cecimoss + mediahistory   48

Rhizome | A Queer History of Computing
This is the first post in a series on the queer history of computing, as traced through the lives of five foundational figures. It is both an attempt to make visible those parts of a history that are often neglected, erased, or forgotten, and an effort to question the assumption that the technical and the sexual are so easily divided.
queer  mediahistory  technology  1950s  computing  computers 
february 2013 by cecimoss
Over the last 2-3 years, I have been collecting images and videos as an inspiration for my creative work as well as for the pleasure of sharing them. I was obsessed by video art and its different manifestations. That obsession motivated me to dig into its history as well as to develop my own style of video images. All the artists featured on this blog are my teachers, my guides, and in some ways I can say that they are my heroes. All these researches helped me to create my ongoing relationship with the moving/still images, and I feel that I'm now moving on to an unkown place. I might still post here again, but I will do so on a more random way, not on a regular basis. I am currently working on other blogs, and I'll post the links here eventually...

I want to say thank you for following me here, as well as for you great comment and encouragement. I met some very interesting people through this blog and I really hope we'll keep in touch, no matter how. 

Here is a compilation of some sources taken from this blog since its beginning; books and websites.
computeranimation  history  mediahistory  reference  links 
may 2012 by cecimoss
Inside Photoshop : Computational Culture
Contemporary media is experienced, created, edited, remixed, organized and shared with software. This software includes stand-alone professional media design and management applications such as Photoshop, Illustrator, Flash, Dreamweaver, Final Cut, After Effects, Aperture, and Maya; consumer-level apps such as iPhoto, iMovie, or Picassa; tools for sharing, commenting, and editing provided by social media sites such as Facebook, YouTube, Video, and Photobucket, and the numerous media viewing, editing and sharing apps available on mobile platforms. To understand media today we need to understand media software – its genealogy (where it comes from), its anatomy (interfaces and operations), and its practical and theoretical effects.1 How does media authoring software shape the media being created, making some design choices seem natural and easy to execute, while hiding other design possibilities? How does media viewing / managing / remixing software affect our experience of media and the actions we perform on it? How does software change what “media” is conceptually?

