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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
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The New Gamified Social
How many friends do you have? How many followers? How many people have liked your recent post or video? How many shares or how many re-tweets did that post have? And then ultimately what is the total score? How influential are you?
These are questions that might not be openly asked but are always on social media users’ minds. Constantly looking after their “scores” and checking on the popularity of others’, users today clearly show that in the social networking world numbers matter. Numbers reveal how sociable users are, how popular their sayings are, how interesting their everyday life appears to be. High scores depend on the content, or rather the virtuosity of the user behind the content; on the way moments, actions and thoughts are captured, expressed and uploaded, in proper timing with a readiness for timely interaction.
Elisabeth Nesheim - 27.08.2012 - 15:07
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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
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Re-reading the Digital: An Inquiry Through Practice
Digital reading is not the same as reading a book, for several reasons. The main focus of this short piece brings together two of them: varying and implicit but usually hidden technological relationship/s; and a new and more complex construction of the reading Subject/ivity.
Elisabeth Nesheim - 27.08.2012 - 15:14
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Authorial Scholarship 2.0: Tracing the Creative Process in Online Communities
The age of letter writing is coming to an end, just as an era of e-mail, blogs, online groups, and social networks is emerging as a new mode of communication. The work of scholars interested in what writers have to say about their work has simultaneously become easier and more challenging, depending upon the technologies used by these writers. How do we conduct authorial scholarship in an age of digital media? This paper address this question through a case study: Flores' own research on Jim Andrews and his work, focusing on the challenges and affordances offered by the current media ecology.
Elisabeth Nesheim - 27.08.2012 - 15:18
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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
