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New Media and Digital Humanities

New Media and Digital Humanities

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A Cultural Study of Video Game Afterlife

We purchase video games to play them, not to save them. What happens to video games when they are out of date, broken, nonfunctional, or obsolete? Should a game be considered an “ex-game” if it exists only as emulation, as an artifact in museum displays, in an archival box, or at the bottom of a landfill? In Game After, Raiford Guins focuses on video games not as hermetically sealed within time capsules of the past but on their material remains: how and where video games persist in the present.

In this challenging but exhilarating work, Sha Xin Wei argues for an approach to materiality inspired by continuous mathematics and process philosophy. Investigating the implications of such an approach to media and matter in the concrete setting of installation- or event-based art and technology, Sha maps a genealogy of topological media—that is, of an articulation of continuous matter that relinquishes a priori objects, subjects, and egos and yet constitutes value and novelty.

An Approach to Imagination, Computation, and Expression

In Phantasmal Media, D. Fox Harrell considers the expressive power of computational media. He argues, forcefully and persuasively, that the great expressive potential of computational media comes from the ability to construct and reveal phantasms—blends of cultural ideas and sensory imagination. These ubiquitous and often-unseen phantasms—cognitive phenomena that include sense of self, metaphors, social categories, narrative, and poetic thinking—influence almost all our everyday experiences.

Production, Consumption, and Design Interventions

With many new forms of digital media–including such popular social media as Facebook, Twitter, and Flickr—the people formerly known as the audience no longer only consume but also produce and even design media. Jonas Löwgren and Bo Reimer term this phenomenon collaborative media, and in this book they investigate the qualities and characteristics of these forms of media in terms of what they enable people to do.

Media Art Histories

In Relive, leading historians of the media arts grapple with this dilemma: how can we speak of “new media” and at the same time write the histories of these arts? These scholars and practitioners redefine the nature of the field, focusing on the materials of history—the materials through which the past is mediated. Drawing on the tools of media archaeology and the history and philosophy of media, they propose a new materialist media art history.

Tweens in a Virtual World

Millions of children visit virtual worlds every day. In such virtual play spaces as Habbo Hotel, Toontown, and Whyville, kids chat with friends from school, meet new people, construct avatars, and earn and spend virtual currency. In Connected Play, Yasmin Kafai and Deborah Fields investigate what happens when kids play in virtual worlds, how this matters for their offline lives, and what this means for the design of educational opportunities in digital worlds.

Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike.

The Codex and the Computer as Self-Reflexive Machines

In Scripting Reading Motions, Manuel Portela explores the expressive use of book forms and programmable media in experimental works of both print and electronic literature and finds a self-conscious play with the dynamics of reading and writing. Portela examines a series of print and digital works by Johanna Drucker, Mark Z. Danielewski, Rui Torres, Jim Andrews, and others, for the insights they yield about the semiotic and interpretive actions through which readers produce meaning when interacting with codes.

Thanks to advances in molecular science and microscopy, we can visualize matter on a nanoscale, and structures not visible to the naked eye can be visualized and characterized. The fact that technology allows us to transcend the limits of natural perception and see what was previously unseeable creates a new dimension of aesthetic experience and practice: molecular aesthetics. This book, drawing on an exhibit and symposium at ZKM | Center for Art and Media Karlsruhe, documents aesthetic developments in what Félix Guattari called the “molecular revolution.”
    

Digital Philosophy and Choreographic Thoughts

Digital technologies offer the possibility of capturing, storing, and manipulating movement, abstracting it from the body and transforming it into numerical information. In Moving without a Body, Stamatia Portanova considers what really happens when the physicality of movement is translated into a numerical code by a technological system.

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