Introduction: Ambivalence and
Authorship
The Third Space of Authorship: Participatory Practices and New
Narrative Models
The New Prohibition: Digital Piracy and the Politics of
Creation Part I ~ The Aesthetics of
Appropriation
Creativity is Dead
Long Live The Reflexive Remix
Interruption (Stoppage + Repetition)
Disturbance (Action + Event)
Tactical Media: Public Disturbance After the Decline and Fall of
Activism
Capture/Leakage (Performance + Documentation)
Dynamic Data and Augmented Bodies
Part II: Authorship
From Karaoke Culture to Vernacular Video
‘Aberrant Decoding' and Atactical Aesthetics
Sampling
Mashups
Remakes/Adaptations/Intertexts
Streamed data/content or visualization
Archiving As An Aesthetic Form
Hacks
Google Empire: Smart Art and Intelligent Agents From
Intelligent Tools to Smart Art
Real Time/ UnReal Time Part III:
Creative Cannibalism and Digital Anthropophagy
Digital Anthropophagy
Translation: Performing The In Between
‘Productive Mistranslation' (China and Pakistan)
Conclusion
Works Cited
Index
First to explore how authorship is changing in a digital age, particularly focusing on how restrictive copyright laws are endangering the future of culture.
Carolyn Guertin holds a dual appointment in digital media-as Assistant Professor at the University of Texas at Arlington and as a member of the graduate faculty at Transart Institute in Berlin, Germany. She was Senior McLuhan Fellow and SSHRC Postdoctoral Fellow at the McLuhan Program in Culture and Technology at the University of Toronto from 2004 to 2006. She is widely published on issues related to cyberfeminism, born-digital arts, and participatory cultures.
As current as 'the day Wiki shut down in protest,' Guertin's deeply
informed, wide-ranging, and provocative book resituates the
questions of net freedom, intellectual property, digital
distribution, and censorship in what- borrowing from and building
upon Homi Bhabha's Location of Culture- she calls the 'third space
of authorship.' In a heady and vibrant series of interlaced
arguments and speculative forays, Guertin delivers on her promise
to 'explore ... the potentialities in the social nature of
electronic works—literary, artistic, and viral—to create new kinds
of creative practices, and new spaces for the rise of alternative
artistic, authorial or publishing models'. --Michael Joyce,
Professor of English and Media Studies, Vassar College
Guertin's book is extremely timely in addressing the crisis in
copyright but also in terms of the explosion of
compositional/authorial modes and practices circulating through
popular cultures. This interconnection brings together two issues
that have, for the most part, been addressed separately. Connecting
them through a framework of prohibition provides an excellent
historical grounding and an innovative foothold for these
discussions in progressive media studies. --Jamie "Skye" Bianco,
Assistant Professor, English Department, Director, DM@P, Digital
Media at Pitt, University of Pittsburgh
Carolyn Guertin has long been embedded in the digital, both as a
practitioner and as a critic. Her insightful and provocative ideas
should be part of every new media syllabus. -- Professor Sue
Thomas, De Montfort University, UK
Guertin rightly argues that these interested parties are
fundamentally at odds not only with those who share music or films
but also with the entire collective structure of the internet. From
this basis she goes on to explore and justify an internet culture
in which copyright is viewed not only with a stereotypical
irreverence but also as a crucial irrelevance.
*Times Higher Education Textbook Guide*
This is an inclusive text that connects media philosophers with
radical changes to internet periodicals and plenty of related
digital artworks. Nicolas Bourriaud's definition of "art as a
social interstice" suitably describes most of the art present here,
with its distinctively disruptive, powerful and subtle
qualities.
*Neural.it*
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