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1. 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

2. 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

3. Where is E-Lit in Rulinet?

   Almost two decades of Russian literary Internet (Rulinet) evoke observations about the directions it is taking and the communities shaping it. Runet (Russian language Internet) started as a literary phenomenon in the early 1990’s (Gorny 2007) with Dmitry Manin’s Bout Rimes and Roman Leibov’s ROMAN (Novel), Zhurnal.ru, Moshkov Library. The initial reason for this was technical – a low bandwidth internet meant it was necessary to engage audiences through textual means. A secondary reason was the emergence of Runet at a particular point in Russian history (according to different sources, simultaneously, or following, the collapse of the USSR) and in a particular Russian cultural context of literaturecentrism.

   (Source: Author's introduction)

   Elisabeth Nesheim - 27.08.2012 - 15:11

4. Players Only Love You When They’re Playin': Community as Algorithm in Programmable Poetics

   Players Only Love You When They’re Playin': Community as Algorithm in Programmable Poetics

   Elisabeth Nesheim - 27.08.2012 - 15:27

5. Out of Place: Digital In-Grouping

   Since the maturation of the mobile network and a pervasive immersion into social media, the concept of community has been irrevocably dislocated from traditional geographical interactions. Establishing what adequately characterises born or predominately digital groupings is being investigated and discussed in academic, public and civic arenas. Both the positive and negative positions have been voiced. Our "always on, always-connected" status (Antonelli 2008) has created a close and some would argue dependent psychological relationship with our technologies (Charles 2011). If we consider that these technologies have significantly changed our practical reality, a reality where human experience and technical artifact have, for many, become inseparable, and that we now live within a "life mix" (Turkle 2012) or pressured "cycle of responsiveness" (Perlow 2008) then traditional concepts of how community is enacted using (deleterious or not) technologies merits review.

   Elisabeth Nesheim - 27.08.2012 - 15:31

6. Stringing Disturbances in Poetic Array Spaces: Reading by Close Reading

   Stringing Disturbances in Poetic Array Spaces: Reading by Close Reading

   Elisabeth Nesheim - 27.08.2012 - 15:34

7. Coincidentally the Screen has Turned to Ink: Electronic Literature for Library Spaces

   Coincidentally the Screen has Turned to Ink: Electronic Literature for Library Spaces

   Jill Walker Rettberg - 02.11.2012 - 17:13

8. Open Source Cure

   Open Source Cure

   Scott Rettberg - 04.11.2012 - 11:25

9. Sauti ya wakulima: "The Voice of the Farmers": The creation of a community memory through appropriated media

   Sauti ya wakulima: "The Voice of the Farmers": The creation of a community memory through appropriated media

   Scott Rettberg - 04.11.2012 - 11:30

10. Upstage

    Upstage

    Scott Rettberg - 04.11.2012 - 12:02

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