Nathaniel Stern's 'Interactive Art and Embodiment' defies the world of interactive art and new media from the perspective of the body and identity. It presents the ongoing and emergent processes of embodiment in art and includes immersive descriptions of interactive artworks.

Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of today’s digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists. Showcases the critical and theoretical approaches in this fast-moving discipline Explores the history and evolution of digital art; its aesthetics and politics; as well as its often turbulent relationships with established institutions Provides a platform for the most influential voices shaping the current discourse surrounding digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists Tackles digital art’s primary practical challenges – how to present, document, and preserve pieces that could be erased forever by rapidly accelerating technological obsolescence Up-to-date, forward-looking, and critically reflective, this authoritative new collection is informed throughout by a deep appreciation of the technical intricacies of digital art

Liveness is a pivotal issue for performance theorists and artists. As live art covers both embodiment and disembodiment, many scholars have emphasized the former and interpreted the latter as the opposite side of liveness. In this book, the author demonstrates that disembodiment is also an inextricable part of liveness and presence in performance from both practical and theoretical perspectives. By applying phenomenological theory to live performance, the author investigates the possible realisation of aesthetic dynamics in live art via re-engagement with the notions of embodiment, especially in the sense provided by philosophers such as Gabriel Marcel and Morris Merleau-Ponty. Creative practices from leading performance artists such as Franko B, Ron Athey, Manuel Vason and others, as well as experimental ensembles such as Goat Island, La Pocha Nostra, Forced Entertainment and the New Youth are discussed, offering a new perspective to re-frame human-human relationships such as the one between actor and spectator and collaborations in live genres In addition, the author presents a new interpretation model for the human-material in live genres, helping to bridge the aesthetic gaps between performance art and experimental theatre and providing an ecological paradigm for performance art, experimental theatre and live art.

This book is about the digital interface and its use in interactive new media art installations. It examines the aesthetic aspects of the interface through a theoretical exploration of new media artists, who create, and tactically deploy, digital interfaces in their work in order to question the socio-cultural stakes of a technology that shapes and reshapes relationships between humans and non-humans. In this way, it shows how use of the digital interface provides us with a critical framework for understanding our relationship with technology.

Alongside the Arab Spring, the 'Occupy' anti-capitalist movements in the West, and the events on the Maidan in Kiev, Russia has had its own protest movements, notably the political protests of 2011–12. As elsewhere in the world, these protests had unlikely origins, in Russia’s case spearheaded by the 'creative class'. This book examines the protest movements in Russia. It discusses the artistic traditions from which the movements arose; explores the media, including the internet, film, novels, and fashion, through which the protesters have expressed themselves; and considers the outcome of the movements, including the new forms of nationalism, intellectualism, and feminism put forward. Overall, the book shows how the Russian protest movements have suggested new directions for Russian – and global – politics.

The chapters in this volume reflect the debates that progressed during the 4th Global Conference on Visions of Humanity in Cyberculture, Cyberspace and Science Fiction, held as a part of Cyber Hub activity in the frames of the ID.net Critical Issues research in Oxford, United Kingdom in July 2009.

This three volume set of LNCS 12207, 12208 and 12209 constitutes the refereed proceedings of the 6th International Conference on Human Aspects of IT for the Aged Population, ITAP 2020, held as part of the 22nd International Conference, HCI International 2020, which took place in Copenhagen, Denmark, in July 2020. The conference was held virtually due to the COVID-19 pandemic. The total of 1439 papers and 238 posters have been accepted for publication in the HCII 2020 proceedings from a total of 6326 submissions. ITAP 2020 includes a total of 104 regular papers which are organized in topical sections named: Involving Older Adults in HCI Methodology , User Experience and Aging, Aging and Mobile and Wearable Devices, Health and Rehabilitation Technologies, Well-being, Persuasion, Health Education and Cognitive Support, Aging in Place, Cultural and Entertainment Experiences for Older Adults, Aging and Social Media, Technology Acceptance and Societal Impact.

The remarkable story of seven contemporary Russian-language poets whose experimental work anchors a thriving dissident artistic movement opposed to both Putin’s regime and Western liberalism. What does leftist art look like in the wake of state socialism? In recent years, Russian-language avant-garde poetry has been seeking the answers to this question. Marijeta Bozovic follows a constellation of poets at the center of a contemporary literary movement that is bringing radical art out of the Soviet shadow: Kirill Medvedev, Pavel Arseniev, Aleksandr Skidan, Dmitry Golynko, Roman Osminkin, Keti Chukhrov, and Galina Rymbu. While their formal experiments range widely, all share a commitment to explicitly political poetry. Each one, in turn, has become a hub in a growing new-left network across the former Second World. Joined together by their work with the Saint Petersburg–based journal [Translit], this circle has staunchly resisted the Putin regime and its mobilization of Soviet nostalgia. At the same time, the poets of Avant-Garde Post– reject Western discourse about the false promises of leftist utopianism and the superiority of the liberal world. In opposing both narratives, they draw on the legacies of historical Russian and Soviet avant-gardes as well as on an international canon of Marxist art and theory. They are also intimately connected with other artists, intellectuals, and activists around the world, collectively restoring leftist political poetry to global prominence. The avant-garde, Bozovic shows, is not a relic of the Soviet past. It is a recurrent pulse in Russophone—as well as global—literature and art. Charged by that pulse, today’s new left is reimagining class-based critique. Theirs is an ongoing, defiant effort to imagine a socialist future that is at once global and egalitarian.

In The Future of Art in a Postdigital Age, artist and educator Mel Alexenberg offers a vision of a postdigital future that reveals a paradigm shift from the Hellenistic to the Hebraic roots of Western culture. He ventures beyond the digital to explore postdigital perspectives rising from creative encounters among art, science, technology and human consciousness. The interrelationships between these perspectives demonstrate the confluence between postdigital art and the dynamic, Jewish structure of consciousness. Alexenberg’s pioneering artwork – a fusion of spiritual and technological realms – exemplifies the theoretical thesis of this investigation into interactive and collaborative forms that imaginatively envisages the vast potential of art in a postdigital future.