"Where sociologists differ from many other social researchers in researching digital media is their awareness that digital data, like any other type of data, are socially created and have a social life, a vitality, of their own. They are not the neutral products of automatic calculation, but represent deliberate decisions by those who formulate the computer algorithms that collect and manipulate these data (boyd and Crawford 2012; Cheney-Lippold 2011; Ruppert et al. 2013). The data that these devices and software produce structure our concepts of identity, embodiment, relationships, our choices and preferences and even our access to services or spaces. Without the knowledge of digital technology users, algorithms measure and sort them, deciding what choices they may be offered (Beer 2009, 2013a). Algorithms and other elements of software, therefore, are generative, a productive form of power (Lash 2007)."
(Deborah Lupton, 2013, p.4)
Deborah Lupton 'Digital Sociology: Beyond the Digital to the Sociological', Paper presented at The Australian Sociological Association 2013 Conference, Monash University, 27 November 2013.
"It would seem, then, that all mediation is remediation. We are not claiming this as an a priori truth, but rather arguing that at this extended historical moment, all current media function as remediators and that remediation offer us a means of interpreting the work of earlier media as well. Our culture conceives of each medium or constellation of media as it responds to, redeploys, competes with, and reforms other media. In the first instance, we may think of something like a historical progression, of newer media remediating older ones and in particular of digital media remediating their predecessors. But ours is a genealogy of affiliations, not a linear history, and in this genealogy, older media can also remediate newer ones. Television can and does refashion itself to resemble the World Wide Web [p.189], and film can and does incorporate and attempt to contain computer graphics within its own linear form. [p.153] No medium, it seems, can now function independently and establish its own separate and purified space of cultural meaning."
(David Bolter and Richard Grusin, 55.p, 2000)
David Bolter and Richard Grusin (2000). Mediation and Remediation. "Remediation: Understanding New Media", The MIT Press.
Exhibition: Digital Revolution at The Barbican Centre, London from 3rd July – 14th September 2014.
"Digital Revolution is the most comprehensive presentation of digital creativity ever to be staged in the UK. This immersive and interactive exhibition brings together for the first time a range of artists, filmmakers, architects, designers, musicians and game developers, all pushing the boundaries of their fields using digital media. It also looks at the dynamic developments in the areas of creative coding and DIY culture and the exciting creative possibilities offered by augmented reality, artificial intelligence, wearable technologies and 3–D printing.
Contribute to new commissions including Google's DevArt, an installation by global music artist and entrepreneur will.i.am and artist Yuri Suzuki and works by artists Umbrellium, Universal Everything, Seeper and Susan Kare (Mac Paint designer). Experience Oscar–winning visual effects behind Christopher Nolan's Inception and Tim Webber's Gravity, or go back in time to play classic videogames like Pacman and Space Invaders."
Chris Milk The Treachery of Sanctuary, 2012 The Creators Project, a partnership with Intel and VICE photography by Bryan Derballa.
Friday 31st January 2014 at the London Knowledge Lab: Presentations 1:30–2:30; Demos 2:30–3:30; Discussion and debate: 3:30–4:30.
"Digital media is now ubiquitous and embedded all around us even when we are not connected via our range of devices, so its no surprise that the government sees the creative industries as a priority area for growth. One factor key to its success is that of the so–called 'Fusion Skills': mixes of creative media, STEM and enterprise. The fusion of these three elements is an increasing demand from industry voices and seen as an answer to new digital innovation. In 2012, The Creative Industries Council (that reports to two ministers of state) called Fusion 'the new skills imperative' and one of eight challenges that need to be addressed in order to unlock growth. This 'what the research says' event attempts to unpack and explore Fusion in theory and practice, hearing from industry and educators. It's said that Higher Education faculty and discipline silos necessitate against fusion learning and teaching. ...
How do we co–opt students who are resistant to such abstract ideas, preferring outdated career caricatures from sources of variable quality? Where should interventions be– secondary school? Postgraduate? Is there hard evidence that Fusion skills are needed?"
(London Knowledge Lab)
"Many critics see the electronic age as heralding the end of books. I think this view is mistaken. Books are far too robust, reliable, long–lived, and versatile to be rendered obsolete by digital media. Rather, digital media have given us an opportunity we have not had for the last several hundred years: the chance to see print with new eyes and, with that chance, the possibility of understanding how deeply literary theory and criticism have been imbued with assumptions specific to print. As we continue to work toward critical practices and theories appropriate for electronic literature, we may come to renewed appreciation for the specificity of print. In the tangled web of medial ecology, change anywhere in the system stimulates change everywhere in the system. Books are not going the way of the dinosaur but the way of the human, changing as we change, mutating and evolving in ways that will continue, as a book lover said long ago, to teach and delight."
(Katherine Hayles, 2004)
Katherine Hayles (2004). "Print is Flat, Code is Deep: The Importance of Media–Specific Analysis" Poetics Today, Volume 25, Number 1, Spring 2004, pp. 67–90.