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FCJ-104 Materialities of Law: Celebrity Production and the Public Domain
Esther Milne Media & Communications, Swinburne University of Technology The brand’s image and its customer’s self-image will be refracted through the ‘prism’ of a star’s persona and produce a new set of perceptions … the reason it is tricky is that celebrities are unusual brands in that they talk back and they may also change…
FCJ-103 James Brown, Sample Culture and the Permanent Distance of Glory
Steve Jones University of Sussex But here I am, the man Who started it all, and I’m glad, ‘Cause I’m number one, original, I know I’m bad ‘I’m Real’, James Brown Perhaps unsurprisingly, the James Brown song ‘I’m Real’ (1988) features the man himself lending a vocal turn (or two) to the track. The song…
FCJ-102 Sputnik Baby
Ian Haig School of Art, RMIT University Psycho maniac interblend, shoot it up! Ever since punks were spotted walking through the rain soaked dystopic future streets in Ridley Scott’s Bladerunner(1981), a certain image of punk has been associated with ‘the future’; a kind of futuristic punk chic that also clearly owes something to the future agro…
FCJ-101 How can you be found when no-one knows that you are missing?
Lisa Gye Media and Communicatons, Swinburne University ‘What the reader sees will not be what he hears’ James Joyce may have said this of Finnegans Wake ‘Since we have already said everything, the reader must bear with us if we continue on a while. If we extend ourselves by force of play. If we then…
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…
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….
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…
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…
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…
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’….
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