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Remediating the Social
The print version of the conference proceedings for Remediating the Social, the final conference of the ELMCIP project. An ebook version also exists and is freely downloadable.
Elisabeth Nesheim - 10.08.2012 - 13:21
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Bootstrapping Electronic Literature: An Introduction to the ELMCIP Project
Developing a Network-Based Creative Community: Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) is a three-year (June 2010-June 2013) collaborative research project funded by HERA, the Humanities in the European Research Area framework, sponsored by EU FP7 and the national research councils of the countries participating in the framework. The project has involved researchers from seven institutions in six European nations, who together have produced seven events including seminars, workshops and the Remediating the Social conference and exhibition, documented by this volume, Remediating the Social.
Elisabeth Nesheim - 27.08.2012 - 12:11
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Remediating the Social introduction
The proposition that Remediating the Social considers is whether creativity might be considered a property emergent from a multi-modal social apparatus rather than, as is more commonly assumed, an attribute of individual or collective human agency. This proposition has been formulated within the context of an expanded apprehension of individual and collective ontology that considers selfhood, at least in part, as a socially contingent construct and, in this sense, both fascinatingly and idiosyncratically, a creation of the social space from which it emerges and is sustained within. In this context creativity is apprehended as a reflexive property of the inter-agency of social interactions, rather than as an activity concerned with the origination of novel things or a capability invested in an individual or group of individuals.
Remediating the Social seeks to explore this proposition through considering instances of practice that employ digital and networked systems, in their structure and function, and evidence these emergent characteristics in the processes involved in their making.
Elisabeth Nesheim - 27.08.2012 - 12:52
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Rhizomes, Lines and Nomads: Doing Fieldwork with Creative Networked Communities
This paper presents the ethnographic study, part of the HERA-funded project “Electronic Literature as a Model of Creativity and Innovation in Practice” (ELMCIP), which asks how creative communities form within transnational and transcultural contexts and a globalised and distributed communications environment.
Elisabeth Nesheim - 27.08.2012 - 13:13
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The Compelling Charm of Numbers: Writing for and thru the Network of Data
In postmodern times writing is different. With Facebook the personal diary has returned, reformulated for the 21st century. But this is not the diary as we use to know it. Here time gains a persistence and epistemological import and the person or persons recorded shift from being narrator to the quantified subject. This is not only a philosophical or psychological issue but also an economic and political one.
Elisabeth Nesheim - 27.08.2012 - 13:27
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Creativity as a Social Relation?
Social science in general and anthropology in particular has long attended to core concerns with the structure and form of societies, and with the constant interplay of individual and collective elements. These concerns are obvious: how we understand the emergence and form of human worlds necessitates an approach to creative agency alongside the conditions under which that agency is exercised. As Marx famously wrote in 1852, ‘Men make their own history, but they do not make it as they please’. But recent scholarship in the field of anthropology has taken theorising beyond the familiar impasses of structure and agency through an emphasis on practice (e.g. Bourdieu 1977) and on to the embodied and improvisational nature of knowledge and social action (e.g. Ingold 2000, Hallam & Ingold 2007). Creativity is central here. But creativity conceived not as individual genius (an approach that generates questions about how the individual and the collective collide; one clearly linked to other assumptions Westerners make about the bounded-ness of individual minds, and the proprietary nature of the self), but creativity as an emergent (and necessary) aspect of social relations.
Elisabeth Nesheim - 27.08.2012 - 13:33
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Embodied Algorithms: On Space and Mobility as Structural Metaphors
This short paper proposes the concept of "embodied algorithms" to describe the use of models borrowed or derived from other disciplines as structural metaphors in works of art. The models may originate in fields as diverse as phenomenology, linguistics, or computer science, and while they may not themselves be computational or procedural, their cross-disciplinary/cross-modal implementation imbues them with a symbolic dimension that suggests a hermeneutical methodology (hence, “algorithm”) for constructing interpretive narratives. The paper examines the constitutive role played by space and mobility in interpreting a series of the author’s own artworks. For the sake of brevity, it focuses primarily on a single interpretive model derived from the writing of phenomenologist Georg Gadamer, and relates it to a number of digital models, or algorithms, employed in the works.
Elisabeth Nesheim - 27.08.2012 - 13:42
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DIWO: Do It With Others – No Ecology without Social Ecology
In an age of post-industrial revolution, the acceleration of technological development has had a direct impact on our everyday lives, in which our behaviours and relationships are modified via our interactions with digital technology. As artists, we have adapted to the complexities of contemporary information communication technologies, initiating different forms of creative, network production. Another set of societal factors has also become equally significant as concerns about climate change and the economic crisis pose questions about how we adapt, as people and as artists. As imaginative practitioners exploring the possibilities of creative agency that these networks and social media offer, we need to ask ourselves about our role in the larger conversation. What part do we play in the evolving techno-consumerist landscape which is shown to play on our desire for intimacy and community while actually isolating us from each other.
Elisabeth Nesheim - 27.08.2012 - 13:50
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Rendezvous: A Collaboration Between Art, Research and Communities
Through the evolution of digital technology, social networks and Internet, cultural memory has been transformed, both in relation to how memories are represented, and how they may be engaged with or re-experienced. Exploring these transformations, this paper will introduce Rendezvous, a practice-based research project developed in collaboration with communities of individuals aged over 65 – communities for whom reminiscence has become central; here, achieved through art as a social practice in contributing to their quality of life. I will consider how digitally materialised micro-narratives in media art practice transition between one medium to another and locate within the field of cultural memory. This will question how the narrated self is materialised and mediated as a renewed experience in digital media art practice. I will also ask how digital media art can be a transitional location experience for collective remembering and, ultimately, how digital media art can intervene in the changing practice of memory.
Elisabeth Nesheim - 27.08.2012 - 13:59
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Of People Not Machines: Authorship, Copyright and the Computer Programmer
Authorship of computer programs merits close attention, on one level, because it illustrates what is one of my more general observations about the relationship between ideas of authorship in law and the "digital arts": its complexity. The sphere of "digital arts" is characterised by a multiplicity of creative practices and consequently a diversity of ideas about “authorship”, which resist simplistic conclusions as to what the challenge of the digital should mean for law. At the same time, the status of computer programmers as authors draws attention to what for modern lawyers is likely to be an unexpected and counter-intuitive observation about certain aspects of the relation between digital art and law: far from always a source of challenge, the discourses of authorship in the "digital arts" can also provide the law with assistance. Indeed, as we will see, in humanising technology and exalting the computer programmer as a creative poet, certain discourses of digital art can in fact provide coherence and legitimacy to legal concepts of authorship, rather than challenging them.
Elisabeth Nesheim - 27.08.2012 - 14:08
