Media-N <p>Journal of the New Media Caucus</p> en-US Wed, 26 Sep 2018 11:22:30 -0500 OJS 60 Alternative Beginnings <p>In this paper, we discuss three alternative approaches to the dominant histories of techniques of illusion and interaction that emerged in the context of the panel “Alternative Beginnings: Towards an-Other history of immersive arts and technologies” sponsored by the New Media Caucus presented at the 2018 College Art Association Conference.&nbsp; Bringing together recent insights by media archaeologists (Huhtamo and Parikka 2011, Parikka 2012), decolonial thinkers (Mignolo 2011a, b), feminist and indigenous media scholars (Zylinska 2014, Todd 1996, Todd 2015) we invited papers that gave visibility to diverse genealogies of immersion, outside the dominant western art historical canon, to contextualize our current interest for embodied and multi-sensorial experiences. Focusing on the Latin American context – both geographically and epistemologically— the three critical approaches proposed include a discussion on the decolonizing potential of immersion as it moves away from a purely ocular regime towards an embodied one, an exploration of strategies that delink the development of immersive technologies from the military and for-profit game industry, and an emphasis on how localized sites can highlight the decolonizing potential of the local/global relationship in our possible rethinking of immersive technologies.</p> Gabriela Aceves Sepulveda, Matilda Azlisadeh ##submission.copyrightStatement## Wed, 26 Sep 2018 10:39:34 -0500 Cosmopolitical technologies and the demarcation of screen space at Cine Kurumin <p>“Our fight today is to demarcate our space on the screen, when we can no longer demarcate our lands.” I cite Ailton Krenak, one of Brazil’s most influential Indigenous leaders, at his keynote address at the opening of the Cine Kurumin film festival in Salvador, Brazil, to engage with cinematic languages on the margins of dominant media. I experience the festival as an active immersion into imaginaries that forward the process of “decoloniality” (Mignolo). As Sueli Maxakali articulated during a roundtable of Indigenous women filmmakers, the Shaman must dream in order to choose the name of the films made in her community. The production processes of these films were conceived outside the structures of any capitalist market economy; rather, the festival offered an alternate space to take a deliberate leap into expressive audio and oral visual experiences, cultures, languages, politics, and imaginaries resisting ongoing violence entrenched in capital and coloniality. Through a discussion of the festival curation, roundtable discussion, and through a film analysis, I elaborate how the sacred, spiritual, and social are constituent elements of cosmopolitical visions. I argue that film and video as cosmopolitical technologies are unsettling established conceptions of nature and culture, of politics and representation both on and off-screen. Witnessing the Cine Kurumin festival – the totality of the experience becomes an immersive and transformative space for decolonizing the imaginary while disturbing hegemonic political, conceptual, and representational agendas.</p> Sarah Shamash ##submission.copyrightStatement## Wed, 26 Sep 2018 09:43:25 -0500 Imitation, Fear, and Conviviality <p>This essay discusses alternative models to mimesis as the norm in mainstream immersive technologies. Projects by two Latin American designers, the Uruguayan videogame designer Gonzalo Frasca, and the Cuban interaction designer, Iván Abreu Ochoa, exemplify such alternatives. I examine how both designers eschew idealized realism in favor of repositioning immersive spaces as a forum of debate about issues relevant to contemporary civic life, respectively, war and immigration. Conceived thusly, these works constitute uses of immersive technologies, gaming and the internet, for purposes of cultural critique and catalyzing emancipatory social energies. In this light, I argue that these projects work to both undermine normative conceptions of mimesis, as mimetic simulations are revealed to be partial, not neutral; and as well, &nbsp;&nbsp;&nbsp;demonstrate belief in the role of immersive technologies as support of convivial culture. As such, these projects are not unique, but can be understood as being part of transnational networks of alternative media, and extensions of the significant historical and contemporary contributions of Latin American artists and designers to this project. &nbsp;&nbsp;&nbsp;</p> Claudia Costa Pederson ##submission.copyrightStatement## Wed, 26 Sep 2018 09:42:25 -0500 The European Topos <p>There is an unexplored synergy between the ways media archaeology and decolonial theory handle the notion of modernity. Both consider modernity as happening at different places and at different times: modernity is an event that is larger than Europe or the United States. Using this resonance, this article will make a media archaeological reading of the decolonial theorists, Walter Mignolo and Santiago Castro-Gomez’s concept, the zero point. The zero point will be read as a media topos present throughout the immersive media that grounds much western media history and visual culture. Finally, based on these criticisms, this article will offer an alternative starting point based in the imaginary media of Adolfo Bioy Casares’ novel, <em>The Invention of Morel. </em>The goal of this intervention is to demonstrate the way the western paradigm of technology has imperialized the imaginations of the world and to offer another place for media artists and technologists to begin from.