that media art holds as cultural heritage and argues that societies risk losing important artworks if the value system of the art world does not change. The art market itself is experiencing a digital transformation, and new possibilities and business models are being explored that place Ars Electronica and its legacy of fostering media arts in a very important position. Ars Electronica becomes a mediator between media art and the art market by opening its platform for exchanges between the different stakeholders. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art Words / Likovne besede is the property of Slovenian Association of Fine Arts Societies (ZDSLU) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses the exhibition ‘Janez Janša®’, which was launched at the Museum of Contemporary Art Metelkova (+MSUM) in Ljubljana in October 2017. The exhibition presents a wide selection of art works and projects that have been produced by Janez Janša, Janez Janša and Janez Janša in these last ten years since their name change, which, as it is argued, critically underpin the close proximity between life, work and art that is at the core of today’s neoliberal ideology. This article distinguishes and analyses three dramaturgical operations of proximity between different domains of life, work and art through the discussion of selected exhibits. As it is shown, the dramaturgical logic of proximity at work potentially triggers a physical impact of intimacy, pleasure and disorientation among the visitors to the exhibition. Finally, this article aims to contribute a(nother) political layer to the critical discussion of proximity, which is usually conflated with notions of immersion, participation and interaction in contemporary performance discourse and practice. [ABSTRACT FROM AUTHOR]

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article addresses how two performative internet artworks, Rhiannon Armstrong’sInternational Archive of Things Left Unsaidand Jane Frances Dunlop’scharisma (for jbm & ml),generate an intimate presence through the digital proximity they mediate. In performances and artworks that are created with and for the internet, proximity amplifies a sense of nearness to create a presence affect. The article demonstrates how ‘internet-situated performances’ such asThe International Archive of Things Left Unsaidandcharisma (for jbm & ml) reflect on our everyday practices in a ‘postdigital’ era by referencing the conventions of our daily communications and internet usages. ‘Generosity’ and ‘dissonance’ are proposed as two concepts that enable an understanding of how emotional and technological frictions are imbricated in artworks situated on the internet. Through an analysis of two artworks, this article investigates how this proximity produces generosity and ‘dissonance’ in artworks that are situated on the internet. Both artworks demonstrate how we conduct relations in interwoven on and offline sites of contemporary culture and enable audiences to engage in critical and reflective analysis those sites. ‘Internet-situated artworks’ emphasize how the social performative of relation and the technical processes of digital communication inform each other. In these works, neither the politics of emotion nor those of technologies are taken for granted. [ABSTRACT FROM AUTHOR]

This article aims to provide a historical summary of the eco-critical situation from its origins to recent acquisitions, focusing on both the comparative and aesthetics of reception aspects of this new approach to literary analysis and criticism. [ABSTRACT FROM AUTHOR]

Seductive narrative, magic, 'spells' (in the form of scripts or code), interactive immersion and other affective elements are present and important in Bryn Oh's Second Life-based artwork. In this text, I show that just as it is misleading to exclusively associate the virtual with computers and multimedia technology, it is equally unreliable to assume that the transforming experiences of subjectivity and identity lived in SL are exclusively the result of instrumental technicality of MMORPG's (a virtual multimedia tekhne, so to speak). Virtuality has always been present in literature, poetry, fantasy, daydreaming - all subjective and affective engagements and long-standing artistic resources that produce rapture and immersion. The unfolding narratives, interaction and liminality in Bryn Oh's work capture the visitor's complicity. These are a strategy to embed the visitor into the flow of stories unfolding from Bryn's virtual world, interactive art installations and machinima. A few reflections on Bryn Oh's particular mythopoeia are developed here using three vectors,3 the hermeneutic value of which explains the arc of interests, aesthetic purposes and locus offered by the artist through her work, intellectual production and media presence in the web, including virtual worlds, SL, blogs, Vimeo and YouTube channels. In connection with these subjects, I apply multidisciplinary views ranging from literature to visual semiotics, media studies to distribute aesthetics. I seek to make sense of these vectors in the form of a 'polyphonic conversation', addressing the particular transformation of Bryn's mythos in affective tekhne. The process reveals important transformations regarding subjectivity and the identity of visiting avatars as well as their 'owners', unfolding through interaction with her artwork. The aim is to contribute to the discussion on virtual worlds, digital and virtual art theories. [ABSTRACT FROM AUTHOR]

The article offers information on the calls for cultural criticism to enter into the changing and unstable field of the digital humanities. Topics discussed include sociotechnical problems that circulate in conditions of informationalism, how digital humanities can possibly take on a stronger leadership role for the humanities, and how new media studies can be imagined as a corrective to the computational work associated with digital humanities research proper.

This article explores playing culture from the perspective of the performative processes of naming and the subversive potential of the politics of naming. It focuses on the project by three Slovenia-based artists who, in the summer of 2007, officially changed their names to Janez Janša. Janez Janša is the name of the then Slovenian Prime Minister and the leader of the centre-right Slovenian Democratic Party. In 2007, his controversial decisions agitated the Slovenian public, causing a leftist and rightist polarisation. By appropriating his name, the artists enacted a unique performative gesture which became a theatrical event for everyone who used their new names. The play and manipulation with the name Janez Janša is examined within the concept of (Austin's) performativity. In the analysis of the surprising clash of the political, artistic and social contexts triggered in Slovenia by this name-change gesture, playing culture is explored as playing politics. Public participation in the symbolic power of the Prime Minister has provoked contradictory interpretations. Some have considered it as political conformism that supports the ruling regime, others as an attempt at subversive affirmation, which only apparently endorses the authority of the politician while in fact effectively undermining it from within. This chapter provides evidence of the latter interpretation and shows that, in dubious connotations at the intersection of art and politics, social discourses vibrate as playing culture. This gives rise to a playful order of being in which performative processes of naming destabilise dominant ideological discourses. [ABSTRACT FROM AUTHOR]

