FCJManager
FCJ-100 Cultural Modulation and The Zero Originality Clause of Remix Culture in Australian Contemporary Art
Ross Rudesch Harley Professor of Media Arts, University of New South Wales Screenshot: ‘Astro Black: A History of Hip-Hop (Episodes 0-2)’ (2007-08) Soda_Jerk Pop Art’s ability to mash highbrow and lowbrow culture paved the way for Pop Tronic’s essentially mono-brow outlook… Pop Art strayed from Pop Tronics by whoring itself to generative creative arts such as painting. This violates the Zero Originality Clause of Pop Tronic which states “Under no circumstances must the Pop Tronicist stray from the sanctioned triad of operations: Copy, Cut and Collage.” (Soda_Jerk, 2009) 1. In this article I want to reflect briefly on a number of themes to do with the cultural modulation of post-digital remix culture in the context of Australian contemporary art. In particular, I focus on some key figures who have contributed to a particular aesthetics and politics of audio-visual remix. In linking these artistic precursors to current forms of remix, I…
FCJ-099 The Renewable Tradition (Extended Play Remix)
Mark Amerika Professor of Art and Art History, University of Colorado Quoting from his own short story ‘Death of the Novel’ Obviously there’s no progress in art. Progress toward what? The avant-garde is a convenient propaganda device, but when it wins the war everything is avant-garde, which leaves us just about where we were before. The only thing that’s sure is that we move, and as we move we leave things behind–the way we felt yesterday, the way we talked about it. Form is your footprints in the sand when you look back. (Sukenick, 1981: 35) The quote comes from ‘Death of the Novel’ a fictional short story by Ronald Sukenick to introduce his artist essay ‘The New Tradition’ which is collected in the groundbreaking anthology of artist poetics entitled Surfiction The New Tradition (Sukenick used to tell me) is the one we’re always on the cusp of inventing by…
Issue 15 – Remix
At first I had considered him to be as singular as the phoenix of rhetorical praise; after frequenting his pages a bit, I came to think I could recognize his voice, or his practices, in texts from diverse literatures and periods. I shall record a few of these here. Borges, ‘Kafka and His Precursors’ Many happy returns It became a minor phenomenon during 2007. By September 2009 it was a virus out of control. Described in Wired as a ‘popular internet meme’ (Wortham, 2008), the obsessive serial mash-up of a key sequence from Oliver Hirschbiegel’s 2004 film of the last days of Adolf Hitler, Der Untergang (The Downfall), is suggestive of the cultural logic of the contemporary formation known as remix. Remix culture is comprised of what could loosely be termed amateurs and professionals engaged in the practice of creatively re-using found material. The distinction is useful in identifying the…
Call for Abstracts/Papers: “Trans” – Transversals, Transduction, Transmateriality.
Issue Editors: Adrian Mackenzie, Andrew Murphie (fibreculturejournal@gmail.com: for editorial inquiries) and Mitchell Whitelaw Abstracts due: March 31 Full Submissions Due: May 31 Publication: Aimed for late November 2010 Articles must be submitted in full Fibreculture Journal house style. You can also access information about house style at https://fibreculturejournal.org/policy-and-style/. You must first read the Guidelines for Submission at https://fibreculturejournal.org/policy-and-style/. [Please note, submissions not in house style will automatically be returned to authors for formatting. That is, you will not be able to have your paper considered for publication unless you have formatted it correctly. The journal is peer reviewed and authors are expected to take readers reports into consideration when finalising their articles for publication. Negotiation with the editors over potential changes is usual practice.] Digital, networked and informational media are extremely dynamic, and constantly diversifying in form and function at a dizzying rate. They fuse with social (and “natural”) worlds…
FCJ-098 ‘Web 2.0’ as a new context for artistic practices
Juan Martin Prada University of Cádiz, Spain The economic model for what is called ‘Web 2.0’ is based on promoting the desire to share and exchange things, an attempt to make profits from the voluntary collaboration of its users and its potential for compiling data and making them available to the public. The new companies operating on the Internet base their role on promoting cooperative communities and managing access to the data and files contributed. This business model increasingly tends not to sell any product at all to the consumer, but rather sells the consumer to the product, integrating the user and the files he or she contributes into the actual service being offered. The inclusive logic of ‘Web 2.0’ The user and his or her contributions are the main content being distributed by networks. They channel and use as an economic force the desire felt by a multitude of…
FCJ-097 Co-creation and the new industrial paradigm of peer production