</p> Matt Bernico ##submission.copyrightStatement## Wed, 26 Sep 2018 10:40:50 -0500 The “Immersive” as a Model for Action in Artworks from the Brazilian Avant-Garde <p>The concept of “immersive” gives us a practical direction to embodying the understanding of art works created by avant-garde Brazilian artists. Building upon Simone Osthoff’s seminal argument about the legacy of “interactivity” in works by Helio Oiticica and Lygia Clark, in this paper I suggest that the “immersive” presents a better model for encompassing the experience of works by artists like Antonio Dias and Anna Maria Maiolino, in their historical and material potencies. By looking at works of painting and photography by these artists, instead of installations or objects, we need to consider “immersion” beyond its technological capacity, activating, then, its parallel with Oswald de Andrade’s modernist concept of Anthropophagy, which was actualized by these artists in the 1960s and 70s, and continues to resonate with many of our current search for the <em>decolonial</em>.</p> Debora Faccion ##submission.copyrightStatement## Wed, 26 Sep 2018 00:45:21 -0500 Art + Tech Workshops <p>Many teaching artists interested in code and technology struggle their way through years of self teaching. In the interest of creating a community of artist/learners, I designed coding workshops for the 2018 Media Lounge programming, called Art &amp; Tech workshops. The Art &amp; Tech workshops created a community of like-minded teaching artists committed to supporting progress and fostering a more inclusive future for New Media.</p> Katie Duffy ##submission.copyrightStatement## Wed, 26 Sep 2018 10:52:20 -0500 Diversifying the Art Tech World <p>In this transcript of a panel discussion at the 2018 College Art Association conference, participants discuss the gender gap in the art tech world. Against a backdrop of both the current political climate and recent reporting into the gender gap in the tech industry, panelists gave short presentations of their work with commentary on their early access to technology, mentors and other support structures that helped them to create significant artwork. Questions focused on how, going forward, we can support younger, female and trans new media artists, particularly artists of color.</p> Joelle Dietrick, Kathy Rae Huffman ##submission.copyrightStatement## Wed, 26 Sep 2018 00:00:00 -0500 Queering New Media Art : Histories & Asking Questions about Nothing <p>Not rooted in a traditional culture or ancestral homeland, Queerness constitutes ephemeral cultures, continually reinvented and reimagined. Queerness is under constant threat of erasure from cultural amnesia and political malice. Academia and the art world have responded to this erasure with alternately heroic and halting efforts.</p> <p>&nbsp;This paper suggests ways in which this erasure manifests, from historic forces to contemporary discourses. The author attempts to assess various responses to queer erasure in the overlapping enclaves of new media art comprised of artists, academics, writers, and curators. Lastly, this paper will consider how new media art inflects or reframes ongoing conversations around queer social erasure and how artists and art historians work against the forces of nothingness.</p> Richard Rinehart ##submission.copyrightStatement## Wed, 26 Sep 2018 10:37:32 -0500 Queering New Media Art : Looking back, looking forward <p>On February, 23 2018, during the National College of Art Association Conference in Los Angeles, Richard Rhinehart, Liss LaFleur and I co-chaired a panel titled “Queering New Media Art and Asking Questions about Nothing”. This panel was presented within the New Media Caucus’ Media Lounge day of events. Based on my presentation that day, this essay will use my personal experiences with the New Media Caucus and academia in the last twenty years to explore the relationships amongst art, new media, and queerness, expose some problems with these terms, and potentially provide one of many ways out of perpetuating their continuous entanglement.</p> Vagner Mendonça Whitehead ##submission.copyrightStatement## Wed, 26 Sep 2018 09:59:04 -0500 The Human Experience of Crooked Data <p>A critical review of <em>Crooked Data: (Mis) Communication in Contemporary Art,</em> an exhibition at the Harnett Museum of Art at the University of Richmond, February 9 - May 5, 2017.</p> Carrie Ida Edinger ##submission.copyrightStatement## Wed, 26 Sep 2018 09:40:19 -0500 Venice Biennale 2017: Salon des Réfugiés <p>This single review of a sprawling international exhibition takes as a conceit the comparison of three Pavilions within the 2017 Venice Biennale – that of Korea, the United States, and Antarctica. The author seizes on the opportunity afforded by the esteemed event’s organization around nation-states to reflect on the radical ways in which the exhibited artists are engaged with the distinct challenges and struggles of their respective homes (or non-homes). This essay is therefore an attempt to culturally compare with nuanced interpretation, as a way to stay close to the formation and ramification of world culture today. To diversify the potential in the read, the piece calls to unfold in rhetoric of postcolonial terms, related to new media scholarship.</p> Mina Cheon ##submission.copyrightStatement## Wed, 26 Sep 2018 09:41:14 -0500