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For Shakespeare and Shakespearean adaptation, the global digital media environment is a “brave new world” of opportunity and revolution. InOuterSpeares: Shakespeare, Intermedia, and the Limits of Adaptation, noted scholars of Shakespeare and new media consider the ways in which various media affect how we understand Shakespeare and his works. Daniel Fischlin and his collaborators explore a wide selection of adaptations that occupy the space between and across traditional genres – what artist Dick Higgins calls “intermedia” – ranging from adaptations that use social networking, cloud computing, and mobile devices to the many handicrafts branded and sold in connection with the Bard. With essays on YouTube and iTunes, as well as radio, television, and film, OuterSpeares is the first book to examine the full spectrum of past and present adaptations, and one that offers a unique perspective on the transcultural and transdisciplinary aspects of Shakespeare in the contemporary world.
Catalogue of a week-long exhibition at Churner and Churner, New York
This work equips readers with a solid conceptual and critical foundation for digital creativity, presenting both technical explanations and creative techniques.
Written by both practitioners and scholars, this significant and timely collection explores the sites of contemporary performance, and the notion of place. The volume examines how we experience performance's varied sites as part of the fabric of the art work itself, whether they are institutional or transient, real or online.
The collections of museums, galleries and online art organisations are increasingly broadening to include more new media art. Because new media is used as a means of documenting, archiving and distributing art, and because new media art might be interactive with its audiences, this highlights the new kinds of relationships that might occur between audiences as viewers, participants, selectors, taggers or taxonomisers. New media art presents many challenges to the curator and collector, but there is very little published analytical material available to help meet those challenges. This book fills that gap. Drawing from the editor's extensive research and the authors' expertise in the field, the book provides clear navigation through a disparate arena. The authors offer examples from a wide geographical reach, including the UK, North America and Asia and integrate the consideration of audience response into all aspects of their work. The book will be essential reading for those studying or practicing in new media, curating or museums and galleries.
Bringing a poet’s perspective to an artist’s archive, this highly original book examines wordplay in the art and thought of American artist Gordon Matta-Clark (1943–1978). A pivotal figure in the postminimalist generation who was also the son of a prominent Surrealist, Matta-Clark was a leader in the downtown artists' community in New York in the 1970s, and is widely seen as a pioneer of what has come to be known as social practice art. He is celebrated for his “anarchitectural” environments and performances, and the films, photographs, drawings, and sculptural fragments with which his site-specific work was documented. In studies of his career, the artist’s provocative and vivid language is referenced constantly. Yet the verbal aspect of his practice has not previously been examined in its own right. Blending close readings of Matta-Clark’s visual and verbal creations with reception history and critical biography, this extensively researched study engages with the linguistic and semiotic forms in Matta-Clark’s art, forms that activate what he called the “poetics of psycho-locus” and “total (semiotic) system.” Examining notes, statements, titles, letters, and interviews in light of what they reveal about his work at large, Frances Richard unearths archival, biographical, and historical information, linking Matta-Clark to Conceptualist peers and Surrealist and Dada forebears. Gordon Matta-Clark: Physical Poetics explores the paradoxical durability of Matta-Clark’s language, and its role in an aggressively physical oeuvre whose major works have been destroyed.
Frank Popper traces the development of immersive, interactive new media art from its antecedents through today's digital, multimedia, & networked art.
A quiet yet powerful revolution is going on. All over this country and across the world creativity-in the form of visual arts, music, dance, drama, and technology-is providing an emotionally expressive vehicle for communicating truth, developing character, and crossing cultural boundaries to build the kingdom of God. J. Nathan Corbitt and Vivian Nix-Early visited numerous artists, faith communities, and arts organizations to discover and document how the arts are being used to transform people and communities, especially in urban settings. The result is this extensive handbook that combines real-life stories with tested methodologies to create a new paradigm for the role of the arts in Christian ministry and mission. Taking It to the Streets provides church and mission leaders, youth ministers, and students with a historical perspective and theology for understanding the transforming power of the arts, a vocabulary for discussing them outside the sanctuary, and creative methods for bringing faith to action in the streets of society.
Micro Bionic is an exciting survey of electronic music and sound art from cultural critic and mixed-media artist Thomas Bey William Bailey. This superior revised edition includes all of the original supplements neglected by the publishers of the first edition, including a full index, bibliography, additional notes / commentary and an updated discography. As the title suggests, the unifying theme of the book is that of musicians and sound artists taking bold leaps forward in spite of (or sometimes because of) their financial, technological, and social restrictions. Some symptoms of this condition include the gigantic discography amassed by the one-man project Merzbow, the drama of silence enacted by onkyo and New Berlin Minimalism, the annihilating noise transmitted from the humble laptop computers of Russell Haswell and Peter Rehberg and much more besides. Although the journey begins in the Industrial 1980s, in order to trace how the innovations of that period have gained greater currency in the present, it surveys a wide array of artists breaking ground in the 21st century with radical attitudes and techniques. A healthy amount of global travel and concentrated listening have combined to make this a sophisticated yet accessible document, unafraid to explore both the transgressive extremes of this culture and the more deftly concealed interstices thereof. Part historical document, part survival manual for the marginalized electronic musician, part sociological investigation, Micro Bionic is a number of different things, and as such will likely generate a variety of reactions from inspiration to offense. Numerous exclusive interviews with leading lights of the field were also conducted for this book: William Bennett (Whitehouse), Peter Christopherson (r.i.p., Throbbing Gristle / Coil), Peter Rehberg, John Duncan, Francisco López, Carl Michael von Hausswolff, Bob Ostertag, Zbigniew Karkowski and many others weigh in with a diversity of thoughts and opinions that underscore the incredible diversity to be found within new electronic music itself.