Michel Bauwens[1] Dhurakij Pundit University, Bangkok/volunteer at the P2P Foundation[2] Albert Boswijk, of the Amsterdam-based Center for the Experience Economy, asked me a set of interesting questions: What is the reality behind so called best practice co-creation concepts? Are these lipservice to co-creative approaches? Are you really in the driver’s seat or are you just being made to believe that you have influence on the outcome? What are the building blocks of co-creation? Which conditions are required? Are organisations really prepared to allow customers to influence and control their organisation and therefore become a co-creative organisation? To understand the reality or illusion behind projects claiming to practice co-creation or co-design, one must look at the polarities of power and control that determine the context in which the co-creative processes take place, with on the one hand the communities of external collaborators, and on the other hand the corporate entities. But…
FCJ-096 The Digital Given: 10 Web 2.0 Theses
Ippolita Italy Geert Lovink University of Amsterdam Ned Rossiter University of Nottingham, Ningbo 0. The internet turns out to be neither the problem nor the solution for the global recession. As an indifferent bystander it doesn’t lend itself easily as a revolutionary tool. The virtual has become the everyday. The New Deal is presented as green, not digital. The digital is a given. This low-key position presents an opportunity to rethink the Web 2.0 hype. How might we understand our political, emotional and social involvement in internet culture over the next few years? 1. News media is awash with ‘economic crisis’, indulging in its self-generated spectacle of financial meltdown. Experts are mobilised, but only to produce the drama of dissensus. Programmed disagreement is the consensus of daily news. Crisis, after all, is the condition of possibility for capitalism. Unlike the dotcom crash in 2000-2001, when the collapse of high-tech stocks…
FCJ-095 Mapping Commercial Web 2.0 Worlds: Towards a New Critical Ontogenesis
Ganaele Langlois, Fenwick McKelvey, Greg Elmer, and Kenneth Werbin Infoscape Research Lab, Ryerson University 1. Web 2.0 and its Critical Contradictions At the 2007 International Communication Association Conference, Web 2.0 was highlighted as an emergent topic of research with a keynote panel entitled ‘What’s so Significant about Social Networking? Web 2.0 and its Critical Potentials’. One of the thought-provoking moments during the panel was the juxtaposition of two very different and at first, contradictory theoretical approaches to the relationships between Web 2.0 and user-generated content. While Henry Jenkins focused on the democratic potential of online participatory culture as enabling new modes of knowledge production, Tiziana Terranova argued for a post-Marxist perspective on Web 2.0 as a site of cultural colonization and expansion of new forms of capitalization on culture, affect and knowledge. The juxtaposition of these two very different critical approaches did not simply rehash the old divide between cultural…
FCJ-094 Between Promise and Practice: Web 2.0, Intercultural Dialogue and Digital Scholarship
Professor Ien Ang Centre for Cultural Research, University of Western Sydney Dr Nayantara Pothen Centre for Cultural Research, University of Western Sydney Introduction The Internet has been a popular method for communication and collaboration across far-flung sites for some time, and its potential for enhancing participatory democracy has been much commented on. With the emergence of so-called Web 2.0 (O’Reilly, 2005), the interactive and collaborative capabilities of the Internet have greatly increased, with still uncertain social, political and intellectual effects. This paper emerges out of an interest in exploring the possible implications of Web 2.0 for the practice of humanities research. Scholars in the humanities have traditionally been dependent on the written word—on the production of intellectually dense discourse—and, in this producerly mode, they tend to be individualist, sole researchers. How can they respond to the challenges posed by Web 2.0 and its seemingly irresistible promotion of a participatory, expressive,…
FCJ-093 Beyond the ‘Networked Public Sphere’: Politics, Participation and Technics in Web 2.0
Dr Ben Roberts, University of Bradford School of Computing, Informatics and Media, University of Bradford In some ways discussion of the political implications of Web 2.0 reinvigorates a debate about the democratising nature of the Internet that began in the 1990s. The concept of participation is at the heart of many current debates about politics and technology. There are two main reasons for saying this. On the one hand is an ongoing and increasing concern about public participation, or lack of it, in modern (predominantly Western) democracies. This participatory deficit is to be seen in falling voter turnout at elections, public apathy on key political issues and scorn or indifference for elected political representatives. On the other hand, there is a wave of optimism concerning the potential of new technologies, particularly the web, to enable new forms of participation in economic and public life, to transform political debate and citizenship…
Future Issues and Archives
Connections
- ARCDigital
- C-Theory
- Cntr History & New Media
- CoDE
- Computational Culture
- Cosmos and History
- Ctrl-Z
- Culture Machine
- Digital Culture and Ed…
- Digital Humanities Alliance
- Digital Studies
- Eludamos
- Film-Philosophy
- First Monday
- Future of the Book
- Hyperrhiz
- Inflexions
- Institute of Net Cultures
- Jrnal Digital Information
- Junctures
- nmediac
- Noema
- Open Humanities Alliance
- Open Humanities Press
- Parrhesia
- Public Library of Science
- Sarai
- Transformations
- Vague Terrain