This article investigates the current condition of new media art in Britain, examining how cuts to arts funding have affected the art form’s infrastructure and capacity for survival and growth. It considers media art in relation to other contemporary art practices, particularly in relation to its inherent capacity for enhanced and sustained user participation, and asks why it is that, though government agendas favour participatory art as ‘socially useful’, media art appears to have been hit harder than other art forms. The article puts forward four reasons that could explain this paradox, and argues the importance of the survival of new media art, not as isolated practices invited to exist within mainstream contexts, but as a distinct art form. [ABSTRACT FROM AUTHOR]

A bibliography on the subjects of media studies and intermediality studies is presented which includes the book "Cybertext: Perspectives on Ergodic Literature," by Espen Aarseth, the book "Text, Context, Hypertext," edited by Edward Barrett, and the article "Intermediality in Theatre and Performance," by Jason Farman.

No Abstract available [ABSTRACT FROM AUTHOR]

No Abstract available [ABSTRACT FROM AUTHOR]

How do social-media platforms such as TikTok function as a neutralising factor in the gatekeeping process in times of COVID-19 restrictions? How does TikTok change the experience culture in arts, and how does this impact how artists frame their working process alongside primary gatekeepers? During the COVID-19 pandemic, TikTok attracted many artists, who used the platform to take their practice, and thereby their self-marketing, into their own hands. At the same time, a new generation of collectors use TikTok to discover art under popular hashtag #feministartists. When artists label their work with #feministartists, they insert themselves into the gatekeeping process, and use opportunities and restrictions bounded to that specific hashtag. The study examines this process of professional self-positioning by using interviews with contemporary artists, curators, and observations on TikTok, artist talks, and secondary interviews with artists on online platforms. The findings suggest a variation in how one trades in or trades on "feminist artist", accessing resources, and gaining exposure. A focus on "feminist artists" is restrictive for consolidating artists' efforts to pursue specific professional, social, political, and economic agendas through art. [ABSTRACT FROM AUTHOR]

Online curation is shaped and defined not merely by its content, but just as much by the nature of the structure and the systems that are used by curators and artists. It could be argued that this applies to any medium, but as this essay will show, the Web profoundly influences the role of the curator in new ways. In this paper we show how curation on the Web is not merely concerned with presenting art, but that curation functions within a wider ecology of social and technical power relations. This shift is characterized by a collision of different interests driven by economic, cultural, and socio-political agendas, and can be framed as a new space of performativity: signaling a move from curating a set of objects to a conceptual and operational process that puts different constellations of human and machinic agents, objects and practices into relation with one another. This means that a curator needs to take into account a complex interrelated network of dependencies and contexts that are often invisible or incomprehensible to most people. In such a scenario online curation becomes 'networked co-curation' and shifts the attention from what is produced to how it is performed under the socio-technical conditions and relations that characterize the current state of the Web. [ABSTRACT FROM AUTHOR]

This article is an overview of preliminary research undertaken for the creation of a framework for collecting and distributing new media art within regional art galleries in the U.K. From the 1960s, artists have experimented using computers and software as production tools to create artworks ranging from static, algorithmic drawings on paper to installations with complex, interactive and process-oriented behaviours. The art-form has evolved into multiple strands of production, presentation and distribution. But are we, as collectors, researchers, artists and enthusiasts facing an uncertain future concerning the integration of new media art into institutional cultural organisations? Recently, concerns have been raised by curators regarding the importance of learning how to collect new media art if there is to be any hope of preserving the artworks as well as their histories. Traditional collections management approaches must evolve to take into account the variable characteristics of new media artworks. As I will discuss in this article, although regarded as a barrier to collecting new media artworks, artists and curators at individual institutions have recently taken steps to tackle curatorial and collections management activities concerning the often unpredictable and unstable behaviours of new media artworks by collaboration and experimentation. This method has proved successful with some mainstream, university and municipal galleries prior to acquiring or commissioning new artworks into their collections. This paper purports that by collaboration, experimentation and the sharing of knowledge and resources, these concerns may be conquered to preserve and make new media art accessible for future generations to enjoy and not to lament over its disappearance. [ABSTRACT FROM AUTHOR]

By analysing a series of exhibition projects responding to central changes in web technology since its public unveiling (1991), this study identifies a historical trajectory for discussing the evolution of curating on the web. Such evolution highlights how curators have devised exhibition models that operate as platforms for not only displaying art specific to the web, but also for producing and disseminating it in a way that responds to the developments of web technology—and its socio-cultural and economic impact. With the massification of web tools, in fact, these platforms have generated distributed systems of artistic production free from the physical and conceptual limitations of the gallery and museum space. They have not only become spaces for displaying art, but also platforms that nurture its production, different modes of audience engagement and critique the canons of the institutionalised art world. Originating from the desire to reduce the historical fragmentation of this field of work and its partial mapping, this study follows a periodisation that starts from the early internet, with its BBS-enabled platforms such as ARTEX (1980), to introduce the 1990s experimentations with the web browser and the developments of projects like äda'web (1995). It then dives into the Web 2.0 when, with the platformisation of the technology, curators developed an array of approaches for adopting existing web services, as in the instances of CuratingYouTube (2007–present) and #exstrange (2017). Lastly, it outlines the trends of today's web, which saw the birth of projects like the blockchain-enabled cointemporary (2014), to then draw conclusions about the relevance of this historical trajectory in the field of curatorial studies and the production of web-based and digital art. [ABSTRACT FROM AUTHOR]