Sensing and smartness devices

Kapitel in diesem Buch

1. Frontmatter 1
2. Contents 7
3. Figures 11
4. Introduction
5. Purpose 17
6. Methodology 17
7. Significance 19
8. Overview 20
9. 1. Audiovisual Arts in the Post-Digital Age
10. Audiovisual Arts and Audiovisuology 25
11. Origins of the Term Post-Digital 28
12. Post-Digital Aesthetics and Condition 34
13. Post-Media, Post-Internet and New Aesthetic
14. Post-media 38
15. Post-internet 43
16. New aesthetic 45
17. Analogue Atoms + Digital Bits = Post-digital Hybridisation 46
18. Digital Art 49
19. Mapping the Post-Digital Aesthetics in Audiovisual Arts
20. On digital media 54
21. Within digital media 54
22. In-between digital and non-digital media 55
23. Off digital media 55
24. Summary 56
25. 2. Post-Digital Aesthetics in Contemporary Audiovisual Arts
26. On Digital Media
27. The aesthetics of failures 60
28. The critical role of glitch 63
29. Summary 65
30. Within Digital Media
31. The aesthetics of saturation 66
32. Queering digital media 67
33. Summary 70
34. In-Between Digital and Non-Digital Media
35. The aesthetics of hybridisation 71
36. Beyond the screen 72
37. Summary 75
38. Off Digital Media
39. The aesthetics of repurposing 76
40. Neo-analogue turn as resistance 77
41. Materiality and the tangibility of film 78
42. Repurposing and resurrecting media 82
43. Analogue-digital media assemblages 83
44. Summary 85
45. Comparing the Post-Digital Aesthetics 86
46. 3. Critical Making and Post-Digital Hybridisation in Audiovisual Arts
47. A Brief Introduction to Critical Making
48. Critical making as a process-oriented practice 91
49. Repoliticising Makers and Technology-Oriented Artists
50. Making through a hands-on approach 94
51. Critical Making and Post-Digital Art
52. Critically-made art 96
53. Post-digital hybridisation 97
54. Entanglement 98
55. Summary 100
56. 4. Understanding the Post-Digital Condition Through Practice-Based Research
57. Datox
58. The computational society 104
59. Electricity and non-human agency 105
60. Album and archive of electronics’ noise 106
61. Live performance 108
62. Data overload recovery 109
63. On a Scroll Through the Cloud
64. The cloud materiality and its obfuscation 110
65. The normalisation of surveillance capitalism 112
66. Navigating the foggy environment of the cloud 114
67. Things I Do When I’m Bored
68. The corporate web and digital folklore 118
69. Vlogging because I’m so bored 119
70. I’m so bored so I decided to make a vlog 120
71. Boredom vlogging patterns 121
72. Let there be more boredom 123
73. Debris
74. An introduction to electronic waste 124
75. Computation and computational media 125
76. Digital media (im)materiality 127
77. The constellation of digital media materiality 127
78. Can you defeat planned obsolescence? 128
79. The detritus of digital media technologies 129
80. Deep Touch
81. Sensing and smartness devices 132
82. Nonsense apparatus 133
83. Rematerialising the invisible forces of big tech 134
84. All to Sand Returns
85. Speculations on future landscapes and contemporary anxieties 137
86. Repurposing analogue media and analogue-digital media hybrids 138
87. Environment and matter 140
88. Summary 141
89. Conclusion: Rethinking Post-Digital Audiovisual Arts 145
90. Acknowledgements 151
91. Appendix: List of the Series of Artworks
92. Datox 153
93. On a Scroll Through the Cloud 153
94. Things I Do When I’m Bored 154
95. Debris 154
96. Deep Touch 154
97. All to Sand Returns 155
98. Bibliography 157
99. Notes 169
100. Understanding the Post-Digital Condition Through Practice-Based Research 191
101. Conclusion: Rethinking Post-Digital Audiovisual Arts 197