Unsitely Aesthetics

Surface Tension Supplement No. 6
Unsitely Aesthetics: Uncertain Practices in Contemporary Art

Edited and with text by Maria Miranda.

Unsitely Aesthetics seeks to address the unconventional ways in which contemporary art is made and engaged with across the vastly expanded networks of new media culture, arguing–counterintuitively–that network culture not only embodies its own version of “situatedness” but can also lead to the creation of a more democratic art, with the Internet acting as a far broader public space than the traditional site-specificity of old, a space in which artists can encounter and perhaps even engender new publics for their work. The book aims to theorize current dynamics in media and sound art practice, and includes interviews and conversations with Barbara Campbell, Linda Carroli, Hugh Davies, Bec Dean, Renate Ferro, John Craig Freeman, Jo-Anne Green, Teri Hoskin, Lucas Ihlein, Yao Jui-Chung, kanarinka (a.k.a. Catherine D’Ignazio), Scott Kildall, Deborah Kelly, Natalie Loveless, Michael Takeo Magruder, Timothy Conway Murray, Norie Neumark, Victoria Scott, Brooke Singer, Igor Štromajer, Helen Thorington and Darren Tofts.


Ballettikka Internettikka @ unsitelyaesthetics.com

Publisher: Errant Bodies Press, Berlin
Spring 2013
Pages: 292
ISBN-13: 9780982743980

Igor Štromajer interviewed by Dr Norie Neumark.

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Unsitely Aesthetics

@juspar[1] and now quoting Galloway[2]: “Code is the only language that is executable”. Does what it says. #code #chun[3] #netpol1010[4]

@juspar[1] and now quoting Galloway[2]: “Code is the only language that is executable”. Does what it says. #code #chun[3] #netpol1010[4]

by Igor Štromajer (ISEA2011 panel: Voicing Electronic Arts)


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Vocal Aesthetics in Digital Arts and Media

Edited by Norie Neumark, Ross Gibson and Theo Van Leeuwen
The MIT Press, U.S.A.

Voice has returned to both theoretical and artistic agendas. In the digital era, techniques and technologies of voice have provoked insistent questioning of the distinction between the human voice and the voice of the machine, between genuine and synthetic affect, between the uniqueness of an individual voice and the social and cultural forces that shape it. This volume offers interdisciplinary perspectives on these topics from history, philosophy, cultural theory, film, dance, poetry, media arts, and computer games. Many chapters demonstrate Lewis Mumford’s idea of the “cultural preparation” that precedes technological innovation—that socially important new technologies are foreshadowed in philosophy, the arts, and everyday pastimes.

Chapters cover such technologies as voice mail, podcasting, and digital approximations of the human voice. A number of authors explore the performance, performativity, and authenticity (or ‘authenticity effect’) of voice in dance, poetry, film, and media arts; while others examine more immaterial concerns—the voice’s often-invoked magical powers, the ghostliness of disembodied voices, and posthuman vocalization. The chapters evoke an often paradoxical reassertion of the human in the use of voice in mainstream media including recorded music, films, and computer games.

Norie Neumark analyzes and writes about the Oppera Teorettikka Internettikka by Igor Štromajer.

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