This article approaches some of these questions via the analysis of a software application that has become synonymous with “digital media” – Adobe Photoshop. Like other professional programs for media authoring and editing, Photoshop’s menus contain many dozens of separate commands. If we consider that almost all the commands contain multiple options that allow each command do a number of different things, the complete number runs into thousands.
photoshop  mediahistory  remediation  software  design  designhistory  interface 
december 2011 by cecimoss
CCS Bard | Cosineve and the Old Internet
In the 1990s, I was a frequent reader of Usenet, a collection of Internet discussion boards called newsgroups, whose history stretches back a decade before the emergence of the World Wide Web in 1991. Social phenomena that would later become part of the Web already existed in prior incarnations on Usenet: there were local city groups that functioned like Craigslist today, others devoted to file-sharing and tech tips, and many clustered around certain professions, hobbies and pop culture topics like music, television, and film. Usenet was a text-based phenomenon, like early email, direct dial-in bulletin boards, and IRC, the live chat protocol that likewise predates the Web; all of these structures were replicated in some form within the gated communities of contemporaneous commercial services like AOL, Prodigy and CompuServe. This loosely interconnected congeries of systems provided the linguistic biome where the peculiarly telegraphic cant of online culture first flourished and evolved into a new mode that operated between writing and speech; years before the Web, these were the places where colon-dash-parenthesis began to signify a smile or a frown, where “spam” and “troll” took on new meanings, and where users learned to type ROTFL and LOL while staring, physically impassive, at a screen.
internet  fiction  1990s  internetart  discussion  electronic  literature  socialmedia  mediahistory 
december 2011 by cecimoss
Coventry University Podcasts » Blog Archive » Zombie Media: Media Archaeology as Circuit Bending - Jussi Parikka
Reuse, remix, remediation, and various other inventions of the “re” are an emblematic part of contemporary digital culture. This talk gives an insight into how we can reimagine media archaeology as an artistic methodology of circuit bending and reinventing old media into new uses – something we refer to as “zombie” media instead of dead media. The talk addresses how the methodologies of reuse and opening up old technology can be seen as crucial artistic methodologies to address the political economy of closed consumer technologies – and how this links up with the ecological crisis of information waste. The talk is based on the text co-written by Garnet Hertz and Parikka, and nominated for the Transmediale 2011 Media Theory Award.
mediastudies  mediahistory  obsolescence  technology  mediatheory  art  mediaart  circuitbending  DIY  contemporaryart  mp3  podcast 
october 2011 by cecimoss
Dirty Matter « Machinology
In short, it’s continuums all the way down (and up again), soft to hard, hardware to signs. In software studies (see: David M. Berry, The Philosophy of Software. Code and Mediation in the Digital Age,  Palgrave Macmillan 2011, 95-96), the continuum from the symbol functions on higher levels of coding practices to voltage differences as a “lower hardware level” has been recognized: assembly language needs to be compiled, binary is what the computer “reads”, and yet such binaries take effect only through transistors; and if we really want to be hardcore, we just insist that in the end, it comes back to voltage differences (Kittler’s famous “There is no Software”-text and argument). Such is the methodology of “descent” that Foucault introduced as genealogy, but German media theory takes as a call to open up the machine physically and methodologically to its physics – and which leads into a range of artistic methodologies too, from computer forensics to data carvery...
mediahistory  theory  media  materiality 
august 2011 by cecimoss
CABINET // Underworld: An Interview with Rosalind Williams
Whether existing or imagined, a truly subterranean space is not only closed but also has an element of verticality. It is the combination of the two that gives the image of the underworld its unique power as a model of the technological environment. If we go or imagine going underground, we enter an environment where organic nature is largely absent, but we also retrace a journey that is one of the most enduring and powerful cultural traditions of humankind: a metaphorical journey of discovery through descent below the surface. Even in places that lack caves, such as the Kalahari Desert and the flat landscapes of Siberia, the preliterate inhabitants assumed a vertical cosmos. Nature was assumed to be as deep as it was high. Narratives about journeys to the world below were inherently sacred. So the significance of the underworld isn’t just as an image of a "manufactured environment." It is also significant for the kinds of stories people tell about it.
theory  culture  interview  history  architecture  underground  fiction  mediahistory 
august 2011 by cecimoss
Confessions of an Aca/Fan: Archives: Back to School Special: Syllabus for Science Fiction AS Media Theory
This class explores the ways that science fiction--sometimes known as speculative fiction--has historically functioned as a form of vernacular theory about media technologies, practices, and institutions. As recent writings about "design fictions" illustrate, these speculations have in turn inspired the developers and of new technologies as well as those who create content for such platforms, helping to frame our expectations about the nature of media change. And, increasingly, media theorists--raised in a culture where science fiction has been a pervasive influence--are drawing on its metaphors as they speculate about virtual worlds, cyborg feminism, post-humanism, and afro-futurism, among a range of other topics.
scifi  syllabus  fiction  mediastudies  mediatheory  mediahistory  posthuman  virtualreality 
august 2011 by cecimoss
The Physicist of Media Theory – Friedrich Kittler’s Optical Media « Machinology
His media theory is not about the media as interpreted, consumed and produced by creative industries, digital humanists, or such, but about the long genealogies of science, engineering and the qualities of matter that allow the event of media to take place. Media is displaced from McLuhanite considerations to “where it is most at home: the field of physics in general and telecommunications in particular.” Kittler is the physicist of media theory.
Optical Media is in that sense reader-friendly (if Kittler ever is) that it takes as its clear methodological point of departure Shannon’s communication theory. Slightly anachronistically Kittler transposes this as a model to understand media history. How coding, channeling and decoding takes places in material channels that are surrounded by noise.
review  media  mediatheory  optical  kittler  research  book  mediahistory 
august 2011 by cecimoss
U B U W E B - Film & Video: Anthony McCall - Conversions (1971)
Three male voices dissect one edition of the New York Times through a series of locked-off shots, revealing the prejudice and latent content of news and advertisements, reading images as texts and presenting text as an image. Fashion photographs are used as a starting point for a political investigation of news, advertising, and images of masculinity - while at the same time, the filmmakers reflect on their own position and the possibility of radical film practice.
art  media  mediahistory  criticism  film  news 
june 2009 by cecimoss
EMST e-critures
new exhibition, mo is in this one:
In e-critures, we have selected five key net works by the pioneering artists Mark Amerika, Yael Kanarek, Olia Lialina, Marisa Olson & Abe Linkoln and Young-Hae Chang Heavy Industries, who already occupy a prominent position in the short history of net art, which dates from the mid-1990s. Our goal is to outline, in a concise way, experimental storytelling forms in a non-linear, hyper linked virtual environment, and new narratives, most of them of interactive character, where speech/text, sound/music, photography, drawing, animated graphics, Flash digital techniques, coexist. Multiple hybrid formations cross with a rich intertextuality, representational narratives with textual ones, various traditional prose genres – novel, epistolary, diary – with today’s blogs. A new, digital literature, which we are invited to explore in the unique space delineated by the computer screen.
exhibition  netart  art  history  mediahistory  narrative 
october 2008 by cecimoss
The Living Room Candidate
The Living Room Candidate contains more than 300 commercials, from every presidential election since 1952....In a media-saturated environment in which news, opinions, and entertainment surround us all day on our television sets, computers, and cell phones, the television commercial remains the one area where presidential candidates have complete control over their images. Television commercials use all the tools of fiction filmmaking, including script, visuals, editing, and performance, to distill a candidate's major campaign themes into a few powerful images. Ads elicit emotional reactions, inspiring support for a candidate or raising doubts about his opponent. While commercials reflect the styles and techniques of the times in which they were made, the fundamental strategies and messages have tended to remain the same over the years.
video  advertising  politics  election  culture  media  television  tv  history  mediahistory 
october 2008 by cecimoss
Rosa Barba
termed "glitch cinema"- film installations...
film  media  mediahistory  mediaart  portfolio  artist  installation 
april 2008 by cecimoss
Interview with Marisa Olson - we make money not art
Marisa, you are a genius! Can't wait to see Martha Stewart Assisted Living...
interview  artist  mediaart  mediahistory  internet  performance  video  technology  art 
march 2008 by cecimoss
YouTube - thunderbird1958's Channel
via MBS. over a thousand youtube videos of records playing...artwork in it of itself...
nostalgia  media  mediahistory  records  vinyl  audio  musichistory 
february 2008 by cecimoss
Paul Hegarty- the Hallucinatory Life of Tape
article by paul hegarty, "I wish to expand on the idea that tape has its own narrative, its own way of structuring narrative, that is intimately caught up with not so much the economic materiality of its production, but the materiality of its form. This
tape  theory  cassette  musichistory  sound  soundresource  mediahistory 
january 2008 by cecimoss

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