Volume 36, Issue 3

In this paper the contemporary practices of human genomics in the 21 st century are placed alongside the digital bodies of the 1990s. The primary aim is to provide a trajectory of the biodigital as follows: First, digital bodies and biodigital bodies were both part of the spectacular imaginaries of early cybercultures. Second, these spectacular digital bodies were supplemented in the mid-1990s by digital bodywork practices that have become an important dimension of everyday communication. Third, the spectacle of biodigital bodies is in the process of being supplemented by biodigital bodywork practices, through personal or direct-to-consumer genomics. This shift moves a form of biodigital communication into the everyday. Finally, what can be learned from putting the trajectories of digital and biodigital bodies together is that the degree of this communicative shift may be obscured through the doubled attachment of personal genomics to everyday digital culture and high-tech spectacle.

In recent years, the vast increase in information flows has made it possible to instantly connect location-dependent information with physical spaces. These technologies have provided new forms of the representation of space as much as new forms of perception through tools and techniques used in land surveying, remote sensing, etc. From a critical point of view, pervasive computing, location-based applications, or, in other words, “locative media” provide an interesting framework to understand how these technologies relate to our understanding of space and place. Concretely, we want to examine how the uses of locative media in social-oriented artworks interact with people's sense of place. This article therefore discusses contemporary theories on space related to media and technology with a specific focus on the conceptualization of the notion of place. It also relates these theories to the study of different locative media artworks: Canal Accessible (2006), Bio Mapping (2004), Disappearing Places (2007), and Coffee Deposits (2010). We contend that locative media artworks act upon distinctive ways to understand the mediation of technology in current place-making practices.

In the early 1990s, cyberfeminism surfaced as an arena for critical analyses of the inter-connections of gender and new technology – especially so in the context of the internet, which was then emerging as something of a “mass-medium”. Scholars, activists and artists interested in media technology and its gendered underpinnings formed networks and groups. Consequently, they attached altering sets of meaning to the term cyberfeminism that ranged in their take on, and identifications with feminism. Cyberfeminist activities began to fade in the early 2000s and the term has since been used by some as synonymous with feminist studies of new media – yet much is also lost in such a conflation. This article investigates the histories of cyberfeminism from two interconnecting perspectives. First, it addresses the meanings of the prefix “cyber” in cyberfeminism. Second, it asks what kinds of critical and analytical positions cyberfeminist networks, events, projects and publications have entailed. Through these two perspectives, the article addresses the appeal and attraction of cyberfeminism and poses some tentative explanations for its appeal fading and for cyberfeminist activities being channelled into other networks and practiced under different names.

The concept of “interactivity” has routinely been used to differentiate older analogue media and newer digital media. In this usage, interactivity has come to be defined as primarily a physical behavior from the person, as dictated by the media product, which has technological and/or content features that enable, promote, and require specific types and amounts of such activity. However, physical behaviors are only part of the processes involved in engaging with a media product. These also involve cognitive, affective and interpretive behaviors. Additionally, what are considered the most important behaviors may vary in any given media reception situation. This paper reports on a study that considered interactivity as involving interpretive and physical behaviors together. In interviews about people's engaging with new and old media products, the processes of interactivity were mapped for their interconnected components. The results help illustrate the complexity of the concept.

This article investigates the potential for new television as arts practice. It explores this potential by revisiting acts and sites of television's history through processes of enactment, specifically the reenactment of The Man with the Flower in his Mouth, the first drama broadcast by John Logie Baird (with the BBC) in 1930. This took place in Baird's studio at 133 Long Acre, London. The article outlines key features of various possibilities for a “new” television and a new television arts practice and considers how reenactment as an arts process might address the “trace” of historical television's archive, and in doing so also give it a particular contemporary relevance. Theorists of memory and storage (Ricoeur and Derrida) are drawn upon to develop forms of thinking about television and performance as archive which are then drawn on to consider the prospects for reenacttv.net. Reenacttv.net is an art and television history project which will reenact The Man with the Flower in His Mouth in the summer of 2012.