Art Criticism In The Networked Age

The crisis of criticism in the age of the Internet is two-sided. The more traditional complaint is that both the overwhelming amount of amateur art criticism that appears online, as well as the disdain for the traditional, 'elite' printed media, have stripped traditional art critics of their power and redistributed it among everyone with internet-access and a blog. A more recent, and increasingly ubiquitous complaint, is that 'proper' online art criticism more often than not takes on the guise of older, conventional forms of art criticism that recall the context of the art journal or the art magazine. Art criticism on the Internet hardly ever takes the shape of an art criticism that is properly online; it is usually art criticism that also happens to be online. The many medium-specific possibilities offered by the Internet are all too easily disregarded. Is it not time for an online art criticism that is genuinely reflective of its medium? For its second issue of 2014, Kunstlicht invited writers and artists to simultaneously reflect on the history of art criticism and speculate on its future on the web.

Previous studies have looked at the contribution of information technology and network theory to the art of warfare as understood in the broader sense. This book, however, focuses on an area particularly important in understanding the significance of the information revolution; its impact on strategic theory. The purpose of the book is to critically analyze the contributions and challenges that the spread of information technologies can bring to categories of classic strategic theory. In the first two chapters, the author establishes the context of the book, coming back to the epistemology of revolution in military affairs and its terminology. The third chapter examines the political bases of strategic action and operational strategy, before the next two chapters focus on historical construction of the process of getting to know your opponents and the way in which we consider information collection. Chapter 6 returns to the process of “informationalization” in the doctrine of armed forces, especially in Western countries, and methods of conducting network-centric warfare. The final chapter looks at the attempts of Western countries to adapt to the emergence of techno-guerrillas and new forms of hybrid warfare, and the resulting socio-strategic outcomes.

This book tells the story of diverse online creators – women, ethnic and racial minorities, queer folk and those from hardscrabble backgrounds – producing low budget, high cultural impact web-series which have disrupted longstanding white male domination of the film and TV industries. Author Guy Healy addresses four burning problems faced by creators in the context of digital disruption (along with potential solutions), namely: the sustainability of monetizing digital content and the rising possibility of middle-class artistic careers; algorithmic volatility; the difficulty of finding people to share jealously guarded industry knowledge as traditional craft-based mentoring and expertise-sharing mechanisms break down; and the lack of diversity and authenticity in high-profile storytelling. It includes nine case studies, five drawn from a second wave of outstanding YouTube-developed talent, transitioning to longer form narrative, most collaborating with established TV producers working across the divide between online and established television culture, and all from under-represented and/or minority backgrounds. The balance are film-school and industry professionals leveraging YouTube in the same way, including two Writers Guild of America new media award-winners. These storytellers leverage their social networks and chase sustainable careers by reaching audiences of subscription video-on-demand platforms and mainstream online broadcast in Australia and North America. The Production of Global Web-Series in a Networked Age is the first longitudinal study of this historic rapprochement between online and television cultures. Four of the cases are in Emmy-winning contexts, and one in an Emmy nominated context. Covering 2005–2021, the book reveals distinctive new forms of screen industry convergence with profound implications for creators’ careers, the screen industry in general, new media theory, and broader cultural and social change. It is essential reading for students, academics and industry professionals working on the production and distribution of web series.

Bringing together 17 foundational texts in contemporary modernist criticism in one accessible volume, this book explores the debates that have transformed the field of modernist studies at the turn of the millennium and into the 21st century. The New Modernist Studies Reader features chapters covering the major topics central to the study of modernism today, including: · Feminism, gender, and sexuality · Empire and race · Print and media cultures · Theories and history of modernism Each text includes an introductory summary of its historical and intellectual contexts, with guides to further reading to help students and teachers explore the ideas further. Includes essential texts by leading critics such as: Anne Anlin Cheng, Brent Hayes Edwards, Rita Felski, Susan Stanford Friedman, Mark Goble, Miriam Bratu Hansen, Andreas Huyssen, David James, Heather K. Love, Douglas Mao, Mark S. Morrisson, Michael North, Jessica Pressman, Lawrence Rainey, Paul K. Saint-Amour, Bonnie Kime Scott, Urmila Seshagiri, Robert Spoo, and Rebecca L. Walkowitz.

Globalization, the information technology revolution, individualization and other processes in contemporary society all impact on organizations. This text analyzes the framework of these organizational relationships and the dynamics of identity formation and bonding on several levels.

How maturing digital media and network technologies are transforming place, culture, politics, and infrastructure in our everyday life. Digital media and network technologies are now part of everyday life. The Internet has become the backbone of communication, commerce, and media; the ubiquitous mobile phone connects us with others as it removes us from any stable sense of location. Networked Publics examines the ways that the social and cultural shifts created by these technologies have transformed our relationships to (and definitions of) place, culture, politics, and infrastructure. Four chapters—each by an interdisciplinary team of scholars using collaborative software—provide a synoptic overview along with illustrative case studies. The chapter on place describes how digital networks enable us to be present in physical and networked places simultaneously—often at the expense of nondigital commitments. The chapter on culture explores the growth and impact of amateur-produced and remixed content online. The chapter on politics examines the new networked modes of bottom-up political expression and mobilization. And finally, the chapter on infrastructure notes the tension between openness and control in the flow of information, as seen in the current controversy over net neutrality.

Electronic literature is still in its nascent stages, and so too is the field of literary criticism engaging it. While most critical studies of born-digital literature celebrate it as a postmodern art form with roots in contemporary technologies and social interactions, this book provides an alternative genealogy. Digital Modernism examines exemplary cases of electronic literature that renovate modernist texts and poetics as a means of critiquing contemporary culture. This study suggests that by referencing modernism, "digital modernism" reframes that earlier literary tradition around questions of media and technology. Grounding her argument in literary history, media studies, and the practice of close-reading, Jessica Pressman pairs modernist works by Ezra Pound, James Joyce, and Bob Brown, with major digital works like William Poundstone's Project for the Tachistoscope {Bottomless Pit}, Young-hae Chang Heavy Industries's Dakota, and Judd Morrissey's The Jew's Daughter. She demonstrates how the modernist movement of the 1920s and 1930s laid the groundwork for the innovations of electronic literature. Accordingly, Digital Modernism makes the case for considering these digital creations as "literature" and argues for the value of reading them carefully, closely, and within literary history. Moreover, this remarkable study details how and why one of the most maligned of literary spaces, the web -- one accused of fostering reading habits that destroy deep attention and devalue hermeneutic analysis -- is actually the place where serious literature stages its rebellion and renaissance. Even more importantly, perhaps, this book argues for the importance of literature, literary study, and close reading in our digital age.

The experimental art and poetry of the last half of the twentieth century offers a glimpse of the emerging networked culture that electronic devices will make omnipresent. Craig J. Saper demarcates this new genre of networked art, which uses the trappings of bureaucratic systems - money, logos, corporate names, stamps - to create intimate situations among the participants. Saper explains how this genre developed from post-World War II conceptual art, including periodicals as artworks in themselves; lettrist, concrete, and process poetry; Bauhaus versus COBRA; Fluxus publications, kits, and machines; mail art and on-sendings. The encyclopedic scope of the book includes discussions of artists from J. Beuys to J. S. G. Boggs, and Bauhaus's Max Bill to Anna Freud Banana. -- Publisher.