Computational Culture, a Journal of Software Studies, Issue One: A Billion Gadget Minds (2011)

12 March 2012, dusan

Computational Culture is an online open-access peer-reviewed journal of inter-disciplinary enquiry into the nature of cultural computational objects, practices, processes and structures.

“This first issue of Computational Culture is loosely based on the proceedings of a workshop held in Central London in October 2010. Entitled ‘A Billon Gadgets Minds: Thinking Widgets, Data and Workflow’, the aim of the workshop was: “To evaluate the ways in which contemporary hardware and software augment and distribute intelligence, as well as the ensemble of social relations which form around thinking practices as they synchronise, mesh, de-couple, breakdown and collapse with variable effects”.” (from Editorial)

With contributions by Michael Wheeler, Anna Munster, Ingmar Lippert, Luciana Parisi and Stamatia Portanova, Lev Manovich, Yuk Hui, Benedikte Zitouni, Michael Batty, Olga Goriunova, Jentery Sayers, M. Beatrice Fazi

Editorial group: Matthew Fuller, Andrew Goffey, Olga Goriunova, Graham Harwood, Adrian Mackenzie
Published in December 2011
Open access
ISSN 2047-2390


Journal of Neuro-Aesthetic Theory, No 1-5 (1997-2011)

19 October 2011, dusan

Journal of Neuro-Aesthetic Theory #5 (2007-11)
Neurobiopolitics, Pluripotentiality and Cognitive Capitalism, a work in progress…
View online (HTML articles)

Journal of Neuro-Aesthetic Theory #4 (2005-07)
Conference of Neuroaesthetics
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Journal of Neuro-Aesthetic Theory #3 (2003-04)
Buildings, Movies and Brains.
View online (HTML articles)

Journal of Neuro-Aesthetic Theory #2 (2000-02)
Cinema and the Brain
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Journal of Neuro-Aesthetic Theory #1 (1997-99)
Introduction to Neuro-Aesthetic Theory
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Contributors: Warren Neidich, Charles T. Wolfe, Andrew Patrizio, Philippe Rahm, Meena Alexander, Michael Madore, Martina Wicklein, Martina Siebert, Norman M. Klein, Michael Salcman, Nicholas Wade, Nicholas Chase, Nathalie Angles, Martha Trivizas, Nicola Diamond, Mark Cohen, Lev Manovich, Laura U. Marks, Lucy Steeds, Mark Bishop, Olafur Eliasson, Margarita Gluzberg, Marcos Novak, M. A. Greenstein, Marquard Smith, Paul D. Miller -DJ Spooky, Vivian Sobchack, W. H. Zangemeister, Thyrza Goodeve, Warren Sack, Zoe Beloff, Yann Beauvais, William Hirstein, Stuart Brisley, Peter Brugger, Ralph Greenspan, Penny Starfield, Kodwo Eshun, Sarat Maharaj, Scott Lash, Steven Holl, Karen Beckman, Colin Gardner, Conerly Casey, Christiane Paul, Chloe Vaitsou, Daniel Blaufuks, Diana Thater, Ken Jacobs, Dennis Balk, David J. McGonigle, Charlie Gere, Armen Avanessian, Arnold H. Modell, Anjan Chatterjee, Andreas Roepstorff, Barbara Marie Stafford, Brian Massumi, Bernard Andrieu, Beau Lotto, Elizabeth Cohen and Michael Talley, John Welchman, Janet Sternburg, Elizabeth S. CohenJonathan Green, Joseph Kosuth, Andrea Grunert, Juli Carson and Lindi Emoungu, Jules Davidoff, Isabelle Moffat, Israel Rosenfeld, Francois Bucher, Eric Duyckaerts, Ellen K. Levy and David E. Levy, gruppo A12 and Francisca Insulza, Gregg Lambert and Gregory Flaxman

Initiated by Warren Neidich

Irving Massey: The Neural Imagination: Aesthetic and Neuroscientific Approaches to the Arts (2009)

18 September 2010, dusan

“Art and technology have been converging rapidly in the past few years; an important example of this convergence is the alliance of neuroscience with aesthetics, which has produced the new field of neuroaesthetics.

Irving Massey examines this alliance, in large part to allay the fears of artists and audiences alike that brain science may “explain away” the arts. The first part of the book shows how neuroscience can enhance our understanding of certain features of art. The second part of the book illustrates a humanistic approach to the arts; it is written entirely without recourse to neuroscience, in order to show the differences in methodology between the two approaches. The humanistic style is marked particularly by immersion in the individual work and by evaluation, rather than by detachment in the search for generalizations. In the final section Massey argues that, despite these differences, once the reality of imagination is accepted neuroscience can be seen as the collaborator, not the inquisitor, of the arts.”

Publisher University of Texas Press, 2009
Cognitive Approaches to Literature and Culture series
ISBN 0292752792, 9780292752795
224 pages


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