Expanded Internet Art is the first comprehensive art historical study of “expanded” internet art practices. Charting the rise of a multidisciplinary approach to online artistic practice in the past decade, the text discusses recent currents in contemporary artistic practice that parallel the explosion of the internet through advances such as social media, smart phones, and faster bandwidth. Internet art is no longer determined solely by its existence on the web; rather, contemporary artists are making more art about informational culture using various methods of both online and offline means. It asks how artists, such as Seth Price, Harm van den Dorpel, Kari Altmann, Artie Vierkant and Oliver Laric, create a critical language in response to the persuasive influence of informational capture on culture and expression, where the environment itself becomes reorganized to be more legible as information.
Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies. Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hard and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analysing or working with net art, particularly software-based processes. Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.
The historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts. The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the twentieth century. For a theoretical perspective on digital performance, Dixon draws on the work of Philip Auslander, Walter Benjamin, Roland Barthes, Jean Baudrillard, and others. To document and analyze contemporary digital performance practice, Dixon considers changes in the representation of the body, space, and time. He considers virtual bodies, avatars, and digital doubles, as well as performances by artists including Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast Theory, and Eduardo Kac. He investigates new media's novel approaches to creating theatrical spectacle, including virtual reality and robot performance work, telematic performances in which remote locations are linked in real time, Webcams, and online drama communities, and considers the "extratemporal" illusion created by some technological theater works. Finally, he defines categories of interactivity, from navigational to participatory and collaborative. Dixon challenges dominant theoretical approaches to digital performance—including what he calls postmodernism's denial of the new—and offers a series of boldly original arguments in their place.
Location-based games emerged in the early 2000s following the commercialisation of GPS and artistic experimentation with ‘locative media’ technologies. Location-based games are played in everyday public spaces using GPS and networked, mobile technologies to track their players’ location. This book traces the evolution of location-based gaming, from its emergence as a marginal practice to its recent popularisation through smartphone apps like Pokémon Go and its incorporation into ‘smart city’ strategies. Drawing on this history and an analysis of the scholarly and mainstream literature on location-based games, Leorke unpacks the key claims made about them. These claims position location-based games as alternately enriching or diminishing their players’ engagement with the people and places they encounter through the game. Through rich case studies and interviews with location-based game designers and players, Leorke tests out and challenges these celebratory and pessimistic discourses. He argues for a more grounded approach to researching location-based games and their impact on public space that reflects the ideologies, lived experiences, and institutional imperatives that circulate around their design and performance. By situating location-based games within broader debates about the role of play and digitisation in public life, Location-Based Gaming offers an original and timely account of location-based gaming and its growing prominence.
International child abduction is one of the most emotionally charged and fascinating areas of family law practice. The 1980 Hague Convention on the Civil Aspects of International Child Abduction was the response of the international community to the increase in the phenomenon of parental child abduction. However, behind the widely acclaimed success of this Convention - which has now been ratified by more than 90 states - lie personal tragedies, academic controversy and diplomatic tensions. The continuing steady flow of case-law from the various Member States has resulted in the emergence of different approaches to the interpretation of key concepts in the Convention. In addition, over the years other global and regional legal instruments and the recommendations of the Special Commissions have had an impact on the implementation of the Convention. This book brings together all these strands and provides an up-to-date, clear and highly readable discussion of the international operation of the Abduction Convention together with in-depth critical academic analysis in light of the objectives of the Convention and other relevant legal norms, such as the 1989 UN Convention on the Rights of the Child. Throughout the book, examples are brought from case law in many jurisdictions and reference is made to relevant legal and social science literature and empirical research. Over the past decade, increasing focus has been placed on what might be seen as procedural issues, such as separate representation for children, undertakings, judicial liaison and mediation. The book analyses the significance of these developments and the extent to which they can help resolve the continuing tension between some of the objectives of the Convention and the interests of individual children. This book will be essential reading for judges, practitioners, researchers, students, policy-makers and others who are seeking a critical and informed analysis of the latest developments in international abduction law and practice. From the Foreword by Brenda Hale, Justice of the Supreme Court of the United Kingdom 'This book is, as far as I am aware, the first scholarly monograph to study the interpretation and application of the Convention across the whole legal space which it occupies and to critically assess these in light of the object and purposes of the Convention and other relevant legal norms. Cases are drawn from many jurisdictions to discuss how different countries interpret the Convention and links are made with relevant statistical, social and psychological research in a thoughtful discussion of the significance of such material both to judicial decision-making and to policy development...a study which deserves to be read by anyone with an interest in the modern phenomenon of international child abduction, whether judge, practitioner, policy-maker, parent, researcher or scholar. There is plenty for us all to think about.'
