PUBLISHED IN OCTOBER 2016
Edited by Thor Magnusson, Chris Kiefer and Sam Duffy
The proceedings of the Live Interfaces conference (http://www.liveinterfaces.org) are the outcome of a five-day gathering at the University of Sussex’s Attenborough Centre for the Creative Arts in June 2016. The biennial ICLI conference is interdisciplinary and practice-based, unique in that it focuses on the role of performance interfaces across all of the performing arts. This year it became clear that ICLI has become an established platform for people operating in diverse sections of the arts to meet and discuss the embodied use of technology in live performance. With a focus on practice, the conference emphasised the role of performances, workshops and installations as well as papers and posters.
With submissions from musicians, dancers, roboticists, brain scientists, visual artists, philosophers, animators, sculpturists, and more, the proceedings illustrate the range of activities encompassed by this lively platform for knowledge exchange and new performance practices. The proceedings were peer reviewed and include long and short papers, doctoral colloquium papers, performance installation and workshop descriptions, as well as some documentation of the event itself.
PUBLISHED IN JUNE 2016
Falmer: REFRAME Books, 2016
ISBN 9780993199660 ePub
ISBN 9780993199677 PDF
Edited by Charles R. Acland and Eric Hoyt
From the tremendous video libraries of YouTube and the Internet Archive to the text collections of the HathiTrust and the Media History Digital Library, media historians today confront the challenge of engaging with an abundance of cultural works that have been transformed into data. What new skills, competencies, and tools do media historians and scholars need in an era of digital research?
Charles R. Acland, Kevin L. Ferguson, Kaitlin Fyfe, Laura Horak, Eric Hoyt, Kit Hughes, Robert Hunt, Lea Jacobs, Elana H. Levine, Derek Long, Fenwick McKelvey, Cynthia B. Meyers, Miriam Posner, Lisa Spiro, Tony Tran, Deb Verhoeven, Gregory A. Waller, Haidee Wasson, Mark Williams.
PUBLISHED IN APRIL 2016
Falmer: REFRAME Books, 2016.
ISBN 9780993199622 (online)
ISBN 9780993199639 (PDF) forthcoming
ISBN 9780993199639 (ePub) forthcoming
Edited by Shane Denson and Julia Leyda
If cinema and television, as the dominant media of the 20th century, shaped and reflected our cultural sensibilities, how do new digital media in the 21st century help to shape and reflect new forms of sensibility? In this collection, editors Shane Denson and Julia Leyda have gathered a range of essays that approach this question by way of a critical engagement with the notion of “post-cinema.” Contributors explore key experiential, technological, political, historical, and ecological aspects of the transition from a cinematic to a post-cinematic media regime and articulate both continuities and disjunctures between film’s first and second centuries.
Caetlin Benson-Allott, Paul Bowman, Felix Brinker, Kristopher L. Cannon, Francesco Casetti, Steen Christiansen, Elena del Río, Shane Denson, Rosalind Galt, Therese Grisham, Richard Grusin, Leon Gurevitch, Mark B. N. Hansen, Bruce Isaacs, Adrian Ivakhiv, Kylie Jarrett, Selmin Kara, Julia Leyda, Patricia MacCormack, Lev Manovich, Ruth Mayer, Michael O’Rourke, Patricia Pisters, Alessandra Raengo, David Rambo, Nicholas Rombes, Sergi Sánchez, Karin Sellberg, Steven Shaviro, Michael Loren Siegel, Vivian Sobchack, Billy Stevenson, Andreas Sudmann