Transmedia Frictions: The Digital, the Arts, and the HumanitiesMarsha Kinder, Tara McPherson Editors Marsha Kinder and Tara McPherson present an authoritative collection of essays on the continuing debates over medium specificity and the politics of the digital arts. Comparing the term “transmedia” with “transnational,” they show that the movement beyond specific media or nations does not invalidate those entities but makes us look more closely at the cultural specificity of each combination. In two parts, the book stages debates across essays, creating dialogues that give different narrative accounts of what is historically and ideologically at stake in medium specificity and digital politics. Each part includes a substantive introduction by one of the editors. Part 1 examines precursors, contemporary theorists, and artists who are protagonists in this discursive drama, focusing on how the transmedia frictions and continuities between old and new forms can be read most productively: N. Katherine Hayles and Lev Manovich redefine medium specificity, Edward Branigan and Yuri Tsivian explore nondigital precursors, Steve Anderson and Stephen Mamber assess contemporary archival histories, and Grahame Weinbren and Caroline Bassett defend the open-ended mobility of newly emergent media. In part 2, trios of essays address various ideologies of the digital: John Hess and Patricia R. Zimmerman, Herman Gray, and David Wade Crane redraw contours of race, space, and the margins; Eric Gordon, Cristina Venegas, and John T. Caldwell unearth database cities, portable homelands, and virtual fieldwork; and Mark B.N. Hansen, Holly Willis, and Rafael Lozano-Hemmer and Guillermo Gómez-Peña examine interactive bodies transformed by shock, gender, and color. An invaluable reference work in the field of visual media studies, Transmedia Frictions provides sound historical perspective on the social and political aspects of the interactive digital arts, demonstrating that they are never neutral or innocent. |
Contents
The Importance of MediaSpecific | 20 |
Postmedia Aesthetics | 34 |
Lintsbach Warburg Eisenstein | 80 |
Digital Archives and Recombinant History | 100 |
Films Beget Digital Media | 115 |
Navigating the Ocean of Streams of Story | 126 |
Is This Not a Screen? Notes on the Mobile Phone and Cinema | 147 |
AND THE SELF | 161 |
Political Topography and Networked Topology | 211 |
The Digital Possessive and Hollywood | 236 |
Cuba Cyberculture and the Exile Discourse | 259 |
Interactive Narrative | 272 |
Video Installation Art as Uncanny Shock or How Bruce Naumans | 291 |
Braingirls and Fleshmonsters | 316 |
Techilla Sunrise txt con Sangrita | 330 |
| 373 | |
Other editions - View all
Transmedia Frictions: The Digital, the Arts, and the Humanities Marsha Kinder,Tara McPherson Limited preview - 2014 |
Transmedia Frictions: The Digital, the Arts, and the Humanities Marsha Kinder,Tara McPherson Limited preview - 2014 |
Common terms and phrases
aesthetic analog archive argues articulations artists become body Branigan Bruce Nauman California CD-ROM cognitive concept context Cosecha create critical Cuba Cuban cultural politics cyberspace database Deleuze Descartes digital humanities digital media discourse documentary electronic hypertext emerging essay example exile experience fiction film Film Theory forms frame Freud global Hollywood and Highland hypertext identity ideological installation art interac interactive cinema interface Internet language language-games Latino left/right Lev Manovich libertarian Lintsbach logic Manovich material media theory medium specificity memory metaphors move museum narrative Nauman neoliberal networks object organization perception Plato possible practice Print produced relation representation screen sense shift shock social space story structure suggests television tion traditional transformation transnational uncanny University Press urban video installation art viewer virtual visual Warburg writing York