An examination of how artists have combined performance and moving image for decades, anticipating our changing relation to images in the internet era. In Performing Image, Isobel Harbison examines how artists have combined performance and moving image in their work since the 1960s, and how this work anticipates our changing relations to images since the advent of smart phones and the spread of online prosumerism. Over this period, artists have used a variety of DIY modes of self-imaging and circulation—from home video to social media—suggesting how and why Western subjects might seek alternative platforms for self-expression and self-representation. In the course of her argument, Harbison offers close analyses of works by such artists as Robert Rauschenberg, Yvonne Rainer, Mark Leckey, Wu Tsang, and Martine Syms. Harbison argues that while we produce images, images also produce us—those that we take and share, those that we see and assimilate through mass media and social media, those that we encounter in museums and galleries. Although all the artists she examines express their relation to images uniquely, they also offer a vantage point on today's productive-consumptive image circuits in which billions of us are caught. This unregulated, all-encompassing image performativity, Harbison writes, puts us to work, for free, in the service of global corporate expansion. Harbison offers a three-part interpretive framework for understanding this new proximity to images as it is negotiated by these artworks, a detailed outline of a set of connected practices—and a declaration of the value of art in an economy of attention and a crisis of representation.
La neutralité de l’Internet requiert de garantir aux usagers un accès égal à tous les services et contenus en ligne. En pratique, la gestion du trafic oblige les opérateurs à différencier certains paquets d’information circulant sur les réseaux, par exemple pour lutter contre les messages indésirables. Parfois le traitement différencié des contenus engendre des discriminations non justifiées. Ainsi, en est-il si un opérateur en place dégrade un service concurrent de téléphonie sur Internet, tel que Skype. Le droit de la concurrence permet a priori de sanctionner un tel comportement anti-concurrentiel. Mais cela suffit-il à assurer la neutralité des réseaux ? Par ailleurs, l’augmentation rapide du trafic et l’ampleur des investissements à faire dans les infrastructures du futur incitent les opérateurs à limiter les débits de base, tout en garantissant la qualité de services spécialisés, par exemple de vidéoconférence. Cette différenciation des offres a un prix. On s’éloigne du principe originel de l’Internet qui veut que toutes les communications soient traitées de la même manière. Depuis quelques années, des académiques et pionniers de l’Internet dénoncent le risque d’un Internet « à plusieurs vitesses ». Aujourd’hui, les voix des consommateurs se font entendre. Faut-il adopter une législation spécifique ? Le cadre actuel des télécommunications en Europe suffit-il pour garantir la neutralité ? Mais d’abord, comment définir la neutralité de l’Internet ? Telles sont quelques-unes des questions que cet ouvrage examine à un moment où la neutralité de l’Internet revient dans l’actualité. En juin 2013, la Commission européenne a en effet affiché sa volonté de légiférer en la matière. Le présent recueil de contributions vient donc à point nommé. This book summarizes the state of discussions regarding net neutrality in Europe. It comes at the time the European Commission intends to legislate to guarantee the right of all citizens to access the open Internet. Net neutrality is not only about how to ensure the fundamental right to receive and impart online information. The rules on the protection of consumers, by fostering transparency, also contribute to Internet neutrality and openness. Similarly competition law prohibits anti-competitive discrimination, including in Internet communications. Net neutrality thus appears at the juncture of various areas of the law. The contributions of this book compare the merits of various forms of regulation and discuss the policy dimensions of the net neutrality debate.
Nach der Veröffentlichung des Dritten Energiepakets im EG-Amtsblatt stellt sich auf nationaler Ebene die Frage nach den Umsetzungsspielräumen, die die Dritte GasRL dem Gesetzgeber lässt. Angesichts des einschneidenden Charakters des Dritten Energiepaketes vor allem für die Verwirklichung eines EG-weiten Binnenmarktes für Gas kommt den Gesetzestexten in deutscher und englischer Sprache große Bedeutung zu.
