Filed under wiki book | Tags: · archive, augmented reality, classification, collecting, cultural heritage, data, database, decolonization, interface, intersectionality, queer, software
“DiVersions experiments with online collections of cultural institutions as sites for decolonial and intersectional practice. Inspired by the way versioning functions in networked software tools, seven interactive media installations and this publication explore how online collections can accommodate radically different, and sometimes opposing perspectives.”
With contributions from: Rahel Aima, Anaïs Berck, Ž. Blaće, Cristina Cochior, Sarah Kaerts, Phil Langley, Marie Lécrivain, Nicolas Malevé, Elodie Mugrefya, Zoumana Meïté, Mia Melvær, Martino Morandi, Michael Murtaugh, Colm o’Neill, Kris Rutten, Amir Sarabadani, Femke Snelting, Saskia Willaert.
Edited by Constant (Elodie Mugrefya, Femke Snelting)
Publisher Constant, Brussels, October 2019
Free Art License 1.3
Filed under journal | Tags: · affect, augmented reality, digital art, interaction design, interactive media, interactivity, theory
“The aim of this special issue of the Fibreculture Journal is to address some of the contemporary challenges involved in working with affect across disciplines and practices that centre on the use of interactive- or digital technologies. The issue has a special focus on interaction design, interaction-based art and digital art.” (from Editorial)
With contributions by Adam Nash, Lone Bertelsen, Susan Kozel, Mark Gawne, Andrew Goodman and Erin Manning, and Sher Doruff and Andrew Murphie.
Issue Edited by Jonas Fritsch and Thomas Markussen
Publisher: Fibreculture Publications/The Open Humanities Press, Sydney, Australia, July 2012
ISSN: 1449 – 1443
Filed under augmented book | Tags: · augmented reality, commons, cultural politics, information aesthetics, innovation, intellectual property, mashup, reenactment, remix
The reinvention of the real through critical practices of remix, mash-up, re-contextualization, reenactment
Romaeuropa FakeFactory is an act of artistic and technological hacking, a platform for global discussion and a performance that, beginning in 2009, has dealt with the themes of active, critical and creative innovation, confronting the management of cultural and technological policies related to these areas. The story begins with the opening of the Romaeuropa WebFactory, a digital art competition launched in 2008 by the Romaeuropa Foundation (Fondazione Romaeuropa) and Telecom Italia. Oppressive copyright conditions, such as the unilateral transfer of the rights to the works submitted and a ban on the use of techniques like mashup, cutup, remix but conversely giving the Romaeuropa Foundation and Telecom Italia the right to remix the works, inspired the creation of a Fake capable of becoming a point for multi-disciplinary analysis of the possibilities offered by freely available knowledge, contents and resources: a chance to reverse the logic of the competition and bring to light the contradictions, limits and implications of such a typical, reactionary cultural policy.
“Remix the world! Reinvent Reality!” is one of the principal themes that has inspired the REFF, from an act of détournement and cybersquatting – that brought to life the creation of a remix skills competition determining in 2009 a reversal of the Romaeuropa Foundation and Telecom Italia’s policy on the management of intellectual property rights – to the presentation of REFF’s instances and methodologies to the Cultural Commission of the Italian Senate (Commissione Cultura del Senato della Repubblica Italiana), up to the current production of the REFF book, as a global effort to create a working business model that implements the concepts and demands expressed by the RomaEuropa FakeFactory. Supporters of the REFF are found all over the world: over 80 partners among universities, artists, academies, associations, hackers, researchers, designers, journalists, politicians, magazines, networks, activitst, art critics, architects, musicians and entrepreneurs together with all the people who share a belief that art, design and new technologies can unite towards a critical, yet positive vision of a world that can create new opportunities and new ways of being, collaborating and communicating.
English version to be published soon.
Foreword by: Bruce Sterling
Edited and produced by FakePress and Derive&Approdi
Licensed under Creative Commons Attribution-NonCommercial ShareAlike 2.5 Italy.