Rose Goldsen Archive of New Media Art
"Named after the pioneering critic of the commercialization of mass media, the late Professor Rose Goldsen of Cornell University, the Archive was founded in 2002 by Timothy Murray to house international art work produced on CD-Rom, DVD-Rom, video, digital interfaces, and the internet. Its collection of supporting materials includes unpublished manuscripts and designs, catalogues, monographs, and resource guides to new media art.
Emphasizing multimedia artworks that reflect digital extensions of twentieth-century developments in cinema, video, installation, photography, and sound, holdings include extensive special collections in American and Chinese new media arts, significant online and offline holdings in internet art, and the majority of works in the international exhibition, Contact Zones: The Art of CD-Rom. A novel research archive of international significance, the collection complements the holdings in the Division of Rare and Manuscript Collections of illuminated manuscripts and the early modern printed book, and adds to the breadth of its important collections in human sexuality, Asian Studies, and Media, Film, and Music."
(Cornell University Library)
CONTRIBUTOR
Simon PerkinsSHARE
Audience Research: Reception Analysis
"Despite the (implicit) nominal link to the work on what is also called 'Reception Theory', within the field of literary studies, carried out by Wolfgang Iser, Hans Jauss and other literary scholars (particular in Germany), the body of recent work on media audiences commonly referred to by this name, has on the whole, a different origin, although there are some theoretical links (cf., the work of Stanley Fish) than the work in literary theory. In practice, the term 'reception analysis', has come to be widely used as a way of characterising the wave of audience research which occurred within communications and cultural studies during the 1980s and 1990s. On the whole, this work has adopted a 'culturalist' perspective, has tended to use qualitative (and often ethnographic) methods of research and has tended to be concerned, one way or another, with exploring the active choices, uses and interpretations made of media materials, by their consumers.
As indicated in the previous discussion of 'The Media Audience', the single most important point of origin for this work, lies with the development of cultural studies in the writings of Stuart Hall at the Centre for Contemporary Cultural Studies at the University of Birmingham, England, in the early 1970s and, in particular, Hall's widely influential 'encoding/decoding' model of communications (see the discussion of 'The Media Audience' for an explanation of this model). Hall's model provided the inspiration, and much of the conceptual framework for a number of C.C.C.S' explorations of the process of media consumption, notably David Morley's widely cited study of the cultural patterning of differential interpretations of media messages among The 'Nationwide' Audience and Dorothy Hobson's work on women viewers of the soap opera Crossroads. These works were the forerunners of a blossoming of cultural studies work focusing on the media audience, throughout the 1980s and 1990s, including, among the most influential, from a feminist point of view, the work of Tania Modleski and Janice Radway on women consumers of soap opera and romance, and the work of Ien Ang, Tamar Liebes and Elihu Katz, Kim Schroder and Jostein Gripsrud on international cross cultural consumption of American drama series, such as Dallas and Dynasty.
Much of this work has been effectively summarised and popularised, especially, in the United States by John Fiske, who has drawn on the theoretical work of Michel de Certeau to develop a particular emphasis on the 'active audience', operating within what he terms the 'semiotic democracy' of postmodern pluralistic culture. Fiske's work has subsequently been the object of some critique, in which a number of authors, among them Budd, Condit, Evans, Gripsrud, and Seamann have argued that the emphasis on the openness (or 'polysemy') of the message and on the activity (and the implied 'empowerment') of the audience, within reception analysis, has been taken too far, to the extent that the original issue--of the extent of media power--has been lost sight of, as if the 'text' had been theoretically 'dissolved' into the audience's (supposedly) multiple 'readings' of (and 'resistances' to) it.
In the late 1980s, there were a number of calls to scholars to recognise a possible 'convergence' of previously disparate approaches under the general banner of 'reception analysis' (cf. in particular, Jensen and Rosengren), while Blumler et al. have claimed that the work of a scholar such as Radway is little more than a 're-invention' of the 'uses and gratifications' tradition--a claim hotly contested by Schroder. More recently, both Curran and Corner have offered substantial critiques of 'reception analysis'--the former accusing many reception analysts of ignorance of the earlier traditions of media audience research, and the latter accusing them of retreating away from important issues of macro-politics and power into inconsequential micro-ethnographies of domestic television consumption. For a reply to these criticisms, see Morley, 1992."
(David Morley, The Museum of Broadcast Communications)
CONTRIBUTOR
Simon PerkinsSHARE
Open Space: non-profit artist-run centre in Victoria, British Columbia
"Founded in September 1972, Open Space is non-profit artist-run centre located in Victoria, British Columbia. For over thirty years, Open Space has supported professional artists who utilize hybrid and experimental approaches to media, art, music, and performance. As an exhibition and performance centre, Open Space reflects the wide diversity of contemporary art practices in Victoria, across Canada, and beyond. Our commitment to contemporary artists is an inclusive situation, embracing work by artists of different disciplines, media, generations, cultures, and communities.
Open Space supports experimental artistic practices in all contemporary arts disciplines, acting as a laboratory for engaging art, artists, and audiences."
(Open Space Arts Society Vision Statement, 2010)
Fig.1 "Video as a Cultural Metaphor" Artist: Chris Creighton-Kelly, Date: March 9 and 10, 1979.
CONTRIBUTOR
Simon PerkinsSHARE
Marshall McLuhan debates his ideas on Australian TV in 1977
"In June 1977 Marshall McLuhan visited Australia and was a guest on Monday Conference, a popular live ABC television show hosted by Robert Moore. McLuhan debated his ideas with Moore and took questions from a feisty studio audience made up of members of the media and advertising industry, including TV boss Bruce Gyngell (see Part One at 14 mins), and young, funky Derryn Hinch (see Part Two from 3 mins).
McLuhan had been brought to Australia to address a broadcasting conference organised by Sydney radio station 2SM, and the Monday Conference was broadcast from the ballroom of the Sydney Hilton Hotel.
Many in the audience clearly admired McLuhan who has well into his prime and at ease with the live television situation. The discussion covered an eclectic range of topics, from television, privacy and Richard Nixon to holograms, transcendental meditation, Jane Austen, Euclidean geometry, denim jeans and nude streaking.
Towards the end of the program the always unpredictable McLuhan can be heard just off-mic, saying to Moore, 'I'm terribly sorry, but I'm going to have to sneak off and have a pee!'."
(ABC Radio National, Australia)
Fig.1,2&3 Marshall Mcluhan, lecture recorded by ABC Radio National Network on 27 June 1977 in Australia.
CONTRIBUTOR
Simon PerkinsSHARE
Australian Aboriginal On-line Television: short-form original content
"Australian Aboriginal On-line Television aims to be one of the world's best video sites. We specialize in short-form original content - from new, emerging talents. We're committed to delivering an exceptional entertainment experience and we do so by engaging and empowering our audience every step of the way.
Everyone can Watch Videos on Australian Aboriginal On-line Television. By uploading your video people will be able to see first-hand accounts of current events, find videos about their hobbies and interests, and discover the quirky and unusual. As more people capture special moments on video, Australian Aboriginal On-line Television is empowering them to become the broadcasters of tomorrow.
Australian Aboriginal On-line Television is not only a video sharing website but also has social network features, you can make friends, and send them videos and private messages. Australian Aboriginal On-line Television also has built in rating system and comment system so that people can discuss on their interested videos, not only comment but also, people can rate Comments."
(Australian Aboriginal On-line Television)
Fig.1 "Australia's Natural Heritage", Oski Pictures Australia (http://www.oskipictures.com/).
CONTRIBUTOR
Simon PerkinsSHARE
