Editors Marsha Kinder and Tara Mc Pherson present an authoritative collection of essays on the continuing debates over medium specificity and the politics of the digital arts. Comparing the term ‚transmedia‘ with ‚transnational, ‚ they show that the movement beyond specific media or nations does not invalidate those entities but makes us look more closely at the cultural specificity of each combination. In two parts, the book stages debates across essays, creating dialogues that give different narrative accounts of what is historically and ideologically at stake in medium specificity and digital politics. Each part includes a substantive introduction by one of the editors.
Part 1 examines precursors, contemporary theorists, and artists who are protagonists in this discursive drama, focusing on how the transmedia frictions and continuities between old and new forms can be read most productively: N. Katherine Hayles and Lev Manovich redefine medium specificity, Edward Branigan and Yuri Tsivian explore nondigital precursors, Steve Anderson and Stephen Mamber assess contemporary archival histories, and Grahame Weinbren and Caroline Bassett defend the open-ended mobility of newly emergent media.
In part 2, trios of essays address various ideologies of the digital: John Hess and Patricia R. Zimmerman, Herman Gray, and David Wade Crane redraw contours of race, space, and the margins; Eric Gordon, Cristina Venegas, and John T. Caldwell unearth database cities, portable homelands, and virtual fieldwork; and Mark B.N. Hansen, Holly Willis, and Rafael Lozano-Hemmer and Guillermo Gómez-Peña examine interactive bodies transformed by shock, gender, and color.
An invaluable reference work in the field of visual media studies,
Transmedia Frictions provides sound historical perspective on the social and political aspects of the interactive digital arts, demonstrating that they are never neutral or innocent.
Inhaltsverzeichnis
Acknowledgments
Preface: Origins, Agents, and Alternative Archaeologies
PART I. MEDIUM SPECIFICITY AND PRODUCTIVE PRECURSORS
Medium Specificity and Productive Precursors: An Introduction
Marsha Kinder
Print Is Flat, Code Is Deep: The Importance of Media-Specific Analysis
N. Katherine Hayles
Postmedia Aesthetics
Lev Manovich
If–Then–Else: Memory and the Path Not Taken
Edward Branigan
Cyberspace and Its Precursors: Lintsbach, Warburg, Eisenstein
Yuri Tsivian
Past Indiscretions: Digital Archives and Recombinant History
Steve Anderson
Films Beget Digital Media
Stephen Mamber
Navigating the Ocean of Streams of Story
Grahame Weinbren
Is This Not a Screen? Notes on the Mobile Phone and Cinema
Caroline Bassett
PART II. DIGITAL POSSIBILITIES AND THE REIMAGINING OF POLITICS, PLACE, AND THE SELF
Digital Possibilities and the Reimagining of Politics, Place, and the Self: An Introduction
Tara Mc Pherson
Transnational/National Digital Imaginaries
John Hess and Patricia R. Zimmermann
Is (Cyber) Space the Place?
Herman Gray
Linkages: Political Topography and Networked Topology
David Wade Crane
The Database City: The Digital Possessive and Hollywood Boulevard
Eric Gordon
Cuba, Cyberculture, and the Exile Discourse
Cristina Venegas
Thinking Digitally/Acting Locally: Interactive Narrative, Neighborhood Soil, and La Cosecha Nuestra Community
John T. Caldwell
Video Installation Art as Uncanny Shock, or How Bruce Nauman’s Corridors Expand Sensory Life
Mark B. N. Hansen
Braingirls and Fleshmonsters
Holly Willis
Tech-illa Sunrise (.txt con Sangrita)
Rafael Lozano-Hemmer and Guillermo Gómez-Peña
Works Cited
Index
Über den Autor
Marsha Kinder is Emerita University Professor at University of Southern California's School of Cinematic Arts, where she was the founding director of the Labyrinth Project. Her books include Playing with Power in Movies, Television, and Video Games and Blood Cinema: The Reconstruction of National Identity in Spain.Tara Mc Pherson is Professor and the Hefner Endowed Chair of Censorship Studies in the University of Southern California's School of Cinematic Arts. She is author of Feminist in a Software Lab and Reconstructing Dixie, editor of Digital Youth, Innovation, and the Unexpected, and coeditor of Hop on Pop: The Politics and Pleasures of Popular Culture.
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